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Before Alternative Became Cool We Had Trouser Press's Ira Robbins · Arroe Collins Like It's Live

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  Speaker 1: I don't know if you've been there yet. Arrow dot
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  Speaker 1: net A r r oe dot net. It is a
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  Speaker 1: network of podcasts every choice you could ever imagine. I mean,
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  Speaker 1: if you're into pickleball, or if you're into ya authors,
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  Speaker 1: even if you're into those who start on NBC's The Voice.
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  Speaker 1: Ero dot net really does check into what you're doing.
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  Speaker 1: It's your content, it's your stage. Ero dot net A
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  Speaker 1: r r oe dot Net. Enjoy your exploration, all right.
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  Speaker 1: I gotta tell you thank you right here from the
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  Speaker 1: very beginning. And the reason why is because before the Internet,
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  Speaker 1: before we even had a USA today, we had Trouser
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  Speaker 1: Press and got you guys were our our lifeline. Otherwise,
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  Speaker 1: how would we have known, as radio jocks what was
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  Speaker 1: going on behind the scenes.
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  Speaker 2: Well, you know, there were a lot of radio jocks
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  Speaker 2: that cared what was going on behind the scenes. They
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  Speaker 2: just want them to know what was in the billboard
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  Speaker 2: top ten. But that's that's another story entirely.
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  Speaker 1: So I always thought of myself as being the freak
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  Speaker 1: because I went for the underdogs. I was the one
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  Speaker 1: that went after New Year's Day from you two and
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  Speaker 1: we wouldn't add the damn thing. And I still don't
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  Speaker 1: understand why we didn't add it back in the nineteen eighties.
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  Speaker 1: And yet, and yet you guys were all over that band,
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  Speaker 1: and you guys really really put things out there which
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  Speaker 1: educated the community.
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  Speaker 3: Thank you. Well.
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  Speaker 2: You know, the thing is, we didn't have we didn't
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  Speaker 2: owe anything to anybody. We had no corporate overlords, we
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  Speaker 2: didn't have a budget, we didn't have a money, we
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  Speaker 2: didn't have you know, an audience really, so we just
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  Speaker 2: did whatever we wanted to. You know, it's a real
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  Speaker 2: freedom in being you know, unconnected and being DIY.
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  Speaker 3: You just do whatever moves you.
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  Speaker 2: So, you know, we started the magazine because we wanted
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  Speaker 2: to tell people about bands that we were excited about
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  Speaker 2: and we liked that we didn't think we're getting written
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  Speaker 2: about anywhere else. And we just kind of kept doing
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  Speaker 2: that and so, you know, we did run into a
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  Speaker 2: few problems along the way.
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  Speaker 3: I mean, I once we once ran a really negative.
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  Speaker 2: Review of an album that the ad for was on
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  Speaker 2: the back cover, and the record label was not happy
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  Speaker 2: about that. But you know, just literally never even occurred
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  Speaker 2: to us that that was something we should worry about.
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  Speaker 1: But you guys have always inspired me because you guys
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  Speaker 1: were band warped tour way before they even became cool,
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  Speaker 1: because you were doing the mimeograph fanzine, you were on
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  Speaker 1: the street, you were pressing the flesh. I mean, you
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  Speaker 1: were doing guerrilla warfare right there in front of us.
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  Speaker 1: You know.
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  Speaker 2: The thing we did that was really kind of far
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  Speaker 2: sighted was we had a telephone connected to an answering machine,
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  Speaker 2: you remember the old answering machines with the cassette ape
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  Speaker 2: in there, and we would do daily music news reports
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  Speaker 2: and people could call in and it would auto play
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  Speaker 2: the news report for them. And like years before there
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  Speaker 2: was the Internet and having you know, like you know,
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  Speaker 2: podcasting or anything like that, we were telling people what
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  Speaker 2: was going on, you know, in the world of music.
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  Speaker 2: If you could spare a dime to call us.
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  Speaker 1: Uh, I got to admit, and if you want to
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  Speaker 1: assume you can. I was on Cook Radio and Buildings Montana.
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  Speaker 1: I called it, I recorded it, it went on the air.
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  Speaker 1: I stole it.
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  Speaker 3: Believable, I do know. That's so efin cool.
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  Speaker 1: I will never forget that because that's how much I
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  Speaker 1: really wanted to get the word out there about different things.
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  Speaker 1: And you guys were so in touch with what was
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  Speaker 1: going on and that. You know, I always called it
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  Speaker 1: future speak, and that's exactly what you guys were tapped into.
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  Speaker 3: I can't believe you remember that.
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  Speaker 2: That was Jim Green who did that for us, And
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  Speaker 2: it was the phone was on the floor in our
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  Speaker 2: little one room office. The answer machine was one that
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  Speaker 2: I had like used at home and had replaced with
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  Speaker 2: a better one, and you know, he would just go
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  Speaker 2: in every day record something. And then you know, we
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  Speaker 2: only had one one phone line and people got busy
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  Speaker 2: signals all the time. But that was I thought that
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  Speaker 2: was a really clever idea that we had. And another
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  Speaker 2: clever idea that we had was the autodiscographies that are
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  Speaker 2: in the zip it Up two book.
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  Speaker 3: Oh my god.
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  Speaker 1: See, no matter what you guys do, you're always in
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  Speaker 1: touch with what we are or where we are and
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  Speaker 1: what we are because what we became is what you
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  Speaker 1: guys were putting on display. It's there. You can physically
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  Speaker 1: see it, even in the fashion. It's like, Okay, where
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  Speaker 1: did this begin? Go back to Trouser and see exactly
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  Speaker 1: what they were doing first, because every everybody else became
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  Speaker 1: a follower.
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  Speaker 3: That's very kind of you to say, Arrow, well.
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  Speaker 1: Did you not see that? Did you not feel that
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  Speaker 1: or was it because I was in radio and culture
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  Speaker 1: just had to be our thing or get out.
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  Speaker 2: We had no idea because we were operating in a
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  Speaker 2: complete vacuum, you know, I mean before the internet. You know,
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  Speaker 2: the feedback we got was like occasional letters to the editor, right,
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  Speaker 2: So you know that happened a couple of times a week.
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  Speaker 2: But you know, we were working really hard to put
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  Speaker 2: the magazine out and you know, we only barely knew
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  Speaker 2: that people were responding to it. I mean, you know,
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  Speaker 2: we'd subscriptions, we'd sell some copies, but we didn't really
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  Speaker 2: have that kind of instantaneous sense of like, you guys
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  Speaker 2: are on the right track, or like, you know, we
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  Speaker 2: would get a letter to the editor if we did
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  Speaker 2: something that they didn't like. But you know, it's only
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  Speaker 2: really been in the year since Trouser Press ended, which
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  Speaker 2: is now you know, forty two of them, that I've
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  Speaker 2: gotten a real sense of how much of an impact
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  Speaker 2: the magazine had on people, you know, and the real
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  Speaker 2: fans that followed us. I mean, you know, it's that
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  Speaker 2: thing that they say about development underground, right, I mean,
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  Speaker 2: you know, only a few thousand people bought the records
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  Speaker 2: but every one of them started a band. You know,
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  Speaker 2: maybe only a few thousand people read Trouser Press, but
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  Speaker 2: every one of them became like a serious rock fan.
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  Speaker 2: Some of them started answered, some of them started magazines,
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  Speaker 2: and some of them became writers, and some of them
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  Speaker 2: started record labels.
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  Speaker 1: I got to give you guys credit again here, because
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  Speaker 1: I think that the only reason why I even ever
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  Speaker 1: landed an interview with the Ramones was because somebody had
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  Speaker 1: to set them up and put them out here for
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  Speaker 1: the radio people to do that. And I have to
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  Speaker 1: give you guys the credit for that, that you took
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  Speaker 1: them from the underground and made them a part of
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  Speaker 1: what was going on when it came to water cooler
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  Speaker 1: conversation and all of a sudden I get an interview
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  Speaker 1: and I look cool. I owe you guys the credit.
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  Speaker 1: You We look cool every time now, right, no matter.
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  Speaker 3: What need us.
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  Speaker 1: No, No, you don't know how much I depended on you.
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  Speaker 1: You and Joel Whitburn. I mean I had to have
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  Speaker 1: you guys in my studio at all times.
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  Speaker 3: I'm proud to hear that. I'm glad to have helped.
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  Speaker 1: Yeah, but don't you think that you know, during the
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  Speaker 1: and you live this as well. During the eighties and nineties.
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  Speaker 1: The one thing that everybody wanted, I want an alternative station.
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  Speaker 1: I want an alternative station. They want, they want, they want,
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  Speaker 1: And then when we finally build it, they didn't come.
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  Speaker 1: And it's like, did you guys do this same exact thing.
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  Speaker 1: It's like you you kept giving, giving, give me giving,
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  Speaker 1: give me, gim me giving, And it was like, well,
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  Speaker 1: why aren't they biting?
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  Speaker 3: Well, I mean, we.
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  Speaker 2: We didn't have the capital to invest to really market
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  Speaker 2: the magazine, so we did the best we could.
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  Speaker 3: But di iy only gets you so far. You know.
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  Speaker 2: The interesting thing that happened in my life was that
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  Speaker 2: when we were just about to go out of business,
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  Speaker 2: spin Magazine started. And the thing that was amazing about
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  Speaker 2: Spend was that Bob Guccioni Senior gave his son a
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  Speaker 2: million dollars to start a magazine. And as I've said
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  Speaker 2: to many people, you know over the years, if I
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  Speaker 2: had a million dollars, I'd start a magazine. But we
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  Speaker 2: started Trouser Press with thirty eight dollars, and you know,
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  Speaker 2: at our at our best, we invested about thirty thousand
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  Speaker 2: dollars of other people's money in the magazine.
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  Speaker 3: And we still ran out of money.
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  Speaker 2: And so you know, if we'd ever had you know,
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  Speaker 2: serious amounts of backing, we probably would still be publishing today.
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  Speaker 3: But there's only so much you.
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  Speaker 2: Can do, you know, on on the kind of hand
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  Speaker 2: to mouth you know, months to months, you know, get
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  Speaker 2: the money in, send the money out. Is this so
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  Speaker 2: you know, we we did what we could, but yeah,
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  Speaker 2: it was it was a tough slog in terms of
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  Speaker 2: keeping the magazine in business, and I wasn't much of
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  Speaker 2: a businessman as publisher. It would have been better if
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  Speaker 2: we'd had somebody who actually knew how to run a
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  Speaker 2: business and let us just do the editorial, but we didn't,
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  Speaker 2: so you know, that was kind of our death nail
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  Speaker 2: after ten years.
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  Speaker 1: Well, it's almost like just just listening to your story,
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  Speaker 1: it's almost like you guys were podcasting before it became cool,
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  Speaker 1: except you use words and print in order to get
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  Speaker 1: those stories out there. But you were doing exactly what
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  Speaker 1: so many wish they could do with podcasting.
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  Speaker 3: Yeah.
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  Speaker 2: Well, you know, the thing that's interesting that I've said
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  Speaker 2: to many people over the years is that when MTV
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  Speaker 2: came along in nineteen eighty one, you know, the thing
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  Speaker 2: that they could do was they could play the music
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  Speaker 2: and they could show the bands, and all we could
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  Speaker 2: do was write about them and take pictures of them.
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  Speaker 2: And so you know, that kind of was another level
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  Speaker 2: that they were able to bring that we weren't able
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  Speaker 2: to and that was kind of a problem for us,
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  Speaker 2: because you know, it suddenly started to seem like what
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  Speaker 2: we were doing was kind of last year's thing, right,
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  Speaker 2: all we could do was talk about things, whereas you know,
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  Speaker 2: your podcast analogy is really spot on, because you know,
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  Speaker 2: it's kind of like what podcasting was is to like journalism, right,
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  Speaker 2: It's like you can sort of really make it live
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  Speaker 2: and real and put it in people's face, whereas all
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  Speaker 2: we could do is like here, open up this piece
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  Speaker 2: of paper and read what's what's on the pages?
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  Speaker 3: You know. So, yeah, you're right.
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  Speaker 2: I mean we were kind of like of a different
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  Speaker 2: generation and we suffered for that. But you know, I'm
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  Speaker 2: certainly fine about it. And now you know, we're doing books,
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  Speaker 2: so you know we're still clinging to that printed word concept.
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  Speaker 1: Well, you know, since we're going to be on the
• 8:32
  Speaker 1: subject of podcasting for a moment. They always say that
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  Speaker 1: podcasting did not come from the musicians, like MySpace or
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  Speaker 1: the comedians. It came from the author. So therefore, with
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  Speaker 1: you guys going into publication with a magazine and now books,
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  Speaker 1: where's the podcast?
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  Speaker 2: Well, you know, the last thing I need at this
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  Speaker 2: age is another obligation deadline and like, where's this podcast?
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  Speaker 3: You know, the books? I can do on my own.
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  Speaker 1: Schedule, Please do not move. There's more with Ira Robbins
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  Speaker 1: coming up next. Zip it up two to but we
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  Speaker 1: mean the number two as a continuation. We are back
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  Speaker 1: with Ira Robbins. We were talking about the photographs and
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  Speaker 1: the stories and things. But I must have come from
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  Speaker 1: that generation that required those because once they appeared in
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  Speaker 1: your magazine, I'm sorry, I ripped it apart and I
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  Speaker 1: would put the pictures up on my radio station wall.
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  Speaker 1: We're talking nineteen seventy four here. I was still in
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  Speaker 1: my bedroom in seventy four with a mister microphone and
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  Speaker 1: your pictures up on my wall, which I had to
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  Speaker 1: continuously trade out us.
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  Speaker 3: Awesome.
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  Speaker 2: You know you talk about radio station walls, you know
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  Speaker 2: you certainly remember WLR and Long Island, which was like
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  Speaker 2: YELP station, which had a huge impact on us and
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  Speaker 2: on me personally. I once wrote a really negative review
• 9:43
  Speaker 2: of The Fix, and I went out to LR to
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  Speaker 2: do an interview. I think I'm Ben Minilla's show, and
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  Speaker 2: on the wall they had blown up the words that
• 9:52
  Speaker 2: I had written about The Fix and they were just
• 9:54
  Speaker 2: completely derisive of that because they played The Fix constantly.
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  Speaker 2: They loved them, you know, and they were like, you're
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  Speaker 2: an idiot for writing that, and it's like, I'm really
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  Speaker 2: proud of that.
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  Speaker 1: Wow. So then what You've been close enough here? Why
• 10:09
  Speaker 1: is it that Iggy pop still remains this gigantic mystery.
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  Speaker 1: In fact, I've always called Iggy more mysterious than Gene
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  Speaker 1: Simmons have kissed with paint on.
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  Speaker 2: Well, Iggy's stage persona is completely different from his real life,
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  Speaker 2: you know, and you know when you interview him, he's
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  Speaker 2: like articulate and soft spoken and gentle, and then you
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  Speaker 2: see him on stage and he's a monster. He's a beast,
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  Speaker 2: and so you know, I think that really is is
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  Speaker 2: what's kept him alive all these years, is that he
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  Speaker 2: can separate those So it's like Alice Cooper, right, I
• 10:41
  Speaker 2: mean Alice Cooper off stage as a golfer. You know,
• 10:43
  Speaker 2: you go on stage and he's like a guy with
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  Speaker 2: his head in the guillotine. So you know, I think
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  Speaker 2: that's a really effective division of concepts that really is helpful.
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  Speaker 3: And I mean, Iggy's just amazing.
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  Speaker 2: I mean, you know, the guy's still going after all
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  Speaker 2: these years, and you know the shows that I've seen
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  Speaker 2: him do over the years have been unbelievably exciting.
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  Speaker 1: There's there's got to be a side of your journalistic
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  Speaker 1: values that wants to do a story on Johnny depth
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  Speaker 1: the rock Star because now that the Hollywood vampires are
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  Speaker 1: putting him on lead vocals, I want a Trouser Press
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  Speaker 1: interview because you guys have the balls to ask the
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  Speaker 1: right questions and put him in a way to where
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  Speaker 1: we speak our street.
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  Speaker 3: I don't get why Johnny Depp thinks he's a rock star.
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  Speaker 4: And I I'm sorry, no, no, no, no no, I'm
• 11:29
  Speaker 4: just only only because it's like it's like, now that
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  Speaker 4: he's a rock star, I don't want him to be
• 11:33
  Speaker 4: a movie star.
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  Speaker 1: So that's why I started laughing. I'm going, I know,
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  Speaker 1: I don't want him to go back to movies. Ever.
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  Speaker 1: I love him as a rock star.
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  Speaker 3: I don't know.
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  Speaker 2: I've seen him on stage once or twice and he's
• 11:43
  Speaker 2: just kind of like a Strummer, you know, like I was.
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  Speaker 3: Like, yeah, i'll give you that. I'll give you that. Yep, yep. Yeah.
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  Speaker 2: I haven't seen the Hollywood Vampires yet, but you know,
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  Speaker 2: I'm not sure if I really want to. I forget
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  Speaker 2: who I've seen him on stage with, but I've seen
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  Speaker 2: him a couple of times and it's like, yeah, you know,
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  Speaker 2: you're year better in the movies.
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  Speaker 1: Okay, I'll give you that, because you're right. I've been
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  Speaker 1: I am somebody who will go to a concert to
• 12:06
  Speaker 1: watch the guitarist fingers, and you're right, I'm sharing at
• 12:09
  Speaker 1: those fingers. I'm not seeing those fingers move. Okay. So
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  Speaker 1: I saw him singing a video where you know it's
• 12:14
  Speaker 1: singing in a video. I'm thinking, oh my god, this
• 12:16
  Speaker 1: is great. It's not just the voice, it's the attitude.
• 12:18
  Speaker 1: He's not over there, like being Joe Perry and things
• 12:20
  Speaker 1: like that. So you win on this one, dude, and
• 12:23
  Speaker 1: you do. You see that's why I need your magazine.
• 12:25
  Speaker 1: You give me the opposite part of what I think.
• 12:28
  Speaker 1: Therefore I become wiser through Trouser Press.
• 12:31
  Speaker 4: Yeah.
• 12:31
  Speaker 3: The other version of that is like, what that guy's
• 12:33
  Speaker 3: a jerk? What's this? And a lot.
• 12:39
  Speaker 1: Was it fun to step back into this era again,
• 12:41
  Speaker 1: or was it like, Okay, I've got I've got all
• 12:43
  Speaker 1: this stuff put in a file. I'm taking really good
• 12:45
  Speaker 1: care of it. I think it's time to get it
• 12:47
  Speaker 1: to generation alpha and beta because they know the music,
• 12:50
  Speaker 1: they just don't know the damn story.
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  Speaker 2: Yeah it was fun, I mean, but you know, I've
• 12:54
  Speaker 2: kind of lived with this stuff, you know, for a
• 12:56
  Speaker 2: long time. You know, the trouser Bus website has all
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  Speaker 2: the issues of the magazine scanned it online for free,
• 13:02
  Speaker 2: so you know, I know that this stuff is there,
• 13:04
  Speaker 2: and it hasn't really gone away from me. It was
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  Speaker 2: more a question of kind of rooting through it and
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  Speaker 2: just making sort of editorial choices about what should be
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  Speaker 2: in the book. But yeah, I mean, it's fun to
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  Speaker 2: kind of see the quality of the writing that we
• 13:16
  Speaker 2: were able to do without any resources or any real skill.
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  Speaker 2: I mean, none of us, well maybe one or two
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  Speaker 2: of us had some journalism background. But I went to
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  Speaker 2: engineering school, so you know, I just became a writer
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  Speaker 2: because I wanted to become a writer, and I just
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  Speaker 2: worked at it and got to the point where I
• 13:30
  Speaker 2: could not be completely embarrassed by what I was writing.
• 13:33
  Speaker 2: But it's it's sometimes pretty horrible to look back at
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  Speaker 2: the stuff you did.
• 13:36
  Speaker 1: Did you have to do the official rule of in
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  Speaker 1: order to land an interview for the magazine? You had
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  Speaker 1: to do a bunch of really bad people that didn't
• 13:45
  Speaker 1: deserve the press in order to land the big one?
• 13:48
  Speaker 1: What was your secret to your mess?
• 13:51
  Speaker 2: It's funny you should say that, because obviously you know
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  Speaker 2: how this works. But you know, what we did was
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  Speaker 2: because we were interested in, like the bands nobody else
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  Speaker 2: cared about. Yes, we would labels coming to us and
• 14:00
  Speaker 2: going like, well, we don't know about this who this
• 14:02
  Speaker 2: guy is.
• 14:02
  Speaker 3: He's coming from England? Would you think about him? He's like,
• 14:05
  Speaker 3: oh my god, that's so great. Can we really interview
• 14:08
  Speaker 3: Steve Harley of Cockney Rebel? Wow?
• 14:11
  Speaker 2: And so that actually earned us the brownie points that
• 14:13
  Speaker 2: got us the big interviews later, you know, because we
• 14:16
  Speaker 2: were able to like, we were enthusiastic about the bands
• 14:19
  Speaker 2: nobody else cared about, you know.
• 14:20
  Speaker 3: So you know, the Trogs came over.
• 14:22
  Speaker 2: In nineteen seventy six, were like cool, you know, and
• 14:25
  Speaker 2: everybody else is like, oh, that band that did wild thing?
• 14:27
  Speaker 3: Who cares about them anymore?
• 14:28
  Speaker 2: And we were like, I mean we were in a
• 14:30
  Speaker 2: hotel room, Dave Shoulps and I with the trogs that
• 14:32
  Speaker 2: it was the funniest thing ever. We were just like
• 14:35
  Speaker 2: hysterics because they were so silly, you know. So yeah,
• 14:38
  Speaker 2: we did it backwards. Rather than you know, doing the
• 14:41
  Speaker 2: little bands as a payoff to get the big bands.
• 14:43
  Speaker 2: We did the little bands because we wanted to and
• 14:45
  Speaker 2: got the big bands as a bonus.
• 14:48
  Speaker 3: See.
• 14:48
  Speaker 1: Now I understand why I can't get enough of your
• 14:51
  Speaker 1: book Zip It up To and the reason why and
• 14:53
  Speaker 1: why I couldn't get enough of Trouser because in all honesty,
• 14:56
  Speaker 1: you were the opposite of Casey Kasem and Dick Clark.
• 15:00
  Speaker 1: You were giving us the r authors and the musicians
• 15:02
  Speaker 1: that were not on American Top forty every single week.
• 15:05
  Speaker 1: And that's what I wanted. I wanted those deep cuts.
• 15:08
  Speaker 1: And I blame that on Fleetwood Max Rumors.
• 15:12
  Speaker 3: Well, you know you were our audience, Arrow, You're the
• 15:14
  Speaker 3: guy that we were writing for. We just didn't know it.
• 15:17
  Speaker 1: And isn't that the shock of it all that here
• 15:20
  Speaker 1: you are doing this project, you don't know your audience,
• 15:22
  Speaker 1: you don't know what the next magazine is going to do,
• 15:24
  Speaker 1: and yet all of a sudden, your magazine starts taking off?
• 15:27
  Speaker 1: Was it a head shaking moment? Just ride it, ride it,
• 15:30
  Speaker 1: just ride the wave.
• 15:31
  Speaker 3: No, we never knew that we were taking off.
• 15:33
  Speaker 2: We we just you know, we were fighting a battle
• 15:36
  Speaker 2: uphill all the way and until we finally stopped. It's
• 15:38
  Speaker 2: literally only been since the magazine ended forty two years
• 15:41
  Speaker 2: ago that I've understood how much impact it had.
• 15:45
  Speaker 1: See and that just shocks me. And I saw that,
• 15:47
  Speaker 1: you know, forty two years ago. There's no way that
• 15:49
  Speaker 1: you and I are this old. There's no way. It
• 15:51
  Speaker 1: feels like it was just yet, coach. Does it not
• 15:53
  Speaker 1: feel like that we were just going through those pages?
• 15:56
  Speaker 3: Yeah? For sure? All right?
• 15:58
  Speaker 1: So I do have to ask you, only because I
• 16:00
  Speaker 1: do love collecting weird stuff, who has the original version
• 16:03
  Speaker 1: of this glossy magazine? Because it's got to be out there.
• 16:06
  Speaker 1: There's got to be several different copies of it.
• 16:09
  Speaker 3: I mean a complete collection of Trouser Press.
• 16:11
  Speaker 1: Oh, I'll give you that, because you should see the
• 16:13
  Speaker 1: boxes of magazines that I've got. But i'll give you that.
• 16:15
  Speaker 1: Who's got the box?
• 16:17
  Speaker 3: I do? And then you got them?
• 16:22
  Speaker 2: And the Rock and Roll Hall of Fame has a
• 16:23
  Speaker 2: set that I gave them.
• 16:26
  Speaker 3: A couple of people have them. Yeah, no, it's I've
• 16:29
  Speaker 3: kept them all these years.
• 16:30
  Speaker 2: I mean they're getting kind of worn, you know, and
• 16:32
  Speaker 2: torn here and there, but I've kept them all.
• 16:34
  Speaker 3: Right.
• 16:34
  Speaker 1: Now, this is an author or a journalist speaking to
• 16:37
  Speaker 1: another journalist. Here, what does it smell like? Because you know,
• 16:40
  Speaker 1: we like the scent of ink on paper.
• 16:42
  Speaker 3: It doesn't smell like ink anymore.
• 16:44
  Speaker 2: It spells like like dusty paper, you know, because you know,
• 16:49
  Speaker 2: paper kind of dries out and it gets yellow. So
• 16:51
  Speaker 2: I mean some of the issues I have are like
• 16:53
  Speaker 2: bright yellow. They look like like sam paper.
• 16:57
  Speaker 1: And I got to give you guys kudos on the
• 16:59
  Speaker 1: way that you laid out to the index, because I mean,
• 17:01
  Speaker 1: I mean, of course, my eyes instantly saw Jefferson airplane
• 17:04
  Speaker 1: and and and then today that that I read an
• 17:07
  Speaker 1: article that Starship is still out on the road, and
• 17:09
  Speaker 1: I'm going, oh my god, Trouser Press was all over
• 17:12
  Speaker 1: this years ago, and yet this band is still going today.
• 17:16
  Speaker 1: And I hope to god they read the magazine and
• 17:18
  Speaker 1: read the book, because I want them to understand that
• 17:20
  Speaker 1: these people were there for them when the foundation was
• 17:23
  Speaker 1: was just being built.
• 17:26
  Speaker 2: I suppose that's true. I mean, you know, we a
• 17:28
  Speaker 2: lot of bands are still around. I mean, you know,
• 17:29
  Speaker 2: the Buzzcocks are still touring, you know, and so it's like,
• 17:32
  Speaker 2: I mean, other than the Ramones, who unfortunately all passed away,
• 17:35
  Speaker 2: you know, everybody else is still out there.
• 17:37
  Speaker 4: You know.
• 17:37
  Speaker 3: Look, the the sex Pistols are touring, you know, with
• 17:41
  Speaker 3: a different singer.
• 17:42
  Speaker 1: Okay, all right, it's amazing, mister magazine. How do you
• 17:44
  Speaker 1: feel about that that he that Johnny is not part
• 17:47
  Speaker 1: of that?
• 17:48
  Speaker 2: Well, you know, I think it's it's it becomes a
• 17:53
  Speaker 2: tribute band, you know, I mean becomes well in the
• 17:56
  Speaker 2: same way that who Is It? I mean even Townshend
• 17:58
  Speaker 2: is acknowledged. Who is now a tribute who tribute band?
• 18:01
  Speaker 2: You know, because there isn't enough original members to actually
• 18:05
  Speaker 2: bring back the sound and create the vibe that they had.
• 18:09
  Speaker 3: It's just peep. It's the two of them and a
• 18:11
  Speaker 3: bunch of sidemen. You know. It's a different thing.
• 18:13
  Speaker 2: So, I mean, you know the same way that like
• 18:15
  Speaker 2: the Temptations might have like one one person who's ever
• 18:19
  Speaker 2: in the band when they were great. You know, it's
• 18:21
  Speaker 2: like it's not the Temptations, it's a Temptations tribute group.
• 18:24
  Speaker 3: And you know fine.
• 18:25
  Speaker 2: I mean, I don't go to those shows anymore because
• 18:27
  Speaker 2: I don't really need to see versions of bands that
• 18:30
  Speaker 2: I've seen in the flesh and the real when they
• 18:31
  Speaker 2: were great. But you know, for people who are just
• 18:34
  Speaker 2: coming up, it's like, sure, go right.
• 18:36
  Speaker 1: Ahead, Wow, where can people go to find out more
• 18:39
  Speaker 1: about everything that you're doing, Ira, Because I mean, I
• 18:41
  Speaker 1: love what you're doing, not only because I'm just an
• 18:44
  Speaker 1: old guy in radio, but more importantly, I'm a fan
• 18:46
  Speaker 1: of all music, every genre that's great.
• 18:50
  Speaker 2: The two places I recommend are Trouserpress dot com and
• 18:54
  Speaker 2: Trouserpressbooks dot com. They're both places that you can get
• 18:59
  Speaker 2: stuff that we do and read about it and read
• 19:01
  Speaker 2: the old issues of the magazine and buy the books
• 19:03
  Speaker 2: that we're doing. They're also available from all the places
• 19:05
  Speaker 2: you buy books from, like Amazon and Barnes and Noble
• 19:08
  Speaker 2: and Apple for ebooks and things like that, and they're
• 19:11
  Speaker 2: in stores and you know, just come on down.
• 19:14
  Speaker 3: I've got a lot of reading to do.
• 19:16
  Speaker 1: You got to come back to this show anytime in
• 19:18
  Speaker 1: the future. The door is always going to be open
• 19:20
  Speaker 1: for you, sir Ah.
• 19:21
  Speaker 3: That's so cool. Thank you so much.
• 19:23
  Speaker 1: You'd be brilliant today. And once again thank you for
• 19:25
  Speaker 1: what you did because you gave us words to share
• 19:27
  Speaker 1: on the radio over those intros.
• 19:29
  Speaker 3: Appreciate it, Thank you so much to have done it.