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Mice should not vote for cats: ‘Mouseland,’ a political parable to make you think
06:08 am



On top of the ever-rising economic inequality and a pretty revoltingly flying death-robot-based foreign policy, we have now learned that it is possible that our current President lied through his teeth to make the assassination of Osama Bin Laden look super-action-movie-cool. It is also equally possible that our then-Secretary of State—who is also likely to become our next President—was in on it. All of this is all pretty discouraging from a political perspective, so it is during these oppressive times of despair that I return to one of the greatest political speeches of all time—here in digestible animated form—“Mouseland.” It’s a perfect little take-down of the two-party system.

It’s the story of a place called Mouseland. Mouseland was a place where all the little mice lived and played, were born and died. And they lived much the same as you and I do.

They even had a Parliament. And every four years they had an election. Used to walk to the polls and cast their ballots. Some of them even got a ride to the polls. And got a ride for the next four years afterwards too. Just like you and me. And every time on election day all the little mice used to go to the ballot box and they used to elect a government. A government made up of big, fat, black cats.

Now if you think it strange that mice should elect a government made up of cats, you just look at the history of Canada for last 90 years and maybe you’ll see that they weren’t any stupider than we are.

Now I’m not saying anything against the cats. They were nice fellows. They conducted their government with dignity. They passed good laws—that is, laws that were good for cats. But the laws that were good for cats weren’t very good for mice. One of the laws said that mouseholes had to be big enough so a cat could get his paw in. Another law said that mice could only travel at certain speeds—so that a cat could get his breakfast without too much effort.

All the laws were good laws. For cats. But, oh, they were hard on the mice. And life was getting harder and harder. And when the mice couldn’t put up with it any more, they decided something had to be done about it. So they went en masse to the polls. They voted the black cats out. They put in the white cats.

Now the white cats had put up a terrific campaign. They said: “All that Mouseland needs is more vision.” They said: “The trouble with Mouseland is those round mouseholes we got. If you put us in we’ll establish square mouseholes.” And they did. And the square mouseholes were twice as big as the round mouseholes, and now the cat could get both his paws in. And life was tougher than ever.

And when they couldn’t take that anymore, they voted the white cats out and put the black ones in again. Then they went back to the white cats. Then to the black cats. They even tried half black cats and half white cats. And they called that coalition. They even got one government made up of cats with spots on them: they were cats that tried to make a noise like a mouse but ate like a cat.

You see, my friends, the trouble wasn’t with the color of the cat. The trouble was that they were cats. And because they were cats, they naturally looked after cats instead of mice.

Presently there came along one little mouse who had an idea. My friends, watch out for the little fellow with an idea. And he said to the other mice, “Look fellows, why do we keep on electing a government made up of cats? Why don’t we elect a government made up of mice?” “Oh,” they said, “he’s a Bolshevik. Lock him up!” So they put him in jail.

But I want to remind you: that you can lock up a mouse or a man but you can’t lock up an idea.

The Hitchhiker’s Guide to the Galaxy author Douglas Adams did a variation on “Mouseland” in So Long, and Thanks for All the Fish, that it seems likely was read by David Icke where lizards are the leaders. No one likes this (save for the lizard overlords themselves, naturally) but the electorate still keeps voting in these unpopular reptiles:

“...because if they didn’t vote for a lizard… the wrong lizard might get in.”


The short animation below is actually introduced by Kiefer Sutherland, who is grandson to social democratic politician, Tommy Douglas. Tommy Douglas, the most famous orator of “Mouseland” (though it is actually first credited to Clarence Gillis, another Canadian social democrat), immigrated from Scotland to Canada as a child with a nasty case of osteomyelitis; had a Canadian orthopedic surgeon not offered to operate under Douglas’ knee for free (for the observation of medical students), his leg would have been amputated. Today Douglas is widely considered to be “The Greatest Canadian,” on account of his introduction of the Canadian single-payer health care system, and his disdain for the false choice of a two-party system run by elites. The “Mouseland” metaphor is simple in its eloquence, insisting that mice need not vote for cats (though bringing that up might get you branded a “Bolshevik” and thrown in prison).

At least nothing’s inevitable, eh?

Posted by Amber Frost | Leave a comment
Brutal foodies: Heavy metal Chef creates culinary masterpieces based on classic bands
05:44 am



The Slayer Pizza:  Chopped Fra Mani toscano, soppressata, finocchiona, Cypress Grove “Lamb Chopper” cheese, house marinara, signature communion wafer crust, and an altar wine gastrique.
Rice and Bread, an online “food and music magazine,” hosts the “perfect pairings” series in which craft beers or decadent food creations are paired with classic metal albums. Our favorite entries in this series come courtesy of Chef John Hurkes, whose brutal recipes are absolutely inspired.

Chef John Hurkes’ latest creation is the “Black Sabbath Pizza”:

Ingredients: English banger sausage, smoked mozzarella, squid ink béchamel sauce, purple basil leaf, sweet lavender honey, and an authentic Mapledurham Watermill crust.
Hurkes’ notes on his creations read like a foodie Forry Ackerman:

What is this pizza that stands before me? A slice in black which points at me. Just like the conception of heavy metal, the Black Sabbath pizza is cooked from scratch. The flour is stoner-ground and rises from the early ’70s. The 12” crust is pressed from an actual bread recipe written by an “Evil Woman,” the miller’s wife of the Mapledurham Watermill in England. Spinning like a record, Ozzy Osbourne’s legendary vocals cascade into a wood-fired wheel of flavour riffles. Would you like a “N.I.B.”ble? Finger-picking through each slice, Tony Iommi’s hand-crafted guitar solos resonate through “Wicked World” and march across heavy slabs of sausage in “Children of the Grave.” Shrouded in the creamy black sauce, Geezer Butler’s bass lines find “Solitude” under a blanket of delicious smoked cheese as Bill Ward’s drums stick to the honey and herb “Sweet Leaf.” As the pizza is finished and the beer bottles burn out, you’ll be left “Into the Void.” Soon the world will love you, sweet pizza.

Other favorite Chef John Hurkes’ metal meals include “The Danzig Juicy Lucifuge… the Mother of all burgers”

Ingredients: New Jersey black-angus beef, blue-cheese Lucifuge, the onions of Christ, and blackest of the black BBQ sauce. Served on a house-made Twist of Pain bun.
“Exodus pork belly blood feast”

Ingredients: Fire-roasted pork belly crusted with Black Carbon salt harvested from the Dead Sea, grilled and thrashed blackberry-infused blood-sausage puree, smoke-poached egg yolks, purple fingerling potatoes, seared orange, and wasabi micro greens.
“Nuclear Assault Nachos”

Ingredients: Fire-braised pig confit, pickled onions and jalapenos, nuclear cheese reactor, and OC-17 police grade pepper-sprayed multi-continental fried chips.
We spoke with Chef John Hurkes about the series and his inspirations.

How did the “Perfect Pairings” idea develop, and what makes for a “perfect pairing”?

Chef John Hurkes: It was originally developed pairing metal albums with craft beer, but it sort of shifted towards food when Jason Schreurs of Rice and Bread Magazine approached me about pairing some of my favorite metal albums with my food creations. To make a “Perfect Pairing” you need a great metal record, quality ingredients, and some fucking metal ingenuity.

How has heavy metal informed your culinary style?

CJH: Metal crossover cooking can go a lot of different ways. There’s so many different genres and albums to be inspired by. However, it’s tricky sometimes developing new recipes and styles. It’s not like you are going to listen to an Electric Wizard album and decide to slow cook a doom metal burrito in an electric microwave for an hour. There is a degree of sophistication. When you are a serious metal head it changes your overall output in life. So it has definitely influenced what i’m doing with these dishes and how I will continue to cook them in the future.

You mentioned to me before that you traded heavy metal records with a friend from England for a cookbook signed by the miller’s wife of the last working watermill on the River Thames. You used a bread recipe from that book to create the Black Sabbath Mapledurham Watermill crust. Are there any other instances where metal has been an inroad to new recipes or cookbooks?

CJH: For sure. Metal is always an influence on how I develop new recipes. Sometimes there are different influences like religion or say politics. When I made the Nuclear Assault Nachos I thought homeland security was going to raid my kitchen shelves. It was the ultimate nacho riot as the pig confit was fire-braised and the resistant multi-continental chips got pepper sprayed in the cross fire. I feel like i’m always on a special heavy metal path with my next dish.

All of the photos of your creations look absolutely delicious, but we can’t eat the photos. Are there plans to share these recipes with the rest of the world, or are they guarded secrets?

CJH: They are guarded in a metal recipe box. But i’ve been discussing with my friend Jason Schreurs over at Rice and Bread Magazine about a collaboration with a cookbook that features each of the metal dishes. In the meantime, we’ve got other evil metal cuisine to unveil over at Rice and Bread.

I’m going to name some bands, and you tell me what kind of food immediately comes to mind. We’ll start with Iron Maiden.

CJH: A virtuosic metal salad with “Trooper” battlefield greens.


CJH: Probably a Japanese guitar shredded squid dish with a sweet red chili sauce. Law of Devil’s Land is a great album.


CJH: It would have to make you go BRRRR! Perhaps a stout beer ice cream float topped with chopped bacon and a burnt and candied communion wafer stave church steeple.

Mercyful Fate

CJH: The course of the pharoahs is served at the sound of the dinner bell. That’s all I got.

Celtic Frost

CJH: Morbid pig tails.

Municipal Waste

CJH: Is there such thing as weed-fed beef? Maybe a burger with beer soaked cheese, an IPA mustard, booze sloshed pickles, and a few other ingredients I shouldn’t mention for legal reasons. You would be wasted by the time you finished eating it.


CJH: I’m thinking tequila braised goat shoulder hacked apart with a machete and piled into tacos with in an unholy mole crafted from an evil trinity of chile peppers.

What is the most evil ingredient in any metal-inspired meal?

CJH: Communion wafers. You can bread anything with them and they cook amazingly in a lake of grease fire. I even made the delicious “Slayer Pizza” with them. For a while I was convinced that my kitchen was cursed after I made that pizza. Every Sunday for several months, my kitchen appliances would break or some crisis would happen. Evil cooking has no boundaries.

Carcass-inspired surgical veggie sammich. “Welcome to the poser slaughter. It’s an eight-inch vegetarian mouth-thrasher’s abattoir.”
Drool over more crossover edibles at Rice and Bread.

Posted by Christopher Bickel | Leave a comment
‘A Woman’s Story’: Amazing Cher rarity, produced by Phil Spector
02:55 pm




“There are many who have laid with me, then got up and walked away from me.”

Thus begins one of the rarest, and some (like me) would say very best, songs that Cher ever recorded.

I’ve heard Cher’s 70s output referred to as “whore operas” and that’s an especially pointed way to describe her extremely rare 1975 Phil Spector-produced single, “A Woman’s Story.” Written by Nino Tempo, April Stevens and Spector himself, it’s the plaintive lament of “a woman who was passed around” but who has now found true love in her life, and who desperately wants and needs this love. It’s a really tense, haunting, moving, gorgeous, slow-burning number, fairly unique in both Spector’s, as well as Cher’s, oeuvre. Backed by the The Phil Spector Wall Of Sound Orchestra, as you can hear, it’s an absolute show stopper.

Continues after the jump…

Posted by Richard Metzger | Leave a comment
Hip Priest: The Fall’s Mark E. Smith used to do tarot card readings for drugs
12:59 pm



The other day I was in the Rock Hall’s Library and Archives at the Tommy LiPuma Center for Creative Arts on Cuyahoga Community College’s Metropolitan Campus in Cleveland, Ohio, and I came across a book I’d been hunting for a while, that being a volume on lead singer of the Fall, Renegade: The Lives and Tales of Mark E. Smith, which turns out to be an odd little tome, a kind of catch-all of writings by Smith himself. It was this last point I only understood when I held the book in my hand; I had thought it was a reported book but in fact it’s all written by Mark E. Smith. 

One of the chapters has the remarkable title of “The Fool, The Magician, The High Priestess, The Empress, The Emperor, The Hierophant, The Lovers, The Chariot, Strength, The Hermit, The Wheel of Fortune, Justice, The Hanged Man, Death, Temperance, The Devil, The Tower, The Star, The Moon, The Sun, Judgement, The World and Eric the Ferret.” The title kind of gives away the fact that it’s about tarot, which it turns out Mark E. Smith has more than the usual interest in.

Here are a couple of key passages. I have to say I only half-believe Smith on this stuff—it’s a little hard to picture sports cars turning up at his flat all the time for readings—the whole thing is a fascinating brew of ego, half-baked erudition, superstition, and self-serving logic, a scammer’s mindset if you will:

I used to do tarot readings as well. I went through a phase of reading books on the occult. I was fascinated by it. I still believe that things leave vibrations. America, for instance; I’ve visited all these old Civil War sites and the atmosphere is incredible. You can almost reach out and feel it.

.…After a bit, when the drugs prevailed, it got ridiculous. I got more interested in the Philip K. Dick Time Out of Joint angle—the way certain pieces of writing have a power all to themselves, almost as if they can prophesize things. But I still did the readings. Kay had a lot of hippy mates, housewives with a bit of money, really, who were always seeking out people to read for them. And I had a natural talent for it. I’ve always been able to read people. My mam’s a bit like that. I never used to charge a lot, but now you can earn a fortune. When I was really skint in 2000, I thought to myself, I should be doing that again. You can earn £40 an hour.

When people did a tarot with me they’d walk away wth their life changed. But you can’t fuck around with those things too much. You’re dealing with a force. When it goes wrong you’re not being a vessel.


I did the readings for a year or two. But people started coming back too much. I had to tell them to stop. You get to the point where people can’t function without it—once a week turns into twice a week. They were driving up in their sports cars outside the flat, asking if they should go with this nice man they’d just met. A lot of fellas used to take advantage of that. Telling them they need more tarot—and that the tarot says you need sex with me.

One of the rules of the tarot is that you shouldn’t really take a lot of money for it, like psychics. It’s not good. So I’d take presents, a nice leather jacket. You’d go round to dope dealers and they’d give you two ounces of dope per reading.

Can you imagine visiting, say, Antietam National Battlefield in Maryland and running into Mark E. Smith?

Most interesting, perhaps, is that as recently as 2000, after like 20 studio albums on his resume, Smith was “skint” enough to consider taking the practice up again.

Posted by Martin Schneider | Leave a comment
Before there were ‘Garbage Pail Kids,’ there were ‘Wacky Packages’
11:31 am



Art Spiegelman’s career has produced a wide-ranging body of work. There are punk favorites Garbage Pail Kids trading cards, his comics for Playboy, his New Yorker covers, and (of course) his Pulitzer Prize-winning graphic novel Maus, a complex and stylized account of his father’s reflections on the Holocaust. Spiegelman has worked in the “highest” and “lowest” of artistic milieus, and while Garbage Pail Kids are probably considered the nadir of his vulgarity, his lesser-known Wacky Packages series are their obvious predecessor.

Drawn primarily by Spiegelman and then painted in full by pulp master Norman Saunders, these parodies of household brands were sold in packs of five with a stick of gum. Although packaged as trading cards, they were actually stickers you could pop out, presumably for easy defacement of public property. The work was juvenile and snide, but this stuff was the Clickhole of the late 1960’s, and although reboots and new series of Wacky Packages were launched in later years (with art by the likes of Kim Deitch, Drew Friedman and Bill Griffith) it’s the early ones from Spiegelman and Saunders that really skewered brands in a fresh, irreverent way.

While Wonder Bread actually ended up including the cards as giveaways to get kids to ask their moms to buy their product, other companies got pretty peeved and tried to sue. As a result, each series only ran for a little while, so the stickers quickly developed a cult following, and are now seriously collected by fans. In fact, in 2013, the Topps company tried to sell the original art for the “Band-Ache” sticker for $1 million!


Plenty more of these critters after the jump…

Posted by Amber Frost | Leave a comment
Q: Are We Not Throbbleheads? DEVO’s Booji Boy limited edition
09:40 am

Pop Culture


Booji Boy (you’re supposed to say it like “Boogie Boy” but no one ever does) was a character created by DEVO’s Mark Mothersbaugh in the early 1970s after he found a sick-looking rubber “baby mask” in an Akron, OH novelty store and added a hazmat suit and high-pitched voice. Booji Boy made his first appearance in the short film DEVO made in 1976, The Truth About De-Evolution, where Booji Boy’s father, General Boy, was portrayed by Mothersbaugh’s own father, Robert Mothersbaugh, Sr.

Booji Boy’s “origins” were discussed in the booklet to DEVO’s CD-ROM video game Adventures of the Smart Patrol:

Obsessed with the idea of genetic mutation, Craig submitted to a botched operation in an effort to land a media deal with Big Media. Viola! Boogie Boy - a bizarre adult infant freak with pre-adolescent sexuality and Yoda-like wisdom.

The liner notes also discussed his father’s backstory a bit:

General Boy’s career as a military intelligence officer was cut short over his claim that he experienced an alien abduction. He was made to undergo psychiatric testing which resulted in progressive mental instability. Shortly after his son’s transformation into Boogie Boy, he stopped answering to Mr. Rothwell and became General Boy out of love and sympathy for his son.


And now there is a throbblehead based on Booji Boy, brought to you by Aggronautix, the same folks who have previously produced toys featuring Jello Biafra, Andrew W.K., GG Allin, Roky Erickson and Mark Mothersbaugh himself sporting a DEVO energy dome hat:

Based on DEVO concert photos dating back to the late 1970s, this limited edition bobblin’ Booji Boy figure is wearing his favorite over-stuffed exercise suit, and is armed with an early circuit-bent toy.

Booji Boy is limited to just 1000 numbered units and includes a Booji Boy vinyl sticker sheet. You can pre-order yours now, DEVO fanboys, and it will ship in June. Now they just need to make one of General Boy. That would be very… obscure.

After the jump, ‘The Truth About De-Evolution’

Posted by Richard Metzger | Leave a comment
Bootleg Led Zeppelin album covers from Soviet Russia
08:50 am



The Cold War seems an awful long time ago, long enough that it’s sometimes hard to remember that a huge percentage of our planet’s land mass was officially denied the right to listen to classic rock. You couldn’t just wander into the USSR with a bunch of Mott the Hoople albums under your arm and expect anyone not to mind, there were actual policies about this. Those people who had heard about and liked Led Zeppelin had to resort to illegal, grassroots ways of disseminating the music, and that process included pressing albums illegally and creating fake, yet plausible, album covers.

In the r/vinyl/ subreddit, reddit user “zingo-spleen” uploaded scans of several awesome album covers that were created for illegal Russian pressings of Led Zeppelin albums. Represented are the band’s second through fifth albums, being II, III, IV, and Houses of the Holy, which is hilariously called V in the Russian version.

Helpfully, “zingo-spleen” provided some background about the fantastic covers:

these are two double albums in gatefold sleeves, with a cover on each side. II and III are together as a set, while IV and V (Houses of the Holy) are together as a set. Not sure why the first one is not included - blame the Russians and their twisted logic. I found these in a thrift shop a long time ago and couldn’t bear to get rid of them, even though I’ve had offers.

The record label, AnTrop, was a major force in underground bootlegs, releasing illegal versions of all the most notable classic rock acts:

AnTrop was named after the legendary Russian underground producer and sound engineer, Andrey Tropillo, who in 1990, on the wave of “perestroika,” became the head of the St. Petersburg branch of Melodia. Since there was much turmoil in Russia at the time, he made the St. Petersburg branch independent of central headquarters and started releasing a series of classic Rock albums. These releases were not legitimate. They started with releases by The Beatles, Jesus Christ - Superstar, Rolling Stones, Led Zeppelin, and eventually Pink Floyd. All these records were released using Melodia facilities, but AnTrop was operating as an independent record label and was putting the Antrop logo and their own numbers and copyrights on the covers. However, since all the records were printed in Melodia owned and run facilities, AnTrop had to give its releases additional Melodia catalog numbers, which is why there are two catalog numbers on the releases. Antrop is the label that released most of the Pink Floyd albums in Russia. “P” in the AnTrop catalog numbers stands for Russian letter “P” (that looks like Greek “Pi”). AnTrop records were all pressed in Aprelevka.

According to “zingo-spleen,” the quality of the pressings is “really not bad at all ... certainly listenable.”

I think reddit user “arachnophilia” speaks for us all when he says, “oh man, i love aeg threenneauh.”

(Clicking on the images will spawn a larger version.)


More Soviet Zeppelin after the jump…

Posted by Martin Schneider | Leave a comment
That time when Jimi Hendrix jammed with Jim Morrison. Too bad it sucked.
08:24 am



You’d think it would have been a dream pairing—two legends, both lost to us young, turning up on stage together, and by sheer stroke of fate, it was recorded. Had those two legends been Jimi Hendrix and Janis Joplin, or hell, even Jimi Hendrix and Mama Cass, SHUT UP AND TAKE MY MONEY. But no, it was Jimi Hendrix and the drunken clod Jim Morrison. The result was eventually dubbed “Morrison’s Lament,” an apt title if by “lament” one means “drunken, formless discharge of inane profanities.”

The story of how it went down is hazy, accounts are contradictory, and some of the people who could clarify things are dead. What’s certain is that Jimi Hendrix jammed with some folks at the Scene Club in NYC in March of 1968, and a recording—likely made by Hendrix himself—of that night has been widely bootlegged, usually under the title Woke Up this Morning and Found Myself Dead. Some bootleg liners credit Morrison with vocals and harmonica, while online sources say Lester Chambers played harmonica. Some of the drumming is credited to future Band of Gypsys drummer Buddy Miles, some to “Randy Z,” a nom de rock of the McCoys’ Randy Zehringer, who was accustomed to playing with sweet guitarists, as he’s the brother of Rick Derringer. Johnny Winter is credited as rhythm guitarist, which is not implausible, as Zehringer later served Winter as drummer on a couple of albums and the club was owned by Winter’s manager, but many sources hold that Winter not only denies having been present, he claims to never have even met Morrison. Some lore about the night holds that the second guitarist was Rick Derringer. What is certain is that Morrison was on the East Coast in advance of some Doors performances in New York later in the week, and drunkenly grabbed a mic and commenced howling. (You can hear Hendrix telling him to “use the recording mic” at about 0:30.)

The liner notes on a 1980 UK edition of the LP were written by Hendrix biographer Tony Brown (Jimi Hendrix: Concert Files, Jimi Hendrix: The Final Days), who offered no help as to who played, but DID shed some light on the provenance of the tapes.

This recording stems from 1968 in the Scene Club, owned incidentally by Steve Paul, Johnny Winter’s manager. Jimi was a frequent visitor here because he loved the atmosphere and also loved to jam and as he always had a tape machine on hand, that night was captured forever, giving an insight into Jimi’s blues side, which he always reverted to when playing without any commercial pressures.

The tapes of this jam became the property of Michael Cox, who was founder member of the Irish group Eire Apparent, a band Jimi managed and produced. Peter Shertser from Red Lightnin’ Records had been offered the tapes by Cox and as he liked what he heard, an agreement was made in December 1970. However, another record company famed for issuing country and western records had previously heard the tapes and had surreptitiously made a copy. The tapes soon hit the market as a bootleg under the name “Sky High,” action was taken and an injunction issued to the other record company, whereupon the album strangely disappeared from the market!


More hammered Jim and Jimi after the jump…

Posted by Ron Kretsch | Leave a comment
The tricked out ‘Jingle Trucks’ of Pakistan
06:56 am



Jingle Truck with Sari woman on hood
Across Pakistan it is common to see things with wheels ornately painted and adorned. The port city of Karachi, is the epicenter of this long-practiced tradition.
Practically every vehicle, from a garbage truck to a rickshaw, is opulently decked out with everything from colorful murals to historic or symbolic images. Sometime around 1920, the tradition of decorating a truck prior to it heading out on a long trip was born. Known as “Jingle Trucks,” Pakistan’s love affair with the Bedford, the heavy-duty truck that started the craze, came to Pakistan from UK automaker Vauxhall Motors after the first World War. To this day, the vintage vehicle is is still a vibrant part of Pakistani culture.
University of Karachi professor and artist Durriya Kazi who has studied truck art for several decades, believes that the age-old practice can be connected to Sufism; a mystical side of Islam that focuses on spirituality and body purification. Kazi says decorating the trucks is a way to obtain “religious merit,” such as the Sufi practice of embellishing a shrine or religiously significant site. In other words, by paying tribute to the truck by adorning it, the owner is ensuring that the truck will reward them by not breaking down along the highway, so to speak. Looking at photos of what may be best described as a mobile art installation, it’s not difficult to conceive that Jingle Truck owners spend a lot of cash tricking out their sweet rides.
Jingle Truck front end
As the years pass, things change and evolve with the times. This is especially the case when it comes to the decoration of the rear end of a Jingle Truck. Professor Kazi noted that in the past, mostly political figures would adorn the back of the truck. Now it is more common to see a portrait of a “Pashto” (a genre of popular music) pop-star or a family member on the back of a vehicle driven by a more progressive-minded Jingle Truck owner. Some folks even speculate that “Dekotora” the truck decorating craze in Japan that started
The back of a Jingle Truck

Jingle Truck back panel portraits
More Jingle Trucks after the jump…

Posted by Cherrybomb | Leave a comment
Watch Spacemen 3 perform a mind-leveling, 20-minute homage to Suicide
06:22 am



If you’re a fan of Spacemen 3 (or Spiritualized, or Spectrum, or Suicide, or the Stooges, or anything else from the ‘S’ aisle of your local record store’s rock section), celebrate Friday by bathing your mind in this 20-minute live version of the trio’s homage to Alan Vega and Martin Rev. While the studio version of “Suicide” on Spacemen 3’s classic Playing With Fire has a stately, Krautrockish grandeur, only in live performance does the song’s lone riff achieve escape velocity.

This handheld camcorder footage, from Spacemen 3’s performance in Enger, Germany on May 6, 1989 (full show here), is not the most visually stimulating thing you will ever see. But the sound will massage your limbic system real nice, especially if you have a pair of headphones.

Posted by Oliver Hall | Leave a comment
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