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saintmeghanmarkle · 6 months ago

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📋 𝐌𝐞𝐠𝐚𝐥𝐢𝐬𝐭 𝐨𝐟 𝐞𝐯𝐞𝐫𝐲𝐨𝐧𝐞 𝐚𝐬𝐬𝐨𝐜𝐢𝐚𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐌𝐌 𝐯𝐢𝐚 𝐀𝐑𝐎, 𝐀𝐫𝐜𝐡𝐞𝐭𝐲𝐩𝐞𝐬 𝐏𝐨𝐝𝐜𝐚𝐬𝐭, 𝐚𝐧𝐝 𝟒𝟎𝐱𝟒𝟎 📋

📌 ARO jam recipients (as of May 27th, 2024)

Tracy Robbins (designer, wife of Paramount Pictures CEO Brian Robbins) *

Delfina Balquier (Argentine socialite, wife of Nacho Figueras) * and Nacho Figueras (professional polo player) *

Kelly Mckee Zajfen (friend, Alliance of Moms founder) *

Mindy Kaling (actress and comedian) *

Tracee Ellis Ross (actress, daughter of Diana Ross)

Abigail Spencer (friend, Suits co-star) *

Chrissy Teigen (television personality, wife of John Legend)

Kris Jenner ('Momager') *

Garcelle Beauvais (actress, Real Housewives of Beverly Hills) *

Heather Dorak (friend, yoga instructor) *

📌 Archetypes podcast guests

Serena Williams 🏆

Mariah Carey 👑

Mindy Kaling (actress and comedian) *

Margaret Cho (comedian and actress)

Lisa Ling (journalist and tv personality)

Deepika Padukone (Indian actress)

Jenny Slate (actress and comedian)

Constance Wu (actress)

Paris Hilton (entrepreneur, socialite, activist)

Iliza Shlesinger (comedian and actress)

Issa Rae (actress and writer)

Ziwe (comedian and writer)

Sophie Grégoire Trudeau (former wife of Canadian PM Trudeau)

Pamela Adlon (actress)

Sam Jay (comedian and writer)

Mellody Hobson (President and co-CEO of $14.9B Ariel Investments, Chairwoman of Starbucks Corporation, wife of George Lucas)

Victoria Jackson (entrepreneur, wife of Bill Guthy: founder of Guthy-Renker, leading direct marketing company)

Jameela Jamil (actress, television host)

Shohreh Aghdashloo (Iranian and American actress)

Michaela Jaé Rodriguez (actress and singer)

Candace Bushnell (Sex and The City writer)

Trevor Noah (South African comedian)

Andy Cohen (talk show host)

Judd Apatow (director, producer, screenwriter)

source

📌 40x40 participants

Adele 🌟

Amanda Gorman (poet and activist)

Amanda Nguyen (activist)

Ayesha Curry (actress, cooking television personality)

Ciara (singer and actress)

Deepak Chopra (author and alternative medicine advocate)

Dr. Nadine Burke Harris (former Surgeon General of California)

Elaine Welteroth (former Editor-in-Chief of Teen Vogue)

Dr. Ibram X Kendi (professor and anti-racism activist)

Fernando Garcia (creative director of Oscar de la Renta)

Gabrielle Union (actress)

Gloria Steinem (feminist journalist and social-political activist)

Hillary Clinton (politician, wife of former US President Bill Clinton)

Katie Couric (journalist) *

Kerry Washington (actress)

Chef José Andrés (founder of World Central Kitchen)

Melissa McCarthy (actress)

Princess Eugenie (member of British Royal Family)

Priyanka Chopra (actress)

Sarah Paulson (actress)

Sofia Carson (actress)

Sophie Grégoire Trudeau (former wife of Canadian PM)

Stella McCartney (fashion designer, daughter of Paul McCartney)

Dr. Theresa "Tessy" Ojo - CBE, FRSA (Diana Award CEO)

Tracee Ellis Ross (actress, daughter of Diana Ross)

Unconfirmed - Edward Enninful (former Editor-in-Chief of British Vogue)

Unconfirmed - Daniel Martin (makeup artist) *

An official list of all "40x40" participants was never disclosed

source 1 // source 2 // source 3

📌 Notes:

Names with an asterisk (*) indicate that they follow ARO on Instagram

Notably missing from these lists: Netflix CEO Ted Sarandos and wife Nicole Avant, Jeff Bezos and Lauren Sanchez, Beyoncé, Tina Knowles, Tyler Perry, Oprah Winfrey, Gayle King, Kevin Costner, Ellen DeGeneres, Portia Rossi *, Brooke Shields, John Travolta, Kelly Rowland, Holly Robinson Peete, Misan Harriman *, Michael Bublé

Wedding guests missing from these lists: Jessica Mulroney, George and Amal Clooney, David and Victoria Beckham, Idris Elba and Sabria Dhowre, James Blunt and Sofia Wellesley, Janina Gavankar, Elton John and David Furnish, James Corden and Julia Carey, Patrick J. Adams and the rest of the cast of Suits, Joss Stone, Tom Hardy and Charlotte Riley, Carey Mulligan and Marcus Mumford [Source]

Sunshine Sachs must've called in a LOT of favors to get so many famous names on board the Archetypes Podcast and the 40x40 project. Vanity projects that went... nowhere.

Without Sunshine Sachs, IMO it's highly unlikely that M will ever be able to reach the same level of celebrity access on her own.

If there are any names missing from these lists, please comment below 👇

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author: SeptièmeSens

submitted: May 27, 2024 at 06:44PM via SaintMeghanMarkle on Reddit

disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

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bitter69uk · 5 months ago

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“If there ever was a soundtrack for Halloween, Juju would be it — heck, there’s even a song titled “Halloween” on the 1981 album by Siouxsie and the Banshees. But the lead single, “Spellbound,” takes the red-velvet cake, with the swirling, maniacal guitar work of newly joined member John McGeoch, Budgie’s thunderous drumming, and Siouxsie Sioux singing about laughter cracking through the walls and spinning entranced in a rag-doll dance … spooky, but never over the top, “Spellbound” is the witchiest of them all.”

/ From “The 50 Best Goth Songs of All Time” (2022) by Andi Harriman in Rolling Stone magazine. (“Spellbound” was listed at number two. Perhaps inevitably, “Bela Lugosi’s Dead” by Bauhaus is number one!) /

“There’s plenty of darkness on 1981’s Juju. In fact, their fourth album is arguably the most horror-filled of the lot, with songs about voodoo dolls, prostitution, psychological terror and even – on “Halloween” – a murder. In fact, it could almost be a gothic pastiche if it wasn’t so brilliantly done, the lyrics so authentically creepy that you could almost be forgiven for thinking that Siouxsie grew up in the bowels of hell, rather than the Kent suburbs. The album’s masterstroke, though, is in allaying such gloomy, suspense-filled material with the best melodies of their career, and music with so much adventure it seems to fire off in a new direction from one minute to the next. Spellbound – the single that opens the album – is typical, cascading from jangling, psychedelic guitars to galloping tribal drumming, via a headrush of sound, voice, danger and exhilaration.”

/ From “Siouxsie and the Banshees: 10 of the best” (2014) by Dave Simpson in The Guardian /

Released on this day (19 June 1981): Juju, the fourth studio album by life-changing British punk band Siouxsie and the Banshees. This is the one featuring stone-cold classics like “Spellbound”, “Into the Light”, “Arabian Knights” (for me, their finest moment), “Night Shift”, “Sin in My Heart,” etc. Now sing along with me: “And don't forget / when your elders forget / to say their prayers / take them by the legs / and throw them down the stairs …”

#juju #siouxsie and the banshees #siouxsie sioux #spellbound #arabian knights #lobotomy room #punk #post punk #goth rock #high priestess of punk

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omegaremix · 2 months ago

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Cold Waves @ Warsaw; September 15 & 16, 2022.

If I told you that I was feeling shaky going into attending Cold Waves, you’d write me off instantly. Why would I still feel nervous about attending shows? Sure, the event is everything, but every trip to grandiose New York City is still a major thing for me. It’s still feels like uncharted territory and I’m still not over it but it has everything Long Island fails to provide: the venues, the people, the exciting energy, and an allure I still can’t put my finger on. It’s all for the taking, whereas on Long Island I had way more than enough. Also: anxiety. (Film at 5.)

I was only mere days away and I had to get ready for two straight nights of taking trains to and from Brooklyn. Cold Waves would be the third show I’d attend this year - fourth if I cared going to Ministry’s “Industrial” Strength tour which I didn’t go to. I was a frantic wreck anticipating this industrial legends / synthwave festival. The tremors in my black heart would stop only if I finally arrived at Warsaw. It’s my third visit there. The first was for Hospital Productions’ 20th Anniversary and the second was for Black Marble and Cold Cave on a hot June day - before my world, my momentum, and soul were all upended.

I don my black cap, a Clock DVA shirt, blue jeans, black boots and new black leather jacket. It’s sunny out, a hazy blue sky is being invaded by cumuluses all over the place - perfect conditions for an afternoon drive westward on the Long Island Expressway, down on Sagtikos Parkway, through Southern State to Rt. 231, and heading south to Rt. 27A to the Babylon station. I took no chances catching the earlier one-hour train to Penn Station, then hopped on the ‘E’ line to Court Square’s ‘G’ line to Greenpoint Ave. The train ride was bliss as hardly anyone was on it.

It was 6:15 PM when I stepped off the G and went upstairs to Greenpoint, my favorite Brooklyn neighborhood. It only took me 15 minutes to walk a few blocks down to Driggs Av. in Kings County’s Polish neighborhood. It’s only 6:30 PM and already I’m being greeted by a crowd of three at the very front of the line. One of them saw my DVA shirt and gave me two thumbs up. “Great shit, man!”, he said. I smiled and my heart rate went up 20.00% knowing I made the right choice of t-shirt for night #1 of Cold Waves. I found myself standing at the exact same spot on line more than four years ago when I waited to enter the venue for Cold Cave and Black Marble. It was that very corner where Wes Eisold stood with Genesis P. Orridge before that show. Doors open at 7 PM as all of us trudge towards the venue for our security checks before entering paradise where I’m immediately hit with the smell of incense, a special smell distinct to my Brooklyn travels and nowhere else.

The music existed before the beginning of time and it was pumping. No wonder - DJ Andi (Harriman) was behind the wheels of steel. She’s a fixture of the neighborhood where she fit perfectly with the industrialists and synth-wave demographic that populate there. With me being 15th in line, I won a spot up front. As always without fail. I was feeling great about what was about to go down for the next five hours. The first person I thought of was my Roman goth friend Lira* who I wished was there with me. She would’ve blended in with all these vampires, witches, and mistresses attending; many walking around wearing 242, Wax Trax, Pig, Pigface, Hocico, and Twin Tribes shirts.

7:45PM is here. The dee-jay fades out, the overheads turn off and the first act is ready to go. Cold Waves is finally underway.

Spike Hellis was the first of ten on the roster and kicked off the entire festival. The fresh Los Angeles duo have enjoyed a new sizable uptick of exposure. They were active and had lots of energy on stage; a theme that they’d set the tone for the entire program. Their fast-paced EBM, electro, and electronic hybrid was a fine example of the current sound that Los Angeles had to offer. Both Cortland Gibson and Elaine Chang traded instrumental and (screaming) vocal duties with each other while conveying themes of agony, control, rage, emotional despair, and submission that rubber-stamped their own pandemic-era, all accentuated at the end with an annoyed Chang dealing the finger to an audience member as the cherry on top. Who knows what happened there? What I do know was that someone threw an empty beer can at them during their set and security called him out on it; eyes and pointy fingers in his direction with a one-and-final warning not to do it again.

For those wondering why Rein is being highly praised all over, you’ll see why. One of two solo acts, Rein wasted no time taking the stage and it wasn’t long for her to show everyone why she’s one of the most talked-about synthwave acts of recent. It’s not just her razor-sharp EBM delivery and style but also her choreography which made her perfectly groove to the music. She can seriously move it like no other and also delivered plenty of hard-edged sounds of equal measure. It was more than enough to ask who the fuck Shakira was, because she’s got nothing on her. It wasn’t just Rein who was motioning to the music. I look to my right and seen a good number of people getting into it, too; such as the guy three spaces away from me who happened to be wearing a gas mask through her set. After she closed out her set came another intermission. The next three legendary acts have yet to come into play and right behind me are three belligerent drunks (one male and two females) fighting over who bumped into who, not saying ‘excuse me’, who stood where, and lots of name-calling and f-bombs lobbed at each other’s slovenly faces. Not a dull moment so far.

Portion Control was the third and most enduring act of the festival with their debut cassette release A Fair Potion dating all the way back to 1980. I’ve constantly heard of them through new-wave, industrial, and synthwave circles. It’s my first go at them and Wow. They. Nailed. It. They became one of the very few artists I ever discovered to give me a perfect example of everything I was looking for on the very first listen. Perhaps the hungriest, meanest, and venomous act I discovered live or not. I may have caught them at their best ever and it lead me to the three Seed e.p.’s. Onstage, Dean Piavanni was a vocally sinister, persuasive, and direct force who could’ve easily taken on the audience (and would’ve won); as Jon Whybrew was on the controls transmitting ultra-energetic and juiced-up EBM and industrial techno for the small masses. It was the most exciting payout of the night so far.

If there was ‘the’ reason that attending Cold Waves was an absolute must, it was the team of former Wax Trax and Ministry members Paul Barker and Chris Connelly. They are part of the reason why everyone had some of the best moments of their lives and made for some of the greatest industrial releases ever. Billed as The Revolting Cocks Corpse and in conflict with Al Jourgensen’s version of the band, it would be their last-ever appearance. I hate to admit, a scratch off the bucket list was long overdue and years in waiting. Now, here was my chance of seeing both of them live in one shot.

Want real-deal Cocks classics? You got ‘em. Paul Barker handled his iconic bass logo-ed with the Cocks’ Beers, Steers & Queers emblem on it before kicking off with “38” and brought out former Cock (Front 242’s) Richard 23 on vocals. After that comes Connelly onstage in casual wear in a trucker hat, jeans, and a shirt that’s scrawled “Strong And Pretty” on the front, so we’re getting the nutty version of him. Then the rest of the hits came rolling in: “Attack Ships On Fire”, “Cattle Grind”, “Crackin’ Up”. When Connelly asked himself out loud what else to play, the audience yelled “Let’s Get Physical” (rest in peace, Olivia Newton John). “Well, I didn’t ask for your help!” he said coyly to all of us and we couldn’t help but to laugh. They did cap off their monumental set with “Do Ya’ Think I’m Sexy” and it felt like a dream. Connelly leans on the speakers acting all cute and blowing kisses to the crowd with a smile. Before you know it, he’s laying on the floor with arms wide open like he’s just fallen in love as Barker and company call it a night. Nothing but good times and an ultimate culmination of their Wax Trax output as I hoped for.

Finally, it was Front 242’s turn to take the stage; the apex of an already high-flying night. It would be a bittersweet performance at that as this was one of many shows on what was their final U.S. tour. Many fans thought it was because of Jean-Luc De Meyer health issues but thankfully that wasn’t the case. No matter, it was everyone’s last chance in the states to catch them before leaving North America once and for all with no turning back. I considered Front 242 to be a bonus for me as I was heavily into their pioneering Eighties material during my community college years, their later albums, and C-Tec which De Meyer took part in. I had absolutely nothing to lose seeing them live. All throughout the night I’ve seen photographers-for-hire huddle around the space in-between the rail and stage getting their dozens of shots in. For Front 242, the three-song policy got extended to four. It had to be. Warsaw security managed to catch one snap artist who didn’t know better.“No flash! No flash!” they told him as they pointed at and called him out on it. Which also begged the question: where the hell is Brooklyn’s industrial / synthwave fixture-photographer Nikki Sneakers? It’s been at least five years since I’ve seen her shooting at venues.

Front 242 played their most-recognizable and popular classics that established and pioneered EBM with “Don’t Crash”, “Operational Tracks”, “U-Men” and many more. It was all Richard 23, De Meyer, and Patrick Codenys in their unmistakable iconic tactical outfits with a shirtless Tim Kroker on live drums. They took all the power and energy they had and kept it going all the way, delivering nothing short of a rhythmic and beat-heavy experience they were known for. One funny moment to be seen was when De Meyer stood cross-armed wearing his huge shades and had such a scowl on his face, looking all bad-ass as the other three carried on. After eight or nine songs, 242 left the stage - not to lock targets and catch men - but to gear up for their first encore. We all knew there was more to come and what came was “Headhunter”, one of industrial / EBM’s most historic songs ever written. Two more songs later and 242 left the stage again charging up for another encore. As soon as we all heard the soundbyte “Hey, Poor!”, it meant only one thing: “Welcome to Paradise”. Only then was the perfect Front 242 show complete. The team of 23, De Meyer, Codenys, and Kroker took in a lengthy applause and gave a standing ovation as they all thanked New York City and bid farewell. The lights turn on for all of us to head out of Warsaw. I turn around to get going and behind me I see a female fan being consoled by her husband - and she’s in tears. Either she finally fulfilled her life-long dream of seeing Front 242 or saddened that they would say goodbye and farewell to the states, never to return.

The first five acts were amazing. It felt like I did a great service to myself in attending. I already checked off all the boxes I wanted to: take mass transit, visit Greenpoint, see Barker and Connolly play, and be associated with my kind of people. A night out in Brooklyn never fails and the thrills would still continue after the show ended. There’s always the experience of taking the alphabet and number lines - taking the ‘G’ and then the ‘7’ line to walk from 10th St. towards the Empire State Building and then arriving at Penn Station all by one-in-the-morning. Like the ride from Babylon to Penn Station, the reverse ride was quiet and not as crowded as a can of sardines. More exhilarating was the ride from Babylon back home where all the roads were empty and quiet, leading up to driving east on a wide-open Sunrise Highway at three in the morning and getting home all in 25 minutes time.

Night One of Cold Waves was now in the record books.

**********

Friday afternoon? Well, what an adventure. I had no idea that traffic was literally paralyzed on Sagtikos Parkway. It was that point where I knew it would be down to the wire getting to the Babylon station. From then on, I was finding every inch I could to cut other drivers off, find detours, and get head-starts while waiting for green lights and cursing out turtle drivers. Traffic was tight and every decision counted. One minute I thought I was going to make it and the next minute I was doubtful. South on Commack Road, down Deer Park Avenue then Route 231, and finally to Route 27A where I was only a few thousand feet away from the station. I arrive at the parking lot across from the station, bolted out of my car, ran across the street and up the stairs like a motherfucker. I finally reach the platform and - it’s taking off. Fucking great.

I had one hour until the next train to figure out how to unfuck myself and get to Warsaw in time. I tried signing up for OMNY (New York City’s wireless transit pay) months ago but was unsuccessful. Now time to try again. I downloaded the Apple Pay app- and then had to call the bank to connect my card. Now that it’s tied to my phone, I tired again to sign up for OMNY. Success! The 4:35 PM Babylon train arrives and I had 55 minutes to map out the quickest path in getting to my destination. The train arrives at Penn Station and I waste no time hauling ass to the ‘E’ line. Here we go. I hover my phone over the turnstile and - GO. Raced up and down the flights of stairs and I catch the ‘E’ train by five seconds before its doors closed. I take another 20 minutes to cool down before the transfer to Court Square / 23rd Street’s ‘G’ line. I hop off, sprint, and find the ‘G’ train that would take me to the Nassau Avenue stop, the closest one to Warsaw. It took me about two minutes and 1,000 feet to get there. I finally arrive out of breath before I go through the security checks and magic wands before entry. All clear. It’s 7:40 PM. Five minutes to go and I’m at the exact same spot I was the night before. All worship to Lucifer that I made it.

And now, night two begins.

If there was any artist to kick off Friday’s festivities that represented his hometown and carried its flag, then Confines was it. The hard-hitting, beat-heavy industrial-techno / EBM project certainly had some punch to it. Like Rein, Confines was a one-person show who did all of his instruments and movements on his own. Not bad at all. At the time of this writing I learned something about him that totally kicked me off of my seat: Confines happened to be David Castillo, co-owner of Brooklyn’s Saint Vitus bar and venue, host of the Age Of Quarantine podcast, and lead singer of Primitive Weapons. Are you fucking kidding me?! I was on the lookout to spot him at my last visit to -Vitus to see Uniform but I was shit out of luck. Now I finally found him performing at Cold Waves and didn’t even know that was him until after the fact! Fucking right. And it doesn’t stop there. I also learned that both Geography Of Nowhere 1 and Work Up The Blood was mixed and mastered by Hospital Productions’ Kris Lapke / Alberich and laid out by Sannhet’s AJ Annunziata. Wow. Talk about getting five-in-a-row on that bingo card.

Fans of Vancouver musicks enjoyed a two-for-one approaching the middle of the night’s bill. We were all treated to Leathers consisting of Shannon Hemmett (vocals), Kendall Wooding (synths), and Adam Fink (drums). For anyone who wanted the 2022’s tense of what an Eighties’ synthpop / new-wave show would look like? Well, now you have it. It was a treat seeing them perform and also seeing the slender Hemmett as an Eighties dream while Wooding and Fink played a smooth mid-tempo set. But with a wardrobe change and Jason Corbett coming into play, Leathers became Actors and Artoffact’s flagship band was the iteration that appeared on everyone’s radar as of late. They traded in their Eighties’ synthpop and new-wave cool for heavier rock. This time Hemmett took over synth duties and Wooding wielded bass as Fink stayed on drums and Corbett helped Actors push more power and electricity into their second set to keep the excitement steady from start to finish. I tried out both Leathers / Actors before and for some reason they’re not my type of heavy-rotation listening. However, there’s no denying that their talent brought them their well-deserved fanfare and exposure.

Not since Merzbow’s personnel bringing out his gear at Output have I been bracing myself with another artist’s set-up. Lighting fixtures attached all over and bulbs placed in front of huge cymbals might’ve told me that the next set would burn my eyes right off my face. Luckily, I was wrong. That was Kite’s visual set-up and a precursor to their performance. The Swedish duo of Niklas Stenemo and Christian Berg were another act I never heard anything of, and afterwards tilted me to give them a shot. Both were skilled in playing two keyboards at once (or keys- and knobs in Berg’s case) as they delivered a lively performance and Stenemo a few kicks, switching between synth-wave and synthpop. Their latest single “Bocelli” was the highlight on the night, showing their dramatics while also providing a soulful, heartfelt, and at times acclaimed power.

While Kite tore down their equipment, I thought of something. It’s been five years since I attended Hospital Production’s 20th Anniversary. I remember one moment near the end of the showcase when Bone Awl was playing their set - where all of a sudden Dominick Fernow (Prurient and Hospital- label-head) runs to the apron, stage-dives over the pit, and into the audience for a crowd-surf. It was a moment that never escaped me since then. Here I am back again at Warsaw for Cold Waves five years later and I’m at the rail for both nights. During one intermission, something dawned on me - I look at the rail, then the edge of the stage, and then the rail once again. I thought to myself: how in the fuck did Dominick have enough clearance to fly in the air, avoid banging into the rail, and land safely on top of the crowd? Good thing he successfully pulled off that spectacular feat.

Asterisk: New York City was supposed to receive Stabbing Westward as the closer to Cold Waves but had to bow out. That’s where Cold Cave gladly stepped in and ultimately sealed the deal for Cold Waves’ entire New York City stop. “Remember when we last played here?” lead singer Wes Eisold asked the audience. Yes I do, Wes. Yes I do. Seeing Cold Cave again for the second time in the same venue was another special bonus to me, and always a welcome one at that. I walk through previously-ventured territory and this time it was just as exciting as the last. All hits and zero misses from Eisold, his lady Amy Lee, and company. “Glory”, “People Are Poison”, “A Little Death To Laugh”, “Confetti”, “Rainbow Girls”, “Godstar”, “Theme From Tomorrowland”. You named it, they played it. For 50 minutes they kept a steady upbeat energy of synthwave and classic goth pedigree; not to mentions tons of smoke and fog fired towards our way to where I’m seriously considering getting myself screened. The only difference between their 2018 appearance and this one at Cold Waves? No sign of Max G. Morton, and Eisold’s heroine Genesis P. Orridge who joined him on guest vocals had sadly passed away since then.

But there was one shining onyx that fit the head jewel of the crown: when Eisold and Amy Lee brought their daughter out on stage. How fucking amazing was that? The audience collectively melted. Imagine being in your single-digits and having an amazing story to tell your friends back in school about how your rock-star dad brought you up on stage to sing for the crowd. Through their entire set, Cold Cave never let up and missed any of their targets as Eisold, Amy, and the rest played through their last encore and that’s all they wrote.

Before I knew it, it’s 12:20AM. Cold Waves in New York City was now history.

**********

I walk out of Warsaw and away from the busy volume of the patrons standing around in front of it. The night skies changed their tune to a purplish overhead. They were nice enough to wait until my moment was over to return. I’m now processing how to put the last 48 hours into words and also my place in the universe after being where I wanted to be. I head west on Driggs Street through McCarren Park weaving through the pedestrians walking towards me and observe a few small groups of people congregating and chilling on park grounds with their portable speakers. It’s only a few more blocks before I enter the ‘L’ line that will connect me to the ‘2’ line.

If only I can tell you the city’s delights that I’ve seen during my travels to Penn Station. I’ve seen female torture artists and double-pigtailed mistresses in their black onesies and shiny knee-high boots. There’s an Asian girl my height in a low-cut purple dress and her thigh is all bloodied and bandaged up; situated below her very visible purple underwear. Across from me was this gay guy who was the stunt double for The Ukiah Drag’s Tommy Conte, kissing his boyfriend on the cheek and sad-gazing in his boyfriend’s eyes who boarded off the ‘L’, but not before he blew Tommy a kiss goodbye. Another couple hopped on our crowded car. His blonde girlfriend’s neck and chest were literally covered red with hickeys and didn’t give a soaring aerial fuck about all the eyes and stares aimed at her. The ‘L’ ends and I transfer to the quick ‘2’ which only took five minutes to get me to Penn Station, leaving me with a half-an-hour wait for the Babylon train to arrive. Lather, rinse, and repeat with a left-hand forward ride to the station and another Sunrise Highway night drive back to my quiet-as-night neighborhood. A return to silent normalcy.

**********

Chicago has been widely known as the industrial capital of the U.S. It’s where Jim Nash and Danny Flescher established Wax Trax as a record store and the label that’s given birth to the careers and legacies of Ministry, KMFDM, My Life With The Thrill Kill Kult, Meat Beat Manifesto, and countless other acts. It’s also where Public Image Ltd.’s Martin Atkins created Pigface and Invisible Records and gave life to Chemlab, Damage Manual, Dead Voices On Air, Murder Inc., Ritalin, Sheep On Drugs, and Test Dept. All these artists made my identity, or part of it. Throughout the years I’ve followed all of my favorite artists and have never given up on them. They were there for me during my difficult times at community college and to this day I’ve never tired of their projects. It wasn’t until recently when I revisited the classics that I realized that these artists and labels were in my heart all along. Millions of industrialists join each other in various online groups to share their stories and live memories and say “hi!” to the many legends who lurk around and keep that cameraderie going. I see the company around me in Greenpoint who share similar interests, qualities, and aesthetics and those are the people I want to be associated with.

I thought attending just one Boy Harsher show was a rite of passage. Yes - more in the synthwave world. I’ve also attended shows for Nine Inch Nails, Ministry, and Killing Joke and that’s more than enough for me to hoist my flag for this genre. (Naysayers will wave their filthy unclean fingers at me and say “not so fast” because I wasn’t able to go to a Skinny Puppy show.) I’ve heard many great things about Cold Waves that I’d be a fool to miss out. Mutuals who went told me it’d be amazing and they were double-right. With Front 242’s final American appearances and with Braker and Connelly having to quit the RevCo name, this year was a non-negotiable. What started out as a one-night benefit and an honor of Jason Novak (Acumen Nation, DJ? Acucrack) and David Schock’s fallen friend Jamie Duffy evolved into an (almost) annual round of the best and legendary industrial, synthpop, and synthwave acts. Like my attendance with the previous Cold Cave and Black Marble shows, attending Cold Waves was a thank-you to the scene that gave me an identity but also to a certain number of acts that helped build it.

It’s been one of the best and most exhilarating moments of the year, ranking as high as Sacred Bones’ 15th anniversary. If the line-up for next year is as good or better (how could it?), then I guarantee you I’ll be returning.

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neurosismancer · 3 years ago

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Wow!

#siouxsie sioux #siouxsie and the banshees #siouxsie & the banshees #janet and the icebergs #goth #post-punk #goth rock #budgie #john mcgeoch #steven severin #gothic #gothic music #goth music #gothic rock #post punk #andi harriman #lethal amounts

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nothingchangesnyc · 6 years ago

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#nothingchangesnyc #saint vitus bar #kontravoid #void vision #xerox #multiple man #nico nightingale #andi harriman #twins #thatwhichisnotsaid #liberation #pieter schoolwerth #wierd #wierd records #mannequin records

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firstavenue7thstentry · 7 years ago

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Vampire's Ball Interview with Andi Harriman

By Logan Lanphere (First Avenue Marketing Intern) I had the chance this week to ask DJ Andi Harriman a few questions ahead of Vampire's Ball (a costume dance party dedicated to the music and style of goth subculture in the 80’s) at First Avenue on Saturday, August 26. -What inspired you to write Some Wear Leather, Some Wear Lace, and will any of its material be covered in the pre-show lecture? Andi: My main inspiration came from the desire to give back to the music that meant so much to me. 1980s post-punk and goth helped me through some pretty terrible times in my life so I felt that the only way I could return the favor was to write a book - as far fetched as that may sound. I was doing tons of academic research on the subject anyway and noticed there was a lack of published works on the 1980s goth subculture. There seemed to be a lot of writing on 1990s goth but not as much emphasis specifically on the first two waves of post-punk music - I also focused on a worldwide scale rather than just on London and the UK in general (of which there's mountains of documentation). Yes, there will be many photos and excerpts from my book in the lecture. It's titled "Goth 101: A History of the Post-Punk and Goth Subcuture 1978-1987" and is a light overview of the subculture I put together based on the results of the intense research I conducted for the book. I like to make my lectures interactive and fun, it won't be your typical lecture, I promise! -Are there a few artists we can expect to hear at Vampire's Ball? Andi: I would definitely bet on hearing a lot of late 80s synth wave such as Depeche Mode, Propaganda and Book of Love - I won't give away all my secrets though. I'm very excited for this set! -What is one of your favorite things abut hosting Synthicide in Brooklyn? How is that night different/similar to Vampire's Ball? Andi: I think my favorite part about Synthicide is the ability to bring 80s synth, industrial and EBM music into more of a techno setting - I love mixing genres. The best moments are at 330 am when it's just myself and the hardcore dancers who are excited about everything from Stacey Q to really hard industrial techno. I also love giving a platform to artists and DJs who might not have one otherwise. I have a feeling the crowd at Vampire's Ball will be just as enthusiastic as my Synthicide people. I'm doing an all 80s set with a mix of familiar hits, underground classics and some of my favorite somewhat unknown tracks. Though Synthicide has a very heavy 80s lean to it, I do play lots of current music - I suppose that is the biggest difference between the two. -How did you get involved with Vampire's Ball, and why? Andi: I think Grant and I have toyed with the idea for a while and it finally came in fruition! I love what Grant is doing with Dark Energy - I'm honored to be a part of it. My favorite part about lecturing and DJing is meeting likeminded people, having conversations about music and sharing experiences... how could I say no? -What are you most excited about playing our goth dance night? Andi: One, having the opportunity to play at such a historic venue - it will also be the biggest place I've played in thus far! Also, being able to discover a new city and goth scene is exciting, I like comparing places to NYC. Check out Andi's set and her lecture, as well as Justin Strauss, Necronancer, Angelica Ottavia, and Stainless Steel Providers in the Mainroom on August 26. Get your tickets!

#goth #interview #andi harriman #vampire's ball #dance #first ave #80s goth

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nicoroxe · 5 years ago

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vimeo

SYNTHICIDE COMPILATION V2.0 Teaser featuring:

:00 to :10 Sec. / ORTROTASCE - Poison Heart Living Perfection :10 to :20 Sec. / ANDI - AOV :20 t0 :30 Sec. / CERVELLO ELETTRONICO - Controlling Systems :30 to :40 Sec. / XEROX - AZT :40 to :50 Sec. / UPSETTER - Biohacker :50 to :60 Sec. / TRONIK YOUTH AND TUNNEL SIGNS - Beathrills

60 seconds teaser commissioned by Andi Harriman from SYNTHICIDE, NYC for the release of their second label compilation, on June 24th, 2019.

For more information about the release, please visit:

synthicide.bandcamp.com/album/synthicide-compilation-v20

Video link: https://vimeo.com/343986596

—By Nico Roxe Ⓐ 2019

#synthicide #andi harriman #Andi #ortrotasce #cervello elettronico #xerox #upsetter #tronik youth #tunnel signs #nyc #nico roxe #2019

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numinous-queer · 2 years ago

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Cinamon Hadley - the Inspiration for Death of the Endless

Cinamon Hadley, the inspiration for the character design of Neil Gaiman’s Death of The Endless featured in his Sandman comics, passed away in 2018. Hadley’s influence on goth fashion and culture cannot be overstated.

“Death is the only major character whose visuals didn’t spring from me; that credit goes to Mike Dringenberg. In my original Sandman outline, I suggested Death look like rock star Nico in 1968, with the perfect cheekbones and perfect face she has on the cover of her Chelsea Girl album.

But Mike Dringenberg had his own ideas, so he sent me a drawing based on a woman he knew named Cinamon Hadley — the drawing that was later printed in Sandman 11 — and I looked at it and had the immediate reaction of, “Wow. That’s really cool.” Later that day, Dave McKean and I went to dinner in Chelsea at the My Old Dutch Pancake House and the waitress who served us was a kind of vision. She was American, had long black hair, was dressed entirely in black — black jeans, T-shirt, etc. — and wore a big silver ankh on a silver necklace. And she looked exactly like Mike Dringenberg’s drawing of Death.” - Neil Gaiman

In an interview originally published in part in her book Some Wear Leather, Some Wear Lace: The Worldwide Compendium of Postpunk and Goth in the 1980s, Andi Harriman interviewed Cinamon on what her style inspirations were, and on how Mike Dringenberg utilized her for his design of Death:

When did you first enter the scene? What attracted you to it?

“I was a ballerina and grew up on the stage. What attracted me to the deathrock scene was, it was like theatre – make-up, costumes... oh and dancing! You could be so creative with hair, makeup and clothes. And I’m a very creative individual. I designed and made most of my clothes-not only was I poor, but I had specific ideas of what I wanted to wear. I didn’t enter the scene until late ’87. I was 18. I dyed my hair black, bought black liquid eye liner, and bought my first pack of cigarettes-camel lights hard pack. Lol. I heard about a dance club in Salt Lake called the Palladium. I put my ballet stage make-up on, my little black outfit and teased my hair as big as I could get it and went to the club. I was in awe. I felt so at home, everyone was nice to me and I thought everyone was so “cool”. I decided this was the world I wanted to be in. I copied Patricia Morrison’s hair from Sisters of Mercy!”

Who inspired your look? Was there a specific person?

“I wasn’t really influenced by any specific person-except my big hair-it was more; I saw people in lots of black and lots of eyeliner. I would just start out with my Maybeline liquid eye liner and just start drawing. I often didn’t know what I was going to do. I really like the Egyptian makeup, I guess actually I was influenced by King Tutankhamen -a photo used in the comic has this makeup. But, there really isn’t anything original- someone somewhere has done it or thought about doing it. I thought I was so creative, drawing a big spiderweb on my face and gluing a little plastic spider in the center—yeah-well, it had already been done. Now for the infamous swirl under Death’s eye. That was a result of one of my little drawing sessions on my face. Now I see it everywhere. It’s kind of neat.”

How did you get involved with Neil Gaiman?

“Mike Dringenberg, the original artist for the Sandman, was a good friend of mine. He asked me one day if he could use me as a character for a comic book. I said sure. I didn’t know anything about comics and I didn’t know it was even anything special. I certainly had no idea it would be what it is now. Funny story... About three years after Mike asked me if he could use my likeness, I was living in Houston, having moved from Salt Lake City, and I was at a friend’s house. My friend told me his favorite comic was the Sandman and showed me an issue. When I opened it I saw a picture of myself staring back at me. (It was one of the 2 photographs actually used and just inked over). I said ”oh my God, that’s me!” I had no idea I was in the Sandman, and I had even forgotten about being asked by Mike to use me as the model.”

MORE PICTURES HERE!

#Sandman #Death #Character Design #goth #goth fashion in the 80s and 90s #(not my article! it's from post-punk.com! I just thought it was super neat and couldn't find it on tumblr)

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weyounthevorta · 5 months ago

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Bidding Beauties

Five teams are bidding for your home renovation job. After interviewing them all and meeting their architect, safety inspector, demo expert, site foreman, painter, and billing accountant, which team is getting the job?

Idea from @milton-dammers

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omegaplus · 2 years ago

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# 4,174

Cold Waves @ Warsaw; September 15 & 16, 2022.

7:45PM is here. The dee-jay fades out, the overheads turn off and the first act is ready to go. Cold Waves is finally underway.

Night One of Cold Waves was now in the record books.

**********

And now, night two begins.

Before I knew it, it’s 12:20AM. Cold Waves in New York City was now history.

**********

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testure-1988 · 4 years ago

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Some Wear Leather Some Wear Lace by Andi Harriman is porn for goths

#possibly my favorite book ever

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omegaremix · 7 months ago

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Boy Harsher + Twin Tribes @ Music Hall Of Williamsburg; April 3rd, 2022.

October 2021 would have been one of the busiest months of going to shows ever. The problem was that Ministry postponed their “Industrial” Strength Tour for the third time, and I was too late in getting tickets for Boy Harsher’s Halloween show. It only left me with the Uniform show at Saint Vitus with Body Void and Portrayal Of Guilt on the ticket. It took me six years to cross off seeing Uniform in full off my most-wanted list. Shortly after, Boy Harsher announced new dates to coincide with the release of their new short film The Runner featuring everyone’s favorite Kris Esfandiari (King Woman, Sugar High, NGHTCRWLR, Miserable). Time for redemption.

I snatched up tickets right away and feverishly waited for January 29th. Then a slight hitch in plans: the omicron strain took over and infections went wild once again causing Boy Harsher to move their dates up to April 3rd. That’s too bad. The January date was the sweet spot to have a wintry day out in Williamsburg, Brooklyn, the preferred weather to enjoy darkwave and synthwave as it was always intended to be. But I’ll take a postponement over a cancellation any day. It’s better to have an experience than none at all.

I learned that it would be a two-hour train ride home from Penn Station to Deer Park. I wouldn’t have the time as I had work early the next day, so instead, I drove to the Babylon station as the train home would make it’s final stop with no transfer. One hour later of cloudy grayscale skies and nothing-special transit later, I arrive at Penn Station. From there, I took the 1 / 2 / 3 Express and finally transferred to the L line to Wythe Av. and North 7th Street. A few blocks away and here I am at The Music Hall Of Williamsburg, my first-ever visit there.

The venue’s site said “doors open at 7PM” but their app- said “8PM”. Fearing arriving late, I hoped for eight. I did get there at 7:30PM and asked the strongarm at the door checking i.d. when they did open. “Doors opened at 7PM but you came just in time. Just in time” as he said with confidence. Judging by his relaxed demeanor, I took his word for it and he was right. Once I walked in, there were a few spots right at the front rail ready for the taking, and I did. Mid-right in front of the speakers. The night was already off to an adrenaline-pumping start. Who is that?! Andi Harriman was dee-jaying on the wheels of steel spinning all sorts of seriously intense and exhilarent synthwave. I never heard anything like it. She’s reached far for some synthwave sounds I never heard of; further than I’ve reached so far because I’m somewhat freshly new to it. I was hooked on what she played and wanted to find what her setlist was, if any.

Twin Tribes opened up for this short Sunday night roster. Had my original date’s tickets transferred to the Friday show, I would’ve ended up seeing Aurat open instead. How amazing would that have been?! But Twin Tribes was an act I wasn’t familiar with but their sound was. I had some experience listening to goth rock in the vein of Adrenochrome, Otzi, and Kurraka, but the Twin Tribes duo took the route of Eighties goth rock built on melodic guitars, hot synthesizers, frighteningly-good vocals and tense upbeat energy. They were a great compliment on a bill that catered to the all-things-industrial and goth subculture, which to me was the culture in Greenpoint.

After Twin Tribes departed for the night, we were once again treated to Andi Harriman’s so-fucking-good dee-jay set. By then the crowd started to pack in tightly on all sides, the balcony, and in general admission. I was still up front and there wasn’t much open space for me to look around to see who was wearing what. I will say that one of the Music Hall crew sported an Aphex Twin hoodie and another one repped Soundgarden, which were great. I look to my left and someone was proudly wearing his FKA Twigs tee. I came in wearing my Rough Trade NYC shirt with my beige hoodie being it was in the nippy high 40’s. That’s your obligatory Ω+ live-show fashion round-up as always.

Twenty minutes of painful waiting, Augustus Muller finally takes the stage. His other half Jae Matthews joins him and Boy Harsher is all ready to go for their set. The fanfare all around the music hall were loud and going wild. Here’s a synthwave duo that’s been currently heralded as one of the flagship outfits of the genre with almost no detractors to be found. They opened up their set with “The Ride Home” and segued into “Give Me A Reason”, a leading track from their new album and motion picture soundtrack The Runner that’s been heavily exposed. They had plenty of cards up their sleeve and reached back to their Yr Body Is Nothing era with “Morphine”. I was still only mere inches from The Music Hall’s- system so I could hear every note thump, vibration, and punch through the speakers as any synthwave / EBM artist should. Right after they finished their cover of Chris Isaac’s “Wicked Game” did they unleash the highly-exhilarating and manic “Come Closer” and made the audience get into a seriously rabid frenzy.

Muller and Matthews controlled the show when they brought it down to a suspenseful mood with The Runner‘s opening track “Tower” and continued on with more wavy, lucid sounds in “Escape” and “Country Girl”. The duo kept going into their Carefularsenal with “Tears” and “LA”; the former which delivered such elasticity and one of the main reasons why Boy Harsher’s fanfare has always been on fire, as they always found and utilized classic synthpop and synthwave elements to everyone’s liking. All the while Jae Matthews exuded a constant sensuality with not only her on-stage presence but also her sultry vocals that paired with their always-sweltering sounds. Augustus Muller always kept to himself behind the keyboards and hitting the beats new-wave style. Forty-five minutes later, Boy Harsher called it night. Or did they?

The Music Hall didn’t switch on their overheads when they both left the stage. That was an easy tell for at least an encore and they delivered on that. “Autonomy” was the final track from The Runner they played and they brought out guest vocalist Cooper B. Handy for it. It was the first album of theirs to feature guest vocalists entirely other than Jae Matthews (the other “Machina” featured BOAN and Mariana Saldana but they weren’t present). There’s always a sense of love and this cute little admiration of their fellow artists and friends when they feature them on-stage, in their videos, projects, and even on their social media posts, as if they’re the special highlight of the day. After “Autonomy was over, Cooper waves good-bye to the crowd. Boy Harsher retires the night and the show’s over. Or was it?

Boy Harsher walked off and hid backstage like they did before. The overheads once again didn’t turn on. You could hear the audience now begging for that one song. That one song. The one that put the duo on the map and won them their recognition. Five more minutes later, they returned on-stage and gave them what the audience so badly wanted: “Pain”. It was the only way to cap off a three-night stay in The Music Hall- and we wouldn’t have let them leave New York City without playing it. No fucking way.

The overheads finally turned on and we all exited out. I brought a Benjamin with me in the event that Jae and Augustus manned the merch- tables. They didn’t. I took a small glimpse of what tapes and shirts they were selling, but time was tight in catching the train back home. I didn’t want to chance it and let it be, but not before I saw a short, pale, curly-haired dominatrix-type making her way to the bar in leather gloves, boots, fish nets, and a tight shiny PVC unitard that hiked up her ass and disappeared. Comes with the industrial / synthwave territory.

It was an astonishing night and I expected it to turn out that way. Boy Harsher and Twin Tribes put on an amazing show and was worth the wait. I left The Music Hall Of Williamsburg with my quotient up and completed a must-do rite of passage. I scrambled through the quiet well-lit streets long enough to get lost (as expected) and took the L and 1 / 2 / 3 line back to Penn Station where I missed the 12:15AM train by three minutes. The painstaking one-hour wait for the 1:15AM Babylon ride was spent getting a four-dollar Toblerone and dodging the panhandlers who scoped out the slightest eye-contact. I finally hop on heading east, arriving at Jamaica to transfer to the line home on a double-decker car, pondering how I would deal with only six hours of sleep before the next day’s shift at work.

#Boy Harsher #Twin Tribes #goth rock #synthwave #BK #Brooklyn #NYC #New York City #music #omega #playlists #mixtapes #personal

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