Terry Ork in his punk rock bunker. Unlike most record execs, Terry was content with a cheap 14th street stereo system. The kind the people who bought his label’s records could afford.
Terry Ork’s loft was a safe house for unsafe music. With money he made working at my favorite store devoted to the movies, the long gone Cinemabilia, Ork funded one of the few really great DIY labels to come out of New York City, Ork Records. Releasing 45rpm records by Television, Alex Chilton, Mick Farren, The Feelies and The Marbles, among others, Ork had a great feel for what made Manhattan’s downtown music scene special.
I would go to Cinemabilia to thumb through the movie books, magazines and posters. I really loved the place and I grew to really like Terry Ork. We’d shoot the shit on film and that’s what I knew him as, a film geek. Although I was a musician with a decidedly punk outlook, I had no idea that Terry had an indie label until one day when I was in Cinemabilia he handed me a record with the Ork label on it. The record was a single by Television called “Little Johnny Jewel” and it occupied both sides of the seven inch vinyl. My already high esteem for Mr. Ork escalated into the stratosphere.
The photos you are looking at were shot by Jon Jackson back in July, 1982 during the Brixton Academy stop of The Clash’s “Casbah Club Tour.” Jon’s son, who is a Redditor, posted this little back story about his dad and the photos:
My dad was born in Cambridge in the 50’s, growing up very close to David Gilmour and other members of Pink Floyd - he has always followed the Cambridge music scene very closely and has seen many of their influential concerts. He lived in London during the 70’s and early 80’s, experiencing the cataclysm of culture and music which living with certain people during that time became. He toured with The Clash, The Beat and Bob Marley, there might be more but these are the ones I know about.
I chose six shots of The Clash from Jon Jackson’s Flickr set, but you can see the rest here.
Bonus: Jon also captured The Beat at Nottingham in1982. You can view those here.
Divorce is a femme-thrash four piece from Glasgow, Scotland, quickly picking up a reputation for being one of the best live acts in the UK. I have posted about Divorce on Dangerous Minds before—a fitting tribute, I felt, to the newly-wed future King of England and his blushing bride—and now the band are back with a new 7” release on Milk Records called “Horseheads,” with a strange accompanying video.
Fans of both spiky, angular post-punk and the heavier end of hardcore will find a lot to like here. Drummer Andy Brown describes their influences as “loud, ugly and offensive. Anything that luxuriates in the joys of noise.” He adds that “genres and middle-class whiteboy whining can get fucked.” I second that emotion.
The video for “Horseheads” features a humanoid-chicken pecking at a pentagram-emblazoned snare drum (a nod perhaps to the infamous ‘Chicken Lady’ character from Kids In The Hall?) but as Brown states:
“The fact that there’s no-one dressed as a horse in the video has not gone unnoticed. The song’s not about horses anyway, it was named after the town that our vocalist Jennie comes from in America - only she really knows what it’s all about!”
There is, indeed, a village in upstate New York called Horseheads that describes itself as the “gateway to the Finger Lakes”. Visitors will be glad to know that, as of the 30th of January 2012, the drinking water from well number five is safe and does NOT require a “boil water advisory”. I don’t know what they’re putitng in the water in Horseheads, but I sure am glad it somehow turned out like this:
For more info on DIvorce (including upcoming tour dates and current releases) visit the Divorce the Band blog.
Legendary punk, post punk, hardcore, hip-hop, photographer (and Dangerous Minds pal) Glen E. Friedman gives an excellent interview to Paradigm Magazine. He discusses Occupy Wall Street, the importance of your voice being heard in political debate and the importance of of having a rebellious attitutude:
If you’re inspired to do something, if you want to do something, if you have some kind of feeling that you should do something … then you should just do it; don’t let what other people’s preconceived ideas of good behavior, or whatever it is, limit you to thinking what you should and shouldn’t do.
Below, a “commercial” for Kelly’s limited edition “Little Friend” multiple. I have one of these. It’s got a “talk box” that says odd things when you squeeze it, managing to make this piece both ridiculous and slightly sinister at the same time, like a lot of Mike Kelley’s work.
If The Beatles had been Glaswegian and played Punk they may have sounded a bit like The New Piccadillys, a fab four of respected musicians: George Miller (Lead guitar), Keith Warwick (Rhythm guitar), Mark Ferrie (Bass guitar), and Michael Goodwin (Drums), who have variously worked with Sharleen Spiteri, The Kaisers, The Thanes, Wray Gunn and The Rockets and The Scottish Sex Pistols. This is their toe-taping version of The Ramones “Judy is a Punk”. European tours, world domination and Piccadillymania beckon.
The b&w version of the promo has been taken down (boo hiss) so, here it is in color, directed by Bill Gill,
The thing I love most about John Waters is that he always appears unfazed by anything. He’s cool, self-contained and shrugs off all condescension. He’s the kind of role model that should be used in schools to get youngsters (and adults) to like themselves, and be confident in who they are and how they want to live.
Steven Yaeger’s documentary on Waters, Divine Trash, is one of those films that ends up on everyone’s wish list at some point or another, it’s an ‘O, I’d love to see that’ kind-of-a-film, and is as good as you hope. This is especially true if you’re a fan of Mr Waters, and want to see behind the scenes and find out all about his early days as a film-maker, in particular the making of Pink Flamingoes. Director Yaeger more than deserved his Film-Makers’ Trophy for Best Documentary at the Sundance Film Festival for Divine Trash in 1998, as he gets the best out of Waters and knows how to tell a damned good tale. With contributions from Divine, Hal Hartley, Steve Buscemi, Jim Jarmusch, Waters and of course those fabulous Dreamlanders.
A fresh-looking, immaculately dressed 21-year-old Nick Cave covers the Nancy Sinatra classic along with Mick Harvey, Phil Calvert and Tracy Pew as The Boys Next Door, the original name of The Birthday Party, in 1978 (Rowland S. Howard would join them soon afterwards).
I’m a massive Nick Cave fan, but I’ve never seen this clip before. It’s pretty amazing to witness how fully formed his rockstar persona was then, even at this tender age.
Love the mascara. Adam Lambert eat your heart out…
A group of protesters affiliated with the Occupy Wall Street movement plans to elect 876 “delegates” from around the country and hold a national “general assembly” in Philadelphia over the Fourth of July as part of ongoing protests over corporate excess and economic inequality.The group, dubbed the 99% Declaration Working Group, said Wednesday delegates would be selected during a secure online election in early June from all 50 states, the District of Columbia and U.S. territories.
In a nod to their First Amendment rights, delegates will meet in Philadelphia to draft and ratify a “petition for a redress of grievances,” convening during the week of July 2 and holding a news conference in front of Independence Hall on the Fourth of July.
Any U.S. citizen or lawful permanent resident who is 18 years of age or older may run as a nonpartisan candidate for delegate, according to Michael S. Pollok, an attorney who advised Occupy Wall Street protesters arrested on the Brooklyn Bridge last year and co-founded the working group.
“We feel it’s appropriate to go back to what our founding fathers did and have another petition congress,” Pollok said in an interview with The Associated Press. “We feel that following the footsteps of our founding fathers is the right way to go.”
In 1776, the Declaration of Independence was adopted by the Continental Congress in Philadelphia and cited King George III’s failure to redress the grievances listed in colonial petitions as a reason to declare independence.
One man and one woman will be elected from each of the 435 congressional voting districts, according to Pollok, and they will meet in Philadelphia to deliberate, draft and ratify a “redress of grievances.” One delegate will also be elected to represent each of the U.S. territories.
Organizers won’t take a position on what grievances should be included, Pollok said, but they will likely include issues like getting money out of politics, dealing with the foreclosure crisis and helping students handle loan debt.
Details of the conference are still being worked out, Pollok said, but organizers have paid for a venue in Philadelphia. Pollok would not identify the venue, but said it was “a major state-of-the art facility.” Pollok said the group planned to pay for the conference through donations.
Once the petition is completed, Pollok said, the protesters will deliver copies to the White House, members of Congress and the Supreme Court. They will demand that Congress takes action in the first 100 days of taking office next year. If sufficient action isn’t taken, Pollok said, the delegates will go back to their districts and try to recruit their own candidates for office.
Being able to hold this event right before the parties throw their respective conventions was a stroke of scheduling luck for the movement. Hopefully the media will be all over this—it’s hard to imagine they wouldn’t be under any circumstances—and the politicians will be forced to respond.
The Republicans are beyond being a lost cause, but the Democrats can be pushed to the left (it’s what happened before the New Deal). It will be very interesting to see how this plays out.
I think there’s a misconception that this was going to be a predictable election cycle. Whereas the outcome (more Obama, not that this is necessarily a “good” thing, it just is) seems like a foregone covclusion, that there will be extremely high drama until then is starting to look like an inevitability. Bring it on.
Taking a page from Woody Allen’s What’s Up, Tiger Lily? which re-dubbed humorous dialogue over a Japanese spy movie to make the plot about a recipe for a egg salad, René Viénet’s 1973 film Can Dialectics Break Bricks? (“La Dialectique Peut-Elle Casser Des Briques?”) did the same sort of thing, but here the cinematic Situationist provocateur is less out for laughs (although there are plenty of them) and more about the political subversion.
The raw material for Viénet’s détournement is a 1972 Hong Kong kung fu flick titled The Crush (唐手跆拳道) directed by Tu Guangqi. In Viénet’s hands, the movie was turned into a critique of class conflicts, bureaucratic socialism, the failures of the French Communist Party, Maoism, cultural hegemony, sexual equality and the way movies prop up Capitalist ideology, all in a manner that would turn such a product against itself, using Situationist aphorisms, arguments and in-jokes.
Below, an excerpt from Can Dialectics Break Bricks?. If this looks like your cup of espresso, you can download the entire film at Ubu Web.