Ted Turner walked into CNN’s booth at a cable show in Las Vegas wearing a colorful madras sport coat and lime green pants. It was the day after St. Patrick’s Day, 1982.

He had recently hired legendary daytime host Mike Douglas—well past his prime—to anchor a nightly “celebrity” show, clearly to impress cable operators and help drive distribution for his fledgling network. I was a 22-year-old associate producer on a staff of five. No one was older than 25.

We’d taken the show to a Vegas showroom so Ted could show off his newly acquired “star.”

I’m not sure what I was thinking. Ted was my boss’s, boss’s, boss’s boss. I’d met him once or twice before—he’d pass through CNN’s LA bureau and was always approachable, if a bit irascible (“Who do I need to f*** to get a pencil around here?”).

While I while staring at those lime green pants I somehow blurted out:
“Ted, what’s with the green pants? St. Patrick’s Day was yesterday.”

He grinned and said in that unmistakable drawl:
“Ahhh know… I got so drunk last night, I fell asleep in my clothes and didn’t feel like changing this morning.”

End of conversation.

Back then, CNN—and really most cable channels—were startups. We just didn’t call them that. No one knew what they were supposed to be. Nobody had cable, Ted was best known as the winner of the America’s Cup, and everyone thought a 24 news channel was a terrible idea.

CNN was a mix of grizzled news vets (many otherwise unemployable for various reasons) and cheap, just-out-of-college kids. It was like graduate school. Who else would hand some twenty-somethings an hour of live national television five nights a week? (Okay it was on 1AM ET/10PM PT. But still.)

Later, I would have the “privilege” of producing segments with Ted’s not-so-secret LA girlfriend, model/actress Liz Wickersham. The rule at CNN was: if hard news needed a camera crew, they got it—no matter what we were shooting. One time, on location with Liz, we got that call. I declined—and told the news desk that unless they wanted to personally tell Ted we were pulling her crew, I was keeping it.

I worked at CNN from launch in June 1980 until August 1983. In 1984, Ted decided to start a music channel to compete with red hot cable sensation, MTV. Somehow, both channels simultaneously offered me jobs. And yes—I turned MTV down to go with Ted.

Once again, I don’t know what I was thinking.

A week before starting with Turner, MTV’s Bob Pittman and John Sykes talked me out of it at on the goal line. I ultimately went to MTV, where my career took off. Ted’s music channel lasted barely a month. One of his rare misses.

I crossed paths with him one last time in the late ’90s, when I was running Comedy Central—a joint venture between Viacom and Time Warner that was just finding it’s footing. After South Park exploded in ’97, my Time Warner boss Jeff Bewkes called: “You’ve got Ted’s attention, He wants  to come “kick the tires.”

We did the full dog-and-pony show. Not without some hiccups. His chair in the conference room broke when he sat in it. Afterward, he asked for a tour. We were small then—maybe 100 people across two floors. As we walked, he shook hands, asked questions and wondered why one of the offices had beads hanging rather than a door. Then he pointed to a conference room full of guys in white shirts.

“What’s going on in there?”

“That’s the finance department,” I said.

“Why do you need a finance department?” he shot back. “You guys don’t make any money!”

Fair point.

I never saw him again, but I always made a point to hear him speak when I could. He never disappointed.

Ted Turner was fearless, brilliant, and chaotic. A swashbuckling, problematic visionary. One of the true architects of the cable business.

One-of-one.

Love him or hate him, his impact is undeniable.

RIP Ted

The good, the bad, and the just plain weird.

https://open.spotify.com/playlist/6oiteVaXp3RXEq7sb4UoCF?si=vL2eSBwRQ_2go6VnASX-xg&pi=wUrLpXvYRB6Uz

It was late 2001, in the shadow of 9/11, when I started making year-end playlists as a way to stay connected to friends and family through music. iTunes had just arrived, and I’d spend hours burning CDs, printing covers, sliding them into jewel cases, and mailing them out to a small circle of friends. Over time that circle got bigger, and I know some of you still have those old discs tucked on a shelf or buried in a drawer—mostly useful now as drink coasters I would think.

Back then, after years of relative calm, the world suddenly felt uncertain in a way it never had. It was hard to picture what the future might look like. Music became my anchor, and I hoped these mixes might offer a little comfort to others. That’s how this annual tradition began.

And here we are, 25 years later. I don’t burn CDs or print covers anymore—streaming took care of that—but that sense of uncertainty hasn’t gone anywhere. If anything, it’s become part of the fabric of our lives.

From vinyl to cassettes to CDs to streaming, sharing music has always been one of my favorite ways to stay connected. I was always the guy saying, “You’ve got to hear this!” But after 25 years, it feels like the right moment to bring this tradition to a close.

I’ve long since given up on the idea that music can change the world—but it still changes mine every day. Hope, joy, inspiration… I can find all of it by hitting play.
And so can you. We all carry more music in our pockets than we ever imagined. And honestly—who has time to listen to two hours of obscure tracks curated by an aging hipster you once worked with in the ’90s? Your personal soundtrack is ready whenever you are right in your hand. The streaming services will tell you what it thinks you want to hear, but I promise, it’s a lot more fun to go searching for it yourself.

I’ve loved making these playlists for you for the past 25 years. But if you ever need some truly “non-algorithmic” recommendations, you know where to find me.
Thanks for listening.
APPLE MUSIC VERSION
SPOTIFY VERSION

The Herzogs—from Los Angeles to Brooklyn—are well, and we hope you are too. Looking forward to seeing you in the new year.

Peace,
Doug
Los Angeles, December 2025

Lady Liberty- Galactic/Irma Thomas. “Take a look outside you can see the whole damn world’s on fire”. Like many of us, the “Queen of New Orleans Soul”, Irma Thomas, has had it up to here. She lets loose backed by some ferocious funk courtesy of fellow Crescent City residents and groove masters, Galactic. Their co-performance at JazzFest this past April was a highlight for me. Joy, Joy!- Valerie June. Like Irma, I wake up angry every morning at the never ending shit show out there and try and find some joy in it. The always delightful and idiosyncratic Valerie June always helps. Which brings us to…Beautiful Strangers- Mavis Staples. Because when all else fails, there is always Mavis. Still going strong at 86, she has sang in both protest AND in joy for decades. She transcendently covers Kevin Morby with this stirring message of compassion and hope as only she can. It feels like a warm blanket and I’ve wrapped myself in it constantly since I first heard it. My absolute favourite track of the year and we are so lucky to still have Mavis. Enough- Jeff Tweedy. Love this one a lot as well. Wistful, hopeful, and somehow the very last track on his latest, sprawling 3 CD set. Sally, When The Wine Runs Out- ROLE MODEL. Stumbled on this LA pop performer last year and he ended up making the 2024 list. Just a year later this infectious and exuberant tune broke him wide thanks to some viral celebrity cameos at his live shows. If it’s good enough for Natalie Portman, it’s good enough for me. People Watching- Sam Fender Emerging UK singer/songwriter brings an urgent 80’s feel to this one. Part Springsteen, part Don Henley. At some point I was certain he was going to sing “I saw a Deadhead sticker on a Cadillac”. Fender is looking forward and back at the same time

Crush- TogetherEffect. Pogo worthy power pop from a British-American duo. Super fun. Whole World Fooled- Peach Fuzz Jangly indie pop from a down under quartet who won’t be fooled again. mangetout- Wet Leg Punky, cheeky and full of attitude, these UK critical darlings deliver again. Coast- Snocaps. Much anticipated debut from twin sisters Katie (Waxahatchee) and Allison Crutchfield. The whole album is great and this track feels like the companion to Wilco’s “Passenger Side” from their mid 90’s debut. Lover- Richard Ashcroft. Never really on my radar as a solo artist or with The Verve, Ashcroft returns with his first music in many years. Built around a sample from Joan Armatrading’s “Love and Affection”, it immediately drew me in with its sweeping anthemic quality. He kinda just talks over it, rather than sings, which sort of works. Makes me think it might have been cool to see him perform it in front a packed stadium of drunk Oasis fans when he opened for them earlier this year.
We’re Only Human- Hayes Carll. Texas singer songwriter returns and looking inward with this soulful, sweet and world weary tune.

Oneida- Tyler Childers. Tyler Childers is one of the most important voices in country and American roots music right now. It’s hard to believe his traditional brand of country could fill Forest Hills Stadium in the shadow on New York City two nights running. But that’s just what he did and It was one of my favorite live shows of the year. This song, one in praise of older women, was a live staple long before he recorded it. Crucified Son- Charley Crockett. Charley Crockett is another one of Americana music’s rising stars, and he’s made my year ender several times. His trademark “Gulf & Western” sound is in full effect here as he contemplates own success. Canberra ( Baby Blue)- Sweet Megg. Found this traveling down some Spotify rabbit hole and found myself completely charmed by her soulful, jazzy, old-timey vocals. Methinks you will be too. House On Fire- Toby Lee. British guitar prodigy delivers a soul driven number that doesn’t get lost in the blues. Feels like someone to watch. Suzanne- Mark Ronson/ RAYE. Soulful, retro vibes and dash of night club glamour. Exactly what you want from Mark Ronson. Flower Moon- Durand Jones & The Indications. Silky 70’s style soul with a modern twist is the sweet spot for this Indiana based group. The lead falsetto courtesy of their talented vocalist/drummer Aaron Frazer, who might be this groups’s secret weapon.

.Ain’t I Good For You- Yazmin Lacey. Seductive, smooth and swaggy R&B from an intriguing East London singer. merlot and grigio- Yaya Bey. Queens born/ Brooklyn based vocalist embraces her Caribbean roots with a soca infused burner. The whole album is great. Soul, jazz and reggae vibes throughout. Pull up to the bumper, and grab some rum, it’s gotta be Carnival somewhere! Disco Life- Say She She. NYC trio celebrate the community spirit that defined the early days of disco before the over commercialised rot set in.
I was never much for the velvet rope thing. But I always loved the music (the good stuff anyway) and still do. A funky but chic homage to a long lost era. Broken Glass- Neal Francis (Say She She). 70’s inspired funk rock filled with dark desire. Home Sweet Home- the Favors- The Favors are a collaboration between Finneas (Billie Eilish’s bro) and vocalist Ashe. A chance encounter between former lovers on the sweaty summer streets of NYC begins hauntingly and explodes into a disco beat full of regret. I’d Rather Be Lonely-Jaime Wyatt. A country soul torch song from a survivor willing to go it alone. Good Hearted Man- Tift Merritt (Kitchen Recording). And speaking of soul country, Tift Merritt has been a favorite of mine going back to her songs that graced some of the earliest editions of this playlist. Revisiting one of her best from a 2004 release, she strips it all the way down and delivers a raw, emotional ode to domestic bliss that outdoes the original.

October 4, 1975

I stood there, transfixed by the booming basslines and hypnotic rhythms coming from the stage. I was a 16, a high school junior from New Jersey, improbably standing in the first row of Kingston’s National Stadium on a sultry Caribbean night. Right in front of me, Bob Marley & The Wailers—Peter Tosh and Bunny Wailer included—were opening for Stevie Wonder in front of a rapturous hometown crowd. I had never seen or heard anything like it and my life would never be the same.

My mother was always trying out new gigs. That fall, she was dabbling in the travel business when a friend of a friend called: could she arrange transport for Stevie Wonder’s band, sound, and lighting out of LA, Detroit, and Miami for an upcoming benefit concert in Jamaica? She said yes—on the condition that she, my sister, and I got airfare, hotel, and tickets to the show.

At Paterson Catholic Regional High, music scenes were split: half the kids were into disco—Van McCoy, the Bee Gees, Tavares—while the rest fist-pumped to arena rock gods like Queen, Kiss, and Aerosmith. Part Saturday Night Fever, part Dazed and Confused. Reggae music? Not even on the radar.

But EVERYONE loved Stevie Wonder. He was in the middle of one of the greatest album runs in pop music history: Talking Book (1972), Innervisions (1973), Fulfillingness’ First Finale (1974). Each release brought awards, acclaim, and hit after hit. My sister and I were beyond excited.

I might’ve been aware that that Marley wrote Eric Clapton’s hit “I Shot the Sheriff,” and my older sisters probably had The Harder They Come soundtrack in rotation, but honestly, I had no idea what to expect from the reggae band opening for Stevie.

Billed as the “Dream Concert”, the promoters turned it into a weekend long cultural event—tennis tournaments, parties, and a closed-circuit screening of Ali vs. Frazier III (“The Thrilla in Manila”). The Kingston Sheraton was literally buzzing: Stevie’s crew, international tennis stars like Arthur Ashe and Vijay Amritraj, journalists from Jet, Sports Illustrated, People, and movers and shakers from Jamaica’s reggae scene.

While roaming the hotel, my sister and I met a young keyboardist named Greg Phillinganes, just 18 and fresh out of Detroit. He was about to play his first gig with Stevie’s Wonderlove band. Greg would go on to become a legendary session player and musical director, working with Michael Jackson, Eric Clapton, and Stevie himself for decades. But that night, he very graciously invited us to watch the band rehearse.

We were floored.

Stevie entered the room, immediately sensing new faces, and asked about us. Then he sat down at the keyboard, and the band jammed for a while before we were politely ushered out. It was more than enough—we were spinning with excitement and could barely sleep that night thinking about the concert to come.

The next night at National Stadium, we sat right up front among tennis stars, journalists, and local dignitaries. Third World, just signed to Island Records, played a tight, uptown reggae-fusion set. Then, Marley and The Wailers made their entrance—emerging from the back of the stadium, in a cloud of ganja smoke, led by Nyabinghi drummers chanting as they moved toward the stage.

What I didn’t know then: this would be the last-ever performance by the original Wailers. Tosh and Bunny had left the group a year earlier, and hadn’t appeared with Marley since. That night, they reunited for a powerful, once-in-a-lifetime set—vintage Wailers and solo material. I can vividly remember the entire stadium singing along to “No Woman No Cry,” and Peter Tosh delivering “Legalize It” to wild cheers—especially from my teenage stoner self.

But I couldn’t take my eyes off Marley. I had never seen anyone like him. He danced in a trance, dreadlocks flying, guitar slung over his shoulder, eyes closed, locked in communion with his audience. His music—those slinky one drop riddims, and the thundering bass—hit me hard. His songs of rebellion, revolution, and weed exploded into my teenage brain.

“Hit me with music.”

Stevie and his band came on later in their trademark ‘70s space-age outfits. After Marley’s earthy performance, their stage garb felt a little over the top—but Stevie was a global superstar, and the crowd went wild. The set was joyful, polished and electric. Marley returned to join him on to duet on “I Shot the Sheriff” and “Superstition.” We all left the stadium ecstatic.

I had arrived in Jamaica a Stevie fan and left a Marley fanatic. On the way home, at the Kingston airport, I bought a Jamaican pressing of Marley’s latest release.Natty Dread. Back home, I dropped the needle on that record and never looked back. Soon, I was dragging my friends to midnight screenings of The Harder They Come at the Elgin Theater in NYC, scouring record stores, reading everything I could find, and unconsciously becoming North Jersey’s biggest (only?) reggae evangelist.

I was already deeply into Dylan, Springsteen, and Neil Young, absorbing the power of their great lyrics. Marley’s Trenchtown reality—songs like “3 O’Clock Roadblock” and “Burnin’ and Lootin’”—gave his music an edge and authenticity that stood apart.
This wasn’t just music—it was lived experience.

In “Knockin’ On Heaven’s Door,” Dylan takes on the persona of a wounded sheriff in a dusty, Hollywood western. While in Marley’s “I Shot the Sheriff,” his protagonist shoots his local sheriff to settle a score, in a song inspired by Bob’s early Trench Town ghetto experience. That difference grew even starker in December 1976, when Marley survived an bullet ridden ambush in his Kingston home. The assassination attempt was never solved—politics? Business? We’ll never know. But the image of him bloodied and bandaged at the hospital, gave him the kind of street cred a hit record never could.

My obsession continued to grow. I studied Jamaican culture, collected records, and in 1978, as a student at Emerson College, started a weekly reggae radio show called Strictly Rockers (later just “Rockers”) on WERS-FM. It aired every weeknight for nearly 35 years, becoming one of the longest-running reggae programs in the U.S, and America’s only daily reggae show. I’m still proud of that. I considered myself a roots pioneer, spreading the gospel of reggae music.

“Pass it on.”

I still listen to Bob and lots of classic roots reggae. Those lyrics that once felt distant and exotic—songs of justice, struggle, and resistance—somehow feel more urgent now in ways I could never have imagined. 50 years on the message remains relevant and the music still sounds ground breaking and fresh.

“Don’t give up the fight, never give up the fight”.

Looking back, that weekend in Jamaica was pivotal. Music from an island a world away connected with me in a way nothing else had. It sparked a lifelong passion. And the glimpse I got into the backstage world of pop music planted a seed. I didn’t know what I wanted to do with my life back then. But I knew I wanted to get closer to that—to what I’d just seen and heard, and if I could, then maybe, just maybe…

“Every ting’s gonna be all right.”

(**Editor’s note: this is a revised version of an original Tunblr post from 10/15**)

I stood just offstage with a camera crew. The twenty five year old me dressed in 80’s style short/shorts, a tank top and inexplicably wearing Ray Bans after dark. Not at all aware that I might be standing at ground zero of 1985’s pop culture universe.

An entire galaxy of rock stars and celebrities just finished an emotional rendition of “We Are The World” for a sold out stadium in Philadelphia and a worldwide television audience of millions. It ended a remarkable day that saw a pair of epic mega concerts across two continents, raise awareness and millions of dollars for African famine relief. Onstage, bringing the curtain down on this historic global event that seemed (at least for a moment), to unite the entire planet, was Lionel Richie. As the song ended I decided I needed to be the first person to talk to him. I grabbed our camera crew, dashed to the middle of the stage, pushed my way through the throng, tapped him on the shoulder as I shoved a mic into his face as if he was a Super Bowl quarterback…….“HI! MTV! HOW DO YOU FEEL!!??”

How on earth did I get there?

It was July 1985: “New Coke” , Coca Cola’s horribly misguided brand extension was declared an instant and epic failure before being quickly pulled from grocery shelves nationwide. A 17 year old Boris Becker won his first major at Wimbledon, becoming the youngest man ever to do so, and Back To The Future” was an instant hit at the box office. And me? I was just back from my honeymoon, days away from a 26th birthday, and barreling down the New Jersey Turnpike to cover the biggest concert event since Woodstock.

I had joined MTV less than a year earlier in September 1984. For those of you old enough to remember, that year was a milestone year for the music business and the peak of MTV’s original music video era. Bruce Springsteen (“Born in The USA”), Prince (”Purple Rain”, Madonna (“Like A Virgin”) and maybe most importantly, Michael Jackson (“Thriller”), formed a literal Mount Rushmore of music video. They ruled the charts, radio airwaves, helping push MTV into the zeitgeist. Their impact and influence stretched far beyond hit records, dominating the cultural conversation with sold out tours, groundbreaking videos and even a hit movie.

It was amidst all this that John Sykes and Bob Pittman, two of the networks’s founding fathers hired me to start an MTV News department. The channel
could not have been hotter when I arrived to start my dream job. They were flying high on the triumph of the inaugural Video Music Awards just days earlier. In addition, they had recently been the focus of a cover story in Time Magazine making MTV the unrivalled darling of the entertainment world. Talk about right place, right time.

I faced some early skepticism from my new peers because I had a more “traditional” TV background, It was MTV’s sworn mission to be anything but. Most of the network’s senior management at the time came from the music business. Radio stations, record labels, concert promotion etc. My career started at CNN when
it launched in 1981 before moving over to the nascent Entertainment Tonight.
Cool was an important currency at MTV, CNN and ET were most decidedly not.

That said, I put my head down and went to work in the bowels of our offices on 6th Avenue. I inherited a small staff who were generally regarded as the black sheep of the network’s family. A group of passionate reporters, rock critics and geeky misfits whose “hipper than the room” downtown tastes were often at odds with the more mainstream sensibility of the channel’s AOR programming strategy. Writers Stu Cohn, Michael Shore, and Merle Ginsberg were all there when I arrived, itching to contribute more. The vibe in our makeshift news bullpen was much like a clubhouse or record store. We were granted a small budget so we could start shooting video and interviews outside the studio and bring on additional staff. Over time the crew expanded to include rock critic, avant garde musician, and incorrigible “enfant terrible” Tim Sommer, as well as the late, great Kathy Levinsky, Aline Allegra, Donna Gomes and others I’m sure I’m forgetting. My apologies to everyone, it was 40 years ago after all.

One of the earliest additions to the crew was a college classmate and friend, Linda Corradina. Linda had already worked for both CNN and ABC News. If I was the Godfather of MTV News, then Linda was surely the Godmother. Together, we were the architects of what became the classic MTV News Department. Linda would go on to oversee the development of The Week In Rock and make the game changing decision to bring Rolling Stone’s top writer/critic Kurt Loder to the channel.

Early on, MTV head honcho Bob Pittman sarcastically said to me, in his trademark Mississippi drawl, “Nobody cares about the news, Doug”. Despite that, we started to gain some attention for our breaking stories and interviews. Our little news crew was figuring it out.

As a major global and cultural television event, televising Live Aid was sure to be a VERY big moment for the network and a real test for the news team. People who had never watched the channel before would be tuning in. The whole world would be watching. Well, at least those wired for cable. No pressure.

The basic programming plan for the broadcast was to air the all music live from both JFK Stadium and the sister concert at Wembley Stadium in London, plus the VJ’s hosting from a set adjacent to the stage in Philly and news breaks from behind the scenes. Corradina set off with a small crew to do the reporting from London with JJ Jackson, while the rest of us headed down the I-95.
.
I drove to Philly a day early to help get everything set up and begin our coverage. Upon arriving I was met the local camera crew (one of them took all these photos BTW) and we headed for a nearby recording studio trying to grab an interview with MTV darlings Duran Duran were there rehearsing. They blew us off. Then we then zipped over to a private air strip where Mick Jagger, Daryl Hall and Tina Turner would soon be touching down via private jet. As the cabin door flew open, Mick came down the steps and blew right past the assembled press and paparazzo, hopped into a waiting van, leaving Daryl and Tina to address the cameras. We followed them all back to JFK stadium to watch Mick and Tina rehearse (backed by the Hall & Oates band) for their duet the next day.

The next morning our crew headed out to the stadium at the crack of dawn.
We gathered around a tiny black and white monitor in our production trailer at 7AM as the London portion of the show kicked off with Status Quo’s cover of John Fogerty’s “Rockin All Over The World”. After that, we sent our cameras out into the crowd to speak with fans as they arrived. By mid morning The City Of Brotherly Love had turned into a blazing furnace. Bright sun, sweltering heat and oppressive humidity. It was barely noon when our own Tim Sommer quickly succumbed to the elements with a case heat exhaustion. It was then I famously exclaimed: “I think we broke Timmy!”. Truth be told, the MTV news crew were creatures of the great indoors. Air conditioned newsrooms, record stores and dank nightclubs were their natural habitat. Standing around in the blistering mid summer heat rising from a packed stadium was no place for them.

I spent most of the day backstage producing segments with the VJs and handling the occasional (off-camera) interview with MOR artists like Marilyn McCoo, Dionne Warwick and Grace Slick that our brand sensitive execs deemed them too “uncool” to be seen on camera with our VJs. The VIP area was filled with rock stars and industry titans mingling with celebs like Jack Nicholson and Chevy Chase. Rumours were swirling all day about who might show up for the night’s big finale. Michael Jackson? Bruce Springsteen? Prince?

Working behind the scenes I didn’t get to see too many of the performances. But I
did manage to get myself onstage for the much anticipated Led Zeppelin reunion.
I stood next to Tom Petty and then Heartbreaker drummer Stan Lynch, who were giddy with excitement at the prospect of seeing their heroes reunited. But their mood changed quickly once the music started. It was awful and everyone knew it. About three songs in, they looked at one other with sour faces and took off. Looking back at that Philly line up now, it all seems a bit tame. Heavy on MTV stars of the day who provided very few memorable performances. In retrospect, London had more weight and gravitas with iconic acts like U2, Elton, The Who, Bowie, and McCartney.
For me, the defining performance of the day had to be Freddie Mercury and Queen.
I will never forget watching it on the small monitor in our trailer. Even viewed on a tiny black & white screen, its impact was undeniable. I still get goosebumps watching it on YouTube 40 years on. Surely one of the great stadium sets ever and undoubtedly the highlight of the day.

In the photo above to the far right, you can spot a young Adam Yauch/MCA of the Beastie Boys checking out Robert Plant. They had yet to release their debut album, and had just opened for Madonna at Radio City Music Hall a month earlier.

As the evening progressed, promoter Bill Graham’s tight fisted security finally loosened up, and our camera crew made its way inside the coveted artists compound.
Bob Dylan arrived backstage at dusk with Ron Wood and Keith Richards in tow.
And for those of you keeping score, that meant 3/5th’s of The Rolling Stones were in the house, but would not be performing together, as this was the peak of the legendary Jagger/Richards feud era. We camped outside Dylan’s trailer as Keef and Woody stood around bemusedly strumming guitars, smoking, chatting up the likes of Phil Collins (who flew from London to Philadelphia on The Concord after his Wembley set in oder to join Led Zeppelin at JFK) and Eric Clapton. It would become abundantly clear later that perhaps Dylan, Keef and Woody ought to have spent that time rehearsing. Their set was widely panned and considered one of the most inexplicably awful performances ever! A saving grace might have been some comments Dylan made from the stage that night, inspiring the birth of (the still going strong) Farm Aid

Perhaps my personal favorite moment came later in the evening, provided by my good buddy and MTV producer extraordinaire Joe Davola. All day long, every time we tried to get onstage with our crew, we were stopped. Finally as they were preparing for the big finale, security had completely broken down and Joe and I were able to get the crew onstage. We were just off to the side as Lionel Richie led the all star finale singing “We Are The World” to millions around the globe. As the stage filled with what had to be over 100 people, Joe taps me on the shoulder and motions for the camera to follow HIM! Then, he confidently strolls out onstage, throws his arms around members of Duran Duran, leans into the mic, and sings his way into music television immortality. Legend.

Then of course I bum rushed Lionel, which is where we started all this.
With the show now over we stayed behind to file a wrap up package. When we
finally got to the hotel for the crew’s after party, we received a hero’s welcome!
The news department had stepped up and met the moment. No so much for the VJ’s though. In the days after, reviews and chatter were highly critical of their performance (somewhat unfairly I’d add) and they took a beating in the press. It wasn’t long before you could feel the plates beginning to shift, the eventual arrival of Kurt Loder would change the dynamic forever. Soon, most of the big stars would insist on speaking only with Kurt rather than the original jocks, and the news breaks, once an afterthought, were now a key part of the MTV’s programming.

The news team would continue to grow and evolve, covering artists and genres (like early Hip Hop) ignored by the channel’s playlists. We played the mainstream hits all day, but the news department covered all the cool and edgy bands in between. Over time we started producing specials, live events and award winning documentaries and covering everything from sports and fashion to lifestyle issues and politics. And, nobody of a certain age will ever forget our round the clock coverage after the tragic death of Kurt Cobain.

The “Go-Go 80’s” were heady times for both me and MTV. I’m so proud and grateful to have been a part of it alongside such a remarkable group of wildly inspired young people, filled with a million ideas and permission to make it up as we went along.
We had a front seat to everything, and I promise you it was as much fun as it sounds.

There was a feeling back then that the power of music (and television) could positively influence the world. Forty years later, I’m not sure we all still feel that way now given how the entire planet seems divided over just about everything. It makes you wonder if anyone or anything could ever muster the kind of unified global support Live Aid enjoyed.

Despite that, I still find myself thinking about standing in the summer heat of a packed stadium, listening to a favorite band, cold beer in hand, so close to the person next to me I can feel them sweat, and still hoping that music has the power to change the world.

dh✌️
Los Angeles 2025

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****This is a largely revised post originally published 7/13/15****

Welcome back everyone. No matter what your last few months have been like, I hope the music here brings you some joy and light as we head into what promises to be a challenging new year…..Here are the links to the Spotify and Apple versions of the playlists, and of course, my annual (poorly written) liner notes below…….and before we get started I want to dedicate this years list to my old pal and fellow music geek David Handelman who I’m sure is listening and proof reading my writing from a better place.

Sunshine Getaway- JD McPherson. You might know JD from his roots rocking solo albums, or maybe you know him as guitarist in the Robert Plant/Allison Krauss touring outfit. With a stomping glam rock riff , JD knows that when a chilly December morphs into a deep January freeze, we all dream of a sunshine getaway . Like I Do- Tim Heidecker. Another guy you might know, especially if you are fan of the Adult Swim’s comedy legends Tim & Eric. Tim’s recorded a ton of music over the years including several solo albums. He puts his wry humour to very good use on this barn burner about a woman who isn’t quite ready to tie the knot. Keep Walkin’- The Cactus Blossoms. This Americana duo can be heard backing up JD on the first track, and here they serve up some crunchy country rock that finds them walking away and not looking back. You Got Soul- Quinn DeVeaux. Joyous sounds from an emerging southern soul man. Loved it from the first time I heard it. I think you will too. High Note- Valerie June (Feat. Stax Music Academy). One of my favourite current artists, Valerie penned this for Mavis Staples a few years back, and now takes her own shot with a new generation of Stax musicians in tribute to the soul/gospel queen’s 85th birthday. Inspirational, soulful, and a good reminder that how you leave is often more important than how you arrived. Heartless- Nathaniel Ratliff & The Night Sweats. BIG fan of these guys. Great live band with some very good songs infused with real emotion and soul. They draw on all the right classic influences and they still always manage to sound fresh. Alibi- Hurray For The Riff Raff. You often can’t save people from themselves, but for a friend, you always gotta give it your best shot. Beautiful and not a little bit heartbreaking. Johnny Blue Skies- If The Sun Never Rises Again. Sturgill Simpson has been through it the last few years, health issues and a desire to switch it up led him to extended stays in Paris and Thailand. He emerged with a new name a new album. I don’t care what he calls himself, I’m here for it. She Don’t Love Me Now- Bruce Springsteen and Jesse Malin. In June of 2021 I went to see beloved NYC rocker and favourite son Jesse Malin perform at the City Winery. It was the first concert I attended in person as Covid began to clear, a great night and reminder of the power of live music we had all been missing. Jesse brought that inspiration to every performance he ever gave, but never quite never cracked the big time. Despite that, his life long devotion to rock n roll, undying spirit, and enormous enthusiasm for his craft, made him worth seeing. and listening to. Unexpectedly, in May 2023 he suffered a spinal stroke that tragically left him paralysed from the waist down. An unimaginable and crushing blow. It’s been a tough, long road back for him, and this summer his music industry friends and admirers gathered to record his songs for a benefit album to help with his medical costs. One of the highlights is contribution by ‘The Boss”, who covers one of my fave Jesse tunes in his recently adopted “soul man” style. Just as few weeks back Jesse triumphantly returned to the stage along side many friends at a benefit concert at The Beacon. in NYC. By all accounts an inspiring and emotional night, and an important first step for him. If you are a fan, or just a music lover please consider donating HERE.

Falling In Love Again- The Selfless Lovers I just finished watching the Yacht Rock doc and can’t help thinking of this Austin band wearing Hawaiian shirts and sporting frizzy afro perms. That’s not a knock, just a recognition of some well crafted catchy pop. Happiness- The Heavy Heavy. Debut from a UK outfit who dip deeply into the 60’s for inspiration. The Laurel Canyon harmonies of the Mamas and Papas are a clear influence, and the their sentiment is right on time. Deeply in Love- ROLE MODEL. LA rapper turned singer-songwriter turns in some perfectly good pop. Calling After Me- The Wallows. More 80’s inspired LA power pop from a promising indie rock trio. Bored- Waxahatchee. Not exactly sure what Americana it girl Katie Crutchfield is singing about here, but it sure stuck with me. People Still Show Up- Maren Moriss. We have reached the mental health check portion of the playlist. Maren Moriss announced a while back that she was leaving country music. and this slinky, funky track doesn’t smell like Nashville one bit. On this track she’s surprised and gratified to know, that when the chips are down, she can always count on her friends, even the most unexpected, to show up just when she needs them most. Lets keep looking out for each other. Worthy- Mavis Staples. And, if it’s all just too much, Mavis is here to remind you, we are ALL worth celebrating. Play this first thing each morning for best results. What About The Children- Gary Clark Jr./Stevie Wonder- Gary and Stevie co-wrote and perform this track and it sounds like it could have been a B side from Stevie’s classic Innervisons album of 1973. The bad news is, the lyrics are no less relevant than they might have been way back then. Same as it ever was. Tell Me Why You Do That- Grace Bowers & The Hodge Podge. Grace Bowers is a 17 year old hot shit guitarist and band leader. She must be a very old soul because her debut album is filled with the kind of musical inspiration that could only come from listening to her grandparents record collection. On this, her first single she combines fiery guitar work with some seriously funky Sly Stone/Gerorge Clinton vibes. “All the squares go home!”

Easy To Love- Aaron Frazer. Durand Jones & The Indications drummer, and soprano voiced soul man is back with another solo outing. And while this reminds me of The Indications ‘Witchoo'‘, it’s got enough four on the floor to get the part started. Got To Be Mine- Vulfmon/Evangeline. Vulfpeck’s Jack Stratton goes by Vulfmon on his solo outings. It’s honestly hard for me to tell the difference, which is fine. Evangeline adds breathy vocals to one his trademark bouncy, funky pop gems, (and I’ve already heard it in a commercial). Pon Pón- Khruangbin. Everyone’s top ranked vibey trio is back with a trance like grooves straight out of a 70’s West African disco. Live For You- Thee Sacred Souls. Smooth, cruise worthy Marvin Gaye inspired 70’s soul. Low Rider not included. Coffee- Hinds. This quirky all girl indie garage band from Madrid is now down to two original members, but their lo-fi spirit and sly humour remain intact. Playing Favorites- Sheer Mag. Punky pop from Philly by way of Jack White’s Third Man Records. GospelbeacH- The Dropout (Part One). These guys have always leaned on classic west coast sounds to inform their albums (Petty/The Dead). This time sunny California power pop provides the inspiration. All The Ways- Secret Sisters/Ray Lamontagne. Warm and soulful harmonies made this gorgeous song one of the most unforgettable of the year, at least for me. And I can’t help thinking of Bonnie Raitt every time I hear it. Over and Over- Shelby Lynne. Twenty five years plus since her classic “I Am Shelby Lynne” album, she still consistently turns out exceptional country soul. Full of heartache and regret, “Over and Over” is no exception. Last Leaf On The Tree- Willie Nelson. With the passing of fellow Highwayman Kris Kristofferson (following country outlaws Johnny Cash, Waylon Jennings, Merle Haggard, and Billy Joe Shaver), Willie is indeed the last leaf on the tree. And if listening to this 91 year old American Treasure sweetly staring down his mortality doesn’t move I don’t know what will.

The LA and Brooklyn Herzog’ are all doing well. We hope you and yours are too. I’m not sure what the new year has in store for us, but I very much hope that it includes seeing you. Have a great holiday everyone.

Peace,
dh
Los Angeles December 2024

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Hey everyone. Welcome back!
You can listen to the Spotify playlist here, or follow the post below.
Enjoy!

1. Deja Vu- Pan Arcadia Different Strokes. 2. These Are The Days- Inhaler
“Nepo Baby” alert! Dublin outfit fronted by Bono’s son brings more early aughts inspired rock. 3. Poor Boy- Lydia Loveless Alt Country songstress stretches the genre, with her garage rock vibe. 4. Don’t Get Fresh With Me- Low Cut Connie
Low Cut Connie’s Adam Weiner (Jersey born/Philly based) brings passion, soul, and little bit of cabaret to his live shows. The songs can be uneven, but enough good ones abound to make it interesting. He’s also proclaimed himself “King Of The Jews”, which is worth noting in 2023.

5. Twist and Burn-Kendra Morris Blue eyed modern soul with, you know, a twist.
6. On My Way- Sebastian’s Attic My oldest son Daniel just started working with this young artist and I can’t get this track out my head. He perfectly captures that dreamy sensation you feel when someone knocks you off your feet. Remember, you heard him here first. 7.All I Really Wanna Do- Devon Gilfillian 70’s style sweet bedroom soul. Satin sheets and black light posters not included. 8. See It Through- Durand Jones Stepping aside from The Indications for a solo turn, Durand Jones soulfully explores his journey growing up queer and black in the rural South.

9. Oceans Of Emotions - The Teskey Brothers The groove from these soulful brothers from down under have a distinctly Otis Redding feel. 10. Just Like Honey- Charley Crockett - Charley Crockett released the excellent “Man From Waco” last year. and more recently released some alternate versions from that album. (The Billy Horton Sessions). This is one of the best. 11. More Than Friends- Lukas Nelson & POTR (feat. Lainey Wilson) Rising star (and Willie’s son), Lukas Nelson is joined by CMA’s Entertainer Of The Year Lainey Wilson on a pretty cute one extolling the virtues of “friends with benefits”. In addition,Lukas adds some cool and timely Robbie Robertson inspired licks to the proceedings. 12. Puppy And A Truck- Jenny Lewis Jenny Lewis has never been shy writing about men and relationships. Now she’s navigating dating as a full fledged adult (“My 40’s are kicking my ass and handing them to me in a margarita glass”), and she’s come up with a fool proof formula for heartbreak and the middle aged single life.

13. I Wanna Be With You- Jessie Colter & Margo Price 70’s O.G. and former Outlaw country queen , Jessie Colter returns to the studio with an album produced by fan girl and current holder of the crown, Margo Price, who duets with her here. 14.Holler- The Watson Twins In these incredibly challenging times we live in, sometimes it’s hard to see the light. The Watson Twins employ their stunning sisterly harmonies to channel the hopelessness we all feel sometimes into a rousing hallelujah. Holla. 15.The Tree- Maren Morris This talented young singer (and member of The Highwomen) announced her departure from Country music earlier this year, Not sure what that means, but if you think this is a standard country break up song, listen closer. Maren’s fed up with the Nashville establishment, and is taking an axe to “The Tree”. No doubt she’s got the voice and determination to back it up.
16. Ride The Train- Acantha Lang Acantha Lang is ready for her big moment and is gonna ride this gospel influenced train all the way there. All aboard.

17. New Guru- Vulfpeck/Antuan Stanley You can always count on a funky good time from Vulfpeck and frequent collaborator Antuan Stanley. 18. Lil Boo Thang - Paul Russell Tik Tok has become the dominant social media platform for just about everything. On my feed, in between videos of babies, puppies, and people losing their shit on commercial air flights, I see a lot of endlessly entertaining Tik Tok dance challenges. I don’t know how they get started or why they catch fire, but I discovered two great tracks this year watching them. The first, the feel good “Lil Boo Thing”, exploded onto the platform this summer using just a snippet of the song. The release was held up because they had trouble clearing the Emotions “Best Of My Love sample”, and by the time of its official release, it was already a viral sensation. Good time party music that is sure to be a dance floor filler at weddings and bar mitzvahs for a long time to come. The next one, 19. We a Run E Grung- Nadg comes from a fairly obscure Jamaican Dancehall artist. The track also emerged early this year as a red hot Tik Tok dance challenge when it was remixed using a Busta Rhymes sample from “Put Your Hands Where My Eyes Could See” (AKA The Busta Beat), as well as Sly and Robbies “Bam Bam “. I have no idea what he’s actually saying, but Tik Tok would suggest it’s all about the dance anyway. 20. Free Yourself- Jessie Ware Jessie strikes a distinct Madonna like pose on a disco/house thumper.

21. Mess It Up- The Rolling Stones (Purple Disco Machine) to be honest, I completely ignored the Stones new album. I mean what’s the point…right? Then I happened to hear this remixed single by Purple Disco Machine. And you know what? I kinda love it. Gives me a bit of that late 70’s “Miss You”vibe. Disco never really died and neither have the Stones. (The original version is pretty goo too!) 22. Forgiving Ties- Deer Tick Rhode Island’s rootsy garage rockers doing what they do best. 23. Ian Hunter- Bed Of Roses. getting a little help from friends Ringo Starr and Heartbreaker Mike Campbell, the 83 years young former Mott The Hoople frontman recalls when the band played all night long. 24. Rodney Crowell feat. Jeff Tweedy) I was lucky enough o attend both night of the Wille Nelson 90th Birthday concert at The Hollywood Bowl in May. Rodney Crowell was one of the dozens of special guests who performed over a two day event. I was a big fan during the 80’s and 90’s…and then for whatever reason, my listening tailed off. I think he’s one of country music’s most underrated songwriters. His latest, “The Chicago Sessions” (produced by Wilco’s Jeff Tweedy) dropped around the same time, here he’s joined by producer Tweedy. Two generations of great songwriting.

25. The Returner- Allison Russell Allison Russell’s sophomore album delivered Grammy noms, critical raves, and what may be my favourite song (and album) of the year. A stirring RnB/gospel track where she recalls the pain of the past, finds the strength to move past it and celebrates the joy and triumph of survival. Transcendent. The Weight- The Band (RIP Robbie Robertson ) While I became a little more of a #TeamLevon guy over the last 20 years or so… I have nothing but the greatest respect for Robbie legacy and songwriting abilities. A stone cold legend and Hall Of Famer. I grew up on The Band’s music and it remains important to me to this day, I even saw them as a 15 year old along with Dylan in 1974. They left a big impression. And clearly The Band would be nothing without Robbie Robertson’s songwriting, leadership and ambition. But I guess it may have been some of that naked show biz ambition (on full display in “The Last Waltz”) that always irked me a bit. I also thought it curious that he wrote his bio and produced his Band doc AFTER Levon passed. Anyhow…way back at the dawn of the millennium I got to have lunch with him TWICE! (At the time he was on the payroll of Paul Allen who was exploring the idea of a cable music channel to compete with MTV).
Needless to say, it was quite a thrill.
A few months after our last lunch, I was at LAX with my family, the day after Christmas, standing in a long line for a Southwest flight to Santa Fe.
I see Robbie coming down the terminal walkway…he looks at me quizzically trying t place me, I look at him…”Hey Robbie, Doug Herzog”..
”Ah” he says as he now putting it all together. “Oh hey, hi, um…are you guys going to Santa Fe? Can I cut the line with you…?”
"Uh..sure” I say. Five minutes later they invite families travelling with small children (Lizzy was like 3 years old back then) to board early. So Noreen and I grab the kids and race over to the gate. When we get there the guy handling boarding says “How many in your party?”.
I say “Five”, and from right behind me I hear Robbie shout “Six!”. Oh right, “Uncle Robbie is with us!”. he told us he was headed to there to spend NYE with Paul Allen and some friends. They were then going to fly off to the Caribbean to spend a week on Allen’s yacht. When we landed a beautiful young girl was waiting for him at baggage. He gave me a wave and took off. Heaven Help Us All- The Blind Boys Of Alabama As we approach the uncertainty of the new year, I can’t think of a more fitting way to bring this to close than this timely cover of a Stevie Wonder classic.

If you made it this far…many thanks. I really appreciate it.
All the Herzog’s are healthy and well, and we hope you are too.
We look forward to seeng everyone in the new year.
Peace,
Doug
Los Angeles, December 2023

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