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30 Songs About Space You Must Listen Too

From the birth of the universe to the mystery of black holes, space has always been a source of endless fascination and inspiration. Musicians across decades and genres have captured these wonders in their songs, filling our playlists with stellar compositions about interstellar journeys and celestial phenomena.

This article delves into the best songs about space, creating a cosmic symphony that transcends time and genre. With a melodic fusion of science, fantasy, and emotion, these tracks transport us into the vast expanse of the universe, inviting us to ponder our existence amidst the grandeur of the cosmos.

best 30 songs about space

1.”space oddity” by david bowie.

Released in 1969, right around the time of the Apollo 11 moon landing, “Space Oddity” is a haunting track about an astronaut named Major Tom who gets lost in space. Bowie perfectly encapsulates the sense of human isolation against the backdrop of the vast cosmos.

Expert Tip: With its rich narrative and the melancholy echoes of Bowie’s voice, this song is not just a musical masterpiece but a timeless ode to space exploration, tinged with the anxiety and fear of the unknown.

2. “Across the Universe” by The Beatles

This track, released in 1970, brilliantly utilizes the concept of space as a metaphor to explore the infinite expanse of human consciousness.

Lyrics like “Images of broken light which dance before me like a million eyes, they call me on and on across the universe” create a dreamy, transcendent soundscape that beautifully illustrates our interconnectedness with the cosmos. The theme of acceptance amid the universe’s unfathomable vastness has resonated with audiences for over half a century.

3. “Rocket Man” by Elton John

A poignant portrayal of the loneliness of space travel, “Rocket Man” was released in 1972. Elton John’s soulful voice conveys the astronaut’s internal conflict as he rockets into space, leaving his family behind. The lyrics speak to the alienation of space travel and the mundane reality of work, even in the unusual role of an astronaut.

It’s a deeply emotional song that shows the human side of the seemingly glamorous life of space exploration.

4. “Starman” by David Bowie

Bowie’s 1972 song, “Starman”, creates an imaginative narrative about a celestial being communicating a message of hope to the youth on Earth. The track is characterized by its catchy chorus and lush arrangements.

It’s a hopeful song that illustrates Bowie’s unique ability to blend pop and glam rock with futuristic themes, creating a cultural impact much like the starman’s radio transmissions.

5. “Supermassive Black Hole” by Muse

Released in 2006, this track combines elements of rock, funk, and electronic music to create a high-energy anthem with an edgy, futuristic feel. The song explores the irresistible pull of a supermassive black hole as a metaphor for a destructive relationship.

Its distinctive fusion of genres, infectious bassline, and Matt Bellamy’s falsetto vocals craft an intense, otherworldly soundscape.

6. “Interstellar Overdrive” by Pink Floyd

This 1967 instrumental is a sonic odyssey that truly embodies its title. The experimental track, characterized by its freeform structure, improvisational guitar work, and avant-garde sound effects, manages to capture the unpredictability and enormity of space.

Its kaleidoscopic sound palette pushes the boundaries of rock music, much like how space exploration pushes the limits of human understanding.

7. “Walking on the Moon” by The Police

This 1979 hit combines reggae-infused rock with Sting’s distinct vocals to exude a feeling of weightlessness, mirroring the sensation of walking on the moon. The metaphor extends to portray the elation of being in love, delivering a sublime musical experience that is both earthly and otherworldly.

8. “Drops of Jupiter” by Train

Released in 2001, this Grammy-winning track uses a cosmic journey as a metaphor for personal growth after a breakup. The lyrics ponder whether the returned loved one’s experiences “back in the atmosphere” have truly changed them or simply made them appreciate their previous life more.

The song’s beautiful piano melodies and catchy chorus have made it an enduring hit.

9. “Champagne Supernova” by Oasis

As an anthemic closing track on the seminal 1995 album “(What’s the Story) Morning Glory?”, this song features expansive, layered guitars and dreamlike lyrics. Its metaphoric “supernova” conveys the explosive and fleeting nature of fame, love, and existence, delivering a deeply philosophical message wrapped in a sweeping Britpop package.

10. “Black Hole Sun” by Soundgarden

Released in 1994, this grunge classic stands out for its surreal lyrics and haunting melody. The enigmatic phrase “black hole sun” serves as a call for oblivion, a cleansing force to wash away the corruption and disillusionment of society. Its striking music video, filled with apocalyptic imagery, makes it one of the most memorable songs about space.

11. “2000 Light Years from Home” by The Rolling Stones

Released in 1967 on their album “Their Satanic Majesties Request”, this song uses the vast distance of space as a metaphor for alienation and isolation. Lyrically, it captures the sense of being out of touch with one’s home and reality, a theme mirrored in its psychedelic instrumental arrangement.

The Stones’ creative venture into the cosmic unknown with this track continues to be appreciated for its explorative spirit in rock and roll.

12. “Space Cowboy” by Steve Miller Band

A track from the band’s 1969 album “Brave New World”, “Space Cowboy” uses the image of a cosmic cowboy as a metaphor for rebellion and non-conformity. It’s an allegory of the band’s own free-spirited lifestyle in the rapidly changing socio-cultural landscape of the late 1960s.

Steve Miller’s easy-going vocals and the bluesy groove give this song a timeless appeal.

13. “Man on the Moon” by R.E.M.

This 1992 release is an affectionate tribute to eccentric comedian Andy Kaufman, with space exploration serving as a metaphor for Kaufman’s own surreal, ground-breaking comedy.

The chorus, “If you believe, they put a man on the moon,” points to the power of belief, mystery, and human potential, themes central to both Kaufman’s comedy and humanity’s quest for space exploration.

14. “Fly Me to the Moon” by Frank Sinatra

Though more romance-focused, Sinatra’s 1964 classic uses space as a backdrop for the singer’s declaration of love. Its swing-style melody and Sinatra’s velvety voice lend a timeless appeal to the song. Its numerous inclusions in films and television shows have further cemented its place in popular culture.

15. “Moondance” by Van Morrison

In this 1970 release, Van Morrison romanticizes a moonlit night, using it as a metaphor to express the exhilaration and magic of love. His expressive vocals, combined with a vibrant jazz-inspired arrangement, create an enchanting musical experience. The moon, in this context, acts as an ageless symbol of romance and mystique.

16. “Subterranean Homesick Alien” by Radiohead

Off their seminal 1997 album “OK Computer”, this track reflects on alien life forms looking at humans as the “weird” ones. Its ethereal soundscape, combined with Thom Yorke’s haunting vocals, creates a feeling of isolation and yearning for a different perspective a life beyond the mundanity of earthbound existence.

17. “Countdown” by Rush

Released in 1982, “Countdown” is an ode to the space shuttle launch that the band members witnessed at Cape Canaveral. The lyrics encapsulate the awe-inspiring spectacle of the launch and the mix of anticipation and trepidation that accompanies any journey into the unknown.

Expert Tip: Fueled by Rush’s signature complex rhythms and intricate musicianship, this track offers a genuine sense of adventure.

18. “Exogenesis: Symphony” by Muse

This three-part symphony from Muse’s 2009 album “The Resistance” is a grand musical exploration of humanity’s future both its potential for self-destruction and its capacity to start anew in the cosmos. The lush, orchestral arrangements evoke the majesty and mystery of space, whilst the lyrics speak to the human condition in the face of such vast potential.

19. “Astronomy Domine” by Pink Floyd

The opening track on their debut album “The Piper at the Gates of Dawn”, this 1967 song is a psychedelic journey to outer space. With its disorienting, spacey sounds and lyrics about celestial bodies, it creates a cosmic atmosphere that showcases the band’s early, experimental side.

20. “Galaxies” by Owl City

A track from the 2011 album “All Things Bright and Beautiful”, “Galaxies” is a synth-pop hymn that uses cosmic imagery to deal with a personal loss. The lyrics reference the vastness of space to underscore the depth of human sorrow and faith. Its upbeat electronic soundscape contrasts with the poignant lyrics, creating a complex emotional texture.

21. “Life on Mars?” by David Bowie

Released in 1971, this song is one of Bowie’s signature tracks. It questions the sense of reality, featuring a disillusioned girl escaping into a cinema screen, seeking refuge in the idea of life on Mars. The song’s powerful lyrics and dramatic melody create a sense of longing for a reality beyond the everyday mundane.

22. “Cosmic Love” by Florence and the Machine

In this 2009 track, cosmic imagery represents a blinding love lost. Florence Welch’s powerful vocals, backed by harp and pounding drums, evoke an emotional space where love and loss are as immense and overwhelming as the cosmos. The lyrics are poetic and rich, framing a heartbreak within the vastness of the universe.

23. “Saturn” by Sleeping At Last

A part of the “Space” EP released in 2014, “Saturn” is a stunning orchestral-indie rock track about time, aging, and life’s fleeting nature. The lyrics reflect on the insignificance and the incredible beauty of life against the backdrop of the cosmos. Its hauntingly beautiful music and poignant words make it a memorable space-themed track.

24. “The Final Countdown” by Europe

This 1986 classic rock song, known for its unforgettable synth riff, is a grandiose piece about leaving the Earth for Venus. It’s a grand metaphor for any significant change or departure. Its high-energy performance and apocalyptic lyrics have made it an enduring cultural phenomenon.

25. “Under The Milky Way” by The Church

This 1988 song is a moody, atmospheric rock track named after our galaxy, the Milky Way. The ethereal guitars and melancholic lyrics create a sense of longing and loneliness, encapsulating a late-night yearning beneath the expanse of the starry sky.

26. “Spaceman” by The Killers

Released in 2008, “Spaceman” deals with themes of alienation, with its narrative inspired by David Bowie’s “Space Oddity”. The catchy, anthemic sound of the track, juxtaposed with the lyric’s darker undertones, makes for an intriguing listen, demonstrating the band’s ability to fuse indie rock with deep, thought-provoking themes.

27. “Venus” by Frankie Avalon

This 1959 hit transforms Venus, the second planet in our solar system, into the Roman goddess of love. Avalon croons a plea to Venus to send him a girl to love, showcasing the timeless human tendency to look to the heavens for answers to earthly problems.

28. “Space” by Prince

From the 1994 album “Come”, “Space” is a slow-burning funk ballad where space is a metaphor for an empty, cold bed. Prince’s signature falsetto, combined with sensual lyrics, create a song that’s more about earthly desires than cosmic explorations but remains a unique take on the space theme.

29. “Stars” by Switchfoot

This 2005 alternative rock track contemplates humanity’s place in the universe, using stars as a metaphor for the constants that guide our lives. The powerful lyrics, paired with the band’s dynamic sound, create an inspiring message about finding your path in the grand scheme of the universe.

30. “AstroMan” by Jimi Hendrix

This 1971 track sees Hendrix take on the role of a cosmic superhero, leaving the troubles of Earth behind to find peace among the stars. The song’s spacey guitar effects, tight rhythm section, and Hendrix’s imaginative lyrics make for a thrilling ride into the cosmos.

What is the song about a man going to space?

One of the most iconic songs about a man going to space is David Bowie’s “Space Oddity.” Released in 1969, this song tells the story of Major Tom, an astronaut who loses contact with Ground Control and becomes adrift in space. Bowie uses this narrative to explore feelings of isolation and the vast, possibly infinite unknown of the universe.

“Space Oddity” was a product of the era’s fascination with space travel and exploration, given it was released just days before the Apollo 11 moon landing. The song’s combination of otherworldly instrumentals, existential lyrics, and Bowie’s distinctive voice created an atmospheric piece that still resonates with audiences today.

It is a poignant reminder of the human experience within the grandeur of the cosmos, exploring both the excitement and existential dread that can accompany journeys into the unknown.

What music is associated with space?

Space themes have been a frequent muse for various genres of music, including classical, rock, pop, electronic, and more. Classical pieces like Gustav Holst’s “The Planets” suite or Richard Strauss’s “Also Sprach Zarathustra” (popularized by Stanley Kubrick’s film “2001: A Space Odyssey”) have drawn inspiration from celestial bodies and cosmic mythology.

In rock and pop, artists like David Bowie, Elton John, and Pink Floyd have used space as a backdrop to explore themes of isolation, existentialism, and wonder.

Electronic and ambient music genres, including artists like Brian Eno and Jean-Michel Jarre, often use synth-heavy compositions to create aural soundscapes evocative of the ethereal, vast nature of space. More recently, sci-fi and space themes have become popular in progressive metal and synth-wave genres.

What song was used to wake up astronauts?

NASA has a tradition of waking up astronauts with a specially chosen track each day during space missions, a practice that started with the Gemini program. The selections, known as “wake-up calls,” varied widely from classical music to rock, pop, country, and even movie themes.

Quick Fact: One of the most memorable wake-up calls was a performance of “Also Sprach Zarathustra” by the Houston Symphony Orchestra, which used to wake the Apollo 11 astronauts on their way to the Moon.

Other popular choices have included The Beatles’ “Good Day Sunshine” during the Apollo 16 mission and Elton John’s “Rocket Man” used in a Space Shuttle mission.

What was the first song listened to in space?

The first song ever played in space was “Jingle Bells,” performed on a harmonica accompanied by small bells by the crew of Gemini 6 in December 1965.

As a prank, astronauts Wally Schirra and Thomas Stafford reported seeing a “UFO” before playing the Christmas song, causing some momentary concern at NASA Mission Control before they realized it was a holiday-themed joke. The harmonica and bells used in the performance are considered the first musical instruments played in space.

The first recorded song broadcast in space was The Beatles’ “Across the Universe,” transmitted by NASA towards the North Star, Polaris, in 2008 as part of the agency’s 50th-anniversary celebrations.

Who was the first band to perform live in space?

Canadian astronaut Chris Hadfield made history as the first person to perform a live song in space. His cover of David Bowie’s “Space Oddity,” recorded on the International Space Station (ISS) and shared with Earth via YouTube, is now legendary.

However, the first band to perform live in space was Bandella, a folk band made up of astronauts and space engineers. Aboard the ISS, they broadcast their performance live back to Earth.

What is the “space age pop” genre?

“Space age pop” is a subgenre of popular music that emerged during the space race era of the 1950s and 60s. It incorporated diverse elements of big band jazz, classical music, and electronic sounds to create a futuristic atmosphere.

Often instrumental, space-age pop composers were influenced by the technological innovations of the time, and their music frequently contained space exploration or science fiction themes.

What’s a notable opera that’s related to space?

A notable opera related to space is Karl-Birger Blomdahl’s “Aniara”. Premiered in 1959, it’s based on Harry Martinson’s epic poem about a spaceship, named Aniara, carrying refugees from a ruined Earth to Mars. When knocked off course, the ship becomes lost in space, and the opera explores the subsequent existential crisis among the passengers.

The avant-garde score uses electronic music, combining orchestral and vocal elements, to underscore the cosmic and human drama.

Why do artists use space as a metaphor in their music?

Artists often use space as a metaphor in their music because of its vast, mysterious, and seemingly infinite nature. It symbolizes the unknown, the adventurous, and the unreachable. Themes of isolation, existentialism, exploration, and wonder are easily drawn from it.

Space, as a metaphor, can make these abstract themes more tangible, offering a cosmic perspective on human emotions and experiences.

Is there any genre of music born from the space exploration era?

The era of space exploration had a significant influence on the evolution of music, leading to the development of the “space rock” genre. This genre emerged in the late 1960s and 70s, largely inspired by the excitement of the space race.

It is characterized by extended instrumentals, experimental structures, and lyrics often related to space travel and science fiction. Bands like Pink Floyd, Hawkwind, and later, Spiritualized, have been key players in this genre.

What was the first music video shot in space?

The first music video shot in space was Chris Hadfield’s cover of “Space Oddity” by David Bowie. Hadfield, a Canadian astronaut and the commander of Expedition 35 on the International Space Station recorded his version of the song while on the ISS.

The resulting video, featuring Hadfield floating in zero gravity while singing and playing the guitar, was edited on Earth and has since become a viral sensation.

In conclusion, the fascination with the cosmos has been a recurring theme in music throughout history. Whether it’s through the metaphorical use of celestial bodies, the yearning for otherworldly adventures, or the awe of the universe’s expansive mystery, the cosmos continues to inspire musicians across genres.

As we venture further into space and uncover more of its secrets, it’s exciting to imagine how these revelations might influence the music of the future. The sky is not the limit when it comes to the intersection of music and space rather, it’s just the beginning.

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Since time immemorial, we have been fascinated by space. uDiscover takes a look at the many musicians who have played out their obsessions in song.

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Since time immemorial, we earthlings have been fascinated by space and the possibility that life might exist on other planets. Our vision has sometimes been apocalyptic (HG Wells’ 1898 novel The War Of The Worlds ), sometimes benign (Stephen Spielberg’s 1982 blockbuster ET: The Extra-Terrestrial ), but always highly imaginative – and it’s no wonder that, as advancements in technology made it possible for musicians to wring ever stranger sounds from their instruments, our interplanetary obsessions have been played out in song.

In 1962, with the space race in full flow, Joe Meek tapped into the public’s fascination when he penned “Telstar,” an instrumental hit for British group The Tornados. Recorded in the London flat that Meek used as a studio, the track, inspired by the July 10, 1962 launch of the communications satellite of the same name, quickly went interstellar and topped the US Billboard Hot 100. Propelled by its distinctive clavioline sound, “Telstar” gave listeners their first taste of space travel: this is what it must have sounded like, coming of home speakers.

By the end of the decade, the Moon landing had sent the world into a frenzy. Outsider rockabilly musician Legendary Stardust Cowboy issued “I Took A Trip On A Gemini Spaceship” in 1969, a song whose woozy mix of drum kit-down-the-stairs percussion and keyboard glissandos created a truly spaced-out atmosphere. It certainly caught the ear of a young David Bowie , who that year went stratospheric when he released “Space Oddity.” Putting himself in the mindset of Major Tom, a lonesome traveler “sitting in a tin can far above the world,” Bowie enlisted Rick Wakeman to give the song a Mellotron -aided weightlessness, while his own Stylophone contributions were beamed in like Morse code from other stars.

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Bowie’s obsession with space was a long-term thing – from “Life On Mars?” to The Rise And Fall Of Ziggy Stardust and even a 2002 cover of the Stardust Cowboy’s “Gemini Spaceship.” Certainly, he helped elevate science-fiction from a niche concern to acceptably mainstream subject matter. Elton John looked to “Space Oddity” for inspiration when he released “Rocket Man” in 1972, while former Velvet Underground frontman Lou Reed enlisted Bowie to perform production duties on Transformer , an album that included the stargazing “Satellite Of Love.”

While Bowie had created a character for himself to embody, avant-garde jazz psychonaut Sun Ra fully claimed to have descended to Earth from Saturn. Leading his Arkestra, Ra’s self-professed mission was to spread peace and love throughout the universe with his Afro-futurist jazz. Ranging from swing to fusion freak outs, Ra’s overwhelmingly large discography is a universe unto itself. Miles Davis , meanwhile, was a far more grounded personality, but the fusion experiments that he started with 1970’s Bitches Brew led him into galaxy’s furthest extremes. By the time he released live recording Agharta , in 1975, his band were seemingly tearing rifts in the time-space continuum on a nightly basis.

Emerging from the late 60s psych underground, a breed of bands given the umbrella term “space-rock” took from free jazz and fusion to push the boundaries of what a rock group was capable of. Pink Floyd went into “Interstellar Overdrive” as early as 1967, while Hawkwind, perhaps the archetypal space-rock band, went In Search Of Space in 1972, taking soon-to-be Motörhead frontman Lemmy with them on “Silver Machine.” Over in Paris, meanwhile, Daevid Allen had formed Gong , a progressive outfit whose early jazz-influenced excursions included cornetist Don Cherry, and who eventually created their own mythology, notably on the “Radio Gnome Trilogy,” which launched in 1973 with Flying Teapot , and followed the interplanetary travels of Zero The Hero.

Parisian avant-rockers Magma took mythologizing to its fullest with over 20 live and studio albums (and counting) that tell the continuing story of life on the planet Kobïa, all sung in Magma mastermind Christian Vander’s invented language, Kobïan (a kind of Klingon for the space-rock fraternity).

Not that intergalactic warfare was the preserve of cerebral rockers playing to crowds of head-nodding devotees. As far as George Clinton was concerned, there was a booty-shaking battle to be won, and his Parliafunkadelicment Thang collective urged listeners to “free your mind and your ass will follow.” Under the Parliament banner, Clinton envisioned a clash between the likes of the perennially unfunky Sir Nose D’Voidoffunk and the Bop Gun-wielding Star Child, aided by Dr. Funkenstein. A series of albums, beginning with Mothership Connection , brought the story to life, while, during live shows, the P-Funk crew landed a full-sized mothership on stage for Clinton to emerge from.

Kraftwerk, too, used props to bring their world to life in the 70s, going so far as to send robot doppelgangers on stage in their place. It all added to their finely tuned mythology – “We are the robots” they wryly declared on their groundbreaking 1978 album The Man-Machine , and fans eagerly agreed.

That album included “Spacelab,” a largely instrumental song that picked up from where Joe Meek left off with “Telstar”: there was no need to sing about space when the technology at hand enabled you to conjure it in the studio. Kraftwerk’s pioneering use of synths and keyboards was echoed by fellow German explorers Tangerine Dream , who took their listeners on increasingly out-there journeys with albums the likes of Phaedra and Rubycon , each one seemingly touching down in a new musical gallery. Vangelis , too, embraced the new possibilities, the likes of Blade Runner ’s “Love Theme” adding to a growing stream of music which Brian Eno termed “ambient.”

Unsurprisingly, Eno would create many unimpeachable masterpieces in the ambient genre, not least Apollo: Atmospheres And Soundtracks , a 1983 collaboration with his brother Roger and Daniel Lanois. A little under a decade later, that album would inspire The Orb to record Adventures Beyond The Ultraworld , spearheading what the group called “ambient house” music.

Ultraworld was, essentially, a space excursion that took place entirely in the mind. As such, it’s a reminder that the universe might, in theory, be limitless, but so is the human brain’s capacity for invention. Planet Earth’s cultural and creative diversity was celebrated in 1977, when NASA launched the Voyager spacecraft, which carried on board the Voyager Golden Record . Containing a variety of natural sounds found on Earth, along with audio greetings in 59 languages, the disc also included 90 minutes’ worth of music from countries as far-flung as Germany, Mexico, the UK, Indonesia, and Peru, showcasing a dazzling array of styles, from vocal chants to indigenous folk and jazz, courtesy of Louis Armstrong ’s “Melancholy Blues.” Whether it will ever find its way to alien ears remains to be seen.

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• Starship 20

Watch a raw look of Elon Musk conducting business at Starbase with Everyday Astronaut [Part 3 of 3]

Today Tim Dodd, the Everyday Astronaut , released his final part of his Starbase tour/interview with Elon Musk. This part of the tour shows what Starbase’s orbital launch pad area looks like the day before teams stacked the orbital mount table.

Dodd’s third part took place at SpaceX’s orbital launch site. Dodd and Musk rode from the build site to the launch pad in a Model Y, fully on Tesla’s Full Self Driving of course. Once there, Musk was instantly met by Same Petel, SpaceX’s Senor Director of Starship Operations who gave his boss an overview of how things were going. This part was less an interview and more a short look at what it’s like working with Musk.

Remember, this was filmed on July 30th, before even the orbital mount plate was installed. At this point, we didn’t fully understand what SpaceX was pushing toward this week. That being said, the SpaceX team knew exactly what they were pushing towards. A SpaceX employee embraced Musk saying “We will make it”, referring to fully stacking Starship 20 and Booster 4, a true testament to how invested SpaceX employees are in this project.

Elon Musk’s reason for Starbase’s urgent development

The tour moved to the top of Starbase’s orbital launch mount, the pillars sticking up on the pad, to discuss the rapid progress SpaceX has made. Musk mentioned that because we had a lull of almost a decade with crewed launch capability in the US, we need a sharp curve in progress now. “I tell the crane operators what would you do if there’s an asteroid heading to this planet in 8 days,” said Patel about why there seems to be an urgency to get Starship built and launched. Musk followed with “If we move with extreme urgency then we have a chance of making life multi-planetary, still just a chance, not for sure”. This shows the mindset not just Musk but the entire SpaceX team has when developing Starship.

This by far was the most interesting part of the Dodd’s series, while it was the shortest. Seeing this raw look of Musk at work shows a glimpse of what life is like building SpaceX’s newest rocket.

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Music and Concerts | This musician’s stash of post-punk music…

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Music and concerts | this musician’s stash of post-punk music memories could fill a museum — so he did.

On a quiet block just west of Halsted Street in Bridgeport, a former funeral home now houses a collection of memories — both physical and emotional — so niche, so random, it almost shouldn’t exist.

Martin Atkins, a longtime musician (Public Image Ltd., Pigface, Nine Inch Nails, Killing Joke) and producer, and lecturer at Millikin University in Decatur, opened the Museum of Post Punk and Industrial Music in 2021, though its curation started long before then. Unlike the precious or sterile museums that pepper the Gold Coast, Atkins’ space is a reflection of the community that’s continued to buoy the noisy, subversive genre since the ‘80s and early ‘90s, as well as the musicians and collaborators that helped breathe life into it.

Upon arrival, visitors are greeted by the “Fook Babies” — a 14-foot stage backdrop made by special effects and creature artist Tim Gore (“The Walking Dead”) for Pigface’s 1993 tour behind what is arguably the band’s most acclaimed album, 1992’s “Fook” — leering down from behind a cage from Ministry’s infamous Cage Tour. A small gift shop with reissued vinyl, Dark Matter Coffee’s specialty museum blends and voodoo dolls of Atkins occupies a room on the right side of the hallway before entering the main showroom. You can almost smell the dirty clubs, sweat and old leather boots as you enter and see Atkins’ drum kit from Nine Inch Nails’ “Head Like a Hole” music video front and center. Original artwork by My Life With the Thrill Kill Kult’s Groovie Mann (born Franke Nardiello) hangs across from it, surrounded by so many photos, shadowboxed capsules, original art, tour suits and posters it could make you dizzy.

Initially conceptualized in 2020, Atkins used to display and discuss his trinkets and memorabilia casually while on the road — things kept to remember his fame’s “15 minutes.” Partially inspired by late rapper Nipsey Hussle’s Marathon store and entrepreneurial empire, what he had always considered “random, artistic pursuits” slowly began to present themselves as so much more.

For nearly three years now, what began as the home of his label Invisible Records turned gallery that housed Atkins’ pieces from his 40-plus year career has unfolded into an unexpected place for camaraderie and inspiration — within the city’s creative communities and post-punk and industrial music fans of all ages across the globe. Visitors and independent collectors trading in nostalgia started donating their mementos, mailing Atkins their ticket stubs, flyers, tour merchandise and photos to enshrine. They’re given the chance to become “founders” of the museum, which includes access to museum-hosted events such as a Whiskey Pancake Brunch, priority spaces for tours and the opportunity to spend the night. By Atkins’ count, there are now over 1,400 museum founders. Even well-known musicians like members of The Dandy Warhols, Nick Zinner of Yeah Yeah Yeahs and Wax Trax! Records stalwarts KMFDM stop in when they’re in town. Chris Connelly of Revolting Cocks and Ministry has been known to take in an event or two in the space.

“If I can show you some things?” Atkins asks as he gives a tour. He stops in front of a small Nine Inch Nails announcement from 2007. “What’s all so strange is,” he says, “I never know what tiny (expletive) insignificant shit is gonna set somebody off, you know?”

He says that a guest once cried in front of the small cut-out displayed alongside other flyers, stickers and stencils. Others found themselves exchanging stories of specific concerts, albums and the subculture itself. Tours are typically three to four hours in length and some folks spend just as long shopping afterward. Though the museum’s website lists visiting “by appointment only” and the address is undisclosed, Atkins has been known to oblige folks who get last-minute recommendations to check it out from other local Bridgeport businesses like Jackalope Coffee & Tea House and Tangible Books.

“People who come here and freak out over the stuff, it’s ridiculous,” Atkins continues, not judgmentally, more surprised by the outpouring of support he’s received for his semi-accidental endeavor. “People take away those things. But sometimes it’s their kids looking at the fashion stuff, looking at how careers got started making suits for band members and stuff. I think we’re going deep enough that a fan of any one of these bands could sit here for half a day crying, remembering, and going on their own internal journey.”

When doors first opened, the collection displayed within the museum’s walls was about 98% Atkins’ own. By his estimates now, it’s about 50% his, possibly even less. Joking that only maybe his mother and sister would be interested in visiting a place that felt like “Martin Atkins presents Things Involving Martin Atkins,” he’s grateful that he and his small but mighty team have stumbled into the contribution of objects. A 1986 cassette tape Trent Reznor gave him of what are considered the earliest Nine Inch Nails demos, which Atkins sold on eBay in 2010 for $1,400, made its way back to him around Christmas last year. Another fan donated the original lederhosen worn by Throbbing Gristle’s late Genesis P-Orridge when she developed her satirical, provocative “Eva Adolf Braun Hitler” character, who appeared on stage and in a number of short films for Pigface.

When looking through the thousands of pieces that have made their way to the little house, the question remains — what is museum-worthy? But that element of D.I.Y. and spontaneity behind throwing everything at the wall to see what sticks is still the ethos behind PPIM. It’s even evolved into a sort-of love letter to what first drew Atkins to Chicago, considered by many the birthplace of industrial music, known for Wax Trax! Records, Chicago Trax Recording, Touch and Go Records, The Metro, Lounge Ax, The Alley, Club Neo and one Cynthia “Plaster Caster” Albritton. Albritton, the avant-garde artist most famous for her casts of musicians’ erect penises and later women’s breasts, cast Atkins in 1996. A corner of the museum was dedicated to her after she died in 2022.

Though the museum is a glimpse at what once was, Atkins has long been an advocate for the city’s independent artists since moving to Chicago in 1989. Local post-punk outfit Ganser — who he considers good friends — have a drumhead on display, and he often hosts or participates in student events, panels for those interested in industry careers, and workshops for emerging talent. He’s collaborated with After School Matters and cohorts like the Center for Creative Entrepreneurship out of Portage Park incubator, 2112 Chicago. In the museum’s recording studio basement, Atkins offers these visitors the chance at an introductory screen-printing lesson or to mix a song on Steve Albini’s old tape machines in the recording studio basement.

“I’d like it to have an educational component, because how could this not?” he says of larger ambitions. “If it’s not educational, I’d be doing something wrong. If you have a class that’s doing punk, post-punk, industrial — throw the textbooks away and just come here and smell it. Use this as a spot where students can learn about event management.”

He continues, “I get the sense the kids hear, ‘Oh we’re going to a museum’ and they’re like ‘Oh (expletive),’ but then they come in here and we’ll go downstairs and print T-shirts. I’m trying to show entrepreneurial, DIY commerce and transferable skills. This one kid was like ‘I always wanted to start a merch company’ and I’m like ‘You just did, didn’t you?’”

As PPIM continues to adapt, expanding accessibility is at the forefront of Atkins’ mind. He’s considering an online archive for interviews, photographs, and things that have yet to find a space onsite as well as a platform for virtual tours and experiences that can reach folks unable to travel to Chicago.

Marking its upcoming three-year anniversary with open house tours, Atkins laughs when asked if there’s a real “plan” for the future of his museum.

“I think I was sitting upstairs and I thought to myself, ‘Well that’s it. You’ve had a good run of complete (expletive) insanity, and now you’re gonna be a tour guide,’” he remembers. “I was like, ‘Am I really going to be like, ‘And then Johnny Rotten did this,’ or ‘Steve Albini did this’?

“But it actually feels like looking at the past to move forward,” Atkins says. “To people who this has been important to, who have felt like outsiders for whatever reason — just that this place exists kind of gives them some comfort. I don’t mean to make it sound like chicken soup,” he laughs, “but the sum of that, the connections with people, that’s really exciting to me.”

Tours 2:45 p.m. and 5 p.m. April 20, 2 p.m. and 5 p.m. April 21 at the Museum of Post Punk and Industrial Music; tickets $5-$120 and more information at ppimchicago.com

Jessi Roti is a freelance writer.

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Sir Paul McCartney’s Wings tour bus could fetch up to £200,000 at auction

A bus once used by Sir Paul McCartney during the 1972 Wings Over Europe tour is going under the hammer at auction.

The eye-catching double-decker bus was used by Sir Paul and Linda McCartney, as well as the rest of Wings, to travel more than 7,500 miles across nine countries and 25 cities during the summer of 1972 – with its psychedelic colour scheme ensuring nobody missed it wherever it went.

Completely and faithfully restored to its original heyday condition, the bus features wooden bunk beds, bright yellow colours and a bespoke cover for the upper deck which features “1972 Wings Tour Bus” graphics.

The top deck itself has been engineered as a performance space – now referred to as The McCartney Stage.

Sold by Car and Classic via online auction, the bus could fetch up to £200,000 by the time the hammer falls. The auction is set to run from April 22-29.

The bus is accompanied by artefacts and memorabilia donated by founding Wings member Danny Seiwell, while an official licence permits the use of artwork, logos and the names of both Paul and Linda McCartney.

Dale Vinten, Car & Classic head of editorial, said: “Just as [John] Lennon’s Rolls-Royce and the notable cars of other Beatles members carry the weight of history, tour buses tell a different story, and bear witness to the behind-the-scenes magic that fuels the onstage brilliance.

“This essence is perfectly encapsulated in the Wings tour bus, still adorned in its psychedelic colours, and restored to how it would’ve been when the McCartneys and the rest of the band toured Europe over the summer of 72.”

• Share full article

For more audio journalism and storytelling, download New York Times Audio , a new iOS app available for news subscribers.

Are ‘Forever Chemicals’ a Forever Problem?

The environmental protection agency says “forever chemicals” must be removed from tap water. but they lurk in much more of what we eat, drink and use..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

[THEME MUSIC]

This month for the first time, the Environmental Protection Agency began to regulate a class of synthetic chemicals, known as forever chemicals, in America’s drinking water. But the chemicals, which have been linked to liver disease and other serious health problems, are in far more than just our water supply. Today, my colleague Kim Tingley explains.

It’s Wednesday, April 17.

So Kim, any time the EPA announces a regulation, I think we all sort of take notice because implicit in it is this idea that we have been exposed to something — something bad, potentially, lead or asbestos. And recently, the EPA is regulating a type of chemical known as PFAS So for those who don’t know, what are PFAS chemicals

Yeah, so PFAS stands for per and polyfluoroalkyl substances. They’re often called forever chemicals just because they persist so long in the environment and they don’t easily break down. And for that reason, we also use them in a ton of consumer products. They’re in makeup. They’re in carpet. They’re in nonstick cookware. They’re in food packaging, all sorts of things.

Yeah, I feel like I’ve been hearing about these chemicals actually for a very long time. I mean, nonstick pans, Teflon — that’s the thing that’s in my mind when I think PFAS.

Absolutely. Yeah, this class of chemicals has been around for decades. And what’s really important about this is that the EPA has decided, for the first time, to regulate them in drinking water. And that’s a ruling that stands to affect tens of millions of people.

So, help me understand where these things came from and how it’s taken so long to get to the point where we’re actually regulating them.

So, they really actually came about a long time ago. In 1938, DuPont, the people who eventually got us to Teflon, they were actually looking for a more stable kind of refrigerant. And they came upon this kind of chemical, PFAS. The thing that all PFAS chemicals have is a really strong bond between carbon atoms and fluorine atoms. This particular pairing is super strong and super durable.

They have water repellent properties. They’re stain resistant. They’re grease resistant. And they found a lot of uses for them initially in World War II. They were using them as part of their uranium enrichment process to do all these kinds of things. And then —

Well, good thing it’s Teflon.

In the 1950s is when they really started to come out as commercial products.

Even burned food won’t stick to Teflon. So it’s always easy to clean.

So, DuPont started using it in Teflon pans.

Cookware never needs scouring if it has DuPont Teflon.

And then another company, 3M also started using a kind of PFAS —

Scotchgard fabric protector. It keeps ordinary spills from becoming extraordinary stains.

— in one of their big products, Scotchgard. So you probably remember spraying that on your shoes if you want to make your shoes waterproof.

Use Scotchgard fabric protector and let your cup runneth over.

Right — miracle product, Scotchgard, Teflon. But of course, we’re talking about these chemicals because they’ve been found to pose health threats. When does that risk start to surface?

Yeah, so it’s pretty early on that DuPont and 3M start finding effects in animals in studies that they’re running in house.

Around the mid ‘60s, they start seeing that PFAS has an effect on rats. It’s increasing the liver and kidney weights of the rats. And so that seems problematic. And they keep running tests over the next decade and a half. And they try different things with different animals.

In one study, they gave monkeys really, really high levels of PFAS. And those monkeys died. And so they have a pretty strong sense that these chemicals could be dangerous. And then in 1979, they start to see that the workers that are in the plants manufacturing, working with these chemicals, that they’re starting to have higher rates of abnormal liver function. And in a Teflon plant, they had some pregnant workers that were working with these chemicals. And one of those workers in 1981 gave birth to a child who had some pretty severe birth defects.

And then by the mid 1980s, DuPont figures out that it’s not just their workers who are being exposed to these chemicals, but communities that are living in areas surrounding their Teflon plant, particularly the one in Parkersburg, West Virginia, that those communities have PFAS in their tap water.

Wow, so based on its own studies, DuPont knows its chemicals are making animals sick. They seem to be making workers sick. And now they found out that the chemicals have made their way into the water supply. What do they do with that information?

As far as we know, they didn’t do much. They certainly didn’t tell the residents of Parkersburg who were drinking that water that there was anything that they needed to be worried about.

How is that possible? I mean, setting aside the fact that DuPont is the one actually studying the health effects of its own chemicals, presumably to make sure they’re safe, we’ve seen these big, regulating agencies like the EPA and the FDA that exist in order to watch out for something exactly like this, a company that is producing something that may be harming Americans. Why weren’t they keeping a closer watch?

Yeah, so it goes kind of back to the way that we regulate chemicals in the US. It goes through an act called the Toxic Substances Control Act that’s administered by the EPA. And basically, it gives companies a lot of room to regulate themselves, in a sense. Under this act they have a responsibility to report to the EPA if they find these kinds of potential issues with a chemical. They have a responsibility to do their due diligence when they’re putting a chemical out into the environment.

But there’s really not a ton of oversight. The enforcement mechanism is that the EPA can find them. But this kind of thing can happen pretty easily where DuPont keeps going with something that they think might really be a problem and then the fine, by the time it plays out, is just a tiny fraction of what DuPont has earned from producing these chemicals. And so really, the incentive is for them to take the punishment at the end, rather than pull it out early.

So it seems like it’s just self-reporting, which is basically self-regulation in a way.

Yeah, I think that is the way a lot of advocacy groups and experts have characterized it to me, is that chemical companies are essentially regulating themselves.

So how did this danger eventually come to light? I mean, if this is in some kind of DuPont vault, what happened?

Well, there’s a couple different things that started to happen in the late ‘90s.

The community around Parkersburg, West Virginia, people had reported seeing really strange symptoms in their animals. Cows were losing their hair. They had lesions. They were behaving strangely. Some of their calves were dying. And a lot of people in the community felt like they were having health problems that just didn’t really have a good answer, mysterious sicknesses, and some cases of cancers.

And so they initiate a class action lawsuit against DuPont. As part of that class action lawsuit, DuPont, at a certain point, is forced to turn over all of their internal documentation. And so what was in the files was all of that research that we mentioned all of the studies about — animals, and workers, the birth defects. It was really the first time that the public saw what DuPont and 3M had already seen, which is the potential health harms of these chemicals.

So that seems pretty damning. I mean, what happened to the company?

So, DuPont and 3M are still able to say these were just a few workers. And they were working with high levels of the chemicals, more than a person would get drinking it in the water. And so there’s still an opportunity for this to be kind of correlation, but not causation. There’s not really a way to use that data to prove for sure that it was PFAS that caused these health problems.

In other words, the company is arguing, look, yes, these two things exist at the same time. But it doesn’t mean that one caused the other.

Exactly. And so one of the things that this class action lawsuit demands in the settlement that they eventually reach with DuPont is they want DuPont to fund a formal independent health study of the communities that are affected by this PFAS in their drinking water. And so they want DuPont to pay to figure out for sure, using the best available science, how many of these health problems are potentially related to their chemicals.

And so they ask them to pay for it. And they get together an independent group of researchers to undertake this study. And it ends up being the first — and it still might be the biggest — epidemiological study of PFAS in a community. They’ve got about 69,000 participants in this study.

Wow, that’s big.

It’s big, yeah. And what they ended up deciding was that they could confidently say that there was what they ended up calling a probable link. And so they were really confident that the chemical exposure that the study participants had experienced was linked to high cholesterol, ulcerative colitis, thyroid disease, testicular cancer, kidney cancer, and pregnancy induced hypertension.

And so those were the conditions that they were able to say, with a good degree of certainty, were related to their chemical exposure. There were others that they just didn’t have the evidence to reach a strong conclusion.

So overall, pretty substantial health effects, and kind of vindicates the communities in West Virginia that were claiming that these chemicals were really affecting their health.

Absolutely. And as the years have gone on, that was sort of just the beginning of researchers starting to understand all the different kinds of health problems that these chemicals could potentially be causing. And so since the big DuPont class action study, there’s really just been like this building and building and building of different researchers coming out with these different pieces of evidence that have accumulated to a pretty alarming picture of what some of the potential health outcomes could be.

OK, so that really kind of brings us to the present moment, when, at last, it seems the EPA is saying enough is enough. We need to regulate these things.

Yeah, it seems like the EPA has been watching this preponderance of evidence accumulate. And they’re sort of deciding that it’s a real health problem, potentially, that they need to regulate.

So the EPA has identified six of these PFAS chemicals that it’s going to regulate. But the concern that I think a lot of experts have is that this particular regulation is not going to keep PFAS out of our bodies.

We’ll be right back.

So, Kim, you just said that these regulations probably won’t keep PFAS chemicals out of our bodies. What did you mean?

Well, the EPA is talking about regulating these six kinds of PFAS. But there are actually more than 10,000 different kinds of PFAS that are already being produced and out there in the environment.

And why those six, exactly? I mean, is it because those are the ones responsible for most of the harm?

Those are the ones that the EPA has seen enough evidence about that they are confident that they are probably causing harm. But it doesn’t mean that the other ones are not also doing something similar. It’s just sort of impossible for researchers to be able to test each individual chemical compound and try to link it to a health outcome.

I talked to a lot of researchers who were involved in this area and they said that they haven’t really seen a PFAS that doesn’t have a harm, but they just don’t have information on the vast majority of these compounds.

So in other words, we just haven’t studied the rest of them enough yet to even know how harmful they actually are, which is kind of alarming.

Yeah, that’s right. And there’s just new ones coming out all the time.

Right. OK, so of the six that the EPA is actually intending to regulate, though, are those new regulations strict enough to keep these chemicals out of our bodies?

So the regulations for those six chemicals really only cover getting them out of the drinking water. And drinking water only really accounts for about 20 percent of a person’s overall PFAS exposure.

So only a fifth of the total exposure.

Yeah. There are lots of other ways that you can come into contact with PFAS. We eat PFAS, we inhale PFAS. We rub it on our skin. It’s in so many different products. And sometimes those products are not ones that you would necessarily think of. They’re in carpets. They’re in furniture. They’re in dental floss, raincoats, vinyl flooring, artificial turf. All kinds of products that you want to be either waterproof or stain resistant or both have these chemicals in them.

So, the cities and towns are going to have to figure out how to test for and monitor for these six kinds of PFAS. And then they’re also going to have to figure out how to filter them out of the water supply. I think a lot of people are concerned that this is going to be just a really expensive endeavor, and it’s also not really going to take care of the entire problem.

Right. And if you step back and really look at the bigger problem, the companies are still making these things, right? I mean, we’re running around trying to regulate this stuff at the end stage. But these things are still being dumped into the environment.

Yeah. I think it’s a huge criticism of our regulatory policy. There’s a lot of onus put on the EPA to prove that a harm has happened once the chemicals are already out there and then to regulate the chemicals. And I think that there’s a criticism that we should do things the other way around, so tougher regulations on the front end before it goes out into the environment.

And that’s what the European Union has been doing. The European Chemicals Agency puts more of the burden on companies to prove that their products and their chemicals are safe. And the European Chemicals Agency is also, right now, considering just a ban on all PFAS products.

So is that a kind of model, perhaps, of what a tough regulation could look like in the US?

There’s two sides to that question. And the first side is that a lot of people feel like it would be better if these chemical companies had to meet a higher standard of proof in terms of demonstrating that their products or their chemicals are going to be safe once they’ve been put out in the environment.

The other side is that doing that kind of upfront research can be really expensive and could potentially limit companies who are trying to innovate in that space. In terms of PFAS, specifically, this is a really important chemical for us. And a lot of the things that we use it in, there’s not necessarily a great placement at the ready that we can just swap in. And so it’s used in all sorts of really important medical devices or renewable energy industries or firefighting foam.

And in some cases, there are alternatives that might be safer that companies can use. But in other cases, they just don’t have that yet. And so PFAS is still really important to our daily lives.

Right. And that kind of leaves us in a pickle because we know these things might be harming us. Yet, we’re kind of stuck with them, at least for now. So, let me just ask you this question, Kim, which I’ve been wanting to ask you since the beginning of this episode, which is, if you’re a person who is concerned about your exposure to PFAS, what do you do?

Yeah. So this is really tricky and I asked everybody this question who I talked to. And everybody has a little bit of a different answer based on their circumstance. For me what I ended up doing was getting rid of the things that I could sort of spot and get rid of. And so I got rid of some carpeting and I checked, when I was buying my son a raincoat, that it was made by a company that didn’t use PFAS.

It’s also expensive. And so if you can afford to get a raincoat from a place that doesn’t manufacture PFAS, it’s going to cost more than if you buy the budget raincoat. And so it’s kind of unfair to put the onus on consumers in that way. And it’s also just not necessarily clear where exactly your exposure is coming from.

So I talk to people who said, well, it’s in dust, so I vacuum a lot. Or it’s in my cleaning products, so I use natural cleaning products. And so I think it’s really sort of a scattershot approach that consumers can take. But I don’t think that there is a magic approach that gets you a PFAS-free life.

So Kim, this is pretty dark, I have to say. And I think what’s frustrating is that it feels like we have these government agencies that are supposed to be protecting our health. But when you drill down here, the guidance is really more like you’re on your own. I mean, it’s hard not to just throw up your hands and say, I give up.

Yeah. I think it’s really tricky to try to know what you do with all of this information as an individual. As much as you can, you can try to limit your individual exposure. But it seems to me as though it’s at a regulatory level that meaningful change would happen, and not so much throwing out your pots and pans and getting new ones.

One thing about PFAS is just that we’re in this stage still of trying to understand exactly what it’s doing inside of us. And so there’s a certain amount of research that has to happen in order to both convince people that there’s a real problem that needs to be solved, and clean up what we’ve put out there. And so I think that we’re sort of in the middle of that arc. And I think that that’s the point at which people start looking for solutions.

Kim, thank you.

Here’s what else you should know today. On Tuesday, in day two of jury selection for the historic hush money case against Donald Trump, lawyers succeeded in selecting 7 jurors out of the 12 that are required for the criminal trial after failing to pick a single juror on Monday.

Lawyers for Trump repeatedly sought to remove potential jurors whom they argued were biased against the president. Among the reasons they cited were social media posts expressing negative views of the former President and, in one case, a video posted by a potential juror of New Yorkers celebrating Trump’s loss in the 2020 election. Once a full jury is seated, which could come as early as Friday, the criminal trial is expected to last about six weeks.

Today’s episode was produced by Clare Toeniskoetter, Shannon Lin, Summer Thomad, Stella Tan, and Jessica Cheung, with help from Sydney Harper. It was edited by Devon Taylor, fact checked by Susan Lee, contains original music by Dan Powell, Elisheba Ittoop, and Marion Lozano, and was engineered by Chris Wood.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for The Daily. I’m Sabrina Tavernise. See you tomorrow.

• April 18, 2024   •   30:07 The Opening Days of Trump’s First Criminal Trial
• April 17, 2024   •   24:52 Are ‘Forever Chemicals’ a Forever Problem?
• April 16, 2024   •   29:29 A.I.’s Original Sin
• April 15, 2024   •   24:07 Iran’s Unprecedented Attack on Israel
• April 14, 2024   •   46:17 The Sunday Read: ‘What I Saw Working at The National Enquirer During Donald Trump’s Rise’
• April 12, 2024   •   34:23 How One Family Lost $900,000 in a Timeshare Scam
• April 11, 2024   •   28:39 The Staggering Success of Trump’s Trial Delay Tactics
• April 10, 2024   •   22:49 Trump’s Abortion Dilemma
• April 9, 2024   •   30:48 How Tesla Planted the Seeds for Its Own Potential Downfall
• April 8, 2024   •   30:28 The Eclipse Chaser
• April 7, 2024 The Sunday Read: ‘What Deathbed Visions Teach Us About Living’
• April 5, 2024   •   29:11 An Engineering Experiment to Cool the Earth

Hosted by Sabrina Tavernise

Featuring Kim Tingley

Produced by Clare Toeniskoetter ,  Shannon M. Lin ,  Summer Thomad ,  Stella Tan and Jessica Cheung

With Sydney Harper

Edited by Devon Taylor

Original music by Dan Powell ,  Elisheba Ittoop and Marion Lozano

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music

The Environmental Protection Agency has begun for the first time to regulate a class of synthetic chemicals known as “forever chemicals” in America’s drinking water.

Kim Tingley, a contributing writer for The New York Times Magazine, explains how these chemicals, which have been linked to liver disease and other serious health problems, came to be in the water supply — and in many more places.

On today’s episode

Kim Tingley , a contributing writer for The New York Times Magazine.

Background reading

“Forever chemicals” are everywhere. What are they doing to us?

The E.P.A. issued its rule about “forever chemicals” last week.

There are a lot of ways to listen to The Daily. Here’s how.

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How To Get Taylor Swift Tickets In 2024

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If you’ve finished your second—or fourth—rewatch of Taylor Swift: The Eras Tour (Taylor's Version) on Disney+ and are ready to see the talented singer-songwriter live, we’ve compiled everything we know about how to get Taylor Swift tickets this year. Her Eras tour starts back up this May in Europe, then moves to the United States in October and finishes in Canada this November. Swift’s 15th studio album, The Tortured Poets Department , drops April 19 (but you can pre-order it now ). That means it’s likely she’ll include songs from that record on her tour as well as hits from 2022’s Midnights .

Taylor Swift returns to the stage on her "Eras" tour from May through the end of the year. Here's ... [+] how to get Taylor Swift tickets now.

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The 8 best bikini trimmers, according to experts, where to buy tickets to taylor swift’s “eras” tour.

For many people, Ticketmaster might be the first stop for getting Taylor Swift tickets, since the artist links out to this platform from her official website . Unfortunately, many of the Eras tour shows are already sold out on Ticketmaster, including concert dates in the United States (Miami, New Orleans and Indianapolis). But don’t be discouraged—we’ve rounded up some other ways to get Eras tour tickets.

• If you’re looking for tickets to one of her shows in Miami, New Orleans or Indianapolis, StubHub has tickets, but they’re pricey. Tickets start around $1,600 and go up to $8,300 for these locations. For the Canadian performances, StubHub tickets start at $965 U.S. dollars and go up to more than $10,000. Shows in Europe are more affordable, starting around $250.
• For some of the European shows, StubHub may redirect you to StubHub International , where the currency is in British pounds, euros, Polish złoty or Swedish krona. You might want to check out a currency converter before purchasing tickets to see how much you’ll pay in American dollars.
• SeatGeek has tickets available for Swift’s United States and Canada shows, with prices starting at $1,000.
• Vivid Seats has similar pricing to SeatGeek, with tickets starting at $1,000 in the U.S. and Canada. For her European shows, prices begin a little under $400.
• Swift’s three shows in Dublin, Ireland (taking place from June 28 to 30) aren’t available on Ticketmaster, StubHub or SeatGeek, but they are ready for purchase on TicketNetwork . Prices start around $350.
• Taylor Swift’s website also links out to AEG Presents , which takes users to AXS for several of her European shows. Unfortunately, many tickets are sold out on that reseller platform.

When Do Taylor Swift Tickets Go On Sale?

Tickets are already on sale for the 2024 Eras tour dates in North America and Europe, and are selling out fast. If you want to see Taylor Swift live this year, your best bet is to buy as soon as you find a location, date and price that works for you.

How Much Are Taylor Swift Tickets?

Make no mistake: Taylor Swift tickets aren’t cheap. You may find some good deals depending on the venue and how close to the stage you are, but almost any Swift tickets going to set you back anywhere from hundreds to thousands of dollars.

Her European show prices are vastly different from her North American ones, starting around $250. In all cases, though, don’t forget that these list prices will also come with ticket reseller fees added to the final price.

Taylor Swift 2024 Tour Dates

Taylor Swift is playing at multiple venues across Europe, the United States and Canada through the end of the year. She is typically performing at each location anywhere from two to five nights before moving onto the next stop. There’s one notable exception: She’s appearing for just a single show in Cardiff, United Kingdom.

• May 9 (with Paramore) : Paris, France at Paris La Défense Arena
• May 10 (with Paramore) : Paris, France at Paris La Défense Arena
• May 11 (with Paramore) : Paris, France at Paris La Défense Arena
• May 12 (with Paramore) : Paris, France at Paris La Défense Arena
• May 17 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 18 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 19 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 24 (with Paramore) : Lisbon, Portugal at Estádio da Luz
• May 25 (with Paramore) : Lisbon, Portugal at Estádio da Luz
• May 29 (with Paramore) : Madrid, Spain at Santiago Bernabéu Stadium
• May 30 (with Paramore) : Madrid, Spain at Santiago Bernabéu Stadium
• June 2 (with Paramore) : Lyon, France at Groupama Stadium
• June 3 (with Paramore) : Lyon, France at Groupama Stadium
• June 7 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 8 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 9 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 13 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 14 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 15 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 18 (with Paramore) : Cardiff, United Kingdom at Principality Stadium
• June 21 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 22 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 23 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 28 (with Paramore) : Dublin, Ireland at Aviva Stadium
• June 29 (with Paramore) : Dublin, Ireland at Aviva Stadium
• June 30 (with Paramore) : Dublin, Ireland at Aviva Stadium
• July 4 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 5 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 6 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 9 (with Paramore) : Zürich, Switzerland at Stadion Letzigrund
• July 10 (with Paramore) : Zürich, Switzerland at Stadion Letzigrund
• July 13 (with Paramore) : Milan, Italy at San Siro Stadium
• July 14 (with Paramore) : Milan, Italy at San Siro Stadium
• July 17 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 18 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 19 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 23 (with Paramore) : Hamburg, Germany at Volksparkstadion
• July 24 (with Paramore) : Hamburg, Germany at Volksparkstadion
• July 27 (with Paramore) : Munich, Germany at Olympiastadion
• July 28 (with Paramore) : Munich, Germany at Olympiastadion
• August 1 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 2 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 3 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 8 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 9 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 10 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 15 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 16 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 17 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 19 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 20 (with Paramore) : London, United Kingdom at Wembley Stadium
• October 18 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 19 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 20 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 25 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• October 26 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• October 27 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• November 1 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 2 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 3 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 14 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 15 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 16 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 21 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 22 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 23 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• December 6 (with Gracie Abrams) : Vancouver, British Columbia at BC Place
• December 7 (with Gracie Abrams) : Vancouver, British Columbia at BC Place
• December 8 (with Gracie Abrams) : Vancouver, British Columbia at BC Place

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Visa fees for international artists to tour in the US shot up 250% in April. It could be devastating

Performing in the U.S. for international musicians just got a lot more complicated

NEW YORK -- Performing in the U.S. for international artists just got a lot more complicated.

On April 1, the United States Citizenship and Immigration Services instituted a 250% visa fee increase for global musicians hoping to tour in the U.S.

Artists, advocacy groups and immigration lawyers are concerned it could have devastating effects on emerging talent worldwide and local music economies in the U.S.

If you're a musician from outside of the United States hoping to perform stateside and you filed visa paperwork before April 1, the cost per application was $460.

After that date? $1,615 to $1,655.

Bands and ensemble groups pay per performer. A standard rock band of four members went from paying $1,840 to around $6,460. And if you can't wait a few months for approval, add $2,805 per application for expedited processing.

If the application is not accepted, that money is not refunded — on top of losses from a canceled tour and missing out on “significant, potentially career-changing opportunities,” says Jen Jacobsen, executive director at The Artist Rights Alliance.

If a musician has support staff, a backing band or other employees to bring on the tour, these individuals need visas, too.

“Even if you’re Capitol Records and you have all the money in the world to throw at it, you still can’t get rid of U.S. bureaucracy,” says immigration attorney Gabriel Castro.

All international musicians require work authorization to perform in the U.S. There are few exemptions: Those are reserved for “showcases” through the Visa Waiver Program — like what is often used at South by Southwest, where international artists perform exclusively at official showcases, without pay and for exposure.

Currently, there are few hurdles for U.S. musicians looking to enter other countries for the specific purpose of earning money through live performances. According to Castro, American performers are able to enter most countries without a visa and under an exception to tourism rules.

Gareth Paisey, singer of the independent, seven-piece Welsh band Los Campesinos!, will tour in the U.S. this June. The band made sure to apply for visas before the April 1 cut off, a difference of paying $3,220 or $11,305 in fees. Next time they have to get a visa, he says they'll likely try to squeeze two tours in one year — the length of their particular visa — to make up the cost.

He says the application process requires providing an itinerary for the full year and supplemental evidence: press clippings to justify their status as “career musicians,” and testimonials from people of note — often from more famous musicians.

“Nobody gets into a band because they've got a passion for making cash flow forecasts," he says. “It's unfair to expect people who are brilliant at writing songs to also be brilliant at filling out a 20-page visa application.”

After Brexit, he says touring in Europe for U.K. acts has become more complicated, but the U.S. process is by far the most complex — both in terms of paperwork and what it represents for music moving forward.

“This idea that you need to be a career musician to get a visa, and visa fees are going up, increases the idea that music is a competition,” says Paisey. “And part of that competition is making as much money as you can — like that’s the only valid way to participate in the music industry.”

Two reasons: They hadn't in some time, and because immigration officials are scrutinizing the process more closely.

The last increase was in 2016, when fees grew from $325 to $460.

The U.S. government is "putting more and more burden on the application process,” says Castro of BAL Sports and Entertainment Practice, which specializes in visas for musicians, entertainers and athletes.

He says 20 years ago, applications were just two or three pages. Now, they're 15 or 20 pages.

“And those are just the forms before supporting evidence,” he says. “Now I’m submitting documents that are 200 pages, 300 pages long just to explain why this band should be traveling throughout the United States.”

Officials "might have done better to look at inefficiencies in the system to save money,” he says.

Paisey says he's heard that the increase will allow the USCIS to “get rid of the backlog... But is that because you’re going to employ more staff or is it probably because you’re going to get less applications?" he wonders, because it's going to benefit "people who can afford to go than rather than who wants to go or has the fan base to go.”

Castro says some of it is to account for “abuses in the system — to make sure that individuals that are coming here for certain activities actually have those activities in place," but the increased scrutiny is a lingering effect from Trump administration's immigration policies.

“The immigration process overall became more difficult for everyone. Whether you’re coming across the border, whether you’re coming here to perform at Madison Square Garden, whatever it is," he says. “That has changed the culture of U.S. immigrations agencies.”

Independent and emerging talent, as well as ensembles and groups.

“ Dua Lipa, the Rolling Stones, they're going to pay these fees. It's not even a rounding error. They could misplace $1,200 in their budgets and they wouldn’t even notice,” says Castro. “It's the indie rock bands, niche acts, jazz musicians from Japan who will be affected."

“Every dime counts. They have very small margins,” he adds.

“We’ve already got a problem with not enough musical acts breaking through to the next level,” Paisey says. “And this is going to stop them from getting that chance in the States.”

Touring in the U.S. is a pipe dream for many independent acts, he says, and it is in danger of “not even being a dream.”

Jacobsen points out that there will be ripple effects as well: Musicians, drivers, tour managers and beyond who would be hired to work with international talent will lose work, venues will lose fruitful bookings, festivals that focus on international talent will reduce in size, the costs of tickets could increase and so on.

She says these fee increases could affect U.S. music culture — “the richness of the music ecosystem in terms of diversity of genres.”

If lesser known, global genre artists cannot perform in the U.S., audiences will miss out on a critical cultural exchange. “We need the marketplace to be friendly and accessible to all those different types of musicians," she says.

“You're going to see a decrease in international acts coming to the United States,” says Castro. “And maybe it’s decreased frequency more than a decrease in the absolute number. We'll see less and less emerging artists.

“The harder you make it for them to come to the United States, the less you’re going to see them here.”

Local economies, too, will feel the result: “It's not just the mid-sized venue in Cleveland that will feel it, but the parking lot down the street, the restaurants and bars people go to before and after.”

And there could be long-term consequences that have yet to be seen. “There is an absolute concern that there would be a reciprocal effect," says Jacobson.

If the U.S. is making it increasingly difficult and expensive for musicians to come here, “Why wouldn't other countries do the same to our artists?”

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