The Unheard Music
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Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
THE WHISKEY DAREDEVILS …Ganz Offensichtlich Eine Der Letzten, Ernstzunehmenden Cowpunk Bands in Der Amerikanischen Rock’N’Roll Landschaft
File under: Cow-Punk-Rock'n'Roll-Rodeo! THE WHISKEY DAREDEVILS …ganz offensichtlich eine der letzten, ernstzunehmenden Cowpunk Bands in der Amerikanischen Rock’n’Roll Landschaft. Gleichmaßen inspiriert von klassischen Country, Punk Rock und 60s Garage Rock’n’Roll zelebriert das Quartett aus Ohio ihren unverkennbaren Whiskey Daredevils Sound, der auf der Bühne zu einer explosiven Live-Show mit allerbesten Entertainment wird! Im September/October 2018 werden die Whiskey Daredevils einige Shows auf den Europäischen Kontinent spielen. Im Gepäck nicht nur einen neuen Gitarristen, sondern auch die speziell für die Tour aufgelegte, limitierte LP “The History of the Whiskey Daredevils Volume III”. Dieses edle Stück Vinyl enthält eine Auswahl von Songs der letzten sechs Alben und unveröffentlichtes Material. 2004 gegründet, aus der Asche der 2003 aufgelösten COWSLINGERS – eine der richtungsweisenden Garage-Trash-Rock Bands der USA – erlangten die Whiskey Daredevils schnell an Popularität und veröffentlichten sofort ihr Debut-Album unter dem Titel „Greatest Hits“. Die beiden original Cowslingers Greg Miller (Vocals) und Leo P. Love (Drums) fanden mit Gitarrist Gary Siperko (Rocket From The Tombs, Mofos) und Bassistin Sugar Wildman (Lords of the Highway) die ideale Besetzung für die Whiskey Daredevils. Anfang 2018 übernahm der fantastische Hector Matto den Platz an der Gitarre. “They do what they do best: they take the best of American roots music and create their very own sound”- Trashrock Mag “Drunken country musicians make punk. Or the other way around. That's how it should be and that's how this record works.”- Handwritten Magazine In den vergangenen Jahren teilte man gerne die Bühne mit solchen Bands wie Culture on the Skids, Dale Watson. -
Superior Court of the State of California for The
1 Carney R. Shegerian, Esq., State Bar No. 150461 [email protected] 2 Anthony Nguyen, Esq., State Bar No. 259154 [email protected] 3 SHEGERIAN & ASSOCIATES, INC. 225 Santa Monica Boulevard, Suite 700 4 Santa Monica, California 90401 Telephone Number: (310) 860-0770 5 Facsimile Number: (310) 860-0771 6 Attorneys for Plaintiff, JOHN DOE 7 8 SUPERIOR COURT OF THE STATE OF CALIFORNIA 9 FOR THE COUNTY OF LOS ANGELES, CENTRAL DISTRICT 10 11 JOHN DOE,1 ) Case No.: ) 12 Plaintiff, ) PLAINTIFF JOHN DOE’S COMPLAINT ) FOR DAMAGES FOR: 13 vs. ) ) (1) SEXUAL HARASSMENT IN 14 OGLETREE, DEAKINS, NASH, ) VIOLATION OF FEHA (HOSTILE SMOAK & STEWART, P.C., ) WORK ENVIRONMENT); 15 JOHNNIE JAMES, and DOES 1 to ) 100, inclusive, ) (2) QUID PRO QUO SEXUAL 16 ) HARASSMENT; Defendants. ) 17 ) (3) DISCRIMINATION ON THE BASIS ) OF RACE, NATIONAL ORIGIN, 18 ) AND/OR COLOR IN VIOLATION OF ) FEHA; 19 ) ) (4) HARASSMENT ON THE BASIS OF 20 ) RACE, NATIONAL ORIGIN, AND/OR ) COLOR IN VIOLATION OF FEHA; 21 ) ) (5) DISCRIMINATION ON THE BASIS 22 ) OF SEXUAL ORIENTATION IN ) VIOLATION OF FEHA; 23 ) ) (6) DISCRIMINATION ON THE BASIS 24 ) OF MARITAL STATUS IN ) VIOLATION OF FEHA; 25 ) ) (7) VIOLATION OF THE CALIFORNIA 26 ) EQUAL PAY ACT; 27 1 Because of the nature of the allegations herein, plaintiff is identified by a pseudonym in order to preserve his confidentiality and to avoid any potential opprobrium, pursuant to applicable law, includ- 28 ing Starbucks Corp. v. Superior Ct. (2008) 168 Cal.App.4th 1436. PLAINTIFF’S COMPLAINT FOR DAMAGES 1 ) (8) FAILURE -
Produced Byray Manzarek
PRODUCED BY RAY MANZAREK Originally released April 1980 Originally released May 1981 Originally released July 1982 Originally released September 1983 Frank Gargani Debbie Leavitt Power... Passion... Poetry! Attack the world. Let’s do some damage. What a band. Four monsters of skin. My favorite rockers of the then time. John Doe - Mr. Handsome - of the deep rich voice, the hard, strong jaw, the angular bass stance and the hot/cool lyrics. Their harmonies - some would say Schoenberg - his partner Exene, of the wailing scream in the night, the clear eyed pinning of American failings, the fine words of Diana Bonebrake love and booze and madness in the midnight dawn of Los Angeles. “Johny Hit and Run Paulene...” and he’s got a sterilized hypo filled with a sex-machine drug, and he only has 24 hours to shoot all Paulenes between the legs. So get busy, boy. And he does. Listen to those words! That naughty, naughty Johny. I love ‘em. And Exene’s “The World’s a Mess, it’s in My Kiss.” I just love that crazy combination: World - Mess - Kiss. And Billy Zoom on guitar, or is that at least 3 or 4 guitars. How does he do it? It’s so massive, so sharp, so bright, so fucking LOUD!!! And he is so silver smooth and cool. Effortless fingering, impeccable on the frets. Doesn’t he ever make a mistake? Is he a flesh and blood Valhalla guitar god? Yeahhh! And who is that madman beating the living shit out those drums? Ladies and Gentleman... D. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
Here Is a Printable
Ryan Leach is a skateboarder who grew up in Los Angeles and Ventura County. Like Belinda Carlisle and Lorna Doom, he graduated from Newbury Park High School. With Mor Fleisher-Leach he runs Spacecase Records. Leach’s interviews are available at Bored Out (http://boredout305.tumblr.com/). Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. An Oral History of The Gun Club originally appeared in Razorcake #29, released in December 2005/January 2006. Original artwork and layout by Todd Taylor. Photos by Edward Colver, Gary Leonard and Romi Mori. Cover photo by Edward Colver. Zine design by Marcos Siref. Printing courtesy of Razorcake Press, Razorcake.org he Gun Club is one of Los Angeles’s greatest bands. Lead singer, guitarist, and figurehead Jeffrey Lee Pierce fits in easily with Tthe genius songwriting of Arthur Lee (Love), Chris Hillman (Byrds), and John Doe and Exene (X). Unfortunately, neither he nor his band achieved the notoriety of his fellow luminary Angelinos. From 1979 to 1996, Jeffrey manned the Gun Club ship through thick and mostly thin. Understandably, the initial Fire of Love and Miami lineup of Ward Dotson (guitar), Rob Ritter (bass), Jeffrey Lee Pierce (vocals/ guitar) and Terry Graham (drums) remains the most beloved; setting the spooky, blues-punk template for future Gun Club releases. At the time of its release, Fire of Love was heralded by East Coast critics as one of the best albums of 1981. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
Summer Concerts 5
VISITING BURTON PARK & RIDE IN MARINA DEL REY KATHARINE CHACE PARK LA SANTA CECILIA MCPHEE CONCERT SEATING MARINA DEL REY WATERBUS • Festival seating is first come, first served in the open Park your car and take the WaterBus to and from the public areas, but not guaranteed. concerts to enjoy a unique water’s-eye-view of Marina del Rey. For more information, call (310) 628-3219 or • Please only bring low-back chairs or standard-sized blankets. visit marinawaterbus.com. • Belongings must be attended to at all times. The park is not responsible for lost or stolen items. Fare: $1 per person, one way, available for purchase at each LALAH HATHAWAY X • There is no standing or loitering on walkways as fire dock location. CASH ONLY. Season pass for $30. code regulations require them to be clear at all times. Schedule: June 21 – September 3 GOURMET FOOD TRUCKS Thursdays - Saturdays: 11am - midnight Bring your own picnic to enjoy or grab a bite to eat Sundays: 11am - 9pm from gourmet food trucks at the park, starting at 5 pm on concert nights. Holiday Schedule SYMPHONIC THURSDAYS | 7PM CAT POWER Fourth of July: 11am - midnight Labor Day: 11am - 9pm FREE JAM SESSIONS @ MARINA MOVIE NIGHTS JULY 12 Pick up a few dance moves at an interactive JAM Session OPERA AT THE SHORE Boarding Locations: @ 6 pm, then stay for an outdoor movie screening @ 8 pm! 1. Fisherman’s Village, 13755 Fiji Way JULY 26 • Saturday, July 14 - Tap Dance + LA LA LAND 2. Burton Chace Park, 13650 Mindanao Way LEONARD BERNSTEIN AT 100: • Saturday, July 28 - Tango + DIRTY DANCING 3. -
THE UWM POST Ward Professional Fields
INSIDE Big Business! Majors continue shifting to THE UWM POST ward professional fields. Page 3 Financial aid: Competition for loans will; increase as cutbacks in federal grant prog Focus on. Higher Education rams hit home. Page 3 S&Sl Twenty-Five years after Port Huron, we look at the group's history. Pago 5 Freshmen; UWM administrators question Wednesday, September 2.198/ their preparedness. Page 11 New student minds fail to bloom r? fits Critique of education 113 highly controversial \1 W* A University of Chicago professor, special iMWM izing in social thought, says higher education is impoverishing the souls and minds of to day's youth. Few recent books relating to the state of American universities have drawn as much critical response as Allan Bloom's "The Clos ing of the American Mind." Despite Bloom's insistence that Story by Michael Szymanski his book is for students, many may Illustration by Mike Thompson feel slighted by his appraisal of them. In his book that has headed the New York I * i Times list of bestsellers for more than three months, Bloom warns that American univer sities are churning out a generation of non thinking cultural illiterates. Dloom, a respected J>6-year-old philosopher, charges that the cur rent move away from traditional liberal arts studies to vocational, tech nical and professional education is dimming the faculties of college stu dents. The book, a philosophical narrative that takes the reader on a con temporary cultural journey, uses great thinkers like Plato, Rousseau, Socrates and Nietzsche as guides. According to Bloom, the failure of higher education to require more liberal ai e failure of students to choose them is causing educational quality to spiral downwj Bloom calls the present state and trends < most urgent problem. -
Grammy Museum® to Open Expanded Exhibit Celebrating 40 Years of Seminal L.A. Punk Band X
**MEDIA ALERT FOR FRIDAY, OCT. 13, 2017** GRAMMY MUSEUM® TO OPEN EXPANDED EXHIBIT CELEBRATING 40 YEARS OF SEMINAL L.A. PUNK BAND X X: 40 Years of Punk in Los Angeles Now Slated to Open Friday, Oct. 13 (Previously scheduled opening date was June 30, 2017) LOS ANGELES (June 22, 2017) — The GRAMMY Museum® is pleased to announce its plans to expand the forthcoming exhibit celebrating the 40th anniversary of seminal L.A. punk rock band X. Previously set to open on June 30, 2017, on the Museum’s fourth floor, X: 40 Years of Punk in Los Angeles will now be displayed on the second floor in the Museum’s Special Exhibits Gallery, opening Friday, Oct. 13, 2017. With more artifacts and space than previously planned, the exhibit will give visitors a glimpse into how X's four original members – Exene Cervenka, John Doe, Billy Zoom, and DJ Bonebrake – quickly established the band as one of the best in the first wave of L.A.'s flourishing punk scene. Items on display will include: • Original instruments and gear played by the band • Handwritten lyrics and notebooks by Exene Cervenka and John Doe • Clothing and other personal items • Original concert flyers for L.A. shows • Rare photographs and artwork by Exene • X: The Unheard Music film, and more! "We are so excited to be moving this exhibit to our main exhibits gallery, giving X, one of Los Angeles’ most influential punk rock bands, the recognition they deserve,” says GRAMMY Museum Executive Director Scott Goldman. "X played such an integral role in developing the West Coast punk movement, and we are excited to tell that story, now with even more artifacts and ephemera than previously planned." "When we were in the early stages of developing the exhibit, we knew what an important story we’d be telling, but we had no idea just how many photographs, artifacts, and other items we would have access to,” continues GRAMMY Museum Curator Nwaka Onwusa. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting.