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White supremacist heavy metal murderer’s secret to picking up white chicks

Varg in his younger days.

Unless you’re a big Burzum or Mayhem fan, probably the only context you have for Varg Vikernes is that he’s that one Norwegian black metal dude who murdered that other Norwegian black metal dude and then became a white supremacist—and you’d be right! But with all the murders and church burnings and virulent racism (and possible attempted terrorism) that surround such a polymath of a man, it’s easy to forget that Varg is first and foremost a romantic at heart… but like, a really, really racist one.

Vikernes regularly communicates with his fans via video and blog, but black metal neo-Nazis have more on their minds just than heavy tones and the Zionist conspiracy—namely, they want some o’ dat fine white Aryan tail! In what appears to be a car with his kids in the back, Vikernes reveals the key to winning your very own alabaster bride—be a hero! Chicks love that shit! And remember, the fitness of the race is on the line here!

Present day Varg, with the little woman…

So let’s not forget ol’ Varg’s partner in whiteness, Marie Cachet. She has also written on the subject. From her blog post/polemic, “The Role of Women”:

It is terrible to see some “pro-white” defending the fact that the white woman is first and foremost a free woman, and that she has the right to go around half-naked in the street if she wants. This is not why we fight, this is not freedom. We are not fighting for what they call “progress” we are fighting to save the heart of our forebears.

Continues after the jump…

Posted by Amber Frost | Leave a comment
James Gang to Jesus Freak: The strange journey of Glenn Schwartz, blues guitarist, ultra kook

Glenn Schwartz
Here’s a truly strange tale about Cleveland guitar madman turned Jesus freak madman, Glenn Schwartz. Schwartz, a blues guitar virtuoso of whom Jimi Hendrix was allegedly a fan, could have quite possibly become legendary, playing in the mid-to-late sixties with the likes of The James Gang and Pacific Gas & Electric among other rock and blues outfits before something went horribly wrong (or amazingly right, I guess, depending on who’s telling the story). 

For starters, let me just say that a whole lot of the information that I gathered for this post came straight from the horse’s mouth in an interview that Schwartz did when he was inducted into the Cleveland Blues Society in 2013. In it, Schwartz is completely open about his contentious history and about the strange religious transformation that changed the whole trajectory of his life and music. The interview indicates that Schwartz was born and raised in Cleveland’s working class Collinwood neighborhood and that he got his first guitar at the age of ten. He began taking lessons at the age of 11 and winning contests and kicking ass at his instrument almost instantly, and according to Deanna R. Adams in her amazingly detailed Rock ‘n’ Roll and the Cleveland Connection, Schwartz soon became better than his teachers. As he grew up, he played constantly in everything, in polka bands, wedding bands and in the mid sixties, with a group called the Mr. Stress Blues Band. He also started playing with the first version of The James Gang in 1967 and began to get some attention. From Rock ‘n’ Roll and the Cleveland Connection:

Schwartz gained [The James Gang] local celebrity by playing the guitar with his teeth (before Hendrix!) and playing while hanging upside down form guitarist Bill Jeric’s shoulder.

Eventually, according to Schwartz in the Cleveland Blues Society interview, he headed to California where drummer Adolfo “Fito” de la Parra from Canned Heat got wind of the blues virtuoso and hooked Schwartz up with Pacific Gas and Electric Company. He gained serious notoriety for being kind of an otherworldly blues man. The Cleveland Blues Society interview indicates that people were calling him the white Hendrix. Deanna Adams and the interview both state that he was offered a spot in The Allman Brothers Band before the job went to Dickey Betts. Notably, Schwartz played at Jimi Hendrix’ last birthday party.

But drugs and alcohol were beginning to take a serious toll. He says in the Youtube interview that he was almost dead, he could barely play anymore and nobody wanted anything to do with him. And then, according to Schwartz, one night on the Sunset Strip, at his lowest of lows, he runs into a street preacher, falls down on his knees and become a certified Jesus Freak right there on the spot. He cleaned himself up and held on to his position in PG&E for a while, but oh man with the Jesus. He says he had the band singing gospel songs and was constantly berating the whole crew with the fact that they needed to be saved. According to Schwartz, it got to the point where they only kept him on board because, again, he kicked so much ass on the guitar. Schwartz goes on to say in the interview that when PG&E toured, the band gave him his own hotel room and separate transportation and basically started having very little to do with him except onstage. In the interview, Schwartz says that he would, despite the band’s misgivings about the whole thing, get on a microphone in front of 80,000 people telling the crowd they needed to find God. And then, finally, “enough with the fucking Jesus already” got him kicked out of PG&E once and for all.

Adams points out in Rock ‘n’ Roll and the Cleveland Connection that Schwartz was a featured artist at the Miami Pop Festival in 1969 before he returned to Cleveland in 1970 and started a band with brother Gene on bass called (appropriately enough) the Schwartz Brothers. But, according to Schwartz in the blues society induction interview, he began drinking again and eventually did time at a workhouse on a spousal abuse charge. After jail time, Schwartz fell in with Larry Hill, a real-deal member of the Jesus movement running a Christian commune in Orwell, Ohio and he stayed there on the farm for seven years. He recorded four records with an evangelical musical outfit called the All Saved Freak Band. The records are kind of great with excellent players spinning out a trippy blues/folk amalgamations as long as a you can get past the preaching the word of God thing (unless, of course, that is your thing, in which case you don’t have to get past it, I guess). They toured the country promoting the farm’s ministry to some notoriety. If you really want to get freaky one night, put on this shit from the 1976 album amazingly titled For Christians, Elves and Lovers.
All Saved Freak Band
Eventually, according to Swartz in the interview, his parents, apparently worried about losing Glenn forever into the commune, sent in this guy Ted Patrick (an entire article could itself be written about him) who made a name for himself in the 70’s “deprogramming” cult members. Schwartz says in the interview that he was handcuffed by bikers before Patrick went to work on him in a hotel room on Euclid Avenue in Cleveland, but Schwartz held on to the biblical belief and stayed on the farm. When he came out of the experience he recorded an album called Brainwashed with The All Saved Freak Band. He left the farm in the late seventies while continuing to play all over the place and taking the Jesus freakishness to fire-and-brimstone levels of fury.

More after the jump…

Posted by Jason Schafer | Leave a comment
John and Yoko shine on in these rarely seen photographs from 1980
12:38 pm


Yoko Ono
John Lennon
Kishin Shinoyama

These rarely seen photographs by acclaimed photographer Kishin Shinoyama were taken over the course of several days in September of 1980 for John Lennon and Yoko Ono’s album Double Fantasy. It was the last studio recording by Lennon before his tragic murder in December of 1980 and these photographs are particularly bittersweet in light of what was to come.

Kishin Shinoyama and Yoko Ono are releasing a book of photo essays called Double Fantasy published by Taschen this month in a limited edition of 1,980 copies (1980). Money can’t buy you love but it can buy you this book for $700. If you’re a fan it may be some kind of love.

Here are photographs from the book and a video on Shinoyama and Ono’s collaboration on its making.


More after the jump…

Posted by Marc Campbell | Leave a comment
‘We don’t come from a jacuzzi, we come from the ghetto’: Priceless ‘86 Agnostic Front footage
09:19 am


Agnostic Front
New York hardcore

With this week’s article on “New York hardcore” in The New Yorker of all freaking places, it’s safe to assume enough time has passed that the intelligentsia are willing to reevaluate a culture that was once considered lowbrow, even by punk rock standards. Even if much of the endearing lunkheadedness of the ‘80s New York hardcore scene might be lost on the typical reader of The New Yorker, it’s put in enough of a historical context to not really be threatening anymore. Then again, 30 years on, people get old and soft—for all we know a substantial chunk of New Yorker‘s target demo may have been moshing it up, going fucking wild, at mid-80’s CBGB matinees.

Agnostic Front were the undisputed godfathers of the New York hardcore scene. Their 1983 seven inch “United Blood” EP set the standard for what would be the culture erupting around them. Their sound was solidified with the near-perfect Victim in Pain album. “Near” perfect, save for maybe the unfortunate cover photo choice of a Nazi executing a Jewish prisoner, which didn’t help their case with an increasingly leftist Maximum Rock and Roll magazine-inspired punk scene, who were already wary of the politics of a group of pro-American, east-coast skinheads.

Agnostic front singer, Roger Miret, explains the cover choice in a Thrasher Magazine interview:

I don’t know. I had found this really cool World War II book. The original picture of Victim in Pain was a completely different cover; it was a picture of me on top of the crowd at CBGB’s. Then I saw that cover picture and said, “Wow, this is really fucking intense. This says it all, a victim in pain. How insane is this guy looking to the camera as he’s about to get shot? What’s the message here?” Well, the message is, if this happened once it can definitely happen again. It was clear.

Despite the band’s numerous claims of being a “unity band,” with song lyrics asking for unity between “blacks and whites,” and “punks and skins,” a crusade by Maximum Rock and Roll‘s Tim Yohanon essentially got the band unfairly branded as “possible fascists.” While their politics may not have always been the most well-reasoned or thought-through, painting them with a scarlet “F” was undeserved.

The fact is, as you’ll see in the following video—which includes absolutely amazing live footage of United Blood and Victim in Pain songs—the band were basically misunderstood meatheads.

Guitarist Vinnie Stigma says it best:

“Agnostic Front comes from the ghetto. We don’t come from the suburbs of California, from a jacuzzi. We come from the ghetto.”

The real reason to watch has nothing to do with the interviews and the politics, it’s the music, which is surprisingly well-recorded for a video of this era, with energetic, aggressive performances.

Posted by Christopher Bickel | Leave a comment
‘Pukebox’: The 50 most sickening songs
08:39 am


The Ex

It’s hard not to like the Ex, the Dutch anarcho-punk band that has transformed into a wild improv ensemble over the last 35 years. Back in 2002, when they were stumped as to how to book a tour of Ethiopia, they just showed up in the country with a PA and a generator, then drove from town to town and played wherever the locals would let them. If everyone acted more like the Ex, you would love your job.

Pukebox,” posted on the Ex’s website, is a list of the 50 songs the band hates the most:

The 50 most sickening songs according to The Ex; most heard in gas stations and supermarkets, creating physical discomfort[...] There are enough top 50s out there. Here is our Vomit 50, The Ex Pukebox. Feel free to post yours on our facebook page.

Imagining the Ex’s suffering as they encounter these songs on the road cracks me up, and it’s hard to imagine a more deserving candidate for first place than Band Aid’s “Do They Know It’s Christmas?”

1 Band Aid - Do they know it’s Christmas Time (1984)
2 U2 - Where the Streets Have No Name (1987)
3 John Miles - Music was my first Love (1976)
4 Wings (Paul McCartney) - Silly Love Songs (1976)
5 Meat Loaf - Paradise by the Dashboard Light (1977)
6 Queen - We Are the Champions (1977)
7 Boomtown Rats - I Don’t Like Mondays (1979)
8 Paul McCartney and Stevie Wonder - Ebony and Ivory (1982)
9 USA for Africa - We are the World (1985)
10 Billy Joel - Uptown Girls (1983)

The rest of the worst after the jump…

Posted by Oliver Hall | Leave a comment
The Melvins’ King Buzzo talks about his rescue dogs
06:46 am


King Buzzo

There’s all kindsa Melvins news to report: they’re soon to be the subject of the documentary with the best name ever, The Colossus of Destiny - A Melvins Tale, which you can help Kickstart here, and they’ve announced a summer tour to support their LP Hold It in, with the Butthole Surfers’ Jeff Pinkus on bass (YAY!). But I’d way rather tell you about the band’s singer/guitarist Buzz “King Buzzo” Osborne’s recent interview on Dogster. It seems that the godfather of sludge-metal and his wife have quite a few rescue dogs, and frankly, I respond to dogs the way the Internet writ large responds to cat pictures. I have a rescue, myself, a terrier mutt, most likely part miniature schnauzer, part Boston, possibly part Scottie, named “Lulu” after Emily Flake’s alt-comic, and she happens to be the single most adorable goddamn thing on Planet Earth. (I’ll spare you the treacly “who rescued who” shit, as I hate that kind of naked mawkishness with the power of a million squirrels.) If I lived on a huge property instead of in a rented duplex, I’d probably have a commensurately large number of rescue dogs. Dogs kinda rule.

Osborne talked to Dogster’s Kezia Willingham about life with his two Jack Russells and his Staffordshire, Buster, Coco, and Gigi (cool that he’s a terrier guy, too…), and how he and his wife came to be serial rescuers:

The first dog my wife and I had was a rescue Pit Bull-Whippet-Lab mix named Itchy. He lived to be 17, and we had to finally put him down a little over a year ago. That was tough. He was pretty much the best dog ever.

When we got him, he had been severely abused and had never been indoors, never slept on a dog bed, and never eaten or drank out of a bowl. He was malnourished and extremely skittish. The people who had him before us used to let their children throw baseballs and other assorted garbage at him while he ran around terrified and helpless in their backyard. People who behave like that should be in jail. They ended up abandoning him to a neighbor of theirs, who told us the whole story.

He didn’t trust us at first, but once we started treating him right he warmed up and became a wonderful companion for the better part of two decades. I can’t imagine a better dog. The first time he ever tasted steak, I thought his eyes were going to pop out of his head.

Rest in peace, Itchy. G’boy.


More after the jump…

Posted by Ron Kretsch | Leave a comment
‘Citizen Zombie’: After 35 years, the Pop Group return in fine form
06:41 am


The Pop Group
Citizen Zombie

Gang of Four’s terminal descent into hitherto unexplored depths of laughable badness prompts questions about the meaning and value of “authenticity,” some of which that band’s stalwart guitarist Andy Gill addresses himself in this essay (caveat: while it contains some ideas seriously worth discussing, the post at that link is uncomfortably closer than I hoped I’d ever get to watching a 60-ish year old man jack off to his own reflection in a full-length mirror). And it raises eternally familiar questions about what it means to age as a rebellious or difficult artist, especially in as youth-obsessed a milieu as rock music. There’s hardly a shortage of exemplars in Go4’s cohort—Michael Gira is 61, and Swans are making their best music ever. Genesis P-Orridge, at 65, has lately released a wonderful LP called Snakes under the Psychic TV banner. And WIRE? That band seems to be completely unstoppable. And while a few of their edges are sanded over on their recent reunion album Citizen Zombie, the Pop Group have successfully contemporized their sound without even slightly debasing it.

Sample Citizen Zombie after the jump…

Posted by Ron Kretsch | Leave a comment
New Zealand newscaster moved to tears by impromptu Sharon Van Etten serenade
05:05 pm


New Zealand
Sharon Van Etten
John Campbell

John Campbell is a well-known news anchorman in New Zealand—the show he hosts, Campbell Live, even bears his own name. His busy schedule prevented him from catching a concert in Auckland by his no-doubt-about-it favorite chanteuse, Brooklyn’s own Sharon Van Etten, and it was really bumming him out.

One of his colleagues, Ali Ikram, decided to surprise him during a live telecast with a special remote performance by Van Etten on Campbell Live—the touched host was taken completely by surprise.

Ikram began by referencing “the secret pain that you’ve been nurturing for days” before asking Campbell oblique questions about Van Etten, such as “What’s this performer’s name, that you like so much?” and then, “What does she look like? Is she about this high?” gesturing with his hand, before the camera swiveled to reveal the diminutive singer (who didn’t have headphones on and therefore couldn’t hear the particulars of what was being said.

Campbell said, “I’m completely taken aback! I had no idea!” adding, “Sharon, you ain’t Justin Bieber.”

Ikram continued: “What you need to know about John, audience, is that he’s incredibly passionate about music,—and he gives us long dissertations about each song, and we love all of them.” Campbell responded by saying, “I love Sharon’s music a stupidly large amount.” You’ve never seen a newscaster as happy as Campbell did at that moment.

Van Etten played a lovely rendition of “Tarifa” off of her 2014 album Are We There.

As she was ending the song, Campbell said, “I can’t recommend her music highly enough. ... This has been a very magic treat.”

via The Concourse
Thank you Kevin Neudecker!

Posted by Martin Schneider | Leave a comment
Sextape: Hours and hours of awesome music from ‘70s porn films
11:45 am



I’ve blogged before about the French music producer known only as Drixxxe who makes these pretty spectacular mixes of songs from ‘70s softcore porn-y films. Since the last time I wrote about Drixxxe, he’s added two more mixes to the “Sextape” theme. They’re both amazing.

A lot of these don’t have tracklists, but some of songs come from films like Sessomatto, Black Lolita, Aunt Peg, Madame Claude, Emanuelle and the Girls of Madame Claude, Vampyros Lesbos, Sex O’Clock USA, Skin Flicks, Odyssey, Le Sex Shop and Emanuelle and the Last Cannibals and many, many more.

Here they are for your listening pleasure. Enjoy!

Below, Sextape 1:

The rest after the jump…

Posted by Tara McGinley | Leave a comment
‘Encyclopaedia of Ecstasy,’ incredible anarcho-goth-punk zine from 1983

I’ve hardly encountered a specimen from the postpunk years of the early 1980s that better exemplified how mixed up and stimulating all the categories were getting, than The Encyclopaedia of Ecstasy, Vol. 1, an utterly mind-boggling zine put out by Alistair Livingston in 1983. Livingston had/has associations with the anarchist collective/zine Kill Your Pet Puppy which ran from 1979 to 1984…. he references Crass and Bauhaus and Blood and Roses. While one wouldn’t necessarily expect that a “psychedelic goth punk fanzine,” as Livingston himself termed the project, would contain visions that might have emerged from Arthur Rimbaud‘s absinthe-drenched writings, the fact is that any movement led by Crass and Psychic TV was going to be awfully erudite and aestheticized, fueled by some pretty foreboding concerns over technology and culture. It’s so “political” that it fans out into almost pure (hyperverbal, psychedelic) sensation. In keeping with the absinthe feel, one page is titled “Vivé La Decadence, Paris 1893-London 199?”

The cover, complete with an all-seeing Masonic pyramid, reminds me a great deal of Gustav Klimt, which when you consider that it appears to have been executed purely with blocky magic markers, is awfully impressive. (The Klimt association is far from accidental—page 6 features a Xerox’d shout-out to Klimt’s “Jurisprudenz,” which was later destroyed by the Nazis.) At one juncture Livingston inquires, “why aren’t crass the psychedelic furs?” (Good question!) There are suggestive cut-and-paste headlines such as “whoops there goes another nuclear plant” or “man sees world saved by robots.” At the bottom of page 1 is an exuberant shout-out to the like-minded: “There is more… Like “Kill Your Pet Puppy” (a zine)…. The Anarchy Centres, the Black Sheep Co-op, punk lives (!), the people, the music, the squats, the whole beautiful chaoticness.”

Livingston is still active, he has run a stimulating blog called greengalloway for years—in this entry from 2005 he quotes from his own diary from this same era, name-checking Throbbing Gristle, Psychic TV, Lou Reed, Blood and Roses, et al.

This is a pretty rare item—you can get one from Portland antiquarian project Division Leap for $125.

(If you click on any image in this post, you can see a much larger version.)

More after the jump…

Posted by Martin Schneider | Leave a comment
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