#Franz stahl

[mikayoko]

J with Dave Grohl & Franz Stahl !

[guerrilla-operator]

[taylorhawkins]

mr. hawkins tearing it up

[rock--band]

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[greensparty]

Album Reviews: Jimi Hendrix Experience "Hollywood Bowl: August 18, 1967" / Scream "DC Special"

Jimi Hendrix Hollywood Bowl: August 18, 1967

Another year, another Jimi Hendrix Experience release just before the holiday season! Since beginning this blog, I’ve had the pleasure of reviewing loads of Hendrix albums including the posthumous album Both Sides of the Sky, the 50th anniversary Deluxe Edition of Electric Ladyland, the 50th anniversary re-release of his live album Band of Gypsys, his live box set Songs for Groovy Children: The Fillmore East Concerts, the live album and movie Live in Maui, 2021’s Record Store Day release Paris ‘67, and last year's Los Angeles Forum: April 26, 1969. This week Legacy is releasing a never-before-released (or bootlegged) live album of the Jimi Hendrix Experience's concert at Hollywood Bowl just before they became famous with Hollywood Bowl: August 18, 1967.

album cover

At this concert, the Experience were opening for The Mamas and the Papas. Attendees were mainly there to see the headliners. Jimi Hendrix Experience's debut album Are You Experienced would be released in the U.S. five days later on August 23, 1967 (it had been released in the U.K. on May 5, 1967). By this point, the band had played a legendary show at the Monterey Pop Festival and opened for The Monkees. This is literally the moment just before they got famous. The trio were bigger than the sum of their parts: Hendrix on guitar, Noel Redding on bass, and Mitch Mitchell on drums. There were quite a few songs from Are You Experienced, but there are also loads of covers including favorites by The Beatles (“Sgt. Pepper’s Lonely Hearts Club Band”), Howlin’ Wolf (“Killing Floor”), Bob Dylan (“Like a Rolling Stone”), The Troggs (“Wild Thing”) and Muddy Waters (“Catfish Blues”). A live album would pretty much be enough to please a lot of fans, but this one is cool because it's not some overly-bootlegged concert so there's a sense of discovery, but also the covers make this feel like you're getting something new and different. There's nothing like hearing a band the very second they became famous and here it is!

For info on Jimi Hendrix Experience

4 out of 5 stars

Scream DC Special

Bursting out the DC hardcore punk scene in the 80s was the legendary Scream. The Reagan administration gave the Washington DC punk community quite a bit to rant about in the 80s and Scream were among the biggest of that whole scene, along with Fugazi, Bad Brains and Henry Rollins (the list, of course, goes on). In my friend Scott Crawford's 2014 documentary Salad Days about the DC punk scene in the 80s, he interviewed multiple members of Scream. Singer Pete Stahl and his brother / guitarist Franz Stahl, bassist Skeeter Thompson were a tight knit unit with original drummer Kent Stax. After Stax left the band in 1986, his replacement was teenage drummer Dave Grohl, who truly brought it. I was a big fan of the band's albums No More Censorship and Fumble and I have them in my record collection. After the band broke up (as we all know), Grohl joined Nirvana and brought that punk energy he honed in Scream to the masses. The Fumble album had been recorded in 1989 but was finally released in 1993. There were a few reunions here and there and Grohl has continued to work with the members of Scream (i.e. Franz was in Foo Fighters from 1997-1999). In 2009, the original lineup of Scream reunited and they even recorded with Stax on drums at Grohl's Studio 606 for an EP. But we haven't actually had a studio album from Scream since Fumble, which was 30 years ago. This week, Dischord Records is releasing DC Special featuring the original lineup. In September Stax died at age 61, making this his final album with Scream.

album cover

With the Fumble album it felt like the band was really evolving. The punk sound was there, but there was also a post-punk sound coming through. With all of their collective outside projects, i.e. Franz in Foo Fighters and DYS, Pete and Franz in Wool, Pete in Goatsnake and Earthlings?, Skeeter's solo work, etc - this band is way more than just an 80s punk band. This album incorporates a lot more styles and even some melodic tendencies. It's a nice full circle moment that this album got recorded with Stax before he died and that Grohl made a guest appearance. There's loads of other DC punk veterans appearing here including Dischord Records founder and Fugazi / Minor Threat singer Ian MacKaye. This is album is a treat for fans and enough to make you want to, well, scream!

For info on Scream

4 out of 5 stars

[savage-kult-of-gorthaur]

THE SECOND COMING -- THE SECOND HELPING OF SCREAM -- CLASS OF '86.

NOTE: ^I've posted thus set before, hence "second coming," but this time I'm posting the gig/show flyer before the gig photos.

PIC(S) INFO: Spotlight on a show flyer for SCREAM (reportedly the first Dischord band to headline a tour in the UK), supported by band's CONCRETE SOX, EYES ON YOU, & BAD BEACH, performing live at the Queenswalk Community Centre, Nottingham, UK, c. 1986. 📸: Jenny Plaits or Jen Tait.

Source: www.picuki.com/media/3349098435641193780.

[lascitasdelashoras]

Franz Kafka por Jeff Stahl

[claudia1829things]

Ranking of “THE EMPRESS” Season One (2022) Episodes

Below is my ranking of the Season One episodes from the Netflix streaming series, “THE EMPRESS”, German historical drama based on the life of Empress Elisabeth of Austria. Created by Katharina Eyssen and Lena Stahl, the series stars Devrim Lingnau and Philip Froissant as Empress Elisabeth and Emperor Franz Joseph I of Austria:

1.  (1.05) “Shoes” – Archduke Maximilian gathers support for a plan to overthrow his older brother, Emperor Franz Joseph I, while Empress Elisabeth’s well-intended gesture with a crowd backfires, leading her to befriend the dubious lady-in-waiting, Countess Leontine von Apafi.

2. (1.06) “The God Who Us Has Freedom Sent” – In the season finale, Elisabeth spends her time partying with Maximilian while Franz is desperate to reconcile with her. Leontine gets herself into a precarious situation.

3. (1.01) “One’s Place in the World” – In the series premiere, Elisabeth (then Duchess of Bavaria) and her older sister Duchess Helene of Bavaria travel to meet Emperor Franz, who is expected to ask for the latter’s hand. He stuns everyone with a surprise decision at an engagement party.

4. (1.03) “The Wedding” – Elisabeth marries Franz, and the Austrian Imperial Family gets a taste of her rising popularity. The former lover of Archduchess Sophie, Franz’s mother, attends the wedding and discovers a secret.

5. (1.04) “The Hunt” – Sophie and the Imperial cabinet push for military action against Russia, but Franz refuses to engage. Elisabeth upsets Grand Duke Alexander Nikolayevich, the Russian czar’s heir, during a royal hunt, leading to severe political consequences.

6. (1.02) “The Arrival” – Elisabeth arrives in Vienna for her wedding. Soon, she faces palace intrigue, while Franz attempts to prevent his country from taking sides during the Crimean War.

[byneddiedingo]

Gustaf Gründgens in M (Fritz Lang, 1931)

Cast: Peter Lorre, Ellen Widman, Inge Landgut, Otto Wernicke, Theodor Loos, Gustaf Gründgens, Friedrich Gnaß, Fritz Odemar, Paul Kemp, Theo Lingen, Rudolf Blümner, Georg John, Franz Stein, Ernst Stahl-Nachbaur. Screenplay: Thea von Harbou, Fritz Lang. Cinematography: Fritz Arno Wagner. Art direction: Emil Hasler, Karl Vollbrecht. Film editing: Paul Falkenberg. 

Point of view is everything in a thriller. Let the viewer see events through the wrong eyes, and suspense goes out the window. The remarkable thing about Lang's great thriller is that the point of view changes so often. It starts with that of anxious parents, knowing that a child-killer is on the loose, then narrows to one particular parent, waiting for her daughter to come home from school for lunch. But then we see the object of her fears, her daughter, making contact with a strange man, and our suspense builds as we return to the worried mother. But as strongly as we sympathize with the mother, we also eventually learn to focus our anxieties elsewhere: on the beleaguered police, on innocent victims of people's suspicions, on the criminal underworld harassed by the police, and eventually even on the murderer himself. There are even moments when, as he becomes the object of the manhunt, trapped in the attic of a building swarming with the criminals in search of him, we find ourselves semi-consciously rooting for him to escape. Then we find ourselves rooting for the criminals to capture him and to escape being caught by the cops. And then, when he is put on trial by the criminals, we root for the police to arrive and rescue him. In short, the movie is a study in the ways in which sympathy can be manipulated. Lang and his soon-to-be-ex-wife Thea von Harbou wrote the screenplay, and the atmosphere of the film is superbly maintained by the cinematography of Fritz Arno Wagner and the sets of Emil Hasler and Karl Vollbrecht. But none of it would work without the presence of some extraordinary performers, starting with Peter Lorre as the sniveling, obsessed Hans Beckert: a career-defining performance in many ways, considering that Lorre had been known for comic roles on stage before Lang made him a movie star. Then there's Otto Wernicke as Inspector Lohmann, whose performance was so memorable that Lang brought him back as the same character in The Testament of Dr. Mabuse (1933), stereotyping Wernicke as a cop for much of his career. And Gustav Gründgens, the imperious leader of the criminal faction, who later became identified with the role of Mephistopheles in stage and screen versions of Goethe's Faust (Peter Gorski, 1960) -- not to mention in Klaus Mann's 1936 novel, Mephisto (and István Szabó's 1981 film version), based on Gründgens's embrace of the Nazis to advance his career.

[taylorhawkins]

Hammer Of The Nice, Ordinary Guys

originally for CMJ New Music Monthly, 1997

"Pat and I were into the same exact kind of music," Taylor says--Queen, Pink Floyd, the Police. "It was like having a big sister in the band." Mentioning the Police has triggered something in his head, and he starts playing the drum part to "Next To You" on his legs. "I took the beating for being the new kid for so long," Taylor continues. "'New guy!'"

A snapshot of the Foo Fighters' dressing room: 20 bottles of spring water, 8 bottles of Perrier, a cooler full of soda, Snapple and iced tea, a cooler full of beer (including microbrews), two bottles of merlot, two giant bottles of IBC root beer, three loaves of French bread, several other varieties of bread, pitas, crackers, chips and picante sauce, coffee with sugar, cream and lemons on the side, granola bars, bite-size candy bars, a big stack of towels (one of which Pete is ripping up), a bowl of fresh fruit, another bowl of fresh berries, a few varieties of gum, and a hanging basket in the shape of a bull's head. This last is not in the band's contract, and Taylor is trying to figure out how to wear it.

Note that all this is not dinner--just backstage snack material. (At the end of the night, Pete hijacks a lot of what's left for the tour bus.) For dinner, there's surprisingly good catering--teriyaki chicken, rice, various vegetable and tofu things. As people eat, Taylor is drumming on the table--he eats a bit, then heads up to the drum riser to play some more. There's a Nick Cave tape playing over the PA, which doesn't stop him from taking a crack at "When The Levee Breaks" before the audience starts arriving.

Back in the dressing room, guitar tech Earnie "Guitar" Bailey (everyone says that's legally his middle name) is holding court, telling Nirvana stories--he started touring with them in early '92. After Nirvana ended, he and his wife had a restaurant in Seattle for a year; he sold it, figuring he'd take it easy for a while. And promptly got a call from Dave: "'I'm going on the road next week, wanna come?'"

Dave bursts through the dressing room, wearing a skull mask for no apparent reason and grabbing everyone in his path. Franz, paging through the tour itinerary, looks up: "Dave, why are we going to Sweden in November?"

"Because we need to rock, man! We need to fuckin' rock!" And out he goes.

Earnie, unfazed by the interruption, continues. "It's been interesting watching Dave growing into being the ringleader. At first, he wasn't used to calling all the shots--being the charming frontman. Now he's hilarious when he starts rambling on stage... I wish he'd be the same guy on stage he is on the bus.

"I think the second record's a lot more personal--"

Dave suddenly walks back into the room. Earnie pretends he doesn't notice, and raises his voice a bit: "Of course, the main thing about Dave is to never turn your back on him--he'll fuck you over in a second."

Smirking, Dave attempts to change the subject. "I had these breakfast burritos--for breakfast--"

Taylor interrupts: "Seeing as how they're breakfast burritos--"

Dave whacks him, and the room abruptly degenerates into everyone trying to toss candy-bars and fruit into the bull's-head basket. Then Taylor starts drumming again, this time on the bottles on the food table.

An hour or so later, various Foos and friends are watching the opening band, Verbena, doing their very loud Stones-via-Royal Trux thing on stage. Dave is really getting into them. Franz, backstage, is quizzically examining a box of ginseng that a "runner" has retrieved for the band. Nate, who's been missing for the past few hours, comes back with two huge bags of clothes; he's got a bad toothache and isn't talking much, so he pretty much keeps to himself. Taylor is in the dressing-room bathroom, drumming on the fixtures. He's liking Verbena. "They sound kinda like Nirvana! Bleach!"

By 8:30, the band are finally all in the same room. Let's just say drumsticks are a dangerous thing to have in a dressing room. Dave eventually starts doing a little rhythmic exercise on the wastebasket; Taylor joins him, on the other side of the basket. This, it turns out, is a nightly ritual, a drill to focus their concentration. There are two drummers in this band.

Showtime. The hall, we later find out, is about 3/4 full, but it sure looks fully occupied. They start out the set with both Taylor and Dave playing drums; after a minute, Dave switches to guitar, they go into "This Is A Call," and we get to see the results of all that ginseng. Everybody's leaping around the stage like crazy for the hour-plus set. They do a new one, called "The Colour And The Shape," a fast, Pixies-ish thrasher; they do most of the hits (though not "Big Me"). But the big cheers are for "Everlong." "You get that just right," Nate said earlier, "it's kind of orgasmic, really. It's amazing when it really comes together." In fact, everything comes together--not bad for this lineup's third show.

Nate, on The Colour And The Shape: "It's almost like a concept record, some people say--the lyrics were all written at one period in Dave's life, and they really reflect well what was going on in Dave's life."

Dave's perspective: "Writing lyrics, you're taking something completely intimate and turning it into something completely not-intimate."

Taylor, on Dave: "Do not compliment him. He can't take a compliment."

As it turns out, Taylor isn't even as much of a party animal as all that. As everyone gets onto the tour bus the next morning, Gus asks him what happened with the two women he'd been flirting with at Emo's. "Left 'em there, went back to the hotel, went to sleep."

The inside of the tour bus basically looks like a nice hotel room itself: tasteful curtains, a little couch-and-table setup, a ceiling mirror, a kitchenette with a coffee machine, a set of bunks for people to sleep in (stacked three-high). There's a stereo/VCR in front, another in back. Texas passes by outside. Taylor is up front, chatting with congenial driver Larry Ellis and singing snatches of "Billie Jean." Dave is chatting with Gus: "Did I tell you I found out I ripped off a Def Leppard song? That song 'Hysteria' and 'Everlong.' It's got a line 'breathe out so I can breathe you in.'"

A dialogue:

Gus: Do you guys want to go to Pensacola on your day off and go to the beach?

Dave: Fuck off.

Taylor: Day off after what?

Gus: Read your itinerary!

Taylor: Dude, I wanna go jet-skiin'!

Franz: In the rain?

Taylor: Oh, dude!

Skeeter Thompson, the old bass player of Scream, is coming in from Little Rock tonight--"Scream reunion!" There's some concern over the number of tickets the Dallas show tonight has sold: 1400 for a 3200-capacity venue. The Stones, Gus is quick to remind the band, have only sold 12,000 tickets for a show with Smashing Pumpkins opening, though, so it's not that big a deal. Things are tough all over. The album's down a notch in the charts this week, but there are five big debuts that came in above it--it's actually sold more copies this week than last. Eventually, almost everyone heads back to catch some Z's; Pete stays up front to watch Short Cuts on the VCR.

When the bus pulls into the Bronco Bowl, the converted former bowling alley they'll be playing in Dallas, it's just about soundcheck time, which means, since they're still teaching Franz the songs, that it's time to learn "Big Me." That's basic enough, so they follow up with an Angry Samoans cover that Taylor's never heard either--it's a little weird watching him figure out how to play hardcore. Dave demonstrates the drum break by waving his arms in the air. Taylor has an idea for a slight change in the arrangement of "This Is A Call," so they try it a couple of different ways.

"I don't know if we should do that at the end of every verse," Dave says.

"I think it fucking sucks," Taylor declares, and that's the end of that.

x

[rock--band]

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[greensparty]

Concert Review: Scream

Sat. December 9, 2023 @ Deep Cuts (Medford, MA)

venue "marquee"

It's not too often that I get to do an album review, an interview and a concert review, but every once in a while it does happen. Such is the case with D.C. punk legends Scream, who released their first new album in over 30 years last month with DC Special. Then I got to interview singer Pete Stahl. And then I got to cover their Boston area show last weekend. In my friend Scott Crawford’s 2014 documentary Salad Days about the DC punk scene in the 80s, he interviewed multiple members of Scream. Singer Pete Stahl and his brother / guitarist Franz Stahl, bassist Skeeter Thompson were a tight knit unit with original drummer Kent Stax. After Stax left the band in 1986, his replacement was teenage drummer Dave Grohl, who truly brought it. I was a big fan of the band’s albums No More Censorship and Fumble and I have them in my record collection. After the band broke up (as we all know), Grohl joined Nirvana and brought that punk energy he honed in Scream to the masses. Franz was even the guitarist in Grohl's post-Nirvana band Foo Fighters from 1997-1999. But back to Scream: The Fumble album had been recorded in 1989 but was finally released in 1993. The recently released DC Special featured the original lineup. In September Stax died at age 61, making it his final album with Scream. Now the band has carried on with a tour of the East Coast.

Scream onstage

Deep Cuts is a fairly new music venue in Medford Square that opened earlier this year. I hadn't been here yet, but it's super cool: a brewery, food, pinball machines, and even a record store to the side. But it's a 240-person capacity, which set it apart from some of the bigger music venues around Boston. This type of venue lends itself to punk shows, which have a long tradition of being in small venues like VFWs and dive bars. But it also had that new car smell to the venue. Before Scream, co-headliners from DC Soulside did their set. They were good and all, but I was really excited about Scream.

Scream took the stage and really brought that 80s hardcore punk energy. The band was tight. As I mentioned in my album review, they incorporate a lot more styles than just punk and even some melodic tendencies. In terms of the set, they did a ton of stuff off DC Special and also a lot off of their 1983 debut Still Screaming. Selfishly I wanted them to do something off No More Censorship or Fumble, but I understand without Dave Grohl drumming, it's a different vibe. I've always had nothing but respect for this band and they really swung it out of the park with this show 40 years since their debut album. After the show both Pete and Franz even signed by vinyl No More Censorship album too!

For info on Scream

[wardencommanderrodimiss]

Well, I just spent a few hours on this. Thanks, ADHD Hyperfixations. Anyways, here’s the general ages I came up with for the Three Frats AU relative to the 3H cast’s ages in the academy phase. Some are canon, others are modified canon, and others are straight up vibe guesses. I didn’t include any of the shapeshifters on here since they’re up in the air.

31+ - Vaida, Renault, Saber, Valbar, Gregor, Basilio, Flavia, Volke, Reina, Yukimura, Shura, Gilliam, basically anyone old enough to have their own kids or just obviously older than 30 something 30 - Arvis, Uther, Oswin, Hawkeye, Deen, Miriel, Libra, Shinon, Azama, Arthur (Fates) 29 - Aida, Pent, Louise, Dorcas, Isadora, Harken, Karla, Zeke, Stefan, Izana, Emmeryn, Gerik, Tethys 28 - Claud, Bartre, Natalie, Mathilda, Kamui, Fredrick, Virion, Sigrun, Gatrie, Xander, Saizo 27 - Beowulf, Lucius, Canas, Farina, Legault, Clive, Robin, Say'ri, Bastian, Heather, Tanith, Ryoma, Kagero, Scarlet, Glen (FE8) 26 - Balthus, Arden, Hector, Rath, Leila, Geitz, Karel, Lloyd, Linus, Sully, Cordelia, Kellam, Lon'qu, Calil, Rhys, Camilla, Orochi, Setsuna, Niles, Nyx, Benny 25 - Sigurd, Eldigan, Quan, Naoise, Ayra, Lewyn, Chulainn, Eliwood, Kent, Raven, Matthew, Dart, Fiora, Python, Forsyth, Sonia, Chrom, Vaike, Stahl, Cherche, Zihark, Lucia, Hinoka, Beruka, Peri, Joshua, Saleh, Cormag 24 - Edain, Brigid, Alec, Jamke, Lex, Sain, Lowen, Lukas, Leon, Jesse, Sumia, Gaius, Tharja, Geoffrey, Oscar, Jakob, Effie, Charlotte, Seth 23 - Deirdre, Tailitu, Azelle, Midir, Erinys, Wil, Heath, Ursula, Palla, Maribelle, Olivia, Henry, Kieran, Makalov, Kaze, Azura, Natasha, Glenn (3H), Rennac 22 - Mercedes, Lachesis, Lyn, Florina, Luthier, Lissa, Aran, Nephenee, Felicia, Flora, Rinkah, Silas, Syrene 21 - Jeritza, Byleth, Sylvia, Serra, Erk, Priscilla, Tatiana, Conrad, Ricken, Elincia, Marcia, Astrid, Boyd, Leo, Takumi, Oboro, Hinata, Artur, L'Arachel 20 - Hubert, Hapi, Catria, Atlas, Ike, Fiona, Jill, Mia, Lute, Innes, Knoll 19 - Sylvain, Yuri, Leonie, Finn, Dew, Guy, Rebecca, Silque, Berkut, Rinea, Fernand, Donnel, Pelleas, Ilyana, Tormod, Hana, Subaki, Mozu, Erika, Ephraim, Colm, Niemi, Forde, Kyle, Lyon 18 - Dorothea, Dedue, Raphael, Lorenz, Hilda, Constance, Monica, Jaffar, Gray, Faye, Clair, Mist, Soren, Hayato, Vanessa, Tana 17 - Edie, Dimi, Claude, Bernie, Ferdie, Felix, Ingrid, Marianne, Ignatz, Alm, Tobin, Celica, Mae, Sothe, Laura, Sakura, Elise 16 - Caspar, Linhardt, Ashe, Annette, Nino, Est, Boey, Genny, Leonardo, Meg, Ross 15 - Lysithea, Petra, Kliff, Edward, Franz 14 - Cyril, Oifey, Amelia, Ewan 13 - Delthea, Sanaki, Shannan

--

You entering a trace and emerging with an age list of (I presume) every FE that you’ve ever played. It happens. I get it. (I do have to point out that Saizo and Kaze are twins, so maybe we split the difference on their estimates? 25? 26?)

Mostly however I am going to be thinking about the 13-year-olds tier. There is such powerful energy there. I don’t know what’s going to happen if you put the three of them in the same room, but I know it will be happening, and there is no force on all the continents that could stop them if they put their mind to something.

[savage-kult-of-gorthaur]

THE ROLLING, RIVETING, REVITALIZING POST-HARDCORE YEARS -- AMERICAN STYLE.

PIC(S) INFO: Mega spotlight on previously unseen shots (10 in total!) of former American hardcore punk/then post-hardcore band, SCREAM, performing live at the Hannum Hall, Cambridge, Massachusetts, c. April 1986. 📸: Lisa Putignano.

Rest in percussive power, Kent Stax, behind the mighty drum set. Another [DC punk] legend lost.

Source: www.picuki.com/media/3363730720529303143.

[stahlzart]

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