‘I Love Rock ‘n’ Roll’: Joan Jett & the Blackhearts killing it live back in 1981
07.27.2016
09:34 am

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The queen of zero fucks, Joan Jett.
 
Rock and roll queen Joan Jett was only 23-years-old when she tore up the stage with the Blackhearts for New York radio station WLIR’s “Party in the Park.” And as you might imagine Jett’s set was the real deal—full of feedback, cans of Budweiser on amps and enthusiastic fist-pumping fans.

The band rips through five songs in the footage from Jett’s solo album 1980’s Bad Reputation and from 1981’s I Love Rock ‘n Roll—“Bad Reputation,” Jett’s cover of “Crimson and Clover,” by Tommy James and the Shondells,” the Gary Glitter cover made famous by Jett “Do You Wanna Touch Me (Oh Yeah),” “Summertime Blues” (which according to Blackheart bassist Gary Ryan who announced to the crowd this would be the first time Jett & the Blackhearts would perform the 1958 Eddie Cochran cover live), and of course “I Love Rock ‘n’ Roll.” You’ll also see the cherub-faced Jett cursing and goofing around in bed while shooting TV promos with WLIR DJ John DeBella who helped champion I Love Rock ‘n’ Roll. Other bands on the “Party in the Park” bill included Rick Derringer, Todd Rundgren, Long Island band The Good Rats and the titanic Blue Öyster Cult. I’ve posted the footage of Jett’s amped up performance below as well as a promo from WLIR that includes footage of Derringer, Rundgren and The Good Rats but sadly, not BÖC.

The videos after the jump…

Posted by Cherrybomb | Leave a comment
Massive trove of over 300 boomboxes for sale—only $14,000
07.27.2016
09:08 am

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Hip-hop
Music
Science/Tech

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Boomboxes are kind of an of-a-certain-age thing, but if you were sentient in between the mid ‘70s and early ’90s, they were as common as stereo consoles and component systems. “Portable,” technically, inasmuch as they took batteries and weren’t literally furniture, they were huge, cumbersome radio/cassette deck combos with large stereo speakers. The classic stereotypes associated with the things were mulletted suburban rock ‘n’ roll scumbags tailgating with boomboxes in the trunks of their cars playing music at hateful and disruptive volumes, either oblivious to or give-a-fuckless about the public nuisance they were creating, or soul/disco/hip-hop fans with massive afros, strutting down crowded city streets with boomboxes on their shoulders playing music at hateful and disruptive volumes, either oblivious to or give-a-fuckless about the public nuisance they were creating. Their total ubiquity in breakdance culture (owing to their portability, naturally) led to the unfortunate and highly problematic nickname “ghettoblasters.”

By the late ’80s, a boombox could have as many features as a stereo component system—sophisticated EQs, detatchable speakers, dual cassette decks for dubbing (HOME TAPING IS KILLING MUSIC, YOU GUYS), even remotes. By the early ‘90s, when the boxy metal units were phased out in favor of less distinctive (and way less awesome) rounded black plastic ones with CD players, they often even replaced consoles as home stereos of choice for many listeners as cassettes grew in popularity over vinyl. And those feature-loaded boxy metal ones are the models that have, in the internet era of ever-increasing granularity in collecting, developed a cult.

Keep reading after the jump…

Posted by Ron Kretsch | Leave a comment
A whole bunch of Dischord albums are now available on Bandcamp
07.26.2016
03:13 pm

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Music

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The Washington, D.C., record label Dischord, co-owned by Jeff Nelson and Fugazi’s Ian MacKaye, is routinely held up as the shining example of an independent record company that maintains its integrity in the face of unrelenting corporate pressures.

It seems that Dischord is still seeking to forge its own path—rather than sign contracts with Spotify, it has recently made a relationship with Bandcamp, a website popular among D.I.Y. musicians that makes self-distribution of music much easier. A healthy chunk of the Dischord catalog has just surfaced on Bandcamp.com, which means the fans of Government Issue, Void, Rites of Spring, Dag Nasty, and Nation of Ulysses can now stream their albums without paying Spotify for the privilege.
 

 
Furthermore, it’s easy to purchase digital copies of many Dischord albums at a pretty reasonable price (usually $8). I’ve seen it said that “every” Dischord album is now on Bandcamp, but I couldn’t find any albums by Jawbox or Lungfish or Shudder to Think or the Make-Up. In any case it’s a lot of albums, more than 100 albums for sure.

More after the jump…

Posted by Martin Schneider | Leave a comment
The erotic, macabre art of Virgil Finlay, favorite illustrator of H.P. Lovecraft
07.26.2016
03:08 pm

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Art

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Finlay’s cover for the May 1952 issue of Weird Tales

Master of exquisitely detailed images that often combined the sexual and the scary, Virgil Finlay was born in Rochester, New York in 1914. He was a highly prolific commercial artist in the midcentury years — one commentator went so far as to call Finlay “the most famous fantasy illustrator of mid-twentieth century.”

In his youth during the 1920s, Finlay discovered the magazines Amazing Stories and Weird Tales, which focused on sci-fi and horror, respectively. Once he reached adulthood in the mid-1930s he felt confident enough in his artistic prowess to try to get a position at those journals. Finlay’s mastery of stippling was so advanced that it nearly cost him a job at Weird Tales because his employers weren’t sure that their printing process could reproduce his fine detail, but it turned out that it could.
 

Finlay in 1969
 
A key medium of Finlay’s was scratchboard, a method that incorporates a white clay coating covered in black ink—the artist scratches the black ink away with a scribe or knife, and the resultant effect is similar to a wood engraving. The technique is called “working from black to white,” whereas the more usual method of applying dark ink to a white surface is called “working from white to black.” Finlay’s originality and dedication to an impressive effect can be seen in the fact that he would sometimes blend both techniques in a single image, creating isolated areas of black which he would then scratch away to get a specific gray tone or the hatched or stippled effect he desired.

Finlay’s debut at Weird Tales occurred in the December 1935 issue, in which Finlay had illustrations for three different stories. Over the next two decades Finlay’s art would appear in 62 issues. He was also responsible for 19 color covers for Weird Tales. In 1938 he began working The American Weekly and moved from Rochester to New York.

The July 1937 issue of Weird Tales featured a remarkable homage to Finlay’s gifts, in the form of a poem dedicated to Finlay by the great horror writer H.P. Lovecraft. The poem was called “To Virgil Finlay Upon His Drawing of Robert Bloch’s Tale ‘The Faceless God’”—here is the image Lovecraft was referring to, and after that the poem itself:
 

 

In dim abysses pulse the shapes of night,
Hungry and hideous, with strange miters crowned;
Black pinions beating in fantastic flight
From orb to orb through soulless voids profound.
None dares to name the cosmos whence they course,
Or guess the look on each amorphous face,
Or speak the words that with resistless force
Would draw them from the halls of outer space.

Yet here upon a page our frightened glance
Finds monstrous forms no human eye should see;
Hints of those blasphemies whose countenance
Spreads death and madness through infinity.
What limnner he who braves black gulfs alone
And lives to wake their alien horrors known?

 
Much more after the jump…....

Posted by Martin Schneider | Leave a comment