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Post by petrolino on Aug 9, 2019 21:07:30 GMT
Patti Smith & Laurie Anderson : The Poet & The Pioneer
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Patti Smith
Patricia Lee Smith was born on December 30, 1946 in Chicago, Illinois. Her mother Beverly Smith was a jazz singer who worked as a waitress and her father Grant Smith was a machinist. The family moved from Chicago to Philadelphia, Pennsylvania, and then on to Deptford Township, New Jersey. Smith graduated from Deptford Township High School in 1964 and went to work in a factory.
Smith was under consideration to become lead singer of rock band Blue Oyster Cult; it didn't happen but she did contribute lyrics to several of the band's songs. She performed her own material with guitarist Lenny Kaye in the early 1970s. She then formed a solid touring group around this nucleus, made up of core musicians who were hand-picked from the New York art scene. The band featured Kaye on guitar, keyboardists Richard Sohl and Bruce Brody, bassist Ivan Kral and drummer Jay Dee Daugherty. Smith has authored poems, penned lyrics, written articles, essays and stories. She's a keen artist whose drawings have been exhibited at the Museum of Modern Art in New York. Her book 'Just Kids' (2010) is a memoir documenting her relationship with artist Robert Mapplethorpe. 'M Train' (2015) is another memoir that also comes as an audiobook and a spoken word album.
“You could say that Mozart was a punk rocker. I was just looking at an article today about a group called Fat White Family, and I liked very much the things that they were saying, because their whole idea is that punk rock isn’t just reactionary, but is in pursuit of the new, of making space, of not being confined or defined. Artaud, Rimbaud and Daumal: All three of them were very much seeking the new, seeking to topple the gods of the past.”
- Patti Smith, The Independent
Patti Smith in Sweden, 1976
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Laurie Anderson
Laura Phillips Anderson was born on June 5, 1947 in Glen Ellyn, Illinois, a suburb located about 24 miles due west of downtown Chicago. Anderson was encouraged to question by her parents and she grew up to become an exceptional student. She has a range of educational honours and continues to receive citations to this day (Anderson was selected to be the National Aeronautics and Space Administration's first resident artist). She's also an enthusiastic inventor, sometimes working alone, sometimes working in collaboration. Perhaps her most famous musical creation is a tape-bow violin she plays. She's also co-creator of a talking stick and has experimented extensively with synthesisers and vocal filters. Her genre-defying work as composer, performance artist and conceptual artist has allowed Anderson free reign to conduct investigations into memory, psychology, philosophy and astronomy. She's also produced and directed a range of multimedia projects including 'Home Of The Brave' (1986), 'What You Mean We?' (1987) and the transitory diary 'Heart Of A Dog' (2015).
"You know, one thing I’d really like to do is take a year and just make a gigantic landscape painting. It’s something I wish I had the time to do, with really thick paints. I love making paintings.
It’s exactly like music. It’s the same thing as bowing—the same stroke, the same decisions. You look at it and think, “Is it complex enough, weird enough, empty enough, full enough, connected enough?” All the same things that you ask about a piece of music."
- Laurie Anderson, Andy Warhol's Interview
Laurie Anderson in Germany, 1984
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Patti Smith \ Laurie Anderson : 5 Studio Albums
'Horses' (1975) - Patti Smith / 'Big Science' (1982) - Laurie Anderson
"With its confluence of culture and artistic disciplines, New York City in the mid-Seventies was the backdrop to the story of Horses, and its greatest contextual influence. Patti Smith left her working-class town in New Jersey for New York in the late Sixties, befriended future superstar photographer Robert Maplethorpe and became an artist in a complete sense of the word and ideal. Then the city moulded her.
She worked in bookshops, met Gregory Corso, Allen Ginsberg and William Burroughs while living at the Chelsea Hotel, starred alongside drag performance artist Wayne County in plays Femme Fatale and Islands, co-wrote with and starred in lover Sam Shepard’s play Cowboy Mouth, and not only read her poetry but performed it, accompanied by her friend, guitarist Lenny Kaye, at the St. Mark’s Poetry Project before a star-studded audience including Warhol, himself.
The other major force that helped give birth to Horses is the opening of a certain venue on The Bowery. The rise of CBGB’s and its dynasty of acts including Television, The Ramones, The Talking Heads and Blondie, not only mirror, but frame the rise of Patti Smith and her group. Along with Kaye, Patti enlisted keyboard player Richard Sohl, bassist Ivan Kral (poached from Blondie), and drummer Jay Dee Daugherty from The Mumps to form her group. CBGBs afforded the band the artistic freedom to explore their musical ideas and congeal their interplay, song writing and performance.
Journalists and A&R record execs started trekking downtown to check out the commotion and CBs became the nexus of a bonafied ‘scene’. Patti Smith and her group were working hard, and along with Television, performed two-shows-a-night, four-nights-a-week for seven-consecutive-weeks. It was during this stint that legendary A&R man Clive Davis signed her to Arista Records and The Patti Smith Group’s recording career started in earnest.
Patti wanted to salute those who had paved the way. The group returned to Jimi Hendrix’s Electric Lady studios (where Patti and Lenny had recorded their first single) and enlisted John Cale, the former cellist with The Velvet Underground, as their producer as they admired the unbridled sound of his solo work. Having one of the leading forces behind an already legendary group breathing life into one’s debut record certainly racked up the rock points.
Within the grooves of the album, Smith summoned up some of the great spirits of rock including one of her idols Jim Morrison who she saw as an angel with stone wings in her dream and she cried for him to ‘Break It Up’, which became the title of the tune she wrote with Televsion’s Tom Verlaine. The album’s closing song, “Elegy” was recorded on the 18th September, the anniversary of Hendrix’s death. Much in the way she paid tribute to her rock n roll heroes, Smith also invokes the spirit of literature, name-checking her muse Rimbaud and referencing the beautiful, sexual male Johnny from her friend William Burroughs’ novel The Wild Boys in her song ‘Land’.
Patti Smith 1975 Robert Mapplethorpe 1946-1989 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008
Finally, there is the musical cross-pollination which again reflected the band’s coming of age in a musically diverse downtown scene with the reggae-inflected ‘Redondo Beach’ or the improvisation inspired by Cale on ‘Birdland’, a song based on Peter Reich’s memoirs about his father Wilhelm Book of Dreams (as is Kate Bush’s ‘Cloudbusting’). There is also a gloriously cathartic punky version of the Van Morrison-penned classic ‘Gloria’.
Just like the downtown New York City from which is sprang, ‘Horses’ is marked by a sense of urgency and liberation. It is galvanising in its sense of purpose. But the word that defines it through and through is ‘Freedom’: the social and sexual freedom of the era, the artistic freedom of a crime-ridden and economically decayed city, the freedom of rock n’ roll, the freedom of Burroughs’ Johnny and The Wild Boys, the freedom of wild horses.
- Colleen ‘Cosmo’ Murphy, Classic Album Sundays
"It was ahead of its time back in 1982, but now Laurie Anderson's debut sounds just right for a world gone totally wrong.
"In September 2001, I was on tour and played 'O Superman' at Town Hall in New York City," writes Laurie Anderson in the liner notes to her newly reissued Big Science. "The show was one week after 9/11, and as I sang, 'Here come the planes/ They're American planes,' I suddenly realized I was singing about the present."
"Suddenly?" Methinks Anderson is being a touch disingenuous. On the night of September 11, 2001, Anderson was performing at the Park West in Chicago. The air was heavy with dread, confusion, and anger. Waiting for the show to begin, the crowd was talking amongst itself, conversations running the gamut between those three poles. Anderson herself had allegedly spent much of the morning on the phone with her partner Lou Reed, who was back in New York-- and supposedly sitting on the roof of their building watching the Twin Towers burn-- though she made nary a mention of the day's events once she started performing.
The crowd was dead silent throughout, but when Anderson began "O Superman" you could hear the room shift as the already menacing song took on new layers of eerily contemporary meaning. "Hello? Is anybody home? Well, you don't know me, but I know you. And I've got a message to give to you. Here come the planes. So you better get ready." The lyrics chimed out like an answering machine message sent to the future, picked up several decades too late.
That song's mix of politics, Zen-like aphorism, and sentimentalism hit like a punch to the gut as the nation stood on the precipice of the unknown, and the toll the collapse of the Twin Towers would truly take on this country-- and the world-- hadn't quite settled in. So: "suddenly?" No, surely Anderson recognized the renewed power of her (sole) unlikely hit well before she made it home to New York City. Then again, the almost mystically timeless song was in a way always about the shifting "present." Anderson writes that "O Superman (For Massenet)" was inspired by a composition from Jules Massenet's opera Le Cid, "O Souverain", which in turn reminded Anderson of Napoleon's fall at Waterloo. She had also taken into account the bungled U.S. rescue mission in Tehran. It's a song of military arrogance, failure and the price we all pay, recorded for a modest $500 with an NEA grant. In 1981, it went to No. 2 in the UK.
Big Science comprises songs from Anderson's also quite prescient United States project, a multimedia performance art piece cum opera ("It seemed like everyone I knew was working on an opera," she recalls) that depicted America on the brink of digital revolution and capitalist nirvana, where the dollar trumped tradition and the apocalypse-- cultural, political, technological-- loomed large. In fact, given its themes and presentation, much of Big Science sounds every bit about "the present" as "O Superman" does, and its idiosyncratic execution (with stylistic nods to the minimalists and pal William S. Burroughs) has helped the disc weather the passage of time remarkably well. It's less a document of the early 1980s than it is a dark glimpse of the future recorded at the dawn of the Reagan era.
Anderson's ingenious move, musically, was utilizing the vocoder not as a trick but as a melodic tool. It's the first thing you hear on Big Science, looped in "From the Air" like some bizarre man-machine synth. The rest of the track revolves around a circular pattern of blurted sax figures and hypnotic drums. There's virtually nothing about it that screams its age as Anderson intones a wry announcement from a (caveman) pilot of a plummeting flight. "There is no pilot," she speaks. "You are not alone. Standby. This is the time. And this is the record of the time." It's a metaphor for every frightening thing about 20th (and now 21st century) living you can think of, and in its spare way it's enough to scare you silly."
- Joshua Klein, Pitchfork
'Break It Up' - Patti Smith & Tom Verlaine
'Radio Ethiopia' (1976) - Patti Smith Group / 'Mister Heartbreak' (1984) - Laurie Anderson
"The fact that things had changed for Patti Smith is clearly indicated on the album cover. This is the Patti Smith Group, not plain ol’ Patti Smith. She’s still the star of the show but Radio Ethiopia is a more collaborative effort. As far as it being a more commercial effort, that might be true, but since it didn’t sell particularly well, there’s no hard evidence to support that assertion, and many of the songs (especially the title track) distinctly lack commercial appeal. In its best moments, Radio Ethiopia is a hard-rocking album with strong attitude and more experimentation than the critics would have you believe. Patti Smith’s vocals are frequently characterized by power and energy, and she had one hell of a band backing her up."
- Altrockchick, Classic Music Review
"Probably the most pop-accessible of Laurie Anderson's recorded work, Mister Heartbreak features a number of stunning luminaries on the cutting edge of popular music at the time. Striking guitar work by King Crimson guitarist Adrian Belew permeates this disc -- notably on "Sharkey's Day" -- punchy and angular. The production and bass work from Bill Laswell is superb. Peter Gabriel -- at the time still coming off the buzz of his departure from Genesis -- is featured in a duet with Anderson on "Excellent Birds." There is a heavy reliance on early-'80s synthesizers which would normally be very off-putting, but here they are executed well. Nowhere does the music slip into irreparable '80s cliché; it is still an entertaining listen. Lyrics are typical of Anderson' work -- complex, literate, provocative, difficult to fully comprehend. Haunting "Gravity's Angel" borrows imagery from Thomas Pynchon's Gravity's Rainbow. Spoken word delivery on "Sharkey's Night" is given by the legendary William S. Burroughs. This is a very satisfying listen and a great intro for those unfamiliar with Anderson's work."
- Mark Allender, AllMusic
'Excellent Birds' - Laurie Anderson & Peter Gabriel
'Easter' (1978) - Patti Smith Group / 'Home Of The Brave' (1986) - Laurie Anderson
"Patti Smith came back from the year-and-a-half break caused by her fall from a stage in January 1977 without having resolved the art-versus-commerce argument that had marred her second album, Radio Ethiopia. In fact, that argument was in some ways the theme of her third. Easter, produced by Bruce Springsteen associate Jimmy Iovine, was Smith's most commercial-sounding effort yet and, due to the inclusion of Springsteen's "Because the Night" (with Smith's revised lyrics), a Top Ten hit, it became her biggest seller, staying in the charts more than five months and getting into the Top 20 LPs. But Smith hadn't so much sold out as she had learned to use her poetic gifts within an album rock context. Certainly, a song that proclaimed, "Love is an angel disguised as lust/Here in our bed until the morning comes," was pushing the limits of pop radio, and on "Babelogue," Smith returned to her days of declaiming poetry on New York's Lower East Side. That rant (significantly ending, "I have not sold my soul to God") led into the provocative "Rock n Roll Nigger," a charged rocker with a chorus that went, "Outside of society/Is where I want to be." Smith made the theme from the '60s British rock movie Privilege her own and even got into the U.K. charts with it. And on songs like "25th Floor," Iovine, Smith, and her group were able to accommodate both the urge to rock out and the need to expound. So, Easter turned out to be the best compromise Smith achieved between her artistic and commercial aspirations."
- William Ruhlmann, AllMusic
"It's possible that, in an era of digital magic, the originality of Laurie Anderson's use of technology in the 1980's has been diminished, but one thing that time hasn't affected is her originality. The existence of this concert film/performance art piece is a testament to the unique presence Laurie created out of herself in the 80's and her appeal to a truly appreciative audience of the time.
Assembled loosely into small "bytes," the performances in Laurie's concert range from simple statements of fact to speculation, to obtuse poetry, to accessible pop music to challenging political statements, to beyond-surreal vignettes about nothing whatsoever. The overall tone comes off as stream of consciousness, the language filled with dream imagery and non-sequiturs. Hypnotic back-projection accompanies most of the on-stage action, including an eerie, "OZ"-like moment where Laurie's giant, disembodied head floats above the proceedings, glancing around non-committally.
At times the whole thing seems to unravel only to come back around to a unified center again--that center always being Ms. Anderson, the ringmaster, who is by turns sexy, cute, scary, androgynous and almost always remote...but with a warm twinkle in her eye and dry sense of humor never far away. That what looks like chaos must indeed be very well choreographed is astounding, and could only have been wrangled with the help of the brilliant musicians Ms. Anderson assembled for this concert. It's also well--if conservatively--filmed.
Of course, this was made with college kids in mind and I imagine it was popular with the stoner crowd. However, it works as its own sort of drug, by turns seductive, beguiling, off-putting, obnoxious, bewildering and immensely entertaining. It reminds me somewhat of David Lynch's Industrial Symphony no. 1 but is far lighter in tone and moves a bit quicker. I doubt it's possible to get this anymore and will eventually be forgotten; I'm glad I have it and pull it out now and then when I'm in the mood to sit back and be transported to Laurie's odd 80's world for 90 minutes."
- Tony Dood, Internet Movie Database 1
'Space Monkey' - Patti Smith Group
'Wave' (1979) - Patti Smith Group / 'Strange Angels' (1989) - Laurie Anderson
"Wave," Patti Smith's fourth album, opens with a strong cluster of songs, blending her poetic, occasionally obscure lyrics with producer Todd Rundgren's pop-rock approach. Smith boasted "I have not sold my soul to God" on the rant "Babelogue" from "Easter," but "Wave" has a friendlier view toward the spiritual world, even fusing, in "Dancing Barefoot," religious and sexual ecstasy in the spirit of the Song of Songs.
The album's opener, "Frederick," is Smith's love song for Fred (Sonic) Smith, the MC5 guitarist who would become her husband in 1980. That formal first name is quite a handful of phonemes to shape into a romantic tune. Smith delivers one that's sweet, almost teenage naive and giddy, with its images of guardian angels and its citation of the child's prayer, "now I lay me down to sleep," transformed into romantic rapture: "kiss to kiss breath to breath / my soul surrenders astonished to death."
Robert Christgau called "Dancing Barefoot" "quite possibly her greatest track ever." Co-written with band member Ivan Kral, it ponders, in a extremely catchy way, her attraction to Smith and the conflation of human and spiritual ecstasy, with its images that make me (if not you) think of whirling dervishes: "Here I go and I don't know why / I spin so ceaselessly / Till I lose my sense of gravity." (The Feelies, by the way, recorded a spiffy remake of Smith's song with a bitchin' guitar solo.)"
- Jim Higgins, Milwaukee Journal Sentinel
"Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak (1986's Home of the Brave was a film soundtrack), is a near-total departure from anything she had done before or, indeed, anything she did after. The most purely musical of Anderson's albums and the one on which she does the most actual singing (though her trademark deadpan spoken-word passages are still present and accounted for), Strange Angels seems to be Anderson's idea of a straightforward pop album. Of course, given Anderson's pedigree, this is not Whitney Houston territory; the closest parallel would be Joni Mitchell's more experimental, post-Mingus work: pretty but chilly, with a certain emotional distance even on the most immediately appealing songs (in this case, the thrilling "Babydoll" and the dreamy title track). There appears to be no underlying concept to the album, although the lyrical themes of three of the songs are explicitly taken from 19th century American literature. The musical arrangements are remarkably complex and feature cameos from not only Anderson's usual collaborators (Adrian Belew, David Van Tieghem, etc.) but also a motley crew ranging from jazz vocalist Bobby McFerrin to session keyboardist Robbie Kilgore. As a result, the songs are sometimes a little too busy, but Anderson manages to remain the center of attention throughout. An album on which longtime Anderson fans tend to be divided, Strange Angels is a perfect introduction for anyone who might find the deadpan surrealism of Big Science or United States I-IV a bit much."
- Stewart Mason, AllMusic
'Strange Angels' - Laurie Anderson
'Dream Of Life' (1988) - Patti Smith / 'Bright Red' (1994) - Laurie Anderson
"At first I took Dream of Life for that most painful of embarrassments, a failed sellout. Was she unwilling to waste her hard-won politics on weirdos? Proving herself a fit mother by going AOR, only she hadn't heard any AOR in about five years? Sad, sad. But soon I was humming, then I was paying attention, and now I think of this as the latest Patti Smith record. If she doesn't sound as unhinged as last time, she probably isn't, but as matrons go she's still out there. Her prophetic rhetoric is biblical just like always, with a personal feel for the mother tongue I wish more metal Jeremiahs knew to envy. The music is a little old-fashioned and quite simple, controlled but not machined, and the guitars sing. Her Double Fantasy, suggests a Detroit Smith named RJ. Only we don't formalize our equality by doling out turns, adds a Detroit Smith named Fred Sonic. A-"
- Robert Christgau, Dean Of American Rock Critics
"Indelible, Bright Red is a mature, crafted, high-polish, art-avante concept album. I’ve had this album for 15 years. I know it like the back of my hand. I started playing this a lot in 1995 and found it the most fascinating thing I’d ever heard. Creepy. Dark. Haunting. Packed full of meaning. It’s beautiful and smooth – a pure ambient sound, with some severe percussive backtracking on certain songs, while others present an eerie twinkling state-of-the-art clean studio-synth sound. The album is produced by Brian Eno. Lyrically, it’s even more fascinating still. It’s the only album I’ve ever really thought about the lyrics in great detail – a kind of hypnotic poetry set to music. In terms of ‘concept album’, what we get here is a self-referential world, like a spherical concept where songs link up thematically across the whole piece. Certain words and phrases are repeated and brought up to create a network of links between tracks."
- Alan Bumstead, Vinyl Life
'Dream Of Life' - Patti Smith
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Post by petrolino on Aug 9, 2019 22:34:38 GMT
* Focal shift from Max's Kansas City to CBGB's attracted bands from along the East Coast & open mic policy inspired rising bands across the Great Lakes Region
* The Great Lakes region of North America is a bi-national Canadian–American region that includes portions of the eight U.S. states of Illinois, Indiana, Michigan, Minnesota, New York, Ohio, Pennsylvania and Wisconsin as well as the Canadian province of Ontario. The region centers on the Great Lakes and forms a distinctive historical, economic, and cultural identity. A portion of the region also encompasses the Great Lakes Megalopolis.
* The East Coast of the United States, also known as the Eastern Seaboard, the Atlantic Coast, and the Atlantic Seaboard, is the coastline along which the Eastern United States meets the North Atlantic Ocean. The coastal states that have shoreline on the Atlantic Ocean are, from north to south, Maine, New Hampshire, Massachusetts, Rhode Island, Connecticut, New York, New Jersey, Delaware, Maryland, Virginia, North Carolina, South Carolina, Georgia, and Florida.
* Detroit, Michigan : The colossal force of the MC5, the Stooges and Alice Cooper pushed rock into harder territory than ever before, aligned to some seriously depraved stage antics. Bands like the Amboy Dukes, Sky and Grand Funk Railroad were applying heavy beats to roots rock, sunshine pop and sunflower pscyhedelia and Suzi Quatro emerged as a menacing icon of bass. Young musicians playing in Detroit had tapped in to the soulful pulse of the city and were transmitting the firm, clanking industrial rhythms of the automotive lines. This pushed musicians in New York and Ohio to throw caution to the wind as they ripped a tear through their respective states and the vibe proved contagious.
CBGB in New York
'Tell Me Your Plans' - The Shirts
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Inspirational Figures {Proto-Punk}
'New York Dolls' (1973) - New York Dolls [New York]
'Go Girl Crazy!' (1975) - The Dictators [New York]
'Milk 'N' Cookies' (1975) - Milk 'N' Cookies [New York]
'The Modern Lovers' (1976) - The Modern Lovers [Massachusetts]
'The Real Kids' (1977) - The Real Kids [Massachusetts]
55 Albums
01. 'Horses' (1975) - Patti Smith [Illinois]
02. 'Blondie' (1976) - Blondie [New York]
03. 'Ramones' (1976) - Ramones [New York]
04. 'Blank Generation' (1977) - Richard Hell And The Voidoids [New York]
05. 'Cabretta' (1977) - Mink DeVille [Connecticut-California-New York]
06. 'L.A.M.F.' (1977) - Johnny Thunders And The Heartbreakers [New York]
07. 'Marquee Moon' (1977) - Television [New York]
08. 'Suicide' (1977) - Suicide [New York]
09. 'Talking Heads '77' (1977) - Talking Heads [Rhode Island-New York]
10. 'Young, Loud And Snotty' (1977) - Dead Boys [Ohio]
'Fan Mail' - Blondie
11. 'Bad Girl' (1978) - Cherry Vanilla [New York]
12. 'The Electric Chairs' (1978) - The Electric Chairs [Georgia-New York]
13. 'Fool Around' (1978) - Rachel Sweet [Ohio]
14. 'Make A Record' (1978) - Suburban Commandos [Minnesota]
15. 'The Modern Dance' (1978) - Pere Ubu [Ohio]
16. 'Q: Are We Not Men? A: We Are Devo!' (1978) - Devo [Ohio]
17. 'The Shirts' (1978) - The Shirts [New York]
18. 'So Alone' (1978) - Johnny Thunders And The Heartbreakers [New York]
19. 'Stateless' (1978) - Lene Lovich [Michigan]
20. 'Tuff Darts!' (1978) - Tuff Darts [New York]
'Crazy Baby' - Steel Tips
21. 'Alchemy' (1979) - Richard Lloyd [Pennsylvania]
22. 'The B-52's' (1979) - The B-52's [Georgia]
23. 'Contents Dislodged During Shipment' (1979) - Tin Huey [Ohio]
24. 'Tom Verlaine' (1979) - Tom Verlaine [New Jersey]
25. 'In Combo' (1980) - The Suburbs [Minnesota]
26. 'Joan Jett' (1980) - Joan Jett [Pennsylvania]
27. 'New Hope For The Wretched' (1980) - Plasmatics [New York]
28. 'Nikki And The Corvettes' (1980) - Nikki And The Corvettes [Michigan]
29. 'Nurds' (1980) - The Roches [New Jersey]
30. 'Pretenders' (1980) - The Pretenders [Ohio-London]
'Space Invader' - The Pretenders
31. 'Rubber City Rebels' (1980) - Rubber City Rebels [Ohio]
32. 'Songs The Lord Taught Us' (1980) - The Cramps [California-Ohio-New York]
33. 'Escape' (1981) - Jody Harris & Robert Quine [Kansas-Ohio]
34. 'KooKoo' (1981) - Deborah Harry [Florida] 35. 'Sorry Ma, Forgot To Take Out The Trash' (1981) - The Replacements [Minnesota] 36. 'Tom Tom Club' (1981) - Tom Tom Club [Rhode Island-New York-Connecticut] 37. 'Vicious Circle' (1981) - Zero Boys [Indiana] 38. 'Oil Tasters' (1982) - Oil Tasters [Wisconsin] 39. 'Pal Judy' (1982) - Crucial & Judy Nylon [New York] 40. 'Walk Among Us' (1982) - The Misfits [New Jersey] 'Genius Of Love' - Tom Tom Club
41. 'Wasn't Tomorrow Wonderful' (1982) - The Waitresses [Ohio]
42. 'Conquest For Death' (1983) - Necros [Ohio]
43. 'Everything Falls Apart' (1983) - Husker Du [Minnesota]
44. Têtes Noires (1983) - Têtes Noires [Minnesota] 45. 'Tied Down' (1983) - Negative Approach [Michigan] 46. 'Violent Femmes' (1983) - Violent Femmes [Wisconsin] 47. 'Die Kreuzen' (1984) - Die Kreuzen [Wisconsin] 48. 'Soul Possession' (1984) - Annie Anxiety [New York] 49. 'Victim In Pain' (1984) - Agnostic Front [New York] 50. 'WOW' (1984) - Wendy O'Williams [New York] 'Prove My LOve' - Violent Femmes
51. 'Jane Wiedlin' (1985) - Jane Wiedlin [Wisconsin]
52. 'The Age Of Quarrel' (1986) - Cro-Mags [New York]
53. 'Atomizer' (1986) - Big Black [Illinois]
54. 'Murphy's Law' (1986) - Murphy's Law [New York]
55. 'Copy Cats' (1988) - Johnny Thunders & Patti Palladin [New York]
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Post by petrolino on Aug 10, 2019 15:24:14 GMT
"NO WAVE" & The Cinema of Transgression
"Many thoroughfares could credibly lay claim to the title “America’s hippest street”: Alberta Street in Portland, South Congress Avenue in Austin, Valencia Street in San Francisco would all have their backers. As for New York, the bright lights of Fifth Avenue and 42nd Street were immortalised in the names of nightclubs 3,000 miles away in the Manchester of my youth. Similarly, 110th Street in Harlem, Bleecker Street in Greenwich Village and Ludlow Street on the Lower East Side have all been celebrated in songs. Bedford Avenue in hipster hotspot Williamsburg – where I found myself one table away from Dominic West, Damian Lewis and John Slattery from Mad Men recently – could make a strong case for the crown today.
Journalist Ada Calhoun has an unequivocal answer, however: the coolest street in the country is St Marks Place in New York’s East Village, the street where she grew up and whose history she lovingly recounts in her new book St Marks is Dead: The Many Lives of America’s Hippest Street. Since 1651, when Peter Stuyvesant bought the land around it from the Dutch West India Company, this three-block stretch of Manhattan seems to have been home to the largest number of cultural and historical luminaries per square inch than any other place on earth. Leon Trotsky and WH Auden lived here, as did James Fenimore Cooper, author of Last of the Mohicans. Andy Warhol ran a nightclub on the street. The New York Dolls and Led Zeppelin shot album covers depicting one of its street-corner bodegas and its geometricallypleasing zigzag fire escapes. The Rolling Stones and Billy Joel filmed music videos here. Debbie Harry lived at No 113; William S Burroughs at No 2. Adam Horowitz of the Beastie Boys wrote the song Paul Revere sitting on the steps of Sounds records at No 20. Jeff Buckley recorded his acclaimed debut EP Live at Sin-é at No 122. Anarchist activist Emma Goldman founded the Modern School here in 1911; one of the students was Man Ray, and novelists Jack London and Upton Sinclair were among the teachers. Billie Holiday, Thelonious Monk, Ornette Coleman, Charles Mingus, John Coltrane and Miles Davis all played at the Five Spot jazz club on the corner with Third Avenue.
The 1995 movie Kids was set here, and included locals such as Rosario Dawson and skateboarder Harold Hunter in the cast. “When Frank O’Hara ran into Leonard Bernstein, Lauren Bacall, and Jason Robards at a bar on St. Marks Place …” begins a typical anecdote in Calhoun’s book, a fascinating sweep through the cultural history of an area that has been at the heart of waves of immigration – Jewish, German, Italian, Polish, Ukrainian – and of cultural movements such as beat poetry and punk, as well as the political ones that gave it the enduring nickname “St Marx”.
But the book is at its most interesting as a spirited riposte to the oft-stated idea that you should have seen New York in the old days. Every generation, Calhoun contends, looks back nostalgically at the past – and future generations will do the same with the 21st-century St Marks Place, the place where episodes of Girls and Broad City were filmed, where plays were performed at Theater 80 St Marks and jazz groups played at Jules Bistro, and which erupted into a huge street party the night Barack Obama was elected in 2008. Aged millennials in future decades will reminisce fondly about entering the supposedly secret bar Please Don’t Tell through a phone booth in a hot dog restaurant – just as those who lived through the Prohibition era recalled entering Scheib’s Place by asking at a nearby butcher’s shop and being led in through an alley."
- Paul Owen, The Guardian
"The first cognitive memories that I have of St. Mark’s Place, the name designated to the stretch of East 8th Street between Avenue A and the Bowery, date back to the early 1990s. There was music blaring out proudly from every store front on the block, in every genre and subgenre one can imagine. The stoops and side stairs of many a shop or apartment had gangs of punks drinking out of paper bags or spitting on the graffiti covered doorsteps. The air smelled thickly of cigarette smoke and incense from the many head shops where would sell bongs and other trinkets, some of them hawking from displays outside the main store front right out on the sidewalk. Further up the block past a couple dive bars and eccentric clothing shops, in the shadow of Kim’s video, (which if it existed today would still have a far larger and more culturally varied selection of movies than either Netflix or Hulu) was the legendary Trash and Vaudeville, where it was quite common to see the manager Jimmy out front, who with little prompting would orate extensively about adventures with Alice Cooper, or the New York Dolls, or Guns and Roses coming to the store. Here and there would always be stumbling a toothless crazy or two who’d wandered down from the Bowery Mission, smelling powerfully of liquor and asking every adult in sight if they could spare a cigarette, whether they were smoking or not. Growing up, St. Marks was always this nucleic masterpiece of counterculture reflective of the social evolution of the East Villlage as a neighborhood, but I believe that this microcosmic representation actually goes back quite far in the rich history of St. Mark’s Place, and is likely to continue into the future."
- Amanda Dawson, 'St. Mark's Place : The Whole Story'
Amanda Dawson
St. Mark's Place
'Baby Doll' - Teenage Jesus & The Jerks
---
The "no wave" arts movement in New York represented a departure from the reality of press pigeon-holing. Some proponents of "no wave" art were great optimists, despite having to bat off nagging and persistent accusations of nihilism. They shared a vision of New York as a place where subversive literary practise and intense music creation could thrive and prosper. Filmmaking and theatrical shows added local colour and the scene was saturated with punks, hip hoppers, disco dancers, philosophers and poets. The films being made were often connected to a loose movement that came to be known as the "cinema of transgression". Figureheads include Lou Reed of the Velvet Underground, pop superstar Madonna and Laurie Anderson whose radical experimentation sent shockwaves through the arts community.
Directors
Beth B & Scott B [aka. The Bs] Steve Buscemi Tom DiCillo
Vincent Gallo Tessa Hughes-Freeland
Jim Jarmusch Spike Lee
Eric Mitchell
Amos Poe
Susan Seidelman
Nick Zedd
'Things Fall Apart' - Cristina
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Poets
Kathy Acker Maggie Estep Lydia Lunch Cristina Monet-Palaci
Novelists
Paul Auster Don DeLillo Richard Price Jay McInerney Tama Janowitz Jim Carroll
'Conform To The Rhythm' - Material
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Artists
Patti Astor Jean-Michel Basqiat Keith Haring Michael Holman Ikue Mori
Photographers
Barbara Ess Debbie Harry Richard Kern Robert Mapplethorpe Lisa Jane Persky Chris Stein Andy Warhol
'Babydoll' - Laurie Anderson
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14 Albums
'Buy' (1979) - James Chance & The Contortions 'Off White' (1979) - James White & The Blacks
'Press Color' (1979) - Lizzy Mercier Descloux 'Doll In The Box' (1980) - Cristina
'Queen Of Siam' (1980) - Lydia Lunch 'The Ascension' (1981) - Glenn Branca '8 Eyed Spy' (1981) - 8 Eyed Spy
'Lounge Lizards' (1981) - The Lounge Lizards 'Memory Serves' (1981) - Material 'Beat It Down' (1981) - Y Pants 'Lies To Live By' (1982) - The Del-Byzanteens 'Come Away With ESG' (1983) - ESG 'Confusion Is Sex' (1983) - Sonic Youth 'Conviction' (1986) - Ut
'Wawa' - Lizzy Mercier Descloux
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Post by petrolino on Aug 10, 2019 23:17:47 GMT
Steve Buscemi Eyes
Steve Buscemi speaks with Seth Meyers
Steve Buscemi speaks with Stephen Colbert
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'Steven Vincent Buscemi was born in Brooklyn, New York, to John Buscemi, a sanitation worker and Korean War veteran, and Dorothy (née Wilson) Buscemi, a hostess at Howard Johnson's. Buscemi's father was of Italian descent; his ancestors were from the town of Menfi in Sicily. Buscemi's mother was of Irish, English, and Dutch ancestry. He has three brothers—Jon, Ken, and Michael. Michael is also an actor. Buscemi was raised Roman Catholic.
The family moved to Valley Stream in Nassau County and Buscemi graduated in 1975 from Valley Stream Central High School, along with classmate and future actress Patricia Charbonneau. In high school Buscemi wrestled for the varsity squad and participated in the drama troupe. Buscemi's 1996 film Trees Lounge, in which he starred and served as screenwriter and director, is set in and was largely shot in his childhood village of Valley Stream. Buscemi briefly attended Nassau Community College before moving to Manhattan to enroll in the Lee Strasberg Institute. Having taken a civil service test in 1976, Buscemi became a firefighter in New York City in 1980. He served in the FDNY's Engine Co. 55 in Manhattan's Little Italy for four years.'
- Wikipedia
Steve Buscemi in Engine Co. 55
Steve Buscemi & Debbie Harry
'In The Film' - Elliott Sharp & Steve Buscemi
'Broadway Song' - Lou Reed & Steve Buscemi
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Recommended Films
Steve Buscemi with Joe Strummer, Screamin' Jay Hawkins & Cinque Lee
'Change Of Heart' - Steve Buscemi's Dreamy Eyes
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Now Screening ...
Steve Buscemi in 'Miami Vice'
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'Parting Glances' (1986 - Bill Sherwood) Nick (musician)
'Call Me' (1988 - Sollace Mitchell) Switchblade (criminal)
'Heart Of Midnight' (1988 - Matthew Chapman) Eddy (rapist)
'Vibes' (1988 - Ken Kwapis) Fred (gambler)
'Slaves Of New York' (1989 - James Ivory) Wilfredo (artist)
'Mystery Train' (1989 - Jim Jarmusch) Charlie the Barber (robber)
'New York Stories' (1989, "Life Lessons" - Martin Scorsese) Gregory Stark (performance artist)
'Tales From The Darkside : The Movie' (1990, "Lot 249" - John Harrison) Edward Bellingham (student)
'King Of New York' (1990 - Abel Ferrara) Test Tube (hoodlum)
'Miller's Crossing' (1990 - Coen Brothers) Mink (bitch)
'Zandalee' (1991 - Sam Pillsbury) OPP Man (dustman)
'Barton Fink' (1991 - Coen Brothers) Chet (bellhop)
'Billy Bathgate' (1991 - Robert Benton) Irving (gangster)
'In The Soup' (1992 - Alexandre Rockwell) Adolpho Rollo (filmmaker)
'Reservoir Dogs' (1992 - Quentin Tarantino) Mr. Pink (jewel thief)
'Criss Cross' (1992 - Chris Menges) Drug Dealer (pusher)
'Twenty Bucks' (1993 - Keva Rosenfeld) Frank (holdup man)
'Rising Sun' (1993 - Philip Kaufman) Willy "The Weasel" Wilhelm (reporter)
'Ed And His Dead Mother' (1993 - Jonathan Wacks)
Ed Chilton (hardware store employee)
'The Last Outlaw' (1993 - Geoff Murphy) Philo (confederate soldier)
'The Hudsucker Proxy' (1994 - Coen Brothers) Beatnik Barman (bartender)
'Somebody To Love' (1994 - Alexandre Rockwell) Mickey (transvestite)
'Airheads' (1994 - Michael Lehmann) Rex (bassist)
'Pulp Fiction' (1994 - Quentin Tarantino) Buddy Holly (waiter)
'Living In Oblivion' (1995 - Tom DiCillo) Nick Reve (film director)
'Things To Do In Denver When You're Dead' (1995 - Gary Fleder) Mister Shhh (hitman)
'Desperado' (1995 - Robert Rodriguez) The American (underground connection)
'Dead Man' (1995 - Jim Jarmusch) Bartender (bartender)
'Fargo' (1996 - Coen Brothers) Carl Showalter (kidnapper)
'Escape from L.A.' (1996 - John Carpenter)
"Map to the Stars" Eddie (swindler)
'Trees Lounge' (1996 - Steve Buscemi) Tommy (alcoholic)
'Kansas City' (1996 - Robert Altman) Johnny Flynn (fixer)
'Con Air' (1997 - Simon West) Garland Greene (serial killer)
'The Big Lebowski' (1998 - Coen Brothers) Donald Kearbatsos (bowler)
'Ghost World' (2001 - Terry Zwigoff) Seymour (record collector)
'13 Moons' (2002 - Alexandre Rockwell) Bananas (clown)
'Coffee And Cigarettes' (2003, "Twins" - Jim Jarmusch) Waiter (waiter)
'Big Fish' (2003 - Tim Burton) Norther Winslow (poet)
'Romance And Cigarettes' (2005 - John Turturro)
Angelo (high steel worker)
'Art School Confidential' (2006 - Terry Zwigoff) Broadway Bob D'Annunzio (restaurant owner)
Paris, Je T'Aime (2006, "Tuileries (Paris Métro) - Coen Brothers) Tourist (tourist)
'Delirious' (2006 - Tom DiCillo) Les Galantine (paparazzo)
'Interview' (2007 - Steve Buscemi) Pierre Peters (journalist)
'The Messenger' (2009 - Oren Moverman) Dale Martin (grieving father)
'Youth In Revolt' (2009 - Miguel Arteta)
George Twisp (hornball dad)
'Pete Smalls Is Dead' (2010 - Alexandre Rockwell) Bernie Lake (movie producer)
Looking forward to ...
'The Dead Don't Die' (2019 - Jim Jarmusch) Farmer Miller (farmer?)
'Say Hello To The Angels' - Interpol
Interpol - 'PDA'
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Mark Boone Junior & Steve Buscemi
'When The Curtain Comes Down' - Diana Krall
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Steve Buscemi & Willem Dafoe
Steve Buscemi goes way back with Willem Dafoe who was a founding member of the non-profit experimental theatre company The Wooster Group, located at the Performing Garage on 33 Wooster Street (between Grand and Broome Streets in the SoHo neighborhood of Manhattan). Buscemi's late wife, performance artist Jo Andres, worked as a choreographer for the Wooster Group.
Steve Buscemi & Willem Dafoe
Jo Andres & Steve Buscemi
Vampire Weekend meets Steve Buscemi
In Memory of Jo Andres
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Post by petrolino on Aug 16, 2019 22:10:00 GMT
Toyah : Strelitzia
Toyah Ann Willcox was born on May 18, 1958 in Kings Heath, Birmingham, England. Her father Beric Willcox was a factory owner and her mother Barbara Joy (née Rollinson) was a professional dancer. Her name Toyah is most likely derived from a tiny town in Reeves County, Texas where aviatrix Amelia Earhart is believed to have stopped in September, 1928 to adjust her carburetor. Willcox exhibited a strong theatrical spirit from an early age and seemed destined to enter the world of theatre. This enthusiasm saw her rise up rapidly through the wings of the English theatre establishment, graduating from assistant costumer to performer. She's worked alongside countless legends of stage and screen including Katharine Hepburn, Laurence Olivier, John Mills and John Gielgud. She co-wrote some songs in the mid-1970s with friend and frequent co-star Phil Daniels, a union prompted by their participation in an early stage performance of Nick Bicat's play 'Glitter'. At the time, Willcox was about 16 or 17 years of age.
"This was my first professional acting. My first time in the studio on multi-camera. Technique eluded me but there was a spark that everyone seemed to recognise. All my life I had wanted to sing. This was my chance. In the play I had to sing with the band, Bilbo Baggins. Inspired by the band, the equipment, the volume, the ambience... my mind was set. I had to put a band together myself, or get into one... quick!"
- Toyah Willcox
In 1977, Willcox took on the role of Emma in 'Tales From The Vienna Woods' which was being staged at the National Theatre in London. This prestigious production of a 1931 play written by Odon Von Horvath was directed by Maximilian Schell and featured Kate Nelligan, Brenda Blethyn and Stephen Rea among its cast. Now living in London, Willcox took up permanent residence at a place called 'Mayhem' where she cut her first demos with a group of musicians. Adopting the name Toyah, the band released their first single, 'Victims Of The Riddle', on July 27, 1979.
Willcox's acting profile and theatrical personality had positioned her on the fringes of the punk movement. Interestingly, her recordings over the next few years would reflect the British rock industry's musical transition which peaked around 1979, as the ska revival began charting multiple albums, experimental synthesiser pop took hold, supersonic soul merchants emerged (some hailing from her home city of Birmingham) and an artistic posse known as the "new romantics" etched descriptive poetry through the creation of sounds and fashions born of the club scenes in London and Birmingham. Between the core creative years of 1977 and 1981, which saw the release of debut albums for some of Britain's most inventive rock and pop outfits, Willcox somehow tied them all together through the ambitious soundscapes of Toyah. Even more impressive is that this evolved via a near-complete band shake-up at the turn of the decade, leading to the creation of her most iconic musical work, 'Anthem' (1980). Willcox met guitarist Robert Fripp of King Crimson in 1983, then again in 1985, they got married on May 16, 1986 and have lived happily together for 33 years.
'Jet Boy' - Blondie & Robert Fripp (performed on May 7, 1978 at a CBGB's benefit gig for Dead Boys drummer Johnny Blitz, stabbed 5 times but still standing)
'Fade Away And Radiate' - Blondie with Robert Fripp
Toyah : 5 Studio Albums
'Sheep Farming In Barnet' (1979) - Toyah
"Toyahz 1st l.p. which waz born from the 7" episode of the same name."
- Clifford Donaldson, Amazon
'Danced' - Toyah
'The Blue Meaning' (1980) - Toyah
"THE BLUE MEANING the album that launched IEYA and the helium song, was released 38yrs ago today! It went into the indie album charts at no.8 and rose to No.1. the following week. This was almost a year before my first chart single in March 1981."
- Toyah, Facebook
'Ieya' - Toyah
'Anthem' (1981) - Toyah
"After the shock of being asked to leave Original Mirrors (and it was a shock at the time) I bumbled about for a few months, doing casual work in betting shops for money, playing, hanging out and getting stoned with my mates The Dirty Strangers, remaining on the look out for something worthwhile to pursue in the music business. I remember once meeting a young (very young 20 I think!!!) Guy Pratt down at Hammersmith Rehearsal Studios at this time and us both being unemployed and musing over getting decent music careers. The next time I saw him, less than three years later, he was playing with Icehouse and I was playing with Mike Oldfield ... not bad progress for both of us!!!
Anyway ... through my connection with The Boys, a band that the Bernie Torme Band had supported in 1978 and who were signed to Safari Records, my name came up for consideration for the new Toyah band which had recently shed three members. Having been part of Original Mirrors was apparently a big plus on my minimal CV. I went up to meet Toyah and her band partner Joel Bogen in Rob Lyons' (Joel's best mate) flat in Mountfield Road North Finchley for a chat to see what it was all about. I loved the quirky nature of the material Toyah and Joel had been writing to date and their style really opened the door for me to become seriously experimental with my playing. I had to learn a lot of the previously recorded material for our first gigs together and I'd never really listened to anything like it let alone even THOUGHT of playing stuff like this. It was, I think, quite unique and there lay the attraction for me AND apart from my obvious musical ability and enthusiasm, I also proved to THEM that I could smoke pot for England!!!"
- Phil Spalding, Music & Mayhem
'Jungles Of Jupiter' - Toyah
'The Changeling' (1982) - Toyah
"It was an album that was unexpected in its bleakness, as it followed ‘Anthem’ which was a very up, positive album. Back in 1980/81 you had to deliver two albums and four singles a year and tour at least three or four times a year, which was a kind of weird place to be in because you could never really fulfil anything 100%.
I remember at the same time I was also doing about fourteen interviews a day, so by the time I came to write ‘The Changeling’ I was feeling pretty burnt out, and so I just thought I am going to be truthful here. I am just going to write how I feel, and I felt really bleak at the time.
It was the beginning of 1982, and the Falklands War was also brewing, and it broke out while we were recording. My brother was in the RAF and on call. He had left the RAF in the 1970s, but was on call to go out and fight in the Falklands because of his training. We never expected a war again in our lifetime. It was the first feeling I had experienced of being completely out of control of the country you live in. You realised that you had no control on the decisions that it made, and so with ‘The Changeling’ I made no effort to be positive at all (Laughs).
It was one of the most horrible times in my life, and ‘The Changeling’ really reflects that. Like so many albums that reflect a downward emotional curve, it came out at a time in which a lot of people were feeling the same. A lot of the fans identified with it at the time, and I think that it also won me new fans as well."
- Toyah Willcox, Penny Black Music
'Creepy Room' - Toyah
'Love Is The Law' (1983) - Toyah
"Few artistes have moved so effortlessly between mediums as Toyah Willcox. As an actor she appeared in some of the most important pop-culture films of the 1970s, playing ‘Mad’ in Derek Jarman’s controversial Jubilee and ‘Monkey’ in the seminal mod-revivalist Quadrophenia, but also performing in works as diverse as Jarman’s adaption of The Tempest and the final instalment of the Quatermass saga for ITV.
At the same time, she has released a slew of records that moved from the ferocity of her early post-punk albums, Sheep Farming In Barnet and Blue Meaning, through the peak of her commercial appeal, with the It’s A Mystery led Four From Toyah EP, and her image-defining LP Anthem, hitting numbers four and two in their respective charts.
The Steve Lillywhite produced follow-up, The Changeling, returned to darker themes with Goth trappings, while the final studio release under the Toyah band name, Love Is The Law, just scraped into the Top 30 album chart, with only one subsequent solo album achieving a similar status. But at the same time, a diversification into stage roles, television presenting and voiceovers ran side-by-side with an increasingly eclectic and well-respected run of solo records."
- Craig Astley, Record Collector
Toyah speaking in 1983
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Post by petrolino on Aug 17, 2019 0:17:18 GMT
* Punk Explosion
The Roxy in London
Electric Circus in Manchester
Militant Entertainment Tour reaches the West Runton Pavilion in West Runton, Norfolk
'The Sound Of The Suburbs' - The Members
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Inspirational Figures {Proto-Punk}
Dr. Feelgood [Canvey Island, Essex]
Eddie And The Hot Rods [Canvey Island, Essex]
Ian Dury And The Blockheads [London]
61 Albums
01. 'The Clash' (1977) - The Clash [London] 02. 'Damned Damned Damned' (1977) - The Damned [London] 03. 'In The City' (1977) - The Jam [Woking, Surrey] 04. 'Never Mind the Bollocks, Here's The Sex Pistols' (1977) - Sex Pistols [London] 05. 'Pink Flag' (1977) - Wire [Salisbury, Wiltshire - London] 06. 'Rattus Norvegicus' (1977) - The Stranglers [Guildford, Surrey] 07. 'The Second Annual Report' (1977) - Throbbing Gristle [Hull, Yorkshire] 08. 'Ultravox!' (1977) - Ultravox! [London] 09. 'Adolescent Sex' (1978) - Japan [London]
10. 'Another Music In A Different Kitchen' (1978) - Buzzcocks [Bolton, Lancashire]
'Complete Control' - The Clash
11. 'Crossing The Red Sea With The Adverts' (1978) - The Adverts [Bideford, Devon - London] 12. 'Dire Straits' (1978) - Dire Straits [London]
13. 'The Feeding Of The 5000' (1978) - Crass [Epping, Essex]
14. 'Generation X' (1978) - Generation X [London] 15. 'Germfree Adolescents' (1978) - X-Ray Spex [London] 16. 'Moving Targets' (1978) - Penetration [Ferryhill, County Durham]
17. 'Outlandos D'Amour' (1978) - The Police [London]
18. 'Public Image : First Issue' (1978) - Public Image Limited [London]
19. 'Real Life' (1978) - Magazine [Manchester]
20. 'The Scream' (1978) - Siouxsie And The Banshees [London]
'Oh Bondage! Up Yours!' - X-Ray Spex
21. 'Squeeze' (1978) - Squeeze [London]
22. 'This Year's Model' (1978) - Elvis Costello And The Attractions [London] 23. 'Tubeway Army' (1978) - Tubeway Army [London] 24. 'White Music' (1978) - XTC [Swindon, Wiltshire] 25. 'Another Kind Of Blues' (1978) - U.K. Subs [London]
26. 'At The Chelsea Nightclub' (1979) - The Members [Camberley, Surrey - London]
27. 'Beat Rhythm News' (1979) - Essential Logic [London]
28. 'The Crack' (1979) - The Ruts [London]
29. 'Cut' (1979) - The Slits [London]
30. 'Dirk Wears White Sox' (1979) - Adam And The Ants [London]
'Respectable Street' - XTC
31. 'Entertainment!' (1979) - Gang Of Four [Leeds, Yorkshire]
32. 'Hex' (1979) - Poison Girls [Brighton, Sussex] 33. 'Live At The Witch Trials' (1979) - The Fall [Prestwich, Lancashire] 34. 'Mix-Up' (1979) - Cabaret Voltaire [Sheffield, Yorkshire] 35. 'One Step Beyond...' (1979) - Madness [London]
36. 'Pauline Murray And The Invisible Girls' (1979) - Pauline Murray And The Invisible Girls [Durham, County Durham - Salford, Lancashire]
37. 'The Pleasure Principle' (1979) - Gary Numan [London]
38. 'The Quality Of Mercy Is Not Strnen' (1979) - The Mekons [Leeds, Yorkshire]
39. 'The Raincoats' (1979) - The Raincoats [London]
40. 'Reproduction' (1979) - The Human League [Sheffield, Yorkshire]
'Down In The Park' - Tubeway Army
41. 'The Specials' (1979) - The Specials [Coventry, Warwickshire]
42. 'Three Imaginary Boys' (1979) - The Cure [Crawley, Sussex] 43. 'A Trip To Marineville' (1979) - Swell Maps [Birmingham] 44. 'Unknown Pleasures' (1979) - Joy Division [Salford, Lancashire]
45. 'Y' (1979) - The Pop Group [Bristol]
46. 'Crocodiles' (1980) - Echo & The Bunnymen [Liverpool]
47. 'In That Flat Field' (1980) - Bauhaus [Northampton, Northamptonshire]
48. 'Kilimanjaro' (1980) - The Teardrop Explodes [Liverpool]
49. 'Killing Joke' (1980) - Killing Joke [London]
50. 'Metamatic' (1980) - John Foxx [Chorley, Lancashire]
'Shadowplay' - Joy Division
51. 'Orchestral Manoeuvres In The Dark' (1980) - Orchestral Manoeuvres In The Dark [Wirral, Merseyside] 52. 'Searching For The Young Soul Rebels' (1980) - Dexys Midnight Runners [Birmingham] 53. 'Sky Yen' (1980) - Pete Shelley [Leigh, Lancashire] 54. 'Visage' (1980) - Visage [London]
55. 'Duran Duran' (1981) - Duran Duran [Birmingham]
56. 'No Cause For Concern' (1981) - Vice Squad [Bristol]
57. 'Penthouse And Pavement' (1981) - Heaven 17 [Sheffield, Yorkshire]
58. 'Playing With A Different Sex' (1981) - Au Pairs [Birmingham]
59. 'See The Whirl' (1981) - Delta 5 [Leeds, Yorkshire]
60. 'Speak & Spell' (1981) - Depeche Mode [Basildon, Essex]
61. 'The Story So Far' (1981) - The Mo-dettes [London]
'Girls On Film' - Duran Duran
Northern Ireland
The Undertones
Stiff Little Fingers
Wales
Young Marble Giants
Scotland
Legendary record label Postcard Records had the chance to sign Laurie Anderson and back the release of 'O Superman' but they rejected this offer. They also rejected Glasgow's finest live attraction, Altered Images, but the city would host Simple Minds, Orange Juice, Aztec Camera, Del Amitri, The Blue Nile, The Pastels, Strawberry Switchblade, Primal Scream, Thomas Leer, Lloyd Cole & The Commotions and Jesus & Mary Chain during these golden years. Instead, catholic schoolgirl Clare Grogan found guidance through a different mentor, admirer Siouxsie Sioux. The rest, as they say, is our history that's yet to be unwritten ...
Altered Images
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Post by petrolino on Aug 17, 2019 2:35:29 GMT
Sammi Davis : Ken Russell's Punk Muse
John Boorman & Sammi Davis
'The Lair Of The White Worm' (1988)
Ken Russell & Sammi Davis : Portrait by Alfred Eaker
The D'Ampton Worm Song
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Charlotte Coleman : Child Of Punk
"Charlotte Coleman, who has died from an asthma attack aged 33, was the award-winning actress who played Scarlet, Hugh Grant's flatmate, in the film which projected eve-of-millennium Britain as a cosy, if angst-ridden, classless society - Four Weddings and a Funeral (1994). It was Coleman who, with her tiny, birdlike appearance, sawn-off hair and cheery punkishness provided the chewy centre to the confection - careering happily among the sobbing, drunk (sometimes both), liberal upper classes and the doe-eyed American with a line in big hats. It was a performance which won Coleman a Bafta nomination and which set her apart as the kind of endearing eccentric who would indeed wear grubby sneakers with her ballgown.
In fact, Coleman, who was a teenage television star during the early 1980s, had made her mark playing characters outside the mainstream and, usually, kicking against authority: from her lead role in the children's television series Educating Marmalade to, most notably, her part as Jess, the lesbian daughter of the religiously manic Geraldine McEwan in the BBC TV dramatisation of Jeanette Winterson's Oranges Are Not The Only Fruit (1990), for which she won a Royal Television Society award as best actress.
In some respects, Coleman's acting career was a classic case of life and art imitating each other. Born and brought up in a comfortable north London household, her mother was the actress Ann Beach, her father the television producer and teacher at the London Film School, Francis Coleman. Her sister, Lisa, was an actress who appeared as Jude in the BBC hospital drama, Casualty.
Coleman went to St Michael's primary school in Highgate and then the Camden High School for Girls. At 14 she left home, and a year later was expelled from Camden for, apparently, smoking and drinking. As a child she had attended acting workshops at the Anna Scher school in Islington "instead of going to Brownies", and at eight had appeared in the children's television series Worzel Gummidge. But it was the money she earned as a teenager from her starring role in another children's television series, Educating Marmalade (1982-84), that, she said, allowed her to go to the liberal boarding school Dartington Hall in Devon and finally "get a secondary education".
In 1987 her boyfriend, John Laycock, was killed in a cycling accident. It was a point, she said, at which she "really fell apart", but two years later, at 21, she was signed for her role in Oranges Are Not The Only Fruit which first brought her to the attention of an adult audience and the critics. She played Jess in a long wig but with what became the archetypal Coleman look of little Oxfam-bought cardigans, both on and off the screen.
The same year she appeared at the Bush Theatre playing a student on a Bristol housing estate in Rory MacGregor's Own Kind. Her other television appearances in the 1980s and 90s included roles in The Bill and Inspector Morse, in the short-lived comedy series Freddie and Max, with Anne Bancroft, the drama about homelessness, Sweet Nothing, and, in 1996, another lesbian role, Barb Gale, in the political satire Giving Tongue.
In 1998 in Simon Nye's television comedy drama How Do You Want Me, Coleman played Lisa, a schoolteacher. It was, she told the Guardian, the first time she had played someone who wasn't slightly weird or very childlike.
I suppose Charlotte Coleman will be always remembered now as Scarlet, Hugh Grant's unexpectedly punk flatmate in Four Weddings and a Funeral, but for a generation of children now growing into young adulthood she was Marmalade Jones and for another whole section of the viewing public she was Jess in the television adaptation of Jeanette Winterson's Oranges Are Not The Only Fruit. That was quite a range although all these parts and almost everything else she ever played shared a wholly unforced quirkiness which was the essential her. I had known her for some years before we worked together in FWAAF, when she was still a very young woman. She always cut a striking figure - sartorially, to be sure, as a clothes-horse for the teenage chic of the moment, her nostrils sometimes be-ringed, her hair radically transformed every time you met her, but it was the intensity of her personality that caught you. She could be wild with laughter one moment, then plunged into deep melancholy the next, her huge sleepless eyes opening up deepest chasms of feeling.
She was worryingly thin but her energy was immense. She spoke brilliantly and wittily of herself, begging one to shut her up - "I know I'm emotionally incontinent" - but always conscious of absurdity in herself or in others.
She always struck me as a Sally Bowles de nos jours, outrageous and vulnerable, and impossible not to watch. I believed that she was going to be one of the great comic talents of our time, with the special gift of creating her own outlandish rhythms which made everything she ever said as an actress seem new and original and hilarious. The loss is terrible for her family and for all of us. Thank God there is so much that is wonderful to remember her by."
- Penny Valentine, The Guardian
"Tragically, in November 2001, Coleman died from a massive asthma attack at her flat in London. She was 33 years old.
Ahead of the 'One Red Nose Day and a Wedding' reunion film Simon Callow, who played the larger-than-life Gareth who died in Four Weddings, described Coleman as "wonderful, brilliant, funny....snatched from us monstrously early".
"I like to think of Gareth and Scarlett dancing a mad celebratory reel together, up there beyond the clouds," he added."
- Stuart Greer, Manchester Evening News
"Charlotte Coleman's performances in Beeban Kidron's groundbreaking filmisation of Jeanette Winterson's 'Oranges Are Not The Only Fruit' (1990) and Sheree Folkson's late night teleplay of Clare McIntyre's feminist drama 'Low Level Panic' (1994) are two of the finest to grace British television in the 1990s. She was always a remarkable talent, one minute introspective and melancholic, funny and spirited the next, yet always full of life. There are many fans out there who miss her and commemorate her passing."
- Karen Davies, 'Classic British Television'
In Memory ~ · Charlotte Ninon Coleman (1968 - 2001) >'Gone, but never forgotten' <
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Post by petrolino on Aug 17, 2019 18:54:48 GMT
Belinda Carlisle - The Polyphonic Polymorph
Belinda Jo Carlisle was born on August 17, 1958 (just one day after Madonna) in Hollywood, Los Angeles, California - today is her 61st birthday. She was the first of seven siblings, conceived when her mother Joanne (née Thompson) was 18; Belinda is named after Jean Negelescu's stylised film noir 'Johnny Belinda' (1948) which was her mother's favourite movie. Her father Harold Carlisle was a gas station employee who walked out on the family when she was a little girl. Carlisle's mother struggled to make ends meet. This meant the kids had few clothes and sometimes went hungry. Her step-father Walt Kurczeski was an aggressive alcoholic and the family unit was rarely settled, moving from Simi Valley to Reseda, Burbank to Thousand Oaks. As she entered into her turbulent teenage years, Carlisle became a cheerleader and started smoking, drinking and experimenting with a wide range of drugs. She considered pursuing a career as a beautician before opting to dedicate herself to music.
"I ran away from home, smoked pot, dropped acid ... you name it, I'd try it."
- Belinda Carlisle
Like her hero Iggy Pop, Carlisle started out as a drummer and was a member of The Germs (the Stooges' 1973 album 'Raw Power' was Carlisle's gateway to exploring bands that would inspire her like the Velvet Underground, the New York Dolls and the Dictators). Her stage name was Dottie Danger and she was known to headbutt her cymbals but she was forced to drop out of the Germs after contracting glandular fever. During this time, Carlisle also sang backing vocals at gigs for Black Randy And The Metrosquad (her fellow Blackettes included Alice Bag of The Bags, Exene Cervenka of X, fellow Germ Lorna Doom & future bandmate Jane Wiedlin).
Carlilsle was a founding member of The Go-Go's, who were briefly called The Misfits (no relation to New Jersey's Misfits). Drummer Elissa Bello was replaced, possibly due to issues of unreliability, while original bassist Margot Olavarria was forced out for reasons that remain unknown. New players arrived and the line-up finally stabilised.
Go-Go Girls :
* Guitarist Jane Wiedlin came from Oconomowoc, Wisconsin and went by the stage name Jane Drano.
* An accomplished guitarist and classically trained pianist, Charlotte Caffey had played bass in The Eyes alongside X drummer and future Germ D. J. Bonebrake.
* Bass player Kathy Valentine came from the psychedelic city Austin in Texas and played briefly in Girlschool, later going on to join The Bangles.
* Drummer Gina Schock came from Baltimore, Maryland and had played rhythm in Edie And The Eggs alongside John Waters mainstay Edith Massey and Rhumboogie guitarist Ann Collier.
# The Go-Go's recorded three albums before splitting up in 1985 (a decision brought on by Wiedlin's departure in 1984).
1979 Rehearsal Tape
"I found out I’d been kicked out of the band from my good friend Exene Cervenka, from X. The Go-Go’s wanted someone with more pop song capability, and the desire to succeed, pretty much at any cost. There was a lack of integrity on their part, and the part of their manager, and their lawyers, who I also sued. I was already in a better band -- Brian Brain. The lawsuit took three years.
It’s sad that they played the drug card to explain why they kicked me out [Olavarria had been arrested for buying cocaine]. I find that so ridiculous. I was an outrageous party girl, I really was, but the others, in many ways, were way worse. And all of them continued in the drug world. I mean, I moved to New York and I saw Charlotte in my neighborhood -- Alphabet City, a notorious, drug-infested neighborhood. I knew what she was doing here!"
- Margot Olavarria, Billboard
"Miles Copeland said he had a great girl group, and he thought I should produce them. At first, I wasn’t interested. I’d done lots of girl groups. But I went to see them play at New York University [in Manhattan]. They weren’t great players, although Gina was a great drummer, and Kathy was second best as a player. But the songs were terrific. It was a relatively small budget for Beauty and the Beat: $35,000. I went over the budget and paid another $7,500 out of my pocket."
- Richard Gottehrer, Billboard
"Mainly during the punk days, when we rehearsed at the Masque, we had crazy people coming in and out. The Go-Gos were on one side of us, very very punk then, and The Motels on the other. The Germs would come down and we would lock our door since they liked to break stuff. I got to play and write with drummer Sandy West from the Runaways, which was great, and Cheech Marin put us in a movie when i went in for an audition for "Nice Dreams". Oh, it reminds me. In "Clean And Sober", I didn't get the part of a dead girl in the beginning, and wondered "Why can't i do dead good?"
- Linnea Quigley, Retro Junk
Carlilse took the decision to go solo and wisely continued working with songwriter and multi-instrumentalist Caffey. Her first album included backing vocals from Susanna Hoffs of the Bangles who'd been inspired by the Go-Go's success in Los Angeles. With the release of her most recent album 'Wilder Shores' (2017), Carlisle has now recorded 8 studio albums.
Carlisle's outrageous stage antics inspired a generation of hardcore punks. One of her more notorious backstage travails on the underground is now enshrined within the 'Midnight Blue' dvd series. The hardcore punk scene in Washington D.C., which ran parallel to spots and venues springing up around the state of California, was a rowdy, male-dominated arena where a band like Chalk Circle struggled to make a difference upon forming. In contrast, the California punk scene drew people together of every background, gender, ethnicity and sexuality, creating a cauldron of fear awash with sunburnt, psychedelic colour.
Black Randy And The Metrosquad ~ 'Pass The Dust, I Think I'm Bowie'
'You Goddam Kids!' ~ Geza X
Belinda Carlisle : 6 Studio Albums
'Beauty And The Beat' (1981) - The Go-Go's
"Belinda came up to me that night at the Starwood, I was playing with my punk band The Eyes; it was The Jam, The Dickies, and The Eyes, and we would play two sets a night. Of course, I can't imagine that today. (laughs) But it was between sets, Belinda and Margot (Olaverra, their original bass player) came up to me and they looked so freaky to me, because I was pretty normal looking. I think Belinda had purple hair and she was wearing a trash bag, and spikey heels with ripped stockings.
Now it's no big deal, but back then it was freaky. And Margot had pink and green hair and all this freaky makeup. And I thought, Well, this sounds like fun. They were talking about starting an all-girl band, and I thought, Wow, okay. It was kind of winding down with The Eyes, and I felt like, time to move on. And that's just what I did."
- Charlotte Caffey, Songwriter
"Few people took The Go-Go’s seriously. Not the Los Angeles punk scene that spawned the band, because The Go-Go’s were staggeringly incompetent — even by punk standards — in the early days and too pop and careerist once they got their shit together. Not the major labels, which had never earned enough of a return on an all-female band to justify the investment. Not the press, which tended to sound condescending even when it praised the group. For a while, all that the five members of The Go-Go’s had was one another and a manager who more or less happened into the job.
Turns out that’s all they needed. Four years after the band formed while sitting on a curb at a party, The Go-Go’s would be on top of the Billboard charts for six weeks, becoming the first female group that wrote its own songs and played its own instruments to do so. Beauty And The Beat would sell 2 million copies and begin a career marked by tumult that continues more than 30 years later."
- Kyle Ryan, The A.V. Club
"The first album cover was Belinda's idea. The God Bless (The Go-Go's) artwork was my idea. We are very very hands-on when it comes to anything creative."
- Jane Wiedlin, Slug
'Lust To Love' - The Go-Go's
'Vacation' (1982) - The Go-Go's
"After a six-week run atop Billboard’s 200 album chart with the multi-platinum debut album Beauty and the Beat, all-girl rock group the Go-Go’s hurriedly released the follow-up sophomore effort, Vacation. Echoes of previous singles “We Got the Beat” and “Our Lips Are Sealed” could still be heard across radio airwaves when “Vacation” became the band’s third hit single in the summer of ’82. The bubbly title track was the first-ever cassette single and was accompanied by its vivid and playful music video, which revealed the band members hamming it up while pretending to be highly skilled water skiers.
During that time, I was wearing out the grooves of the Top 10 summertime hit’s 7-inch single, memorizing every word as I sang along with Belinda Carlisle. I played air guitar with Charlotte Caffey, Jane Wiedlin, and Kathy Valentine. I banged out Gina Schock’s thunderous drumbeats on any nearby surface, all the while I impatiently awaited the full-length album’s release. I remember calling my local Record Bar on a daily basis for updates, as exact record release dates were something of an enigma in the 1980s.
For me, that entire summer revolved around the Go-Go’s, from joining the band’s fan club, scouring magazine stands for any glimpse of Belinda and company, to recurrent spins of Beauty and the Beat as I counted down the days anticipating the arrival of Vacation. Alas, the day finally arrived when my eyes unexpectedly gazed upon the album’s totally kitschy cover art by Grammy-winning designer Mick Haggerty, which seemed to be waving at me from the record store’s new release rack. The ride home from the mall was an agonizing eternity as I shuddered with excitement.
When I arrived home, I immediately began to scrutinize every detail of the album’s liner notes, while my heartbeat kept time with the beat as I listened to the LP’s twelve new tracks for the first time. Vacation continued with the unique sound the band had perfected on Beauty, but this time it was infused with tones of a more polished California surf rock style. And the album’s lustrous artwork perfectly matched the music’s sound."
- Eric Allen, Beat
"They may have been all dressed up like a bit of frothy pop fun in their heyday, but the Go-Gos came through the LA Punk scene the hard way and were tough with it."
- Ian Canty, Louder Than War
"That intro with Gina’s drums, it’s thrilling. She’s such a powerful hitter, and her timing is so perfect. You can use a drum machine, and obviously it will have perfect mechanical time. But a real human doing that, there’s something about it that just feels good.”
- Charlotte Caffey, Goldmine
'Vacation' - The Go-Go's
'Talk Show' (1984) - The Go-Go's
"At the beginning of 1983, the Go-Go’s got another shock, when they received their semiannual financial statement from I.R.S. Records. They discovered that they were owed more than a million dollars in royalties from the sales of Beauty and the Beat, their first LP, and the two hit singles it spawned — “Our Lips Are Sealed” and “We Got the Beat.” But when the band demanded its money, I.R.S. reportedly said they didn’t have it. According to Emily Shenkin, a lawyer for the group, the Go-Go’s then declared their intention to leave the label, and I.R.S. filed suit to keep them. (The dispute was resolved out of court. Royalties were paid, and the Go-Go’s remained on I.R.S.)
Even before manager Ginger Canzoneri’s departure, the band had hired Front Line Management, which guided acts like the Eagles and Steely Dan. But that association was jeopardized when Front Line founder Irving Azoff suddenly left the company to head MCA Records. Stunned, the band began reevaluating managers all over again. After a month and a half, they decided to remain with Front Line after all."
- Christopher Connelly, Rolling Stone
"Having increasingly expanded the bread-free breadth of her GOOP empire of lifestyle expertise — from the excavation and draping of your lumpy intestinal crags to the equally careful cultivation of fat-free aural delicacies — Gwyneth Paltrow will next use her passion for elevating lowbrow indulgences by handcrafting a theatrical production around '80s girl group The Go-Go's, turning their alcohol-addled antics and bubblegum pop-punk numbers into a proper night that all patrons of the theater paying a $150 minimum per ticket can marvel at in a more refined context. The Hollywood Reporter notes that Paltrow is currently in negotiations to produce the show based on the life and music of the group, with Belinda Carlisle and her bandmates reportedly still considering their own involvement and possibly writing new songs for the production, songs that would presumably then be vetted and deemed appropriate for inclusion in a Gwyneth Paltrow production."
- Sean O'Neal, The A.V. Club (reporting in March 2012)
"Showtime announced Saturday that the network had acquired a feature documentary about The Go-Go’s. The film will premiere late this year. The Alison Ellwood-directed film features “full access” to the band, along with “candid interviews and archival footage to tell the real story of their meteoric rise to fame and the journeys, triumphs, laughter and struggles along the way,” producers said of the film.
The Go-Go’s posted about the news on social media and with lead singer Belinda Carlisle tweeting that she was “really happy to finally be able to tell you all” about the news."
- Ilana Kaplan, Rolling Stone (reporting in February 2019)
'Forget That Day' - The Go-Go's
'Belinda' (1986) - Belinda Carlisle
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"Upon leaving the Go-Go's, Belinda Carlisle felt no compunction in leaving behind the band's energetic new wave. On her own, she dove right into the mainstream with the assistance of producer Michael Lloyd, embracing the big radio-ready sheen of the mid-'80s on her 1986 debut, Belinda. The album's lead single (and album opener), "Mad About You," celebrated this shift and she was rewarded with a huge hit, one that went all the way to number three in the U.S. Behind the gloss, however, lay some elements of the Go-Go's, which shouldn't be surprising, considering how Charlotte Caffey wrote half of the record -- more songs than Carlisle herself. Often, these songs suggest that Caffey and Carlisle were picking up where Talk Show left off, particularly with the infectious Motown bounce of "I Feel the Magic" and the power pop insistence of "Gotta Get to You." These songs, along with the Bangles leftover "I Need a Disguise" (another entry in the wannabe Motown hit parade) and a nicely moody reading of Tim Finn's "Stuff and Nonsense," have aged better than a ham-fisted cover of Freda Payne's "Band of Gold" and the neon synths of "Shot in the Dark," and they're also the reason why Belinda will be the solo Carlisle album that will appeal the most to Go-Go's diehards. [Edsel's 2014 reissue of Belinda contains an expanded CD plus a DVD. The first disc contains a remastered version of the proper album, plus five bonus tracks; three of these are versions of "Band of Gold" featuring Freda Payne, then there's an expanded version of "Mad About You" plus the non-LP "Dancing in the City." The DVD contains videos for "Mad About You" and "I Feel the Magic," then the entirety of a live concert filmed and released on home video in 1986.]"
- Stephen Thomas Erlewine, AllMusic
'I Feel The Magic' - Belinda Carlisle
'Heaven On Earth' (1987) - Belinda Carlisle
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"Belinda Carlisle's first solo album was a typical 80's album but it was one of the best of its category. Her second album "Heaven on Earth" included more complex songs. The song "Heaven Is a Place on Earth" opened the doors to Europa. Before that song she was well known only in Canada and USA for The Go-Go's and her debut album. "Heaven Is a Place on Earth" is an amazing song and it has got a lot of radio time in many radio stations and still you can hear it. It's her best known song but it isn'y my favorite even on this album. "I Get Weak" is actually my favorite. I know it is a song about getting weak when Belinda sees the man of her dreams. It is a cheesy love song which could be competing with Celine Dion's "My Heart Will Go On" about cheesiness. "I Get Weak" works very well and is well known but not overplayed, at least for me who was about 6 years old when the song came out. "Circle in the Sand" is another hit and a little bit slower than those two songs. All those three songs are the ones I have heard from radio and it is amazing because I don't actually listen to radio.
Other single releases were too. "World Without You" is almost as cheesy as "I Get Weak" but I love also that song. "Love Never Dies" is actually very sad and emotional song. It is defintely one of favorite songs, a perfect album closer. "I Feel Free" is a song which would fit perfectly as an opener for live shows and it also been used for that. It is an upbeat song which some great elements. A quite rocking track.
"Fool for Love" and "Nobody Owns Me" are the most rocking tracks of the album. "We Can Change" is a good pop song too with good elements but because the album has so many other better songs, it is often forgotten. "Should I Let You In?" is another amazing song.
It's amazing that this album has only good songs. Belinda didn't write anything for this album but her style of singing and her voice is something else from other artists. I don't know any artist who could have made this album sound as good as she did. This is definitely one of her best albums. The only one who beats this is "Runaway Horses" which had even more hits although the album wasn't as successful as this was."
- Reijo Piipulla, 'Heaven Is A Place On Earth'
'Heaven Is A Place On Earth' - Belinda Carlisle
'Runaway Horses' (1989) - Belinda Carlisle
"A great album. One of the greatest albums of all time!"
- Kev Inion, Rate Your Music
'Leave A Light On' - Belinda Carlisle
Happy Birthday, Belinda!!
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Post by petrolino on Aug 17, 2019 21:33:40 GMT
* American Hardcore on the West Coast and the Gulf Coast
* The West Coast or Pacific Coast is the coastline along which the continental Western United States meets the North Pacific Ocean. As a region, this term most often refers to the coastal states of California, Oregon, Washington, and Alaska. More specifically, it refers to an area defined on the east by the Alaska Range, Cascade Range, Sierra Nevada, and Mojave Desert, and on the west by the Pacific Ocean. The United States Census groups the five states of California, Oregon, Washington, Alaska, and Hawaii together as the Pacific States division.
* The Gulf Coast of the United States is the coastline along the Southern United States where they meet the Gulf of Mexico. The coastal states that have a shoreline on the Gulf of Mexico are Texas, Louisiana, Mississippi, Alabama, and Florida, and these are known as the Gulf States.
The Masque in California
Red Bull Music Academy presents the 2017 Alice Bag Lecture in Los Angeles, California
"Jim Jocoy was a student at UC Santa Cruz when he first saw The Ramones play at San Francisco's Savoy Tivoli Theater in 1976. That April, the New York native four-piece had released its incendiary debut album, and set off on a nationwide tour that changed American music and culture forever. "The Ramones were sort of like Johnny Appleseeds in that every town they went to, bands formed, people created zines, and zines fertilised a kind of fashion culture," Jocoy recalls. "Together, it created this wonderful energy that I got swept up into."
By the following year, he'd left school and was photographing San Francisco's flourishing punk scene. Jocoy took candid snaps while getting ready for a night out at a show or a club, shot seminal bands like X and The Nuns playing live sets, and made documentary-cum-fashion portraits of this new culture's cast of nocturnal players.
While others photographers across the country captured their local punk scenes in gritty black and white, Jocoy made vibrant colour pictures using colour transparency slide film. If his hues recall the kind of saturation, light, and shadow found in Nan Goldin and William Eggleston's photography of this same period, it's because the NYC chronicler and Memphis-born master shot with slide film, too. In each case, even the most quotidian object or quiet scene comes alive with rich, evocative colour."
- Emily Manning, i-D
'(Dee Dee You're) Stuck On A Star' - Milk 'N' Cookies
'(I Don't Wanna Be No) Catholic Boy' - Dead Boys & Ramones
---
Inspirational Figures {Proto-Punk}
'Halfnelson' (1971) - Sparks [California]
'Meet The Residents' (1974) - The Residents [Louisiana]
'The Visitation' (1976) - Chrome [California] 
'The Runaways' (1976) - The Runaways [California]
53 Albums
01. 'The Incredible Shrinking Dickies' (1978) - The Dickies [California]
02. 'Songs From The Sunshine Jungle' (1978) - Venus And The Razorblades [California]
03. 'Electrify Me' (1979) - The Plugz [California]
04. '(GI)' (1979) - The Germs [California]
05. 'Is This Real?' (1979) - The Wipers [Oregon]
06. 'Motels' (1979) - The Motels [California]
07. 'Pass The Dust, I Think I'm Bowie' - Black Randy And The Metrosquad [California]
08. 'American Music' (1980) - The Blasters [California]
09. 'Digital Stimulation' (1980) - The Units [California]
10. 'Fresh Fruit For Rotting Vegetables' (1980) - Dead Kennedys [California]
'Los Angeles' - X
11. 'Group Sex' (1980) - Circle Jerks [California]
12. 'Information' (1980) - Berlin [California]
13. 'Los Angeles' (1980) - X [California] 14. 'No Questions Asked' (1980) - The Flesh Eaters [California]
15. 'The Nuns' (1980) - The Nuns [California]
16. 'The Orchids' (1980) - The Orchids [California]
17. 'Adolescents' (1981) - Adolescents [California]
18. 'Beauty And The Beat' (1981) - The Go-Go's [California]
19. 'Damaged' (1981) - Black Flag [California]
20. 'Dance With Me' (1981) - T.S.O.L. [California]
'Red Tape / Back Up Against The Wall / I Just Want Some Skank / Beverly Hills / Wasted' - Circle Jerks
21. 'Dark Continent' (1981) - Wall Of Voodoo [California]
22. 'Fire Of Love' (1981) - The Gun Club [California]
23. 'Living In Darkness' (1981) - Agent Orange [California] 24. 'Nightmare City' (1981) - The Alley Cats [California] 25. 'Only A Lad' (1981) - Oingo Boingo [California]
26. 'Reagan's In' (1981) - Wasted Youth [California]
27. 'The Right To Be Italian' (1981) - Holly And The Italians [California]
28. 'Back From Samoa' (1982) - Angry Samoans [California]
29. 'Born Innocent' (1982) - Redd Kross [California]
30. 'Crumbling Myths' (1982) - Neo Boys [Oregon]
'Bad Religion / Slaves / Oligarchy' - Bad Religion
31. 'Generic' (1982) - Flipper [California]
32. 'Homeland' (1982) - Middle Class [California]
33. 'How Could Hell Be Any Worse?' (1982) - Bad Religion [California] 34. 'Millions Of Dead Cops' (1982) - MDC [Texas-California] 35. 'Milo Goes To College' (1982) - The Descendents [California] 36. 'The Record' (1982) - Fear [California]
37. 'You Goddam Kids!' (1982) - Geza X [California]
38. 'Mommy's Little Monster' (1983) - Social Distortion [California]
39. 'Playback' (1983) - SSQ [California]
40. 'Sleep In Safety' (1983) - 45 Grave [California]
'Six Pack' - Black Flag
41. 'Suicidal Tendencies' (1983) - Suicidal Tendencies [California]
42. 'What Makes A Man Start Fires?' (1983) - Minutemen [California]
43. 'All Over The Place' (1984) - The Bangles [California]
44. 'Cat Farm Faboo' (1984) - Frightwig [California] 45. 'It's About Time' (1984) - The Pandoras [California]
46. 'Psychic... Powerless... Another Man's Sac' (1984) - Butthole Surfers [Texas]
47. 'Third Strike' (1984) - White Flag [California]
48. 'When In Rome Do As The Vandals' (1984) - The Vandals [California]
49. 'Belinda' (1986) - Belinda Carlisle [California]
50. 'Better Than Heaven' (1987) - Stacey Q [California]
'Old Mean Ed Gein' - The Fibonaccis
51. 'Civilization And Its Discotheques' (1987) - The Fibonaccis [California]
52. 'Birdboys' (1988) - Penelope Houston [California] 53. 'Perfect View' (1989) - The Graces [California]
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Post by petrolino on Aug 17, 2019 23:56:12 GMT
Into The Valley Of The California Dolls
25
Brinke Stevens (Born September 20, 1954, San Diego, California, U.S.)
Kaki Hunter (Born November 6, 1955, Topanga Canyon, California, U.S.)
Kimberly Beck (Born January 9, 1956, Glendale, California, U.S.)
Michelle Pfeiffer (Born April 29, 1958, Santa Ana, California, U.S.)
Debra Blee (Born June 8, 1958, Orange County, California, U.S.)
Rebecca De Mornay (Born August 29, 1959, Santa Rosa, California, U.S.)
Meg Tilly (Born February 14, 1960, Long Beach, California, U.S.)
Amanda Wyss (Born November 24, 1960, Manhattan Beach, California, U.S.)
Kari Lizer (Born August 26, 1961, San Diego, California, U.S.)
Elizabeth Daily (Born September 11, 1961, Los Angeles, California, U.S.)
Jennifer Jason Leigh (Born February 5, 1962, Hollywood, California, U.S.)
Deborah Foreman (Born October 12, 1962, Montebello, California, U.S.)
Daphne Zuniga (Born October 28, 1962, San Francisco, California, U.S.)
Jodie Foster (Born November 19, 1962, Los Angeles, California, U.S.)
Jill Schoelen (Born March 21, 1963, Burbank, California, U.S.)
Helen Hunt (Born June 15, 1963, Culver City, California, U.S.)
Betsy Russell (Born September 6, 1963, San Diego, California, U.S.)
Jonna Lee (Born November 6, 1963, Glendale, California, U.S.)
Dedee Pfeiffer (Born January 1, 1964, Midway City, California, U.S.)
Penelope Ann Miller (Born January 13, 1964, Los Angeles, California, U.S.)
Bridget Fonda (Born January 27, 1964, Los Angeles, California, U.S.)
Kathleen Wilhoite (Born June 29, 1964, Santa Barbara, California, U.S.)
Danielle Von Zerneck (Born December 21, 1965, North Hollywood, Los Angeles, California, U.S.)
Emily Longstreth (Born January 5, 1967, Orange County, California, U.S.)
Courtney Thorne-Smith (Born November 8, 1967, San Francisco, California, U.S.)
California Residents in the 1980s
Linnea Quigley (Born May 27, 1958, Davenport, Iowa, U.S.)
Barbara Crampton (Born December 27, 1958, Levittown, New York, U.S.)
Kelli Maroney (Born December 30, 1960, Minneapolis, Minnesota, U.S.)
Lea Thompson (Born May 31, 1961, Rochester, Minnesota, U.S.)
Diane Franklin (Born February 11, 1962, Plainview, New York, U.S.)
Demi Mooore (Born November 11, 1962, Roswell, New Mexico, U.S.)
Olivia Barash (Born January 11, 1965, Miami, Florida, U.S.)
'Ah! Leah!' - Donnie Iris
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Post by petrolino on Aug 21, 2019 22:44:11 GMT
Belinda Carlisle speaking with Mark Savage at the BBC in 2017
Interview Excerpt :
Mark Savage - I'm always amazed that The Go-Go's are still the only all-female band to have written a number one album. It's like you battered down the door and no-one else came through.
Belinda Carlisle - I don't know… I guess the Bangles came close.
Mark Savage - But they used a lot of co-writers..
Belinda Carlisle - Yeah, they did. Go figure. You'd think there would be more after us, but there weren't. I don't understand that at all.
Mark Savage - You can still see your legacy in other bands, like Haim or Hole or L7. It's just a shame no-one else has replicated the success.
Belinda Carlisle - Well, I mean, good luck now, unless you're put together by a svengali. Something like The Go-Gos could never happen now. It was too authentic. And authenticity is really lacking in music.
Mark Savage - Was there a backlash when you went from punk-inspired sound of The Go-Gos to the pure pop of Heaven On Earth?
Belinda Carlisle - Oh, I think so - and I can see why. But everything I've ever done has been true to myself. The albums Heaven On Earth and Runaway Horses and Live Your Life Be Free were harking back to when I was a young girl and listening to Californian radio - lush productions, complicated melodies, harmonies like the Beach Boys and the Mamas and Papas. That's what those albums remind me of. So they're all very dear to my heart. Except A Woman and a Man [Belinda's sixth album, released in 1996].
Mark Savage - But even on that record you got to work with Brian Wilson.
Belinda Carlisle - Well, gosh, that was one of the highlights - but, you know, at that point I was in a lot of personal turmoil… I guess there were a few good songs in there and California was one of them. Having Brian Wilson sing on my album was an unforgettable experience.
'Sous Le Ciel De Paris' - Belinda Carlisle
Interview Excerpt :
Mark Savage - Fast-forward to 2017, and you've just performed a concert at a yoga class...
Belinda Carlisle - That was really good fun. The yoga audience was pretty new for me, but what was funny was seeing fans who'd never done yoga before coming in with their mats and experiencing the mantra and singing along with it.
Mark Savage - How did you end up making an album of chants?
Belinda Carlisle - I started chanting before I got sober, and chanting is really interesting, because it's a science and it definitely works. Way back at the beginning… I had made so many messes in my life and it had all come to a head. It would have been very easy for me to jump off a cliff but because of all the chanting I was doing, I was flying high. It was like a feeling of elation at the very beginning of my sobriety. It was very strange, so I know it's power. Then I started experimenting with repetitive mantra in a pop song format. And I think it works. And that's how you get Wilder Shores.
Mark Savage - Which of the mantras on the album has been the most useful to you personally?
Belinda Carlisle - Ek Ong Kar Sat Gur Prasad [roughly translated as, "There is one creator of all creation. All is a blessing of the one creator"]. It's one that, simply put, makes me feel pretty happy, instantaneously.
Mark Savage - Could you have got sober without it?
Belinda Carlisle - Oh I probably could have, but there's no question that it made my transition into sobriety easier, no question.
Mark Savage - Will you be singing the mantras on tour?
Belinda Carlisle - I do one chant at the very, very end of the show [but] it doesn't really work in the context of a full-on rock concert. The focus is really on the Heaven On Earth album.
Mark Savage - Your voice sounds stronger than ever on the record. What do you put that down to?
Belinda Carlisle - Well, I always say it was 30 years of booze and cigarettes!
"Har Gobinday" - Belinda Carlisle
Slumming With The California Beach Bums
Robert Carradine (Born March 24, 1954, Hollywood, California, U.S.)
Sean Penn (Born August 17, 1960, Santa Monica, California, U.S.) Eric Stoltz (Born September 30, 1961, Whittier, California, U.S.) Anthony Edwards (Born July 19, 1962, Santa Barbara, California, U.S.)
Nicolas Cage (Born January 7, 1964, Long Beach, California, U.S.)
C. Thomas Howell (Born December 7, 1966, Los Angeles, California, U.S.)
Raised in California
Forest Whitaker (Born July 15, 1961, Longview, Texas, U.S.)
Lea Thompson & Belinda Carlisle
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Post by petrolino on Sept 6, 2019 21:52:45 GMT
* How the industry, energy, dynamism and inventiveness of the 1960s girl group sound inspired a generation of punk anarchy via 6 of the movement's primary, foundational states
* There's a direct correlation between the sounds engineered by girl group producers in the 1960s and the whirring mechanics inside punk's engine room. When attempting to assess the first stages of punk, I find the connection goes even deeper. Producers like Jack Nitzsche, Phil Spector and Richard Gottehrer became regulars on the punk scene, while younger musicians and producers tried to emulate their sounds.
Curtiss A at M-80 {'The Dean of Scream' at the University of Minnesota}
Michigan {The Influencer}
Signature Performer : Madonna
# Some of the greatest all-female harmony groups originated in Michigan including the Marvelettes, the Velvelettes, the Supremes & Martha and the Vandellas.
The Tremelons
The Pleasure Seekers
New York {Punk's 1st State}
Signature Performer : Ronnie Spector
# New York became the home of harmony groups in the rock 'n' pop era with the Bobbettes, the Chantels, the Cookies, the Exciters, the Chiffons, the Crystals, the Ronettes & the Shangri Las among their number. New Jersey was also a hotbed of activity, with the Angels & the Shirelles achieving major success. The punk club City Gardens opened in Trenton in 1979, but bands from New Jersey typically made their way to New York to reach a bigger audience. New York clubs like Max's Kansas City, CBGB's, the Mudd Club, Tier 3 and A7 spanned the evolution of punk.
Goldie And The Gingerbreads
The Cake
Ut
Lunachicks
Luscious Jackson
Vivian Girls
Ohio {Punk's 2nd State}
Signature Performer : The McGuire Sisters
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"In the 1970s, Cleveland lost 23.6 percent of its population, a staggering amount, even considering national trends. In that same decade, it became the first major American city since the Great Depression to default on its loans. Playhouse Square had a date with the wrecking ball and was slated to become a parking lot. Mob violence earned Cleveland the nickname, "Bomb City USA." Environmental studies warned that the Cuyahoga River was dead and Lake Erie was dying. The steel factories and manufacturing hubs of the city began their descent.
Yet, the decade was also a great one for music. Like New York City in the 1970s, music bloomed from out of the ruins. The decade spawned a scene that has achieved legend throughout the world - bands such as Rocket from the Tombs, the Dead Boys, Pere Ubu, Devo, the Cramps, Peter Laughner, Electric Eels, Pagans.
"In Cleveland like New York, there was a group of artists on the margins that were dealing with what seemed like a slow-moving apocalypse going on in America," says Charlotte Pressler, who came up in the '70s Cleveland music and arts scene. "You had the cities crumbling, the civil rights movement falling apart, Kent State, Watergate and just basically a kind of deep numbness and despair that settled over people - and you had music and art, which was the response."
A number of Cleveland musicians became quasi-fixtures in the rising New York punk scene centered around clubs such as CBGB. Bands such as Pere Ubu played New York regularly. The Dead Boys and the Cramps ended up moving there outright.
"You could say that there was a special relationship between Cleveland and New York, though I'm not so sure that New York saw it the same way," says Pressler, via phone from Florida, where she is a professor at South Florida State College. "But there was a connection between the two cities, going back to when the Velvet Underground would play Cleveland all the time."
The Velvets, led by Lou Reed, were a mainstay at La Cave, a legendary Euclid Avenue club that played host to the band often, in 1967 and '68.
"Cleveland was traditionally a great rock 'n' roll town," says Pressler, who ended up moving to New York in 1979, before moving back to Cleveland five years later. "That was something people in the area continued to draw on."
In some ways, the population loss and urban decline meant the keys to the city were handed over to the music scene.
"In the 1970s, if you were a rock 'n' roller, you had the city to yourself," says Nora Jones Daycak, the former manager of the Lakefront.
The West Ninth Street punk-rock joint created a lot of noise until it closed in 1984 - back when the Warehouse District was a ghost town. She cut her teeth in the '70s, hanging out in legendary downtown clubs such as the Viking Saloon, the Piccadilly Inn, Pirate's Cove, Traxx, Twiggy's and the Cleveland Agora.
"Downtown was deserted and, on the surface, Cleveland was dead back then," adds Jones Daycak. "But I would go out every night, to a bunch of different clubs to see live music."
- John Petkovic, The Plain Dealer
The Bittersweets
Scrawl
Minnesota {Punk's 3rd State}
Signature Performers : The Andrews Sisters
# Within the twin cities region of Minneapolis–Saint Paul in Minnesota, punks gathered at venues like the Longhorn and First Avenue, creating a hub for the northern states. The launch of local label Twin Tone upped the ante, drawing punks from the furthest reaches of both the west coast and east coast (they were keen to see if the stories they'd heard were real). In neighbouring Wisconsin, home to the Chordettes, the punk scene gained a solid footing towards the end of the 1970s.
The Continental Co-Ets
Tetes Noires
Babes In Toyland
Zuzu's Petals
Smut
Kitten Forever
California {Punk's 4th State}
Signature Performer : Etta James
# California's punk explosion occurred with entry into 1977 but there'd been rumblings on the underground for a couple of years by then. In the 1960s, the Blossoms and the Paris Sisters could be found in California. Venues like the Whiskey A Go-Go, the Rainbow Bar & Grill, the Masque, the Cuckoo's Nest, Mabuhay Gardens, the Hong Kong Cafe, the Starwood and Valencia Tool & Die allow researchers to chart a history through the state's musical evolution.
“The clubs aren’t cushy, to say the least. Such venues as Mabuhay Gardens (still the purest), Sound of Music (heavy-duty punk), the (I-Beam, Dreamland, California Hall, the Russian Center, the American Indian Center, Valencia Tool & Die, and Berkeley Square, among others, are raw and industrial.”
- Bill Mandel, 'In Defense Of Punk Rock : It's The Liveliest Art Form Of The '80s'
"I was originally like a punker, know what I mean, like the punks are today, I'd spit in a minute."
- Etta James, The Guardian
The Daisy Chain
Birtha
The GTO's
The Ace Of Cups
Fanny
The Runaways 
The Go-Go's
The Bangles
The Pandoras
L7
Phantom Blue 
Red Aunts
The Donnas
Civet
The Like
Warpaint
Dum Dum Girls
Oregon {Punk's 5th State}
Signature Performer : Kat Bjelland
# The Riot Girrrl movement was built from a feminist manifesto and headquartered in Olympia, Washington. Its alternative base is Portland, Oregon (some of the movement's key artists like Kathleen Hanna and Corin Tucker hail from Oregon). These sister states have proven to be truly inseparable when it comes to the creation of punk noise.
Neo Boys
'Crumbling Myths' ~ Neo Boys
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Post by petrolino on Sept 13, 2019 22:00:21 GMT
* Experimental art & art activism fuelled the Ohio engine rooms of the 1970s but 2 industrial cities stoked punk's raging fire
* If you look at all of the significant recorded punk acts to emerge from Ohio in the 1970s, two cities continually come into play : Akron and Cleveland. There were punk bands active in other cities as the decade drew to a close, but I don't know of any that took off in the 1970s. The punk scene in Cincinnati has been extensively researched at 'City Beat' and contributors have turned up little, though the band Sluggo became a notable hardcore attraction in the 1980s. Cincinnati's undoubtedly a major musical city - for starters it's home to Mamie Smith, "America's First Lady of the Blues", who's believed to be the first African-American female performer to make a phonograph record - it's just not a punk city.
'Crazy Blues' - Mamie Smith
* Painter and experimental artist Jenny Holzer's innovations in LED art directly inspired the neon visuals dominant in cyberpunk cinema of the 1980s. Jodie Foster drew a degree of inspiration from Holzer when forming her character for Dennis Hopper's crime puzzle 'Catchfire' (1990), in which she portrays conceptual artist Anne Benton, a witness to a mob slaying who goes on the run. Holzer's contemporaries include Cindy Sherman and Barbara Kruger of New Jersey, and Laurie Simmons and Louise Lawler of New York, artists considered part of the "Pictures Generation", whose work formed a concurrent timeline to punk and is now considered in some ways reflective. Holzer, who was born in Gallipolis, was inspired by artist and art activist Katherine Schmidt who was born in Xenia.
"Anyone who has ever flipped through a book about late 20th century art will be familiar with Jenny Holzer’s text based work using LED screens and projectors. It is only those who haven’t who might actually believe Jodie Foster’s character in Catchfire, Anne Benton, as the person behind that work. Many of Holzer’s pieces are used throughout the film (she is even listed in the credits), but their meaning and cultural relevance is totally disregarded by director Dennis Hopper. He isn’t concerned with the obvious themes of power and feminism one might expect from a movie that is essentially about Jenny Holzer being kidnapped. Instead, Catchfire is a celebration of how romantic and sexy Stockholm Syndrome can be if you just give in to your captor and go with it!"
- Jim Gaylord, Art In The Movies
Jodie Foster in 'Catchfire'
Katherine Schmidt & Yasuo Kuniyoshi
Quiltmaker Nancy Crow
Light Sculpture by Jenny Holzer
* In music as in art, a constant need to experiment drives movements forward. Musical inventor Elliott Sharp, who's from Cleveland, is noted for his impact on the "no wave" punk scene. Another experimental composer worth noting is his fellow Clevelander Paul DeMarinis who began etching sound designs in Ohio in the 1970s. DeMarinis is a talented jazz saxophonist who also crafts unsettling sound sculptures by utilising an array of modified electronic devices and devising odd instrumental techniques. These men exemplify the raw creative spirit of the city.
'If God Were Alive (& He Is) You Could Reach Him By Telephone' - Paul DeMarinis
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Post by Deleted on Sept 14, 2019 16:28:08 GMT
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Post by petrolino on Sept 14, 2019 20:47:53 GMT
'Free Money' is my favourite Patti Smith song. Great video, thanks.
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Post by Deleted on Sept 14, 2019 21:58:31 GMT
'Free Money' is my favourite Patti Smith song. Great video, thanks.
Thank you for all the work you put into this thread
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Post by petrolino on Sept 14, 2019 23:05:59 GMT
* Abstract art is in the DNA of Minnesota and the punk movement captured its essence
* The Minnesotan punk bands that have garnered the most interest outside state lines are very different from each other. Minnesota was visited by many artists in the late 1970s / early 1980s, some of whom were keen to investigate the talent pool being tapped by Twin/Tone Records. Musician, actor and artist John Lurie (of New York outfit Lounge Lizards) is from Minneapolis. Lurie's been painting since the 1970s and his artworks have been the centrepiece of some major exhibitions this century. He understands Minnesota's deep-rooted relations with clownery and long-held traditions in abstract fiction and has spoken about this in New York.
Lucile Blach, Kay Rosen, Polly Rosen & Konrad Cramer
'Acrobats' by Theodore Haupt
'This Party Sucks' by John Lurie
* Candy enthusiast Kay Kurt is from Dubuque, an industrial city in Iowa. Her art explores industry and manufacturing through confection and has been adopted by some punks as satirical of the perils of mass consumerism they were railing against. Kurt studied painting at the University of Wisconsin–Madison, then moved to Duluth in Minnesota which has been her home since 1969.
Candy obsessive Kay Kurt
Feminist painter Patricia Olson
* Ann Walsh has established herself as perhaps the leading colour block artist of her generation, her rise to prominence coinciding with the emergence of Minnesota hardcore in the early 1980s. Like Piet Mondrian and Anne Truitt before her, Walsh has developed her own unique style through sculpture, panelling and colour blocking.
Exhibiting Ann Walsh
'Multiply & Divide' - The Soviettes
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Post by petrolino on Sept 20, 2019 22:24:22 GMT
Punk Interface :
Cyberpunk Mole _ Jennifer Jason Leigh (born 5 February 1962, Hollywood, Los Angeles, California, United States)
Comic Book Punk ~ Lea Thompson (born 31 May 1962, Rochester, Minnesota, United States)
Biopunk / Nanopunk / Cyberprep
'Cyberpunk is a subgenre of science fiction in a futuristic setting that tends to focus on a "combination of lowlife and high tech" featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order. Much of cyberpunk is rooted in the New Wave science fiction movement of the 1960s and 1970s, when writers like Philip K. Dick, Roger Zelazny, John Brunner, J. G. Ballard, Philip José Farmer and Harlan Ellison examined the impact of drug culture, technology, and the sexual revolution while avoiding the utopian tendencies of earlier science fiction.
Cyberpunk plots often center on conflict among artificial intelligences, hackers, and megacorporations, and tend to be set in a near-future Earth, rather than in the far-future settings or galactic vistas found in novels such as Isaac Asimov's Foundation or Frank Herbert's Dune. The settings are usually post-industrial dystopias but tend to feature extraordinary cultural ferment and the use of technology in ways never anticipated by its original inventors ("the street finds its own uses for things"). Much of the genre's atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction. There are sources who view that cyberpunk has shifted from a literary movement to a mode of science fiction due to the limited number of writers and its transition to a more generalized cultural formation.'
- Wikipedia
Phoebe Cates & Jennifer Jason Leigh in Amy Heckerling & Cameron Crowe's 'Fast Times At Ridgemont High' (1982)
Stonepunk / Elfpunk / Sandalpunk / Swordpunk / Clockpunk / Rococopunk / Steampunk / Decopunk / Dieselpunk / Atompunk / Steelpunk / Nowpunk / Futurepunk / Raypunk
Comic books have featured animated versions of Debbie Harry, Siouxsie Sioux, Belinda Carlisle, Linnea Quigley and other punk rockers. Their identity has been shaped in cinema through films like 'Liquid Sky' (1982), 'Class Of 1984' (1982), 'Valley Girl' (1983), 'Repo Man' (1984) and 'The Return Of The Living Dead' (1985). The first Marvel megabuster was supposed to be 'Howard The Duck' (1986), a film that would propel comic book punk into the mainstream. The film struggled to break even and was instead cast down as a megaflop.
Eric Stoltz, Ilan Mitchell-Smith, Lea Thompson, Chris Penn & Jenny Wright in Art Linson & Cameron Crowe's 'The Wild Life' (1984)
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Jennifer Jason Leigh : Virtual Plant
Signature Role : 'eXistenZ'
"Perhaps the key reason Canadian director David Cronenberg has remained the most intelligent and effective horror stylist of his generation is that his stories, however outrageous and gruesome, are often just a hairsbreadth from the everyday. Samantha Eggar's mutated offspring in The Brood are the product of a failed marriage, Videodrome taps into television's undeniable hypnotic power, and Crash literally fused two ordinary passions, cars and sex. eXistenZ, his clever and witty take on virtual reality, is built on the not-altogether-implausible premise that if a video-game system is cool enough, users will gladly have it plugged into their spinal cords. In the near future, players have "Bioports" installed in the small of their back and "UmbyCords" attaching them to an organic "game pod" made from synthetic DNA and animal matter. Jennifer Jason Leigh stars as the world's premier high-tech game designer, but the title creation has caused extremists (and competitors) to place a $5 million fatwa on her head. Cronenberg was inspired by Salman Rushdie's plight, and the comparison is apt: Whereas Rushdie's Satanic Verses threatened to undermine a belief system, Leigh's invention undermines all belief systems, as it constructs an entirely new, convincing reality of its own."
- Scott Tobias, The A.V. Club
Signature Punk : 'The Big Picture'
This satire from members of the 'Spinal Tap' crew takes a look at D.I.Y. filmmaking through her lens.
3 Recommendations : 'The King Is Alive' (inside the spiritual complex), 'The Machinist' (inside the industrial complex), 'The Jacket' (inside the military complex)
Jennifer Jason Leigh chats with David Letterman
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Lea Thompson : Virtual Realist
Signature Role : 'Back To The Future' / 'Back To The Future Part II' / 'Back To The Future Part III'
Signature Punk : 'Howard The Duck'
* Howard crash lands in Cleve-land, Ohio. There, he meets all-girl punk band the Cherry Bombs.
* Belinda Carlisle was considered for the role played by Lea Thompson, a role Tori Amos auditoned for unsuccessfully. Thomas Dolby refused to overdub Thompson as he recognised the punk rock qualities of her singing. She was also cast because she was a trained ballet dancer who could negotiate the tricky puppet choreography while playing opposite Howard. Thompson still plays the guitar she used in this movie, the first, theatrical, live-action Marvel feature.
3 Recommendations : 'MysteryDisc: Murder, Anyone' (interactive mystery game), 'Jaws 3-D' (holographic experience) & 'Haunted Lighthouse 4-D' (interactive theme park)
Interview with Lea Thompson
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Dating Eric 'Thunderbolt' Stoltz
Now screening ...
1980s
JJL
'Eyes Of A Stranger' (1981 - Ken Weiderhorn) Tracy Harris
'Fast Times At Ridgemont High' (1982 - Amy Heckerling) Stacy Hamilton
'Easy Money' (1983 - James Signorelli) Allison Capuletti
'Grandview, U.S.A.' (1984 - Randal Kleiser) Candy Webster
'Flesh + Blood' (1985 - Paul Verhoeven) Agnes
'The Hitcher' (1986 - Robert Harmon) Nash
'The Men's Club' (1986 - Peter Medak) Teensy
'Sister, Sister' (1987 - Bill Condon) Lucy Bonnard
'Under Cover' (1987 - John Stockwell) Tanille Lareoux
'Heart Of Midnight' (1988 - Matthew Chapman) Carol Rivers
'Last Exit To Brooklyn' (1989 - Uli Edel)
Tralala
'The Big Picture' (1989 - Christopher Guest) Lydia Johnson
-- --
LT
'Jaws 3-D' (1983 - Joe Alves) Kelly Ann Bukowski
'All The Right Moves' (1983 - Michael Chapman) Lisa Lietzke
'Red Dawn' (1984 - John Milius) Erica Mason
'The Wild Life' (1984 - Art Linson) Anita
'Yellow Pages' (1985 - James Kenelm Clarke)
Marigold de la Hunt
'Back To The Future' (1985 - Robert Zemeckis) Lorraine Baines McFly
'SpaceCamp' (1986 - Harry Winer) Kathryn Fairly
'Howard The Duck' (1986 - Willard Huyck)
Beverly Switzler
'Some Kind Of Wonderful' (1987 - Howard Deutch) Amanda Jones
'Casual Sex?' (1988 - Genevieve Robert) Stacy
'The Wizard Of Loneliness' (1989 - Jenny Bowen) Aunt Sybil
1990s
JJL
'Miami Blues' (1990 - George Armitage) Susie Waggoner
'Backdraft' (1991 - Ron Howard) Jennifer Vaitkus
'Crooked Hearts' (1991 - Michael Bortman) Marriet Hoffman
'Rush' (1991 - Lili Fini Zanuck) Kristen Cates
'Single White Female' (1992 - Barbet Schroeder) Hedra 'Hedy' Carlson/Ellen Besch
'Short Cuts' (1993 - Robert Altman) Lois Kaiser
'The Hudsucker Proxy' (1994 - Joel Coen & Ethan Coen) Amy Archer
'Mrs. Parker And The Vicious Circle' (1994 - Alan Rudolph) Dorothy Parker
'Dolores Claiborne' (1995 - Taylor Hackford) Selena St. George
'Kansas City' (1996 - Robert Altman) Blondie O'Hara
'Washington Square' (1997 - Agnieszka Holland) Catherine Sloper
'A Thousand Acres' (1997 - Jocelyn Moorhouse) Caroline Cook
'eXistenZ' (1999 - David Cronenberg) Allegra Geller
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LT
'Article 99' (1992 - Howard Deutch) Dr. Robin van Dorn
'Dennis The Menace' (1993 - Nick Castle) Mrs. Alice Mitchell
'The Beverly Hillbillies' (1994 - Penelope Spheeris) Laura Jackson
'The Little Rascals' (1994 - Penelope Spheeris) Ms. Roberts
'The Unknown Cyclist' (1998 - Bernard Salzmann) Melissa Cavatelli
2000s
JJL
'The King Is Alive' (2000 - Kristian Levring) Gina
'The Anniversary Party' (2001 - Alan Cumming & Jennifer Jason Leigh) Sally Therrian
'Road To Perdition' (2002 - Sam Mendes) Annie Sullivan
'The Machinist' (2004 - Brad Anderson) Stevie
'Palindromes' (2004 - Todd Solondz) Mark Aviva
'Synecdoche, New York' (2008 - Charlie Kaufman) Maria
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LT
2002 ' Fish Don't Blink' (2002 - Chuck DeBus) Clara
'Haunted Lighthouse 4-D' (2003 - Joe Dante) Peg van Legge
2010s
JJL
'Greenberg' (2010 - Noah Baumbach) Beth
'The Moment' (2013 - Jane Weinstock) Lee
'The Hateful Eight' (2015 - Quentin Tarantino) Daisy Domergue
“I love Quentin Tarantino, so all I can tell you is that he loves and is so respectful of everyone that he works with. When you get on the set, it feels like a family. He knew more about my career than I did – he was quoting things that I’d done for ever ago as if they were yesterday.”
- Jennifer Jason Leigh, The Guardian
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LT
'Adventures Of A Teenage Dragon Slayer' (2010 - Andrew Lauer) Laura
'Mayor Cupcake' (2011 - Alex Pires) Mary Maroni
'J. Edgar' (2011 - Clint Eastwood) Lela Rogers
Need to see ...
'Annihilation' (2018 - Alex Garland) Dr. Ventress
Jennifer Jason Leigh playing Sally Bowles in 'Cabaret'
'Little Women' (2018 - Clare Niederpruem)
Marmee March
Lea Thompson playing Sally Bowles in 'Cabaret'
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TV Dinners
JJL
'Angel City' (1980 - Philip Leacock & Steve Carver)
Kristy Teeter
'The Best Little Girl In The World' (1981 - Sam O'Steen) Casey Powell
'Girls Of The White Orchid' (1983 - Jonathan Kaplan) Carol Heath
'Buried Alive' (1990 - Frank Darabont) Joanna Goodman
Jennifer Jason Leigh in 'Twin Peaks'
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LT
'Nightbreaker' (1989 - Peter Markle)
Sally Matthews
'Montana' (1990 - William Graham) Peg Guthrie
'The Right To Remain Silent' (1996 - Hubert De La Bouillerie) Christine Paley
Lea Thompson in the 'Jane Doe Mysteries'
'Stealing Christmas' (2003 - Gregg Champion) Sarah Gibson
'The Mrs. Claus' (2008 - George Erschbamer) Sophie
'Love At The Christmas Table (2012 - Rachel Lee Goldenberg) Elissa Beth Dixon
Lea Thompson in 'Caroline In The City'
'Howard The Duck' - The Cherry Bombs
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School's Out : Pause & Rewind ~ 1980s Teen Comedy Boom & the Academy Craze
There's a ton of 1980s nostalgia / appreciation websites for movie lovers and many videos available to watch on youtube (largely top 10s). I feel like this decade is a bit special for some people because it brought about the rapid rise of home video. Youth cinema has never really fallen out of fashion since the time when drive-in producers recognised there was a huge market out there if you could tap into the right demographic. Directors like Quentin Tarantino and Eli Roth are good to listen to when it comes to this topic, I find.
In the 1970s you had gentle period pieces, dramatic family portraits, serious character studies and a continuation of the juvenile delinquent picture, but you also had various comedy cycles popping up and these proved to be especially popular at drive-ins. Crown International Pictures were a leader in this field with titles like 'The Young Graduates' (1971), 'The Pom Pom Girls' (1976), 'The Van' (1977), 'Coach' (1978), 'Malibu Beach' (1978), 'Malibu High' (1979) and 'Van Nuys Blvd.' (1979), some of which are more dramatic than others. Crown International continued to lead the way in the 1980s and became a fixture on video store shelves. 'American Graffiti' (1973) offered a nostalgic view of high schoolers and drew praise for its use of rock 'n' roll numbers on the soundtrack. The more raucous college comedies were given a major boost by the box-office success of National Lampoon's 'Animal House' (1978) though it was far from being the only one produced in the 1970s. Among the best are 'Seniors' (1978), 'Teen Lust' (1978), 'French Postcards' (1979), 'Gas Pump Girls' (1979), 'Hollywood Knights' (1979), 'H.O.T.S.' (1979), 'King Frat' (1979), 'Rock 'N' Roll High School' (1979) and 'Summer Camp' (1979).
The leading cheerleader franchise of the 1970s produced 'The Cheerleaders' (1973), 'The Swinging Cheerleaders' (1974), 'Revenge Of The Cheerleaders' (1976) and 'Cheerleaders Wild Weekend (1979). In the 1980s came another key pom-pom franchise consisting of 'Cheerleader Camp' (1988), 'Camp Fear' (1991) and 'Cheerleader Camp : To The Death' (2014).
The first of the 1990s cheerleader comedies 'Getting Lucky' (1990)
The introduction of affordable video players offered film fans a chance to own their own copies of their favourite movies, so a lot of young people were able to rewatch their favourite teen films to the point that they knew pretty much every camera angle and could recite just about every word of dialogue. I think this is reflected in peoples' writings and recollections of films from this era. Popular story formats were successfully used by genre directors time and again to inject crime, science-fiction, fantasy and horror formulae into said pictures. Musicals built upon the success of 'Grease' (1978) and a new generation of stars was born under a randy moon. I found it an excellent getaway from the horrors of school which I hated. Punk didn't really materialise in overground cinema until the 1980s. This move was prompted by the success of low budget flicks like 'Over The Edge' (1979) and 'Rock 'N' Roll High School' (1979). We saw more and more punks appearing as subsidiary characters in genre films and this led to them eventually becoming leads, particularly in comedies set in high school, college or university.
Quentin Tarantino on mixing & matching genres
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15 Franchises
1) 'Porky's' (1981) / ' Porky's II: The Next Day' (1983) / 'Porky's Revenge!' (1985)
2) 'The Slumber Party Massacre' (1982) / 'Sorority House Massacre' (1986) / 'Slumber Party Massacre II' (1987) / 'Slumber Party Massacre III' (1990) / 'Sorority House Massacre II' (1990) / 'Cheerleader Massacre' (2003) / 'Cheerleader Massacre 2' (2009)
3) 'Zapped!' (1982) / 'Zapped Again!' (1990)
4) 'Screwballs' (1983) / 'Oddballs' (1984) / 'Loose Screws' (1985) / 'Screwball Academy' (1986) / 'Screwball Hotel' (1988)
5) 'Bachelor Party' (1984) / 'Bachelor Party 2 : The Last Temptation' (2008)
6) 'Hardbodies' (1984) / 'Hardbodies 2' (1986)
7) 'Revenge Of The Nerds' (1984) / ' Revenge Of The Nerds II : Nerds In Paradise' (1987) / 'Revenge Of The Nerds III : The Next Generation' (1992) / 'Revenge Of The Nerds IV : Nerds In Love' (1994)
8) 'Back To The Future' (1985) / 'Back To The Future Part II' (1989) / 'Back To The Future Part III' (1990)
9) 'The Return Of The Living Dead' (1985) / 'Return Of The Living Dead Part II' (1988) / 'Return Of The Living Dead 3' (1993) / 'Return Of The Living Dead : Necropolis' (2005) / 'Return Of The Living Dead : Rave To The Grave' (2005)
10) 'Teen Wolf' (1985) / 'Teen Wolf Too' (1987)
11) 'Class Of Nuke 'Em High' (1986) / 'Class Of Nuke 'Em High 2 : Subhumanoid Meltdown' (1991) / 'Class 'Oof Nuke 'Em High 3 : The Good, The Bad And The Subhumanoid'' (1994) / 'Return To Nuke 'Em High Volume 1' (2013)
12) 'Night Of The Demons' (1988) / 'Night Of The Demons 2' (1994) / 'Night Of The Demons 3' (1997) / 'Night Of The Demons' (2009)
13) 'Sorority Babes In The Slimeball Bowl-O-Rama' (1988) / 'Sorority Babes In The Dance-A-Thon Of Death' (1991) / 'Demon Divas And The Lanes Of Damnation' (2009)
14) 'Assault Of The Party Nerds' (1989) / 'Assault Of The Party Nerds 2 : The Heavy Petting Detective' (1995)
15) 'Bill & Ted's Excellent Adventure' (1989) / 'Bill & Ted's Bogus Journey' (1991)
The 'Porky's' franchise
 --- Movies1980 & 1981
'The Hollywood Knights' (1980)
'Student Bodies' (1981)
Michelle Pfeiffer, Pat Hemimgway & Chris Somma in 'The Hollywood Knights'
1982
'The Beach Girls' (1982)
'Class Reunion' (1982)
'Pandemonium' (1982)
'Fast Times At Ridgemont High' (1982)
'The Last American Virgin' (1982)
'Wacko' (1982)
'Speeding' - The Go-Go's
1983
'Class' (1983)
'The First Turn-On!' (1983)
'Getting It On' (1983)
'Joysticks' (1983)
'Risky Business' (1983)
'Valley Girl' (1983)
Kim Michel, Leif Green & Kym Malin in 'Joysticks'
1984
'Bad Manners' (1984)
'Grandview U.S.A. (1984)
'Hot Dog : The Movie' (1984)
'The Hotel New Hampshire' (1984)
'Hot Moves' (1984)
'Making The Grade' (1984)
'Night Of The Comet' (1984)
'No Small Affair' (1984)
'Repo Man' (1984)
'Sixteen Candles' (1984)
'Up The Creek' (1984)
'Voyage Of The Rock Aliens' (1984)
'Weekend Pass' (1984)
'Where The Boys Are' (1984)
'The Wild Life' (1984)
'You Bring Out The Lover In Me' - Pia Zadora
1985
'Better Off Dead' (1985)
'The Breakfast Club' (1985)
'Breaking All The Rules' (1985)
'Cavegirl' (1985)
'Fraternity Vacation' (1985)
'Girls Just Want To Have Fun' (1985)
'Heaven Help Us' (1985)
'Just One Of The Guys' (1985)
'Mischief' (1985)
'My Science Project' (1985)
'School Spirit' (1985)
'Secret Admirer' (1985)
'The Sure Thing' (1985)
'Tomboy' (1985)
'Weird Science' (1985)
Carolyn Dunn in 'Breaking All The Rules'
1986
'Back To School' (1986)
'Chopping Mall' (1986)
'Ferris Bueller's Day Off' (1986)
'Hamburger : The Motion Picture' (1986)
'Killer Party' (1986)
'Lucas' (1986)
'My Chauffeur' (1986)
'Night Of The Creeps' (1986)
'One Crazy Summer' (1986)
'One More Saturday Night' (1986)
'Peggy Sue Got Married' (1986)
'Playing For Keeps' (1986)
'Pretty In Pink' (1986)
'Real Genius' (1986)
'Soul Man' (1986)
'TerrorVision' (1986)
'TerrorVision' - The Fibonaccis
1987
'Adventures In Babysitting' (1987)
'The Allnighter' (1987)
'Can't Buy Me Love' (1987)
'Dudes' (1987)
'Hot Pursuit' (1987)
'Hunk' (1987)
'Jocks' (1987)
'Nightmare Sisters' (1987)
'Pretty Smart' (1987)
'Return To Horror High' (1987)
'Some Kind Of Wonderful' (1987)
'Summer School' (1987)
'Three For The Road' (1987)
'Three O' Clock High' (1987)
'Valet Girls' (1987)
Annie Ryan, Casey Siemaszko, Stacey Glick & Jonathan Wise in 'Three O'Clock High'
1988
'Beach Balls' (1988)
'Beverly Hills Vamp' (1988)
'Casual Sex?' (1988)
'Going Undercover' (1988)
'Heathers' (1988)
'Johnny Be Good' (1988)
'License To Drive' (1988)
'Drive My Car' - Breakfast Club
1989
'Cutting Class' (1989)
'Dr Alien' (1989)
'Hot Times At Montclair High' (1989)
'How I Got Into College' (1989)
'Never On Tuesday' (1989)
'Shag' (1989)
Brad Pitt & Jill Schoelen in 'Cutting Class'
---
Academies : 10 of the Best
'Police Academy 1 - 7' (1984 - 1994)
'Moving Violations' (1985)
'Recruits' (1986)
'Stewardess School' (1986)
'The Princess Academy' (1987)
'Mortuary Academy' (1988)
'Ninja Academy' (1988)
'Honeymoon Academy' (1989)
'Shooters' (1989)
'Vice Academy 1 - 6' (1989 - 1998)
The 'Vice Academy' franchise
In 2005, the film 'Fast Times At Ridgemont High' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
In 2014 and 2016 respectively, the films 'The Breakfast Club' & 'Ferris Bueller's Day Off' were selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
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Post by petrolino on Sept 21, 2019 22:12:45 GMT
* Oregon has served as a feeder state to neighbours California and Washington, planting seeds within the hardcore punk scene, the baby doll art movement and the 'Riot Grrrl' underground
* Oregon is famous for its forests, lakes, log homes, sawmills and historical timber industry, giving it much in common with punk bedfellow Minnesota. It's also one of America's spiritual homes for clowns. Pinto Colvig (Bozo The Clown) was born in Jacksonville, James H. Allen (Rusty Nails) was raised in Portland (his exact birthplace remains a point of conjecture among historians) and Rodney Carl Anderson (Ramblin' Rod Anders) was born in Portland. All are believed to have inspired Oregon native and 'Simpsons' creator Matt Groening's enduring cartoon character Krusty The Clown. But if you think they were just fooling, the joke would be on you, as many of Oregon's working clowns also served as church ministers, bringing a healthy dose of humour and some staunch moral fibre to their local communities. Petite torch singer Lee Morse of Cove, who performed in a trio of early soundies in 1930, developed her own live clown act involving yodeling which she channeled into her sprightly rendition of 'Yes Sir, That's My Baby'.
"There are two rules for being a Christian clown: The first is that once you put on your clown face you can't talk. The second is that when you're a clown, you have to let go of all of your problems and let yourself be moved by the Holy Spirit. We worked up a few skits and performed them after church to small audiences, which included my parents and a few other charitable souls. We did clown walks in public parks and the local Walmart. I loved being a clown, with the strange makeup, but most of all I loved making a spectacle of myself that was completely and absolutely anonymous.
When you're a clown, performing in a public place, like Walmart, most people won't look at you. Children are the one exception. Adults pretend that you're not there, because you kind of freak them out. They're just trying to get some groceries, and there's a clown in the middle of the aisle pretending to walk on a tightrope. Even though they ignore you, they're actually hyperaware of everything you do. It made me feel powerful. I carried around a jug of milk in my arms like a baby, showing it off to passersby like a proud mother. I pretended an orange weighed a hundred pounds and dragged it around the produce section. I could be as ridiculous as I wanted to be."
- Norina Beck, 'Clowns For Christ'
"Fertile Ground faithfuls have come to expect a lot of theatrical diversity by now, but the 2015 festival of new works has come with an unexpected trend: clowns. It's by no means an invasion, but with three local clowning groups putting on shows this year, it's safe to say that the Portland theater scene has officially begun to send in the clowns.
So who are these colorful fools? What entertainment do they bring to Fertile Ground? What does modern clowning look like anyway?
"This kind of happened organically," explained Jeff Desautels, the self-described "instigator" of Portland group Box of Clowns. "With all the influx of all the Dell'Arte people here, we hope Portland can be a flagship of clowning."
That "Dell'Arte" he's talking about is the Dell'Arte International School of Physical Theatre, a training program based in Northern California that teaches the old Italian art of commedia dell'Arte – which literally means the comedy of artists – a form that heavily influenced the evolution of clowning.
Graduates of the school's programs – including international troupe The Defenestrators, performing at Fertile Ground with Box of Clowns – have been migrating to Portland, Desautels said, hoping to fall into the existing clown community in town, and find a ready-made audience for their work. And that work is far from the circus clown stereotype we all know too well."
- Jamie Hale, Oregon Live
'I'm An Unemployed Sweetheart' - Lee Morse
* Some key figures in the evolution of punk music were born in Oregon, including Kat Bjelland (Salem), Kathleen Hanna (Portland) and Corin Tucker (Eugene). Oregon was once called home by maladjusted malcontents like the Wipers and the Rats. It's since become a breeding ground for riot grrrl practise. It's important to add, however, that ground zero for riot grrrls is generally said to be the state of Washington as this is where the concert battle lines were officially drawn, though elements of the manifesto were cribbed from underground writings being hand-published in Eugene. Bands from Oregon and Washington quickly joined forces, casting the cities of Portland, Eugene, Olympia and Seattle as major hubs of artistic innovation. K Records was already an established independent music label in Olympia when Kill Rock Stars was launched in both Olympia and Portland. The independent music festival Yoyo A Go Go was also launched in Olympia and this led to the creation of the Yo Yo record label.
"Since the 1880s, long before the mythical Paul Bunyan roamed the Northwest, the timber industry has been a driving force in the economies of Oregon and Washington and British Columbia. Forests on the Oregon Coast and the lower Columbia River had attracted those in the mid-nineteenth century who wanted to capitalize on gold-rush California’s growing demand for lumber. With the development of rail lines in the 1870s and 1880s, the forested valleys of the western Cascades and the ponderosa pine stands of eastern Oregon became centers of lumber production. Washington State became the nation’s leading producer of wood products in 1910, a position that Oregon has held since 1938. With the region’s increasingly diversified economy in the twenty-first century, however, wood products are no longer among the region's top commodities.
The Northwest has been a significant regional, national, and international participant in the lumber trade since the Hudson’s Bay Company built a water-powered sawmill at Fort Vancouver in 1827. During and after Oregon’s territorial period, Coos Bay, on the southern coast, was the exemplar of a timber-dependent community. George Wasson, who used oxen to haul logs to his water-powered sawmill in 1853, initiated the Coos lumber trade. Asa Mead Simpson followed with a steam-powered mill that dominated production on Coos Bay for decades. Using cargo ships to haul lumber from his coastal mills to retail outlets in San Francisco, Simpson turned his enterprises into extractive tributaries for California markets.
With timberlands in Michigan, Minnesota, and Wisconsin rapidly diminishing during the late nineteenth century, Great Lakes timber locators prowled Northwest forests on behalf of lumbermen such as Charles Axel Smith and Frederic Weyerhaeuser, laying claim to huge timberlands for their moneyed patrons. Smith took advantage of his properties on the southern Oregon Coast to open a state-of-the-art sawmill on Coos Bay in 1908, and his ships made regular trips to the company’s finishing mill at Bay Point northeast of San Francisco. By the dawn of the twentieth century, several large mills lined Portland’s waterfront, producing sawn lumber for California and Asian markets. On the Columbia River, Portland businessman Simon Benson pioneered a new technique in the early decades of the twentieth century, using ocean-going tugboats to pull large cigar-shaped log rafts to his sawmill in San Diego."
- William G. Robbins, 'Timber Industry'
'Riot grrrl is an underground feminist punk movement that began in the early 1990s in Washington state and the greater Pacific Northwest. It also had origins in Washington, D.C., and spread to at least 26 countries. It is a subcultural movement that combines feminist consciousness and punk style and politics. It is often associated with third-wave feminism, which is sometimes seen as having grown out of the Riot Grrrl movement. It has also been described as a musical genre that came out of indie rock, with the punk scene serving as an inspiration for a musical movement in which women could express themselves in the same way men had been doing for the past several years. Riot grrrl bands often address issues such as rape, domestic abuse, sexuality, racism, patriarchy, classism, anarchism and female empowerment. In addition to a music scene and genre, riot grrrl is a subculture involving a DIY ethic, zines, art, political action, and activism. The riot grrrl movement quickly spread well beyond its musical roots to create vibrant “zine” and Internet-based movement, complete with local meetings and grassroots organizing to end ageism, homophobia, weightism, racism, sexism and, especially, physical and emotional violence against women and girls. Riot grrrls are known to hold meetings, start chapters, and support and organize women in music.'
- Wikipedia
Riot Grrrl fanzine 'Girl Germs'
Riot Grrrls on the rampage
Yo Yo A Go-Go mania grips Olympia
Calamity Jane (formed in Portland)
Bikini Kill (formed in Olympia)
Bratmobile (formed in Eugene)
Heavens To Betsy (formed in Olympia)
Excuse 17 (formed in Olympia)
Team Dresch (formed in Portland & Olympia)
Sleater-Kinney (formed in Olympia)
Cadallaca (formed in Portland)
'Start Together' / 'Be Yr Mama' / 'Words & Guitar' - Sleater-Kinney vow to take back Seattle in 1999
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Post by petrolino on Sept 28, 2019 22:48:20 GMT
* Punk's pulse lurks deeper underground but is set to be illuminated by the glow of the warm California sun ...
* As Alice Bag discusses in an an interview I've posted in this thread, the thriving punk scene garnering the most attention today is the latino punk scene, though it's been raging since the beginnings of the west coast punk scene. I was first alerted to the existence of these bands by Californian guitarist Kim Shattuck, back when I was at school. The trouble was, though I could find singles and odd songs from some of the better known bands, hearing albums posed a greater challenge here in England (and some prominent bands never seemed to get to recording an album during their early incarnations). I wasn't at all surprised to see 'The New York Times' covering Los Angeles' latino ("chicano" / "latinx") punk scene in detail for a 2018 article as it's simply never gone away. The same can be said for Californian punk in general.
Twenty years ago, New York took back the reigns through the emergence of bands like Interpol, the Strokes, the Yeah Yeah Yeahs and Sleigh Bells. These rock bands incorporated different musical styles into their act but they also drew diligently upon the state's proud punk history. Today, the same thing is happening in California with one major difference : none of the bands has had an international breakthrough yet, or had a major hit on the Billboard Hot 100, as far as I'm aware.
"Chicanos have played a defining role in punk rock since its inception. In fact, Michigan's ? and the Mysterians are a strong contender for the first band to be labeled “punk rock.” A little closer to home, East Los's Cannibal and the Headhunters were part of the first wave of 1960s garage punk. The band scored an early hit with “Land of a Thousand Dances,” the first with the “na na na na na na” refrain. But once punk proper hit with all its safety pins and mohawks, L.A. was home to two rival punk scenes: One in Hollyweird, another in East Los.
Unlike the Hollywood punk scene, extensively covered in the book We Got The Neutron Bomb: The Untold Story of L.A. Punk, the Chicano punk scene has largely gone unreported even today. However, Scion's iQ Project Museum is attempting to address the untold story of East L.A. punk.
Bands like X and an early version of The Go-Gos hung their hats at Hollywood's Masque club. But the Chicano punk rock scene of East L.A. revolved around the Vex. A project of Self Help Graphics (still active and hosting Chicano powerviolence standard bearers Despise You on April 6, 2012), The Vex provided a platform for bands like The Plugz, The Brat and The Zeros, who were known as the “Mexican Ramones” and featured a young El Vez. Backyard shows and private parties with other popular venues for Eastside Los Angeles punk.
Los Angeles Chicano punk was about more than just brown skin. The bands displayed a consciousness of La Raza in words, sounds and images. Unlike Hollywood, this scene wore Chicano identity on their sleeves, incorporating Spanish lyrics, Mexican imagery and mariachi influences into the music. Los Illegals refused to display hackneyed Mexican imagery like velvet Elvis paintings, preferring instead a more authentic, street-level public persona as punk rock pachucos.
There was no Berlin Wall between Hollywood and East Los. Once a firm bridge was built between the two scenes, however, the writing was on the wall. X headlined 1980's “Punk Prom,” which brought the two divergent scenes in close contact at long last.
Now the predominantly white scene of Hollywood knew about The Vex, with bands eagerly lining up to play the newest hot spot in the Los Angeles punk scene. Soon after, a riot at a Black Flag show destroyed the venue, both physically and logistically.
The Chicano punk scene continued on, however. The Plugz eventually morphed into Cruzados, while Los Illegals continue to play today and The Zeros occasionally reunite when Robert Lopez isn't doing his El Vez thing. For its part, East Los Angeles is home to a vibrant underground punk rock scene of backyard shows not too different from those held in East Los 30 years ago."
- Nicholas Pell, LA Weekly
"Somewhere deep in the polluted heart of Los Angeles — maybe East LA or Boyle Heights or South Central—there’s probably a backyard punk show going off right now. At first, it might look like any other punk gig: Kids with mohawks, dye jobs, and spiked collars moshing, drinking, and having a good time. But look a little closer and you might notice that the drummer is sitting on a lawn chair, not a drum stool. There’s no mic stand, so the singer/guitarist’s buddy is holding the mic for him. Oh, and pretty much everyone here is brown: These are Latino punks with their own scene, their own bands, and no need or desire for attention from the mainstream — or even, sometimes, the wider punk community. Before long, a police helicopter circles overhead, its spotlight strafing the crowd. Then the ground troops move in: LAPD’s boys-and-girls in blue run crowd control and dispersion tactics. Maybe they’re polite about it; maybe they’re not. You just never know how the night will end.
Filmmaker Angela Boatwright captured all of this and more in her new documentary, Los Punks, which will make its New York premiere on May 26, 2016 and become available on iTunes the following day. After spending years as a NYC-based photographer working with metal bands and skateboarders, Boatwright moved to LA in 2012 and went to her first backyard punk show the following year. She initially started filming the punks for short video webisodes sponsored by Vans. Before long, she found herself making a feature-length documentary with financial support from the famous footwear company. “It’s a self-sustaining scene,” she says of the previously hidden culture she spent three years shooting. “At the shows, you might see a Bad Religion or a Black Flag shirt here and there, but for the most part people are wearing the shirts and patches of the backyard bands. They support each other. It all goes back to family and community.”
- J Bennett, VICE
Mexico's Le Butcherettes are frequent visitors to California
It's hard to put a tag on rock 'n' roll bands and I've never been one for applying labels outside of the need to communicate. If somebody asked me for some heavy rock I'd point them in the direction of Magic Wands, Deap Vally and Starcrawler. For something off-kilter, I'd say to try Gothic Tropic and Lemon Twigs. For some thumping psychedelia I'd suggest A Giant Dog and Sweet Spirit. For art rock built upon low fidelity grooves, I'd point towards Snail Mail and Soccer Mommy. And if they were looking for cosmic dream pop I'd say to look no further than Quilt, Japanese Breakfast and Lo Moon.
'Bendover' - A Giant Dog
Sweet Spirit - 'Baby When I Close My Eyes'
Now, a few of these bands I've mentioned were either formed in California or are now based there, so on balance, I do think it's the state to be in right now. I could also make a strong case for Florida, New York, Maryland and others, but there's just so much going on in California at the moment, you're sure to find something you like if you're a rocker. But I always look out across America to discover new sounds as it excites me to do this. Here's just some of the bands currently sating my appetite for the joys of punk abandon.
California
Mika Miko | Bleached
'Business Cats' - Mika Miko
'Think Of You' - Bleached
Cherry Glazerr
'What's In My Bag?' with Cherry Glazerr
'Daddi' / 'Wasted Nun' - Cherry Glazerr
L.A. Witch
'Drive Your Car' - L.A. Witch
The Regrettes
'Come Through' - The Regrettes
Death Valley Girls
'What's In My Bag?' with Death Valley Girls
'Wear Black' - Death Valley Girls
Generacion Suicida
'Criminal' - Generacion Suicida
Alabama & Pennsylvania
P.S. Eliot | Waxahatchee | Swearin'
'La Loose' - Waxahatchee
'Future Hell' - Swearin'
New York
Baby Shakes
'Summer Sun' - Baby Shakes
Florida
The Pauses
'The Best For The Most For The Least' - The Pauses
Jacuzzi Boys
'Double Vision' - Jacuzzi Boys
Oklahoma
Skating Polly
'Camelot' - Skating Polly
Massachusetts
Guerilla Toss
'Eraser Stargazer Forever' - Guerilla Toss
'She had to leave Los Angeles,
All her toys wore out in black and her boys had too ...'
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