#iggy pop 1986

[lust-x-life]

Iggy Pop - Real Wild Child (Wild One) 1986

Cut version What TV show was it broadcast on? The year was 1986, because in January 1987 on Tops of the Pops for that year's tour I changed drummer.-  Nobody in this world can get the full version? Search and Fun.

 En que programa de TV se transmitio? El año fue 1986, porque en enero de 1987 en Tops of the Pops para la gira de ese año cambio de baterista.- Nadie en este mundo puede conseguir la version completa? Search and Fun.

[yourfavealbumisgender]

Blah-Blah-Blah by Iggy Pop is a Transmasc Lesbian!

requested by anon

[cheddahz]

iggy pop // shades

[alfairb]

bad tv that insults me freely still I know what I'm dyin' to see in searching for a meaningful embrace sometimes my self-respect took second place and I cried for love

[doyoulikethissong-poll]

Iggy Pop - Real Wild Child (Wild One) 1986

Johnny O'Keefe's song "Wild One" or "Real Wild Child" is an Australian rock and roll song written by Johnny Greenan, Johnny O'Keefe, and Dave Owens. The release date of the single, 5 July 1958, is considered the birth of Australian rock and roll. It was the first Australian rock recording to reach the national charts, peaking at number 20.

Iggy Pop covered the song on his seventh studio album, Blah-Blah-Blah (1986). The song was co-produced by David Bowie as well as having him on backing vocals. Titled "Real Wild Child (Wild One)", this became a number 10 hit on the UK Singles Chart in January 1987. In Canada it charted for 20 weeks despite never peaking higher than number 65 on the RPM Top Singles chart. It peaked at number 27 on the US Billboard Album Rock Tracks chart. In New Zealand the song reached number 1 in June 1987, becoming Pop's biggest hit there. The Iggy Pop version was featured in the film Problem Child and Problem Child 2, Crocodile Dundee II, and Five Nights at Freddy's, as well as the 2022 series Pam & Tommy. The song was recorded again in 2008 by Iggy Pop who teamed up with Aussie rockers Jet, titled "The Wild One". It was released as a tribute to Johnny O'Keefe and peaked at number 56 on the ARIA Singles Chart.

Other covers include Jerry Allison with Buddy Holly backing him on guitar, Jerry Lee Lewis, Status Quo, Everlife, The Runaways, Joan Jett & the Blackhearts, Brian Setzer, Lee Rocker, Teenage Head, Sarah Harding, and Wakefield. Christopher Otcasek's version appeared on the soundtrack to the film Pretty Woman. It was also covered by the fictional band Josie and the Pussycats in the 2001 film of the same name.

"Real Wild Child (Wild One)" received a total of 68,4% yes votes! Previous Iggy Pop polls: #199 "Lust for Life".

[bowienet]

Ronnie Spector, David Bowie, and Iggy Pop sit together at New York City’s Penn Plaza Club, March 26, 1976.

📸: Andrew Kent

Brad Dourif and Kyle MacLachlan in "Blue Velvet" (1986). razor scene in Car

[lascitasdelashoras]

Iggy Pop - Blah-Blah-Blah, 1986

[beautiful-basque-country]

Las Vulpess: the scandal

Just 40 years ago, four girls from the Bilbo neighborhood of Irala, between 17 and 21, starred in the first media scandal related to freedom of expression in Spain. Las Vulpess had not yet recorded a single single when the music critic Carlos Tena decided to make a music video with them on his new program on TVE, Caja de ritmos.

The sisters Loles and Lupe Vázquez (guitar and drums, respectively), were responsible for adapting the lyrics of I Wanna Be Your Dog - by Iggy Pop & The Stooges - in their own way, which Mamen Rodrigo would sing while Begoña Astigarraga played the bass. The song's title?: I like to be a whore.

Nothing happened at that time, since it was a program with a very small audience. The scandal erupted ten days later, when newspaper ABC published the lyrics of the song and vigorously protested its broadcast in children's programming hours, arguing that the song "degrades Spanish society, revolts the father of a family, unworthy the responsible citizen, breaks the intimacy of the home, violates what is established in the Constitution and goes beyond the limits of what is tolerable".

The media of that time asked for heads to roll: Caja de ritmos was not broadcast again, the presenter submitted his resignation and, the following Saturday, what the children's audience could see at that time was… a bullfight.

The snowball continued to grow until it reached the courts. The State Attorney General's Office filed a criminal complaint against the director of the program "for offense to modesty and good customs" and Loles Vázquez as the author of the lyrics and Mamen Rodrigo as vocal interpreter for public derision. Three, five years in prison and ten years of disqualification were requested for them. In 1986, the case was dismissed.

Thanks to growing up in very politically committed families, Loles – whose parents had fought against Franco in hiding, from unionism and women's associations – also had that support.

"My family helped us, my parents and brothers understood and supported us, we all went together, and it was quite important to feel so supported," the guitarist confesses. "We did not fear for our future, but of course it did worry us, because handling a scandal at the age we were was not easy, on the contrary, it was very difficult. A lot of stress, the phone did not stop ringing, everybody wanted to exploit the whole scandal: first musically and then the media, the political parties… It was pretty fucked up, speaking clearly".

Las Vulpess were the first all-female punk-rock quartet in Spain. I would venture to say that, even, rock in general. "If in the US or England it was already difficult for women to be in a rock group, well imagine in the Basque Country at that time. Even the boys had a hard time getting their instruments or a place, nobody had money, we were in a super harsh crisis. Rock and roll was very sexist, women's work was basically escort, groupie. Punk revolutionized everything, and one of the things that changed was the role of women. We too could be in a stage", concedes Loles Vázquez.

Now we are more accustomed, not only in punk but in more formal commercial pop, to hearing the word "bitch" or "whore" reversing its connotations of insult as a symbol of pride and self-affirmation. And, although it is impossible to collect data that proves anything, if they were not the first in the world, Las Vulpess sure were pioneers in this. Before rappers like Queen Latifah or MC Lyte began to use "bitch" in the same way in the US at the end of the 80s, no other precedents have been revealed. "I first played with Latin, hence the Vulpes thing," [Vulpes means fox in Latin, fox in Spanish has the same meaning that bitch in English] explains the author of the adaptation, which she wrote at the age of 15.

"It was what I received then. I wore leopard miniskirts made from car upholstery, we tore our stockings at the feet, because there weren't those things like leggings today… So with those looks, the stiletto shoes, the nets, the eyes painted with the eyeliner, when the guys passed by me they yelled at me: Whore! That was what they called me the most. And, well, I liked it. I liked being who I was. Being different was a source of pride. Those guys who defended marriage and those who were junkies and considered themselves cool, all told me the same. All those people calling me a bitch made me think, to that age, that being a whore was cool."

But what happened to Las Vulpess? Their label, Dos Rombos, hurried them to record the single that quickly sold out a circulation of 7,000 copies and, shortly after, sold 5,000 more, but the girls said they saw hardly any money from it.

Although the worst came with the concerts. On May 18, 1983, barely a month after the controversy, they performed at the temple of the Movida in Madrid, the Rock-Ola. But they ran into the peculiar reception of the security personnel in the room, who gave them a beating in the dressing room for singing a song critical of the Police. According to what Las Vulpess recounted, when they went to the nearest police station to report what had happened, they found that the agents who attended them were the same ones who had attacked them. They were policemen who had infiltrated the concert. It was not the only time, as confirmed by the guitarist.

"Yes, they used to beat us, yes. We were included in concerts with groups that had nothing to do with us. Then the press also released many lies and there were people who thought we would go out naked or in our panties. People weren't going to see a punk rock concert, they were going to cause a scandal. Buses full of fascists also came to boycott us, and we had to get out on our feet many times".

"In the end, everybody wanted to take advantage -adds Loles-, we were fresh meat, and both the politicians and the promoters took advantage, (…) they took all the money and we could not return home. All that burned us out a lot, it annoyed us quite a bit, and clearly, that caused us to break up, although it must also be emphasized that there were already musical differences between us".

That summer at the Bilbo festivities Las Vulpess said "enough" and disbanded a fortnight before entering to record what should have been their first album.

Source

[gnrbitch]

Summer Break Pt.6- Drugstore Adventures

Warnings: Drug usage, smoking, profanity, some inappropriate topic (?)

<>: Flashback

————

Day 8, 1986

Slash had a heavy feeling in his chest, one which he couldn’t shake no matter how much he tried. Sitting across from Izzy at the hell house, watching his friend light up a spoon, he sighed.

“Iz man, I gotta tell you something”

“What’da do now Slash” Izzy said looking up at him, Slash wasn’t really the kind of person to speak in such a nervous manner, so Izzy knew it was bad.

“The day before Y/n saw the dude die” Slash sucked in a breath “She walked in on me Oding”

“Jesus fucken christ Slash” Izzy said shaking his head at him

“That’s not it”

“What the fuck do you mean that’s not it”

<>

“And don’t worry, I won’t tell Duff” Y/n smiled

“Yea, fuck thanks” Slash said “Thanks for not freaking out and leaving me there to die” he let out a breathy laugh.

Y/n looked over at Slash and let out a short laugh also, “Yea, this isn’t my first rodeo”

Slash, in his drugged haze, and Y/n, in her high haze, both looked at each other.

Slash let his eyes roam around Y/n’s face, until she spoke up.

“You’re looking at me for too long” She smiled

“You can’t blame me” Slash said softly, looking into her eyes

“They’re your eyes” Y/n scoffed/ laughed

“Well they can’t help it” He said, now looking at her lips.

Slash knew he shouldn’t have done it, but he did, he leaned in and kissed her, and to his surprise she kissed back, but only for a second, before pulling back.

“You’re fucked” She laughed

<>

“I don’t fucken believe you” Izzy said, looking at Slash with a shocked expression. “Not only did you Od in front of her, but you fucken kissed her!” Izzy said in a hushed voice, even though he and Slash were the only people in the house.

“Look I know it’s fucked- ”

“Yea, kissing Duffs little sister is fucked”

“What do i do?” Slash said rubbing his palms together nervously

“If she hasn’t said anything, then you don’t say anything” Izzy said looking at him “Plus Y/ns got a lot of shit going on right now, i don’t think she’s worrying about it as much as you are” he shrugged

“Yea, you’re right” Slash sighed.

“Just don’t kiss her again” Izzy smiled

“Fuck you”

*

“How long do you think we’ve been sitting here?” Y/n asked John, the pair sitting across from eachother on Johns bed.

“Im not sure” John softly said, Iggy Pops ‘Fun house’ playing in the back.

“How have you felt?” Y/n said, using her hand to move some of his hair out of his way.

“I don’t know, sad I guess” John sighed “But you’ve helped me feel better”

Y/n showed him a soft smile.

“You know what we should do?” John said suddenly

“What should we do Fru?” Y/n smiled at the boy who had now, jumped out the bed and stood in front of her.

It had been three days since the godforsaken day, and Y/n had made it her priority to help John and stay by his side. Seeing a little bit of progress, it helped her feel better.

“We should dye our hair!” John said excitedly

Y/n looked at him, still with her bright smile “Dye our hair?”

John just nodded, “And what color were you thinking Mr Frusciante?”

“Blond” He stated, as if he had just came up with the idea on the spot (which he probably did).

“That’s a good choice” Y/n said, now getting off of Johns bed. “What color do you think I should do?”

“Blond” He smiled at her.

“Fru” Y/n smiled and rolled her eyes “My brothers blond”

“Hm. Black?”

“Black sounds good”

“Alright then! let’s go” John said, handing Y/n her shoes.

“Where are we gonna get it anyways” Y/n said, forcing her foot to go into her shoe.

“Drugstore obviously” John smiled.

“huh, okay”

*

“This one?” John held up a box of hair dye to Y/n’s face.

“beautifully blond” Y/n said in a seductive voice, “Sounds perfect” She laughed.

“Wait… why do you have two boxes and I only have one” John said furrowing his eyebrows

“Hm. let’s think” Y/n said looking at him “Maybe it’s cause i got long hair” she gasp as John rolled his eyes.

“Smartass” he said

“The smartest” Y/n smiled at him

“Should i get two?”

“Nah”

*

“Hold still Fru!” Y/n said as she put the dye into Johns hair.

Y/n already had her hair up in a clip, and now she was struggling to get John to hold still. Which was damn near impossible.

“I’m trying! i just wanna see if you’re doing it right” John said as he looked at Y/n through his bathroom mirror.

“Okay how about” Y/n said as she left Johns bathroom, going into his room and grabbing his guitar, “How about you play me something while i’m doing this” she handed him his guitar.

“Fine” He said, grabbing the acoustic “what do you want me to play?”

“Anything” The girl said, splitting a section of his hair.

“Anything anything anything” John repeated to himself while looking at Y/n’s concentration face through the mirror.

“Okay” He finally said, strumming his guitar.

“That’s nice” Y/n spoke after a few moments of silence.

John smiled as he felt his cheeks heat up.

*

“Do you have a blow dryer?” Y/n said as she and John sat on his bed, a joint being passed between the two.

“Pretty sure my mom has one” He spoke as he looked at the towel on Y/n’s head. “Do you wanna use it?” He asked

“Please”

“It should be in the bathroom drawer” He said, nodding his head towards the door.

“You’re not gonna come with me?” Y/n’s eyebrows scrunched together.

“You’re the one who needs it” He told her, joint in his mouth.

“right” she said getting up and walking into Johns restroom.

Looking into the first drawer, she found it. She closed the door and began to dry her hair. Without thinking about Johns attitude.

She furrowed her eyebrows together, unsure if it was because of the hair brush going through her hair or because of the bitter feeling she felt with the way John spoke to her.

In the middle of drying her hair, the bathroom door opened.

“Are you mad at me?” John said as he looked at her.

“Why would I be mad?” She said, watching herself dry her hair through the mirror.

“Cause you never came back to my room”

“Didn’t think you wanted me there” She shrugged

“Why would you think that?” He said, trying to get her to look at him.

“With the way you spoke to me, seems like you don’t even want me to be in your house” She said, running a brush through her hair.

“I know I sounded fucked up, im sorry okay?” John said as he grabbed the dryer from her hand, turning it off.

Y/n finally looked at him, “Do you like me John?”

John was shocked at her sudden question “What?”

“Do you like me?” she asked again, softly grabbing the hairdryer from Johns hands.

John tripped over his words, “W-well yea i like you, of course I do”

“Okay, I forgive you then” she said, turning the dryer back on

“I just told you i liked you and you just-” John said as Y/n turned the dryer back off, then turned to him.

Then she kissed him.

“There you go” She said, pulling back, both of their cheeks flushed.

John looked at her with wide eyes, not only were his cheeks red, but also the poor boys ears were on fire.

He stated at her the whole time she finished drying her hair, and when she took her time putting everything back.

“Are you okay?” Y/n asked worriedly.

John just pulled her into another kiss.

They pulled away, hearts fluttering as they stared at each other.

“Yea. I’m okay”

Y/n just smiled at him.

*

“I’ll see if i can come tomorrow, I think Duffs getting tired of me leaving” Y/n said as she kicked at nothing, standing on the last step of the stair case in front of Duffs apartment.

“Hopefully you can, or maybe I can come over?” He asked her nervously.

Y/n smiled, “Maybe you can, I’ll ask Duff”

“Okay cool. See you tomorrow” John said, waiting for a kiss from Y/n, which she obviously knew it was what he wanted.

The girl looked around, and in back of her to see if anyone was there, before leaning in and kissing John.

“See you tomorrow Fru” She smiled at him, turning around and walking through the complex door.

Y/n waltz into Duffs apartment, smile on her face (which she tried to hide, considering the fact she heard all of the boys there before she walked in.)

“Hey guys” Y/n spoke softly “Like my new hair?” She asked with a smile on her face.

“Looks fucken sick” Steven smiled at her, standing up to go look at it up close.

“Thanks Stevie, where’s Duff?” Y/n asked

“I’m right- Oh my god” Duff said with wide eyes, looking at Y/n’s hair.

“Was that good or bad?” The girl asked nervously, after what happened Y/n had became quite unsure of herself, she made a mental note to look that up at the library when she goes back to Seattle.

“It’s- Its different” He said, walking towards her.

Y/n just stared up at him, not only is she the one who doesn’t look like the rest of the Mckagan clan (Her mom says she has her grandmas look), but she also didn’t inherit their height (She stood around Y/h, which wasn’t bad).

“Are you mad at me?” She said as she put her hand on her hip.

“No! no im not mad, I think you look cool” he said. Duff had been walking around egg shells with Y/n, and this being the first conversation she’s held with anyone, he’s making sure to keep the ball rolling.

“I think it makes you look mean” Axl jumped into the conversation.

“Huh” she said “That’s a good thing right?”

“Yup. Exactly why I dyed mine black” Izzy spoke, eyebrows raising as he remembered what Slash had told him earlier in the day.

“Awww Izzy & Y/n are twinsies” Steven said, picking fun at Izzy.

“I see nothing wrong with that” Izzy shrugged

“That’s the nicest thing i’ve ever heard” Y/n smiled at him.

“Okay so me calling you cool wasn’t nice” Duff rolled his eyes.

“Oh you’re right, you’re so nice Duff” Y/n smiled up at him.

“Did your little boyfriend dye his hair too?” Duff asked, smirk on his face as he watched Y/n blush.

“Fru is not my boyfriend” She quickly spoke, “But yes, he did” she yawned, covering her mouth with her hand.

“You tired?” Duff looked at her, getting a sense of Deja-vu to when they were younger.

“Yea. I’m gonna go to bed.” She said, walking past her room and into the bathroom.

“Thought she said she was gonna go to bed” Steven said

“Some people brush their teeth first Steven” Duff said as he sat down.

Steven laughed “You’re so right”

“Do you really like her hair?” Axl spoke in a hushed tone.

“Yea actually i do, i think she looks rad” Duff said

“Better hope she doesn’t attract anymore boys” Axl teasingly smiled at him.

Izzy choked on his beer, coughing to recover.

“Woah! you okay?” Steven said as he patted his dark haired friend on the back.

“Yea- yea i’m fine” Izzy cleared his throat, fucken Slash he thought.

“Honestly, I think we should meet that Fru kid” Axl said, more serious look on his face.

“I was thinking the same thing, but i don’t wanna go all crazy parent on Y/n” Duff ran his hands through his hair.

“True. We should just wait for the right moment”

“Why do you keep saying we Axl” Duff chuckled

“Goodnight guys” They group of boys turned to look at Y/n, saying their goodnights as she walked into her room.

Duff and Axl looked at each other

“Cause that’s our little sister” He smiled at his blonde friend.

Not all of ours, Izzy thought

*

“Y/n” Slash said as he saw Y/n walk into their shared room.

“Hey Slash” The girl tiredly smiled at him, “Why aren’t you with the guys?”

“Cause I um, I wanted to talk to you” He said, rubbing his palms together.

“Go on” The girl said as she put her oversized sweater on.

“I’m sorry i kissed you, i shouldn’t have done that” He spoke quietly

Y/n smiled at him, “Don’t worry about it Slash, it’s cool”

“Yea, cool” He said even quieter “I’ve missed hanging out with you”

“Me too Slash” She said, now sitting on her bed, facing him “Sorry I haven’t been around much”

“Yea” he said “That Fru kid been taking up a lot of your time”

“I know, I just-” she looked down “I feel like after what happened I just have to be there for him, but i really like him too y’know?” she spoke quietly.

“Do you like him more than me?” He asked, unsure why he was saying all this.

Y/n smiled “Don’t start a competition between you and Fru, he’s not Tracii”

“I fucken hate Tracii” Slash mumbled, smile on his face.

“Hey I forgot to tell you, remember that party Steven threw” Y/n said, suddenly remembering that she never told Slash about what had happened with Tracii

“Yea i remember, not all of it though” He winked at her as Y/n rolled her eyes.

“Shut up, but could you believe Tracii tried to kiss me?” She said as he watched his eyes widen.

“Are you serious?”

“Serious as serious can be” She said, nodding her head.

“That dudes fucken weird” He said “This is perfect, gives me another reason not to like him” Slash smiled at her.

“I knew you would say that” Y/n laughed.

Slash looked at her head, “I knew there was something different” he said, pointing to her hair.

“Surprised it took you this long to notice, you like it?”

“Looks fucken dope” he smiled at her “I like it”

“Do you like it better than my natural color?” She mocked him.

He rolled his eyes “Shut up”

————

FINALLY UPDATED!! I’m so sorry i’ve lagged to update. Also sorry this one’s a bit short, i’ve had some writers block ngl 😓😓. But were you guys shocked with that little loop i threw in?

Gonna try to update soon!!! Hope you guys enjoyed. Till next time xxx

[justforbooks]

The musician Ryuichi Sakamoto, who has died aged 71 of cancer, spent his life as a restless traveller, both personally and musically. “I was born in Japan but I don’t think I’m Japanese,” he said in 1988, two years before he moved to New York. “To be a stranger – I like that attitude. I don’t like nationalities and borders.”

A founder member of Tokyo’s pioneering computer-pop trio Yellow Magic Orchestra, whose work between 1978 and 1984 has proved a lasting influence on hip-hop and electronica, Sakamoto was able to combine his skills as an academically trained musician with an aptitude for electronic music and an ear for countless musical styles. He sustained a lengthy partnership with the British musician David Sylvian after first working with his band Japan on the track Taking Islands in Africa from the album Gentlemen Take Polaroids (1980), following which the duo collaborated on the double A-side Bamboo Houses/Bamboo Music (1982).

In 1983, Sakamoto achieved a peak of commercial visibility by not only writing the soundtrack for Nagisa Oshima’s film Merry Christmas, Mr Lawrence, but also co-starring in it (as Captain Yonoi) with David Bowie. The soundtrack, which won him a Bafta for best film music, contained the Sakamoto/Sylvian composition Forbidden Colours, a vocal version of the film’s main theme, which was a Top 20 hit in Britain.

Soundtrack work became one of the main planks of Sakamoto’s career. He won an Academy Award (along with his fellow composers David Byrne and Cong Su) for his soundtrack to Bernardo Bertolucci’s The Last Emperor (1987), in which he also had an acting role, and worked with the director again on The Sheltering Sky (1990) and Little Buddha (1993).

Sakamoto scored the 1990 film version of The Handmaid’s Tale, Pedro Almodóvar’s Tacones Lejanos (High Heels, 1991), and Brian De Palma’s Snake Eyes (1998) and Femme Fatale (2002). Oliver Stone hired him for the soundtrack to his TV series Wild Palms (1993). Alejandro González Iñárritu used some existing Sakamoto recordings in his 2006 film Babel, then recruited him to write the score for his multiple Oscar-winner The Revenant (2015). For the opening of the 1992 Barcelona Olympics he provided El Mar Mediterrani.

Sakamoto released solo albums regularly between 1978 and 2017, many of them reaching the Top 30 in Japan but not registering on charts elsewhere, as well as six live albums and a string of compilations. However, Sakamoto’s subtle, exploratory music earned him a charismatic reputation that drew international guest stars to his projects.

On B-2 Unit (1980), he collaborated closely with Andy Partridge from XTC, and the electrofunk track Riot in Lagos proved inspirational for the likes of Mantronix and Afrikaa Bambaataa. Thomas Dolby featured on the pulsating Field Work from Illustrated Musical Encyclopedia (1986), the track accompanied by an ingeniously conceived video, while for Neo Geo (1987) Sakamoto enlisted Iggy Pop, Bill Laswell, Bootsy Collins and Sly Dunbar.

Brian Wilson and Robbie Robertson appeared on Beauty (1989), an album that spanned rock, technopop, flamenco and classical Japanese music. Heartbeat (1991), on which Sakamoto tried rap, funk and jazz, and lyrics in French, Japanese and Russian, numbered Youssou N’Dour, Arto Lindsay, Bill Frisell, Sylvian and John Cage among its contributors. In 1993, Sakamoto co-produced Aztec Camera’s album Dreamland.

Born in Tokyo, Ryuichi was the only child of Keiko (nee Shimomura), a hat designer, and Kazuki Sakomoto, a literary editor. While attending the same progressive primary school that once taught Yoko Ono, he was already writing music for the piano with their encouragement.

The American presence in postwar Japan introduced new western influences to the country, and Sakamoto was enraptured by the Beatles and the Rolling Stones. He attended Tokyo’s University of the Arts to study music composition, and felt a strong affinity for the compositions of Claude Debussy, in which he discerned an Asian influence. However, in addition he soaked up the work of contemporary composers such as Cage, Pierre Boulez, Györgi Ligeti and Stockhausen, as well as jazz musicians including John Coltrane and Ornette Coleman.

His early compositions were in an avant-garde vein, while he also performed with free jazz bands and played keyboards with the folk singer Masato Tomobe. He graduated with BA and MA degrees, having studied classical and assorted world and ethnic music, and taken his first steps in electronic music by working with Moog and ARP synthesizers.

He formed Yellow Magic Orchestra in 1978 with Haruomi “Harry” Hosono and Yukihiro Takahashi, whom he had met when they worked together as session musicians. Combining electropop with stylish graphics and costume design, the trio brought wit and warmth to the use of electronics, which contrasted with the studied alienation of European counterparts such as Kraftwerk or Gary Numan.

YMO released eight studio albums during their original lifespan, all of them climbing high in the Japanese charts, and three of them reaching No 1. The group inspired Beatlemania-like hysteria in their homeland. “We were very big, that’s why I hated it,” Sakamoto said. “We were always followed by paparazzi.”

YMO’s albums made little chart impact outside Japan, but their influence was nonetheless widely felt, not least in their innovative use of electronic sequencers, drum machines and sampling. Firecracker, from their 1978 debut album, was itself sampled in Afrika Bambaataa’s Death Mix. In 1980 they had a Top 20 hit in the UK with Computer Game (Theme from the Invaders), which chimed with the craze for the Space Invaders game. Behind the Mask, first conceived for a Seiko wristwatch commercial and then included on their album Solid State Survivor (1979), became a Top 20 UK hit for Eric Clapton; a version by Michael Jackson appeared on the posthumous album Michael (2010).

YMO paused their activities in 1984, though the trio continued to collaborate on each other’s solo work, and they reformed to make the album Technodon (1993). They subsequently reunited several times for recording and live performances, their last shows being for the No Nukes 2012 festival in Chiba, Japan, and the 2012 World Happiness festival in Tokyo.

In his teens in the late 1960s, Sakamoto had been a hippy with leftwing political beliefs – “not 100% Marxist, but kind of” – but he gradually became disillusioned with the failure of political movements to effect significant change. He decided that his music was not the place for social or political messages, observing that “I’ve changed from an avant-garde person to a pop person,” though he would subsequently support causes he felt strongly about.

He campaigned for changes to music copyright law, which he considered outmoded in the internet era, and founded Commmons, a collaborative platform to assist aspiring musicians. He formed a group of musicians called NML (No More Landmines), which featured Brian Eno, Sylvian, Kraftwerk and the other members of YMO, and in 2001 they released the single Zero Landmine.

In 2006 he launched the Stop Rokkasho movement by releasing the track Rokkasho (by a group of musicians dubbed Team 6), in protest at the building of Japan’s Rokkasho nuclear fuel reprocessing plant, and he campaigned to have the Hamaoka nuclear plant shut down to avoid a repeat of the 2011 tsunami disaster at the Fukushima facility. He and Byrne teamed up to record the single Psychedelic Afternoon to aid tsunami survivors.

His solo work continued to explore a huge variety of styles. In 1982 he had ventured into medieval and Renaissance music on the album The End of Asia, a collaboration with the Japanese early music group Danceries. Smoochy (1995) was a detour into easy listening, while Discord (1998) comprised an hour-long orchestral composition.

The album 1996 was a selection of Sakamoto pieces arranged for piano trio featuring the Brazilian cellist Jaques Morelenbaum, and Sakomoto reunited with him and his wife, Paula, a singer, for two albums in celebration of the bossa nova composer Antônio Carlos Jobim, Casa (2001) and A Day in New York (2003). In 1999, his multimedia opera, Life, was performed in Tokyo and Osaka.

Meanwhile, he struck up a fruitful collaboration with Alva Noto (a pseudonym of Carston Nicolai), which resulted in a string of electronica albums including Vrioon (2002) and Insen (2005), culminating in Glass (2018). With the Austrian guitarist and composer Christian Fennesz he recorded Sala Santa Cecilia (2005), Cendre (2007) and Flumina (2011).

In 2014 he was diagnosed with throat cancer, but by the following year was feeling “much much better���. His recovery from illness inspired the creation of his last solo album, Async, hailed as one of 2017’s finest forays into experimental electronica. Its making was documented by Stephen Nomura Schible in the film Coda (2018).

His final album, 12, was recorded during hospital stays in 2021 and 2022, and released in January. In December, he livestreamed a solo piano concert from Tokyo.

Sakamoto was first married to Natsuko, then to the musician Akiko Yano; both marriages ended in divorce. He is survived by his third wife and manager, Norika Sora, and their two children; and a daughter from his first marriage and another daughter from his second.

🔔 Ryuichi Sakamoto, composer, musician and producer, born 17 January 1952; died 28 March 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[singeratlarge]

HAPPY BIRTHDAY to Scott McKenzie, the singer-songwriter best known for his association with John Phillips and the 1967 Summer of Love anthem “San Francisco (Be Sure to Wear Flowers in Your Hair),” the sonic tract that called 1000s of young people to California.

Phillips (who played on the track with The Wrecking Crew) wrote the song to appease authorities concerned that hippies would overrun the Bay Area for the Monterey Pop Festival. Peace and love prevailed. The song has been used in several films and was a theme for the Prague Spring Czech uprising in 1968. That same year, McKenzie’s next Top 40 hit “Like an Old Time Movie” (also written and played by Phillips) segued with McKenzie writing “What About Me” for Anne Murray (her first hit single).

Like many artists circa 1960, McKenzie morphed out of doo-wop and became a folkie, joining the New York folk scene that beget The Mamas & The Papas. Phillips initially invited McKenzie to join that group but he declined, saying he didn’t want “the pressure.” Years later McKenzie joined a road version of The Mamas & The Papas in 1986. Concurrently, the Phillips-McKenzie team joined Mike Love and Terry Melcher to create the huge Beach Boys hit “Kokomo.”

The evergreen “San Francisco” remains McKenzie’s best-known work (he passed from Guillain-Barre syndrome in 2010). Periodically I dabbled with the song, dirty demo-ing a grunge-y Iggy Pop-like update: https://johnnyjblairsingeratlarge.bandcamp.com/track/san-francisco-be-sure-to-wear-flowers-in-your-hair-demo-remastered-2020

HB and RIP Scott.

#ScottMcKenzie #SanFrancisco #Flowers #Hair #MontereyPopFestival #SummerofLove #JohnPhillips #MamasandthePapas #wreckingcrew #PragueSpring #folkmusic #BeachBoys #Kokomo #MikeLove #TerryMelcher #GuillainBarre #grungemusic #IggyPop #NobHill #demo #johnnyjblair #singeratlarge

[lust-x-life]

Iggy Pop - Some weird sin (Live Utretch) 1986.

Proshot

[myimaginaryradio]

Real Wild Child - Iggy Pop - 1986

[wub-fur-radio]

All Love Radio 2 💜❤️  A Late 20th Century Rock Music Saint Valentine’s Day Massacre

“Meat-eating orchids forgive no one just yet��� – Kurt Cobain

Our original All Love Radio mix, released in 2021, celebrated the Saint Valentine’s Day holiday with a sugary batch of modern rock ’n’ roll love tunes from the current century; this time we decided to give the nostalgia junkies a treat, so we time-tunnelled back to the late 20th century and brought back a heart-shaped box full of of sweet indie/alt rock confections from the 80s and 90s. Featuring passionate, romantic, and/or heartbroken musical outpourings from XTC, The B-52s, Lyres, the Flatmates, Iggy Pop, Shonen Knife, the dBs, Primal Scream, BMX Bandits, and eleven more bands who want to be somebody’s valentine (maybe yours).

Cover art background photo courtesy of PX Here.

▶︎ Listen on Mixcloud | YouTube (or scroll down to use an embedded player below)

Running Time: 1 hour, 2 seconds

Tracklist

Intro [Excerpt from 'Ode to St. Valentine' by Calvin Johnson] (0:23)

Loveland (4:53) — The B-52's | Athens, GA | 1982

Love At First Sight (3:06) — XTC | Swindon, UK | 1980

Love is for Lovers (3:16) — The dB’s | New York / North Carolina | 1984

So In Love With You (2:08) — The Flatmates | Bristol, UK | 1986

This Is Love (3:10) — The Gist | Cardiff, Wales, UK | 1980

Our Love Is Heavenly (3:25) — Heavenly | Oxford, UK | 1991

Together Forever in Love (2:23) — Go Sailor | Berkeley, CA | 1995

This Is Why You Love Me (1:51) — The Brian Jonestown Massacre | San Francisco, CA | 1997

Love Me Till The Sun Shines (3:56) — Lyres | Boston, MA | 1984

(Love Is Like A) Heatwave (2:45) — Shonen Knife | Osaka, Japan | 1994

Love Makes the World Go Round (2:45) — BMX Bandits | Glasgow, Scotland, UK | 1996

Funnel of Love (1:33) — The Jody Grind | Atlanta, GA | 1992

Love You More (1:27) — Fastbacks | Seattle, WA | 1993

Love Barge (3:26) — Big Dipper | Boston, MA | 1990

Love Is a Beautiful Thing (2:31) — Young Fresh Fellows | Seattle, WA | 1992

Love to Hate to Love (3:28) — Eleventh Dream Day | Chicago, IL | 1989

Love You (4:43) — Primal Scream | Glasgow, Scotland, UK | 1987

Sea of Love (3:37) — Iggy Pop | Ann Arbor, MI | 1981

I Need Your Love (3:07) — Ramones | Queens, NY | 1983

True Love Will Find You in the End (2:10) — The Reivers | Austin, TX | 1987

💜❤️🧡💚💙 💜❤️🧡💚💙 💜❤️🧡💚💙 💜❤️🧡💚💙

Embedded Mixcloud Player

Embedded YouTube Player

If you’re not seeing an embedded player it’s probably because you’re reading this on Tumblr, in which case you can click here to open this post directly on the Wub-Blog.

[julio-viernes]

"Vulgar...but I like it!", buena y breve afirmación que suscribo. Los años 80 de Iggy Pop (como los de Bowie, Young, Dylan) no fueron precisamente para enmarcar. "Instinct" (1988) es además uno de los discos peor valorados de Iggy en esa década. Es extremadamente líneal y no destaca mucho ninguna canción sobre otra (parece un contínuo de variaciones de la misma canción, en ese sentido es su "Victim Of Love", disco tecno de Elton John apaleado, massacrado por la cítrica). Es rock vulgar, es estándar y es AOR. Pero ¡como suena eso ! Se debe a la presencia de Steve Jones en las guitarras. Rock poderoso de ejecución impecable, rock cuadrado y cabezón ("Squarehead"), que prefiero a su anterior y modernoide "Blah Blah Blah" (1986) o al posterior, popi y alabado "Brick By Brick" (1990).

[euphorial-docx]

I just wanted to let you know that not only I adore you for an amazing works that you are writing but also for sharing with people your uptake of culture and your immaculate taste when it comes to arts, movies of course and music. Or maybe it’s just me being fascinated be the another soul listening to new wave and goth in what I was up brought.

Anyway Im curious What do you think, which Of The marauders would listen to cocteau twins, Siousie and the banshees, pixies? What are your headcanons on marauders taste in music and movies from late 70’ and 80’ the exact times that you set for opev and tsf

this might be the sweetest thing anyone has ever said to me. thank you so much! i just love art in so many of its forms the subcultures it creates. i just find it all so fascinating.

might be a tangent, but idk if i actually consider myself goth. i consider myself punk because my values align with punk and i go to punk concerts so i’m in the culture, but idk about goth. i love goth music, but i feel aesthetics are a bigger part of it and i simply don’t dress goth :/

i definitely think regulus would be the big goth/post-punk/new wave guy of the marauders group, especially in opev.

in opev in 1979, regulus was early to the new wave genre. he really liked the talking heads and joy division, and also listened to siouxsie and the banshees, public image lmt, and iggy pop.

in tsf in 1986, regulus has fully thrown himself into goth and new wave and post-punk. he now listens to the cure (as in their early stuff), the smiths, the damned (once they started gravitating towards a gothier sound), depeche mode, bauhaus, and still siouxsie and the banshees and joy division. he’s a Goth Boy.

i imagine ‘79 james and sirius to have similar tastes in music. the damned, bowie, the ramones, the clash, new york dolls, buzzcocks, iggy pop, television, patti smith etc etc. i do though feel like they’d also like rock music (controversial for people who like punk) such as queen or pink floyd.

in the 80s for james and sirius, i feel they’d still like that 70s punk and rock music, but be leaning more towards alternative/dance rock psychedelic furs, new order, (later) the cure, blondie, billy idol