follow us in feedly
What the actual fuck? Barney’s is selling Black Flag shirts for $265
08.03.2016
01:26 pm

Topics:
Fashion
Punk

Tags:


 
Look, right up front, I absolutely despise alterkaker getoffmylawning about how “PUNK DOESN’T MEAN ANYTHING ANYMORE” blah blah blah. Punk is 40 fucking years old, it maybe doesn’t have to mean the same thing it used to. There’s more than one way to rebel, and if thekidstoday™ aren’t doing it in a way you can recognize, that might be on you.

Furthermore, handwringing about commerce ruining everything that was once pure and holy is some goddamn Baby Boom narcissist bullshit. Music was forever tainted by commerce the day someone first printed and sold sheet music. Without commerce, your favorite band doesn’t survive.

But all that being said, JESUS FUCK, THIS IS SOME BULLSHIT:
 

 

The pants—are those knickers? Is that a thing now?

Crafted of black brushed Japanese cotton-cashmere jersey, R13’s T-shirt is printed at front with white “Black Flag” lettering and graphics and styled at sides with decorative elongated zippers.

Yep, Barney’s, that NYC department store for assholes who have too much money and want everyone to know it, is selling Black Flag shirts for $265 (not even gonna link it). Even if the band gets a cut of that, well which band? The embarrassing and awful Greg Ginn version that wouldn’t exist if anyone involved had any goddamn sense? Ugh.

More after the jump…

Posted by Ron Kretsch | Leave a comment
Quickie documentary on the 80s Austin punk scene including The Big Boys and The Offenders
08.01.2016
08:19 am

Topics:
Music
Punk

Tags:


 
I’m forever a sucker for any historical documentation of the 80s hardcore punk scene, particularly pieces like this that were created under the radar and then lost to the sands of time. YouTube has gloriously resurrected so much of this kind of material, including scores of TV evening news reports, such as this one on the “crazy” new music and fashion fads of the 1980s.

What we have here is a four-minute-long documentary from 1985 on the Austin, Texas punk scene which was produced by Robert Wynne at the University of Texas at Austin School of Communications for his master’s degree.

The short video contains interviews with music critics, students, and Randy “Biscuit” Turner of the legendary Austin punk/funk band, The Big Boys. Turner, widely regarded as a pioneer gay performer in the world of punk rock, sadly passed away in 2005.

The video contains a Big Boys photo montage which is set to their classic track “Fun, Fun Fun” from the twelve inch EP of the same name—unfortunately, the producer of the video didn’t realize (or maybe he did?) that the EP was meant to be played at 45 rpm. The version of “Fun, Fun, Fun” here is clearly being played at 33 rpm, which is either tragic or comic depending on the producer’s intent. 

More after the jump…

Posted by Christopher Bickel | Leave a comment
Unseen video of the Micronotz, Kansas punk comrades of William S. Burroughs, a DM premiere
07.29.2016
08:55 am

Topics:
Music
Punk

Tags:


Randy “Biscuit” Turner’s cover art for the Micronotz’ third LP, The Beast That Devoured Itself
 
Last year, I posted about the Micronotz (originally named “The Mortal Micronotz”), a punk band from Lawrence, Kansas that released four albums and a live EP between 1982 and 1986, all out of print for yonks. Hoboken’s Bar/None Records has just digitally reissued the band’s entire catalog, and to celebrate, we’ve got previously unseen video of the Micronotz playing at Minneapolis’ First Avenue 31 years ago, to the day!

As you may know, William S. Burroughs was a punk sympathizer. He sent the Sex Pistols a telegram as a gesture of solidarity in ‘77, and when he moved to Lawrence in ‘81, he gave the local teenage punk band a song lyric he’d written. This nursery rhyme about a woman eating her children became “Old Lady Sloan,” a thrash tune on the debut The Mortal Micronotz. Years later, the author contributed to a Micronotz tribute album, doing his own interpretation of “Old Lady Sloan.”
 

 
The Micronotz’ early records have the anger and momentum of punk, and the melodies and chords are continuous with garage rock tradition (i.e., not Flipper). They played with everybody, or everybody who came reasonably close to Lawrence: X, REM, Minor Threat, Hüsker Dü, Suicidal Tendencies, TSOL, et al. They even opened for SPK at the mindhurting Lawrence show captured on The Last Attempt at Paradise. American Hardcore (the book) likens them to the ‘Mats:

TAD KEPLEY (Anarchist activist): The Micronotz from Lawrence were one of the original American Hardcore bands. They started playing in 1980, and broke up in 1986 after an album on Homestead. They never got the recognition they deserved. They were along the lines of the Replacements — and were equally as popular in the Midwest. They played Minneapolis all the time at First Ave/Seventh Street Entry, and they played Oz in Chicago. The first Micronotz record and EP could easily fall under Hardcore — the other bands back then certainly considered them to be Hardcore.

 
More Micronotz after the jump…

Posted by Oliver Hall | Leave a comment
That time Ween opened for Fugazi at City Gardens
07.28.2016
08:58 am

Topics:
Music
Punk

Tags:


 
If you’ve read “Understanding Trump” by the cognitive scientist George Lakoff, you might recognize aspects of “strict father morality” in Fugazi’s code. It was funny, escaping the hierarchies of home and school to attend a Fugazi show as a teenager: You didn’t know which songs they were going to play, but you could be sure they would deliver a stern talking-to about your behavior before the night was over. That was a new development in rock and roll; I doubt Gene Vincent’s audience would have stood still for such a lecture, even if Gene had been the guy to give it.

Don’t get me wrong, they were great. But the values we associate with Fugazi—discipline, hard work, sobriety, authority, frugality, self-reliance—are traditionally paternal.
 

 
That’s why it’s such fun to imagine Ween, the crowned and conquering child of 90s rock, opening for them at Trenton, New Jersey’s City Gardens on March 19, 1991. Then a crazed, wasted suburban duo backed by a tape deck, Ween was still pretty loose back then, and at least as irresponsible as the Butthole Surfers: On that year’s The Pod, they encouraged their fans to believe Scotchgard™ was an excellent high. It’s almost impossible to imagine them lecturing a crowd about stage-diving. All they demanded of their fans was to keep bringing them home-cooked food.

Apparently, the show is briefly discussed in the City Gardens oral history No Slam Dancing, No Stage Diving, No Spikes. I had clean forgotten about it until last weekend, when, strangely enough, my copy of Flipside #84, in which I first read about this legendary bill, turned up during a long and fruitless search for my Pure Guava T-shirt. In Flipside reporter Ted Cogswell’s hard-hitting interview with Ween, conducted in January ‘93, Gener and Deaner cleared up some important points: if Pure Guava were a drug, it would be “love boat”; no, they had never really huffed Scotchgard™ (“Sorry kids”); and yes, they really had opened for Fugazi. All typos have been preserved out of respect for the indomitable fanzine spirit:

Ted: Wasn’t there an infamous show at City Gardens (in Trenton, NJ) once when you opened for Fugazi?
Gene: They hated us.
Ted: I heard that you guys just started, like, playing one note over and over again, and were staring into space,...
Dean: No, those are just rumors. We played that Ozzy Osbourne-Lita Ford duet, “When I Close My Eyes Forever”, They hated that. Then we did “Where Do The Children Play” by Cat Stevens.
Gene: And they hated that. It’s not a problem now anymore though, because people are starting to like our shows, so we can’t do “Where Do the Children Play”. We save that for, like, when we’re about ready to get shot.

 
More after the jump…

Posted by Oliver Hall | Leave a comment
A Covers Album: Front covers of New York Rocker, 1976-1982
07.26.2016
09:44 am

Topics:
Media
Music
Pop Culture
Punk

Tags:

001New-York-Rocker-1.jpg
 
The New York Rocker was a punk/new wave magazine founded by Alan Betrock in February 1976. It was produced by a dedicated, tight-knit group of young men and women—a “remarkable breed” of contributors—who had a passion for music that was outside the mainstream. They wrote feisty, opinionated reviews. They took their subject matter seriously, giving it the respect the well-financed music press gave to say Led Zeppelin, The Rolling Stones, Genesis, The Eagles or any other stadia-filling corporate-backed band. The New York Rocker was hugely influential early on in identifying and promoting American indie rock.

A total of 54 issues were published between 1976 and 1982 when the magazine folded. It was briefly revived in 1984 but never achieved the same success.

Just looking at these covers for New York Rocker there’s a great sense of the history and in particular the incredibly high quality of new music that came out of punk and new wave each week during the late 1970s and early 1980s—the likes of which we may never see again.
 
002New-York-Rocker-2.jpg
 
003New-York-Rocker-3.jpg
 
004New-York-Rocker-4.jpg
  
More covers from the New York Rocker, after the jump…

Posted by Paul Gallagher | Leave a comment
Slade: Not just for Christmas but the whole year round
07.21.2016
12:33 pm

Topics:
Music
Pop Culture
Punk

Tags:

0_1edals1.jpg
 
It starts around late October every year—the loop of Christmas songs played out over sound systems and tannoy in department stores and shopping malls across the UK. Songs by one-hit-wonders and novelty acts that somehow found a place in the nation’s heart rub along nicely along with festive number ones by artists like David Bowie, Bing Crosby, The Waitresses, Wham and Wizzard.

These Christmas compilations are a good little earner for the songwriters’ pension fund. The only downside being that some of these artists are now best known for their Christmas number one rather than the quality of their back catalog. It’s a fate that could almost have happened to Slade whose festive stormer “Merry Xmas Everybody” is now “credited” with starting the seasonal race for the Christmas number one.

But Slade aren’t just for Christmas—they’re for all year round.

Slade were Noddy Holder (guitar, lead vocals), Jimmy Lea (bass, violin), Don Powell (drums) and Dave Hill (lead guitar). They were according to Paul McCartney the heir apparent (along with T.Rex) to The Beatles and The Stones. From 1970-1975 Slade had seventeen top twenty singles, six number ones—three of which went straight to the top of the charts—and sold over six-and-a-half million records in the UK alone—a feat not achieved since the days of the Fab Four.

I was first introduced to Slade by my older brother. As kids we shared a bedroom which meant anything one of us played on the record player both of us had to hear. This is how I was introduced to a lot of music I might never have tuned into—it was a shared experience unlike the i-pod users today who dwell in their own little jukebox. Slade may not have started off as one of my favorite bands—but I sure as hell grew to like them and appreciate why they were brilliant and in their own way, very very revolutionary.
 
0_1edals4.jpg
 
The album that started it all off was Slade Alive—one of the greatest live albums ever recorded. A garish red gatefold LP that everyone seemed to own. One listen to that whole album explains why Slade were such an influential and revolutionary band—go on just stream the sonic armageddon at the climax of last track side two “Born to be Wild”—it’s eight minutes and twelve seconds of Slade delivering the future of rock ‘n’ roll music.
 
More from Slade, plus concert footage in East Germany from 1977, after the jump…

Posted by Paul Gallagher | Leave a comment
Shit happens: Future Fox News anchor Shep Smith reports on the time GG Allin came to Florida
07.19.2016
10:11 am

Topics:
Punk
Television

Tags:


 
Whereas I am certainly no admirer of GG Allin—he brought nothing to rock and roll and may his soul rot in Hell—I admittedly LOL’d at this vintage local news clip about one of his shows in Orlando, FL in the early 1990s reported on by none other than future Fox News anchor Shepard Smith!

During this WCPX-News 6 evening news broadcast Smith told viewers about how clubgoers at the Space Fish Cafe had

“... paid $7 to watch a man defecate into his own hand while he was nude. And that is just the beginning.”

Smith is almost comically unflappable at the notion of an asshole throwing his own shit around a nightclub. No wonder Fox News hired him.

But the real star of the show is the guy who was merely an innocent bystander when the feces-covered Allin ran out of the club. The one who makes the LOL comment about “well-to-do white kids.” I’d quote it here but I’d rather force you to watch it.

Near the end of the report, the club’s owner oddly muses that this is “the first bit of the big city that’s come to Orlando.” What does that even mean in this context? Which big city is he referring to?
 

Posted by Richard Metzger | Leave a comment
‘Ghost Rider’: Amazing new video surfaces of Suicide, live in 1980
07.17.2016
06:21 pm

Topics:
Art
Music
Punk

Tags:


 
This newly re-mastered and edited video by Merrill Aldighieri captures Suicide performing “Ghost Rider” in 1980.  It is some of the best footage you’ll ever see of the legendary rock pioneers.  Alan Vega shines in an atypically subdued but still pretty intense performance. Edgar Allan Presley.

As the resident video jockey at New York City rock club Hurrah, Aldighieri documented some of the best live performances by cutting edge bands of the early 80s including
Gang Of Four, Magazine, Bush Tetras and Suicide. In this edit,  Aldighieri has incorporated the older footage with new imagery filmed at a retrospective of Alan Vega’s paintings and sculptures in Lyon, France that took place in 2009.

Merrill Aldighieri’s website ARTCLIPS is a marvelous compendium of digitally re-mastered Hurrah concert videos made between 1980-1981 among many other delightful things. Visit it.

Merrill is a friend and shot footage of my band at Hurrah in 1980. I asked her for a comment about Alan Vega and this is what she wrote:

The night I met Alan, Oct. 1, 1980 on stage at Hurrah, I was terrified by his unbridled passion. It took all my courage not to turn away. The next time I met him was in his loft downdown. We talked for hours. He did not shy away from anything. His life was an unsolved mystery and you were invited to be a witness, a participant. Humility and talent in equal generous doses. I guess that’s why he was such a good collaborator. He was very proud and in wonderment at the joy of being a father too. He did not hold back.

Legendary punk rocker and Dangerous Minds’ contributor Howie Pyro knew Alan quite well and describes him as…

a man so ahead of his time he left us all in the dust. One of the first times I ever went out to a club in 1976 I saw Suicide open for Blondie & was not prepared for the onslaught of volume, sound, blood, real violence, art, and true rock n roll but with NO guitars or drums!! It blew my mind & I grew up a lot that night…had I known I would be recording with “that guy” 20 years later I’d have (happily) fainted…

Ironically, a man in a band called Suicide approached this mortal coil with the kind of no bullshit intensity that makes life way too interesting to abandon.
 

 

Posted by Marc Campbell | Leave a comment
Adam Ant’s brief career in comedy, 1982
07.15.2016
11:32 am

Topics:
Amusing
Music
Punk

Tags:


Adam Ant trying his hand at comedy during his appearance on the Cannon and Ball show, 1982.
 
Here’s something you don’t see everyday—Adam Ant dressed up as a caballero dancing his own version of a “Jarabe Tapatío” (or Mexican “hat dance”) during his appearance on Cannon and Ball, a UK comedy television program that was on the air from 1979 to 1988. Say WHAT?

Of course seeing Adam Ant dressed up like a caballero isn’t really much of a stretch given the fact that for much of his career he looked like a punk rock version of Tonto—but that’s besides the point. On the show, the then 28-year-old Ant (born Stuart Leslie Goddard) and the show’s stars, Tommy Cannon and Bobby Ball (Thomas Derbyshire and Robert Harper respectively) put on an amusing song and dance routine with Ant playing his role to the hilt all while maintaining a straight face.

According an article published back in 2013, Ant actually credited his appearance on the show with helping his 1982 smash “Goody Two Shoes” hit number one on the UK singles chart. While the footage isn’t great great quality it is a fantastic “who knew?” moment involving one of my fave raves. Plus Adam Ant lipsynching for his life and dancing by himself for three-plus minutes until he’s out of breath on Cannon and Ball doing you guessed it, “Goody Two Shoes.” Vive Le Ant and Olé!
 

Adam Ant performing in a comedy routine on ‘Cannon and Ball’ along with his totally 80s precursor of punk rock aerobics

Posted by Cherrybomb | Leave a comment
The Razor’s Edge: 1970s underground fetish zine about bald women and shaving
07.14.2016
03:10 pm

Topics:
Amusing
Punk
Sex

Tags:


 
Baldness and head shaving fetishes are things I never really considered much, but if you asked me about it I’d have to be all like, “Oh yeah, that’s totally a thing somebody masturbates to.” However, prior to the existence of the vast cornucopia of internet pornography, really niche fetishes rarely had their own publications, which is why The Razor’s Edge is such a rare historical gem, notable for the professionalism of the publication, the quality of the writing, and the sweetness—almost innocence, really—of the models.

The Razor’s Edge was launched in 1975 by famed underground cartoonist Alan Shenker, best known as his pen name “Yossarian.” Shenker got the idea while working for Screw, when he heard of a women’s cult shaving their heads en masse to protest gender inequality. Under the name “Captain Stanley,” Shenker actually managed to keep the magazine going for a few years, paying models up to $200 to be shaved and receiving some major press attention from publications like The New York Times, Washington Post and The Village Voice. The magazine even hosted a fairly well-publicized Miss Bald America pageant.

Interestingly enough, the women featured in The Razor’s Edge aren’t really sexually objectified. The fetish isn’t just for bald women, but for the process of shaving and the transformation thereof. Much of the shoots are dedicated to the women’s reaction to being shaved, and their delight and surprise at their new chrome domes.
 

 

 
More images of historical interest from ‘The Razor’s Edge’ after the jump…

Posted by Amber Frost | Leave a comment
Page 3 of 120  < 1 2 3 4 5 >  Last ›