#ubu dance party

[genericamentegiuseppe]

Parannoul - Sky Hundred

Il nuovo disco di Parannoul è un incontro fragile, in cui shoegaze, emo e Car Seat Headrest diventano parte di un linguaggio codificato che parla di ambizione, memoria e smarrimento.

Sono pochi gli artisti nell’ambito del rock più rappresentativi dei desideri, delle paure e dei malesseri di una generazione, di questo giovane ragazzo da Seoul. Parannoul in pochi anni ha superato la prova dell’hype e ha dimostrato la solidità della sua proposta musicale, coerente nel cercare di rappresentare l’incoerenza della realtà, delle sue promesse non mantenute e delle sue pretese…

[post-punk-author-anthony-day]

https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=2YJ6PtUKSsaGikC2sBo21g&pi=AJkOX64BTw-Vr #spotify #musicplaylist #Playlistcurator #Playlists #playlist #Spotifyplaylist #PostPunk #noiserock #darkwave Russia 🪆 SOVIET WAVE (500 BANDS FROM BALTICS, EASTERN EUROPE AND FORMER SOVIET REPUBLIC)

https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=CDAqaYS7T6yaSc5nv72I9w 400 hours! 6000 Trax ! 1000s of bands ! ALL SUBGENRES (DARKWAVE, COLDWAVE, NOISE ROCK, CRANKWAVE, EGG PUNK, GOTHIC PUNK, SOVIET WAVE, ART PUNK) 

INCLUDES 70S (Pere Ubu, Magazine, Gang of four, Television, Talking Heads,  Martin Rev and Alan Vega, James Chance, Essential Logic, Siouxsie Sioux, Killing Joke, Public Image LTD, Devo, Nick Cave, The Boys Next Door, The Pop Group, The Clash, The Cure, The Smiths & THE FALL, The Slits and The Raincoats

80s New Wave (Simple Minds, New Order, Dead Can Dance, Kitchens of Distinction, Jesus and Mary Chain, XTC, The Opposition, ESG, Units, Red Lorry Yellow Lorry, The Chameleons, Echo and the Bunnymen, ESG, Glaxo Babies, The Feelies, The Essence, A Certain Ratio, Mission to Burma, The Minutemen, Nick Cave , Bad Seeds and The Birthday Party, little Nemo, The Sound, The Wake, Section 25, JOSEF K, Orange Juice, Sugarcubes, Chrome, Method Actors

Goth -  Death in June, March Violets, Clan of Xymox, Christian Death, Southern Death Cult, Sisters of Mercy, Drab Majesty, Tropic of Cancer, 13th Chime, And Also the Trees, 

No Wave (Ice age, Sonic Youth) 

Darkwave - IAMTheShadow, this cold night, Tropic of Cancer, Nation of Language, Ritual Howls, A Projection, Topographies, Siglo XX, Bolshoi, Lust for Youth, VR Sex, A place to bury strangers 

SOVIET WAVE (Ploho, Manicure, Buerak, Molchat Doma, Utro, peremotka, Motorama, Serpien, Bitchevsky Park, nürnberg, Super Besse 

& 

#PostPunk2K

Courting, Black Midi, Bambara, Vundabar, Squid, Viagra Boys, Fontaines DC, Black Country New Road, Goat Girl, Warpaint, TV Priest, Theeosees, the drums, Egyptian Blue, Preoccupations, Protomartyr, Have a Nice Life, Automatic, Soviet Soviet, Human Tetris, Iceage, Film School, Ought, The Murder Capital, White Lies, Interpol, Editors, Yeah Yeah Yeahs, Fufanu, The Serfs, No Age, Hologramsl

[wizardsvslesbians]

In the q&a you mentioned enjoying the late 70s through early 80s especially for the music. Any albums, bands, music history articles, etc we should look into if we want to listen to more music from that time and to understand it better?

I can't do that - it's an absurdly broad category - but I can tell you why it's important to me, personally, and give you the stepping stones that I used to get there.

Like many nerds of my generation I listened to a lot of They Might Be Giants (founded 1982) growing up. What appealed to me: strange lyrics, the emotional tone of which was often at odds with the tone of the music - unpredictable chord changes and melodies that kept me interested - driving, mechanical beats that I could feel in my body.

I later find out that they were part of a movement, a flowering of music made by nerdy robot men (and even women sometimes!) that emerged in the late 70s/early 80s. This is broadly called New Wave. The line between New Wave and Punk was hazy, though, particularly in the early days. I didn't like the stylish, polished New Wave bands like Flock of Seagulls as much as I liked the scrappy ones that could fall into either category. Often the earliest music released by foundational New Wave bands was absolute punk, both in its raw sound and in its do-it-yourself ethos.

If you want to get into this music I would suggest starting with the 1984 Talking Heads concert film Stop Making Sense, which is both an artistic triumph and really easy to like. (If you can't dance even a little to this stuff, you might be dead.) From there, many paths to take. If you want the same New York art/cocaine feeling but more esoteric, Laurie Anderson's movie Home of the Brave (1986) is the next step down the iceberg. If your taste runs to the libidinal King of the Faeries type of guy, Oingo Boingo's album Dead Man's Party (1985) might be a good port of call. If it's pure robot man energy you want, Devo. Anything Devo. All the Devo. (and, if that isn't enough for you, Kraftwerk.) If you want your weird music delivered to you by a ruined alcoholic poet, Pere Ubu. (I think Dave Thomas from Pere Ubu is the type of guy I would be if I hadn't learned to mask.) You'll want to start from the beginning with them.

And then there are the british bands, if you must. If you like your nerd boys to be...moist, there's the Pet Shop Boys. The Cure. The Smiths. Prefab Sprout.

If you already know all this stuff and want more, have you checked out the Neue Deutsche Velle movement? There was some serious New Wave nonsense going on in West Germany around this time. I currently have a massive crush on Stephan Remmler from Trio, the band that brought you the international hit "Da da da, ich lieb' dich nicht du liebst mich nicht aha aha aha". It's a shame he's dead.

The short version of all this is that I eventually discovered that everything I liked in popular music was invented by five guys from Akron in the late 70s. Devo is remembered mostly as the people in the silly hats who gave us "Whip It", which is I think a reflexive cultural defense against their very reasonable proposition that everything is going to shit and there's nothing we can do about it but dance.

[noisecatcher]

june noisecatching

mick harvey - five ways to say goodbye rocket from the tombs - the day the earth met the rocket from the tombs the evens - the odds wipers - is this real? la femme - paradigmes the birthday party - junkyard mark lanegan - bubblegum pere ubu - the modern dance prolapse - pointless walks to dismal places

[watusichris]

DEVO, Los Angeles Reader, Oct. 20, 1978

Take it from a fairly recent refugee, there are some basic problems with the American Midwest. “Morning Devotions” heralds the TV sign-offs around 1:30 a.m.

You have to drive 10 miles in the middle of the night to pick up a six-pack at the nearest Stop-n-Go. The jukeboxes in the local saloons feature Carly Simon, Dan Hill and college fight songs. The women have thighs like telephone poles, butts like half-empty potato sacks and think that down jackets and air-force parkas are high fashion. Mostly, the Midwest just stinks. Literally. The air is perfumed by the belched exhalations of a million factories stoking the Dispoz-a-Culture. In Chicago, you strangle on bitter lungfuls of “ozone alert” air. In Gary, the sky shines orange with the filings of the local steel mills. And in Akron, you can smell the essence of the Rubber City’s tire factories standing in the atmosphere like a hundred wheelies.

Post industrial depression in the Midwest breed a certain kind of teenager and a certain kind of rock ‘n’ roll. Midwestern kids escape into rock with a sort of fervent desperation bred by the mind-dulling landscape. A Midwestern rock show is a combination concert, party and fire-fight. Anyone who has ever witnessed a show at Chicago’s Aragon, Cleveland’s Agora or Detroit’s Cobo Hall knows what I mean. It’s not surprising that Vietnam writer Michael Herr, in a recent issue of Crawdaddy magazine, used nothing but combat metaphors to describe a Ted Nugent show in Detroit.

Aggressive rockers demand aggressive music, and Midwestern rock has an impressive history. Midwestern punk-pop of the early and mid-sixties bred such bands as the Cryan’ Shames, the Buckinghams and the imoortal Shadows of Knight (of “Gloria” fame), who barnstormed their way through teen rock clubs with funny names like the Sugar Shack and the Wild Goose. In the late sixties, which had already spawned the classic soul music of the decade, gave birth to the heavy metal Motor City Madness of such groups as the MC5 and the Stooges. The impact of Midwestern rock is being felt in the commercial rock of the late seventies. Such current hot sellers as Bob Seger, Ted Nugent and REO Speedwagon have all been around for 10 years, hauling ass and equipment from Cedar Rapids to Urbana to East Lansing, playing 200-plugs gigs a year, thrilling hordes of drunk, luded-out kids with a uniquely plains-derived brand of no-nonsense thunderrock.

Although balls-out rock still reigns supreme in the heartlands, there is growing evidence that the seventies are breeding a potent new strain of mutant rock. Strange noises have begun to emanate from, of all place, Ohio, where an insular group of young intellectuals anr cok ‘n’ rollers are making music that could change the face of popular music in the eighties. The industrial centers of Cleveland and (more important) Akron have brought forth a small nucleus of crazed rockers influenced by such diverse sources as Captain Beefheart, musique concrete, and the Stooges.

Two bands stand out in Cleveland: the frantic, nihilistic agressorockers the Dead Boys, who seem intent on one-upping the death-enamored shenanigans of Iggy and the Stooges; and Pere Ubu, perhaps the most intense and radical band in America today, who combine gnarled vocals, synthesized blips and roars, and twisted saxophones into a frightening vision of the void. Pere Ubu’s first album The Modern Dance (Blank Records 001) and Datapanik in the Year Zero (Radar English import RDR 1) are unreservedly recommended to those with a taste for music played on the outside. The Dead Boys’ two records are uneven, but may be appreciated by lovers of the loud and stooped in rock ‘n’ roll.

But Akron is where the action is, it appears. Stiff Records recent sampler The Akron Compilation (Stiff import Get 3) demonstrates the energy and diversity present in the Rubber City. Influences range from Brenda Lee to Jeff Beck to Frank Zappa. We should thank Stiff for putting together these homegrown singles for posterity; if it weren’t for The Akron Compilation, interesting limited editions by such unusual talents as Jane Aire and the Belvederes, Rachel Sweet, Tin Huey, the Bizarros and the Rubber City Rebels would vanish without a bubble on the surface. That would be a pity, because the album is full of unusual songs, enticing hooks, contorted rhythms and odd vocals that advertise the true flowering of Middle American strangeness.

Oddly enough, the most esoteric, forbidding and demonic of all Akron bands is the same band that has attracted the most attention and garnered the greatest popularity. This is, of course, the De-evolution Band, better known as DEVO.

DEVO excited the cognoscenti last spring with their astounding first single “Jocko Homo” b/w “Mongoloid.” The single, home-made on the band’s own Boojie Boy label, laid out their entire concept, a kind of flip side of Darwin that dictates the reverse evolution of mankind back to apedom. “God mad man, but a monkey supplied the glue,” DEVO sang, implying that the glue is rapidly becoming the essence. In this world, DEVO said, a mongoloid can wear a suit, hold down a job, and nobody will give a good goddamn.

DEVO’s rather rarified ideology could have been boring, were it not powered by a rock ‘n’ roll rhythm full of exhilaration and humor. The descending chords and synthesized blurps of “Jocko Homo” offered up a band that, while they seemed deadly serious about their message, imbued it with a sense of warped humor.

The group’s second self-recorded release, “Satisfaction,” may prove to be a major recording of the seventies. In the Rolling Stones’ original version of that rock classic, Mick Jagger’s tough, pitiless voice belied his sung “I can’t get no satisfaction.” We all knew he was getting all the satisfaction he could handle; it was the audience of the song that identified with the message.

In DEVO’s “Satisfaction,” the disjointed rhythmic pulse and Mark Mothersbaugh’s quirky vocals turn Jagger’s hymn of self-reliance into a psalm of modern defeat. The group turns an archetype of macho-rock posing into a real expression of tension and impotence, leavened, as always, with a parodic twist. DEVO has remained silent for practically a year, straitjacketed by some confused record company dealings. The group finally burst out into the open recently, with television appearances, the release of their first album (Q: Are We Not Men? A: We Are DEVO!, Warner Bros. BSK 3239), and two evenings of shows at Hollywood’s Starwood last week.

Are We Not Men is a quintessential piece of seventies rock, full of angst, self-doubt, terror and distaste. It isn’t perfect: The production (by technocrat Brian Eno) is a little too thin at times, and one song, “Shrivel Up,” fails because of its simple-minded lyric and stiff musical construction, but it is an auspicious debut that gives a perfect delineation of the DEVO world. Like many of the new breed of Midwestern bands, DEVO are post-industrial reactionaries. They sing about the inadequacy of the much-vaunted orgasm (“I think I missed the whole-a-hole-a-hole,” they croon in “Sloppy”), the futility of religion (“OK, relax, and assume the position,” Mark Mothersbaugh screeches in “Praying Hands”), the inexorability of death (their “Come Back Jonee” is a play on the teenage death song syndrome of the fifties and sixties), and the replacement of romance with sexual frustration and aberration (the topic of “Uncontrollable Urge” and “Gut Feeling”).

Grim stuff, you might say, but DEVO animates their themes with Mark Mothersbaugh’s hilarious vocals and shrieks, cartoony capering rhythms and jittery, humorous playing. DEVO’s ape’s-eye view of manking comes a cross on record, but it is in concert that the forcefulness and originality of their concept may be fully perceived. Visually, DEVO are the complete embodiment of their themes. As they point out in their official bio, the band members are “almost uniform in height and weight.” The front line is made up of two sets of brothers – Jerry and Bob Casale and Mark and Bob Mothersbaugh.

When these five apparent clones make their first appearance, dressed in identical suits made of prophylactic rubber and cardboard industrial shades, one immediately makes the connection between the players and their obsessions with evolution, natural selection, recombinant DNA, brain-eating apes and other conceits dealing with sciences manipulation of our genes. DEVO plays the role of what they call the “Smart Patrol” – “suburban robots who monitor reality” – and their impersonation, complete with cybernetic movements, uniforms, and assembly line-derived time signatures, make for a show that is at once terrifying, deeply ironic, funny and plenty of fun.

DEVO is an important band because it is the first to deal with modern industrial and scientific society and its discontents on such an explicit and intellectual evel. Indeed, the band’s conception may be so smart that they risk leaving a good deal of their audience behind. It is already readily apparent that a large part of the DEVO audience appreciates the group merely for their novel musical and theatrical approach. I started doubting that the crowd was getting the picture when a large part of the Starwood audience began very earnestly aping Mark Mothersbaugh’s fascist salutes during “Praying Hands.”

DEVO divides their world up into “aliens” those who have an understanding of their “otherness” – and “spuds” – the vast majority of the dull, brain-damaged and ordinary. It was clear at the Starwood last week that there was a hefty number of spuds in the audience who were digging DEVO on the same level that they might enjoy such novelty acts of the past as the Hello People or the Crazy World of Arthur Brown.

DEVO is a band that is making the transition from a cult item to the property of a mass audience. Its current set is more conservative than the shows that brought them attention last year. Although they still perform unrecorded songs such as “Mr. DNA,” “Smart Patrol” and “Wiggly World,” they seem content to stick to album material; they perform all but two songs from Are We Not Men? Their symbol of infantilism, Booji Boy, without a doubt the most powerful and suggestive figure in the DEVO universe, failed to put in an appearance at last Tuesday’s show. It sobered me to find one of America’s most revolutionary bands already acquiescing to the demands of the music industry.

These reservations notwithstanding, DEVO appears to be ready to be the first of the Midwestern New Wave to break out nationally. Whether rock audiences will respond to the sheer novelty of the DEVO look and sound or to the band’s truly perverse socio-scientific ideas, only time will tell. For now, the only thing to say about DEVO’s coming-out is that their Janitor-in-a-Drum brand of industrial-strength post-nuclear rock ‘n’ roll is the most welcome new musical genus of the year.

[reverb-party]

"Modern Dance" by Pere Ubu

[daggerzine]

Ray Farrell on music and his time at SST, Blast First, Geffen and many more.

Ray Farrell has had a lifetime surrounded by music. First as a fan as a young kid and then eventually working for a series of record labels. He’s obviously a fan first and foremost as you can tell by reading below. It also seemed like he was there at the beginning of some major music scenes happening.

I had met Ray very briefly at one of the A.C. Elks hardcore shows that Ralph Jones put on in Atlantic City in the Summer of 1985 though Ray doesn’t remember it (honestly, a bunch of us were standing in a circle and chatting so I’m not even sure if any proper introductions were done).

Anyway, knowing some of the record labels that Ray had worked for I wanted to hear the whole story. I contacted him and shot him some questions and he was more than happy to elaborate and let us know where he’s been and where he’s going.  Take it away, Ray!

 Where did you grow up?

RF-Jersey City and Parsippany, New Jersey in the 60/70’s. I have two younger brothers.

What did you listen to first…classic rock or stuff earlier than that?

RF-Rock wasn’t classic yet. My earliest memories of music are my parents’ modest collection of 45’s and grandparents’ 78’s. My mom had a handful of singles on Chess and Satellite (pre-Stax)  that she said fell off a truck. We rented our house from a family connected to the mob. The records probably came from them. My mom and her sisters often sang Tin Pan Alley era songs at family gatherings. Harmony was encouraged!

Some records I heard as a toddler stayed with me forever. Lonnie Donegan’s “Does Your Chewing Gum Lose Its Flavor?” is a skiffle classic. Chuck Berry’s “Guitar Boogie” and “Last Night” by the Mar- Keys are still favorites.  I remember being spooked by the overblown production of the “Johnny Cash Sings Hank Williams” e.p. on Sun Records. In the mid 60’s, my mom had top 40 radio on in the house unless my dad was home. When I was in kindergarten, a high school neighbor in our building babysat me for a couple hours after school a few days a week.  Her girlfriends came over regularly. They listened to a lot of doo-wop, which I still love today. The babysitter and her friends taught me how to slow dance, even though I wasn’t nearly a full grown boy. J

My best friend in 7th grade was a Beatles fanatic and we immersed ourselves in decoding clues to the “Paul McCartney Is Dead” gimmick. That was a brilliant scam and a fun short term hobby.  It was a deep dive into The Beatles music as a junior music detective.  By the time I started buying records, The Beatles were on their way out.

I happily lived for many months on only three albums-

CCR’s “Bayou Country”, Iron Butterfly’s “In A Gadda Da Vida” and the Beatles “Sgt. Pepper.” I joined the Columbia Record Club. I got the first twelve albums for one buck. That was a popular scam.  Those first twelve records shaped my taste because they were the only records I had. I didn’t know what to order but I chose very well in retrospect. After that, I bought a lot of records. I didn’t smoke, but many of my friends did. A carton of cigs cost the same as an lp- 5 bucks.

I learned in 7th grade that if I knew the songs that girls liked, we would have something to talk about. Girls loved Tommy James and The Shondells and The Rascals. I still do! I had a wider range in music taste than most of my high school friends. Everyone in my extended circle loved the Stones, Neil Young and the Allman Brothers. In a tighter circle we were into David Bowie, Lou Reed, Sparks, Todd Rundgren etc. I loved Mountain, Led Zep, Hendrix, Budgie, The Kinks, Alice Cooper, Sabbath. At first, The Stooges seemed too deep and serious for me. A little scary because I thought if teenagers felt like this all over the world, I’m doomed.  I bought the album with “Loose” and played that song for weeks before listening to the rest of it. The girl next door had Iggy’ s “Raw Power” album the week it was released. When glam rock was happening in England, there was a weekly NYC radio show that played the Melody Maker Top 30 singles. I was fascinated by T.Rex, Slade, Hawkwind.  I don’t recall if prog rock was a tag yet, I knew that I didn’t like songs that rambled on for more than 7 minutes. There were exceptions of course- some King Crimson, Yes, Mahavishnu. I was impressionable. Radio station WBAI hosted “Free Music Store” concerts with local acts. One show was a keyboard  group  called Mother Mallard that had banks of synthesizers on stage. They were similar to the music of Phillip Glass and Steve Reich, who you would only hear on that same radio station. I talked myself into buying their records, but it took years to comprehend them. I was too young to be listening to such serious stuff. I played soccer and ran track for a couple years. During meets at other schools, I made friends. At parties I heard Issac Hayes, Bohannon and James Brown records. Brown was all over top 40 radio. Rhythm guitar was my jam! Soul and funk records were best for that. I spent many nights listening to AM radio. The signal travels farther at night, so I’d listen to stations far away. It didn’t matter what kind of music it was. Some of my relatives had short wave radios. I was more interested in radio production than short wave content. The production quality has not changed much since then.  It often sounds like broadcasts trapped in the ether for the last 30 years.

 While I was in high school, it was common for local colleges to host rock and jazz concerts for low prices, sometimes free. The schools had to spend the money sitting in the student union coffers.   There was a live music club in my town called Joint In The Woods. The venue began as a banquet hall that doubled as a meeting hall for Boy Scout Jamborees and the like.  When it became the Joint, it was a disco. The first night of live music was a show with Iggy & The Stooges. The regular disco patrons were pissed!  The guys were mostly goombah’s in Quiana print shirts and bell bottoms. Three or four guys smacked Iggy around after his set.  Sure enough, he played Max’s Kansas City the next night as if nothing happened. Because of this club, touring bands were suddenly playing in my town. Badfinger, Roy Wood’s Wizzard, Muddy Waters. The NY Dolls were scheduled but didn’t show up. Springsteen was often an opening act. The N.J. legal drinking age had just lowered to 18. It was a great time. I was still in school, so I wasn’t staying out on weeknights.

I was determined to learn NYC music history by hitting all the Greenwich Village clubs and talking to the owners and bartenders. It didn’t matter what kind of music they specialized in- I was into the vibe. There were occasional scary nights parking near CB’s or jazz spots in that neighborhood. Folk music was on FM radio at the time. A high school friend booked a local coffee house called Tea & Cheese. Mostly locals and ambitious tri-state artists. Martin Mull, Aztec Two Step, Garland Jeffries. Some of Lou Reed’s touring band, The Tots, played there.  I went to all kinds of record stores, mainly those that sold rock imports and cutouts. I was fascinated by the street level buzz of a record. In ’74, I heard dub reggae for the first time. The only stores to get that music were in Queens because there was a strong West Indian community there. It may have been the “Harder They Come” soundtrack that got me started. There was a “pay to play” radio station in Newark - WHBI. DJ’s had to buy their airtime. Arnold “Trinidad” Henry had a weekly show playing new calypso and reggae. He was more into calypso than reggae.  A lot of calypso was political and comical. Arnold was fascinating! There was often a personal crisis he’d talk about on the air. My favorite incident was when he said that his life had been threatened during the program, so he locked himself in the studio.. Someone called the cops. They convinced him to unlock the door. He just wanted more airtime.  Arnold played the first reggae dub track I’d heard- full dub albums were a new concept at the time. Most dub was found on the flipsides of reggae 45’s. One of the shows sponsors was Chin Randy’s Records in Queens. I trekked out there by train to buy my first dub records. That was a trip! Randy Chin’s family went on to start VP Records.

 What was the first alternative/independent music you got into? How did it happen (friends? older siblings?)

RF-The term “punk” as a music style hadn’t been coined yet.  I vaguely recall equating “punk” with the great “Nuggets” compilation or something Greg Shaw might have writ in Bomp Magzine. I didn’t identify labels as independent. I knew that if the label design was simple and the address was listed, it was probably a small company.  There were plenty of record stores carrying obscure stuff.   I bought import records from a few NYC stores. I took the bus in until I was old enough to drive.  One store Pantasia, was up in The Bronx. I went there one Christmas eve day to get the import of the second Sadistic Mika Band album. The clerk talked me into buying the harder to find first album as well. He said it sounded like Shel Talmy produced it. I knew who that was and it was a revelation to talk to somebody in a record store at that level. That is what a record store should be! I read Phonograph Record magazine, Bomp and Trouser Press regularly.  Patti Smith and Television self released their debut singles- those are the first “indie” records I bought, followed by the first two Pere Ubu singles.  I remember hearing the Modern Lovers’ “Roadrunner” from the Bezerkley Chartbusters comp on WFMU and thinking that there must be more music like that. It was refreshing.

Seeing Patti Smith and Television perform at CBGB’s changed my life. I connected the dots. I had BÖC albums on which Patti had co-writes.  She had a poem insert in Todd Rundgren’s “A Wizard, A True Star” album. She read a Morrison poem on a Ray Manzarek lp. She wrote for rock music mags with distinctive style. I read a brief story about her in the Voice and went to see her do her annual Rock N’ Rimbaud show. Shortly after that she and Television played CBGB’s for six weekends in early ’75. Both bands were really great. Patti didn’t have a drummer yet. Richard Hell was a big inspiration to me.  He looked cool. He played bass like he just picked it up the month before. That was a new concept.  Television changed bass players in the middle of the residency. Television was the first band I saw with short hair and they dressed like teenage delinquents circa 1962. The CBGB’s jukebox had a good number of 60’s garage records. In my head I conceived Television  to be inspired by that music.  Made sense to me- Lenny Kaye, who assembled the “Nuggets” comp,  is in the PSG. When I went back to see Television headline, The Ramones opened. Seeing The Ramones again, Talking Heads opened. It seemed like the streak of seeing great new bands would not end. They were distinctly NYC sounds. They could not have merged anywhere else.  I remember avoiding the band Suicide because I didn’t think the music could be good J. Bands like Tuff Darts, Mumps and The Marbles opened shows but I wasn’t thrilled by them. A CBGB’s band that doesn’t get mentioned much is Mink DeVille. They wore matching outfits like they were playing a low budget Miami dive in 1962J.  The club still had the small corner stage. The p.a. was ok and the bands had small amps. The music wasn’t loud in a “rock” way. You could sit at a table right in front of the band. Although we consider the club a birthplace of punk, the club showcased local bands that had been around for a while. I think the club upgraded the p.a. once before building the big stage. I realized at that point that when a band was great or at least interesting live, the records were basic documents of the band’s sound.

What was your first job in the music scene/industry?

RF- Before realizing I wanted to be in the business, I hounded import mail order guys on the phone about non-lp b-sides and albums that weren’t released stateside.  I was fascinated by the process.  Why were some records not in stores even though they had local airplay? My dad did not listen to much music, but he had an army buddy that made a living in Al Hirt’s band. He came to our house once. He gave my dad a copy of John Fahey’s “After The Ball” album, which he played on.  I liked his stories about the session man side of the business.  Fahey treated him well.  I was generally shy, but when it came to music I would approach anyone I thought I could learn from.  I heard horror stories about the music biz in NYC but learned later that those were a mob related labels. At the time, I thought the entire NYC music biz might be that way. I planned to move to California anyway.   In high school, I go-fer’d at local Jersey radio stations and talked my way into meeting a few top FM radio dj’s. I thought I wanted to be a professional dj, but my dad wisely talked me out of that. The itinerant radio jock life would not be for me. It was a racket.

In ’76, I took a long low budget cross country trip with my high school sweetheart.  Along the way, I stayed in Memphis for three weeks with a cousin who was stationed at the Millington naval base.  Got a job at a hip movie theatre that served liquor.  I found Alex Chilton in the phone book and spent an afternoon talking with him. I wasn’t yet legal drinking age in Tennessee. It amused him that a fan showed up in his town who was not old enough to drink.  En route to Cali, Tulsa, OK was on my route to find Shelter Records and studio , but it  shut down and the label moved to L.A. At the time, Dwight Twilley’s “I’m On Fire” was a radio hit. I didn’t think there were still bands like that. Twilley was from Tulsa, but had moved to L.A. by that time.

When I arrived in L.A. I visited small label record company offices. A few offered me jobs or references. I spent two weeks crashing at the Malibu house of a distant family friend. I didn’t want to live in L.A. but I was encouraged by the opportunities. I got a job at the famous record store- Rather Ripped in Berkeley, CA.

 Patti Smith told me about Rather Ripped before I left Jersey. In ’75, she and her band went to California for shows in L.A. and Berkeley. The northern Cali shows were set up by the store. She did a poetry reading there. This is well before “Horses” was released.  I bought a couple records from the store’s Dedicated Fool mail order service. They had a monthly catalog on newsprint. Thousands of records in tiny font.  Every record was described with a few words. This is 1976 and punk rock was just getting started. I worked as a prep cook in a charcuterie associated with Alice Waters’ famous restaurant Chez Panisse. The proprietor knew the record store owners. I wasn’t actively looking to work there, but I talked about music all day every day. They fast tracked me for an interview. Because of a scheduling mistake, Tom Petty interviewed me for the job. His first album just came out and “American Girl” was close to being a hit single. The band came to the store before a local show. Tom overheard the owner apologizing for not being able to do the interview, so he offered to conduct it.  It was great. I knew all about his label, Shelter Records.  I deliberately avoided talking about The Ramones and Patti Smith because punk was new and against the grain.  At the end of the interview Tom told the owners that if he lived in Berkeley, he’d buy all his records from me.  The store owner still had to interview me formally the next day, but I knew that I nailed it.

 It was owned by two dynamic gents that were connected to Berkeley society and Bay Area journalists. They weren’t typical record store guys. They celebrated the 70’s in the moment. They held court with well known music scribes, musicians, dj’s. They were good friends of The Residents. Perhaps my strangest story is meeting The Residents with the Rather Ripped owners at a S.F. Irish bar that specialized in Irish Coffee’s. I had only recently heard of the group, so I was not cognizant of their marketing myth.   At the bar, we were with our girlfriends and wives. One of the Residents tried to convince me and my gf to go back their place for a hot tub session.  I laughed out loud and said “geez, what a bunch of hippies”! We didn’t go. In retrospect, I should have gone on the condition that they wore eyeball heads in the tub. At that time, The Residents rarely performed live, but they did in 1975 for the store’s birthday party. The early Bezerkley Records (Jonathan Richman, Greg Kihn) was distributed to stores through Rather Ripped. Their office was a few blocks away. At the store, each employee had unique music taste and expertise. Pop music was changing rapidly with a new energy. Some of us were tapped into it.  We all had to know the key new releases in every genre because we were tastemakers. Major labels would beg us to do window displays for new releases. But if they could not find a store employee that liked that artist, it was no go. So, no Pablo Cruise window display.  We weren’t against major labels, but we put a lot of energy into selling the ton of music that we loved. Our focus was on imports, indies, promos and cut outs where we could get a good price mark up.  We had a rare record search service with customers all over the world. We’d find rare records through trade-ins and by combing record stores all over the state.

There were a few import distributors, but they weren’t hip to many small run U.S. independent releases. That was understandable because bands didn’t often press enough records for a distributor to get excited about. In other words, why spend half your day hunting down records that were only pressed in small quantities. Just as they start selling, you’re out of stock. There gonna sell a hell of a lot more Scorpions’ picture discs!   As always, some distributors financed exclusive re-pressings of records that had momentum. The only way to get records like Roky Erikson’s “Two Headed Dog” single or The Flamin’ Groovies’ “You Tore Me Down” 45 was directly through mail order.  I wrote to label addresses listed in Trouser Press and fanzines to buy direct in order to sell them in the store with no competition. Major label sales reps didn’t prioritize us  because we didn’t shift bulk units of the hits. However, we were so plugged in to the lesser known artists that we were a good place for record companies to try and start a buzz. We could swell 50-100 of a record that all the other stores sold a handful of. Bands showed up at the store while touring.  Springsteen bought Dylan bootlegs from us by mail order. Patti Smith’s manager Jane Friedman used the store as a home base when Patti and John Cale came through the area.

Berkeley is in the East Bay of the S.F. bay area. A few months after starting at Rather Ripped, I realized that the city had a rich music scene well before punk /new wave started. There was Fantasy Records, a well known jazz r&b label but best known for CCR;  Arhoolie, Solid Smoke, Metalanguage;  the contemp classical labels- Lovely Music and 1750 Arch; folk and blues labels like Takoma and Olivia. Of course, bands like Chrome and others started labels to release their own music. Ralph Records was started by The Residents, and they began signing bands.  Rather Ripped was also a center for improv, electronic and meditation records.

In ’77 or ’78   I joined the nascent Maximum Rock N Roll radio team. This was well before the magazine. In the early days there were weeks when we didn’t have enough new punk records to fill the two hour weekly show. Tim Yohannon was all about energetic, real rock n roll, so he filled in the program with records by Gene Vincent, The Sonics etc. BTW, Tim applied green masking tape to the three closed sides of every record he had. He gave me a Mekons double single  he decided he didn’t like. It was in a  gatefold sleeve that he sealed shut with his green tape!  Sometimes he re-designed the cover art…never for the better. He made his own pic sleeves for 45’s that didn’t have them. Bands would stare at their own records in bewilderment. Tim was archiving the records of the entire punk and hardcore movement worldwide.

Eventually, Tim brought in Ruth Schwartz, and Jeff Bale as co-hosts- both great people.  Jello Biafra was a frequent guest. Tim assembled the “Not So Quiet On The Western Front” lp and later organized syndication for the radio show. I remember hearing the first Disorder ep and thinking -this is the future! J  It was exciting. But soon, most hardcore records sounded alike to me. It was like- “Do you want more fries with your fries?” I went to plenty of live shows without knowing a lot about the bands playing them. I was happy when the fashion trended away from jackboots to sneakers…getting a boot kick to the head in a stage dive could be brutal.  I didn’t see a lot of skinhead violence at shows, but I know it was changing the scene.

San Francisco and Berkeley were important music centers, activist meccas as well as creative artistic and intellectual hubs.  Yohannon had history as an activist. He identified with public protests for causes & social issues.  For many teenagers, punk rock was a rite of passage. I think it changed a lot of kids’ lives for the better.  The overriding message was to be civically aware of what is going on around you and what affects your life.

 Tell me about your time at Arhoolie Records. Where was it located?

Rather Ripped’s owners had a falling out and the remaining owner just wanted to sell records and antiques with his wife. He moved it to a nearby city. Just before the store closed, he told me of an open position at Back Room Distribution, a division of Arhoolie. It was in El Cerrito, a small town north of Berkeley. Chris Strachwitz, the owner of Arhoolie is a legendary record man. He recorded many of his early blues albums with a tape recorder in his car.  He owned the legendary Down Home Music store in the same building.  Separated by partition behind the store was Back Room.  It was an indie label distributor for blues, folk roots music. Rounder Records was still a new label at the time. I gotta admit, when Rounder issued The Shaggs “Philosophy Of The World’ I was in seventh heaven. I worked primarily for the distributor, grooming to be a sales rep but I spent a lot of time in the store.  At first, I didn’t yet relate to blues and country music. But there were a lot of touring artists in those styles making a living. It was a strong network of clubs, fans, radio shows and press that fueled it. The store had an incredible selection of obscure 50’s/60’s rockabilly and garage band comps. The Cramps were my favorite band at the time.  The rockabilly comps  mostly on a the Dutch White Label, were treasure troves of insane songs.  My heart was in new music- whatever you wanna call it, punk, new wave, art music. That’s the business I wanted to be in.  I used my time to learn more about distribution operations. The people that worked at Arhoolie and in its community were fun music heads. There were a lot of good musicians among them.  It was a great time to live in Berkeley.

What was next, Rough Trade and CD Presents? Was that in San Francisco? I went to that Rough Trade store a few times and it was an amazing store.

I knew folks from Rough Trade UK because I bought imports from them to sell @ Rather Ripped. When they wanted to open in the U.S. they contacted me, but at the time the wage was low and there wasn’t enough space to work. I was interested in working in the distribution division, not the store. They speiled something about it being a socialist business.  I stayed at Arhoolie for a little while longer.  In the meantime, I was offered my own weekly late night radio show on Pacifica’s  KPFA in Berkeley- same station as Maximum Rock N’Roll. I took over a show called “Night Sky”, an ambient music program. My interim program title was “No More Mr. Night Sky” until I settled on “Assassinatin’ Rhythm”. The station’s music director was a contemporary classical composer closely associated with avant -garde and 20th century music. A major segment of my show was for industrial, post-punk and undefinable music. I hosted a few live on- air performances with Z’ev, Slovenly and Angst among others. Negativland’s “Over The Edge” program started on KPFA around this time. KPFA was 100,000 watts of power with affiliate stations covering the Central Valley down to Fresno and Bakersfield.

 When the time was right, I moved to Rough Trade’s U.S. distribution company in Berkeley. The record store was in San Francisco. We distributed a lot of British records sent by Rough Trade UK, often in small quantities.  Rough Trade US was set up to press and distribute select RT and Factory records by Joy Division, ACR, The Fall, Stiff Little Fingers, Crass. It was cheaper and more effective to press in the U.S and Canada. I also distributed some U.S. labels but there was one Brit on the staff that hated most American music.  On top of that, it could be a dangerous place to work. One of the staff was importing reggae records and weed from Jamaica to our warehouse. The local connection was shot on his porch shortly after he picked up a shipment! I was lucky to spend a few days travelling with Mark E.Smith of The Fall. He loved obscure rockabilly and garage band records. I was able to return to Memphis for a while to prep the first Panther Burns album for release. Tony Wilson of Factory put up most of the money to keep RTUS going. He was a brilliant character, but I learned from talking with him how not to conduct business. I often got sample records from bands that wanted distribution. Pell Mell’s “Rhyming Guitars” e.p.  was the start of my long association with the band. I enjoyed selling records to stores all over the country. I learned about local scenes, records, fanzines, clubs and college radio stations everywhere. Making these sources connect for touring bands and record sales was exciting. Because Rough Trade is British, we had the benefit of connections with club dj’s. We pressed and promoted New Order’s “Blue Monday” single on a shoestring budget.  For a long time, it was the best kept secret from the mainstream.  I left Rough Trade for Subterranean Records ( Flipper etc) for a spell while working in a record store. The guy that put up the money for the record store ran guns to Cuba through Mexico. Thankfully, not through the actual store.  I booked Cali shows for Panther Burns, The Wipers, Sonic Youth, Whitehouse.

Who owned the CD Presents label? I remember that Avengers compilation.

It was owned by a lawyer, David Ferguson. He had a recording studio as well.  I didn’t understand why he wanted to run a label. He did not have an ear for music. But we did release a Tales Of Terror lp!  He almost released a DOA album that I thought the band would kill him over. Many years later I got into a fist fight with one of David’s employees in a limo ride shared with Ferguson and Lydia Lunch. We fought through the window separating the driver from the passengers. I would love to recreate that for a film. Good times!

My main role there was to set up the first Billy Bragg record in the U.S. Billy’s manager was the legendary Peter Jenner and both were great to work with. They were using CD Presents as a stepping stone to a major label. In the meantime, I knew a few people at SST. Joe Carducci is an old friend. He was pitching me to move to L.A. and work there,  but I resisted for a while. I had just met the woman that I knew would be the love of my life. I didn’t want to move to SoCal. Joe gave me an ultimatum. He sent three advance cassettes that convinced me to go- Meat Puppets’ “Up On The Sun”, Minutemen’s “Double Nickels” and Huskers’ “New Day Rising” That’s an excellent recruiting strategy. I later married the love of my life.

On the side I booked shows for bands I loved. Gerard Cosloy asked me to book Sonic Youth first northern Cali shows. I also booked shows for The Wipers and noise band Whitehouse

Was SST Records next? How long did you last there and what was that like?

I was there for three years. “How long did you last there?” sounds like I was biding my time :)   I’m often asked about my time with SST.

Carducci hired me to do PR. That meant publicity, college radio, regional press. Video was a valuable promo tool. MTV’s “120 Minutes” program was a great way to promote our records.

In 1987 we put out more records than Warner Brothers. By that time, I hired people to help.

I’ve done a number of interviews about SST. If you have specific questions, shoot. I recall that my social life was almost entirely with my co-workers and bands on the label. I was nearly oblivious to music from other labels. I was a big fan of Dischord and Homestead. Metallica, COC, Voivod and the Birthday Party/Nick Cave were my non-SST staples.

I think around this time I had met you briefly in NJ at one of the Elks Lodge shows that my old friend Ralph Jones put on. Were you living in NJ at that point or just visiting?

You’ve mentioned that before and I don’t recall the specific show. I moved out of NJ permanently in ’76. I came back for annual summer visits to NYC, north Jersey and Philly. Some high school friends went to Upsala College, then the home of WFMU. On my first visit back in ’76  I met Irwin Chusid and R. Stevie Moore. Some high school friends were connected to Feelies before they took that name.

Was Blast First! next? I met Pat Naylor once and hung out with her at a show and she was really sweet.

Yeah around the time I left SST, the folks in Sonic Youth called saying that they had left as well. They wanted me to be involved with Blast First! in the U.S. I knew Paul Smith because he released their albums in the UK. Blast First UK released a number of Touch N Go and SST records. The label was a division of Mute which had a  U.S. deal with Enigma. My job was almost entirely “Daydream Nation” promotion. It was so much fun to be able to go deep  with one album. We issued Ciccone Youth shortly afterward, which augmented the overall Sonic Youth story.  The only other active touring band was Band Of Susans and on a limited level, Lunachicks and Big Stick.  It was only one year of work before Enigma cut Mute/Blast First loose. I went on Sonic Youth’s Soviet Union tour and I had a few memorable meetings with Sun Ra. David Bowie called a few times asking about recording studios that Dino Jr and Sonic Youth used.  Bowie had a brilliant idea to record Suicide’s “Dream Baby Dream” with Glenn Branca’s large guitar group. We tried following up on it but Bowie was immersed in Tin Machine and other projects.

Was it on to Geffen then?

Yes, Sonic Youth had good meetings with the label. I had recently met Mark Kates who was championing the signing.  He suggested that I come in to meet the entire company. He brought my name up with David who said, “we need someone like that here”.

I had fleeting thoughts that working for a major was “selling out”...punching corporate clock. I wanted to apply what I knew on a larger scale.  

What was that like, working for a proper major label? Was David Geffen still involved?

On my second day there, David called me into his office. He is down to earth, street smart. Like many of the best in the biz, he didn’t have an attitude.  He had met with the Meat Puppets. He sensed that Dinosaur Jr. was important. I reminded him that I was not hired for a&r.

He said- “I don’t assign job titles. If you find something else you’d like to do here, you can pursue it ‘after 5pm’ ”. I found reissue projects like the Pere Ubu box and Raincoats catalog. I recorded a new Raincoats album.  I signed Southern Culture On The Skids, Garrison Starr, Skiploader. I assembled and recorded Rob Zombie’s Halloween Hootenanny comp. With Sonic Youth, I pondered making records with John Fahey and Townes Van Zandt. After ten years, it was time to move on.

Tell us what you do now, didn’t you get involved with digital music at some point?

Geffen Records was folded into Interscope in 1999 and I was bored with the limitations of the business as it was.  Digital music was gaining ground solely through illegal file trading on Napster. I knew there would be a major shift in the business moving to digital. I worked for the download site. eMusic.com, signing distribution agreements with labels. This was years before iTunes and YouTube. Major labels would not work with us because mp3 files are open source files that could be traded freely without control.  They saw eMusic as a facilitator of illegal file trading. Like marijuana use leading to hard drugs!  In the big picture, I knew that digital downloads weren’t “sexy”.  But at some point, digital music would develop into something easier to track and use. We skipped the major labels. The bigger independent labels understood that digital music would be the future.  It was a great place to be. I knew a lot of music, but I had no idea there were so many labels in every country. One label owner told me that I had the best  job in the world. I knew that to explain this new unproven music format it could be an uphill climb. So I took the time to research label websites for song samples. That way I could find common ground with label owners. There’s surf music in Brazil? There’s a young female cellist duo in Prague that make energetic music? There’s archaic royalty rules connected to opera arrangements? Bring it on!  It certainly changed how I listen to music.

It was a time when business rules and legal rights had to change in order to deal with digital income disbursement. For example, digital downloads could be sold by the song while royalty payments were based on album sales. eMusic was at the forefront of those changes. When iTunes launched, digital music was “legitimized”. Borne out of eMusic was RoyaltyShare which provides a royalty accounting platform for labels. It is now a division of The Orchard and I divide my time between The Orchard and RoyaltyShare.

Who are some current bands you are into?

A loaded question! I listen to a lot of new music. I spend a lot of time listening to records and cd’s in my collection. Of current artists,  I really like Steve Gunn’s music. I listen to the projects involving members of Sonic Youth.  Bill Nace, Kim’s partner in Body/Head is a guitar genius. Body/Head’s music is a cathartic experience for me.  London is lucky to have Thurston Moore living and working there. I think the music they make separately is far more exciting that what Sonic Youth would’ve made if still together.

Lately I’m digging Melenas from Spain, Hayvenlar Alemi from Turkey. Quin Kirchner is a Chicago based  drummer that put out a great jazz record in 2018 called “The Other Side Of Time”. I think he plays on Ryley Walker ‘s records.

Because I’ve spent so much time with the music of Sonic Youth, Branca and Rhys Chatham, I crave the occasional dive into instrumental symphonic guitar army and tonal stuff. Current favorites in that vein are Bosse De Nage, Pelican, Sunn O)))

Given the chance I’ll see any performance by Mary Halvorson, Ches Smith, Marc Ribot or Mary Lattimore.

It took me years to get it, but I’m now a big fan of Keiji Haino’ music.  Dean McPhee is a British guitarist I really like. I just bought a couple of Willie Lane lp’s on Feeding Tube.

I research music history and the development of the industry. There are historical and social components of every type of music by culture, country, time period. I love stories about riots at premieres of new avant garde works. I read a book about famous classical composers in the 18th Century playing home concerts (salons) where people are talking the entire time…but they are paid handsomely for the performance.   Streaming music sites and YouTube are vast repositories of music and cultural documentation.

Do you still make it out to many shows?

I go to two/three shows a month when I’m home and more when traveling especially NY/London. I start work early in the morning so I’m not out late often.  I understand why people see less live music as they get older. I’m done with music festivals. The Big Ears Festival is the only Stateside event that might inspire me to stand for eight hours.

I always hear music by new artists that I really like. I don’t always go to see the live show. Sometimes I hear a new band that sounds like a band  I liked 20 years ago.  I wouldn’t deliberately see a band that uses another band’s sound as a template.

 What are your top 10 desert island discs?

I cannot do 10. It’s 20 or nothing. If you say sorry Ray, it will be nothing. FineJ If I’m on an island, I’ll listen to the ocean waves and sounds of nature. If I’m relegated to a desert, I’ll listen to the blood coarsing through my veins.

Miles Davis- Kind Of Blue

Television- Marquee Moon

Peter Brotzmann- Machine Gun

Sex Pistols -Never Mind The Bollocks

Rolling Stones- Let It Bleed

Soundtrack – The Harder They Come

Billy Harper – Black Saint

Kleenex/Liliput- First Songs

Patti Smith Group -Easter

Hound Dog Taylor & The Houserockers- Houserockin’

Led Zeppelin- Houses Of The Holy

Sonic Youth – Daydream Nation

Elvis Presley- Sun Sessions

The Cramps- Songs The Lord Taught Us

Pell Mell -Flow

Procol Harum- A Salty Dog

Sibelius- Complete Symphonies

Lou Reed -Coney Island Baby

Meat Puppets- Up On The Sun

The Kinks- Kinks Kronikles

 “Hmm....Flow or Star City?”

 Any final words? Closing comments? Anything you wanted to mention that I didn’t ask.

I’ve been involved off and on with the artist Raymond Pettibon for a music project called Supersession. He has made records under this moniker before. This project began in 1990 and stalled for many years. We revived it a couple years ago. I play bass. Raymond wrote many pages of words and lyrics that he passed to the band, encouraging us to write music behind them. It’s different from Raymond’s other records because it is not improvised. Rick Sepulveda, our guitarist is a great songwriter and he wrote music for Raymond’s words. Rick sings a bunch of the songs because Raymond loves his voice. We did a  NYC performance in November that was really fun. So now of course, I’m thinking we should play monthly in L.A. We are nearly finished with the album that we recorded at Casa Hanzo, the San Pedro studio Mike Watt owns with Pete Mazich. Raymond is a brilliant man; fun and inspiring to work with. When I practice with Rick, he’ll often break into a cover song deep in the recess of memory. Like John Cale’s “Hanky Panky Nohow” ,Kevin Ayers’ “Oh Wot A Dream” or the Doors “Wishful Sinful”. We may cover a Harry Toledo song. It’s a blast.  I hope to have the album finished in July.

 Tav, Bobby, Pell Mell and Ray 

[jordaneberle]

NHL Playlists: Metro Division

Carolina Hurricanes:

Brass Bonanza - The Zambonis//Pump It - The Black Eyed Peas//My Type - Saint Motel//Girls Just Want To Have Fun - Cyndi Lauper//Dancing In The Moonlight - Toploader//Digital Love - Daft Punk//Boy With Luv - BTS//Temporary Fix - One Direction//Rock You Like A Hurricane - Scorpions//Can’t Stop - Red Hot Chilli Peppers

Columbus Blue Jackets:

YOLO - The Lonely Island//The Wire - HAIM//You’re Not Good Enough - Blood Orange//Everything Is Embarassing - Sky Ferreira//Dancing On My Own - Robyn//The Way I Do - Bishop Briggs//Let’s Dance To Joy Division - The Wombats//Under Pressure - Queen//Left Me Like Summer - Daily J//Waiting Game - BANKS

New Jersey Devils: 

Better The Devil You Know - Kylie Minogue//Suit & Tie - Justin Timberlake//Opposite Of Adults - Chiddy Bang//Something Good Can Work - Two Door Cinema Club//Give Me A Try - The Wombats//Get Busy - Sean Paul//Move - Saint Motel//Carried Away - Passion Pit//You Get What You Give - New Radicals//Sympathy For The Devil - The Rolling Stones

New York Islanders:

If I Can’t Have You - Shawn Mendes//Survivor - Destiny’s Child//Dedication To My Ex (Miss That) - Lloyd//Good Luck - Basement Jaxx//No Scrubs - TLC//Clap Back - Iggy Azalea//Wait A Minute! - WILLOW//Ubu - Methyl Ethyl//99 Luftballons - Nena//Moving To New York - The Wombats

New York Rangers: 

Subways - The Avalanches//Let Me Down Easy - Gang Of Youths//Eventually - Tame Impala//no tears left to cry - Ariana Grande//Whatta Man - Salt-N-Pepa//Blow Your Mind (Mwah) - Dua Lipa//Barbara Streisand - Duck Sauce//The Walker - Fitz and The Tantrums//Lifestyles Of The Rich & Famous - Good Charlotte//Uprising - Muse

Philadelphia Flyers:

Ginger - Riton//Freaking Out The Neighbourhood - Mac DeMarco//The Less I Know The Better - Tame Impala//I Love It - Icona Pop//Not About You - Haiku Hands//Just A Girl - No Doubt//Unpredictable - 5 Seconds Of Summer//Never Miss A Beat - Kaiser Chiefs//This Is Not A Party - The Wombats//Vitriol - Bluejuice

Pittsburgh Penguins:

Back To Back - Drake//Superstar - Jamelia//Superstition - Stevie Wonder//I See You Baby - Groove Armada//Bubble But - Major Lazer//Tempo - Lizzo//Fat Bottomed Girls - Queen//Roses - OutKast//On Your Way Down - The Jungle Giants//I Wish - Patti Labelle (Happy Feet Soundtrack)

Washington Capitals:

(I’ve Had) The Time Of My Life - Bill Medley and Jennifer Warnes//What A Feeling - Irene Cara//I Love You Always Forever - Betty Who//Good As Hell - Lizzo//***Flawless - Beyonce//Every Day’s The Weekend - Alex Lahey//Heroes - Mans Zelmerlow//(Fuck A) Silver Lining - Panic! At The Disco//Rock DJ - Robbie Williams//Eye Of The Tiger - Survivor

Atlantic Division

[xinisterx]

GREAT AUSTRALIAN MUSIC

Like Aussie accents? Here’s a list of my favourite music from my fellow Aussies

#1 Dads - So Soldier

5 Seconds of Summer - Teeth

Alex Lahey - You Don’t Think You Like People Like Me

Alex the Astronaut - Waste of Time

Ali Barter - Girlie Bits

Amy Shark - Adore

Andy Bull - Talk Too Much

Angie McMahon - Keeping Time

Angus and Julia Stone - And The Boys

An Horse - Camp Out

Asta - Dynamite (feat. Allday)

Ball Park Music - It's Nice to be Alive

Bec Sandridge - I’ll Never Want a BF

Birds of Tokyo - Plans

Bluejuice - I’ll Go Crazy

BOO Seeka - Deception Bay

Boy & Bear - Feeding Line

British India - Blame It All On Me

Camp Cope - Footscray Station

Chet Faker - Talk Is Cheap

Courtney Barnett - Nobody Really Cares If You Don’t Go to the Party

The Creases - Is It Love

Cub Sport - Come On Mess Me Up

Dean Lewis - Be Alright

Didirri - Bird Sounds

DMA’s - Believe (like a version)

Dune Rats - Scott Green

Dustin Tebbutt - Where I Find You

Emma Louise - Jungle

Eskimo Joe - London Bombs

E^st - Life Goes On

Faker - This Heart Attack

Flight Facilities - Clair De Lune

Flume - Never Be Like You 

Gang of Youths - Let Me Down Easy

George - Breathe In Now

George Alice - Circles

G-Flip - Killing My Time

Glades - Her (Loving You)

The Grates - Turn Me On

Grinspoon - Lost Control

Guy Sebastian - Before I Go

Gyroscope - Baby, I'm Gettin' Better

Hatchie -  Adored

Heaps Good Friends - Let's Hug Longer

Hilltop Hoods - Cosby Sweater

Hockey Dad - Join the Club

Hollie Col - I'm Not Calling

Holy Holy - Maybe You Know

Husky - History's Door

Illy - Papercuts (feat. Vera Blue)

Jack River - Ballroom

Japanese Wallpaper - Forces

Jarryd James - Do You Remember

Jebediah - She's Like a Comet

Jet - Are You Gonna Be My Girl?

The Jezabels - Endless Summer

Joel Adams - Please Don't Go

John Butler Trio - Zebra

Josh Pyke - Leeward Side

The Jungle Giants - Used To Be In Love

Kasey Chambers - Not Pretty Enough

Kisschasy - Dinosaur

Lime Cordiale - Temper Temper

Little Birdy - Beautiful To Me

Little May - Great Southern Land (like a version)

Mallrat - Groceries

Matt Corby - Brother

Meg Mac - Roll Up Your Sleeves

Megan Washington - My Heart Is A Wheel

Methyl Ethel - Ubu

Miami Horror - Sometimes

Middle Kids - Never Start

Missy Higgins - Warm Whispers

The Money War - Recall

Montaigne - Because I Love You

Ocean Alley - Confidence

The Paper Kites - Electric Indigo

Peking Duk - Take Me Over (feat SAFIA)

Pete Murray - Better Days

Phantastic Ferniture - Dark Corner Dance Floor

Powderfinger - My Happiness

The Preatures - Yanada

The Rubens - Hoops

Ruby Fields - I Want

Ruel - Don’t Tell Me

RUFUS - You Were Right

SAFIA - Make Them Wheels Roll

San Cisco - Too Much Time Together

Savage Garden - To The Moon and Back

Seeker Lover Keeper - Even Though I'm A Woman

Self Talk - Untitled

Sia - Breathe Me

Skeggs - Up in the Clouds

Spiderbait - Calypso

Tame Impala - The Less I Know the Better

Tash Sultana - Jungle

The Temper Trap - Sweet Disposition

Thelma Plum - Clumsy Love

Tkay Maidza - M.O.B.

Troye Sivan - My My My!

Vallis Alps - Oceans

Vance Joy - Lay It On Me

Vera Blue - Regular Touch

Violent Soho - Like Soda

Ziggy Alberts - Love Me Now

[sfaioffical]

Join us in remembering SFAI alumna, painter, and activist Adelie Landis Bischoff. Adelie adored her time as an undergraduate student at SFAI in 1951-52. Her final act of gratitude was to bequeath an endowed scholarship named in her honor for future SFAI painting students.

Adelie in her studio.

A note from SFAI trustee, Jeremy Stone:

Adelie was in the same SFAI classes as Roy de Forest, Sonia Getchoff, James Kelly, and Julius Wasserstein. Adelie’s continued to exhibit through 2016.  A solo retrospective at the Wiegand Gallery, Belmont, CA,was mounted in 2012.  She had her first NYC solo show at 80 at Salander O’Reilly.   Her large portraits of Barack Obama were among my favorite late paintings. She was politically active and once left her own 89th birthday party to attend a Biden event where she managed to get her rolled up painting to Barack!  In her Berkeley bedroom were framed photos of her with Biden and Barack Obama, separately. She was beaming.   

She often said that her year at SFAI was "the best year of my life.”  After studying at The Art Students League, City College and Brooklyn College, NY, Adelie left Brooklyn for San Francisco. She supported herself as a psychiatric nurse before and throughout her college studies while exhibiting in 1953 at SFMOMA Print Annual and King Ubu Gallery, in 1954 at SFMOMA Print Annual and the Richmond Art Center Annual, and in 1955 at Lucien Labaudt Gallery, SF, before completing her degrees.  While she met her future husband, Elmer Bischoff, at SFAI, in 1951, they did not date until quite a bit after she left. “He was married” she said!   He searched for her, and in 1958,  they were married. She kept painting throughout her life.    Adelie was a big fan of the ACLU and Southern Poverty Law.  In her 80s she approached Morris Dees of the Southern Poverty Law Center, an organization to which she was passionately committed, to ask him to hire her as an undercover agent. She wanted to infiltrate neo-Nazi groups in Berkeley’s neighboring counties and report back to Dees. (He turned her down.)  Adelie was inspired equally by Goya, William Kentridge and Anselm Kiefer. Even needing ski poles for balance in her 80s she would thrown them down to run onto the dance floor when she heard Dixieland Jazz band music at Bimbo’s.

Adelie painting, photo by Joanne Leonard.

[exploringvideogames]

This week on Exploring Videogames, I talk about ’Battlefield Hardline’!🐀☠ Music is ‘Ubu Dance Party’ by Pere Ubu.

Reach me at  exploringvideogames@aol.com, exploringvideogames.tumblr.com, and the home page is here 💙

[genericamentegiuseppe]

audry - Vampiric Premonitions

Quando una proposta musicale è ridotta al solo ruolo di sottofondo e quando è solo il critico che non ha gli strumenti per analizzarla?

Parte di una scena in piena espansione tra i meandri di RateYourMusic e Bandcamp, vi parlo di una musica che mette in crisi i parametri critici e pone questioni sul futuro per l’analisi di queste che, almeno per adesso, percepisco più come digressioni che atti artistici compiuti. autopubblicato/glitch noiseCanada2024 BANDCAMP: https://audry777.bandcamp.com/album/vampiric-premonitions

[post-punk-author-anthony-day]

Best Sovietwave , Post Punk 2k, Darkwave, 70s & 80s classics playlist

450 hours

1000s bands

500 Sovietwave Bands from former USSR 🇷🇺☦️🪆

Over 7000 songs 🎵🎶🎼🎸

INCLUDES:

70S (Pere Ubu, Magazine, Gang of four, Television, Talking Heads,  Martin Rev and Alan Vega, James Chance, Essential Logic, Siouxsie Sioux, Killing Joke, Public Image LTD, Devo, Nick Cave, The Boys Next Door, The Pop Group, The Clash, The Cure, The Smiths & THE FALL, The Slits and The Raincoats

80s New Wave (Simple Minds, New Order, Dead Can Dance, Kitchens of Distinction, Jesus and Mary Chain, XTC, The Opposition, ESG, Units, Red Lorry Yellow Lorry, The Chameleons, Echo and the Bunnymen, ESG, Glaxo Babies, The Feelies, The Essence, A Certain Ratio, Mission to Burma, The Minutemen, Nick Cave , Bad Seeds and The Birthday Party, little Nemo, The Sound, The Wake, Section 25, JOSEF K, Orange Juice, Sugarcubes, Chrome, Method Actors

Goth -  Death in June, March Violets, Clan of Xymox, Christian Death, Southern Death Cult, Sisters of Mercy, Drab Majesty, Tropic of Cancer, 13th Chime, And Also the Trees, 

No Wave (Ice age, Sonic Youth, Contortions, Suicide)

Darkwave - IAMTheShadow, this cold night, Tropic of Cancer, Nation of Language, Ritual Howls, A Projection, Topographies, Siglo XX, Bolshoi, Lust for Youth, VR Sex, A place to bury strangers 

SOVIET WAVE -- (Ploho, Manicure, Buerak, Molchat Doma, Utro, peremotka, Motorama, Serpien, Bitchevsky Park, nürnberg, Super Besse 

#PostPunk2k --( Courting, Black Midi, Bambara, Vundabar, Squid, Viagra Boys, Fontaines DC, Black Country New Road, Goat Girl, Warpaint, TV Priest, Theeosees, the drums, Egyptian Blue, Preoccupations, Protomartyr, Have a Nice Life, Automatic, Soviet Soviet, Human Tetris, Iceage, Film School, Ought, The Murder Capital, White Lies, Interpol, Editors, Yeah Yeah Yeahs, Fufanu, The Serfs, No Age, Hologramsl

If you dare get lost in the music

[letheatreofmusic]

Theatre Bucket List

Plays to Read/See:

Agamemnon (Aeschylus)

American Buffalo (David Mamet)

Angels in America (Tony Kushner)

Antigone (Sophocles)

Arms and the Man (George Bernard Shaw)

As You Like It (Shakespeare)

August: Osage County (Tracy Letts)

The Bacchae (Euripides)

The Birthday Party (Harold Pinter)

Betrayal (Harold Pinter)

Blackbird (David Harrower)

Buried Child (Sam Shepard)

The Caucasian Chalk Circle (Bertolt Brecht)

The Cherry Orchard (Anton Chekhov)

The Clean House (Sarah Ruhl)

Clybourne Park (Bruce Norris)

The Curious Incident of the Dog in the Nighttime

Cyclops (Euripides)

Death of a Salesman (Arthur Miller)

Disgraced (Ayad Akhtar)

Doctor Faustus (Christopher Marlowe)

A Doll’s House (Henrik Ibsen)

Doubt (John Patrick Stanley)

Eclipsed (Dunai Gurira)

Electra (Sophocles)

Equus (Peter Shaffer)

A Free Man of Color (John Guare)

The Glass Menagerie (Tennessee Williams)

Glengarry Glen Ross (David Mamet)

Hamlet (Shakespeare)

The Heidi Chronicles (Wendy Wasserstein)

Hir (Taylor Mac)

The Humans (Stephen Karam)

The Iceman Cometh (Eugene O’Neill)

The Importance of Being Earnest (Oscar Wilde)

Indecent (Paula Vogel)

In the Blood (Suzan-Lori Parks)

Jitney (August Wilson)

The Killer (Eugene Ionesco)

King Lear (Shakespeare)

Long Day’s Journey Into Night (Eugene O’Neil)

Lysistrata (Aristophenes)

Macbeth (Shakespeare)

Machinal (Sophie Treadwell)

The Mandrake (Nicolo Macchiavelli)

Medea (Euripides)

A Midsummer Night’s Dream (Shakespeare)

Miss Julie (August Strindberg)

The Night Thoreau Spent in Jail (Jerome Lawrence and Robert E. Lee)

Noises Off (Michael Frayn)

The Normal Heart (Larry Kramer)

Oedipus the King (Sophocles)

Othello (Shakespeare)

Our Town (Thornoton Wilder)

The Playboy of the Western World (J.M. Synge)

Private Lives (Noel Coward)

Pygmalion (George Bernard Shaw)

A Raisin in the Sun (Lorraine Hansbury)

Richard III (Shakespeare)

Romeo and Juliet (Shakespeare)

Rosencrantz and Guildenstern are Dead (Tom Stoppard)

Ruined (Lynn Nottage)

The School for Scandal (Richard Brinsley Sheridan)

The Seagull (Anton Chekhov)

Significant Other (Joshua Harmon)

Small Mouth Sounds (Beth Wohl)

Speed-the-Plow (David Mamet)

Spreading the News (Lady Augusta Gregory)

A Streetcar Named Desire (Tennessee Williams)

The Taming of the Shrew (Shakespeare)

Tartuffe (Moliere)

The Tempest (Shakespeare)

The Threepenny Opera (Bertolt Brecht)

The Tracking Satyrs (Sophocles)

The Trojan Woman (Euripides)

Topdog/Underdog (Suzan Lori-Parks)

Twelfth Night (Shakespeare)

Ubu Roi (Alfred Jarry)

Uncle Vanya (Anton Chekhov)

The Vagina Monologues (Eve Ensler)

A View from the Bridge (Arthur Miller)

Waiting for Godot (Samuel Beckett)

Who’s Afraid of Virginia Woolf? (Edward Albee)

Gypsy

My Fair Lady

Sweeney Todd

Fiddler on the Roof

Guys and Dolls

Oklahoma!

Cabaret

West Side Story

The Music Man

A Chorus Line

Chicago

The Fantasticks

Carousel

Company

Show Boat

The King and I

Little Shop of Horrors

Sunday in the Park with George

How to Succeed in Business Without Really Trying

A Little Night Music

She Loves Me

Nine

Follies

Falsettos

Ragtime

Kiss Me, Kate

1776

Into the Woods

A Funny Thing Happened on the Way to the Forum

Urinetown

The 25th Annual Putnam County Spelling Bee

Wicked

Hair

Evita

Hello, Dolly!

La Cage aux Folles

110 in the Shade

The Producers

Lady in the Dark

City of Angels

Dreamgirls

Avenue Q

The Book of Mormon

42nd Street

Brigadoon

The Cradle Will Rock

The Best Little Whorehouse in Texas

Jesus Christ Superstar

Once on this Island

Adding Machine

On the Town

Les Miserables

Bat Boy

Caroline, or Change

South Pacific

The Pajama Game

The Sound of Music

Hairspray

The Phantom of the Opera

Damn Yankees

Rent

Grey Gardens

Assassins

Mame

Man of La Mancha

A Man of No Importance

You’re a Good Man Charlie Brown

Sweet Charity

Camelot

Anything Goes

Wonderful Town

The Light in the Piazza

The Drowsy Chaperone

The Full Monty

Romance/Romance

Godspell

Of Thee I Sing

The Secret Garden

Pippin

Kiss of the Spider Woman

Finian’s Rainbow

Pal Joey

Annie Get Your Gun

Pacific Overtures

Hedwig and the Angry Inch

On Your Toes

Candide

Annie

Beauty and the Beast

Ain’t Misbehavin’

Bye Bye Birdie 

Jelly’s Last Jam

A New Brain

Floyd Collins

Grand Hotel

Violet

A Day in Hollywood, A Night in Ukraine

The Scottsboro Boys

Next to Normal

Hadestown

Natasha, Pierre, and the Great Comet of 1812

The Band’s Visit

Hamilton

Dear Evan Hansen

Heathers

Dream Roles (plays):

Laura in The Glass Menagerie

Nora in A Doll’s House

Regina in The Little Foxes

Harper in Angels in America

Daisy in The Great Gatsby

Lady MacBeth in Macbeth

Catherine in Proof

Ashlee in Dance Nation

Emma in People, Places, & Things

Nina in The Seagull

Dream Roles (Musicals):

Johanna in Sweeney Todd

Fantine in Les Miserables

Audrey in Little Shop of Horrors

Cinderella in Into the Woods

Wendla in Spring Awakening

Amalia in She Loves Me

Sonya in Natasha, Pierre, and the Great Comet of 1812

Princess Mary in Natasha, Pierre, and the Great Comet of 1812

Sibella in Gentleman’s Guide to Love and Murder

Clara in The Light in the Piazza

Cathy in The Last Five Years

Margo in Bright Star

Rosa Bud in The Mystery of Edwin Drood

Tony in West Side Story (Anyone looking for a female Tony?)

Mary Magdalene in Jesus Christ Superstar

To Be Continued as I Discover More Things...

[piteousgate]

top 20 80 albums was tagged by @downwithpeople for top 20 albums, i don’t believe in numbered ranking and ended up with so much i couldn’t cut down and have it feel tru, so here u go

they’re not in any particular order aside from the rough tier ranking. one per band/artist. tried to strike a balance between things that were super important to me when i was younger and thus influential, and stuff i’m super about now. nothing too recent tho, gotta digest things properly

1-20 silent shout - the knife laughing stock - talk talk black eyes - black eyes deceit - this heat knife play - xiu xiu going places - yellow swans the money store - death grips heaven or las vegas - cocteau twins replica - oneohtrix point never virgins - tim hecker remain in light - talking heads quarantine - laurel halo untrue - burial AURORA - ben frost saint dymphna - gang gang dance return to cookie mountain - tv on the radio geogaddi - boards of canada xxx - danny brown drum's not dead - liars in conflict - owen pallett

21-40 engravings - forest swords beaches and canyons - black dice luxury problems - andy stott i am the fun blame monster - menomena the serpent's egg - dead can dance ghettoville - actress hidden - these new puritans vocalcity - luomo relationship of command - at the drive in i shall die here - the body black up - shabazz palaces TNT - tortoise to pimp a butterfly - kendrick lamar leaves turn inside you - unwound hissing prigs in static couture - brainiac giza - gatekeeper ladies and gentlemen we are floating in space - spiritualized get color - health we must become the pitiless censors of ourselves - john maus vs. - mission of burma

41-80 donuts - j dilla civilian - wye oak operator dead... post abandoned - burning star core piteous gate - m.e.s.h. ka - excepter kaputt - destroyer work (work, work) - htrk does it look like i'm here - emeralds the downward spiral - nine inch nails third - portishead wonderful rainbow - lightning bolt oblivion access - lil ugly mane things we lost in the fire - low dead cities, red seas & lost ghosts - m83 cryptograms - deerhunter a chance to cut is a chance to cure - matmos steal your face - mi ami severant - kuedo in rainbows - radiohead the moon & antarctica - modest mouse mr twin sister - mr twin sister absolution - muse power corruption and lies - new order rated O - oneida silent alarm - bloc party bestial burden - pharmakon akuma no uta - boris tarot sport - fuck buttons swim - caribou for hero: for fool - subtle jane from occupied europe - swell maps seek magic - memory tapes women - women stridulum - zola jesus time was - zomes barter 6 - young thug quique - seefeel rossz csillag alatt született - venetian snares dub housing - pere ubu dark energy - jlin

[blacklighttemple]

Blacklight Temple, Nov 03, 2022

Hour One

Vanity Crash* - Come Forward

The Ramones - Loudmouth

Johnny Thunders - In Cold Blood

The Electric Eels* - Jaguar Ride

The Birthday Party - Dead Joe

The Oblivians - Show Me What You Like

Compulsive Gamblers - Rock'n'Roll Nurse

New York Dolls - Pills

------

Pere Ubu* - Navvy

James Chance & the Contortions - Twice Removed

Fear - New York's Alright (If You Like Saxophones)

No Age - Glitter

Wire - Pink Flag

The Blood Brothers - Ambulance vs. Ambulance

Cr(A)ss - Shaved Women

Hour Two

The Who - I'm A Boy

Mitch Ryder & the Detroit Wheels - Baby Jane (Mo-Mo Jane)

Les Georges Leningrad - Supa Doopa

Buzzcocks - Autonomy

Alien Sex Fiend - E.S.T. (Trip to the Moon)

------

Dance Disaster Movement - I Want Your Sass

Devo* - Jocko Homo (original single)

Gary Numan & Tubeway Army - We Are So Fragile

The Briefs - Rotten Love

Brian Eno - Needle in the Camel's Eye

Lords of the New Church - Question of Temperature

Patti Smith Group -25th Floor

Todd Rundgren - You Need Your Head

* - indicates local (Cleveland, NE Ohio) band This playlist, with only one substitution, can now be heard on Spotify! Listen here..