It’s been a long time since I’ve heard this one. I stumbled upon it quite by accident while meandering through the musical maze of YouTube.
“Fallin’” is a perfect collaboration between three groups separated by multiple miles of geographic space but inhabiting the same lysergically-tinged musical universe.
Tom Petty provides the sample and Teenage Fanclub provide the jangly guitar and background vocals as De La Soul spin 70s pop culture references into the weave of this ditty from the sound track of 1993 action film Judgment Night.
...remember when I used to be dope, (yeah!)
I owned a pocket full of fame
(But look what you’re doing now), Well I know, I know
I lost touch with reality, now my personality
Is an unwanted commodity (believe it)
Can’t believe I used to be Mr Steve Austin on the mic
(Six million ways) I used to run it
I guess Oscar Goldman got mad
Cause I got loose circuits (so loose, so loose)
I be the mother goose with the eggs that seemed to be
Fallin’...
Binky Philips has been writing his rock and roll memoirs in the form of a column for the Huffington Post for the past few years. It’s good stuff - funny, warm-hearted and full of the kind of telling details you’d expect from someone who’s traveled through the untamed underbelly of Manhattan’s rock scene during the 1970s and 80s.
What makes Binky’s writing particularly insightful is that through all of his adventures in music he’s been more than just an onlooker, he’s been a participant, a smokin’ guitar player who stood on stages in some of the great rock clubs of the past four decades, including CBGB and Max’s (stages I’ve shared with him). His band The Planets are one of the great unsung groups in American rock and roll and have an almost mythical status among rock fans. Not only because they were great, but also because their music is so fucking hard to find.
In many ways, Binky has been his own worst enemy when it comes to fame. I believe his love of the music overshadowed any business strategy. In that respect, he reminds me of myself. There are times when you really do just do it for the love and not the almighty dollar. When the music seems so sacred, it’s hard to look at it as product. In his writing, you can feel his religious zeal for the pop culture he grew up on and the rock musicians that altered his life forever. And for someone who probably deserved to be a major-league rock star, there’s not a shred of regret or bitterness in his rock and roll heart.
I’m sharing Binky’s most recent Huffington piece on Adam Yauch and the Beastie Boys. It’s a lovely tale and I want to get it out there. For more of Binky’s writing visit his column here.
My God, did we flip for the Beasties at ‘my’ record store, St. Mark’s Sounds in the East Village back in the 80s. We just thought they were a riot. They had all been semi-regular customers for quite awhile. Drummer, Kate, an inveterate browser, seemed to live in our rock section. She would later show up in Luscious Jackson, purveyors of the timelessly fab “Naked Eyes”.
This gang, of what I correctly assumed were NYU students, were always jolly and/or intent on finding something specific as quickly as possible. Unlike some posses of troublemakers, this was a little crew who kinda happily hummed with a Very Alive vibe. It is worth noting that all the early Beastie videos were populated with this same Kadre of Kool Jerk Kool.
One day, two of this sect’s young goofballs walked in with several boxes of 7” 45s under their arms.
“We just made a record. Can we leave some on consignment?”
Our store policy was to never refuse. We’d take 5 of anything anyone ever brought in like that, supporting local acts with as little fuss as possible. These two were pitching me to take a whole box. Since I knew them, at least by sight, I took 10 copies of “The Pollywog EP” from Adam Yauch and Mike Diamond.
They left and I put it on the store’s stereo. We were all howling within a minute. They had turned Punk into a Bugs Bunny cartoon.
“Egg Raid On Mojo” was about one of our other regular customers. Mojo, was a large, gregarious, very handsome, very dark-skinned, Ska-styled doorman at more than one hip boite downtown. He was a genuinely okay guy, but, his gig led him to being a bit “I’m hot and know it”, one lame vibe, indeed. The Beasties would have none of it. The song recalls true events. While “Egg Raid” is an absurdist punk classic, for me, of the Beastie Boys’ early ‘work’, “Cooky Puss” is nonpareil, the most wonderfully ridiculous crank call of all time with a hilariously wretched noise-rhythm track.
Anyway, a week later, diffident Adam walked into the store with more 45s. I bought a box, the 10 having sold within two days. WTF?! What was up with these dopes?! Adam’s reaction to me offering to buy a box outright, the hell with consignment, was memorable. Every cell in his body silently screamed “OF COURSE YOU ARE!” while remaining unflappably deadpan. I actually felt this.
This became a little weekly ritual; Adam coming in on a Thursday or Friday afternoon, almost dour, in a hurry, handing me another box, me handing him cash. Probably sold over 300 of ‘em. Mine’s in storage, rats!
I found Adam’s demeanor intriguing, totally at odds with his band’s vibe. Deadly serious with that sort of classic off-in-the-distance gaze. Looking back, other than the first pitch, MCA was the only one to bring the records by, clearly the one BB focused on turning what started out a total joke (How bad can we be?) into something that has rightfully had lasting international impact.
The Beastie Boys are possibly the most wonderful example of the maxim (I just made up)... You make it big by never having the intention to do so!
When “Licensed To Ill” was released, we’d play it in the store for literal hours, just flipping back and forth between side one and two. It was extreme fun to annoy sensible customers with a stadium-volume spin of “Girls” several times a day. All my fellow employees decided to treat the album with an absurd reverence. “Is it time?”, we’d solemnly ask before dropping the needle for the 120th time. A great mind-fuck of a rekkid! My only complaint, they didn’t use the BB’s original title, “Don’t Be A Faggot”! Like Eminem’s Detroit, in Brooklyn, that word didn’t have the virulent bigoted connotation. It just meant downer, wimp, lame, chump… Def Jam punked out! How faggot-y, Russell!
I grew up in an idyllic neighborhood called Brooklyn Heights, right at the foot of the Brooklyn Bridge. Adam Yauch grew up there, too. My oldest and dearest Heights pal, Ben, lived two doors east of the Yauchs. Being 12 years older than Adam, Ben often babysat. I was at Ben’s house all the time. I might’ve met a Beastie Boy when he was a baby and don’t recall it. Ben tells me that Adam Yauch was wonderful right from the jump, a devoted son with both his folks.
Ben’s parents used to have to “endure” the earliest rehearsals of the nascent Beasties as they made ungodly guitar and drum noise in the Yauchs’ living room two doors down.
One can imagine.
The image I want to leave you with, because I suspect it is truly an accurate depiction of Adam Yauch…
About 5 or 6 years ago, Brooklyn Babysitter Ben’s Dad was in rehab following two knee replacements. His Mom was living at home alone for quite some time. One day, as Ben was walking down his old block on his way to pay Mom a visit, he saw her coming towards him with a tallish guy carrying 2 or 3 grocery bags for her. The tallish guy was International Rap Superstar, Adam MCA Yauch.”
Binky would probably be pissed with me for focusing too much on him at the expense of Adam Yauch, but they’re both seminal members of the New York music scene, so fuck it.
Binky playing at Max’s Kansas City in 1975:
The Beastie Boys performing “Egg Raid On Mojo” in Brooklyn in 2007:
Yep we love Jerusalem-based Kutiman for his rhythmic scavenger video mixes. But we shouldn’t forget the pioneers that put the practice into place.
Nearly a year ago, someone called The Forger—who we’re thinking is a composite character of videographer Ben Stokes and rhythm master Jack Dangers, both of Meat Beat Manifesto—started releasing beat videos that looped, sampled, layered and scratched up found footage of subjects both unknown and iconic. And instead of just slicing in nice people playing instruments in their bedrooms, we also get movie scenes, bits of news, and other lovely ephemera.
The Forger’s expert curating and editing in the mixes to stripped-down funk and dub help evoke an almost spectral feel to the pieces, as if these people and characters in them are bound to repeat their musical and other actions forever in the fog of media.
To start with, check out Peter Tosh, James Brown and Fred Wesley backing the King of Pop beatboxing in “The MJ Bumbaclot Element”
After the jump: check The Forger’s salute to spaghetti Westerns and Russian beatboxers…
It’s still sinking in here that MCA-aka Adam Yauch- has died, and that, in effect, the Beastie Boys are no more. What a fucking bummer.
It’s an inescapable fact that the Beastie Boys are one of the bands that define my generation. If you were a child at any point from the mid 80s up until the late 90s you cannot have escaped their influence. And I’m not just talking about their music; their aesthetic reached everywhere, from film and music videos to magazine publishing and clothes lines.
I feel like my generation (and I use that term loosely) don’t have a singular iconic figure they can point too, like a Prince or a Bowie. You know, that one person that unites an entire age group through sheer talent and poise. Well, the Beasties may not have had the incredible album-a-year productivity rate of Prince or Bowie at their prime (in fact they were legendarily slow at making music,) but their extra-musicular activites more than made up for that, and meant that when their albums did drop it was a major event.
More than just the music on its own, more than the Grande Royale magazine and record label, more than fantastic the art work or the trend-setting X-Large clothing range, it was the Beastie Boys incredible videos that set them apart, and brought their diverse fan base together. They really knew how to work in different media while retaining their core identity, making them some of the first and most successful rap music entrepreneurs, and this placed them right at the centre of the 90s golden age of both hip-hop and music videos. And there steering the helm of most of those awesome Beastie Boys promo clips was Yauch himself, often in the guise of Swiss director Nathanial Hornblower.
My God, looking back now it’s startling to think of how these videos have influenced my life and my addiction to (and perception of) pop culture.
I caught the raunchy video for ‘She’s On It” on TV when I was about 8 years old and the image of Mike D sliding an ice cube down a bikini-clad model’s back has been seared into my brain ever since. I didn’t quite understand what was going on in that shot at the time (hey, I was too young and too sheltered) but there was naked flesh and it was naughty and exciting. I still remember that tingly feeling of not wanting my parents to walk in and see me watching the video. Even though that’s a feeling that returned often in my teenage years, I guess I can say that seeing “She’s On It” was one of my first childhood sexual experiences.
When I was 13 the promo for Check Your Head‘s opening track “Jimmy James” was a staple on late night European cable music channels, the kind I would creep downstairs and watch on low volume while my parents were asleep. It was hard to keep the volume on this one down, and the visuals themselves were a hypnotic template for everything I thought rocked in the world at the time - New York subways, vintage go-go strippers, dope looking rappers filmed in fish-eye lenses, burning 8mm film, Jimi fucking Hendrix. At this point the Beastie Boys were a bit of an unknown quantity in the UK press, as their reputation stemmed largely from the License To Ill “frat” period (Paul’s Boutique was still being seen as a costly, if interesting, flop.) Still, “Jimmy James” (and “So Watcha Want”) was THE SHIT, and helped spread the word of mouth amongst listeners and the journos alike about how great Check Your Head was.
Early 1994 saw the release of “Sabotage”. Sure, the clip was directed by Spike Jonze, but Yauch’s fingerprints were all over it. I don’t think I need to write much about this video, only to say that it really was a cultural milestone for people my age. Almost single handedly it ushered in a new era. Out went heroin-chic and woe-is-me grunge, and in came a new sense of fun (with a healthy dose of irony.) Here was an appreciation of pop-culture’s bargain bin that tied in nicely with Tarantino, some new looks that were equal parts vintage and street, and most importantly of all an incredibly broad musical palate where anything went.
Beyond the stone cold classic video, “Sabotage” pushed boundaries musically. Yeah, so it may be a straight forward punk song, but how many ‘rap groups’ had ever done something like that? In fact, me and my friends didn’t really perceive the Beasties as strictly a ‘rap group’ per se, even though (obviously) they rapped. They were more than that. Presumably because they were white and played actual instruments on occasion, they weren’t talked about in the same hallowed tones as Cypress Hill or Public Enemy. But they were very much a gateway to those bands, and the more commercial hip-hop that followed, and their blessing of the above mentioned acts with tours and remixes made it feel ok for middle-class white kids to define themselves as “rap fans.”
Last year’s video for “Make Some Noise” brought the band back in to the limelight, not least for the starry cast list: what other modern act would be able to convince Seth Rogen, Danny McBride and Elijah Wood to play them in a clip AND THEN rope in Ted Danson, Kirstin Dunst and Will Ferrell for additional cameos? But the real fan treat was the clip for “Don’t Play No Game That I Can’t Win”, which featured G.I.Joe-style puppet versions of the band doing battle underwater, on ice, and even at a music festival.
Adam Yauch was a visionary, and should be remembered for his film work just as much as his music. In fact, he brought music and film together better than anyone else up to that point, and for that has to be counted as a huge influence and inspiration on the artistic endeavours of myself and my peers. I probably wouldn’t do what I do now if it weren’t for him.
And he did it while wearing a ginger wig and lederhosen. Here’s a strange (and strangely touching) short film of Yauch David Cross [? - what’s going on here?] as Hornblower, shooting the shit on a NY Street and engaging in a game of chess with a labrador:
Adam Yauch, aka MCA, aka Nathanial Hornblower (August 5, 1964 – May 4, 2012.)
Rest In Peace.
After the jump, videos for the above mentioned Beastie Boys songs, and a 1992 interview with the band featuring Yauch (yes, definitely Yauch this time) in full Hornblower attire…
The Beastie Boys tore down the walls that existed between rock and rap and did so with such crazy grace and a seamless groove that nobody noticed until the deed was done that these white boys had brought uptown downtown and vice versa. Even people who up-until-then had no place for hip-hop in their lives found themselves smitten. And the hardcore haters were musically bum-rushed so swiftly by the sonic velociraptors from NYC that resistance was futile. Everybody ended up coming to the party and found it worth fighting for.
I remember hearing “Cookie Puss” on the radio for the first time in 1983 and wondering “what the fuck was that?” It defied all categories of music as I knew it…and I loved it. I immediately headed over to Sounds on St. Mark’s Place to buy the 12 inch single. I’d play it for my friends and got a kick at watching their amused and perplexed reactions. This shit was fresh - a simple keyboard and drum riff with some scratching and a taped crank call to a Carvel Ice Cream store melded into something hilarious and infectious and a lot smarter and pioneering than we knew back then - it heralded the coming of a band that played dumb but were possessed of a poetic irreverence that celebrated popular culture while subverting it - yeah, punk rock with a hip-hop sense of the beat. On the surface it sounded sloppy and off-the-cuff. In reality it was perfect. The Beastie Boys had a “fuck you” attitude wedded to a shitload of charm and craft. They elevated the ordinary with the lyrical deftness of a Jack Kerouac or Chuck Berry.
It was announced that Adam Yauch (MCA) died today. I know that what I’ve written reads like an obituary for the entire band. It’s not. Mike D and Ad-Rock are still very much alive and I suspect will continue to create new music, produce films and act, as well as taking up the torch for the plight of Tibet as Adam had done for the past two decades. When someone dies, it brings perspective and an opportunity to remind oneself of how much certain things have meant in one’s life. Adam’s death has given us the chance to appreciate what made his band so fucking amazing. Long live the Beastie Boys!
When the Beastie Boys were inducted into this year’s Rock And Roll Hall Of Fame, Chuck D was there to celebrate the legacy of one of hip hop and rock n’ rolls most innovative groups. The fact that Adam Yauch was too ill (physically speaking) to attend, made the evening all that much more significant.
Here’s Chuck D’s Beastie Boys induction speech on April 14:
Get it! Get it! You know the Beastie Boys? Can we get a ‘Yeah’ to hip-hop? Can we get a ‘Hell, yeah,’ Cleveland? Hip-hop in the Rock and Roll Hall of Fame before I turn it over because Def Jam, in the words of Billboard, is the last great record label. And this man behind me wants to finish it off because Chess is to electric blues as Def Jam is to hip-hop and this man helped build the house. So as a resident, can you give three and a half minutes to hip-hop and the Beastie Boys for me? Help me out ya’ll!
[raps with audience] Now here’s a little story – I’ve got to tell about three bad brothers – you know so well It started way back in history with Ad-Rock, M.C.A., and number three – Mike D.
I know I can read from the teleprompter but I wrote it down. I won’t take much of your time. There’s no adequate measure for the impact that the Beastie Boys had on rap music and yours truly, Public Enemy, during our formative years. Artistically, just like my man back here, they are our role models. They gave us some of our richest support and that’s uncharacteristic of the many advisors in this game. They led and lead by example.
The very first time the Beastie Boys headlined they toured, it was the ‘Licensed to Ill’ tour, they hit the road in January 1987. They invited us to join the bill in April 1987. The lineup was the Beastie Boys, Murphy’s Law, and Public Enemy. Watching them tear the house up just like 9,000 here tonight, tearing the house up, we learn so much the importance of a great stage show, just like my man back here.
They made us rethink what we should do on stage and affirmed for us how important our own Beastie Boys, he calls himself Flavor Flav, might be to our success. In that way, the Beastie Boys literally helped us to get our act together by living up to more than their name night after night on the road.
They were and still are one of the greatest live acts in music. How can we not learn from the way this group has challenged the dimensions in the music business? How they made up their own rules about what it means to be world class hip-hop heads.
After ‘Licensed to Ill,’ the Beasties left the Def Jam label and broke with their producer Rick Rubin and still kept it going on. Everyone wondered and how many people were pessimistic about how the hell they were going to top their multi-platinum debut, ‘Licensed to Ill.’ But their second album, ‘Paul’s Boutique,’ broke the mold, and with it they accomplished everything they hoped for.
They kept the band together through a challenging period when most groups would have broken up and gone home. They proved that they can produce themselves when too many folks wrongly believed they were puppets of marketing and production. And they insisted on maturity as a band and as human beings, when the easier thing for the band was to come back with a form that might have been ‘Licensed to Ill 2.0.’
It was the courage and self-respect that we all learned from, and so right now we make sure we never take the easy way out just to repeat a hit record for a hit record’s sake: never to compromise our faith in ourselves and our artistry. Besides they were the first hip-hop group on the World Wide Web in 1993, people.
Two more minutes for hip-hop, people. One of the most – gotta sulk it in – the third hip-hop group ever. Gotta sulk it in. One of the most admirable qualities about the Beastie Boys is that they stayed so true to the game over the years. No matter what was going on with them or hip-hop culture in general, as far as I’m concerned, I quote myself, the trip towards individualism in hip-hop have come a play. Yes, I quote myself. In a [indiscriminate] art form.
Yet through it all, the Beastie Boys remain a team of MCs, in the style of groups that inspired them – the Treacherous Three, the Crash Crew, the 2007 inductees into the Rock and Roll Hall of Fame Grand Master Flash and The Furious Five. The 2009 inductees salute Run-DMC and Jay Master Jay. And let’s not forget the DJs throughout the years Andre, Dr. Dre, my friend DJ Hurricane, Mix Master Mike, and DJ Double R better known as Rick Rubin.
And rock and roll fans’ still got to be a fan, it’s the same thing with hip-hop, the Beastie Boys have made a mountain for us all. Be together, play together, stay together, together forever. A couple of paragraphs, one more minute for hip-hop, they ain’t got nothing on me. Sulk it in hip-hop and rap music it’s been around 30 years, gotta do it.
Time and time again and in word and in practice The Beastie Boys honor hip-hop. As true musicians they move beyond drum machines and repetitive samples and sometimes pick up their own instruments. It’s their way of paying tribute to musicians who preceded them who built the foundations of hip-hop. More than many, many situations out there the Beastie boys have fought, in particular I’m thinking about somebody who wasn’t able to join us tonight, Adam Yauch, salute M.C.A. I feel him here tonight, you all feel him here tonight.
And LL got more to say about that. He belongs here with the greatest. It was M.C.A. who committed the Beastie Boys through their lengthy campaign for freedom for Tibet. The campaign that not only helped the shining light on Tibet’s struggle for independence but allowed the Beastie Boys to move from fighting for their right to party to partying for their right to fight.
Lastly, no matter what your lyrical subjects are on stage parodies, one thing the Beastie Boys never were to me was a joke. They remind us that this is a craft. We were talking about this on the side. This is a craft, this is not a hustle. And I couldn’t be more honored to induct this group along with this man behind me because they represent the best of the hip-hop/rap music idiom.
I did love and always thank them for doing a hard work of paving those roads for musicians all over the world, and to rock, rap and roll on those roads, especially before people took us seriously as artists. Rap music is here to stay because it pays homage. So, may we all be as professional, distinctive, powerful as this group coming up right here and as this man. The Beastie Boys are indeed three bad brothers that made history.
Here’s more of Mister D talking about the Beasties, rock n’ roll and Bette Midler. April, 2012. It’s pretty much wonderful.
A crazy good performance of “Fight For Your Right” on the Joan Rivers Show in 1987 after the jump…
Adam Nathaniel Yauch, “MCA” (August 5, 1964 - May 4, 2012)
May he rest in peace.
In the video below, the Beastie Boys when they were all about 19 or 20 years old on the Manhattan Cable cable access program, The Scott & Gary Show on Valentines Day, 1984. Kate Schellenbach, later of Luscious Jackson, was a Beastie girl, playing drums in the group from 1979 to 1984, when they were basically a lighthearted punk band.
After the jump, an interview with the young Beastie Boys (and girl)
Living in New York City in the 1980s one could not help but be suffused with the sounds emitting from beat boxes tuned to the dance party grooves of Kiss F.M. - it was the sound of the city. Sadly, KISS is no more. The powers that be pulled the plug on the station and 98.7 on the dial is now a sports channel.
DJ Red Alert, a pioneering radio icon responsible for helping launch the careers of dozens of hip hop artists, broadcast for the last time from New York’s KISS-FM, his radio home during the early days of hip hop and throughout the years. The station, WRKS (98.7), announced a change in format on April, 26, 2012, shocking KISS-FM listeners who had been tuning in for decades.
ESPN has now taken over the frequency while former station rival WBLS (107.5) will “absorb” the KISS-FM branding. It is unclear how much of 98.7′s KISS staff will also move down the dial.
“Kool” DJ Red Alert, along with his WBLS counterparts Mr. Magic and Marley Marl, helped usher in what is often considered hip hop’s “Golden Era,” bringing rap music to New York’s airwaves in a groundbreaking way. Besides being a DJ for artists and groups such as Afrika Bambaata and KRS-One, Red Alert was also personally responsible for managing and breaking artists like the Jungle Brothers, A Tribe Called Quest and Queen Latifah.
The Bronx Hall of Fame member became emotional during his final 49 minute-long mix, thanking staff at Kiss-FM. “Lord gave me the best. I respect y’all. I thank y’all. Y’all don’t understand how I feel. I love y’all.” Red Alert said, his voice breaking down. He then ended his long broadcasting career at 98.7, speaking to his listening audience, many who have grown up listening to Red’s familiar voice, distinctive style and custom catchphrases, telling them, “Once again, I’m signing off. 98.7, Kiss-FM. God bless each and every one of y’all. I’m outta here.”
A little bit of New York City died over the weekend. Reminisce on this: Red Alert’s goodbye KISS - a mix in two parts.
John Peel’s Record Collection will go online tomorrow, 1st May. The John Peel Center for Creative Arts will start uploading details of the DJ’s famed collection. Each week 100 discs will be made available, covering every genre of music, and unveiling 2,600 albums over the coming 6 months.
Each of these releases of 100 records will be accompanied by one mini documentary video of a featured artiste for that week. These are pretty special, as the artistes have been chosen by Sheila, John’s wife, and their children - so they are all artistes who meant something to John and his family.
When you come to the website you will see John Peel’s home studio, from which you will be able to access the contents of the record collection as it is added each week, as well as other videos added each week, photos, peel sessions and radio shows. Once in the collection you will be able to move up and down the shelves of the record collection, picking out certain choice records and going through the first 100 as though you were standing in front of the shelves in John’s studio.
You will be able to see the hand-typed cards that John diligently typed for every album in the collection, the record sleeves, as well as listening to tracks via spotify and itunes where available.
And because we know that John meant a great deal to many people, we will be helping you to connect with other music lovers and Peel fans through our John Peel Archive social media accounts. Look out for never-before seen material, like letters to John, being exclusively released via social media. This will also be a great way to stay up to date with new material being released each week - so please do ‘follow’, ‘like’ and say hello - we want to hear from you and your stories of John.
In our heads throughout the planning process, has been making sure that we do John (and his fans) proud and ensure that the legacy of this legendary man lives on.
We hope you like the John Peel Archive - and that John would have done too.
Check the site from tomorrow on to see what goodies will be uploaded.
01. “Itchy Cut” - Cowcube
02. “New Rose” - The Damned
03. “The Voice Of John Peel” - Delia Derbyshire
04. “O Superman” - Dan The Drummer
05. “Hard Row” - The Black Keys
06. “Cuntry Music” - Listen With Sarah
07. “Diddy Wah Diddy” - The Magic Band
08. “Shotgun Funeral” - Party Of One
09. “High Resolution” - Dj Rupture
10. “Two Sevens Clash” - Culture
11. “Death Letter” - Son House
12. “The Classical” - Pavement
13. “Groovin’ With Mr Bloe” / “Green Eyed Loco Man” - The Fall
14. “YMCA” - Galactic Symposium
15. “The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)” - Half Man Half Biscuit
16. “My Radio Sounds Different In The Dark” - The Would Bes
17. “The Kill” - Napalm Death
18. “Live At Maida Vale” (Excerpt) - Jeff Mills
19. “Abridged Too Far” - People Like Us
20. “Speed” - Pico
21. “Roy Walker” - Belle And Sebastian
22. “Doctor ?” / “Chime” - Orbital
23. “Dr Dre Buys A Pint Of Milk” - Grandmaster Gareth
24. “Tokyo Registration Office” - Hyper Kinako
25. “Dracula Mountain” - Lightning Bolt
26. “The Nation Needs You” - The Cuban Boys
27. “John Peel Is Not Enough” - Clsm
Marxist anthropologist David Harvey talks to Democracy Now’s Amy Goodman about what to expect during tomorrow’s May Day protests.
On Tuesday, May 1st, known as May Day or International Workers Day, Occupy Wall Street protesters hope to mobilize tens of thousands of people across the country under the slogan, “General Strike. No Work. No Shopping. Occupy Everywhere.” Events are planned in 125 cities. We speak with leading social theorist David Harvey, distinguished professor of anthropology at the Graduate Center of the City University of New York, about how Occupy Wall Street compares to other large-scale grassroots movements throughout modern history.
“It’s struck a chord,” Harvey says of the Occupy movement. “I hope tomorrow there’ll be a situation in which many more people will say, ‘Look, things have got to change. Something different has to happen.’”
L7 on MTV interviewing The Breeders, Green Day, The Beastie Boys, George Clinton, Nick Cave, Mick Harvey, A Tribe Called Quest and more at Lollapalooza 1994. Poet Maggie Estep is also featured.
This was when MTV still had a connection to music.
The bit with George Clinton is ridiculously cool.
Part two and some awesome live footage of LZ after the jump…
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