Extremely explicit content. Truly uncensored, unfiltered, straight shooting hilarious stand up and chat, from lifelong provocateur: comedian Brendon Burns. A mix of stand up and podcasting as Brendon travels around the World performing with comics of many different backgrounds, ethnicities, sexualities and gender. Asking not necessarily the questions no one else would but more the ones no one else should. Unlike other podcasts this includes sets that will never be released anywhere else, in front of many different cultures and ethnicities. Plus the thinking behind them or the local events that led to them. Burns sets out to prove there are no dumb questions - just dumb white guys too afraid to ask.

Born the youngest of ten children, raised in Southwest Detroit and a resident of Nashville since 2005, Jack White is one of the most prolific and renowned artists of the past fifteen years.

When the White Stripes started in 1997 no one, least of all Jack, ever expected that a red-and-white two-piece band would take hold in the mainstream world. With the release of 2001’s White Blood Cells the band was thrust on magazine covers and captivating audiences through worldwide touring. “Fell in Love With a Girl” served as the band’s breakthrough hit and its accompanying Michel Gondry Lego clip was chosen by Pitchfork Media as the #1 music video of the 2000’s.

The release of Elephant in 2003 not only cemented the band’s reputation as a force to be reckoned with, but it also offered the hit “Seven Nation Army” which has since become appropriated as a de facto stadium chant for many sports teams the world over.

In 2004 White teamed up with Loretta Lynn to produce and perform on her Van Lear Rose album, an effort that won Grammy’s for Best Country Album and Best Country collaboration with vocals for the single “Portland, Oregon.” To date White has won nine Grammys in seven different categories.

White formed a “new band of old friends” the Raconteurs in 2006 and their debut album Broken Boy Soldiers showed a markedly different side, most notably one where songwriting, vocal and guitar duties were shared. The success of their debut-single “Steady, As She Goes” proved that White’s previous accomplishments were no fluke.

To take it even further, in 2009 White took to his original instrument, the drums, and started the Dead Weather with members of the Kills, Queens of the Stone Age and the Greenhornes. Releasing two albums in two years and unleashing a dark, captivating live show upon curious audiences, the Dead Weather futher-cemented Jack White’s musical versatility and range.

Also in 2009, White opened the doors to his very own record label, Third Man Records, where he has produced over 120 records in less than three years. Spanning artists as varied as Jerry Lee Lewis, the Smoke Fairies, Wanda Jackson, Black Milk and Stephen Colbert, the label has quickly developed a reputation as a leader in the vinyl record industry.

In January 2012 White announced the upcoming release of his debut album Blunderbuss which will be accompanied by extensive touring across the world.

San Francisco-based rock band So So Many White White Tigers play bad-energy, propulsive, off-timed noise skree with lots of ballsy guitar moves and dysfunctional shrieks and squeals from Liza that are sure to sting and cause infection. Gerald lays waste to the drums and guitarist Ned positively shreds the strings. Garage-y punk and chunks of mammoth wall of noise, like if Harry Pussy made rock songs or something. Whatever it is, one thing's for sure — something just ain't right with these kids. So So Many White White Tigers were born to come to your town and freak you out.

Using my time, currency and abilities to Replace White Supremacy With Justice ASAP. You can tune in to The C.O.W.S. Radio Program to hear Neely Fuller, Jr., Dr. Frances Cress Welsing, Admitted White Supremacist Tim Wise and many others discuss the greatest problem on the planet. The SYSTEM OF WHITE SUPREMACY/RACISM. http://tiny.cc/RWSWJ

Cosmos-wrangling Americana upstart Israel Nash returns from Texas Hill Country with his Silver Season, a deeply gorgeous and wholly immersive nine-song set that plays less like an album, and more like a cross section of time and space. The man's fourth LP ventures farther down the acid-soaked trail blazed by 2013's Rain Plans, arriving in lush and expansive territory. Here, this Missouri son sounds more assured than ever, supported by his highly capable band and production inspired by psychedelic greats. Israel Nash's Silver Season is best played loudly, and sounds wonderful in headphones. 

Like the record before it, this one was made on Nash's 15-acre swath of land in Dripping Springs, Texas, with one key difference. While Rain Plans was recorded inside of the new home he shared with his then-pregnant wife, Silver Season was born in the studio Nash built outside and named Plum Creek Sound, a 1,400 square- foot Quonset erected in March. The band was ready to begin in late May when the floods came, filling the building with water and muck. Nash and the boys pushed on anyhow. Digging trenches, hauling sandbags, clearing mud, and plugging in—that's how they made an album, doing what needed to be done.

The end result isn't so terrestrial, however. Silver Season billows outward with its opening song, "Willow." A swirl of keys, bass, pedal steel, acoustic strum, and languid drums envelop the listener as Nash's cooed poetry recontextualizes the world through his daughter's eyes. A shimmery Morricone-like passage carries us into "Parlour Song," which sounds a little like Neil Young leading Tame Impala. "Sooner or later we'll surrender our guns/But not until we've shot everyone," Nash sings. And while the line would fit into a celebratory tale about Old West outlaws, it's actually a modern lament. 

From the warm drift and easy elasticity of "Strangers" (one of two cuts that verge on seven minutes) to the holler-along gospel of "The Rag & Bone Man," Silver Season feels like a living thing. That's a product of the wild five-man sessions that took place in the sweltering Quonset (with beer breaks, and slingshot target practice using the empties). It's also due to the care put into taming all of that good noise, with engineer Ted Young (Kurt Vile, Sonic Youth) returning to the mix. The analog hum grounds the guitar wizardry, while the depth of sound ties the band to the pasture that surrounds. 

It makes sense that Nash would come into his own out there. He was raised in the Ozarks amidst hills and farmland. Other things add up too. His pastor father and artist mother were very much children of the '60s. Dad bought him Sgt. Pepper's when he was 10, Mom handed him an electric guitar at 11, and Nash was writing songs by 12. And while he's grown away from the religion he was raised under, Nash's music is nothing if not spiritual. The spirit just comes from a different place—nature, family, song, and the occasional trip into times and spaces we can't normally access. Hidden within the folds of Silver Season, Nash's weather-beaten voice says it best: 

"I don't live like the others/I see twice as many colors."

Rosemarie Hervey is following