They most definitely will be playing Italy in a very near future.
1000 musicians play Learn to Fly by Foo Fighters to ask Dave Grohl to come and play in Cesena, Italy 1000 musicisti suonano Learn to Fly dei Foo Fighters per chiedere a Dave Grohl di venire a suonare a Cesena Directed by Anita Rivaroli and Alberto Viavattene Edited by Matteo Stefani Created by Fabio Zaffagnini Claudia Spadoni, Anita Rivaroli, Martina Pieri, Marta Guidarelli, Valentina Balzani, Debora Castellucci
Lalibela is a town in northern Ethiopia famous for monolithic rock-cut churches. Lalibela is one of Ethiopia’s holiest cities. The population of Lalibela is almost completely Ethiopian Orthodox Christian. Ethiopia is one of the earliest nations to adopt Christianity in the first half of the fourth century, and its historical roots date to the time of the Apostles. The layout and names of the major buildings in Lalibela are widely accepted, especially by local clergy, to be a symbolic representation of Jerusalem. This has led some experts to date the current church forms to the years following the capture of Jerusalem in 1187 by Muslim leader, Saladin. This rural town is knownaround the world for its churches carved from within the earth from living rock, which play an important part in the history of rock-cut architecture. Though the dating of the churches is not well established, most are thought to have been built during the reign of Lalibela, namely during the 12th and 13th centuries. Contrary to theories advocated by writers like Graham Hancock, according to Buxton the great rock-hewn churches of Lalibela were not built with the help of the Knights Templar; asserting abundant evidence exists to show that they were produced solely by medieval Ethiopian civilization. For example, while Buxton notes the existence of a tradition that “Abyssinians invoked the aid of foreigners” to construct these monolithic churches, and admits that “there are clearly signs of Coptic influence in some decorative details” (hardly surprising given the theological, ecclesiastical, and cultural links between the Ethiopian Orthodox and Coptic Orthodox Churches), he is adamant about the native origins of these creations: “But the significant fact is remains that the rock-churches continue to follow the style of the local built-up prototypes, which themselves retain clear evidence of their basically Axumite origin.”
The churches are also a significant engineering feat, given that they are all associated with water (which fills the wells next to many of the churches) exploiting an artesian geological system that brings the water up to the top of the mountain ridge on which the city rests.
Lalibela was the refuge for one of Christianity’s most interesting heresies, known as Monophysitism. This belief states that Christ was both divine and human before his incarnation but that his divine nature left his body and only reentered it after the Resurrection. First professed at the 2nd Council of Ephesus in 449 AD and soon thereafter condemned as heresy at the Council of Chalcedon in 451, Monophysitism spread through Asia Minor into Africa and Ethiopia. In different forms it survives today in the Syrian Orthodox church, the Armenian church, the Coptic church of Egypt and Ethiopian Orthodoxy.
Grace Jones, Iggy Pop and Henry Rollins Are Starring in the “Loudest Silent Movie on Earth”
God has eradicated sin once and for all. God has abolished rock ‘n’ roll and those other two things that go with it (er, drugs, sex). But God is in for a challenge — as he’s about to meet Iggy Pop.
Such is only the beginning of the wild premise of the upcoming silent film, Gutterdämmerung, which BEAT Magazine reports sees Iggy Pop playing a rebellious “punk” angel named Vicious who attempts to return delicious chaos to the world, Henry Rollins playing a puritan priest, and Grace Jones playing “the only person capable of controlling all the testosterone of all the no good rock ‘n’ rollers.” The film has been dubbed by its writer/director — Belgian-Swedish visual artist Bjorn Tagemose — as the “loudest silent movie on Earth.”
For, screenings of it will be accompanied by the score of a touring rock band. As per a video announcement of the project, which you can watch below, the audience will be standing while watching this “fully immersive experience.” The video alleges that “12 epic rockstars are playing in this film” — the rest of the cast will be announced as the film’s release nears.
If none of that has gotten you excited, perhaps a statement from Jesse Hughes of the Eagles of Death Metal will:
It’s not a rockumentary, it’s not fucking Spinal Tap, it’s the real fucking deal. And it’s the craziest fucking story you’ll ever fucking see in the theater.
Tagemose and his rock star cast announced the project on the film’s website, promising additional casting announcements on 3 August.
Pop also has another film project lined up. He’s set to play a serial killer inThe Sandman, the latest horror film from Italian master Dario Argento.
Dark alleys were the first to be marked with Zïlon’s poetic signature. Dubbed « The Back Street Cocteau » (ref to French poet, filmaker, artist Jean Cocteau), he was one of Montreal’s key figures during the 80’s punk and underground movement. I decided to display here only his work in Black and White… But let.s start with a few drawings/paintings by Jean Cocteau…
I think Die Antwoord has to be understood from a second degree so I’m not a huge fan of the movie as such, it’s only entertaining. These guys are something more… That’s why I wanted to propose something very different. Hope you will all enjoy
A documentary looks at the creation of one of the most tattooed logo in punk rock and the artist behind Black Flag: Raymond Pettibon
Created and directed by rock archivist Bryan Ray Turcotte with photographer Bo Bushnell, the first instalment of ‘The Art of Punk’ begins with Black Flagfounding members Keith Morris and Chuck Dukowski, who talk about what the scene was like in 1976 when the band formed.
Also interviewed is Raymond Pettibon, who not only created the band’s artwork, flyers and iconic four bars logo, but even came up with their name. He has since gone on to international acclaim, earning several awards and exhibiting in major galleries and museums.
Two other musicians then discuss the impact of Black Flag’s music and art on their own lives – Henry Rollins, who became the band’s singer in 1981, and Red Hot Chili Peppers bassist Flea, who can currently been seen rehearsing with Thom Yorke’s Atoms For Peacesupergroup.
This documentary will take you back right to the beginning of Black Flag and you will definitely enjoy the ride as you get to discover the dark humour of Ray Pettibon who gave Black Flag the perfect edge they needed to be taken seriously and would never miss a chance to break any taboo that would come across. Not only did his flyers sure did bring people up, it also got them in serious troubles with those who thought that this wasn’t funny at all!!
Little did the Rolling Stones know how apt their name – inspired by the title of a Muddy Waters song, “Rollin’ Stone” – would turn out to be. Formed in 1962, they hold the record for longevity as a rock and roll band. There have been hiatuses, especially in the 1980s, but never a breakup. Moreover, critical acclaim and popular consensus has accorded them the title of the “World’s Greatest Rock and Roll Band.” Throughout five decades of shifting tastes in popular music, the Stones have kept rolling, adapting to the latest styles without straying from their roots as a lean, sinuous rock and roll band with roots in electric blues. In all aspects, theirs has been a remarkable career.
The Rolling Stones’ origins date back to the boyhood friendship of Mick Jagger and Keith Richards, forged in 1951. Their acquaintance was interrupted when both families moved in the mid-Fifties but got rekindled in October 1960, when the two ran into each other at a train station and Richards noticed the imported R&B albums Jagger was carrying under his arm. Jagger, a student at the London School of Economics, was a hardcore blues aficionado, while Richards’ interest leaned more toward Chuck Berry-style rock and roll. Richards soon joined Jagger’s group, Little Boy Blue and the Blue Boys.
While making the rounds of London blues clubs, Jagger and Richards met guitarist Brian Jones, a member of Blues Incorporated (fronted by Alexis Korner, a key figure in the early London blues-rock scene). They had been knocked out by Jones’ slide-guitar work on his solo reading of Elmore James’ “Dust My Broom.” (Jones actually employed the pseudonym “Elmo Lewis.”) Soon, the trio of Jagger, Richards and Jones became roommates and musical collaborators.
Keith Richards has been clear about whose band it was in the beginning: “Brian was really fantastic, the first person I ever heard playing slide electric guitar,” Richards said in Stone Alone: The Story of a Rock ’n’ Roll Band, by bassist Bill Wyman. “Mick and I both thought he was incredible. He mentioned he was forming a band. He could have easily joined another group, but he wanted to form his own. The Rolling Stones was Brian’s baby.”
When Alexis Korner skipped one of his regular Marquee gigs to appear on a BBC radio show, Jagger, Jones and Richards seized the opportunity to debut their new group. And so it came to pass that the earliest version of the Rolling Stones – which also included bassist Dick Taylor (later a founding member and guitarist for the Pretty Things), drummer Mick Avory (a future member of the Kinks) and keyboardist Ian Stewart (the Stones’ lifelong road manager and adjunct member) – made their first public appearance on July 12, 1962.
The Rolling Stones landed an eight-month residency at the Crawdaddy Club, where they attracted a following of fans and fellow musicians. By that time, the group’s final lineup had been set, with founding members Jagger, Richards and Jones augmented by drummer Charlie Watts (a Blues Incorporated alumnus) and bassist Bill Wyman. They also took on a young manager-producer, Andrew Loog Oldham, who saw in the Stones a chance to exploit “the opposite to what the Beatles are doing.” Indeed, the Stones would come to epitomize the darker, bluesier and more boldly sexual side of rock and roll in a kind of ongoing counterpoint with the Beatles’ sunnier, more pop-oriented vistas.
In May 1963 the Rolling Stones signed to Decca Records and cut their first single. With a Chuck Berry-penned A side (“Come On”) and a Willie Dixon cover on the flip (“I Want to Be Loved”), this 45 set forth the rock/blues dichotomy whose eventual melding in the Jagger/Richards songwriting team would come to define the Stones’ sound and sensibility. Their second single, “I Wanna Be Your Man,” was provided to them by the Lennon/McCartney songwriting tandem, proving from the outset that there no hostilities existed between the Beatles and the Stones. However, a spirit of friendly competition would serve each band well throughout the Sixties. The first half of 1964 saw the Rolling Stones headline their first British tour (with the Ronettes) and release the single “Not Fade Away” (a powerfully retooled Buddy Holly cover) and their eponymous first album, retitled England’s Newest Hitmakers/The Rolling Stones for U.S. release.
The Rolling Stones’ commercial breakthrough came in mid-1964 with their swinging, country-blues rendition of the Valentinos’ “It’s All Over Now” (written by Bobby Womack and Shirley Womack) which went to Number One on the British chart and just missed the U.S. Top 40. But it was in 1965 that the Stones discovered their own voice with the singles “The Last Time” and “(I Can’t Get No) Satisfaction.” The last of these, built around a compelling fuzztone guitar riff from Richards, is more than a standard; quite possibly it is the all-time greatest rock and roll song. It also captured the Stones’ surly, impolite attitude, which would bring them into disfavor with rock-hating elements in the establishment. Of course, that only made the group more appealing to those youthful listeners who found themselves estranged from the adult world.
Aftermath, released in April 1966, was the first Rolling Stones album to consist entirely of Jagger-Richards originals. Their hard-rocking British pop songs detailed battles between sexes, classes and generations. The contributions of Brian Jones, the one-time blues purist, were now key to the Stones’ more eclectic approach, as he colored the songs with embellishments on a variety of instruments including marimba (“Under My Thumb”) and dulcimer (“Lady Jane”). The group’s subsequent singles further pushed the envelope of outrage, which the Stones were learning to work to their benefit. “Have You Seen Your Mother, Baby, Standing in the Shadow” was a pounding rocker whose picture sleeve depicted the Stones in drag, while “Let’s Spend the Night Together” engendered controversy in the States for the bluntly sexual come-on of its title and lyrics.
At mid-decade, the three pre-eminent forces in popular music were the Beatles, Bob Dylan and the Rolling Stones. They mutually influenced one another, and aspects of Dylan’s folk-rock and the Beatles’ similar turn in that direction with Rubber Soul were clearly evident on the Stones’ Between the Buttons, which appeared in 1967. It remains the group’s most baroque and understated recording. After the release of Flowers, an album that compiled stray tracks for the American market, the Stones unleashed the bombastic psychedelia of Their Satanic Majesties Request. It was the group’s portentous retort to the Beatles’ “Summer of Love” manifesto, Sgt. Pepper’s Lonely Hearts Club Band. It also marked the last time that the Stones would blatantly shadow the Beatles in a stylistic sense.
The year 1967 was an eventful one for the Rolling Stones. Not only did they release three albums, but also they were beset with legal troubles stemming from a string of drug busts engineered by British authorities wanting to make an example of them. When the dust cleared, Jagger, Richards and Jones narrowly escaped draconian prison sentences. However, whereas the ordeal seemed to strengthen Jagger and Richards’ resolve, ongoing substance abuse was rapidly causing Jones’ physical and mental states to disintegrate. He was only marginally involved in sessions for Beggar’s Banquet, the Stones’ 1968 masterpiece, and his departure due to “musical differences” was announced on June 9, 1969. Less than a month later, Jones was found dead in his swimming pool, the official cause being given as “death by misadventure.”
His replacement was Mick Taylor, an alumnus of John Mayall’s Bluesbreakers, who made his debut with the Stones only days after Jones’ death at a free concert in London’s Hyde Park. With a crowd of more than 500,000, the enormous outdoor concert launched the Stones’ 1969 tour while also paying last respects to Jones. By this time, the Stones had returned to definitive, hard-hitting rock and roll. The string of muscular Stones classics from this period includes “Jumpin’ Jack Flash,” “Street Fighting Man,” “Sympathy for the Devil,” “Honky Tonk Women,” “Gimme Shelter” and “Midnight Rambler.” The last two songs came from Let It Bleed, an album filled with violence, decadence and social cataclysm. Perhaps the all-time classic Stones album, Let It Bleed debuted on the U.S. charts at Number Three, behind the Beatles’ Abbey Road and Led Zeppelin II. While the counterculture foundered, the music scene remained unassailably strong as the Sixties drew to a close.
As the Beatles’ final chapters were being written, the Stones shifted into high gear. If the former group expressed the heady idealism of the pop Sixties, then the Stones, by contrast, were blues-steeped, hard-rocking realists. It was them to whom the baton passed at the close of the decade. The Rolling Stones staged a free concert at Altamont Speedway outside San Francisco on December 6, 1969, mere months after Woodstock. The episode literally and figuratively marked the end the Sixties. A violence-prone, drug-wracked, daylong nightmare for which Hell’s Angels provided security, Altamont was marred by the stabbing death of a concert attendee. The event, viewed in hindsight as an epitaph, was filmed and preserved in the unnerving documentaryGimme Shelter.
In 1970, the Stones launched their own record company, Rolling Stones Records, for which they signed a distribution deal with Atlantic Records. The initial releases on the new label were Sticky Fingers and its raunchy, rocking first single, “Brown Sugar.” With a cover designed by artist Andy Warhol that featured a working zipper, Sticky Fingers benefited from guitarist Taylor’s melodic touch, especially on “Can’t You Hear Me Knocking” and “Moonlight Mile.” British designer John Pasche came up with the famous red “tongue” logo that remains a Stones icon to this day.
They followed this succinct, well-tuned work with a sprawling, raucous masterpiece: the double album Exile on Main St. At this point, the Stones’ had their fingers firmly on the pulse of the fractured mood of the early Seventies. Recorded in France, where they’d moved as British tax exiles, the album also reflected the group’s internal yin-yang in grainy aural black-and-white: bristling musical energy vs. heavy-lidded world-weariness, love of rock vs. loyalty to the blues, the downward pull of decadence vs. a dogged effort to capture the moment. They took this juggernaut on the road shortly after Exile’s release.
Subsequent albums – Goats Head Soup (1973), It’s Only Rock ‘n’ Roll (1974) and Black and Blue (1976) – yielded solid individual songs but lacked their predecessors’ sustained brilliance. Various factors, including Richards’ drug problems and Taylor’s abrupt departure in 1974, contributed to an air of instability in the mid-Seventies. Even so, Jagger and Richards were now firmly bonded as the “Glimmer Twins” – a name that they used as their joint production credit on albums from It’s Only Rock ‘n’ Roll onward. Ron Wood, a member of the Faces and Rod Stewart’s frequent collaborator and accompanist, was chosen as Taylor’s replacement for the Stones’ 1975 tour. He became an official member by the time of Black and Blue, appearing on that album’s cover (even though he’d only actually played on a few of its tracks). Wood’s selection made perfect sense, as he was a British rock and roller who fit in solidly alongside Richards.
Richards’ arrest in Toronto on drug charges, including heroin possession, didn’t stop them from playing their scheduled club dates at Toronto’s El Mocombo club, excerpts from which appeared on one side of the double album Love You Live. The fallout from the bust would be 18 months of legal limbo, as Richards faced up to seven years in prison if convicted. (He was ultimately ordered to perform a benefit concert for the blind as his sentence.) Richards beat his heroin addiction during this period, “closing down the laboratory,” in his words.
With Wood’s integration into the lineup, and driven by the insurgent challenge of punk-rock, the Stones rebounded in 1978 with Some Girls, their strongest effort since Exile On Main St. The cover and certain lyrics proved controversial, with the title track eliciting charges of sexism, and the songs paid heed to musical trends, including unmistakably Stonesy takes on disco (“Miss You”) and punk-rock (“Shattered”). Some Girls remains among the group’s best-selling albums, having been certified six times platinum (6 million copies sold) by the RIAA.
The Eighties saw the Stones achieve their highest-charting album (Tattoo You, Number One for nine weeks in 1981) but also take the longest period between tours (eight years). They kicked off the decade with Emotional Rescue, which included straight-ahead rockers like “She Was Hot,” as well as curveballs like the falsetto-sung title track. Tattoo You, highlighted by the instant classics “Start Me Up” and “Waiting on a Friend,” remains among the most revered of all late-period Stones albums. Undercover, from 1983, took a more contemporary tack, especially on the outre, New Wavish single “Undercover of the Night.”
At mid-decade, Jagger launched a solo career with the release of She’s the Boss. A growing estrangement between Jagger and Richards culminated in a three-year lull after the release of Dirty Work (1986), during which another solo release from Jagger (Primitive Cool) and Richards’ own solo debut (Talk Is Cheap) were released. The standoff ended when Jagger and Richards resumed their working relationship during a 10-day songwriting retreat in Barbados, resulting in the creative resurgence of the Steel Wheels album and tour.
Bassist Bill Wyman, increasingly suffering from fear of flying, announced his retirement from the band after the Steel Wheels tour, in 1992. “I did everything but hold him at gunpoint,” said Richards of his efforts to keep him in the band.” After auditioning many musicians, the Stones picked Darryl Jones – who’d played with various jazz, funk and soul musicians – to take over on bass. The Stones released two albums of new music in the Nineties, Voodoo Lounge (for which they won a Grammy for Best Rock Album) and Bridges to Babylon. Between those albums, they re-recorded a batch of classic older songs in the then-popular “unplugged” format, released at mid-decade as Stripped. Their three tours during this busy decade were the best-attended and most lucrative live outings in rock history to that point in time.
In 2002, the Rolling Stones issued Forty Licks, a double-disc retrospective that appended four new tracks. Their 40th anniversary tour followed that same year. In 2005 came A Bigger Bang, their only studio album of new material in the decade. The Stones’ primary activity came on the touring front, as their two-year A Bigger Bang World Tour set a new record (more than $550 million) for concert grosses. Not even a serious head injury sustained by Richards during a fall from a coconut palm in Fiji could stop the juggernaut for long.
The Stones celebrated their 50th anniversary in 2012. They released yet another greatest-hits album, GRRR! The album included two new tracks, “Doom and Gloom” and “One More Shot.” On October 25, they played a surprise show to about 600 people in Paris. In November 2012, the group played two shows at London’s The 02 Arena, and in December, they performed at the Barclays Center in Brooklyn and the Prudential Center in New Jersey. The Stones were joined on stage by Mick Taylor and Bill Wyman for these gigs. The band also joined artists including the Who, Eric Clapton, Bruce Springsteen and Paul McCartney for “12-12-12,” the Concert for Sandy Relief at Madison Square Garden.
Through their five decades as a band, no one has yet stripped the Rolling Stones of their title as the World’s Greatest Rock & Roll Band. In 2002, Keith Richards had this to say in USA Today about the group’s improbable longevity: “People thought it couldn’t be done. We never thought of trying it. We are just here. It’s a vague mission you can’t give up until you keel over.”
I strongly recommend that you read Keith Richards memoir written with the assistance of journalist James Fox. Published in October 2010. The book chronicles Richards’ love of music, charting influences from his mother and maternal grandfather, through his discovery of blues music, the founding of the Rolling Stones, his often turbulent relationship with Mick Jagger, his involvement with drugs, and his relationships with women including Anita Pallenberg (very much involved with the 60’s New-York crowd) and his wife Patti Hansen.Richards also released Vintage Vinos, a compilation of his work with the X-Pensive Winos, at the same time. Co-writer James Fox interviewed Richards and his associates over a period of five years to produce the book. Life was generally well received by critics and topped The New York Times non-fiction list in the first week of release.
Life is a memoir covering Keith Richards’s life, starting with his childhood in Dartford, Kent, through to his success with the Rolling Stones and his current life in Connecticut. His interest in music was triggered by his mother, Doris, who played records by Sarah Vaughan, Billy Eckstine and Louis Armstrong, and his maternal grandfather, Augustus Theodore Dupree, a former big band player, who encouraged him to take up the guitar. In his teens he met up with Mick Jagger, who he had known in primary school, and discovered that they both shared a love of blues music. In the early 1960s Richards moved into a London flat, shared with Jagger and Brian Jones. Together with Bill Wyman, Ian Stewart and Charlie Watts, the Rolling Stones were founded in 1962, playing gigs at Ealing Jazz Club and the Crawdaddy Club.
The book chronicles Richards’s career with the Stones since 1962, following their rise from playing small club gigs to stadium concerts, Richards’s drug habits, his arrests and convictions. His relationships with a number of women, including Anita Pallenberg, Marianne Faithfull, Ronnie Spector and Patti Hansen, whom he married in 1983, are covered in detail. The often difficult partnership between Richards and Jagger is referred to throughout the work and coverage of this has caused much media interest.
Throughout the work, much attention is given to Richards’ love of music, his style of playing and chord construction.His non-Stones projects, such as the X-Pensive Winos and recording with the Wingless Angels in Jamaica, as well as collaborations with Chuck Berry and Gram Parsons amongst others are covered in some detail.
The book gives you the recipe for such a succesfull and long lasting band, something that you do not get to see that often… Reading it was pure delight so I strongly recommend it to anyone, wether you are a fan or not, you will definitely enjoy this!
Born in Santa Monica, California, Lynette Alice Fromme grew up in Westchester, California where her father William worked as an aeronautical engineer. Lyn was the first of 3 children, was a talented, well-liked child that toured throughout the United States and Canada in a song and dance troop called the Lariats. In Junior High School Lynette was active with many after school activities. She was a member of the Athenian Honor Societyas well as the Girls Athletic Club. In her drama class Lyn befriended a young Phil Hartman, who eventually gained fame on shows like Saturday Night Live, The Simpsons, & Newsradio. When her class gave out superlatives, Lynette was voted “Personality Plus”.
As Lyn grew older, the relationship between her and her father grew apart. Neighbors remembered William Fromme as a tyrant-like figure, who seemed to punish Lyn for little or nothing at all. In High School, Lynette became more rebellious, using drugs and alcohol. She worked in a Canvas shop where coworkers would see Lyn burn herself with lit cigarettes, and shoot staples into her forearm with a staple gun. She briefly dated Bill Siddons, who went on to be the road manager of The Doors. However, Siddons’ mother felt that Lyn was disturbed, and talked Bill into steering clear of her. After High School, Lynette bounced around, living with different people. She eventually moved back home and enrolled at El Camino Junior College. It wasn’t long before Lyn and her father were fighting again.
The two got into a fight over a definition of a word, and it was the last straw for Lynette; again, she hit the road. It was at this time, that Lyn met Charles Manson on Venice Beach. Impressed by Manson, she quickly decided to leave Los Angeles to travel with Charlie and Mary Brunner Lynette had a special spot in the family; according to Paul Watkins, no one but Charlie was allowed to sleep with Lyn. At Spahn’s Ranch, Fromme spent most of her time taking care of the 80 year-old blind owner, George Spahn. Lynette would make squeak-like noises when George ran his hands up her legs, so he dubbed her “Squeaky.” Lynette was arrested with the family in both the Spahn and Barker Ranch raids. During the Tate-Labianca murder trial Lyn was frequently arrested. The charges ranged from contempt of court, loitering, trespassing on county property, to attempted murder, for a LSD lanced hamburger given to Barbara Hoyt in Hawaii.
After Manson was convicted, Squeaky moved to San Francisco to be closer to San Quentin. She maintained contact with defense attorney Paul Fitzgerald, and family members in and out of jail. However, prison officials were uncomfortable about her and wouldn’t permit her to see Charlie. When Lyn wasn’t petitioning to see Manson, she began writing a book about the family. In September of 1972, Lynette was arrested in connection with the murders of James and Reni Willet. Authorities soon found she wasn’t involved with the murders, however they were reluctant to let her go. Finally on January 2nd 1973, all charges against Lyn were dropped, and she was released the following day. On her release Lynette was immediately arrested by LAPD. She had been accused of robbing a 7-11 convenience store in October of 1972. At the trial Lyn’s accuser, a 17 year-old 7-11 employee, admitted that the robber didn’t have the “X” scar on her forehead. Once again the charges weren’t dropped until another woman was arrested and confessed to the crime. Freedom was bittersweet for Lyn, the Family was falling apart. Mary, Gypsy, Katie, Leslie, and Sadie all wanted nothing to do with Manson.
Later that year, Lynette moved to Sacramento with Sandra Good. The reason for the move was once again to be closer to Manson; Charlie had been moved from San Quentin toFolsom Prison. While walking in a park Fromme befriended a 64 year-old man named Harold “Manny” Boro. According to Boro’s daughter-in-law, the two were lovers. In Sacramento, Lyn and Sandy became more preoccupied with saving the environment. It was around this time that Charlie started to talk about the Order of the Rainbow, his own religion in which Lyn and Sandy would be nuns of. Each of the Manson girls was given a color; Lynette was dubbed “Red” and was given the duty of saving the Redwoods. Their Lifestyles would be very different compared to the Spahn’s Ranch days. The girls weren’t allowed to smoke, have sex, or watch “movies with violence that sets thoughts to death and confusion.” From their P Street apartment, Lyn and Sandy started the International People’s Court of Retribution; a fictitious terrorist group that would assassinate executives and CEO’s of companies that polluted the earth. The two sent out hundreds of threatening letters that claimed that there were thousands of members of the terrorist group just waiting to kill.
While trying to get the local news to report the damage being done to the Redwoods from logging, Lyn was informed that the President of the United States was coming to town. On September 5, 1975, Lynette headed down to Capital Park with a loaded Colt .45 automatic pistol (borrowed from Manny Boro) strapped to her leg. When President Gerald Ford came walking down the path, Lynette pulled out her gun. Immediately Secret Service Agents wrestled Lyn to the ground, and the President escaped untouched. At her trial, Lynette followed Charlie’s example and chose to represent herself. However, her presence in the courtroom was short lived. When Lyn lectured about the Redwoods and her other environmental concerns, Judge Thomas McBride instructed Lyn to stick to things relevant to her case. As Lyn continued to talk about whales and pollution, McBride had her removed from the courtroom. Squeaky was returned to her jail cell, where she spent most of the trial, watching from closed circuit television. Later on in the case, and nearly costing a mistrial, it was discovered that U.S. Attorney Dwayne Keyes had failed to turn over some exculpatory evidence. In late November of 1975, a jury convicted Lynette of Attempted Assassination of the President of the United States of America. Upon sentencing, an angry Lynette threw an apple at Dwayne Keyes’ head, afterwhich Squeaky was sentenced to Life. Squeaky was sent away to the Alderson Federal Corrections Institute in West Virginia. She was eventually reconnected with fellow family member Sandy Good, after she was transferred to a new prison in Pleasanton, California, where Good was serving time for sending threatening letters.
In March of 1979, Lynette attacked a Croatian Nationalist named Julienne Busic, imprisoned from her connection in a 1976 airline hijacking. Squeaky hit Busic in the head with the claw end of a hammer, got 15 months added to her sentence, and was sent back to Alderson. On December 23, 1987, Lyn got word that Charlie was dying of cancer, and escaped from Alderson. She was picked up 2 days later having traveled only a few miles. Squeaky then bounced around the prison system: from Lexington, Kentucky, to Marianna, Florida, and finally to the Federal Medical Center Carswell, near Fort Worth, Texas where she remained until her release on August 16, 2009.
Drama documentary featuring input from Linda Kasabian, Catherine Share & Vincent Bugliosi. It covers the murders of Gary Hinmen and the Tate-Labianca slayings. I do not hold the copyright to this documentary. It is to my personnal taste the best made documentary about it. Blunt, true, visceral. Until then, Kasabian was still in hiding and still afraid because she was receiving threats by supporters of the Manson family. The very thing you can be resented more than to be a child killer (if possible!) is being a snitch in the underworld where she resentfully takes us.
I always have been a fan of Joy Division for as long as I can remember. Closerwas and still is one of my all time favorite albums. I always thought Ian Curtis is one of the greatest lyricist ever. I saw ”24 Hour Party People”with an immense pleasure and I kinda liked ”Control” but always thought there was something missing still. I needed more. Finally reading Peter Hook autobiography I got to know everything I wanted to know and totally enjoyed the very bold style of Peter Hook. Once I started I could hardly put it down. For the first time I felt that my thirst to know more and more about Joy Division and the tragic death of their legendary frontman was satisfied at last although Joy Division will always have a mysterious aura to it. It is not because a lack of information or a marketing trick but simply because it is within the very essence of Joy Division. You are given a variety of choice to resolve some of the enigmas surrounding JD but most of the answers are totally subjective and depends on the point of view you stand for. Nobody will ever know what truly led Ian Curtis to think that there was no more hope and what could have been done to save him from getting to this point of no return. We feel Hooky is constantly asking himself those questions. It’s as if they were written in the margins of every page. And that just a couple out of many others unanswered question but it’s easy to imagine that they are the ones that haunted Hook for many many oh so many sleepless nights….Ever since that tragic night of May 1980…Precisely on the eve of what could have been the ultimate achievement of his wildest dreams.
Peter Hook tells us the story from his point of view, very boldly, very honestly, not trying to save anyone’s image nor pointing an accusative finger at anyone either, just trying to set the record as straight as possible. Through him, we finally get to know the real story of Joy Division and Ian Curtis. The starting point of it still being a Sex Pistols concert….In fact Ian Curtis wasn’t at the first one but he did was at the second one and Hooky hardly remember him being there. From there, Peter Hook marches us very thoroughly and even if it isn’t always sad, one can still feel the tremendous pain and the disastrous effect of the forever burning hell that he was thrown, that they were all thrown in when Ian decided to put himself out of his misery in a very intimate book in which you get to like the boys from Joy Division and their entourage for what they really where as he recalls their boyish pranks on each other, the lousy venues, the fights and the jealousy and backstabbing that existed at the time between bands, the lack of organisation and knowledge, the overall misunderstanding and deception that would come from your family and your co-workers and their daytime job they had to keep for so long so that they wouldn’t have to make any compromise on their music. There is a lot that they had to put up with but we also realise that the DIY that comes with it has become an inherent trademark of Punk. Peter Hook also does his mea culpa as to the general lack of concern towards what additional mental and physical pressure that Ian had to deal with considering he was married with a first newborn baby, his illness and his affair with Annick Honoré. You get to realise that Ian’s persona and tragic end was far more complex than meets the eye but at the same time it is so very understandable when you always are reminded that they were so young and well, as it is said in the book ”they didn’t have a clue”. Joy Division was a band that started from nothing and had fought hard for every inch of fame and glory they managed to grab ahold of and they were having more and more success, the dream they all had was now becoming a reality and Ian, just like the others, didn’t want his illness to be in the way… They just wanted to keep on going and who can blame them…I think no one in particular is to blame, but maybe at the same time, everyone is, including Ian himself.
I didn’t like the movie ”Control” so much because I thought it was more about who Ian wasn’t then about who he was. I also thought it was a very biased vision since the writer was Ian’s unfortunate widow and mother of his daughter Nathalie. Now I do understand that Ian was far from being a good father, we all know that. Of course he should have been more responsable but I think despite the sad fact he wasn’t the father he should have been, we all want to know, more than anything, who he was as an artist. Debbie was the wife at home, abandoned and put aside by Ian who had married her at a very young age so she didn’t get much to know him as an artist. Ian Curtis to me is the singer, the captain of a band called Joy Division and to me that what’s matters the most. I’m not a fan of those gossip magazines and never have been so I have very little concern about people’s private life unless they have a very direct effect on their art. Unfortunately it did have a direct effect on Joy Division, his complex love affair, amongst other things, drove him to kill himself and put a very abrupt end to Joy Division who was bound to leave for a US tour the very next day so it does help me to understand but that is one of many aspects about Ian’s life and Joy Division but ”Control” nevertheless did left me unsatisfied. Now ”24 Hour Party People” did reveal a bit more about the boys and Ian. In the book, Hook says that in his opinion, the Ian they present in ”24 Hour Party People” is much closer to the real Ian than the one that is presented in ”Control” but the bit that is about Joy Division is just a small part of the movie so it did left me very unsatisfied too in this regard. I wanted to know how Ian Curtis was when he was on tour with his lads, how he was when no one was looking, what drove him, how did he write his lyrics, how big was his influence on Joy Division, how did the others saw his illness as it grew more and more important, how was the relation between members of the band, how come no one told him to rest, what the boys felt they should or could have done to help him… It turns out that Peter Hook did all that with a fresh, bold, honest look at it all. It is very well written and gives you a very clear picture about everything you want to know. Now Peter Hook himself is a character that you get to like from the get go… His boldness and honesty, his sensitivity or lack of, at times makes the book very real, funny, sad… You can feel the excitement, the ups and downs of Joy Division. He also gives a very detailed description of how the albums were recorded and a very good description of the larger than life character of their producer and technical engineer, the well-respected Martin Hannett.
If you are a Joy Division fan you absolutely have to read this book. You will fall under the spell of this such unusual band that have at heart everything tiny thing they do and have it at heart to own even their worst mistakes because it is part of who they are. They are not for sale and always have managed to do what they wanted, how they wanted it. They could deal with the shitty venues, sleeping on the floor, the fights but they would never indulge in being a sell out. Here is an extract of the book I have chosen for you. In fact they are 2 separate extracts. It was very hard to choose because it depends on what aspect you want to insist. Hooky talks about them all, I picked this one simply because I thought it told a lot about many aspects and you can really read the word ”honesty” between the lines…
”Ian had responded by trying to kill himself (…) sometimes I wonder if it wasn’t the gigging break that did him in in the end. At least when we were playing we were away, our minds were distracted. With the gigs canceled and us staying close to home. Ian also ended up staying much closer to the source of all his domestic problems.
Not that we were aware of all these troubles, the depth of his problems, at the time, mind you. It’s only recently, since the explosion of interest in Joy Division, you might say, and while I’ve been researching the book, that I’ve really started to get a clear picture of the kind of shit Ian was going through and the very short timescale involved.
At the time he kept mainly to himself. as far as we were concerned he was dead excited about going to America, really looking forward to it. Yet you read about him telling people that he didn’t want to go. According to Genesis P-Orridge (from Throbbing Gristle), Ian said he’d rather ”die” than go on tour, and maybe he did say that, but not to us, he didn’t: no way. With us Ian was bang into the idea maybe if he’d been spent more time with us, and less at home, and less talking to the likes of Genesis, then he’d have been buoyed up by it all. I think he’d have gone to America, where, looking at it, the schedule wouldn’t have been exhausting, and I think he would have loved it.
I’m not saying his problems would have gone away, of course. Just that they wouldn’t have been crowding in on him quite so much. I really think that if he’d made it to America he’d had lived.
Or maybe I’m just talking out my arse again. Barney always said that it was his medication that made him suicidal, and that could have happened anywhere; Macclesfield or New-York.
(…)Our ultimate aim was to be ourselves, to do things the way we wanted them doing, and we’d insist out of sheer bloody-mindedness. Rob was always in our corner. Tony was always on our corner. You might call them mistakes but at least they were mistakes made on our own terms. Mistakes that then became legends.
A few days later we played Birmingham. We didn’t know it then, of course, but it would be our last-ever gig as Joy Division.
It was a good one too. We later released it on the album ”Sill”. Ian had a bit of a wobble during ”Decades” but was fine for ”Digital”. Even so, it was one of those gigs-like all of them were around then-where you were looking at Ian wondering if, or when, it was going to happen, and that was because it was now happening at every show. With hindsight you can look back and say he probably wasn’t going to be right at any gig, whether in America or outer space. Even so, the idea of cancelling or rescheduling America never came up.
We were so excited about going, so wound up about it and desperate to do it. Ian, the fan of the Doors and Lou Reed and Iggy Pop and Burroughs, especially. I don’t care what Genesis P-Orridge says, he was looking forward to going. I mean, we had so much going for us then. The word was getting out that we were a great group to see live. We had ”Love Will Tear Us Apart” up our sleeve. We were on the way up.
That’s what always gets me about what he did. Sometimes you can see just why he did it, and it makes a kind of sense.
Other times, it just makes no fucking sense at all”
These abandoned flying saucer-style holiday homes built for US military officers in Taiwan left to rot are built on burial grounds…
Sanzhi Pod City in Taiwan was designed as a holiday resort for US officers
Space age homes built in 1978 on top of a burial ground for Dutch soldiers
Several deaths during construction including suicides and accidents
Pods were abandoned and demolished to transform site into new resort,
Desolate, shattered, warped and stained, this abandoned series of Smartie-coloured pod homes paints a bleak picture.The flats, known as Sanzhi Pod City, were built in New Taipei City, Taiwan and designed to be part of a holiday resort.They were built in 1978 as a vacation destination for US military officers deployed to the Far East and wealthy Taiwanese. According to locals, a burial ground for Dutch soldiers lies beneath the startling designs. History surrounding the sad structures is even stranger. The buildings were abandoned in 1980 after investment losses by developers Hung Kuo Group and a number of bizarre deaths, including several suicides and car accidents during construction. Gem, a real estate administrator from the Philippines, said: ”As an avid documenter of man-made landscape, I found these pod houses very cool. The colours, the retro futuristic style, whoever designed and built these had a lot of balls.”
”As to their demise, people give me different stories. Apparently, these retro futuristic building styles were popular at that time, but the price was so high that they failed to sell most of the units. I guess the developer went broke and that’s why they lay in absolute ruin for years. Maybe the era was all wrong, the target market was all wrong, and the grand experiment failed, but they were still intriguing to look at.”
All shots were taken in 2008 by photographer Gem Urdaneta, 33, a couple of years before the pods were demolished by the Taipei government.
View original article byINDIA STURGIS FOR MAILONLINE. Thanks to Blue Maggot for bringing this to my attention and for her constant encouragments and loyalty!! There are others UFO houses all around the world, not all are left to rot. Viewprevious poston the matter.
Travis Louie’s paintings come from the tiny little drawings and many writings in his journals. He has created his own imaginary world that is grounded in Victorian and Edwardian times. It is inhabited by human oddities, mythical beings, and otherworldly characters who appear to have had their formal portraits taken to mark their existence and place in society. The underlining thread that connects all these characters is the unusual circumstances that shape who they were and how they lived. Some of their origins are a complete muster while others are hinted at. A man is cursed by a goat, a strange furry being is discovered sleeping in a hedge, an engine driver can’t seem to stop vibrating in his sleep, a man overcomes his phobia of spiders, etc, … Using inventive techniques of painting with acrylic washing and simple textures on smooth boards, he has created portraits from an alternative universe that seemingly may or may not have existed.
With the discovery and digitalisation of a cache of his personal polaroids, we gained access to Tarkovsky’s luminous world…
Russian auteur Andrei Tarkovsky is often cited as the greatest cinematic artist of all time. His roster of just seven films – including Andrei Rublev, Ivan’s Children and Solaris – have made him one of the most lauded directors in history, awarded a Golden Lion, the Grand Prix du Jury at Cannes and, posthumously, the Lenin Prize – the highest accolade in the Soviet Union. One of his heroes, Ingmar Bergman, stated, “Tarkovsky for me is the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”
Veneration for Tarkovsky has not dimmed since his premature death in 1986, making the recent discovery of a cache of his polaroids a thrilling find. Taken between 1979 and 1984, in the years before his death from a cancer supposedly contracted on the set of Stalker, they span his last months in the Soviet Union and the years he spent researching and filming in Italy. Very much in the spirit of his moving image work, they capture nature, individuals and light in images that shine with the singular humanity which imbues his films. He once pronounced that “the director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen…” In these vignettes from his personal world, populated by his dog, his children, his garden and the view from his window, we are left spellbound by a quiet and captivating insight into the world of a man who rendered dreams reality, creating worlds of wonder and truth that have never been equalled despite all the bombast of modern technology.
LOU REED, NICO AND JOHN CALE VELVET UNDERGROUND MINI-REUNION
Posted by Richard Metzger on the PKM website page by Legs’ which is utterly interesting. Pleasekillme.com, make sure you go check on them.
In 1972, Velvet Underground alumni Lou Reed, John Cale and Nico reunited before the cameras of the POP2 TV program at Le Bataclan, a well-known—and very intimate—Paris venue. It was Cale’s gig originally and he invited Reed and Nico to join him. Reed, who hated rehearsing, spent two days with Cale working out what they were going to do. According to Victor Bockris’ Lou Reed biography Transformer, rock critic Richard Robinson videotaped these rehearsals, which took place in London.
Both the videotape and the audio from this show have been heavily bootlegged over the years. A legit CD release happened a few years ago, but it still sounds like a bootleg. A high quality video turned up on various torrent trackers and bootleg blogs after a rebroadcast on French TV. It’s fairly easy to find. Now if only some of the outtakes from the Le Bataclan filming (if there were any) would slip out—they did “Black Angel’s Death Song” which I’d dearly love to see—not to mention what Richard Robinson might have (There is an audio only recording of the rehearsals attributed to Robinson’s tapes already making the rounds on bootleg torrent trackers.)
This is Reed coming off his first solo record (which had not even been released yet) and just a few months before he recorded “Walk on the Wild Side” with David Bowie and took on a totally different public—and we can presume, private—persona. This is “Long Island Lou” last seen just before Reed’s druggy bisexual alter-ego showed up and took his place. Cale does the lush “Ghost Story” from his then new Vintage Violence album and Nico looks stunning and happy here singing “Femme Fatale.” It’s before the damage of her drug addiction took its toll on her looks.
I will direct youhere for the full version, but I can’t embed the file.
One thing worth pointing out here is that during “Berlin” you can see Nico’s face as Reed sings a song which he told her was about her. She might even be hearing it for the first time.
Here’s a version (oddly in color, the only one on YouTube, the rest are all B&W) of Reed and Cale performing a languid, stoned and thoroughly unplugged “I’m Waiting For The Man”:
“She was almost proud of the fact that her teeth were rotten, that her hair was grey…her skin was bad, she had needle tracks all over. She liked that. That was her aesthetic.”The above quote, attributed to James Young – Nico’s keyboard player from 1981-86 – summarizes the often harrowing watch that is filmmaker Susanne Ofteringer’s 1995 documentary, Nico Icon.It was Young who penned the fascinating on-the road-with-Nico tell all, Songs They Don’t Play On The Radio, chronicling his days in her ad hoc touring band. But unlike Young’s book, which is frequently injected with (and buoyed by) levity, Ofteringer’s Icon is a meditative, often dark, look at the woman born Christa Päffgen. While hardly wholly representative of Nico the artist/muse/person, the film is an engaging 67 minutes beginning with Nico’s early years modeling in Germany and France, onto to her Zelig-like existence moving through sixties pop culture (Iggy Pop, Brian Jones, Jim Morrison, Alain Delon, Bob Dylan, Andy Warhol…) and beyond. And it’s the beyond, Nico’s “desire for her own annihilation”, and heroin, that looms heavily over the remainder of the film
Check out this subversive fashion video for House Casting in New York City. It is based on the Iggy Pop song ‘I Wanna Be Your Dog’ and was played at the Center George Pompidou in Paris in September 09, as part of the ‘A Shaded View On Fashion’, during the larger fashion week.. Directed by Leg’s Georgie Greville.
Exploited Teen Models from Russia
It kinda works like either a pimp or a cult…Your pick… At first glance it seem’s all good but after awhile you are like hmmmm…There is definitely something wrong … BTW The Girl on top in the video is now the trainer in the documentary film for those who haven’t noticed…and she speaks quite frankly and honestly.
An extract from YOUR PRETTY FACE IS GOING TO HELL by Dave Thompson:
Aylesbury Friars would be Bowie‘s final show for a month, before he headed into the studios first and then Mott the Hoople. It was also designed to be Bowie’s introduction to an American press that MainMan had flown in for the occasion, writers and taste makers who had read so much about the new British superstar in the imported papers, but where still waiting to be convinced themselves.
The Spiders’ U.S. tour was now scheduled for September 1972, and if all went according to MainMan’s plan, reviews and reports from the Aylesbury show would see the excitement reaching fever pitch right around the time of the first concert.
On Saturday July 15th,wined and dined at the height of luxury, lodged in the finest hotels, and shepherded every place they needed to go, the American journalists felt like royalty as they were driven into the leafy confines of Aylesbury ushered into the Friars club-and confronted with an audience that was even more rabid than the British press reports had ever warned them. Boisterous though they most have been, and determined to remain aloof, that first rush ofadrenalined shrieking caught them off guard, sending their ears reeling before they’d even found a place to stand. Then their eyes took over, bombarding their senses with the sight of a thousand wide-eyed Bowie clones, Angela doubles,Ronson doppelgangers.
”Ode to Joy” piped throught the PA, Loud enough to shake coherent thought from their heads, but not deafening as to be painful, and then the band appeared, ripping straight into ”Hang Onto Yourself”, and all reservations fell away. The show was stunning, the performances seamless, and when Bowie started throwing his silk scarves into the crowd, the writers were as desparate to catch them as the kids.
The Lou Reed show the previous evening had been a revelation. Taking the stage shortly after midnight and kicking right into a deliciously clunky ”White Night White Heat”, Reed was at his best, a spectral ring-leader, not quite ad-libbing his lyrics but certainly having a wonderful time teasing the Tots with his timing, and if he was the only person in the room who didn’t cringe a little when the band unleashed their backing vocals, that didn’t detract from the sheer thrill of seeing him up there.
”Waiting for my man”, layered with flourishes that the song had never before carried; a resonant ”Ride into the Sun”; a fragile ”New Age”, Reed singing instead of mumbling as expected,; on and on through the best of Lou Reed and the finest of the Velvet Underground, Reed may have been leading the crowd into unchartered territory for much of the set, but the roar that greeted ”Sweet Jane” was as heartfelt as the smile with which Reed repaid the recognition.”I Can’t Stand It” was punchy, ”Going Down” was gentle,”Wild Child” was brittle, ”Berlin” was beautiful, and if ”Rock’n’Roll” picked up more appplause than the eerie, closing ”Heroin”, that just proved how much easier it was to find Loaded in a British record store than any of the records that preceded it.
The Stooges would really need to be on form to top that.Again the show started after midnight, allowing the handful of Bowie fans who’d also hit Aylesbury to race back in time for the Stooge’s, together with all the journalists who accepted MainMan’s offer of a bus back into London. A few of them might have thought they knew what to expect, nursing memories of the shows the band had played back in New-York a couple of years before. But they left their expectations on the dance floor. Mick Jones, four years away from forming the Clash at the birth of the British punk movmement, was there, astonished by the incandescence of the show. ”The full-on quality of the Stooges was great, like flamethrowers!”
Iggy lived up to his outrageous reputation, dressing in silver leather trousers, with matching silver hair, black lipstick and made-up eyes. After lurching and prowling over every inch of the stage in the first two numbers, he decided to wander into audience, followed where possible by spotlight. He stopped occasionally to stare deep into people’s eyes, talking about wanting to find something “interesting” and calling the crowd hippies that didn’t inspire him.Pop was everywhere trailing a mix cord the length of the building as he wandered out into the audience, alternately grabbing and caressing whoever lay in his path. One girl discovered him sitting in her lap, staring into her eyes as he serenaded her; one boy found himself being shaken like a rat as Pop grabbed hold of his head and used it to cath the rythm of the song. At some point, there was a problem with the sound. Pop stood still for a moment, stock-still and scowling, then howled with rage and hurled his mic to the ground. It shattered on impact., so he walked to another one, and treated the silent crowd to ”The Shadow of your smile” a suave accapella that kept everyone entranced while the problems were solved. Then it was back to the programmed set, loud, lewd and brutal. The concert was attended by a group of noisy skinhead types, who voiced their impatience during one of several breaks due to technical problems, which caused Iggy to respond, “What did you say, you piece of shit,” as he advanced threateningly across the stage. The cat-caller’s memory suddenly failed him as he melted back into the crowd. After the microphone was fixed, the Stooges commenced another song but halfway through one of the amplifiers broke down, causing a long delay. Later in the show, the leader of the skinhead gang went down to the front of the stage to shout obscenities. This time, Iggy went berserk, leaping across the stage to aim a boot in the guy’s face. Roadies pounced on the guy and bundled him out of a side exit; the rest of the mob shut up completely.
”We did a bunch of things that were new and we started wearing lots of makeup for one thing.and that was different, Williamson recalled. II think we had rehearsed pretty much by that point. It didn’t seem unique to me. We did a lot of stuff with the crowd at that show, which was bizarre for the Londoner, but it was typical for us. That’s what we were used to doing.”
They took Pop’s activities in stride, ”It was part of the show, but we had to really cover a lot for him because he was very improvisational, as was the whole band. We knew, but if you weren’t used to it, you didn’t know when he was going to start a song or when it was going to stop or what to do in the middle because it wasnt exactly youd recorded it. He was very unpredictable”
In attendance at the King’s Cross Cinema were several aspiring musicians, who would go on to become highly influential in the British punk rock movement which exploded a few years later, including Joe Strummer (the Clash), Johnny Rotten (the Sex Pistols),Brian James (the Damned), and Siouxsie Sioux (Siouxsie and the Banshees). The concert has been called the birth of British punk rock. “That show changed the history of English music, because of who was there,” notes Iggy. “People checked us out and realised we had changed the playing field for what was possible.”
The Stooges drew predominantly positive reviews, although it was obvious that they made the British critics somewhat uneasy. “The total effect was more frightening than all the Alice Coopers and Clockwork Oranges put together, simply because these guys weren’t joking,” said Nick Kent in New Musical Express. Michael Oldfield of Melody Maker felt Iggy and the band were on the verge of the dangerous, “It’s like a flashback 200 years, to the times when the rich paid to go into insane asylums and see madmen go into convulsions.”
Photographer Mick Rock admitted that he felt “distinctly intimidated” as he photographed the show.He never did precisely know what he was preserving. When MainMan called him down to the show, he was told only that the night needed to be captured in all its flaming Glory. It would be another year before one of the shots he took that evening was blown up for the cover of the Stooges’ third album, a close up of the singers torso, leaning on his mic stand, his face set and beautiful, staring into space. Pop later claimed that he hated it.
Pop, Rock said, ”was already in my mind more mythological than human. His appeal was omnisexual; he was physically very beautiful, (and) the silver hair and silver trousers only added to the sense of the mythological. He seemed to have emerged from some bizarre primal hinterland, so much bigger than life, emoting and projecting a tingling menace. He was…a cultural revolutionary, operating well ahead of his time.” The question that nobody dared ask was, was anybody truly ready to take the burden on? …..
14-07-72 (technically this was really 15-07 because Lou did not play till after midnight)
SCALA CINEMA, KING’S CROSS, LONDON, UK
White Light/White Heat – I’m Waiting For The Man – Ride Into The Sun – New Age – Walk And Talk It – Sweet Jane – Going Down – I Can’t Stand It – Berlin – Cool It Down – Wild Child – Rock And Roll – Heroin
David Bowie 15-07
Dubbed The most celebrated gig in Friars history
Friars Aylesbury, Borough Assembly Hall, Market Square, Aylesbury, UK
HANG ON TO YOURSELF; ZIGGY STARDUST; THE SUPERMEN; QUEEN BITCH; SONG FOR BOB DYLAN; CHANGES; STARMAN; FIVE YEARS; SPACE ODDITY; ANDY WARHOL; AMSTERDAM; I FEEL FREE; MOONAGE DAYDREAM; WHITE LIGHT/WHITE HEAT; GOT TO GET A JOB; SUFFRAGETTE CITY; ROCK N ROLL SUICIDE
Iggy Pop and The Stooges:
15-07 (technically this was really 16-07 because they did not play till after midnight)
SCALA CINEMA or King Sound (I guess was the name of King’s Cross Cinema, at least temporarily), KING’S CROSS, LONDON, UK
I got a right, Scene of the Crime, Gimme Some Skin, Im Sick of you, The Shadow of your Smile (Tony Benett cover) , Money That What I Want (Barret Strong Cover), Tight Pants,Fresh Rag, Your Pretty Face is Going to Hell, Search and Destroy, Penetration
Born Into This, a film documenting the author’s life, was released in 2003. It features contributions from Sean Penn, Tom Waits, Harry Dean Stanton and Bono (U2’s song “Dirty Day” was dedicated to Bukowski when released in 1993).
Henry Charles Bukowski was an American poet, novelist and short story writer. His writing was influenced by the social, cultural and economic ambience of his home city of Los Angeles. It is marked by an emphasis on the ordinary lives of poor Americans, the act of writing, alcohol, relationships with women and the drudgery of work. Bukowski wrote thousands of poems, hundreds of short stories and six novels, eventually publishing over sixty books. In 1986 Time called Bukowski a “laureate of American lowlife”. Regarding Bukowski’s enduring popular appeal, Adam Kirsch of The New Yorker wrote, “the secret of Bukowski’s appeal. . . [is that] he combines the confessional poet’s promise of intimacy with the larger-than-life aplomb of a pulp-fiction hero.”
Bukowski died of leukemia on March 9, 1994, in San Pedro, California, aged 73, shortly after completing his last novel, Pulp. The funeral rites, orchestrated by his widow, were conducted by Buddhist monks. An account of the proceedings can be found in Gerald Locklin’s book Charles Bukowski: A Sure Bet. His gravestone reads: “Don’t Try”, a phrase which Bukowski uses in one of his poems, advising aspiring writers and poets about inspiration and creativity. Bukowski explained the phrase in a 1963 letter to John William Corrington: “Somebody at one of these places […] asked me: ‘What do you do? How do you write, create?’ You don’t, I told them. You don’t try. That’s very important: ‘not’ to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It’s like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like its looks you make a pet out of it.”
Bukowski published extensively in small literary magazines and with small presses beginning in the early 1940s and continuing on through the early 1990s. These poems and stories were later republished by Black Sparrow Press (now HarperCollins/ECCO) as collected volumes of his work. In the 1980s he collaborated with illustrator Robert Crumb on a series of comic books, with Bukowski supplying the writing and Crumb providing the artwork.
Bukowski often spoke of Los Angeles as his favorite subject. In a 1974 interview he said, “You live in a town all your life, and you get to know every bitch on the street corner and half of them you have already messed around with. You’ve got the layout of the whole land. You have a picture of where you are…. Since I was raised in L.A., I’ve always had the geographical and spiritual feeling of being here. I’ve had time to learn this city. I can’t see any other place than L.A.”
One critic has described Bukowski’s fiction as a “detailed depiction of a certain taboo male fantasy: the uninhibited bachelor, slobby, anti-social, and utterly free”, an image he tried to live up to with sometimes riotous public poetry readings and boorish party behaviour. Since his death in 1994 Bukowski has been the subject of a number of critical articles and books about both his life and writings. His work has received relatively little attention from academic critics. ECCO continues to release new collections of his poetry, culled from the thousands of works published in small literary magazines. According to ECCO, the 2007 release The People Look Like Flowers At Last will be his final posthumous release as now all his once-unpublished work has been published.
His plots play out like fever dreams, swirling through time and perception, but Charles Burns’ aesthetic style alone is enough to make you queasy. In a class on underground comix, I was assigned Burns’ most popular tome, Black Hole, as an introduction to contemporary comic art. During the second session on Burns, a few of my classmates begged the professor to let us move on. “I just can’t look at this stuff anymore,” one of them said. She was sitting close to the projector screen and a page from Black Hole from superimposed on her hair. I remember it being these panel: My only qualm with Black Hole, though I do love it, is the sinister use of yonic imagery. Some useful information emerges from the vaginal openings Burns draws in his characters’ feet or throats, but mostly it’s just more nightmares. Flipping through Burns’ book, you begin to feel tension building around the image of what most characters call “the slit”. Oh great, another evil vagina, come to absorb you and your agency. What I found most exciting in Black Hole were the repeated images of monstrous teenagers.
They experience bodily changes which mirror “normal” stages of puberty (i.e. new patches of body hair, sensual urges toward others, changes in skin texture), becoming alienated from unchanged teens around them.
The kids in Black Hole are altered and mutated by a sexually transmitted infection (or something, it’s never fully explained.) Although they have a lot in common, they fall into isolation by blaming each other, losing themselves in numbing drug use, or fading into repetitive nightmares which blend into Burns’ depictions of reality. The reader is left questioning what’s real and what isn’t.
As far as monsters, the most engaging depictions in Black Hole are the yearbook-photo style drawings lining the jacket. Readers love these anonymous, twisted, rotting teenagers so much that they’ve even recreated some of the portraits in photos.Burns’ teen faces are made grotesque with the addition of insect parts, or by the omission of recognizable human traits like eyebrows or hair. It’s funny how a teen with vicious acne and greasy hair is considered “normal,” while a teen with larger teeth and a rotting scalp becomes something else, something more disturbing, simply because we don’t recognize these changes. Monsters, again, need to be slightly unfamiliar or surprising.
As far as monsters, the most engaging depictions in Black Hole are the yearbook-photo style drawings lining the jacket. Readers love these anonymous, twisted, rotting teenagers so much that they’ve even recreated some of the portraits in photos.
It would be a disservice to Charles Burns to discuss his flair for monstrous images without discussing his other pieces. So far I’ve found The Hive trilogy more engaging, as its set in a world different than our own. His use of flat color, without depth of focus or gradients, makes his creatures look as if they’ve been drawn for children, and this makes the books more uncomfortable to read.
Interesting in The Hive and X’ed Out, the first two installments of Burns’ most recent collection, is the hierarchy of monsters. Burns doesn’t explicate his monstrous society through character dialogue, but his art suggesst some monsters, though capable of fear and trauma, are just food for the larger, humanoid creatures.
n a sequence that has haunted me since I read it, an unintelligible creature eats an obviously terrified worm-monster. There are a few questions at play here: what separates a monster from an animal? Is this larger creature a cannibal, or is he simply eating the way we eat, popping prey into his mouth? His sneer suggests that he’s aware of the worm’s fear (or worse, he’s into it.) Burns’ narrator, who bears a disturbing resemblance to Tin Tin, looks on in stunned silence.
As for other works: Burn’s Big Baby is interesting, because monstrous humans are difficult to depict in graphic novels. Burns’ protagonist, Big Baby, is both childlike and devious. My issue with Big Baby is the fact that the character resembles old racist cartoons of Asian Americans, depicted with exaggerated facial features to suggest, as I’m always talking about, a monstrous otherness.
Although I was disappointed with Fears of the Dark in general, Burns’ short animated segment had some interesting moments. His creaky insectoids, as they cared for their victim, were pretty unsettling. As usual, I wanted more from the human characters; Burns’ humans tend to appear numb, or only vaguely ruffled despite the atrocities he puts them through.
After taking that class on comix, I started work on my undergraduate thesis, Humane Monsters, Monstrous Humans, and I found a lot of inspiration as I explored Burns’ work.
He certainly has an eye for round, jutting ugliness, and I admire how tension undulates through most of his stories. More uncomfortable than horrifying, Burns is a classic for any monster-lover. I imagine I’ll give his books to a teenage kid one day. At the very least, I think any offspring I’d have would enjoy Uncle Death:
Ram Bahadur Bamjan is a 23 years old boy from Nepal. He is famous for little Buddha among peoples and gained huge popularity after he acquired what the people believe is the capacity to disappears and appear anywhere. Since May 2005, he started meditating at his house village Ratanapuri then disappeared and appeared on 2 occasion for the ten and four month respectively.
The Boy With Divine Powers
Ram Bahadur Bomjon :The Boy With Divine Powers Extraordinary Documentary HD
All the white puppy wanted to do was share his French toast. Cinnamon, a cute character created by the same Japanese company responsible for Hello Kitty, posted tweets like this every day. Normally, these morning messages would be met by followers gushing about how cute the attached picture was, or fans wishing him a “good morning.”
Cinnamon’s online life in recent times, however, had become tense. “You look like a piece of soap, get diarrhea,”one user wrote in response. Another Tweet — since deleted, but preserved by other users — said “Please kill yourself with that knife.” For the last few weeks, the dog character had faced abuse like this daily, every innocuously cute post met with a sea of “shut ups” and “die.”
Many imagine Japan as a land stuffed with adorable characters. Hello Kitty has become a global ambassador of all things “kawaii,” while recently John Oliver featured a segmenton his show devoted to the country’s use of mascots for — nearly everything. Yet the situation isn’t always so cuddly. Cinnamon’s recent Twitter interactions marked the first significant time a huggable character has been the victim of cyberbullying in Japan. And it hasn’t just been a few isolated comments, but a steady stream of nastiness from hundreds of Twitter users. It has inspired reactions from well-known pop singers and warranted coverage in multiple national newspapers and on TV. The Cinnamon saga struck a nerve with people in a country where bullying — both digital and physical — is an issue on the rise.
The critter at the center of it all, though, is neither new or obscure. Sanrio, Japan’s premier producers of cute characters (think Hello Kitty andMy Melody) created Cinnamon in 2001 as the flagship character of their “Cinnamoroll” series. He’s featured in cartoons and comics, and became one of the company’s most popular entities. Walk by any branch of Tokyo Tomin Bank, and chances are you’ll see a stuffed Cinnamon in the window. In this year’s annual Sanrio character ranking, early polls (these are very serious affairs) projected Cinnamon to finish third overall, ahead of Hello Kitty.
Yet glancing at the replies to Cinnamon’s daily tweets reveals a lot of people wishing ill on the character and his various friends. There’s no definitive starting point for the bullying — various mean-spirited comments have long slipped into Cinnamon’s stream, but were the sort of isolated trolling every high-level Twitter account expects — but sites such as Naver Matomereport it really got going over the last three months, escalating drastically near the end of April. A drawing of Cinnamon standing in front of some colorful flowers, for instance, prompted digital shouts of “shut the hell up, I just ate lunch!” and “you look like you smell bad.” A tweet featuring the character holding a pile of the dessert he’s named after had commenters wondering why he was holding a plate of pink poop (a theme riffed on in similar Tweets). The insults keep going, and even an act as simple as showing off a new umbrella resulted in someone telling him to “suck my dick.”
Nearly every Sanrio creation has a Twitter account, where new drawings get uploaded daily, but only Cinnamon has attracted cyberbullying.Users even noticed this discrepancy— while relatively new characters such asGudetama (a lazy anthropomorphic egg) and Kirimi-chan (a hunk of fish meat) received warm messages, a Cinnamon tweet from the same day drew comparisons to the movie The Human Centipede. Users have tried to spam other Sanrio character’s feeds in the past with mean-spirited messages, but nothing came out of it. Yet by early May, every new tweet by Cinnamon was met by a mix of people trying to be clever with their insults, generally nonsensical threats and those relying on sub-playground approaches (“die,” “shut up,” “you’re ugly,” “go away”).
Why Cinnamon? Many Japanese Twitter users have been speculating about it (Naver Matome gathered many of their thoughts online), and the consensus seems to be that it’s all for the likes. Early jokes at the expense of Cinnamon — such as an image of Cinnamon being targeted by a fighter jet — raked in favorites and retweets. Tweets poking fun at the dog-like creature, along with parody accounts posing as official, did well, inspiring more users to try to replicate that success. These early examples, though, were far more good-spirited than what came after. The tweets, in an effort to stand out, got meaner and meaner, eventually dissolving into what would constitute bullying against a human.
Whatever the reason, the abuse hurled Cinnamon’s way got worse as May dragged on. Fans of the character first offered words of encouragement to Cinnamon (“don’t take all this too seriously, Cinnamon!”) and eventually started pushing back against the bullies, talking to them directly. Sanrio addressed the issue head on, by posting a cartoon where Cinnamon’s friend Chiffon addressed Twitter in place of Cinnamon. “I’m here to protect Cinnamon, and you should protect your friends too!,” is how Anime News Network translated it.
The same day, Sanrio blocked over 200 accounts that had been harassing the character. This only enraged the anti-Cinnamon crowd, and resulted in one popular user claiming to receive a message from Sanrio telling him to come out to their offices, which he documented on Twitter. He faked it — Sanrio never contacted him — for the likes. The abuse kept coming.
But it also resulted in the story getting more widespread media attention. Dozens of Japanese web sites wrote about it, followed by newspapers such as the Chunichi Shimbun and the Tokyo Shimbun covering it as well. Government-backed channel NHK did a report on it, and soon celebrities were coming out to support Cinnamon. TV personality Arie Mizusawa expressed her happiness at Sanrio taking action, while former members of the pop group BiS took to Twitter to back the character. An online news video summed it all up neatly.
Cinnamon might be a fictional character, but what the floppy-eared puppy endured is a very real issue in Japan today. Bullying has long been a problem in Japanese schools and workplaces, attracting plenty of attention from the media. Earlier this year, The Japan Timesreported that the number of cyberbullying cases in the country was on the rise (as was all bullying). It’s an issue that has affected thousands in Japan, and which has been a topic of discussion for quite some time. There have even been songs written about it — pop-gone-death-metal outfit Babymetal wrote a song with a title that translates to “No More Bullying.” Cinnamon isn’t a real person, but he’s famous enough (and the situation strange enough) to act as a microscope on cyberbullying. It revealed how many people are ready to pile on somebody for praise, and how many others hate seeing someone being picked on.
Cinnamon’s online life hasn’t completely returned to normal. Mean comments still appear, and larger flare ups still happen, such as when he drew a picturethat some simply described as “bad,” others “garbage” and still more “like sperm.” Fans, though, have also come out in higher numbers to counteract the negativity with simple messages of “good morning Cinnamon!” and “so cute!” while also shouting down the mean users. Cinnamon might never fully be able to draw or enjoy his breakfast in peace ever again, but at least he’ll have plenty of people on his side.
the flesh covers the bone
and they put a mind
in there and
sometimes a soul,
and the women break
vases against the walls
and the men drink too
and nobody finds the
crawling in and out
the bone and the
for more than
there’s no chance
we are all trapped
by a singular
nobody ever finds
the city dumps fill
the junkyards fill
the madhouses fill
the hospitals fill
the graveyards fill
I came across Naoto Hattori’s work inJuxtapoz magazine back in the 90’s, and have periodically checked up on his latest creations ever since.He makes swirling amalgams of humans, animals, aliens, dolls, plants…intertwining like a grand mad scientist DNA experiment.
Naoto Hattori was born in 1975 in Yokohama Japan, studied Graphic Design in Tokyo before moving to New York to study in the School of Visual Arts. In the year 2000 he received a BFA in illustration from the School of Visual Arts. He has received Awards from the Society of Illustrators, the New York Directors Club, Communication Arts and also he has won numerous award from many art competitions and has been published in many art magazines. Of his work, He says: “My vision is like a dream, whether it’s a sweet dream, a nightmare, or just a trippy dream. I try to see what’s really going on in my mind, and that’s a practice to increase my awareness in stream-of-consciousness creativity. I try not to label or think about what is supposed to be, just take it in as it is and paint whatever I see in my mind with no compromise. That way, I create my own vision.”