Fantastic footage documenting the Tower Records shopping experience of 1971
08.28.2014
07:16 am

Topics:
Music

Tags:
Tower Records


The Tower Records on Sunset Blvd. circa 1988 (note the poster for the Coming to America soundtrack)
 
This utterly enthralling footage of the Tower Records on 8801 Sunset Boulevard was shot by Sacramento City College professor Darrell Forney in 1971. It’s available on archive.org. It’s ten solid minutes of pretty much random footage on a typical day, scored to Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Again)” and Janis Joplin’s “Me and Bobby McGee.” Anyone who’s old enough to remember those days—or simply anyone who’s into record collecting—set aside ten minutes to take this wonderful footage in. Then set aside another ten minutes to watch it all over again.

Tower Records was based in Sacramento and had existed since 1960—when this footage was shot, the Sunset Blvd. location had been open for only a year. It would be a mainstay for Los Angeles music lovers for more than three decades, until it finally closed in 2006.
 

 
I love how they just stack the records in the middle of everything. New albums appeared to cost $3.55 for the most part—not all that cheap, that translates to about $20 today (a good number of those albums in reissued LP format would run about $20, no?). We can see staff members unpacking many, many boxes of George Harrison’s 1970 triple LP All Things Must Pass. Does anyone see an album that definitely dates this at 1971? I thought I saw Elton John’s 11-17-70 but it was actually his self-titled album. Fascinating to see 8-track cassettes being sold in large quantities and also, not ironically.

Hey, that clerk is smoking!! Surely he was risking a fine?? Oh, what am I talking about, this is 1971, nobody gave a hoot about stuff like that. (There’s even an ashtray on the checkout counter.) At least two handsome pooches are also depicted, I can’t imagine they were letting dogs in by the time 2005 rolled around.

There’s a lingering shot of someone thumbing through a new copy of the Schwann Stereo Record Guide. I’m going to assume that this was an essential bit of stereophile literature, but it’s before my time. I was a little surprised to see that the familiar red-on-yellow typeface was already in place this early.

I’ve been a CD/mp3 person for most of my life, but last autumn I finally gave in to the LP impulse—this is the most mouth-watering thing I’m likely to see all week. Luckily Amoeba Records has already done the bloggers of 2056 a big favor by thoroughly documenting the scene there, including live performances and inviting fun people to spend a hundred bucks in the store during their “What’s In My Bag?” web series.
 

 
Here’s a promo for Tower Records that John Lennon taped during an in-studio radio appearance on KHJ in 1974. The album he was promoting was Walls and Bridges. This cute montage uses a whole lot of Professor Forney’s footage. (You can actually see Paul McCartney’s first album, which is a little odd.)
 

 
via Wax Poetics & Vintage Los Angeles
 
Thank you Blue Arrow Records of Cleveland, Ohio!
 

Posted by Martin Schneider | Leave a comment
‘Wattstax’: The ‘Black Woodstock’ music festival
08.28.2014
07:03 am

Topics:
Movies
Music
Politics
Race

Tags:
Watts Riots
Richard Pryor
The Staples Singers
Isaac Hayes
Albert King
Wattstax
The Bar-Kays


 
The Watts Riots are often referred to by lefties as “The Watts Rebellion.” While both are technically accurate descriptions, “rebellion” is considered the preferable word by sympathists, since “riot” has a negative connotation. For me, the word “riot” lacks any moralist stigma, since rioting has historically played a necessary role in the resistance of oppressed people. I also think “riots” paints a more identifiable picture.

In addition to less explicit economic discrimination, the Watts neighborhood of Los Angeles was plagued with racist attacks from both white gangs and and a militarized police force (sound familiar?). The 1965 events that incited the riots are convoluted, but (briefly) a black man was arrested for driving under the influence, his brother (who was was a passenger), left to inform the man’s mother, who showed up to the arrest. There was a physical altercation, all three black citizens were arrested, and onlookers from the neighborhood began throwing things at the cops.

Eight days later, 34 deaths, 1,032 injuries and 3,952 arrests. 600 businesses were destroyed and over $40 million was done in damages over a 46-square mile-area.
 

 
In 1972, Stax Records put on a concert featuring their artists to commemorate the riots. Tickets for the Wattstax music festival (held in the massive L.A. Coliseum) were sold for $1 each to keep the event affordable for working class Los Angeles residents. Mel Stuart, who had just directed Willy Wonka & the Chocolate Factory (a box-office bomb, despite its classic status), documented the concert in Wattstax, the electric results of which you see below. Wattstax has been shorthanded as “The Black Woodstock,” but it’s so much more.

The film is something greater than a record of fantastic concert footage, though the performances from artists like The Staples Singers, Isaac Hayes and The Bar-Kays are mind-blowing. It’s the interviews with Watts residents, who reflect on their lives and politics and what has and hasn’t changed since the riots, that really make the film. Richard Pryor serves as a kind of Greek chorus, and his interactions with the crowd are hilarious and full of humanity. You’ll notice that nearly the entire audience defiantly stays seated during Kim Weston’s rendition of the national anthem.

If you want a good clip to sample, there’s a fantastic bit starting around the 38:30 mark where Richard Pryor riffs on black identity (and pork). It then cuts to The Bar-Kays (looking like a heavenly choir from outer space), who do a blistering version of “Son of Shaft.”
 

 
Via Open Culture

Posted by Amber Frost | Leave a comment
Miniature marvels: Welcome to the fabulous world of Subatomic Tourism
08.28.2014
06:44 am

Topics:
Amusing
Art

Tags:
photography
Mirren Audax
Museum of Subatomic Tourism

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Entourage.
 
Subatomic Tourism is the fantastic miniature world created by “bequiffed” Edinburgh-based visual art Mirren Audax. As he describes it on his site:

Subatomic Tourism is an ongoing project to big up the small with a hint of Irwin Allen and Richard Feynman, along with a touch of Marcel Duchamp and Ray Harryhausen; to bring by way of Joseph Cornell and Gerry Anderson a celebration of the wonderful world-sized diorama we find ourselves living in.

Audax photographs scenes created with toy figures placed in urban settings that resemble stills from classic TV series, science fiction films, pop culture and surreal portraiture. With references to Doctor Who, Star Trek, H. P. Lovecraft and American road movies, Audux’ fabulous images allow the viewer to invent their own narrative for each image.

See more Lilliputian worlds here, and you can follow the Museum of Subatomic Tourism on Facebook and Twitter.
 
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Migration Tracking.
 
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Lost In The Supermarket.
 
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Silver Foil Nemesis.
 
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The Saucer.
 
More miniature marvels after the jump…
 

Posted by Paul Gallagher | Leave a comment
Germaine Greer vs. Diane Arbus: ‘If she had been a man, I’d have kicked her in the balls’
08.27.2014
01:46 pm

Topics:
Art
Feminism
History

Tags:
photography
Germaine Greer
Diane Arbus

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Though Diane Arbus was famed for her photographs of “deviant and marginal” people “whose normality seems ugly or surreal,” she did not want to be thought solely as a photographer of freaks. This in part may explain why Arbus accepted a commission to take a portrait photograph of Germaine Greer for the publication New Woman. Unless, of course, the magazine’s editors thought there was something freakish about the Antipodean academic, journalist and feminist?

On a hot summer’s day in 1971, Arbus arrived to photograph Greer at the Chelsea Hotel. Greer was on tour with her book The Female Eunuch and had most recently taken part in an infamous head-to-head with Norman Mailer at New York City’s Town Hall. Seeing the diminutive photographer was overly laden with equipment, Greer helped Arbus up to her hotel suite.

Greer may have been showing consideration to the photographer, but the session soon turned into a battle of wills as Arbus ordered the Greer around the room, telling her to lie on the bed, and then straddling her as she snapped away. Greer later related meeting with Arbus to the photographer’s biographer Patricia Bosworth:

It developed into a sort of duel between us, because I resisted being photographed like that—close up with all my pores and lines showing!! She kept asking me all sorts of personal questions, and I became aware that she would only shoot when my face was showing tension or concern or boredom or annoyance (and there was plenty of that, let me tell you), but because she was a woman I didn’t tell her to fuck off. If she had been a man, I’d have kicked her in the balls.

Unable to deliver a telling kick, Greer opted not to co-operate.

‘I decided “Damn it, you’re not going to do this to me, lady. I’m not going to be photographed like one of your grotesque freaks!”  So I stiffened my face like a mask.

Greer would later claim the duel with Arbus as a draw, but as Howard Sounes noted in his superlative cultural biography of the Seventies:

The editors at New Woman evidently thought Greer vs. Arbus had resulted in defeat for the photographer, for her pictures were never used in the magazine. In a letter to [her husband] Allan, Diane discussed her attitude to the shoot, perhaps revealing her approach to her subjects generally. She wrote that she had liked Germaine Greer personally, considering her to be ‘fun and terrific looking…’ Nevertheless she went out of her way to depict her in an unflattering light. As she said, ‘I managed to managed to make otherwise.’

The picture from the session, printed posthumously as ‘Feminist in her hotel room, NYC, 1971’, is in fact fascinating, not least because in close-up, Greer’s neatly plucked and re-applied eyebrows more than a passing resemblance to the transvestite in curlers Arbus photographed back in 1966.

Arbus was not best suited to working as a freelance photographer—the hours spent pitching ideas that often came to nothing, or struggling to earn agreed fees from indifferent publishing houses to maintain her independence, caused her deep depression. Taking fashionable portraits of celebrity figures was hardly the work for an artist photographer who believed:

A photograph is a secret about a secret. The more it tells you the less you know.

 
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Posted by Paul Gallagher | Leave a comment