#⌠ ALBUM – Kathy. ⌡

[morffyne]

@realginaschock On this Day: March 6, 1982 our @officialgogos debut album Beauty and the Beat hit number 1 and stayed there 6 weeks 

[yourfavealbumisgender]

Beauty and the Beat by the Go-Go's is Genderfuck!

requested by anon

[hwajin]

pulled no hyunjin cuz i never do BUT I GOT FELIX AND CHAN AND SEUNGMIN AND A BIG FAT CHANGBIN POSTER WHICH IS SO SEXYYYYYYYY

[burlveneer]

Painting by Kathy Knuffke, cover art for Keep The Dream Up by Kirk Knuffke / Joe McPhee Quartet + 1

[myvinylplaylist]

Go-Go's: Vacation (1982)

I.R.S. Records

[barrysbaby]

just a lil tag dump. can you believe i'm finally doing this?

[zuludigital]

Kathy Mattea - 1000x1000 Album Cover Art

Bluegrass & Country

[krispyweiss]

Album Review: Various Artists - Live on Mountain Stage: Outlaws & Outliers

Given 21 songs and just over 90 minutes to encapsulate four decades of the “Mountain Stage” radio program, the curators at Oh Boy Records couldn’t have done much better than Live on Mountain Stage: Outlaws & Outliers.

That isn’t to say everything on the various-artists comp is going to resonate with every listener. In fact, with such stylistically diverse material as Wilco’s take on David Bowie’s “Space Oddity,” Eric Church’s trad-country “Sinners Like Me,” Indigo Girls’ pop-folk “Closer to Fine” and Alison Krauss’ balladic bluegrass number “Let Me Touch You for a While,” universal satisfaction seems unlikely.

But the LP succeeds in its mission. And the fact show host Kathy Mattea’s “Red-Winged Blackbird” and Oh Boy founder John Prine’s “Souvenirs” are tucked into the middle of the track list, rather than given the VIP spotlight, only adds to the charm of a collection of selections that also includes tracks from Molly Tuttle, Tyler Childers, Lucinda Williams, Gillian Welch and David Rawlings, Steve Earle, Béla Fleck and Abigail Washburn, Sierra Ferrell, Tim O’Brien, Margo Price Rhiannon Giddens, Jason Isbell and others.

With the foregoing in both full-band and intimate solo/duo settings, diversity is both the strength and the weakness of Outlaws & Outliers. For while the album doesn’t really hang together, it does bring together Mountain Stage’s vast array of musical offerings.

Grade card: Various Artists - Live on Mountain Stage: Outlaws & Outliers - B-

6/20/24

[specialagentartemis]

tell me more about classic filk i know a few songs but never got deep into it

Heck YEAH

"Filk" is music (often but not always folk music-style, often but not always song parodies to the tune of famous pre-existing songs) about sci-fi, fantasy, and other fannish topics. Filk circles are popular events at science fiction conventions, and that's really where the genre started. The word "filk" actually arose from a typo in a convention program once, and people just rolled with it ever since!

Some of the most iconic albums in the filk world are the anthology albums "Minus Ten And Counting" (songs about space exploration and the real-life space program), "Carmen Miranda's Ghost" (songs about sci-fi space shenanigans and space ghosts), and "Finity's End: Songs of the Station Trade" (songs set in the world of CJ Cherryh's Alliance-Union novels, and my personal favorite. I've never read any of CJ Cherryh's books, but these songs paint such a vivid world.) "Space Heroes and Other Fools" is another big one, it's more hit-or-miss for me but it's iconic. Other really good and foundational ones are "Divine Intervention" by Julia Ecklar, "Avalon is Risen" by Leslie Fish, and "We Are Who We Are" by Vixy & Tony.

I lean more towards sci-fi and space than fantasy, but fantasy and paganism are huuuugely popular filk topics too.

Some of the most popular names to look into include Leslie Fish (intensely prolific, barely a fraction of her work is on any streaming or music service), Julia Ecklar (famous for her "ose," the filk-world word for sad songs - because they're "ose, more-ose, and even more-ose), Juanita Coulson, Kristoph Klover, Vic Tyler (who just recently died :( rest in peace), Duane Elms, Kathy Mar, Bob Kanefsky, Alexander James (trans, with lots of filk under his previous name as well), Vixy & Tony, and Seanan McGuire. (I like Seanan McGuire's filk music better than her books, hah.) Some other great ones include Cat Faber (most acapella), Astrisoni, The PDX Broadsides, Kari Maaren, and Sassafrass (also mostly acapella. Includes Ada Palmer). Heather Dale, Tom Lehrer, and Jonathan Coulton are kind of honorary filkers too haha.

The best place to get the ones from 80s and 90s cassettes are on the Internet Archive or Youtube; a few filkers who are more currently active have their stuff on Bandcamp.

And I'll leave you with a few of my Favorite Ever filk songs:

"Sam Jones" by CJ Cherryh and Leslie Fish

"Pushin' the Speed of Light" by Julia Ecklar and Anne Prather

"Chickasaw Mountain" by Leslie Fish

"Fire in the Sky" by Jordan Kare

"The Phoenix" by Julia Ecklar

"Freedom of the Snow" by Leslie Fish

"Burn it Down" by Vixy & Tony

"Hope Eyrie" by Leslie Fish, or this Minus Ten And Counting version

"Rocket Rider's Prayer" by Kristoph Klover, Ernie Mansfield, and Cecilia Eng

"Dawson's Christian" by Duane Elms, performed by Vic Tyler or Vixy & Tony

"Somebody Will" by Sassafrass

"Chances & Choices & Fortunes & Fates" by Astrisoni

... my tastes lean sentimental and ose but I swear there's a lot of very funny filk out there too

"Never Set the Cat on Fire" by Frank Hayes (a famous one)

"Banned From Argo" by Leslie Fish (an INFAMOUS one)

"Don't Push That Button" by Duane Elms and Larry Warner

"No More SF Cons" by Juanita Coulson

"One More Ose Song" by B. J. Willinger

everything Bob Kanefsky writes

[timetravellingkitty]

SAPPHIC ARTISTS TO LISTEN TO

(instead of writing your 69th essay about how Taylor Swift is a closet lesbian)

Starting off with my holy trinity:

Rina Sawayama (she/her, bi/pan): if you follow me you're probably aware of what a huge Rina fan I am. Lots of pop and rock, with a chunk of her earlier songs being R&B. Her debut album SAWAYAMA (my favourite album of all time!!) was her major breakthrough moment as it received critical acclaim and her sophomore album Hold the Girl made her the highest charting Japanese artist in the history of the UK. Known for her musical versatility, she made her acting debut in John Wick 4. I recommend: Cherry, Frankenstein and Bad Friend

Janelle Monáe (she/they, bi/pan): pop, funk, neo-soul and psychedelic. They have an entire series of concept albums about an android named Cindy Mayweather (her ALTER EGO?!) as she commits the crime of falling in love with a human. Lots of social commentary. Her album Dirty Computer comes along with a narrative film and a book taking place in its world. She's starred in movies like Antebellum, Glass Onion and Moonlight. I recommend: Electric Lady, Django Jane and Pynk

Raveena Aurora (she/her, bi): Experimental pop, R&B and soul. Her second album Asha's Awakening is a concept album following the journey of Asha, a Punjabi space princess, as it explores Aurora's South Asian identity and past relationships. Such a beautiful and soft voice to die for. I recommend: Headaches, If Only and Kathy Left 4 Kathmandu

Moving onto some other artists I like:

Boygenius: a band comprising of three sapphic women- Phoebe Bridgers (indie darling™), Lucy Dacus and Julien Baker (the first two are bi while the third is a lesbian). Indie, folk and alternative rock. Very melancholic. I urge you to check out their individual projects too (especially Phoebe's, I love her Punisher album). I recommend: Emily I'm Sorry, Satanist and True Blue

Kelela (she/her, queer): R&G, electronic and alternative R&B. Her debut EP Hallucinogen covers the beginning, middle and end of a relationship in reverse chronological order. Her second album Raven showcases Black futuristic art, which I fuck with. I recommend: Contact, The High and Bluff

Zolita (she/her, lesbian): dark-pop, R&B and electropop. She incorporates witchcraft into her music and mvs. She literally has an EP called Sappho what more could you want? I recommend: Holy, Ashley (the sapphic Speak Now) and Bedspell

Victoria Monét (she/her, bi): pop and R&B. She's written songs for artists like Ariana Grande (7 Rings) and Chloe x Halle (Do It). Go stream her Jaguar EP you will thank me later. I recommend: Touch Me (erotic sapphic song), Cupid and Love U Better

And finally some honourable mentions (can't make this post too long now can I): mxmtoon, Michelle Zauner, Arooj Aftab, Sir Babygirl, Dodie, Chloe Moriondo, Lauren Jauregui, Baby Queen, Sara and Teagan, The Butchies, Sofya Wang and Melissa Etheridge

[beetledrink]

i’ve also been taking music slightly more seriously, if you can believe that (but still releasing everything for free)

lil album here

[librarycards]

im reading failure to comply right now (about 50 pages in, really enjoying it) and wanted to ask what inspired you to take this approach of playing with language and grammar to the extent you do? it reminds me a lot of kathy acker but i don't know if there's any other examples of literature you could be building on here

tysm for reading! i kinda researched "backwards" for failure to comply; the language play was really intuitive at the beginning and i did not have too many models to draw from. I was quite literally making shit up and using spacing, wordplay, and grammar-fucking in order to convey Madmindedness as best i could; this is what came out. my biggest "literary" influences in the beginning were poststructuraist theorists like Deleuze and Foucault, because i was an undergraduate gaining my first introduction to the stuff.

later in my work, mentors began introducing me to writing (including Acker's!) within a broader sf experimental/surrealist tradition. I actually have a list of books that "fed" F2C, most of which i read throughout editing and revision stages:

I was also listening to a lot of music that used glitchiness and ambiguity, and spent a lot of time thinking about how sound & text translated / transmitted. A lot of the wordplay and other choices (including the [non]-word, RSCH) interrogate the "pronounceable," not only as shorthand for what is sane/legible/"real" but also in terms of, like, royal "pronouncement." interpellation, being hailed, and who was permitted to identify/be identified under conditions of constant surveillance.

I drew a lot in this vein not only from the interpellation guys™ (Althusser and Fanon) but also from Janelle Monae's early music (Archandroid era stuff) as well as the album 'i can feel you creep into my private life' by tune-yards. here is the public spotify playlist i listened to a lot while writing / is F2C inspired.

hope this was interesting/helpful!

[king-of-the-birds]

PAUL'S BALL

a launch party for wings

He produced a handwritten invitation, leaving space to write in the invitee's name, as well as a number, which would be used for a raffle drawing toward the end of the evening. (The prize was a magnum of champagne; the disc jockey Jeff Dexter was the winner.) (..) The recommended dress was "glam."(..)

Some 800 musicians, reporters, friends of the band and music business honchos were invited.(..)

As always at such events, there was ample carping, which a reporter for Rolling Stone duly cataloged. After describing the Empire Ballroom as decidedly unhip, a leftover from the days when the Joe Loss Orchestra would play foxtrots, and young ladies shopped for husbands among the dancers, the writer noted that while the wine and cheese were free, everything at the bar was for sale.

(…)

Eyebrows were raised when, instead of a Wings performance, partygoers were treated to fox-trots, waltzes, quicksteps, and congas, played by McVay's band-along with what McVay remembered as arrangements of sixties and seventies hits, including a Beatles medley and some Beach Boys tunes. They were raised higher still when the heavily sequined and coiffed Frank and Peggy Spence Latin and Ballroom Formation Dancing Teams filed onto the floor to demonstrate their artistry.

"I'm beginning to think that Paul actually digs all this" one guest quipped to the Rolling Stone reporter, "that he actually likes dance bands, ballrooms, and buffet food. That's incredibly camp, you know, incredibly camp. Have you seen his suit? It's like a clown's costume, the jacket is about five sizes too big, and it's not even been finished."

(from the McCartney Legacy Vol. 1)

Paul: A press launch is always a good excuse to have a night out, so we invited friends and journalists, played the album, danced and had a few funny people come on to entertain. I wore an outrageous big check suit that I thought would be good. When I went to collect it from the tailor that morning he told me that it wasn’t finished. I said, ‘Maybe not, but it’s a look!’ So I went to the party with the cotton and the stitching showing, and everyone said, ‘Your suit’s not finished.’ I said, ‘Yeah, I know. Great, huh?’

(from Wingspan, 2002)

Some of the guests that attended were Jimmy Page, Elton John, Sandy Denny, Mary Hopkin, members of the Who, the Faces, Deep Purple, Ginger Baker, Henry McCullough, Gilbert O'Sullivan, Graham Bond, Sandie Shaw, the Greek synthesizer wizard Vangelis, the actors Malcolm McDowell, and Terence Stamp, some of the Monty Python troupe, Sir Joseph Lockwood, the head of EMI, Allan Clarke, of the Hollies, and (Benny) Gallagher and (Graham) Lyle.

After the party a fan encountered Paul:

He went skipping (yes it is true) down the road with Linda and just as he turned the corner to a side street, I took courage and called him back. He stopped and said “yeah” so I ran to catch him up and breathlessly asked him for his autograph. The funny part is my pen was at the bottom of this large bag of mine! He stood patiently watching me with arms folded as I rummaged elbow deep. I asked him if he had a pen as I just couldn’t find mine; he said no (which isn’t surprising as he had this crazy suit on that had no pockets).

(Kathy Turner – From Meet the Beatles for Real: Wings Party)

[ohshitfangirlalert]

GUYS! IM WATCHING TRANSPARENT RIGHT NOW and there are MORE references to Kathryns old work in Agatha All Along than I thought! Every time I watch one of her shows I catch all the little references Jac Schaeffer and writing team put in. They ate tf up.

Season 1 Ep.1 of Transparent, the 3 'kids' gather in their dad's house and as they walk they mock the Jewish last names for all the women he's been seeing over the years and one of the kids says "Kaplan" and I was like— OH, OMG, THE KAPLAN FAMILY, William Kaplan's mom? Aka Billy Maximoff's adoptive mom? Later, they go through their dad's records and they pull out a few vinyls and one of them is Jim Croce's album which includes " Time in A Bottle", the song that is played when Lilia falls 😭😭

This is such a ride I love Agatha All Along even more because they really included all of Kathryn Hahn's cinematic little projects into references as Easter eggs all over the show. I'm making a godamn list.

Also Transparent is solo good. Kathy joking in episode S1 E5.

Updated post here

[blueiscoool]

Century-Old Clara Bow Silent Film Believed Lost Forever Found

Long-Lost Clara Bow Silent Film Found in a Omaha Parking Lot.

The Pill Pounder, one of the key titles in the CV of the iconic flapper, has enjoyed a belated revival at the San Francisco Silent film festival

A century after she first began to turn heads, Clara Bow is “It” once more. The iconic flapper of the silent film era inspired Margot Robbie’s character Nellie in Damien Chazelle’s Hollywood epic Babylon, is namechecked on Taylor Swift’s forthcoming album The Tortured Poets Department, and yesterday at the San Francisco Silent film festival, one of her earliest films was shown for the first time since the days of bathtub gin.

The story of the film’s discovery has already caused excitement online. Film-maker Gary Huggins inadvertently snapped up a slice of lost silent film history at an auction in a car park in Omaha, Nebraska, that was selling old stock from a distribution company called Modern Sound Pictures. Hoping to bid on a copy of the 1926 comedy Eve’s Leaves that he had spotted on top of a pile, Huggins was informed that he could only buy the whole pallet of movies, not individual cans. The upside? The lot was his for only $20.

Huggins soon discovered that his new pile of reels included 1923’s The Pill Pounder, a silent comedy that had been thought to be lost for decades. It is a short, two-reel film, shot on Long Island, New York, and directed by Gregory La Cava, best known for later classics such as My Man Godfrey (1936) and Stage Door (1937). The film stars rubber-faced vaudeville veteran Charlie Murray, the so-called “Irish comedian” who was actually from Laurel, Indiana. He plays a hapless pharmacist, the “pill pounder” of the title, who is trying to host a clandestine poker game in the back room of his drugstore. What few realised until Huggins watched the film, was that it also features 17-year-old Bow in a supporting role. She plays the girlfriend of Murray’s son, played by James Turfler, who had already appeared with Bow in her second film Down to the Sea in Ships, directed by Elmer Clifton and screened in 1922. Turfler’s character is the butt of some bizarre gags. At one point, he chugs a jug of effervescent “fomo seltzer” and Bow watches in horror as he floats up to the ceiling.

In this, one of her earliest surviving performances on film, Bow looks even younger than her years. Although she lacks the sleek Hollywood glamour she later acquired, she has the charisma to turn a thankless bit-part into something of a scene-stealer. The critics took note: based on the evidence of this film, the Exhibitors’ Trade Review described her as “perhaps the most promising of the younger actresses”. In his introduction to the film at San Francisco’s grand Palace of Fine Arts theatre, Bow’s biographer, the screenwriter David Stenn, speculated that the actor may have forgotten that she made the film, as she never talked about it. It was made during a traumatic period in her life, only a few weeks after her mother’s death following prolonged mental illness. He invited us to imagine how Bow might have felt appearing in a lighthearted slapstick comedy in such circumstances.

The film, which has been restored by the festival’s organisers and was screened with accompanying music from composer Wayne Barker, now looks remarkably good for its age. The festival’s senior film restorer, Kathy Rose O’Regan, said it was in great shape when they received it. She added: “We imagined it was screened maybe a few times, but there’s hardly any damage – a few scratches here and there, some dirt, but overall in pretty stellar condition.”

Now it has been freshened up and looks its best, but it is still incomplete, being in what Stenn called a “beta version”.

That’s because the copy Huggins found was not from the 1920s, but a 35mm print from the 1950s or 1960s of an edit of the film that was destined to become part of a 16mm compilation of old silent films with a comic voiceover poking fun at its archaic aspects. The intertitles have been removed and there are a few scenes and shots missing, too.

This process is deeply unflattering to old movies, but it has been responsible for preserving versions of silent films that would otherwise have been lost, including the Lois Weber melodrama Shoes from 1916. And the lack of titles are no barrier to following the film.

“For me, it is a pretty perfect 14-minutes of fun,” says O’Regan. “It would be nice to know what the titles were, but you can certainly get the gist without them.”

Stenn called the tale of the film’s discovery “miraculous” and led a round of applause for Huggins, who was in the audience. He explained that there was reason to believe that some of the discarded material was among the other cans that were sold at the Omaha auction. The hunt is on to round out The Pill Pounder, and several people have joined in the search, combing through thousands of reels. One Omaha-based film-maker and silent film enthusiast, Alexander Payne, was quick to offer his support.

The film fills in a brief blank period in Bow’s filmography. She shot the role – probably in just a couple of days – in the early “false start” phase of her film career. Bow, a tomboy from a troubled home in Brooklyn, made her debut after winning a magazine talent competition in 1921 but struggled to get her career off the ground.

“I wore myself out goin’ from studio t’studio, from agency t’agency, applyin’ for every possible part,” she later recalled. “But there was always something. I was too young, or too little, or too fat. Usually I was too fat.”

In 1923, she found her way into a handful of films, including The Pill Pounder, where she had the chance to shine in supporting roles, and this is when she finally got her ticket to Hollywood and Paramount.

“She’s not the star of the film, but you can’t take her eyes off her,” says O’Regan. “For the few minutes she’s there she’s divine, she’s fun, she’s full of energy.”

The festival screened The Pill Pounder alongside another new restoration. The feature film Dancing Mothers directed by Herbert Brenon in 1926, is a flapper drama that Bow made for Paramount, in one of her last supporting roles. She plays the reckless daughter of a lonely woman (Alice Joyce) who tires of staying home while her husband and daughter party hard in New York and steps out to go nightclubbing. Bow completely pulls focus from the grownups around her, playing a hedonistic minx, whose body spasms with pleasure when she sips a cocktail.

Stenn described the later film as “like watching a star being born”. Finally, Bow was able to make good on her early promise and start her career as a leading lady. With the breakout comedy It directed by Clarence Badger in 1927, she became a genuine star for the ages. It is easy to look back and assume Bow was destined to become a sensation, but her overnight stardom took a good five years of hard work. The Pill Pounder offers a fascinating glimpse into the route that she took to get there.

By Pamela Hutchinson.

[myvinylplaylist]

Go-Go’s: Greatest (1990)

2020 Target Limited Edition "Sea Glass" colored vinyl.

A&M Records