#Club Telex

[phinnweb]

[Extended version of this text.]

There’s Bonus Beats, a new compilation from Cold Blow Records that brings up quite an onslaught of memories for me.

Namely, of those times when we had our own Club Telex at Tampere’s Yo-Talo (Student Union House), and also hanging out at the electro parties in Helsinki (remember Helsinki Turbo?) and Turku, with those lovely freaks of Rikos Records (the defunct cult label from Jyväskylä, also represented on Bonus Beats), Op:l Bastards, Imatran Voima (with the late lamented Perttu Häkkinen), Mr Velcro Fastener (who specifically informed me that “Mr” in their name is spelled without the full stop), Nu Science (the unofficial “house band” of Club Telex -- now there’s one act who would deserve their own retrospective compilation), Mono Junk, Jori Hulkkonen too, the ever-present Erkko (who curated this compilation), and so on.

The first Club Telex, with Nu Science and Op:l Bastards performing, took place on the 27th of March, 1999, at Yo-Talo, Tampere’s traditional Student Union House. I remember our concept of having electronic live acts was somehow inspired by a club named Osasto in Helsinki. What we added there was that we also showed short films early in the evening, making it a sort of – for a lack of better expression – multimedia event.

“Electronic Avantgarde Excursions” was the tagline of Club Telex, even though in the end there was less experimental music as the average member of local audience – usually consisting of students, indie hipsters and perhaps an odd raver -- was craving for something to dance to rather than to listen some weirdness while scratching one's chin and nodding one's head knowingly.

"Perkeleenmoinen groove" (loosely translates as "hell of a groove") was another expression that was favoured in our plugs to specifically promote the event. 

There was also DJ music, usually by the resident disc jockeys Mikko “mini” Niemelä and yours truly but sometimes also guest DJs spinning records. Alongside mini and me, organising the club were Antti Vuorio (R.I.P.) and Olli Sotamaa, both familiar from the academic circles in Tampere, Vuorio also representing the Monroe film club where he then worked as a president. Monroe was an important collaborator for Club Telex, specifically providing us with the short films. As was also the Student Union of Tampere University, who would assist us in booking the nights at Yo-Talo.

The name “Telex” was inspired by the Belgian synthpop act of the same name, having also a nice retrofuturistic ring to it in an era when e-mails and the Internet were already replacing the old telex and telefax machines as a primary means of rapid global communication.

Some Finnish artists who performed at Club Telex:

Acidroot Soundsystem, Ektroverde, Ever Had, Helsinki Bass Machine, Imatran Voima, Jimi Tenor, Kemialliset Ystävät, Kukka, Anton Nikkilä, M.A. Numminen, Mono Junk, Mr Velcro Fastener, Nemesis, Nu Science, Op:l Bastards, O Samuli A, Ovuca, Pan sonic, Pink Twins, Planet Lander, Spektor vs. Nukleon, Tero, Unidentified Sound Objects, Ural 13 Diktators, Virtalähde, and Ylikulju.

And the international artists who performed at Club Telex:

Alexei Borisov (RU), Chicks on Speed (AU/DE/US), Fennesz (AT) (who played as a duo with the late Mika Vainio), Hecker (AT), I-f (DJ set/NL), Jeans Team (DE), Peaches (US), Nicole Willis (US), Pluxus (SE), and Skot (AT).

Some of these artists we had in collaboration with Avanto Festival and Helsinki Turbo, who arranged for them a gig also in Helsinki (for some of these people, there might have been some live action in Turku, too). There were also some events in collaboration with Kaukana Väijyy Ystäviä and Mindtrek festivals. Fennesz, Hecker and Skot were courtesy of Austria's Mego label.

As guest DJs for Club Telex nights we had, among all, such people as DCom, 6M4 (a.k.a. Gamma), Indigo, Kauko Lampi, Kuuro Kädetön Paisti, Marko Laine, Mike Not, Randy B., and Stimulus Progression.

As for the films shown during our nights, we had at least Futuro and Thank You for the Music by Mika Taanila, then the world premiere of Routemaster by Ilppo Pohjola. The director himself would have liked to show it with a 35 mm film projector, but dragging such heavy and expensive equipment to the club premises of Yo-Talo, which originally served as a bank in the early 20th century, would have been sheer impossibility, so we had to compromise, and another video projection it was to be. Also the legendary Eino Ruutsalo’s experimental 1960s shorts and episodes of such classic Finnish children’s animation series, from the 1960s and 70s, as Kössi Kenguru and Käytöskukka were often seen.

Jyrki, at that time perhaps the most watched pop music TV show in Finland, visited the Commodore 64 theme night of Club Telex in January 2001. Interviewed here are Mikko "mini" Niemelä (known for Polytron, later also as the promoter for Ruisrock festival), Tero (Mäyränen, who released 8-bit type of electro for Rikos Records) and Nu Science, with Mikko Ojanen (who later wrote his doctorate thesis on Erkki Kurenniemi) and Henri Tani talking at Yo-Talo's legendary backroom while the third member, Aku Raski (later known for Huoratron), smiles contentedly.

From 1997, when I witnessed I-f’s (playing as Ferenc) set at Jyväskylä’s festival and instantly became converted, to perhaps 2005-06 when I quit DJing, it was electro (or to be more precise, its second or third wave, if we take into account its Stateside originators in the 80s) that ruled supreme, with some other related genres also squirming into our sets, such as IDM, EBM, synthpop/futu, Italodisco, Hi-NRG, even a bit of dub & hip hop, and yeah, some good old 4/4 techno, with also some occasional, erm, electroclash (once a hip genre cursed among all "real" electro fans) – yes, it can be confessed now since there isn't any personal “street cred” to hold on to anymore (if there ever was).

Alongside Club Telex, there were also some events dedicated purely to electro. In February 2001 we had as electronic live acts from Holland, representing the legendary Bunker Records, both Legowelt and Orgue Electronique.

Was the electro journey worth taking? Sure, there were a lot of things that, in retrospect, should have been left undone, should have been left unsaid. Maybe there’s still someone out there who harbours resentment. Apologies accepted or not, call it a learning process. But despite any personal blunders there might have been, the music was good, and that’s the only real thing worth remembering.

Musical fashions change rapidly. For a couple of years in the late 1990s and the first years of the Noughties, electro was "hip", then something else came along. Since the millennium we've had EDM, trap, vaporwave, synthwave, and loads of other new genres born almost every year that it's totally impossible to keep up with them anymore. Also techno has been revived for the Berghain generation. Classic Italodisco of the 1980s seems to hold its cultish popularity among the club hipsters, year after year. As for electro, probably there will be another full-fledged revival one day, as it seems any type of electronic music will eventually create its own "trad" following, in the way of "classic rock", as can also be witnessed from the ever-rising popularity of analogue instruments.

But enough with the ranting, get this compilation if you want to get a little taste of what it was all about. It's full of lost gems, such as Imatran Voima's 'It's Time to Testify' from their first EP (Kostamus Records, 2000).

[Extended version of this text.]

[thatginchygal]

@jedimara77

[mercurygray]

First One In

The 100th's first mission - the submarine pens at Bremen. First for the crews in the air - and the crews on the ground.

**Warning for non-graphic depiction of a civilian air accident.

June 25, 1943

The view from the tower was the best of everything.

Cord took a deep breath and let the wind ruffle her hair, listening to the birds and the soft whine of the weather equipment on the roof. This was the best part of her job - the wind and the quiet, and the green fields, and the view.

Downstairs was a hive of activity - the weather monitors on the floor below, taking their measurements, and the intelligence section below them, the huge blackboards mapping out the whole wing, squadron by squadron and plane by plane, the telex and the typewriters. But up here she was in her element, earth and sky in equal measure. It wasn’t flying - but damn if it wasn’t close.

She was glad they’d been some of the first crew here on base, and that the pilots had come later. It had given them time to settle in and really make the place theirs - and she didn’t mean the pictures Mae and the others had put up in their hut, or the curtains, or the flowers on the windowsills. She’d watched the laborers putting down the new tarmac, and watched the engineers putting in the new huts and barracks, and smelled the paint drying in the enlisted men’s mess halls and the Aero Club. This was her tower now, her radio and her field. She’d bicycled it and driven it and charted its wind patterns and read its weather reports and knew it now just about as well as it was possible to know a place.

But aren’t you scared, Cord? The question had been asked, more than once, before she packed herself off to Iowa for basic training. There’s so much you don’t know.

Well, sure, Cord had allowed. I don’t know heavy bombers, or England, or what to do in an air raid. But I know airfields. I know the Army, as much as they’ll let me know. And I know me, what I can do. I can learn everything else.

A true statement - the truest there was. She’d needed to learn a lot - how to drill and march in formation and shine shoes and salute, but once she’d gotten here, and been shown the tower, and how the radio worked, there wasn’t a thing she needed after that except the airplanes she’d be directing in, and the men to fly them. And the man who was going to lead them through it, of course.

She hadn’t known what she’d find, stepping into his office for the first time. Colonel Harold Huglin was something of an enigma. Had he worked with women before? Would he care? Captain Brennan didn’t know his name, and she’d been in longer than any of them, and Cord could tell, just by watching the older woman, that these were questions they would have to ask, and whether they liked the answers or not they’d have to live with them regardless.

She remembered thinking that his desk was exceptionally neat. It was something to focus on for a moment while she collected herself - the man had a face like a hawk, and as she’d saluted and sat down in the wooden chair opposite his desk she’d had the feeling of being prey. “You have quite the list of credentials, Lieutenant Callaway. There’s any number of things you could be doing - ferrying squadron work, for starters. Why apply for overseas duty?”

It had been a strange way to start an interview. Cord had shifted in her chair and taken a breath. Would it have been better if she’d lied, or worse? No, sir, I’ve never seen an airplane in my life, I don’t hold a pilot’s license, and I’ve never won prize money in an air race. I didn’t grow up on an airfield and I don’t know the first thing about the Army Air Corps. But her father hadn’t raised her to be a liar. “I’ve spent my whole life at Wright-Patterson, sir. I just wanted to do my bit, same as everyone else.” When you’re almost one of the boys and then all the boys start going overseas, it starts to wear a girl down a little.

“And you didn’t think ‘your bit’ was training new pilots? You’ve got more flight hours than some of the men who’ll be coming through here.”

Well, it helps if you start when you’re about fifteen or so and you’re a good student and the flying officers like you. “With respect, sir, I’m not a teacher. But I’m calm, and level-headed, and I know how to handle a plane, and that makes me just the sort of person you’d want on your tower. Flight control is just as important as any other job - and sometimes more. If a guy’s engine is on fire, he’s going to want to hear someone who can talk him out of it, if he needs.”

And then the man had smiled - actually smiled - and leaned back in his chair a little, obviously satisfied with her answer. “You can relax, Lieutenant. This isn’t an interview - you already have the job. A good commanding officer likes to know his crew before he gets started somewhere. And we’ll hope no one needs to be talked out of engine fires.”

But someone always will, sir. That’s the nature of airplanes. How many crashes had she seen at Wright - or even at the air shows? She knew all too well what a burning engine smelled like, a flamed out cowling. She hadn’t said that, of course - she knew when to keep her mouth shut. Witness Lieutenant - what was his name now? Brady, that was him, belly-landing his fort straight in from Greenland because he’d had some electrical failure and his landing gear wouldn’t engage.

They would hope there wouldn’t be any of that today - Lemmons already had something of a sour look after a noisy (and successful) campaign to rename that plane Brady’s Crash Wagon. Pilots thought they were funny, doing things like that, but crew chiefs could be superstitious about names.

Someone cleared her throat next to her. “You thinking of turning into a bird? You’ve got this look on your face like you’d like to launch off the balcony.”

Cord had to laugh. “Just admiring the view, Mae.” A jeep carrying a familiar bi-colored flight jacket came rolling around the corner, its owner whistling loudly. “Well, most of it.”

Mae laughed. “He’s the air exec, Cord. You can’t exactly get rid of him.”

“But I don’t have to be friendly, either.”

Her friend rolled her eyes. “One of these days you’re going to tell me exactly what he did to piss you off so bad.”

Where would I even start? “If it were exactly one thing I’d tell you, Mae. It’s more his entire state of being.”

“Lieutenant, you’re gonna want to come back inside.” Becky Holbrook was outside the glasshouse, binoculars in hand. “It looks like someone’s coming back early.”

Cord and Mae followed the Sergeant back inside the glass-walled observation room, and Cord took the binoculars and her position next to Anita Young on the radio, focusing on the plane on the horizon so she could try to read the numbers and assess condition. “That’s Major Veal’s plane. Looks like he’s on three engines.”

“Green flare,” Mae reported, though everyone with eyes could see it, arcing into the sky. “No need to send out the fire squad or the ambulance.” On the ground below, they saw a jeep peel out from one of the hardstands, three men clinging to their seats. “Looks like Lemmons is already on his way out.”

Another jeep joined them - the one that had only just parked at the tower. “And there goes Major Egan,” Cord said, sourly. “What the hell is he going to do?”

“Anything he can, Lieutenant.”

Cord immediately put down her binoculars and saluted, feeling foolish. “Major Bowman. There’s been nothing on the radio, sir. It looks from here like it’s just engine one that’s out.”

“As it should be,” Bowman said with approval. The intelligence officer wasn’t a physically imposing person, but Cord had spent enough time with him to know that he knew his business, and the slightly fading red hair that had given him his nickname was covering a first-rate brain. “Germans monitor all our radio traffic - Major Veal knows that. It’s different procedure here, compared to an airfield back in the states. They won’t radio in for landing instructions.” Cord looked down at her service shoes, feeling foolish. “But you’ve got a good eye about that engine, Lieutenant,” Bowman added, a gentle compliment to cover up her mistake.

“Thank you, sir.”

“Our first returned plane!” Becky said with a grin, nudging Anita and Mae. “We’re in it now!”

Beside her, she heard Bowman breathe sharply through his teeth. “We’ll get a report from him and the crew about when he turned back, and Egan will need an update on that plane’s operations status,” the intelligence officer stated, hands on his hips as he watched the plane touch down and turn down the taxiway. “Make sure no one stands down - fire teams, ambulances. We’re still waiting on the rest of the group.”

“Of course, sir.”

Bowman paused, turning away from the front of the glasshouse and stepping to the side, motioning for Cord to follow him. “You ever seen an airplane crash, Lieutenant Callaway? Apart from Lieutenant Brady’s ...unorthodox landing the other day?” He pursed his lips. “Colonel Huglin mentioned you grew up near Wright-Patterson. I want to know - if you know what we might be expecting back.”

Cord looked at him, really looked, and realized what he was asking. You mean do I know what’s waiting for the ambulances, sir? Or what a burning plane smells like? I watched a woman pancake on a pylon at Bendix, once. Took the turn too quick. Wasn’t anything to bury afterwards - just a burning wreck. I’ve seen pilots miss landings and I’ve seen gunnery practice go bad. Maybe I haven’t been in the war just yet but I know what a plane can do to a body. “Pretty frequently, sir.”

Bowman nodded. “This one was easy. The rest of it won’t be - you understand me? They may radio in to let you know what’s coming.” Manage the others was the last unspoken command. The rest won’t be pretty.

Cord fixed her eye on his and nodded, feeling the weight of his expectations and his stare. “Yes, sir. Of course, sir.” When the others come back, then we can say we’re in the war. But not before.

“Calm and steady, Callaway.”

“Always, sir.”

“And we’ll be grateful then that Major Egan’s doing everything he can, all right? Because we’re all doing everything we can, always.”

Cord swallowed the knot in her throat, knowing that at the heart of it he was right. Even she couldn’t say that Major Egan didn’t care about his airmen - and he was always doing everything he could, even if it sometimes made him a nuisance. “Right, sir.”

He nodded, and stepped back outside the glasshouse so he could go back downstairs. Cord took a deep breath, and returned to the radio, and the view out the front window. “Make a note of the time, Mae, will you? Captain Brennan will need that for the daily report.”

One plane back - nineteen more to go. She surveyed the airfield, wondering just how it would look in an hour, or two, or how the siren to call out the ambulance would sound behind the glass, and her hands tightened on her binoculars. I know airfields. I know planes. And by the end of today, I’ll know something else, too - something about war.

And aren’t you scared about it? She thought about that burning plane at Bendix again, the sound of the announcer’s voice, the collective gasp from the stands as the plane burst into flames and the flyer behind only just swerved to avoid it.

Well, my father didn’t raise a liar - so I’ll tell you: I’m damn terrified.

Read more of Cord here at her masterlist.

[see-fee]

No Unnecessary Distinctions - Chapter 25: Reveal of a Robot

https://archiveofourown.org/works/35069428/chapters/126171982

Daneel explains his plan for his public reveal, and Elijah realizes that success would come at the cost of sacrificing his dream of emigrating together, while failure could result in their permanent separation.

My favourite song is number one The newspapers reflect my views I'm dressed like in the magazines No special thing about it Second hand, second hand Second hand, second hand Second hand, second hand Second hand, second hand I know the world, I watch TV Opinion close to how I feel My friends, they always feel the same No special thing about it Second hand, second hand Second hand, second hand Second hand, second hand Second hand, second hand I found my girlfriend at my club This food tastes just like on the ad I help my country, I like sports No special thing about it Second hand, second hand Second hand, second hand Second hand, second hand Second hand, second hand

[millenniumbreak]

hi i really enjoyed your quiz & was pleasantly suprised by the song rec in the result! i wanted to ask if you could list all of them? i would love 31 more songs to check out and also which characters they corresponded to

Yeah for sure! I already put this together for someone on the F@tT discord who asked the same, so its no trouble!

And then list of characters with corresponding songs:

Hazard - Comeback Kid - Sharon Van Etten Chine - Egg and Soldiers - Cosmo Sheldrake Virtue - Death is a Girl - Mini Mansions Darling - Teeth - Working Men's Club Duvall - Telex - Blank Ritual Pickman - Polk Salad Annie (Live) - Elvis Presley Marn - I Opened A Bar - Sophie Hunger Es - A Hero's Death - Fontaines D.C. Lyke - There Is Still Pain Left - Sophie Hunger Dyre - Beachland Ballroom - IDLES It- Daddy Was A Wolfman - Son Of Dave Bucho - Brass Bell - Screaming Females Alakest - Everest - Public Service Broadcasting Uno - The Circus or The Zoo - The Tiger and Me Dayward - Just Like You - Viagra Boys Calen - Don't You Just Set The World Alight? - The Tiger and Me Aterika - Into the Sun - Viagra Boys Appletun - Group Autogenics I - The Books Janek - The Old-Style Raiders - Jamie T Kerr - I Was Gonna Fight Fascism - Soccer96 Ana - Capsized - Andrew Bird Ravening - Black Shuck - The Darkness Chantilly - Common Thief - The Tiger and Me Katonya - Travelling Light - Leonard Cohen Agdeline - Blood on Your Bootheels - Caroline Rose Ettel and Larch - LIVE 'N DANGEROUS II - GEE TEE Fendleton - Skeleton Song - Kate Nash Marisha - Serve Somebody - VULFPECK Collette - White Privilege (Live at Glastonbury 2022) - IDLES Lenore - Steer Your Way - Leonard Cohen Mr Kenson - DOGCULTURE - Whitey Jolyon - Great Depression - Chanteclaire

[fredalan]

The 2nd and 3rd photo (from the top) are of producer Elliot Krowe and promoter Venkat Vardhan

Europe in India. 

We made television not rock concerts. 

Well, no one at our shop had ever produced any rock concerts. Except Elliot Krowe. Who led into the most unusual project in Fred/Alan's history. 

Elliot, a college radio buddy of ours, was on our team. He'd spent his early days (and his post-Fred/Alan career) running the lighting operations of dozens of giant concerts, having started with 70s stalwarts Blue Öyster Cult. 

Alan's apartment landlord at the South Street Seaport introduced us to Venkat Vardhan, an Indian acquaintance who wanted to promote the first ever rock concert in India. Venkat knew what he wanted the result to be, but other than that, he didn't even know what he didn't know. There was no band booked, a vague idea of the location, and... well, not much else. 

Elliot put the entire thing together. Which, trust us, was not a simple affair. He figured out how to book an appropriate act –Europe, a Swedish hard rock band that had recently had a breakout with their album "The Final Countdown"– along with the complicated logistics between North America, the European continent and the Asian continent. To give you an idea what was necessary, to get the sound and lighting support into a country that had never done the kind of show that the group  required, meant flying literal tons of equipment across the frickin' North Pole! 

After the reconnaissance trips, when the actual concert was booked –coinciding with the 1988 American Thanksgiving holiday– Alan and his girlfriend, and a Chauncey Street documentary crew*, tagged along. Here are some of Elliot's and Alan's recollections. 

.....

Elliot: In September or October 1986, Venkat Vardhan contacted Fred/Alan for help organizing an outdoor rock concert in India. Venkat’s brother Shreepad, studying in Oklahoma, knew Alan’s landlord, who figured our MTV connection might be useful. 

In November 1986, I brought Fred/Alan’s Mark Tomizawa and a small recon team to visit Bombay (now Mumbai) to scout locations and hold meetings. Over the next 18 months, multiple site surveys were conducted, with communication mainly through telex and phone. The initial plan was to hold the concert at the Cricket Club of India, a downtown stadium ideal for the event. Pride India, a charity for housing and healthcare, sponsored the concert, making government approvals easier to secure. 

Negotiating for artists was challenging. India had no prior concerts of this scale, and promoters had a poor reputation for production value and payment issues. After numerous possibilities, confirmations, and cancellations, the band Europe headlined, with Nazareth as the second act and local band Rock Machine as the opener. 

Originally scheduled for October 1988, the show was delayed to November 26 due to issues with Reserve Bank permissions. Scheduling conflicts forced a venue change to a “new” soccer stadium on Bombay’s outskirts. Once all funds were transferred and production equipment flown in, our team arrived two weeks early. 

Wait! What? The venue was disastrous. The stadium was 75% built and abandoned. Grass had been burned down days before, homeless families occupied dressing rooms, and utilities were off. In two frantic weeks, we cleaned the site, turned on water and electricity, and built a bamboo stage, fencing, and barricades.

Coordinating utilities, law enforcement, and concert infrastructure was exhausting with inexperienced local staff. The event was also a crash course in modern concert production and security for everyone involved. 

.....

Alan: My memories of our Fred/Alan trip to bring rock and roll to what is now Mumbai are mostly personal. My presence was largely ceremonial and my duties minimal — to shake hands at a welcoming meeting, and to watch the concert at the rustic, unfinished stadium. 

I remember it was already evening on the day we arrived when we got the idea to go see the field where the concert would be staged. We arrived after dark, and since there were no lights, we saw only an endless expanse of blackness. Somewhere in the distance was the sound of a loud motor. We couldn’t see what it was. As the sound got closer, a tiny red dot became visible. It seemed to just hover in the sky. It wasn’t until it was quite close that we could see it was the glowing end of a cigarette, in the mouth of a man mowing the field in total darkness in the middle of the night.

Our friends at MTV had tossed some money in the till to shoot a promo spot with Europe’s lead singer, so I wrote something and we shot it days later before the concert. All I remember was that he was at a payphone. I don’t think it was very good. I don’t think it ever aired.

I was often startled as we traveled through the city to see no signs of the culture we knew outside of India. Very distant places in the world still have Coca Cola and Levis Jeans. Not what was then Bombay. At least, not on billboards or ads at the newspaper stands. Another sign that to be doing what we were doing with a rock band that had global recognition was extremely noteworthy. 

Without familiar touchstones, we immersed ourselves in the Indian way of life. With a few days off between our project kick-off and the concert, my girlfriend and I had time to explore Jaipur and Udaipur, cities in the Rajasthan with ancient roots. We had made flight and hotel reservations back in the U.S. and everything was set, but we were completely unable to book a flight back from Udaipur to arrive before the concert. We wrote it off as something we’d solve when we were on the ground. 

The flight to Jaipur was hours and hours delayed, and we arrived sometime after 2:00 A.M. A row of taxis were waiting. We snagged one, and our very cheerful driver started on his way. We had heard our trip coincided with the annual Puskar camel fair, and we asked him the best way to the event. He told us it was two-and-a-half hours away, and the best way to get there was for him to drive us. We told him we wanted to see the city first, and he suggested that the best way to do that would be for him to drive us. It seemed that whatever we wanted to do, the best way to do it was for him to drive us. 

The next morning, despite the late check-in, we were down early for breakfast at our hotel, a former palace. We looked across the lawn and there was our driver standing proudly by the car. When we had eaten, he brought us on his personal tour of the city, including stops at some particularly special jewelry and fabric merchants. I’m rather certain one of the ways they were special was that they maintained a special relationship with our driver. 

When we had had our fill of touring, we started on the road to Pushkar. It was a startlingly desolate route. Mostly what we saw was barren earth. Occasionally we would pass a man with his camel. I remember only one establishment where we stopped to eat, and possibly for fuel. I remember our driver wanted no food. 

The camel fair was a feast for the eyes. An annual event, it draws thousands who trade livestock, sell their colorful rugs and other goods, and participate in sporting events. What we didn’t fully understand was that it is also an important pilgrimage site, and that the fair marked the week when religious rituals are observed. Everywhere we looked we saw something new and extraordinary, and when we had seen enough, we found our driver, standing by his car and smiling at us. It was another two-and-a-half hour excursion back, of course. He was cheerful the entire way. 

We had an early flight out to Udaipur. Guess what the best way was to the airport?

The following morning at the airport we paid our driver, tipping him enormously. The entire bill including tip was $60. Funny what you remember. 

Our trip to Udaipur was even more eye-popping. The Lake Palace Hotel was built in 1743 as a summer palace for the Maharana and is cleverly designed to appear as though it rises straight out of the water in the middle of Lake Pichola. It’s easy to describe what you see as you approach by boat, but almost impossible to describe the effect. It is a stunning monument to wealth and opulence. We booked an incredible suite that may have been 4000 square feet. It was on multiple levels. It had wrap-around terraces that seemed the size of basketball courts. The bedroom featured a cloistered bed nook with a ceiling just a few inches above our heads, utterly festooned with erotic paintings. We had definitely gotten on a plane and gone somewhere.

But there was still the pesky issue of getting back. We learned that flights were scarce because of the pilgrimages. This was peak travel season in India. Even our attentive hotel clerk had been unable to secure flight reservations, and recommended getting on the boat and going to the airline office in town where we might have more success.

The airline office was little more than a single room on an upper floor in an office building. We went inside and saw a long line that snaked around and around until it reached a single man at a small desk, an open ledger in front of him and a pencil in his hand. It took quite a while to pull up at the desk but by now we were used to long lines everywhere in India. We told him what we wanted, and he wrote our names and ages in pencil into his ledger. I’ve never understood why they needed our ages. When he was done, he smiled up at us. “Okay,” he said. “You are on the waiting list. Number 43 and 44.” It took a moment for the information to sink in. “This plane has 19 seats, correct?” I asked. Yes, he said. “And we’re number 43 and 44 on the waiting list?” I asked. Yes, he said. ‘So there’s no chance we’re getting on this flight, is there?” “No,” he answered, smiling, “no chance.” 

Back at the hotel, our sympathetic clerk told us the only option was the train from Ahmedabad to Bombay. Ahmedabad was close to four-and-a-half hours away. 

We were on the road early the next day, and at the station spent hours and hours trying to get train tickets. We went from counter to counter. Our names went on list after list. My girlfriend was still suffering from some food poisoning contracted earlier in the week and was not looking well. Finally, the only nice man in the station said to me, “Tell me... are you a Christian man?” I wasn’t sure what the right answer was, so I tentatively answered “Y-y-y-es?” He had spotted the manager of the station and walked us across the floor to meet him. I’m not sure what the clerk told him, but the man whipped out a pencil and without a word signed a form. Suddenly there were train tickets for the all-night train back to Bombay. 

We hadn’t eaten. Nothing at the stalls looked particularly safe. That same nice clerk told us we could buy a meal at the employee cafeteria, so we found that room and ordered. Mine was the curried cauliflower. I remember it because at some point while we were eating, it dawned on me that it was Thanksgiving back home. This was one of the most appreciated Thanksgiving feasts of my life. 

23 years later, I was at Housing Works Bookstore for our twice a year street fair [Alan volunteers there weekly] and this kid Keith -- a financial analyst -- was there through the morning moving stuff out to the street. He finished up and asked me if we had show tunes that hadn't come out yet. So I brought him to the sub basement where we always have plenty of show tunes.

He was in heaven grabbing West Side Story and Evita and everything else - maybe 25 albums. Sketches of Spain and some other jazz. He's telling me about listening to music with his father, who traveled a lot and brought home albums.

I asked where in India, and he said Bombay. I told him I was there when we produced the first rock concert in Bombay. He asked, "Which one?" "Europe," I told him. "oh my god," he tells me. "I was there!!!". He was in seventh grade. He was crying, he told me, because it was the first time in his life his very strict mother let him do anything.

There's 1.2 billion people in India. I met one we touched.

.....

The documentary footage we shot at the show –never edited, never finished– was posted on YouTube in 2024. There's a new comment posted on the videos at least every week. 35 years later!

Elliot: 

On November 28, 1988, the concert went surprisingly well. Of course, there were last-minute fixes, but 45,000 attendees enjoyed a great music presentation in a safe, entertaining environment.

*Documentary footage was shot with a team led by cinematogapher John Hazard, some rough edits made, but never finished. The photos here are some funky screenshots from the original VHS tape dubs. 

[jadacubalitblog]

10 Interesting Cuba Novels

Next Year in Havana

"A beautiful novel that's full of forbidden passions, family secrets, and a lot of courage and sacrifice."--Reese Witherspoon After the death of her ...' tbc

Our Man in Havana

Our Man in Havana is a novel set in Cuba by the British author Graham Greene. Greene uses the novel to mock intelligence services, especially the British MI6, and their willingness to believe reports from their local informants. 

Dreaming in Cuban

Dreaming in Cuban is the first novel written by author Cristina García, and was a finalist for the National Book Award. This novel moves between Cuba and the United States featuring three generations of a single family.

Before Night Falls

Before Night Falls is the 1992 autobiography of Cuban writer Reinaldo Arenas, describing his early life in Cuba, his time in prison, and his escape to the United States in the Mariel Boatlift of 1980. It received a favorable review from The New York Times and was on the newspaper's list of the ten best books of 1993.

Telex from Cuba

Telex from Cuba is the 2008 debut novel by writer Rachel Kushner. The novel follows a group of Anglo-expatriates living in Cuba during the Cuban Revolution and is loosely based on Kushner's mother's experience growing up in Cuba on territory occupied by the United Fruit Company.

Three Trapped Tigers

Tres tristes tigres, abbreviated as TTT, is the debut novel by Cuban writer Guillermo Cabrera Infante. The novel was first published in Spain in 1967. It was later translated into English by Donald Gardner and Suzanne Jill Levine and published in 1971 as Three Trapped Tigers

When We Left Cuba

Instant New York Times bestseller!In 1960s Florida, a young Cuban exile will risk her life—and heart—to take back her country in this exhilarating historical novel from the author of The Last Train to Key West and Next Year in Havana, a Reese Witherspoon Book Club pick. Beautiful.

Waiting for Snow in Havana

Waiting for Snow in Havana: Confessions of a Cuban Boy is a 2003 book by Carlos Eire and winner of the National Book Award for Nonfiction.

Of Women and Salt

A sweeping, masterful debut about a daughter's fateful choice, a mother motivated by her own past, and a family legacy that begins in Cuba before either of them was born.1866, Cuba: María Isabel is..

Dirty Havana Trilogy

Testifying to the squalor and sensuality of contemporary Cuba with bold simplicity and sharp humor, Pedro Juan Gutierrez's semi-autobiographical fiction tells the story of Pedro Juan, an ex-radio journalist who wanders from one odd job to the next, half disgusted and half fascinated by the depths to which he has sunk. ... 

Havana Nocturne

In modern-day Havana, the remnants of the glamorous past are everywhere—the old hotel-casinos, vintage American cars, and flickering neon signs speak of a bygone era that is widely familiar and often romanticized, but little understood. 

[bmobeaumont]

Tracklisting: Edgar Froese - Pinnacles

Black Uhuru - Apocalypse

Powerman - Love Whisperings

Cabaret Voltaire - Safety Zone

Steve Hillman - From Distant Shores Pt 1 - Chamber Of Bells

Andrzej Marko - Dhamma

Ensemble Pittoresque - O.B.W.T.

Yoshi Ojima - Club-B

Wally Badarou - Keys

Grace Kale’s Dubset - Schwaiia-Mü (Government Dub)

Stratis - Humanly Possible

Stratis - Birds In A Cage

Andre Mikola - Osmosis

Playgroup - Ballroom Control

Clara Moonshine - High Moon Enters Heaven

Rock Master Scott & The Dynamic 3 - It’s Life (You Gotta Think Twice) (Instrumental)

Wavo - Real Life (Instrumental)

The Assembly - Stop-Start

Prince Jammy V King Tubby - King Tubby’s Salute 

Grace Kale’s Dubset - Endpiece

Edgar Froese - Pinnacles

Black Uhuru - Youth

Yoshi Ojima - Days-Man

Powerman - Loving Was Easy

Wally Badarou - Mambo

Rex Illusivi - SNP 1

SPK - Metal Field 

Lol Coxhill & Morgan Fisher - Matt Finish 

Tik & Tok - Soulless Synthetic Heart-Steps Of Unconcerned Androids

K. Leimer - Three Forms of Decay

K.S.B. - Misaluba (Dub Remix)

Eberhard Schoener - Systeme

M Basic - Ok. Run (Cut Version) 

Marzio Dance D.J. And Gang - Rap-O-Hush (Another Version) 

Cosey Fanni Tutti - Ritual Awakening 

Den Harrow - To Meet Me (D-Version)

The Manicures - Let This Feeling Carry On 

Ingram - Smoothin Groovin

Colors - Am I Gonna Be The One (Colorful Dub / Break For Dayze)

Brando - What Now My Love (Flemming Dalum Instrumental Edit) 

Starr's Computer Band - Computer Rock Control 

Michael Garrison - Upon The Horizons

Hypnosis - End Title (Blade Runner)

Sauveur Mallia - Synthetic Suspense

Telex - La Conversation 

Gary Wilson - Chrome Lover

[maklarr7000]

The Memorex Telex lives!

[records2]

#TELEX / ROCK AROUND THE CLICK BELGIUM 7" #japanvinyl #vinyl #recordscollection #45records #records #club #dj #rock #vinylcollector #rarerecords #vinylcollection #recordcollector #rarelps #technopop #japanesevinyl #7inch #single #pictsleeve https://www.instagram.com/p/BtBWoDYAv4g/?utm_source=ig_tumblr_share&igshid=n2rd22g87bde

[phinnweb]

2024 in a nutshell: My first professional film project, the war documentary Marokon kauhu (The Terror of Morocco a.k.a. Aarne Juutilainen) was finally ready and got into distribution. As a personal project, being able to finish Amuri Tekno, an interview documentary of a local electronic duo, after nearly three years since its filming, was also important for me.

Of the other stuff, I was glad I got back the taste for writing, with a quite lengthy text of our local Club Telex (that took place at the turn of the millennium) finished at the end of the year (with an option for some possible future additions).

There was also a sort of artist biography/tribute to the late J Saul Kane (a.k.a. Depth Charge a.k.a. The Octagon Man), of UK, that I started to write almost as soon as the news of his passing reached me (of all the people we lost in 2024, this one personally hit me the hardest). 2025: on its way, another war documentary, JR29, where my role is as the editor. I’d like to work more on my writing, screenplays, too. As finding one's way to work as a professional film-maker in this country (and getting past the gatekeepers) seems to be extremely hard, I have kept open the prospects of being involved in all sorts of DIY/”outsider art” type of productions, as a more realistic option, perhaps.

[dj-bouto]

[00:00] Claude Young "Gates of the afterlife" [Elypsia] [03:22] David Alvarado "Sunstone" [Peacefrog Records] [07:30] Xxx "Yyy" [LP Records] [10:15] Ptaah "Uriel Bridge (Dj Venom's Viper dub)" [Ubiquity Records] [13:42] Tempo 2 "Expansive Drumz Ritual" [Ubiquity Records] [16:22] Ian O'Brien "Heartstrings" [Peacefrog Records] [19:41] Wild Planet "Frozen Signal" [430 West Records] [23:50] Minimal Man "Bocyc" [Trelik] [27:07] Emmanuel Top "Radio" [Attack Records] [31:53] Heiko Laux "Position Flipped" [Kanzlemrant] [37:06] Discocaine "House Da Crowd (Movin') (Club Mix)" [Zoom Records] [41:04] Telex "Brainwash (Eddie Flashin' Fowlkes Mix)" [SSR]

[notanacousticsetcal]

music tag

thank you @heartbreakweatherharry for the tag 🥺❤️ love you

10 songs on shuffle

planet telex by radiohead

strange condition by pete yorn

waiting room by rex orange county

2all by catfish and the bottlemen

beautiful boy by john lennon

my old man by mac demarco

close as strangers by 5sos

the way i loved you by taylor swift

in my head by ariana grande

malibu by miley cyrus

10 songs i’ve been listening to

i know the end by phoebe bridgers

illicit affairs by taylor swift

thin white lies by 5sos

sleep on the floor by the lumineers

around the world by kings of leon

deep end by holly humberstone

scar tissue by red hot chili peppers

guys by the 1975

head cold by spacey jane

caution by the killers

10 albums that influenced me

sounds good feels good by 5sos

after laughter by paramore

sgt. pepper’s lonely hearts club band by the beatles

cleopatra by the lumineers

melophobia by cage the elephant

the 1975 by the 1975

four by one direction

rumours by fleetwood mac

fine line by harry styles

1989 by taylor swift

i wish i could give explanations for some of these but yeah 😳😌

im tagging some followers/friends/writers so carry on the chain if you want! no pressure or anything just for fun :)

@sunshineesquish @aabc5sauce @c-a-l-m-hood

[idkhowmx]

Dallon Weekes para Upset Magazine

"Durante toda mi vida, me han dicho que todo lo que quería era imposible, pero aquí estamos."

La mayor esperanza de Dallon Weekes para iDKHOW era presentar gustos como Marc Bolan, David Bowie y The Cure a una nueva generación. "Si nosotros no podemos ser tu cosa favorita, entonces tal vez ellos puedan serlo", dice, haciendo zoom desde su estudio casero. Un hombre sin miedo a llevar sus influencias en la manga, cree que la música es mejor cuando es una actividad comunitaria. "Disfruto mucho más de mis cosas favoritas cuando puedo compartirlas con la gente. Eso es lo que esta banda es para mí."

Pero su álbum debut 'Razzmatazz' es mucho más impactante que abrir una puerta a los grandes de antaño. Olvida la nostalgia, este es un disco sobre la adversidad, los sueños de la infancia y el rechazo a aceptar un no por respuesta. Lleno de metáforas sobre el aislamiento, "este disco trata sobre la frustración y la ira que puede surgir al no poder conectar con otras personas".

El álbum de debut de iDKHOW fue originalmente grabado hace años, pero después de una gran cantidad de publicidad de los primeros sencillos 'Modern Day Cain', 'Do It All The Time' y 'Choke', la banda salió a la carretera para tratar de mantener la demanda. El disco sólo se terminó, por correo electrónico, este año.

"No es el mejor momento para publicar música, pero esperar más tiempo del que hemos hecho me habría vuelto loco. Es bueno que estemos aquí, sin importar el estado del mundo en este momento"

Como muchos niños de la clase trabajadora, Dallon se pasó toda su vida recibiendo la orden de "dejar de soñar despierto y sacar la cabeza de las nubes". Una y otra vez, se le aconsejó que fuera a la universidad, consiguiera un trabajo, se ganara la vida. "Pero nunca hubo un plan B. Para mí, siempre fue la música."

"Tenía algo que demostrar con este disco. Durante toda mi vida me han dicho que todo lo que quería era imposible, pero aquí estamos. Es por el trabajo duro y un poco de suerte, pero si quieres algo lo suficientemente malo, entonces imposible es sólo cuestión de tomar una decisión."

Por primera vez en casi una década, Dallon estaba apostando por sí mismo. "No había objetivos cuando empezamos con iDKHOW. No había otro propósito que divertirse."

Para asegurarse de tener espacio para tocar, durante el primer año de iDKHOW, la banda hizo shows secretos, y Dallon y Ryan negaron su participación. "Sabíamos que al final tendríamos que admitir lo que estábamos haciendo, y tan pronto como lo hiciéramos habría esta afluencia de gente que vendría [por las bandas en las que habíamos estado anteriormente]. Pero nunca quisimos explotar eso. No queríamos montarnos en los faldones de nadie. Es inevitable que la gente diga, ‘sólo estás aquí porque tocabas en esa banda’, y esa realidad no se nos escapa. Lo que sí queremos hacer, sin embargo, es hacer esta banda tan separada y honesta como podamos, con tanta credibilidad como podamos manejar."

Hasta el día de hoy, iDKHOW hace todo lo que está a su alcance para mantenerse aparte de lo que hay. "Eso fue sólo una pequeña cosa para separar estar en el escenario con Panic! versus estar en el escenario para mí mismo." Y en el estudio, si una canción empieza a resultar demasiado familiar, frenan y la llevan en otra dirección.

"Intentamos hacer todo lo que podemos para mantener estos mundos separados", dice Dallon, antes de admitir que es difícil de hacer "cuando has hecho tanto creativamente para otra banda porque tus huellas están todavía en ella".

No es sólo la sombra de sus antiguas bandas Dallon y Ryan (que una vez tocó la batería con los rockeros emo, Falling In Reverse) que tratan de superar, sin embargo. Como dos piezas, todo el mundo está esperando para comparar iDKHOW con Twenty One Pilots, Royal Blood o Death From Above. Por eso, "intentamos activamente evitar cualquier similitud, ya sea sonora, visual o estética en cualquier cosa que hagamos. Tratamos de mantenerlo tan único como podamos".

Además de darles espacio de sus trabajos diarios, esos shows secretos también permiten a iDKHOW averiguar qué demonios estaban haciendo. "Hacía tanto tiempo que no estaba en el centro del escenario ni era el centro de atención que ya había olvidado esa parte de mí", dice Dallon.

Le llevó un año de actuar en secreto y toda su 'obra ampliada de 1981' para que "encontrara mi propia voz como escritor". Mirando hacia atrás ahora, el primer sencillo 'Modern Day Cain' no se siente del todo bien. Seguro, el mismo glam-rock teatral se puede encontrar a través de 'Razzmatazz', pero él "todavía estaba con la mentalidad de escribir para otros artistas".

Deshaciéndose de esas telarañas y poniéndose sus zapatos de líder, el álbum de debut de iDKHOW no rehúye decir exactamente lo que está en la mente de Dallon. "Como hace mucho tiempo que no tengo la oportunidad de escribir sobre este material, creo que todo salió a la vez. Ha sido catártico".

No sólo frustrado por su propia experiencia en Hollywood, 'Razzmatazz' se opone a la enorme ventaja que la gente de dinero tiene en el arte. "No crecí con dinero, y hasta aproximadamente el 2014, seguía teniendo trabajos regulares mientras estaba de gira en una banda. Vengo de un lugar del que la mayoría de la gente viene".

Razzmatazz' aprovecha la furia y la frustración que viene de lo injusto que es todo el sistema. "La gente se conecta con ideas como esa porque mucha gente de la clase trabajadora tiene grandes sueños, pero no tienen la oportunidad de perseguirlos. Muchas veces es por dinero, o porque no conoces a las personas adecuadas o porque la suerte nunca les acompaña".

"Es extraño pensar que ahí fuera, en medio de la nada, algún chico con una guitarra está escribiendo la mejor música que nadie va a escuchar nunca, sólo porque no conocen a la gente adecuada o mamá y papá no tienen suficiente dinero para enviarlos aquí. Es una lástima que a veces caiga un rayo sobre la gente que lo da por sentado."

Dallon lo ha visto de primera mano. "Eso es realmente exasperante para mí. Hay gente que trata las oportunidades que tienen como un juguete. No respetan la posición en la que están o los fans que tienen. Piensan que están donde están por su talento. Es maravilloso tener talento, no hablo por mí, soy bajista, pero tu talento tiene muy poco que ver con la posición en la que estás". Mucho de ello se debe a los privilegios.

Pero iDKHOW todavía quiere divertirse. Tienes que hacerlo con un nombre como I Don't Know How But They Found Me, un título que captura ese modus operandi inicial secreto, pero ahora es uno del que Dallon se arrepiente un poco. "Un buen nombre de banda es Led Zeppelin, pero la mayoría de los nombres de bandas son terribles. Los Beatles, la mejor banda de todos los tiempos, tienen un juego de palabras para un nombre. Sólo tienes que aceptar el hecho de que los nombres de las bandas son ridículos y no les importa."

El mundo puede saber sus verdaderos nombres pero la banda ha cambiado ese misterio por otro. En "1981", había un concepto poco claro de que iDKHOW era una banda de hace 40 años que nunca tuvo ese momento de importancia cultural que esperaban.

"Nunca queremos tener que hacer exactamente lo mismo dos veces, sin embargo. Así que en lugar de continuar con esa historia, decidimos torcer un poco la narrativa en 'Razzmatazz' y empezar a introducir esta pseudo corporación gubernamental [la Corporación Telex] que es una metáfora de la industria musical."

Inspirado por las narraciones de David Bowie en "The Rise and Fall of Ziggy Stardust and The Spiders from Mars" y en "Sgt. Pepper's Lonely Hearts Club Band", la historia ficticia de "Razzmatazz" es importante, pero es secundaria para hacer el disco real. "Quiero que la música siempre sea capaz de mantenerse por sí misma. Esa historia es sólo otra capa de entretenimiento para cualquiera que se atreva a sumergirse en ella. Y si no lo haces, entonces está totalmente bien." También sirve como una armadura para Dallon.

"Estoy cantando sobre cosas que son muy reales para mí, pero presentarlas en una narración ficticia ayuda a protegerme. También me ayuda a decir lo que quiero decir sin ser explícito." En el mundo de los dibujos animados de 'Razzmatazz', "puedes decir lo que quieras decir".

A pesar de la nostalgia que iDKHOW esconde, sampleando programas de televisión de los 50 y con un amor por todas las cosas del goth-pop de los 80, son una banda muy moderna. Hablan en Twitter sobre la identidad, se inspiran en Muse o St. Vincent y se niegan a jugar con la idea de ser estrellas de rock, a pesar de su sentido de la moda.

"Hay muy pocas cosas que odio tanto como el viejo cliché del sexo, las drogas y el rock'n'roll. Esa filosofía de 'haz lo que quieras' es una forma de vida de mierda, porque no tiene en cuenta a los demás"

Aunque la letra no habla de ello explícitamente, 'Razzmatazz' ampara por el ser disponibles emocionalmente tanto como es posible. "Crecí en una época en la que si tenías sentimientos, los guardabas bajo llave, no hablabas de ellos y nunca, nunca llorabas. En vez de eso, te ataste a un par y te hiciste hombre. Eso es tan increíblemente insalubre. Aprendí sobre el término masculinidad tóxica hace unos años, pero me ayudó a crecer como persona y como artista. Está bien estar triste, enojado y mostrar emoción. Yo llamaría a esto un registro positivo sólo porque he sido capaz de escribir sin restricciones y sin nada que gobierne mis ideas."

Puede que no quiera ser una estrella de rock y sólo sea el líder de iDKHOW por necesidad, más que por sed de fama, pero Dallon siente la responsabilidad de usar su plataforma para decir algo a sus fans. Después de todo, está en deuda con ellos.

"Cuando se trata de música, los jóvenes van a ser la mayoría del público. No me considero un modelo a seguir porque ciertamente he cometido errores, he metido la pata y he hecho cosas de las que no me siento orgulloso, pero es gracias a esos jóvenes, a esos fans de Twitter, que me han permitido aprender y tratar de mejorar."

"En los últimos cinco años, he aprendido cosas como el habla, el pensamiento y el lenguaje problemáticos. Estoy increíblemente agradecido por ellos porque a lo largo de mi vida, me han hecho sentir como si fuera menos que, y nunca quiero hacer que nadie se sienta así. He sido culpable de esas cosas en el pasado y tomar conciencia es el primer paso para cambiarlo."

"Si hay ignorancia en mi vida, quiero señalarla para poder cambiarla. Siento que si hay alguna experiencia que mi vejez pueda proporcionarles, quiero intentar devolverles el favor. El sentimiento de responsabilidad viene de este intercambio que he tenido con los fans. Me han ayudado mucho, y si hay alguna manera de ayudarlos, ya sea a través de la música, o a través de algún tipo de interacción, quiero hacerlo. Siento que es parte del trabajo".

De otro mundo y dispuestos a robarte el corazón con el caos de carnaval de 'Razzmatazz', iDKHOW son una banda que ha tenido que trabajar por lo que tiene. Nunca han tomado el camino más fácil, incluso cuando se les ha ofrecido, porque significaría sacrificar un pequeño rincón de su mundo y ese es un precio que nunca vale la pena pagar.

En cambio, la banda es libre de hacer lo que quiera, pero nunca a expensas de nadie más. "Es importante recordar que cada uno de nosotros que tiene una voz - ya sea grande y para los estadios, o si estás hablando con un club lleno de dos docenas de personas - es increíblemente afortunado de estar en esa posición", considera Dallon. "Y espero que nunca jamás lo olvide".

[mylesmatisse]

It's my SYNTHPOP REVISITED! Virtual Music Video Party! My Set is Inspired by the 40th Anniversary of SYNTHPOP as presented by Classic Pop Magazine, This Saturday, April 24th, 9pm-2am, I'll be VJing a music video mix spotlighting the INNOVATORS and PIONEERS of the SYNTHPOP Movement - 1970s 'Til Now!!!!

Artists featured: ABC, A-Ha, Marc Almond, Alphaville, Animotion, Annie, Anything Box, Art of Noise, Berlin, Betty Who, Blancmange, B-Movie, Book of Love, Bronski Beat, The Buggles, Camouflage, Capital Cities, Cause and Effect, Celebrate the Nun, Charli XCX, China Crisis, Christine and the Queens, Chromatics, Chromeo, Chvrches, Client, The Communards, Al Corley, Patrick Cowley, Crystal Castles, Cut Copy, Dangerous Muse, Dead or Alive, Depeche Mode, Desire, Devo, Dirty Sanchez, Thomas Dolby, Dragonette, Dubstar, Duran Duran, Electronic, Empire of the Sun, Erasure, Eurythmics, Harold Faltermeyer, Fischerspooner, A Flock of Seagulls, John Foxx, Frankie Goes to Hollywood, Frankmusik, Freezepop, Freur, The Golden Filter, Goldfrapp, Ellie Goulding, Grimes, Halsey, Paul Hardcastle, Calvin Harris, Imogen Heap, Heaven 17, Holy Ghost!, Hot Chip, The Human League, Icehouse, The Icicle Works, Icona Pop, Information Society, Japan, Howard Jones, Kajagoogoo, Kazaky, Nik Kershaw, Kesha, Kissing the Pink, The Knife, Kon Kan, Kraftwerk, La Roux, Lady Gaga, Ladyhawke, Ladytron, Laid Back, Level 42, Lights, Dua Lipa, Little Boots, Tove Lo, Lorde, M, Madonna, Marina and the Diamonds, Men Without Hats, Metric, Metro Station, MGMT, Ministry, Kylie Minogue, Miss Kittin, MNDR, Modern Talking, Giorgio Moroder, Róisín Murphy, Naked Eyes, New Order, Night Club, Nitzer Ebb, The Normal, Gary Numan, Oh Land, Onetwo, Orchestral Manoeuvres in the Dark, Owl City, Parralox, Passion Pit, Peaches, Pet Shop Boys, The Postal Service, Propaganda, Pseudo Echo, Re-Flex, Real Life, Recoil, Red Flag, Robots in Disguise, Robyn, Röyksopp, Scritti Politti, Simple Minds, Soft Cell, Jimmy Somerville, Space, Spandau Ballet, Sparks, St. Lucia, St. Vincent, Stock Aitken Waterman, Talk Talk, Tears for Fears, Tegan and Sara, Telex, Tesla Boy, Thompson Twins, Ultravox, Vangelis, Vitamin Z, Visage, Yazoo, Years & Years, Yello, Yellow Magic Orchestra.

Watch my show LIVE as parts of the audio is silenced after the show ends by outdated copyright restrictions that were enacted long before the internet existed.

9pm - 2am!! Pacific/Cali Time!

Go to this free link to enjoy:

twitch.tv/mylesmatisse

If you'd like to donate or tip, go to:

VENMO: @Myles-Matisse

CASH APP: $MylesMatisse

PAYPAL: PayPal.me/mylesmatisse

Enjoy and feel free to join in the chat and make requests!!!!!

#synthpop #synthpopmusic #musictelevision #musicvideos #djmylesmatisse #vjmylesmatisse #musicvideoremixes #synthesizer #classicpopmagazine

[secretmeaningofthings]

My two sets from the 05.21.2020 episode of Strict Tempo with guests Xeno & Oaklander, LUNACY, Black Sun Dreamer, Curse

Full video archive of the show up for the next 6 days at www.twitch.tv/videos/628198767

Next Strict Tempo is 6/4 @ 7pm PDT feat. Luminance, Madmoizel, Shanghai Beach, DJ Frankie Teardrop

- twitch.tv/voxsinistra

Archives - secretmeaningofthings.com

Contact - voxsinistra@gmail.com

Playlist -

Automelodi - Colour Néant

Telex - Rendez-Vous Dans L’Espace

Paul Haig - Blue For You

Ramon & Simone - Danger of the Game

Army of God - Salvation (Spaventi D’Azzuro Remake) 

400 Blows - Groove Jumping

Total Chroma - I Dream of Fire

Black Pond - Shiver (CWC Extended Remix)

Jostronamer - Lucid (David Carretta Remix)

Disco Morato - Fulmina

Severed Heads - All Saints Day (Saints Day Dub)

I Start Counting - Lose Him (Extended Version)

Cee Farrow - Should I Love You (12” Extended Version)

Visage - Pleasure Boys (Dance Mix)

Gudrun Gut - Boys Keep Swinging (Pilocka Krach Remix)

The Beat Club - Security (Bernard Sumner Remix)

Water Lilly - You Kiss

DSX - Pinpoint (feat. Aleta Welling)

Maman Küsters - La dernière maison sur la gauche

Zarkoff - Getting Away (feat. Salmonella Fitzgerald)

Popsimonova - I Need To Go Out

Rue Oberkampf - Agitation (Luedenscheidt Remix)

Kim Peers - Tell Me More (David Carretta Remix)

Julian Muller - We Are (feat Fragrance)