Alt-Nation: Don’T Stay Home

Alt-Nation: Don’t Stay Home Darklands Shoegaze rockers to their core, Darklands craft melody out of fuzz-ridden noise. Darklands’ sound owes much to the noise pop of My Bloody Valentine, Slowdive and that early ’90s English noise guitar scene. I’ve always dug that adventurous style of guitar playing where the sound drives the song. Badlands have an EP, St. Thaddeus, that came out a couple of years ago and hopefully there will be some new music coming from Darklands sometime in the not so distant future. Till then, check out Darklands at Aurora. Darklands, Sneeze, Black Beach, and Fault rock Aurora on February 3. Lux Lives This February marks the 8th anniversary of the passing of legendary Cramps vocalists, Lux Interior. Interior was one of the most dynamic frontmen in the history of rock ‘n’ roll. The Cramps took shaved- to-the-bone rock ‘n’ roll and whipped it up in a manic psychobilly frenzy that was as much of a spectacle as it was spectacular live. Lux Lives is an annual celebration of the life of Interior and goes down this year at POP. This year, in addition to the killer tunes from deejays Ty Jesso, Kogar the Swinging Ape, and DJ Hula Bomb, there will be an exhibition of rare Cramps memorabilia on display at POP. Once again, the bands will be Providence garage rock granddaddies Thee Fabulous Itchies and the surf horror downbeat of The Evil Streaks. All proceeds will go to Lux and his wife’s (guitarist Poison Ivy) favorite charity, Best Friends Animal Society. Last year the three East Coast Lux Lives shows raised almost three grand and since the inception of Lux Lives, over $10,000 has been raised for Best Friends. Soul Power and Jungle Juice present Lux Lives featuring performances by Thee Fabulous Itchies and The Evil Streaks, DJs, and more at POP in Providence on February 4. Wicked Petty The self-proclaimed ultimate Boston Tom Petty Tribute band, Wicked Petty, is money for a good time provided one likes Tom Petty. I don’t know what kind of monster doesn’t like Tom Petty, but those Cyclops probably want to sit this one out. Wicked Petty is pretty much a good night out; you’ll hear all the hits and a few obscure ones that you wouldn’t hear at a regular Petty and The Heartbreakers shows. I’m going to go out on a limb and declare Wicked Petty as a better Tom Petty vehicle than Petty’s own side band, Mudcrutch. Wicked Petty will rock the Met Café on February 4. Joyce Manner Joyce Manner comes to town in support of their fourth album, Cody (Epitaph Records), which came out last fall. Joyce Manner specializes in belting out infectious indie rock. Joyce Manner remind me of bands like Weezer, Bayside and maybe a low-fi version of Better Than Ezra. If you like loud, melodic guitars with hook, check these guys at Fete. Joyce Manor, AJJ and Mannequin Pussy unleash the rock at Fete on February 8. LuxDeluxe Hailing from western Massachusetts, LuxDeluxe bust a move that is reminiscent of bands like NRBQ, Beirut and Wilco. In fact, this might be the most obvious NRBQ-influenced band that I can think of. LuxDeluxe spice it up by throwing some funky grooves into straightforward rock tunes. LuxDeluxe could be the next dimension of modern rock for better or worse. For a sample of LuxDeluxe, check out last year’s It’s a Girl or just go to Aurora to catch them in the flesh. If you are going to do that, get there early for local rockers Ravi Shavi. LuxDeluxe, Ravi Shavi and Goon Planet bring the rock to Aurora on February 8. Blackletter Blackletter shows are like a nor’easter with psychedelic waves of hard and glam rock swirling through the room. Blackletter has one EP out called Station 15, and hopefully they’ll do another record soon. The spectacle of the live performance is what Blackletter is all about, so just go check them out. Blackletter, Holy Roller High and The Holographic rock AS220’s Main stage on February 11. Email music news to [email protected].

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The Cramps Gravest Hits Mp3, Flac, Wma
The Cramps Gravest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Gravest Hits Country: UK Released: 1979 Style: Psychobilly, Rockabilly, Punk, Garage Rock MP3 version RAR size: 1276 mb FLAC version RAR size: 1656 mb WMA version RAR size: 1141 mb Rating: 4.4 Votes: 713 Other Formats: RA MP4 MPC DXD AC3 XM WMA Tracklist Hide Credits Human Fly A1 2:12 Written-By – Rorschach*, Interior* The Way I Walk A2 2:38 Written-By – J. Scott* Domino A3 3:05 Written-By – Sam Phillips Surfin' Bird B1 5:03 Written-By – Wahrer* Lonesome Town B2 2:55 Written-By – B. Knight* Companies, etc. Published By – Willong Published By – Eric Music Published By – Knox Music Published By – Starfire Music Published By – Mediogre Music Recorded At – Ardent Studios Distributed By – Faulty Products Manufactured By – Faulty Products Mastered At – Gedmal Galvanic Ltd. Credits Drums – Nick Knox Guitar – Bryan Gregory, Poison Ivy Lacquer Cut By – Porky Photography By – Stephanie Chernikowski Producer – Alex Chilton Sleeve Notes – Dr. J.H. Sasfy* Vocals – Lux Interior Notes Black vinyl version of the blue transparent Porky cut in a black & white half-tone printed spineless sleeve. Later repressed in black vinyl with a spined picture sleeve and the same catalogue number of ILS 12013. Recorded at Ardent Studio, Memphis, Tennessee, October 1977. This record manufactured and distributed for Illegal Records by Faulty Products, 41b, Blenheim Crescent, London W11. England. June 1979. B1 credited to Long Music on label. Barcode and Other Identifiers Matrix / Runout (Side A, hand-etched): ILS 12013 A₂ SECOND WIND. GG A PORKY PRIME CUT.
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Tuition Raised to $4011 Jresidence, Prices Are Also Ris M.S
Tuition raised to $4011 jResidence, prices are also ris M.S. with its focus on ings and specifications are be Dr. Dov Jaron, Professor of Tuition is going up again, it ing $10. Price increases for the technical and science com ing reviewed by the Ad Biomedical Engineering. was announced at the April Annex are the same as for Van munication. Students entering ministration at this time, and 15th Board of Trustees Ren. the program will have a bac the Committee will review the College of Humanities and meeting (see chart on page 3). Beginning July 1st, term calaureate in a scientific field project in detail at its next Social Sciences The price hike goes across the parking passes will go up $10, (or in communication). All meeting. board, affecting all programs from 60 to 70 dollars. Parking must have sound prior training The architect of the new Dr. Stephen Mandell, in all colleges. tokens are going up in price by or experience in writing.” library was also recently in Associate Professor of 10 cents (to 75 cents) and park vited to tour the Drexel English. Prices Soar ing meter rates per hour are 11 Mill. For Library Museum collection in order to Dr. Raymond Brebach, Assis going up by 5 cents. look at possible relics to be tant Professor of Humanities. Also due for a raise in prices The Buildings and Property placed in the new library. Dr. Michael Markel, Assistant are dormitory contracts, MS in Hum-Soc Committee announced that Professor of Humanities and reported the Tuition and the Kling partnership, with its Faculty Communications.
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Kid Congo Powers Double Record Release Party
KID CONGO POWERS DOUBLE RECORD RELEASE PARTY KID CONGO POWERS DOUBLE RECORD RELEASE PARTY Tonic, March 3, 2006 Kid Congo Powers is celebrating the release of two albums on March 3, 2006 at Tonic. The first, Solo Cholo, is a career-spanning compilation focusing on the legendary guitarist’s work as a vocalist and songwriter from 1985 to the present. The second, Philosophy and Underwear, is the debut recording of his current New York band, Kid Congo and the Pink Monkey Birds - in which Kid not only sings, but also plays blistering dual guitars with ace Jack Martin (Knoxville Girls, Honeymoon Killers, etc.). After twenty-five years in the recording business (The Cramps’ Psychedelic Jungle was 1981), these two albums are the first full-length recordings that focus on Kid’s songs. The event also marks New York Night Train (www.newyorknighttrain.com) webzine’s debut as a record label. For this momentous occasion Kid has gathered an all-star cast of collaborators, friends, and favorites that will amount to one of the most unusual assemblages of underground figures in downtown history. The headliner is of course Kid Congo and the Pink Monkey Birds. The Birds will also back up Thalia Zedek (ex-Come, Live Skull, Uzi, etc.) on a few Gun Club numbers (Zedek is the vocalist who reminds Kid most of Jeffrey Lee Pierce). Another highlight of the evening is the reunion of the original New York version of Congo Norvell – Kid, Sally Norvell (actress, ex-Norvells, Prohibition, etc.), Jim Sclavunos (Nick Cave and the Bad Seeds and Vanity Set, ex-Sonic Youth, Cramps, etc.), Paul Wallfisch (Botanica, ex-Firewater, Love and Rockets, etc.), and Brian Emrich (film composer, ex-Foetus, Toasters, etc.).
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Psychobilly Psychosis and the Garage Disease in Athens
IAFOR Journal of Cultural Studies Volume 5 – Issue 1 – Spring 2020 Psychobilly Psychosis and the Garage Disease in Athens Michael Tsangaris, University of Piraeus, Greece Konstantina Agrafioti, Aristotle University of Thessaloniki, Greece Abstract The complexity and the bizarre nature of Psychobilly as a music genre and as a music collectivity make it very convenient for reconsidering several views in relation to subcultures, neo-tribes and scenes. More specifically, the case of Greek Psychobilly can categorically present how subcultural trends can be disseminated across gender, social classes and national borders. This study aims to trace historically the scene of Psychobilly in Athens based on typical ethnographic research and analytic autoethnography. The research question is: Which are the necessary elements that can determine the existence of a local music scene? Supported by semi-structured interviews, the study examines how individuals related to the Psychobilly subculture comprehend what constitutes the Greek Psychobilly scene. Although it can be questionable whether there ever was a Psychobilly scene in Athens, there were always small circles in existence into which people drifted and stayed for quite a while, constituting the pure core of the Greek Psychobilly subculture. Keywords: psychobilly, music genres, Athens, Post-subcultural Theory 31 IAFOR Journal of Cultural Studies Volume 5 – Issue 1 – Spring 2020 Introduction According to the American Countercultures Encyclopaedia, Psychobilly is a subculture that emerged in the 1980s from the unlikely combination of rockabilly and punk rock. The provocative and sometimes outrageous style associated with psychobillies (also known as “psychos”) mixes the blue-collar rawness and rebellion of 1950s rockabilly with the confrontational do-it-yourself style of 1970s punk rock, a syncretism infused with themes from monster and horror films, campy sci-fi movies, and even professional wrestling” (Wojcik, 2013, p.
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Paula Guerra
Paula Guerra Lou Reed: rock and roll is so genial in its conception that some people would be willing to die for it (…). Music gives a pulse that allows you to dream. It’s an entire generation walking to the sound of a Fender bass. It’s necessary that people be willing to die for music, that is all. People die no matter what, so why not music? Die for it. Isn’t it pretty? To want to die for beauty? (McNeil & McCain, 2006: 45). The 1960’s, from an music aesthetic and expression point of view, were marked by an intense creativity that spread throughout all artistic and cultural mediums. We associate this era with a revolutionary mark, be in cultural, moral or social terms, with the importance of figures such as Rimbaud, north American black blues, rock pioneers, beat generation, Henry Miller, Malraux, Baudelaire, Marcuse, Indian gurus, Marx, Trotsky, Mao Tse Tung… (Paraire, 1992: 75-77). In the USA, rock acquired an institutionalization close to that of the traditional star system, with the role of the English pop movement, in particular that of the Beatles, one of the most remarkable in this respect. It will not, then, be out of place to consider that rock music throughout the -------- 1 This text was first published in Portuguese with the following reference: Guerra, P., 2010. A instável leveza do rock. Génese, dinâmica e consolidação do rock alternativo em Portugal. The unstable lightness of rock. Genesis, dynamics and consolidation of alternative rock in Portugal (1980-2010). Faculty of Arts of University of Porto, Porto.
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The Cramps Psychedelic Jungle Mp3, Flac, Wma
The Cramps Psychedelic Jungle mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Psychedelic Jungle Country: USA & Canada Released: 1981 Style: Psychobilly MP3 version RAR size: 1877 mb FLAC version RAR size: 1229 mb WMA version RAR size: 1352 mb Rating: 4.3 Votes: 784 Other Formats: DTS WAV DMF MP1 WMA VQF MPC Tracklist Hide Credits Greenfuz 1 2:09 Written-By – Dale*, Alrey* Goo Goo Muck 2 3:06 Written-By – Cook* Rockin' Bones 3 2:49 Written-By – Carter*, Nalls*, Rhodes* Voodoo Idol 4 3:33 Written-By – Rorschach*, Interior* Primitive 5 3:32 Written-By – Venett*, The Groupies Caveman 6 3:51 Written-By – Rorschach*, Interior* The Crusher 7 1:48 Written-By – Nolan* Don't Eat Stuff Off The Sidewalk 8 2:04 Written-By – Rorschach*, Interior* Can't Find My Mind 9 3:02 Written-By – Rorschach*, Interior* Jungle Hop 10 2:07 Written-By – Tyler* Natives Are Restless 11 3:00 Written-By – Rorschach*, Interior* Under The Wires 12 2:45 Written-By – Rorschach*, Interior* Beautiful Gardens 13 3:59 Written-By – Rorschach*, Interior* Green Door 14 2:36 Written-By – Davie*, Moore* Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Copyright (c) – Capitol Records, Inc. Published By – Washtex Music Published By – N.R.M. Publishing Published By – Tree Publishing Co., Inc. Published By – Big D Music, Inc. Published By – Illegal Songs, Inc. Published By – Groupie Tunes Music Published By – Pronto Music Published By – Getter Publishing Ltd. Published By – Golden West Melodies Published By – Alley Music Corp. Published By – Trio Music Co., Inc.
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Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory ..................
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The White Noise Supremacists” (From the Village Voice, 1979)
LESTER BANGS “The White Noise Supremacists” (from the Village Voice, 1979) The other day I was talking on the phone with a friend who hangs out on the CBGB's scene a lot. She was regaling me with examples of the delights available to females in the New York subway system. "So the train came to a sudden halt and I fell on my ass in the middle of the car, and not only did nobody offer to help me up but all these boons just sat there laughing at me." "Boons?" I said. "What's boons?" "You know," she said. "Black guys." "Why do you call them that?" "I dunno. From `baboons,' I guess." I didn't say anything. "Look, I know it's not cool," she finally said. "But neither is being a woman in this city. Every fucking place you go you get these cats hassling you, and sometimes they try to pimp you. And a lot of the times when they hassle you they're black, and when they try to pimp me they're always black. Eventually you can't help it, you just end up reacting." Sometimes I think nothing is simple but the feeling of pain. When I was first asked to write this article, I said sure, because the racism (not to mention the sexism, which is even more pervasive and a whole other piece) on the American New Wave scene had been something that I'd been bothered by for a long time. When I told the guys in my own band that I was doing this, they just laughed.
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Kid Congo Powers
KID CONGO POWERS The gigantic tone of Kid Congo Powers’ open-tuned guitar is one of the more readily identifiable sounds in the history of underground rock. Best known for his contribution to the development of the contemporary noise guitar with The Gun Club, The Cramps, and Nick Cave and the Bad Seeds in the 1980s, Kid’s spent the last fifteen years as a sideman (Make-Up, Mark Eitzel, Angels of Light, etc.), as a partner in Congo Norvell and Kid and Khan, a member of garage rock supergroup Knoxville Girls, and, most recently, the leader of Kid Congo Powers and the Pink Monkey Birds. What’s important about Kid’s resume isn’t only that he played with some of the best bands of all time, but that he did so during their finest hours, from The Cramps’ Psychedelic Jungle to Nick Cave’s Tender Prey to Angels of Light’s How I Loved You, Kid’s always had a knack for being with the right people at the right place at the right time. The last five years however, Kid’s gradually quit relying on his luck and taken matters into his own hands, emerged as a world-class songwriter and a distinctive vocalist. Jump-starting his career when he and Jeffrey Lee Pierce formed The Gun Club in 1979, Kid Congo Powers left the obscure new band in late 1980 when he was offered the universally coveted gig replacing Bryan Gregory in The Cramps. Though Kid was already a Cramp when The Gun Club recorded their classic debut Fire of Love (1981), a number of songs that he helped write and develop appear on the record.
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A Longitudinal Content Analysis of Feminist Themes in Punk Rock
ACT LIKE A PUNK, SING LIKE A FEMINIST: A LONGITUDINAL CONTENT ANALYSIS OF FEMINIST THEMES IN PUNK ROCK SONG LYRICS, 1970-2009 Lauren E. Levine Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Koji Fuse, Major Professor Tracy Everbach, Committee Member Gwen Nisbett, Committee Member Cory Armstrong, Chair of the Frank W. and Sue Mayborn School of Journalism Dorothy Bland, Dean of the Frank W. and Sue Mayborn School of Journalism Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Levine, Lauren. E. Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009. Master of Arts (Journalism), May 2015, 104 pp., 6 tables, references, 123 titles. Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades.
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Horror Hosts in the News
HORROR HOSTS IN THE NEWS The following article about The Cramps mentions classic Cleveland horror host “Ghoulardi” and then NY’s current favorite hipsters, “Ghoul A Go Go” in the Summer of 2003. GRAVEYARD SMASH The Cramps creep into town with fiendish tunes and attitude Article By JOHN CHANDLER Portland Tribune; Fri, Jun 6, 2003 Most normal, God-fearing folks take one look at the Cramps and head for the nearest exit, muttering hasty excuses about picking up the kids from 4-H. The band's ghoulish makeup, tattoos and leather duds are more than just rock 'n' roll accouterments: They are talismans meant to ward off normal, God-fearing folks. The Cramps mean business, bub. Born in 1976 -- in Sacramento, Calif.; Akron, Ohio; or New York City, depending on what biography you're reading -- the Cramps were conceived by skeletal singer Lux Interior -- now somewhere in his middle 50s -- and his fishnet-sporting, guitar-slinging soul mate, "Poison" Ivy Rohrschach. Since their humble beginnings, the Cramps have hatched several cracked classic albums such as "Songs the Lord Taught Us" and "Gravest Hits." They became huge, iconic figures in Europe and played outrageous shows at such legendary New York dives as CBGB's, the Peppermint Lounge and Max's Kansas City. One of their most memorable early shows -- captured on videotape in 1979 -- took place at a rather different venue. "Yeah, it was the Napa State Mental Hospital," Lux recalls. "It was really fun playing there. We were kind of wondering if the patients would all be, like, comatose or crying.
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Chapter Six “Blank Generation”
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