Club 57 Gallery Screening Schedule
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Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack. -
Garage Zine Scionav.Com Vol. 3 Cover Photography: Clayton Hauck
GARAGE ZINE SCIONAV.COM VOL. 3 COVER PHOTOGRAPHY: CLAYTON HAUCK STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Director: malbon Production Director: Anton Schlesinger Contributing Editor: David Bevan Assistant Editor: Maud Deitch Graphic Designers: Nicholas Acemoglu, Cameron Charles, Kate Merritt, Gabriella Spartos Sheriff: Stephen Gisondi CONTRIBUTORS Writer: Jeremy CARGILL Photographers: Derek Beals, William Hacker, Jeremy M. Lang, Bryan Sheffield, REBECCA SMEYNE CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Company references, advertisements and/ Mail Stop WC12 or websites listed in this publication are Torrance, CA 90501 not affiliated with Scion, unless otherwise Phone: 866.70.SCION noted through disclosure. Scion does not Fax: 310.381.5932 warrant these companies and is not liable for Email: Email us through the contact page their performances or the content on their located on scion.com advertisements and/or websites. Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST © 2011 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion GARAGE zine is published by malbon Scion and the Scion logo are trademarks of For more information about MALBON, contact Toyota Motor Corporation. [email protected] 00430-ZIN03-GR SCION A/V SCHEDULE JUNE Scion Garage 7”: Cola Freaks/Digital Leather (June 7) Scion Presents: Black Lips North American Tour The Casbah in San Diego, CA (June 9) Velvet Jones -
Queer. Nelson Sullivan (I)
Diarios sin piedad. Los ochenta: queer. Nelson Sullivan (I) Proyectamos en la sesión de hoy cuatro piezas, todas de 1989, que ofrecen Del Sur profundo a la efervescente Gran Manzana un primer acercamiento a su universo: Nelson Sullivan nació en una vieja familia de clase media-alta del Sur Monologue For TV Show (10 min). Nelson anda con su perro en uno de profundo de los Estados Unidos, en Kershaw, Carolina del Sur, en el sus paseos por la ciudad. Por primera y única vez se dirige a los hipotéticos año 1948. Después de graduarse en la universidad, se traslada a Nueva espectadores del primer capítulo del «Nelson TV Show», que nunca tendrá York a principios de los setenta con la idea de dedicarse a la música y a la secuela alguna. composición y con el deseo de huir de los prejuicios y de la claustrofobia propias de la vida en las pequeñas ciudades sureñas del país. Como tantos Nelson Goes to the Red Zone (29 min). Nelson ha sido invitado a una otros jóvenes homosexuales de su generación que emigraron hacia grandes discoteca con motivo de la presentación de una colección de moda, pero el centros urbanos, Nelson desea experimentar formas de vida más liberadas. portero, que no lo reconoce, le impide el paso. El mal humor de Nelson le Este fenómeno de éxodo se dio a conocer como «ola post-Stonewall», en vuelve chistoso y corrosivo. referencia a las violentas protestas que se produjeron, tras repetidas redadas policiales, en las calles de Nueva York en 1969 y que pasaron a la historia Gay Day Parade (26 min). -
L the Charlatans UK the Charlatans UK Vs. the Chemical Brothers
These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE AUGUST 29TH ARTIST TITLE LABEL FORMAT QTY Sounds Like A Melody (Grant & Kelly E Alphaville Rhino Atlantic 12" Vinyl 3500 Remix by Blank & Jones x Gold & Lloyd) F America Heritage II: Demos Omnivore RecordingsLP 1700 E And Also The Trees And Also The Trees Terror Vision Records2 x LP 2000 E Archers of Loaf "Raleigh Days"/"Street Fighting Man" Merge Records 7" Vinyl 1200 L August Burns Red Bones Fearless 7" Vinyl 1000 F Buju Banton Trust & Steppa Roc Nation 10" Vinyl 2500 E Bastille All This Bad Blood Capitol 2 x LP 1500 E Black Keys Let's Rock (45 RPM Edition) Nonesuch 2 x LP 5000 They's A Person Of The World (featuring L Black Lips Fire Records 7" Vinyl 750 Kesha) F Black Crowes Lions eOne Music 2 x LP 3000 F Tommy Bolin Tommy Bolin Lives! Friday Music EP 1000 F Bone Thugs-N-Harmony Creepin' On Ah Come Up Ruthless RecordsLP 3000 E David Bowie ChangesNowBowie Parlophone LP E David Bowie ChangesNowBowie Parlophone CD E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone 2 x LP E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone CD E Marion Brown Porto Novo ORG Music LP 1500 F Nicole Bus Live in NYC Roc Nation LP 2500 E Canned Heat/John Lee Hooker Hooker 'N Heat Culture Factory2 x LP 2000 F Ron Carter Foursight: Stockholm IN+OUT Records2 x LP 650 F Ted Cassidy The Lurch Jackpot Records7" Vinyl 1000 The Charlatans UK vs. -
Yes, Virginia, Rock and Roll Is Dead, and Flesht<>
Yes, Virginia, Rock and Roll is dead, and Flesht<>nes is its potent spirit. The brain-child of Playhouse of the Ridic:ulous alumni ./ Sterling Blak, (Mario Montez, Taylor Mead, and Charles Ludlahm were his classmates), and fellow avant-gardist Larry Lean, (son of famed L.A. session-man Mel Moore), Fleshtones is Rock and Roll in the boldest of colors; the rightful l:eirs to Professor Longhair and The Velvet Underground ••• the fulfillment of rock's promise of long ago, and a triumph for hard rockers everywhere. Egged on by their bone-crunching bant L, vocalists Blak and Lean bend and twist the musical express:'.on of ecstacy and despair to their most tormented limits. Those to be held personally responsible are fat-1.:at drummer Walt 'twhammy" Douglas (who parlayed a ho-hum bat·:;ing average into one of the most impressive slugging records in ·rock history), power-bassist Marko Roxx (his name tells the tale), ' guitarists Chance Fleeting (who's searing leads ,Uld .relentless rhythms on such instant classics as "Rock and Ro:Ll Hell" and "Bitch Boy" assure his niche in rock's Hall of F:Lame), and Mario David (his solo at the end of the catharti·! masterpiece, "No More", makes it clear once and for all that Jimi and Robin are nice names for girls). But mostly credit is due composer-vocalist Lean ( a high-yellow baby Jean Genet with the voice of Carmen McRae gone mad), and lyricist-vocalist Blak (a tantalizing flash of pure terror guaranteed to drive psycho-drama out of the clos~t with a single blood-freezing scream). -
Fort Gansevoort
FORT GANSEVOORT A Look Back: 50 Years After Stonewall Opening On: Thursday, July 11, 6 – 8 PM July 11 – August 10, 2019 Fort Gansevoort presents A Look Back: 50 Years After Stonewall, organized by Lucy Beni and Adam Shopkorn. The exhibition commemorates the fiftieth anniversary of the 1969 Stonewall Uprising, a six-day riot said to have been spontaneously set off by Marsha P. Johnson in protest of one of many regular police raids at The Stonewall Inn, a gay bar located in New York City’s Greenwich Village. This event marks the beginning of the Gay Liberation movement and the contemporary fight for LGBTQ+ rights in the United States. A Look Back: 50 Years After Stonewall unites the work of queer artists living and producing in and around New York City beginning around the time of the Stonewall Uprising in 1969 and leading into the 1980s. This is only a portion of the story, an incomplete history, most especially given that the Gay Liberation movement and its coinciding contemporary art market had not placed transgender voices nor people of color at the forefront of the conversation. The exhibition includes both documentation of the Gay Liberation movement and a look back at the work made by LGBTQ+ artists during this time. Central to the work included are the subjects of protest, revolt, celebration, and love. Kate Millett’s sculpture, American Flag Goes to Pot (1970) provides a blunt protest to government authority, while Joan E. Biren’s photograph’s document the tenderness of love between two women. The work made during the beginning of the AIDS epidemic, beginning in 1981, becomes entangled in death and remembrance, an epidemic defining this decade most especially in the New York City queer community and resulting in a tremendous amount of loss. -
From Vintage Collectors and Mixology Fans to Surf, Rockabilly and Punk Music Scenesters, the Escapist Vibes of the Tiki Scene Still Have a Strong Hold on Los Angeles
THE BEST TIKI DRINKS REVISITING GORDON PARKS’ CONTROVERSIAL PHOTO ESSAY TV’S FUTURE IS FEMALE ® AUGUST 2-8, 2019 / VOL. 41 / NO.37 / LAWEEKLY.COM From vintage collectors and mixology fans to surf, rockabilly and punk music scenesters, the escapist vibes of the tiki scene still have a strong hold on Los Angeles. And at Tiki Oasis in San Diego, everyone comes out to play. BY LINA LECARO 2 WEEKLY WEEKLY LA | A - , | | A WWW.LAWEEKLY.COM Welcome to the New Normal Experience life in the New Normal today. Present this page at any MedMen store to redeem this special offer. 10% off your purchase CA CA License A10-17-0000068-TEMP For one-time use only, redeemable until 06/30/19. Limit 1 per customer. Cannot be combined with any other offers. PAID ADVERTISEMENT 3 LA WEEKLY WEEKLY | A - , | | A THANK YOU, SENATOR DURAZO, FOR PUTTING PEOPLE BEFORE DRUG COMPANY PROFITS. WWW.LAWEEKLY.COM AARP thanks the members of the Senate Judiciary Committee for standing up for Californians and passing AB 824. This legislation would prohibit brand-name drug companies from paying generic manufacturers to delay the release of lower priced drugs. AARP strongly supports this important fi rst step towards ending the anti-competitive practices of big drug companies and lowering prescription drug prices for everyone. Too many people are struggling to make ends meet while the big drug companies continue to rake in billions. AARP encourages the entire Senate to pass AB 824, and put a stop to drug company price gouging. facebook.com/AARPCalifornia @AARPCA AARP.org/CA Paid For by AARP 4 L August 2-8, 2019 // Vol. -
In the 1980S, a Group of Artists, Musicians and Free Thinkers Formed
Words Andy Thomas In 1986, if you walked east along discussions. They overlooked Rivington Street, in New York’s Lower everything that was not strictly for East Side, you would be confronted profit and tried to pretend it didn’t by a hulk of metal that twisted into exist,” says Kantor. “While highbrow the air like a giant spider hauling museum scholars wrote their essays itself from the earth. It was welded on auction winners, bestsellers and together, over many dope-fuelled gallery favourites, we had parties in nights, by a collection of artists, abandoned buildings and empty lots.” musicians and outsiders known Although critics and cultural as the Rivington School, who had historians overlooked the Rivington salvaged the abandoned cars and School, it was an important strand scrap metal that littered their to 1980s New York art. “It might neighbourhood. They christened sound contradictory, but the it the Rivington Sculpture Garden. Rivington School was not part A year later it was bulldozed by the of the downtown art scene,” says city, eager to capitalise on the area’s Kantor. “The downtown art scene property boom – which in turn was mostly meant the East Village driven by the art scene at the end of wannabe galleries and nightclubs, the street, where artists such as Keith seeking recognition and money, Haring and Jean-Michel Basquiat dominated by fashion and cheap were gaining international glamour. The Rivington School recognition. Visit the corner of was a guerrilla-style art community Rivington and Forsyth today and camping in the ruins of a remote you’ll find luxury condos, built in area in the Lower East Side.” 1988, worth millions of dollars. -
Playboy Manbaby Jim Louvau
Playboy Manbaby Jim Louvau Apr 24, 2018 17:48 BST PLAYBOY MANBABY: Phoenix Spazz- Punks Release New Album "Lobotomobile" - Announce US Tour Dates | Dirty Water Records USA PROMO ACCESS View embedded content here Playboy Manbabyhave been playing, touring, and dropping records for more than five years. Riding the momentum wave of 2017's epic "Don't Let It Be" album, (which was originally released on cassette from Lolipop Records, and is now available on limited colored vinyl through Dirty Water Records USA)the band have now unleashed Lobotomobile on the public. The 11-song full-length is available digitally and in limited-edition quantities on vinyl, cassette, and CD. View embedded content here Watch video on YouTube here The band features Robbie Pfeffer on vocals, TJ Friga on guitar, Chris Hudson on bass, Chad Dennis on drums, Austin Rickert on sax, and Dave Cosme on trumpet and percussion. Together, the band creates jumpy, raucous music — topped with sharp, thought-provoking lyrics — that pulls in a few different apples from the punk rock tree, from artsy to hardcore. Their multi-flavored sound maintains a ska vibe at times with its horn section and other times those noisemakers lend themselves to help bust out garage rock dripping with the spirit of the ‘60s. The band are constantly on the road and will kick off the second leg of their US tour in Denver, Colorado on May 2nd. You can catch them this weekend before they leave town at the Yucca Tap Room. ORDER "LOBOTOMOBILE" ORDER LIMITED COLORED VINYL of "DONT LET IT BE" US TOUR DATES: -
Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88
Journal of Popular Music Studies, Volume 23, Issue 3, Pages 288–306 Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88 Tim Lawrence University of East London Despite the late 1970s national backlash against disco, dance culture flourished in New York during the first years of the 1980s, but entered a period of relative decline across the second half of the decade when a slew of influential parties closed. Critics attribute the slump to the spread of AIDS, and understandably so, for the epidemic devastated the city’s dance scene in a way that began with yet could never be reduced to numbers of lost bodies (Brewster and Broughton, Buckland, Cheren, Easlea, Echols, Shapiro). At the same time, however, the introduction of a slew of neoliberal policies—including welfare cuts, the liberalization of the financial sector, and pro-developer policies—contributed to the rapid rise of the stock market and the real estate market, and in so doing presaged the systematic demise of dance culture in the city. In this article, I aim to explore how landlords who rented their properties to party promoters across the 1970s and early 1980s went on to strike more handsome deals with property developers and boutique merchants during the remainder of the decade, and in so doing forged a form of “real estate determinism” that turned New York City into an inhospitable terrain for parties and clubs.1 While I am sympathetic to David Harvey’s and Sharon Zukin’s critique of the impact of neoliberalism on global cities such as New York, I disagree with their contention that far from offering an oppositional alternative to neoliberalism, cultural workers colluded straightforwardly with the broad terms of that project, as will become clear. -
Gary Burke Bill Milhizer
Art Music Culture Reception Gary Burke Troy native and renowned 18 drummer talks technique. Bill Milhizer Fleshtones drummer tells of 22 gigging in a changing scene. www.radioradiox.com Free May 2019 Page 3 Music Art Culture Revolution The Delicate Art of Surprise You can say what you want about Chandler Travis, just spell his name right. And come prepared for amazement. By Liam Sweeny for Mapanare.us, since one of the things you said was that you’d rather be booed than ignored. In ariety is the spice of life. We live in a world terms of engaging the audience and finding that bound at every turn by a category; a genre, love, however it comes, how best do you battle that Va look, a clique, a demographic – it would indifference? drive us truly nuts if there was a box we could CT: I’m a big fan of the element of surprise, and check for our specific strain of insanity. But we can that combined with a certain creative restlessness always find relief in the unique people, even as we and natural selfishness means that usually, I’m stand and point and, unbeknownst to anyone, wish most interested in surprising myself; that said, I we had their moxie. do try to make sure that whatever we do, it’s a sur- Observations Chandler Travis is a welcome respite from “va- prise. Real surprises are so rare, can’t think of a and Ramblings ........25 riety is the spice of life” and other things we sleep- better present, really; always hope it’s a pleasant walk through our minds. -
Carlo Mccormick
Excerpt from Secrets of the Great Pyramid: The Pyramid Cocktail Lounge as Cultural Laboratory, October 17–November 7, 2015 © 2015 Howl! Arts, Inc. Learning, in Retrospect Carlo McCormick There is no worse stylistic offense in art writing—where critics and historians couch subjective opinions as objective facts with presumptive authority—than to lapse into the first person. Perhaps “we” to include the reader in what we all know to be true, or even “one” as might signify anyone as kind of everyone, but never “I,” like this is what I think or feel. That’s a kind of disclaimer, a way of saying we know better but in the case of the Pyramid Lounge I can only talk about it as something I experienced. As the curator of this exhibition said to me the other day, “you were like the baby who grew up there.” Perhaps not the most flattering quote, but true enough to merit repeating. I began working in downtown nightclubs when I was just a teenager, and if not still a teen when I worked at Pyramid I wasn’t far into my twenties. In hindsight I can only presume the charms of youth—a manic degree of energy and enthusiasm as well as the inescapable fact, so often wasted on the young, you’re still kind of cute at that age—which must have made up for the fact that I was no doubt as annoyingly stupid as a kid can be. If it were not such a generational trauma that we lost mostly everyone who made up our social life in those years way too early in their most promising and beautiful lives, I could take some comfort there are not so many around today to remind me how totally uncool I was then.