Summer Season 2014
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Three New Acts for Northside
MC50 2018-04-17 10:00 CEST Three new acts for NorthSide The festival has found room to add Yungblud, Soleima, and a special anniversary edition of MC5 to the line-up NorthSide announced this year's festival poster with 41 primary international acts at the end of February, but the festival has still been able to add another three acts to the NorthSide 2018 line-up. MC50 The most iconic beginning to a punk song ever was delivered by Detroit's own Wayne Kramer, who in 1968 shouted "And right now ... right now ... right now it's time to ... kick out the jams, motherfuckers!" from the stage of the Grande Ballroom in Detroit. That’s how the title song from the debut album "Kick Out the Jams" by MC5 starts, which today is considered one of the most important albums from the time just before the world fell in love with Sex Pistols, Ramones, Black Flag, and The Clash. To celebrate the upcoming 50th anniversary of the groundbreaking album, Kramer has gathered a new band around him, which he calls the MC50. The band consists of the guitarist Kim Thayil from Soundgarden, Fugazi drummer Brendan Canty, King's X bassist Doug Pinnick, and Marcus Durant from Zen Guerrilla. They will this summer perform all eight songs from the debut album plus other favorites from the MC5 catalog . MC50 will play Friday June 8th at NorthSide 2018 Yungblud One of the hottest comets on the English music scene right now is Dominic Harrison, who performs under the name of Yungblud. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Songs-Of-Protest-2020.Pdf
Elliott Forrest Dara Falco Executive & Artistic Director Managing Director Board of Trustees Stephen Iger, President Melanie Rock, Vice President Joe Morley, Secretary Tim Domini, Treasurer Karen Ayres Rod Greenwood Simon Basner Patrick Heaphy David Brogno James Sarna Hal Coon Lisa Waterworth Jeffrey Doctorow Matthew Watson SUPPORT THE ARTS Donations accepted throughout the show online at ArtsRock.org The mission of ArtsRock is to provide increased access to professional arts and multi-cultural programs for an underserved, diverse audience in and around Rockland County. ArtsRock.org ArtsRock is a 501 (C)(3) Not For-Profit Corporation Dear Friends both Near and Far, Welcome to SONGS OF PROTEST 4, from ArtsRock.org, a non- profit, non-partisan arts organization based in Nyack, NY. We are so glad you have joined us to celebrate the power of music to make social change. Each of the first three SONGS OF PROTEST events, starting in April of 2017, was presented to sold-out audiences in our Rockland, NY community. This latest concert, was supposed to have taken place in-person on April 6th, 2020. We had the performer lineup and songs already chosen when we had to halt the entire season due to the pandemic. As in SONGS OF PROTEST 1, 2 & 3, we had planned to present an evening filled with amazing performers and powerful songs that have had a historical impact on social justice. When we decided to resume the series virtually, we rethought the concept. With so much going on in our country and the world, we offered the performers the opportunity to write or present an original work about an issue from our current state of affairs. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. 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 invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. 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. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Words+Images
ARTCRAFT BUILDING NONPROFIT ORG. 2570 SUPERIOR AVENUE US POSTAGE SUITE 203 PAID CLEVELAND, OHIO 44114 PERMIT #4248 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT WWW.THE-LIT.ORG CLEVELAND, OH ISSN 1942-275X 07 M U S E I S THE QUARTERLY JOURNAL PUBLISHED BY THE LIT 9 771942 275009 WORDS+IMAGES JULY 25-30 A writing workshop for students entering grades 10, 11, and 12 www.hb.edu/young_writers PRESENTED BY ISSUE06.10 MUSE IS THE QUARTERLY JOURNAL PUBLISHED BY THE LIT We’ve all been there: Trapped, imprisoned. Some by bars. VOLUME 3, ISSUE 2 JUN 2010 Some by substance. Some by people. Imprisoned is a bad place. It strips us of humanity, creativity, altruism, self-love. JUDITH MANSOUR Editor/Publisher Words, music, and images—art—can be a way out, though. [email protected] In March, I met with some friends who have begun a new TIM L ACHINA nonprofit organization called Jail Guitar Doors. Yep, the Design Director [email protected] same name as the song by the Clash, written for guitarist Wayne Kramer of the MC5 during his prison stay in the 1980s. DAVID MEGENHARDT Founded by Wayne and Margaret Kramer, and Billy Bragg, Jail Managing Editor [email protected] Guitar Doors gets guitars to prison inmates so that those who are inclined have a creative release—one that doesn’t involve R AY M C NIECE drugs, violence, or other bad behavior. They have been met Poetry Editor [email protected] by turns, with amazing receptivity and support, as well as with hostility and resistance. -
DKT/MC5 Sonic Revolution
Listen mister, back in my day, blotter was 25 cents a hit and we had to walk two miles uphill to get it! And we liked it! Wayne Kramer is not someone who normally seems into beaming—his image is a little more ferocious than that. But onstage during the second night of the DKT-MC5 tour in Chicago, Kramer busted loose a big fat grin and started jumping up and down at one point. Back in the MC5 days, the band was known for its energetic, physical shows. Having never seen them live, I don't know if they ever jumped for pure joy back then, but that's clearly what Kramer was doing that night. The reunion of the surviving members of the MC5 (guitarist Kramer, bassist Michael Davis and drummer Dennis Thompson)—along with resurrections of the Stooges and the New York Dolls—is showing a renewed interest in these progenitors of punk rock. "It's surprising to me and it should be surprising to Iggy and those guys how much influence and affect our two bands have had on music now," Davis said. "I'm kind of in awe of it. We've had this kind of effect. And it's one thing to do something that people DKT/MC5 admire a lot, and go, 'That was really cool Sonic Revolution: Live At London's 100 stuff,' but to have this much influence is really Club [DVD] surprising to me." 2004 Image He continued: "I thought it was great, but I The DKT/MC5 gig at London's 100 Club never thought it was so foundational to the was the first salvo in what has become a future. -
Issue #11, Dec
PO Box 42129, Los Angeles, CA 90042 #11 www.razorcake.com Sean, the co-founder of Razorcake, and I are best friends. We lived Totally legit. The state is more involved with registering a vehicle. and worked together for around a year and a half in a small apartment and When it came to the rings, instead of fretting over carats, a friend of never even got close to yelling at one another. Then he left. I’m not pissed theirs made them, special. The simple silver bands were a Navajo design or jilted. He left to move in with his fiancée, now wife, Felizon. of a staircase that looped around, up and down, signifying that if you’re If people I like but don’t know very well ask me what Razorcake’s feeling down, you just flip it over, and you’re up. Everything, if you hang about, I tend to squint an eye a bit and rub the back of my neck before on with a decent attitude, can work out in the end. answering. “It’s got a lot about loud or spastic music that usually doesn’t The cake was from the bakery where Felizon’s mom, Corazon, get a lot of exposure. And we try to cover other parts of the underground, worked. too, like writers and filmmakers and comics.” This magazine is our tether The pavilion – an old wood structure with campers off to the side – between the “real world” and the life we want to live. It’s a reflection, was on the beach. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol. -
MC5's Wayne Kramer, Motorhead and the Sex Pistols Modernize Iconic Sound with Re- Recorded Tracks for Guitar Hero(R) World Tour
MC5's Wayne Kramer, Motorhead and The Sex Pistols Modernize Iconic Sound With Re- Recorded Tracks for Guitar Hero(R) World Tour 40 Years Later, Wayne Kramer, Joined By Jerry Cantrell of Alice and Chains and Gilby Clark Formerly of Guns 'N' Roses, Brings Back 'Kick Out the Jams' for Guitar Hero World Tour SANTA MONICA, Calif., Sept 03, 2008 /PRNewswire-FirstCall via COMTEX News Network/ -- Guitar Hero(R) fans will have a unique opportunity to unleash their inner rockstar as they come together and kick out some jams with exclusive re-records by MC5's Wayne Kramer, Motorhead and The Sex Pistols in Activision Publishing, Inc.'s (Nasdaq: ATVI) Guitar Hero(R) World Tour. Just shy of the 40th anniversary of the seminal performance in October 1968 when "Kick Out the Jams" was originally recorded, founder and lead guitarist Wayne Kramer went back into the recording studio with original producer Bruce Botnick to re-record the track exclusively for Guitar Hero World Tour. Featuring the vocals recorded by Rob Tyner in 1968, Wayne Kramer was joined by friends Jerry Cantrell of Alice and Chains and Gilby Clark formerly of Guns 'N' Roses -- at The Woodshed Recorder, studio of composer and ex-Oingo Boingo keyboardist Richard Gibbs -- to update and modernize the sound without taking away from the original visceral garage sound that made MC5 famous and helped start the Punk Rock revolution. Last year when they re-recorded "Anarchy in the U.K." as a Guitar Hero exclusive, fellow Punk Rock band The Sex Pistols - with original members John Lydon on vocals, guitarist Steve Jones, drummer Paul Cook and producer Chris Thomas - also re- recorded "Pretty Vacant" utilizing the original analog sound board (circa 1969) that was built for George Martin at Air Studios, London, England in order to maintain the classic sound. -
The Legendary Stooges Axeman, 1948-2009: He Didn't Just Play the Guitar
The legendary Stooges axeman, 1948-2009: he didn't just play the guitar. BY TIM "NAPALM" STEGALL The first thing you noticed, after seeing the perfect picture of teenage delinquency in quartet form on the cover (and how much the band depicted resembles a prehistoric Ramones, if you're of a certain age), was the sound: Corrosive, brittle, brassy, seemingly untamed. It was the sound of an electric guitar being punished more than played. And the noise got particularly nasty once Mr. Guitar Flogger stepped on his wah-wah pedal. Because unlike whenever Jimi Hendrix stepped on a wah, this guitar didn't talk. It snarled and spat and attacked like a cobra. As the six string engine that drove The Stooges, Ron Asheton didn't play guitar. He played the amp. And the fuzztone. And the wah-wah pedal. In the process, he didn't just give singer Iggy Pop a sonic playground in which he could run riot and push the boundaries of then-acceptable rock stagecraft. ("Ron provided the ammo," says Rolling Stone Senior Writer David Fricke. "Iggy pulled the trigger.") Ron Asheton also changed the way rock 'n' roll was played and energized a few generations to pick up guitars themselves, creating several subgenres in the process. Ron Asheton was found dead in the wee hours of January 6, 2009, in the Ann Arbor home he and brother Scott (The Stooges' drummer) and sister Kathy (muse to a few late Sixties Detroit rockers and lyrical inspiration for The Stooges' classic "TV Eye") grew up in after the family relocated from the guitarist's native Washington, DC. -
Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.