#Olympic Auditorium

[semioticapocalypse]

Bob Willoughby. Big Jay McNeely and fans at the Olympic Auditorium, Los Angeles. October, 1950

I Am Collective Memories   •    Follow me, — says Visual Ratatosk

[savage-kult-of-gorthaur]

CHARGED HAIR WAS OUT IN '83 -- DARK DAYS AHEAD FOR THE '80s PUNK UNDERGROUND.

PIC INFO: Spotlight on vocalist/lyricist Cal "Kelvin" Morris of English hardcore punk band DISCHARGE, photographed backstage at the Olympic Auditorium in Los Angeles, CA, c. 1983, during the band's second North American tour (sans Bones). 📸: @dinadouglasspunkphotography.

Dis nightmare still @!*¢#%$& continues!!

Source: www.picuki.com/media/3430118544732737909.

[myvinylplaylist]

Rage Against The Machine: Live At The Grand Olympic Auditorium (2003)

Recorded live on September 12th and 13th, 2000.

Epic Records

[sinceileftyoublog]

The Who Reissue Reivew: Who's Next/Life House (Super Deluxe Edition)

(UMe)

BY JORDAN MAINZER

After listening to all almost 10 hours of the latest reissue from The Who, I've come away with two thoughts: I'm glad Pete Townshend's vision for Life House has been totally documented, and I'm thankful Who's Next ended up exactly the way it did. The London band's 1971 opus is, full stop, a perfect album, and remastered over 50 years later, it sounds as vital as ever. Hearing "Baba O'Riley" doesn't just excite people experiencing it for the first time but wows those listening for the thousandth, from the opening chords to Dave Arbus' violin at the end. "Bargain" is the band's most underrated song in their entire catalog, Keith Moon's drums acting as a lead instrument, with John Entwistle's bass and Townshend's guitars providing the backbone. Nicky Hopkins' piano graces the two dramatic treatises on the very act of songwriting itself, "The Song Is Over" and "Getting In Tune". "Won't Get Fooled Again" remains a wildly anarchic song from a band that only went so far as to lightly poke fun at consumerism but was otherwise apolitical. And as much as Roger Daltrey was at the height of his vocal powers, belting during "Baba O'Riley" and unleashing one of the most famous screams in rock and roll on the final track, the two songs without him--Entwistle's "My Wife" and Townshend's brilliant choogle "Going Mobile"--shine bright.

So when you hear the demos from the failed Life House rock opera that turned into Who's Next, as well as sessions containing fan favorite songs recorded around the same time, do you question what made the cut? Could Who's Next have been even better? The short answer, and the only answer, is no. But the extended material, in conjunction with live recordings of two concerts in 1971 before and after the record was released, paints a fascinating picture of a band trying to figure out what it's best at. They were the first to advertise a rock opera in 1969 with Tommy, and Townshend was eager to write another one in Life House, an astonishingly ambitious, multi-media project with a convoluted plot and a desired presentation that seems to foreshadow postmodernism, the Internet, and the metaverse all at once.

Appropriately, the Lifehouse Chronicles demos (referring to the box set Townshend released in 2000) indicate a band where he's at the forefront, Moon's drumming notably taking a back seat on a groovier "Bargain". "Teenage Wasteland" shares some lyrical elements with the eventual "Baba O'Riley" but is structured like a prog rock song, and the gist of the lyrics emphase the quintessential masculine impostor syndrome that pervaded the band's earlier songs. "Love Ain't For Keeping" is less of a country ballad and Daltrey showcase, more an opportunity for Townshend to sneer over psychedelic wah-wahs. A 13-minute instrumental version of "Baba O'Riley" starts out exactly the same as the eventual version until the drums swallow in on themselves, the song growing quieter, delving into experimental ambiance, and warping in and out as if it were an electronic remix of the original. What the Lifehouse Chronicles does make you appreciate, on the other hand, is the individual greatness of gorgeous songs that stand on their own merits but wouldn't have sounded sonically cohesive within the Who's Next framework: the strummed "Greyhound Girl", barroom piano jaunt "Nothing Is Everything (Let's See Action)", and the layered "Pure and Easy". Plus, hearing a rawer, more fried version of "Going Mobile" is the closest you'll ever come to witnessing a live recording of the Who's Next standout the band never played in concert.

The two sessions included in the reissue pinpoint where Life House turned into Who's Next. The first contain recordings at New York's Record Plant with band manager Kit Lambert (that Leslie West of Mountain famously played on). Sonically, they're a bit muddier than the Olympic Studios sessions or what ended up on Who's Next. "Won't Get Fooled Again" is plodding, as is "The Note", an early version of "Pure and Easy". When Lambert and Townshend had a falling out about what, exactly, Life House was (Townshend had rejected Lambert's Tommy film script and told Universal Pictures that Life House was a new version of Tommy), the band went to Glyn Johns to produce, who suggested The Who make a single album instead of a rock opera. It's here that we hear versions of songs like "Love Ain't For Keeping" and "Bargain" that sound familiar, as well as stellar versions of tracks recorded for Life House that didn't make Who's Next. "I Don't Even Know Myself" sports clacking percussion from Moon, "Relay" chugs along wonderfully, and "Put the Money Down" juxtaposes Daltrey's huge vocals and Townshend's guitars, the closest the band ever got to Southern rock.

The sixth disc, containing alternate mixes and sessions from Townshend's home studio in Twickenham, is by no means essential, but it reminds you just how good The Who sounded as a result of participating in so many sessions, fine-tuned while at their creative peak. Versions of "The Seeker" highlight Townshend's fast-picked guitar and Moon's drumming, Daltrey's full-throated wails exemplifying what made this era of the band so thrilling. In a call to Live at Leeds, one of the best live albums ever, and one that the band simply released as a way to tide over hungry fans post-Tommy, The Who here include a stereo remix of Leeds favorite "Heaven and Hell". "Water"'s piano trills and call-and-response vocals preview the storming grandiosity of Quadrophenia, while the undeniably silly "Waspman", with its harmonica and vocal zipping, recall earlier, more absurd albums like The Who Sell Out.

The band's concert at the Young Vic Theatre in London, impromptu during album recording, and the site where the band planned to record sonic and visual footage as part of the Life House experience, proved to be the rock opera's death knell. Perhaps that was because fans were quick to shout requests for "My Generation" and "Summertime Blues", disappointed when Townshend announced "Water" instead. I like to think it's because the Who's Next songs sounded good on their own: "Love Ain't For Keeping", the upcoming single "Behind Blue Eyes", and a guitar solo-laden "Getting In Tune". By the time they played later that year at The Civic Auditorium in San Francisco, Who's Next was already out, and it's this concert, presented in full for the first time ever, that documents a band realizing where their newer, more ambitious material fit in with their classics. While they still opened with "Can't Explain" and "Substitute", by the time they performed the synth intro of "Baba O'Riley", fans started to cheer for the new material, too. Naturally, the biggest reaction erupted for a 17-minute version of "Magic Bus", Tommy material like "Pinball Wizard", and a blistering "My Generation". In due time, though, the band would be playing to true arenas, on the strength of, not in spite of, Who's Next. What this box set shows is a potential alternate timeline: If Townshend's vision had panned out, who's to say we'd still be talking about The Who in 2023?

[httphonsool]

all this swimmer!percy talk got me thinking ab annabeth as well.

i feel like the logical answer for her is something like judo and taekwondo, some sort of martial arts but i have this random headcanon of her that she secretly had a talent for somersaults and cartwheels

percy and co are looking for annabeth at lunch, they’re so lost as to where she is so they go looking for her

they find her doing a whole gymnastics floor vault routine in the school auditorium while her coach is yelling “LEGS STRAIGHT ANNABETH DON’T GET SLOPPY”

randomly gymnast!annabeth decides to start competing and everyone’s floored because ??? she literally??? matches???? simone biles’ difficulty level????

naturally gymnast!annabeth aces regionals, nationals and off she goes to the olympics

gymnast!annabeth qualifies for the olympics for the first time in her career and she’s already got a gold medal with a RECORD performance

gymnast!annabeth who pulls a suni lee where she falls during her warm up but ends up becoming a medalist in the final thing

gymnast!annabeth who buys tickets to every event percy is in because she wants to be there for his every win

gymnast!annabeth who sneaks percy chocolate muffins after his coach told him off for eating too many

gymnast!annabeth who’s a natural at the sport and is practically guaranteed a win but still looks for percy in every audience for some good luck (but she’d never tell him that)

gymnast!annabeth who ran away from home at a young age, waited for ages for a quest and lost so many friends along the way only to find the only thing that can never leave her now that’s she’s found it: her love for gymnastics.

gymnast!annabeth who doesn’t just win medals but also the respect of all gymnasts as she levels with simone biles in her performance.

gymnast!annabeth who is just a good kid

[hypnoneghoul]

this beautiful afternoon I give you the better...

Alpha Era I

Gibson SG Standard in Heritage Cherry

Gibson SG Standard in Classic White

White Gibson RD

Omega Era I

2009 custom Gibson RD Standard Reissue in black gloss

Black and white Gibson Kirk Hammet 1979 Flying V

I'm not sure about this one. It looks like a Pureslem Cardinal but it's a bit off, plus the neck and head don't match, they look Gibson-ish. It may be a custom, no-name or a mix.

Alpha Era II

White custom Gibson RD

Omega Era II

2009 custom Gibson RD Standard Reissue

Alpha Era III

White + red custom Gibson RD

Omega Era III

1977/1978 Gibson RD Artist Sunburst

2009 custom Gibson RD Standard Reissue in black gloss

Delta Era III

Gibson SG standard in black gloss

Ifrit Era III

Unknown version of Hagstrom Fantomen Stock White Gloss

Hagstrom Fantomen Stock White Gloss

Aether Era III

Hagstrom Fantomen Stock Black Gloss

Dewdrop Era IV

Hagstrom Fantomen Stock White Gloss with mods

Hagstrom Fantomen Custom White Gloss with mods

Hagstrom Siljan II Dreadnought CE in black gloss acoustic

Aether Era IV

Hagstrom Fantomen Stock Black Gloss

Hagstrom Fantomen Custom Black Gloss

Hagstrom Siljan II Grand Auditorium 12 String acoustic

Swiss Era IV

Hagstrom Viking Deluxe Baritone in black gloss

Hagstrom Siljan II Dreadnought CE in black gloss acoustic

Rain Era IV

Hagstrom Siljan II Dreadnought CE in black gloss acoustic (borrowed from Swiss for the duration of the acoustic set)

Dewdrop Era V

This is a bit tricky so I'm giving a disclaimer at the beginning. There's enough Stratocaster models and versions for me to not be able to determine them with 100% accuracy, especially with the way Dewdrop has them all modified and customized. Stuff below are my best guesses based on the knowledge I have, but that would mean even more customizations and possibly swtiching out the necks, so just keep that in mind.

Olympic (dirty) White Fender EOB Signature Sustainer Stratocaster with some personal-preference kinda mods

Olympic (dirty) White Fender LTD American Performer Stratocaster with heavy mods, including Seymour-Duncan Hot Rail pickups and Floyd Rose locking tremolo system

Arctic/Polar (pure) White Fender LTD American Performer Stratocaster with heavy mods, including Seymour-Duncan Hot Rail pickups and Floyd Rose locking tremolo system

Olympic (dirty) White Fender LTD American Performer Stratocaster with lighter mods, including Seymour-Duncan Hot Rail pickups

Arctic/Polar (pure) White Fender LTD American Performer Stratocaster with lighter mods, including Seymour-Duncan Hot Rail pickups

Aether Era V

Hagstrom Fantom Custom (with additional mods) Black Gloss

Swiss Era V

Hagstrom Viking Deluxe Baritone in black gloss

Hagstrom Dreadnought CE in black gloss acoustic

Aeon Era V

Hagstrom Fantom Custom (with additional mods and mismatched pickups) Black Gloss

Hagstrom Fantom Custom (with additional mods) Black Gloss

Hagstrom Fantom Stock Black Gloss

and again, if anyone has any questions my askbox is open as usual :3

[punkrockhistory]

38 years ago

Bedtime for Democracy is the fourth studio album by the American punk rock band Dead Kennedys, released November 1986 with this opening track

Take This Job And Shove It - Live Olympic Auditorium 1984

[ourshadowstallerthanoursoul]

On this day... - July 5th

On this day Led Zeppelin performed:

+  1969 : Atlanta International Raceway in Hampton, Georgia, USA

“It was simply The Atlanta Pop Festival, but what an event it was. […] Yet with all the excitement of both Janis Joplin and Johnny Winter, there was a moment when it became very hard to imagine how anyone could follow Led Zeppelin. […] Zeppelin performed such fierce music that many people were sure that either they or their equipment would blow. Zeppelin emanates a high voltage electric fever. Several times in each number, the crowds were demolished and rebuilt by sheer sound. The stage show was exhausting just to watch. If any of their sound is an indication of how they live, by all rights they should be long dead. Their efforts are super-human. Some groups are good enough to command an audience. Zeppelin, however, is in the category of those which can assault one.” – ‘Atlanta Pops was a hot first festival’ by G. Butte (Sun)

+ 1971 : Vigorelli Velodrome in Milan, Italy

+ 1980 : Olympia Halle in Munich, Germany

“Munich's Olympic Hall was packed long before the band were due on at 9pm. […] The auditorium is not dissimilar to Wembley, except that there is no seating in the Arena. Consequently fans surged forward to the front huddling together like the proverbial sardines. […] Just after a quarter past nine the houselights were switched off, the cue for Munich's Olympic Hall to erupt with more force than a volcano as Zeppelin were greeted with Teutonic fervour. In view of the uncertainty that the band would ever do another concert after Knebworth last year, this was indeed a magical moment. […] The whole concert reflected Zeppelin getting back to basics. […] It was one of the most enjoyable gigs I have experienced and certainly the best this year. The group enjoyed themselves as much as the audience.” – ‘Led Zeppelin uber Alles!’ by Steve Gett

[readytoplaygod]

how'd you and Jonas meet and start dating? Who asked who out first and what attracted you to him?

I'll be brief. So back in 2015/2016, we'd started following each other on Instagram. We didn't talk much then, outside of him occasionally asking me to come to Comedy Attic and maybe see one of his shows. My boyfriend at the time hated standup comedy, so I never went. Mind you, I love stand-up, and did eventually go to a show there with some other friends and had a blast.

Fast forward to 2018. I am freshly graduated from college and am kind of listless staying in town. My job plans didn't workout (which is honestly a godsend. I don't think I could stand to work in liability and claims at GEICO), so I was staying in Bloomington and keeping busy working at a museum, an Auditorium, and a hair salon doing custodial work. My boss at the hair salon was also paying me to workout with him and also help him with yardwork at his house and maybe even be friends with him (?). Idk, it was an odd time, but ultimately I'd also been lonely. A large portion of my friends had graduated and moved, my brothers hadn't yet established themselves fully in town, so I was looking to meet people.

One night, I'd gone to the Backdoor to hangout. It's our local gay bar, and I didn't know at the time, but apparently they host the after party for the Limestone Comedy Festival every year. It's a huge event that brings in comedians from all over the US. I got to meet Bob the Drag Queen a couple years ago after Jonas had hosted when Bob was headling; it's a fun time. Anyway, I was hanging out on the patio sitting on the railing when Jonas comes out of the bar. We recognize each other and say that it's nice to finally meet, and hope we're each having a good night. Nothing much beyond that, but he seemed very nice and sweet and had a great smile.

I'd dated around a little bit, but nothing was really coming of it and I was also still getting over an ex from earlier that year. I wasn't in the mindset for a relationship. In any case, I get a message from Jonas over Grindr just saying that it was nice seeing me the other night, and asking if I'd like to get half-priced wine at Uptown. They used to have a deal for it on Mondays. I wasn't a huge fan of wine - I thought it was a scam by rich people to just seem cultured - but I was into the idea of at least making friends. I was nervous, but went in with an open mind.

I don't dress up a ton. I think I was wearing my favorite Jean colored button up and some other jeans. He's sitting at the bar by the time I arrive, and the pre-Olympics are playing on the TV. Track and field, so lots of running and jumping. Conversation with Jonas is easy. He's kind, funny, and we have some similar interests and outlook on things. It's a fun hangout as we split a bottle of wine. I believe it was a white, but can't recall if it was dry or sweet. Just that I was savoring my time with him.

He and I lived roughly on the same street - I further up the road than him - so we walk in the same direction as we leave. It's a nice summer evening, so people are out and walking and it feels peaceful. We get stopped a couple times as it turns out quite a few people know Jonas, so I get to see how he interacts with others and people really like him. We also run into his friend Tom, who has since moved away, but at that time was planning on going to karaoke at the Bluebird. I don't sing publicly, but was happy to join along.

As karaoke was getting started, I remember dancing with Tom for a minute, and then us regrouping as Jonas and him were going to sing a duet. Jonas disputes this, or maybe they sang two songs, but I know for certain they sang "This Kiss" by Faith Hill. Come to find out, Jonas also has a wonderful singing voice. We stay out for a bit longer, have some drinks, but ultimately call it a night. We walk to the corner of the street and say our goodbyes. No hug, no kiss. Just remarking that we had a nice time. I feel very fuzzy inside.

At that time, it'd had kind of felt like people wanted something physical/sexual of me. Other relationships had also been various levels of physical/sexual, so I kind of felt like that was an expectation. But nothing with him. I felt like he just like, well, me. I wanted to see him again.

I let him know I made it home safe, and he's glad to hear it, and I ask when is too soon to see him again. I believe we schedule dinner at his place on Wednesday. We text through the next day or two and he's still charming and lovely. Dinner at his place was great, though all I remember was the crème brûlée he'd made. I sleep over that night, and he falls asleep to Coco. Still nothing physical. He drives me back home the next morning while on his way to work. I just want to keep hanging out with him.

I believe our third date was at the Comedy Attic during the Bloomington Comedy Competition to see who wins funniest person on the scene. Jonas was up that night. I get secondhand embarrassment very easily, so in truth I was worried about what could happen if he wasn't good. He's this incredible guy, but if his comedy is bad, am I gonna have to support that the rest of our relationship? Turns out, my fears were unfounded. He kills that night, and by the end of the summer wins the competition. It was a remarkable first impression.

Ultimately, we just don't stop hanging out. We of course eventually kiss and more, maybe even from that third date, but I just really loved being around him. I'd even texted my brothers one morning when I'd woken up at his place and saw all of his Star Wars stuff and martial arts ranks and belts and was just like "Wow, this guy is cool." Early on, I'd also drawn a few dinosaurs and left him punny little notes ultimately wishing him a good day. Everything continued to grow from there, and now this will be our 6th year together. I'm very lucky to know and be with such a thoughtful, generous, compassionate, open-minded, supportive, and caring person. I could stand to tell him that more.

[napunk-history]

D.O.A.

The Olympic Auditorium, Los Angeles, CA (1985-12-07)

© Alison Braun

[minisimmie4]

This high school offers an auditorium, a basketball and football court, an olympic pool, two decorated classrooms, staff offices, a nurse office, a rooftop (to garden and study astronomy), as well as separate chess/art/computer rooms. 64x64 NO CC.

DL (Gallery)

[savage-kult-of-gorthaur]

HELPED WRITE THE BOOK ON THRASH BEFORE IT WAS EVEN A PIMPLE ON THE ASS OF METAL.

PIC INFO: Spotlight on someone extra special for your "Thrashback Thursday" -- A recently unearthed live shot of Tony "Bones" Roberts, guitarist/co-founder of DISCHARGE, performing live with BROKEN BONES at the Olympic Auditorium in Los Angeles, CA, on January 18, 1985. 📸: Alison Braun.

Source: www.picuki.com/media/3377051914739953071

[gotankgo]

Discharge + Social Distortion + MDC + Code of Honor + The Dicks + Decry

Olympic Auditorium - December 9, 1983

[hypnoneghoul]

GHOST GUITAR GUIDE

Detailed guide about guitars used in all Ghost eras, under the cut.

ERA I

(there may have been more guitars but I couldn't find more photos, here's what I did get.)

Alpha:

-Gibson SG Standard in Heritage Cherry.

-Gibson SG Standard in Classic White,

-White custom Gibson RD with mahogany neck with a triangle sticker.

Omega:

-2009 custom Gibson RD Standard Reissue in black gloss with mahogany neck with Omega sticker,

-Black and white Gibson Kirk Hammet 1979 Flying V with mahogany neck.

ERA II

Alpha:

-White custom Gibson RD with mahogany neck with a triangle sticker.

Omega:

-2009 custom Gibson RD Standard Reissue in black gloss with mahogany neck with Omega sticker,

-2009 custom Gibson RD Standard Reissue in black gloss with mahogany neck with Quintessence sticker.

ERA III

Alpha:

-White + red custom Gibson RD with mahogany neck and a triangle sticker.

Omega:

-1977/1978 Gibson RD Artist Sunburst with mahogany neck with Omega sticker,

-2009 custom Gibson RD Standard Reissue in black gloss with mahogany neck with Omega sticker.

Water:

-Gibson SG standard in black gloss with mahogany neck.

Ifrit:

-First version of Hagstrom Fantomen Custom White Gloss,

-Hagstrom Fantomen Custom White Gloss.

Aether:

-Hagstrom Fantomen Custom Black Gloss.

ERA IV

Dewdrop:

-Hagstrom Fantomen Custom White Gloss,

-Hagstrom Siljan II Dreadnought CE in black gloss acoustic.

Aether:

-Hagstrom Fantomen Custom Black Gloss,

-Hagstrom Siljan II Grand Auditorium 12 String acoustic.

Swiss:

-Hagstrom Viking Deluxe Baritone in black gloss,

-Hagstrom Siljan II Dreadnought CE in black gloss acoustic.

Rain:

-Hagstrom Siljan II Dreadnought CE in black gloss acoustic.

ERA V

Dewdrop:

-Custom Olympic White Fender EOB Sustainer Stratocaster with black hardware, standard tremolo bridge, ebony fretboard and maple neck,

-Custom Arctic or Polar White Fender Stratocaster with black hardware, Floyd Rose locking tremolo system, ebony fretboard and maple neck,

-Custom Arctic or Polar White Fender Stratocaster with black hardware, standard tremolo bridge, ebony fretboard and maple neck,

-Custom Olympic White Fender Stratocaster with black hardware, Floyd Rose locking tremolo system, ebony fretboard and maple neck,

-Custom Olympic White Fender Stratocaster with black hardware, Floyd Rose locking tremolo system, ebony fretboard and maple neck with “You suck” sticker on the back (probably Sodo’s personal).

Aether:

-Hagstrom Fantomen Custom Black Gloss with switched out volume and tune knobs.

Swiss:

-Hagstrom Viking Deluxe Baritone in black gloss,

-Hagstrom Dreadnought CE in black gloss acoustic.

Phantom:

-Hagstrom Fantomen Custom Black Gloss with switched out volume and tune knobs.

[punkrockhistory]

42 years ago today

D.O.A. - Dave Gregg at Olympic Auditorium, Los Angeles, August, 17, 1982.

Photo by Alison Braun

[sowhatifiliveinfukuoka]

Subhumans

Olympic Auditorium, Los Angeles, CA (1984-04-13)