Malcolm Young * 6 January 1953 – 18 November 2017

My favorite Rhythm Guitar Player other than SPIKE. You never saw his eyes, skinny arms, little tank body, dirty black t shirt, dirty denim jeans, Gretsch White Falcon Guitar, Marshall Amps behind him, dirty deed backing vocals, head banging rock’n’roll mess.  Man, today sucks and when the kids of the future tire of trying to be Big Brother and tire of glo’stix, cell fone selfies and neato haircuts, they will dig back through the screens and the wiring, back into the dust, back into the electricity and true grime and find
Malcolm Young and learn a thing or 2 about how to Really, Really, Really… Rock’n’Roll.
Love, Big Thanx and Respect


November 17, 1966 – May 29, 1997

J. Buckley





I speak of blood, because I can’t help it

I’d love to talk about flowers in the breeze and the moon in the snow
I’d love to talk about imperial history, about poems in wine
But this reality only lets me speak of blood
blood from a rented room the size of a matchbox
narrow, cramped, with no sight of the sun all year
extruding working guys and girls
stray women in long-distance marriages
sichuan chaps selling mala tang
old ladies from henan manning stands
and me with eyes open all night to write a poem
after running about all day to make a living
I tell you about these people, about us
ants struggling through the swamp of life
drops of blood on the way to work
blood chased by cops or smashed by the machine
by casting off insomnia, disease, downsizes, suicide
each explosive word
in the pearl river delta, in the pit of the stomach of the country
eviscerated by an order slip slicing like a kaishaku blade
I tell you these things
even as I go mute, even as my tongue cracks
to tear open the silence of the age
to speak of blood, of the sky crumbling
I speak of blood, my mouth all crimson

September 17, 2013

XU LIZHI (1990-2014)




XU LIZHI (1990-2014)





Morten Rygaard Photography


‘Hollywood Babylon’ Author Kenneth Anger Isn’t Surprised by Harvey Weinstein: Showbiz Is a “Synonym for Sin”

Photographed by Damon Casarez
“I wasn’t trying to do a puritanical denunciation of Old Hollywood,” says Anger of ‘Hollywood Babylon,’ his gossip tome that sullied such names as Bow, Arbuckle, Jayne Mansfield and Valentino. “It was a terrific cast.” He was photographed Oct. 31 at Teddy’s at the Hollywood Roosevelt Hotel.

The industry’s oldest living scandalmonger and pioneering queer filmmaker shrugs at the current state of industry infamy since Weinstein’s fall.

It’s Halloween. Two evenings have passed since Anthony Rapp went public with Kevin Spacey’s alleged pedophilic advances. Tomorrow, Brett Ratner’s and Dustin Hoffman’s predacious behavior will make headlines. But for 90-year-old Hollywood enfant terrible Kenneth Anger — the pioneering gay underground filmmaker — the news since Harvey Weinstein’s fall collectively elicits a shrug. After all, aside from his noted contributions to avant garde film (hailed by everyone from Scorsese to Sontag), Anger also is the industry’s oldest living scandalmonger, the author of the 1970s best- seller Hollywood Babylon and its sequel — salacious and much disputed histories of Golden Age cinema.

“Hollywood is very good for producing scandals; it’s been producing them since the very beginning,” says Anger over a burger and Coca-Cola at the Hollywood Roosevelt Hotel before speaking at a nearby event in honor of his late friend Anton LaVey, the Church of Satan founder. (Anger, who directed LaVey in Invocation of My Demon Brother, has a tattoo reading “LUCIFER” on his chest.)

Revisiting the Babylon books in the current climate is a reminder that while the entertainment industry has grown to see itself as something of a moral force over the past century, the rest of the country never subscribed. Hollywood has always been, in Anger’s words, a “synonym for sin,” a paradisiacal place where glamour lives and ethics don’t.

Mark Ebner, author of the Babylon-esque Hollywood, Interrupted with late conservative activist Andrew Breitbart, observes that Anger’s singular blend of besotted fascination and moralism is on display in another media and culture provocateur, Matt Drudge. “He has the Anger touch,” says Ebner of the right-wing Drudge Report‘s entertainment coverage (Breitbart worked for Drudge for years).

Anger in 1972, directing Faithfull in <em>Lucifer Rising</em>.
Getty Images
Anger in 1972, directing Faithfull in Lucifer Rising.

The San Pedro-based Anger, who attended Beverly Hills High School, was long known for his prickliness and reclusiveness. Now in his hard-of-hearing dotage, gap-toothed and beatific of bearing, he’s pleased to discuss his next project: the experimental short film Airships, involving rare vintage footage of his “favorite mode of transportation,” zeppelins, one of which he rode as a young boy with his grandmother, a United Artists costume designer.

It’s likely the caboose of a career that began a few years after he graduated from Beverly Hills High with Fireworks, a canonical queer short filmed in 1947 (Alfred Kinsey purchased a copy), and went on to include collaborations with everyone from Manson Family murderer Bobby Beausoleil to Mick Jagger and Marianne Faithfull. John Waters calls Anger’s oeuvre the “brave celluloid track record” of an artist “scarily beneath, above and beyond the real thing.” The Film Society of Lincoln Center’s director of programming, Dennis Lim, notes that his editing and use of music “anticipated the music video form by decades.”

The Babylon books, written with a mischief bordering on malice, are not so revered. Even ardent Anger fans find it difficult to reconcile the sensitivity of his films with the sleazy arsenic of his books, which have been accused of unfairly tarnishing the reputations of such stars as Fatty Arbuckle and Clara Bow. (His claim that Bow slept with the entire USC football team has been disproved.) “I can’t clarify much,” he says, sipping his soda, though he admits his research was conjured primarily from secondhand gossip gleaned from his grandmother’s colleagues. “It’s Jekyll and Hyde, but it’s all me.”

Anne Helen Petersen, author of Scandals of Classic Hollywood, which sought to rehabilitate parts of the pantheon she believes Anger smeared, contends that he exacerbated his already ill-informed accounts with an ungenerous perspective, one particularly at odds with a marginalized outsider like himself. “The way he framed things, it made homosexuality, female sexuality, interracial relationships — even being fat, in Arbuckle’s case — into transgressions, amplifying and embroidering instead of normalizing,” she contends.

Anger professes amused bafflement at the critique. “I wasn’t trying to do a puritanical denunciation of Old Hollywood,” he explains. “It was a terrific cast.” And what about the current cast — is it worthy of another sequel? Anger sighs. “I’m afraid the present generation is pretty pallid.” (In fact, he has long had notes for a third Babylon, many pertaining to stars in the Church of Scientology, but decided it wasn’t worth the fight to publish: “They like to put people on their enemies list.”)

In his 10th decade, Anger has a few regrets. He wishes he’d had the financial resources to pull off feature-length narratives about two particular obsessions, Rudolph Valentino and Ramon Novarro. “I never did, and it’s over now,” he says. (To historians’ dismay, he propagated the tale that the silent stars had been lovers and that Valentino gifted Novarro with a black lead art deco dildo.)

His own plot arc, of course, is reaching its denouement. “I haven’t really thought of where I’ll end up as a corpse,” says Anger, who has no children. “I really don’t care, but I’ve got lots of friends at Hollywood Forever [Cemetery], and I go visit there from time to time.” His mind whirs, and he flashes an enchanted grin: “Oddly enough, Paramount Pictures, right next door, is constructed over an ancient cemetery. Under the soundstages are hundreds of bodies. They built right on top of it. It’s like a secret that Hollywood doesn’t want people to know.” Paramount, unsurprisingly, disputes the lurid claim.

  • Teh Hollywood Reporter *


If you are able,
save them a place
inside of you
and save one backward glance
when you are leaving
for the places they can
no longer go.
Be not ashamed to say
you loved them,
though you may
or may not have always.
Take what they have left
and what they have taught you
with their dying
and keep it with your own.
And in that time
when men decide and feel safe
to call the war insane,
take one moment to embrace
those gentle heroes
you left behind.

Major Michael Davis O’Donnell


fangx Flo

The Man With The Harmonica

Love it!

Gabriel Michel

Very Rock’n’Roll!
Very Cool!


Down yonder, where at night, chain-toads get their spinal cords yanked out and turned into hangman knots for skeleton bracelets and the rape ghost ride around on bicycles and everyone leaves rotten sandwiches on they porches so as to shoo’em away… down here, late into the night bad things happen that don’t have a name, down here where even the pilfered graves are too afraid to stretch out a yawn of what it is that holds the heart of this place in a grip so frightfully fierce that even fingerprints evaporate into thin air rather than be haunted down by name… down here where the Bible don’t mean shit after a certain time of night… ghost, bandits, devils, hateful imaginations… the animal skins dripping dry out in the woods where rabbits die off from heart attacks and the trees hide their faces away in iced
horror… down here… where money has no power… down in here…

foto/Shelby Lee Adams



Inside where Jesus stirs up the heart and the purple tongue veins hum the same as currents that flow from electric chairs that bring on lock-jaw.
Inside where the devil sits in the dental chair of your eyesight and fires off torpedoes of curses and hexes upon every thing ya ever tried to covet… Inside where Jesus turns the coffee grinds into stomach acid and parts the seas of cancer in all disastrous directions, spread out unevenly… Sick in Spirit, touched between the eyes by the boney finger of an anorexic God and the sick spirit inside, stinking like a closet cluttered with molded winter clothing… black charms grow on the lungs, the memory scent of spring flowers are murdered by the time it reaches the heart… Inside of the body where the Holy Ghost has witnessed too much blood sport, too much skin on skin trade, too much the face of God hanging down over you from behind as you sit with your gaze fixed upon an empty plate where once eggs did shine…
Inside the eyes where the family vine shortens into less than a pin-prick and dies flat like still water.
No sign of ripple.
Inside where the smiles come and go without your permission.
Your tongue talking in a language you were never taught.
The breath at the back of your neck the bad breath of that anorexic and hateful God who broke his own son’s ghost on the vertical train-track, on a patch of hill carpeted in human skulls…. flesh for flesh for flesh in the blind touched eyes…
Names are words written in chalk upon the face of the dust…
What you want with a name?
What would ya even do with one?
The name of God is inside of us
Its name is
Its name is
its name is
Its name is
The body is a house of plague
Its name is
Renal Failure
Its name is
Inside where sickness stirs
you’ll find the boney
wet finger of christ
sinking the ship from the inside out
Its name is
Its Spirit’s name is
mental illness
Look into our eyes and take
a bite.
The apple of our eyes
are haunted
to the

foto/Shelby Lee Adams




Beck On Healing Through Music…

In a career spanning three decades, Beck has remained one of music’s most intriguing shapeshifters. From the warped folk of his earliest recordings to the chopped-up samples, hip-hop beats and lush orchestral arrangements of albums that followed, Beck has never lingered in one sonic world for long.

For his latest album, Colors, the singer takes his music in what some longtime fans may think is an odd, or overly simple, direction: The 11 songs, co-produced with Greg Kurstin, are pure, highly refined pop. But as Beck explains in this special Guest DJ session, Colors was still one of the most complicated and challenging records he’s ever made. He also explains how pop music can be a finely crafted art form, why the guitar has become the stepchild of popular music and the healing power of songs that just make you feel good.


Beck on why he wanted to make a joyful album

I wanted the record to be [one of] those kind of albums you put on, or you’re in the car, and it just sort of elevates the mood a little bit — you just kind of feel a little better. I wouldn’t say that’s my instinctive default in the kind of records I make. So it’s something that I have to kind of dig into and figure out a way to articulate that thing in a [way] that made sense for me. But this is a kind of a feeling that I wanted the record to have before I even knew what the songs were and what it was going to be all about. It’s interesting, I was talking to somebody the other day and then they said, ‘Well what did you want this record to be like?’ And I said I just wanted it to have a lot of light. You know, when you’re looking at a color you don’t actually see the color, you’re just seeing a reflection of light. And we all see colors differently. So, I think the best music will ever be is some sort of reflection of something that doesn’t really exist. But the greatest artists — their music is filled with that kind of… you can call it love, or you can call it warmth, or just this intangible quality that just makes you feel better.”

On writing and recording pop music as a refined, time-consuming art form

There are certain songs that are harmonically complex, they’re sophisticated musically but you can, as a listener, you can just find direct, immediate, simple pleasure in the song, even though it does some unusual and musically advanced things. There was a bootleg of all the sessions of [The Beatles] recording ‘Strawberry Fields Forever’ and just dozens of versions of the song and how they edited it together. And that was a real revelation because as a kid you think, oh they just went into the studio and recorded ‘Strawberry Fields.’ But what actually went into it was this incredibly complex process and this sort of experimental searching for something like a new sound and a new way of doing things. And that’s always something that’s stuck with me. I always wanted to do a record where you take it that far.

“So that idea of a pop record as a piece of art was something that was really fascinating to me. Like songwriting craft that goes all the way back to Motown and Phil Spector and the Brill Building. People that were in a building, writing hundreds of songs to get the one magic song. I think, more than anything, I was just curious about what happens when you go there. You hear these stories, where everyone’s kind of lost their minds in the pursuit of this sort of elusive, great track. You can hear the stories from Brian Wilson or Phil Spector. There’s so many stories of like the sort of extremes that they would go to make these records that were really groundbreaking in their time.”

On the electric guitar’s diminishing role in modern music

There’s really not much guitar on this record. I think we’re sort of in a weird moment in music where the guitar is sort of a stepchild in the popular consciousness. It’s not really at the center, which is fine. I think there’s a lot of great music being made without guitars and we’ve certainly spent decades exploring it — it’s still a powerful thing. It’s a visceral thing. I think certain genres have to evolve and — this is an incredibly pretentious statement to make — but perhaps we’re due for some sort of reinventing or pushing [of music]. You know, hip-hop is sonically, just in the last few years, it’s gone to a whole new level. There’s a whole new paradigm. There’s a whole new sonic place that music has reached and [hip-hop] is very much a live form. And it’s tough because there is a certain orthodoxy I think we hear and have to tear apart, and maybe try to embrace where we are now. I think there’s a couple of albums, like the Alabama Shakes, where you feel that direct connection to sort of classic guitar music and roots but it does feel modern. And it really connects, because it’s sitting in a modern space.”

On writing lyrics about overcoming difficulties and the power of music to make you feel better

“The way I felt like it would work, for me, was to write from a place where you’ve seen and experienced difficulty, struggle, heartbreak and all these things. But there is that moment or the thing in your life that reminds you of the beauty in life, whether it’s in music or nature. You know, things are complicated. There’s a lot of difficulty. Trouble. But there’s these very simple things that make you glad to be alive. That’s something I wanted to capture [on this record]. So there [are songs] about getting through the last years or being at the end of your rope. But there is that cliché of how certain music got me through this hard time or provided some sort of solace. And I was thinking about that in [making] this record — just the fact that it’s one of the things that music does. And music is a conduit for some sort of connection as well. It can have a healing effect. So it’s been a powerful force in my life.”


Stolen from NPR


Henry Rollins: Don’t Sleepwalk Through Life

Even though the parts about Trump / McCain are Lame, I found the rest of this very insightful and interdasting.
Especially Respecting other people and their cultures and leaving a 50 percent tip.  Right ON.

– iAN

I’ve been in Taipei, Taiwan, for a few days. I’ve got a routine. By day, I do my desk work, go to the gym, then back to the desk until around 1845 hrs. After that, I hit the streets, eat cheap, find a place to write, drink coffee, listen to music and keep on grinding until near closing time. Then more walking and, finally, back to the hotel room.

Walking around here, checking things out, it occurs to me that I’m in the right place, doing the right thing, not wasting time. When I look around at all the lights, traffic and people, it all seems eventful.

I’ve tried but so far have been unable to make life off the road nearly as meaningful. In Los Angeles, I drive around at night and install myself at different coffee places, trying to feel I’m somewhere like where I am now. Sometimes I can get it but most of the time, I can’t.

Many years ago, the best part of my day was walking back from my job to the apartment. It wasn’t that the workday was over but the feeling of freedom being between the two points. I used to have a few different routes, all of them several blocks out of the way.

One afternoon in 1981, I was at Ian MacKaye’s house. Black Flag had spent the night and were leaving for their next show. I watched the van pull away and thought of them as wild men, sailing on a mad sea. I tripped on that as I walked to my night shift. Wherever they were going, to whatever situation of unpredictability awaited them, I wanted to go, too. It seemed a much better way to die, compared to the minimum-wage flatline I was heading to.

A few months later, I was in that van. I lucked out. Real life would have been way too much for me to hack.

Here in Taipei, I have very little interaction with people. I point at what I want for dinner, smile and nod, get my change ready in advance for my nightly bottle of tea from the 7-Eleven, as the guys behind the counter seem to be quite impatient.

For the most part, I exist among people here almost invisibly. I look into windows of restaurants and tea houses and see Taiwanese versions of people I see anywhere else. The nervous girls and the lonely boys, hypnotized by their phones, elderly often sitting alone, looking at a newspaper or staring down, the just-off-work, tie-part-way-down alphas, prowling for who knows what — martinis, blood. They’re all here.

There are a lot of street-food vendors. The smells are amazing. Crepes, curried meat, garlic — all are omnipresent and all you want to do is eat.

Tonight’s designated spot is a Japanese place blocks away. A great, steaming heap of yakisoba for 6 bucks. A 50 percent tip seems to confuse them but I just smile and say, “It was really good! Thanks!” It pretty much all tastes good to me out here.

I like the reality of being out in the world. A place like Taipei makes me work, trying to understand it. The feelings of isolation, of otherness, are not at all unwelcome. Actually, they make me far more observant. There’s a lot to see anywhere, of course, but when you’re in one place for any length of time, repetition can dull your senses. This is what I fear, sleepwalking through life. We do it all the time.

In the gym earlier, I was watching the BBC weather report for Asia and ticking off all the cites on the screen that I had been to. Kolkata, Dhaka, Kathmandu, Thimphu, Ashgabat, Tashkent, Astana, Kabul, Bishkek, Almaty and so on. I’m resolved to get to as many places as I can. It’s never easy but always worth it.

I watched comrade Trump arrive in Tokyo today. Before Air Force One touched down there, he made a brief stop in Hawaii, which gave members of the citizen comedy brigade an opportunity to greet him with “Welcome to Kenya!” signs.

How long is this trip? Twelve days through five countries? That’s a long time and a lot of terrain for Trump to be immersed in so much unfamiliarity.

At the Yokota base outside Tokyo, he addressed members of the military. “Our brave warriors are the last bulwark against threats to the dreams of people in America and Japan and all across the world. You are the greatest hope for people who desire to live in freedom and harmony and you are the greatest threat to tyrants and dictators who seek to prey upon the innocent.” After describing their job so well, you would figure his statement would have led to Trump being shackled and sent to “Gitmo.”

I was at Yokota about 10 years ago. Before I arrived, I was able to get to Shinjuku in Tokyo, to my favorite record store there, Vinyl Record Store, and found a copy of the “Alright Boy”/“Who Can Tell” single by The Afflicted. Score!

Looks like Trump will be in Hanoi. I wonder if his daycare handlers will steer him clear of the Hoa Lò Prison, otherwise known as the Hanoi Hilton, where decades ago, John McCain was getting his bones broken while Trump was rubbing his ouchy feet stateside.

By covering as much ground as my means and schedule will allow, I’m trying my best to remain open. People are great. All over the world, they are beautiful and live with purpose and dignity. They love their children and laugh and try to get through as best they can. I must somehow keep finding ways to be part of that, for it always to mean something to me. I learn and relearn this over and over. Respect. Profound respect for people, for different cultures to be aware of, different ways to adapt to. It’s not always easy to hold onto it all. This is why I travel.

Henry Rollins

THANKS TO Eva Neergaard Madsen


Belgrade, Serbia foto by Joe Cardamone





The Los Angeles City Council declares Friday, November 10th, “Morrissey Day” in Los Angeles, California.
“Morrissey Day celebrates an artist whose music has captivated and inspired generations of people who may not always fit in — because they were born to stand out.”
– Mayor Eric Garcetti


Jack Kimber Combat Photography






The Poetry of Jared Artaud – TOMORROW – 125 signed & numbered copies, first pressing.
Available on tour with BRMC.

Happy Birthday Cuz

Wishing Kurt Ottaway and his spookiness, good health and good love, always…


Wishing Him Good Health and Good Love on his Big Ol’ Day, shux*



foto: rhox design — at O2 Academy Brixton

Phil Drury / Birmingham Review

Remembering Sam Shepard…

 November 5, 1943 – July 27, 2017



It don’t work that way, iAN.
Shut Up!


Inside of Chief Whiterock’s BRMC TOUR follow the leader, pick up a hitch-hiker merry madness ride…   foto by Aileen.  From the bowels of Ireland to Tin-buck-two, its like the Battle of Iwo Jima running from the law on Fury Road!  and We don’t know where to Stop, drop, be boppalu bop!


We read about messed up people’s vulgar displays on social media, we reach for the news and it only creates a more distorted picture and everywhere we look now, there is something disorienting or disgusting going on, so its a pretty Big goddamn Deal when your favorite Rock’n’Roll band is
in your town, on your streets, a few miles away.  They speak in a language that you can understand, they see with your eyes and through electricity they reach down in all those places inside and play those chords, bang those drums and sing in your inner voice in a way that somehow helps to make some sense out of all the mayhem, the double speak, the crossword puzzle talk, and the numbness, the longing, the void…

i have an electronic friend who checks up on me from time to time, always wishes me a good day and says that he hopes I’m ah doing fine and of course tells me how much he just wants to go Rock’n’Rolling with the BRMC and now he has!  Thank You Terry, for the fotos, videos and most of all your Letter, which Really Made My Day and brought joy to my heart and yeah, so what if i cried a little bit, shux* at least they were good rock’n’roll tears.  Welcome to the fold, Terry, lets do it again real soon, brother.  Bless yer Big Heart and Soul.

Hi iAN
How are you doing man, hope you are OK and well. I saw the best band in the world last night. They were amazing and so so very awesome buddy. I got to meet Pete and Rob at the end of the show unfortunately I didn’t get to meet Leah. I got petes and robs autographs and a picture with Rob. It was an amazing night man. It was such a shame you couldn’t make it man. Hopefully in the future you can make it buddy. Here’s some photos and videos from the Brighton dome man.





Happy Halloween, Everybodys!







Fangx Tate!


River Phoenix . August 23, 1970 – October 31, 1993







Happy Halloweens Everybodys


Why is Robert so blurry?  Because his inner-clock is moving so fast it flakes out the speed barrier and time dimensions which double trouble stutters up teh shutter’speeds, shux*  

fotos by Assia

O2 Academy Birmingham

fotos / Yana Amur


Images by Getintothis’ Lucy McLachlan

Black Rebel Motorcycle Club, Restavrant: Manchester Academy

Black Rebel Motorcycle Club, Restavrant: Manchester Academy


foto / Justyna


Somewhere in the heart of Bumfucked, Egypt


International Cat Day 2017


Rock’n’Roll brings Us All a little Closer… 

You mean to tell me that if I put these chords with these bass lines and provide drums woven throughout in different heart’felt passion, and put some words about the world I live in from the Heart over the top of that with my voice, that I can actually make people from all over the world, smile, sometimes?
Throw me that pencil’n’paper and that guitar pick, please…  and press Record…

foto / Thanx to Mia


Love & Respect to Yana Amur Photography


foto / Justyna

Panic on the streets of Birmingham

Release date: October 28, 1977




Foto / Michel Martinez, who just wrote on facebook that he is…  The happiest guy in the solar system.

I turn myself into an angel… I run myself into the ground


foto / brother, Peter Cowap


Dennis Hopper documentary ‘Along for the Ride’

The new, Venice Film Festival-screened documentary “Along for the Ride” relates the story of Satya de la Manitou who, as he explains in the film’s just-released trailer, spent decades as “Dennis Hopper’s right-hand man.” Directed by Nick Ebeling, the movie also features contributions from Frank Gehry, Wim Wenders, Dean Stockwell, and of course David Lynch.

“Along for the Ride” premieres at New York’s Metrograph cinema November 3rd as part of a “Directed by Dennis Hopper” series, playing alongside “Easy Rider”, “Out of the Blue”, “Colors”, “The Last Movie”, and “The Hot Spot”. The film opens in Los Angeles, on December 8th.

Watch the trailer of this upcoming documentary :


foto / Justyna


Cheers Jess Ica

Usually I would probably worry if I found myself alone with two darkly-clad men in a slightly sinister, cobble-stoned alley between old warehouses in Dublin. Between two dumpsters nonetheless. This is a particular case, however, for the two men in my company are Peter Hayes and Robert Been, and we’re behind The Academy, close to the Temple Bar Area, where BRMC will be playing their first show in Europe after a rather long pause tonight. Restavrant, their support on this leg of the tour, are still soundchecking, so this and Peter’s need for “fresh air” result in us retiring to said alley. It is a great night to be talking to them, as they both seem to be quite excited about the new songs they have brought along on this tour, and about how the audience will react to them with their long-awaited follow-up to Specter at the Feast only coming out in January.


First of all I’d like to ask why is there a tour this time without the new album being out yet? Is there any particular reason?

Peter:  Sort of… One is maybe – just for the hell of it. And two was kind of maybe the aspect of giving the album a little bit more life, because you never know… We threw the word out there that we’d like to see if anyone’s interested in us.

Robert: That’s what I said to you the other night – ‘Are we maybe here too soon?’ (laughs) Because there’s a part of it that it’s not the usual way to put out music. But then again, why does it always have to be the same way? I don’t know. We’re a little bit nervous about what people might think of it.

Well, from a fan perspective it’s always a bit… not strange, but you might feel a bit uncomfortable if you can’t sing along yet. At least for me it’s always a bit tricky because you try to get as much of the new songs when you hear them for the first time.

Robert: Well, step out of your comfort zone! (grins)

So you got a new producer to work with you on the new album, right?

Peter: Yeah, we worked with a different guy [Nick Launay], we always work with different people.

Robert: It’s always a bit strange to work with someone else at first, it always feels like they’re not doing anything in the beginning and then later on you realize it’s the little things. Any little thing goes a long way. It’s a lot like having a conversation with us right now, if you feel a little awkward, like ‘When should l say something?´and ‘How much should I say?´ And even if you don’t think you said anything you probably said too much. (laughs)

Well, there’s this theory of how you can’t NOT communicate…

Robert: And, I mean, silence can be unnerving, because if somebody isn’t saying anything, it probably means that they are not happy with something, so it changes your spirit and the music, I guess.

Maybe it’s also just about getting accustomed to you, to get the vibes…?

Peter: It’s always the starting point to figure out if it’s going to click, and I don’t know… He was helpful in a few different ways, moral support being one of them. And the other things were mixing, ideas of how to do things.

Did he maybe help you with a major breakthrough? I can imagine you can easily get stuck in a creative process.

Peter: The breakthroughs tend to be more ‘Does a song make sense?’ Yeah, we get to a point where we rehearse and put them together and sometimes you ask yourself ‘Is this making sense to a listener?’ And then he comes in and he goes ‘Yeah, that makes sense’, and you’re like ‘Okay, cool’. And then he might go ‘Well, if you take out this part, it might make more sense’. And then you go ‘Hm, I don’t like that part out’. (laughs)

Like ‘Argh, this is the part I liked the most…’

Peter: Yeah, and it ends up being shit like that, so you argue about it and then maybe he’ll sneak it out at some point in time without you knowing it, during the mix… (Robert laughs.) See if you like it that way, you know? And then sometimes you catch it, sometimes you don’t.

Robert: And then in the end you don’t miss it like you thought you would. It’s a lot of psychological things.

Psychological warfare…

Robert: Well, hopefully for the aims of peace and for further mankind. (laughs)

Is there anything that you are particularly proud of concerning this album?

Peter: Oh God… Now’s the wrong time to be asking that. (laughs) Too close. It’s the same with every album. Maybe it’s different for Rob, but I tend to be a little more proud of something after knowing the fact if it’s connected with somebody. If people are reacting to it. It can be like ‘Oh shit, I wasn’t expecting it that this song actually connects more with people than that one’. It tends to be a little more that way. It can be proud in the studio and then being totally let down. You can be totally into something, feel like ‘We did a great one’, but then it just doesn’t translate and then you feel like shit. So right now it’s the time to see how people react, and then it’ll be like ‘Shit, no one’s reacting to anything…’ (laughs) Who knows? Let’s see what happens.

I highly doubt that will be the case.

Peter: Ah, you never know…

Robert: We were talking about this the other night, how critical we are right now over ourselves, which is like an unhealthy survival thing. In the past we kind of co-produced, sometimes we let go more, but it always feels like when you can’t pass the buck you end up being really hypercritical of yourself. It’s a good thing but it makes it harder to just let go and be happy about it, because you’re always in this mode of ‘Should have / would have / could have’. But in a few hours all that’s theoretically supposed to come to an end. (laughs) I’m glad we have the records’ memories. Sometimes we have memories of the past because it teaches you… But when I start to play I forget most of those things that were driving me crazy before. It’s like your face is pressed up against the glass, kind of too close to see the whole picture. And people being in a room, feeding off that energy reminds you pretty quickly… hopefully. Or it crushes your dreams and leaves you in an alleyway between two dumpsters. (laughs)


Robert: We might end up back here after the show…

I had a look at the list of songs on the album and with some albums you had like old songs popping up. Are there any of them around this time? Is there a chance that some old songs might be released on some collection or as B-sides or something?

Peter: The songs that have been floating around the longest are Echo, Spook, Little Thing. They’re years and years old. Years, and years, and years! At least the ideas for the songs, there was a handful of them that are like that and kind of 1:51 in a way. I forget the other ones, which might be a few more…

Back when the forum was still on, people were always going on about 1:51, and the other one I think was Seasons.

Peter: Yeah, that’s still floating around somewhere.

Robert: We’ve been so focused on getting new songs sounding the way they can have a chance live, we haven’t focused on the older ones that much. With the DFA tour we tried to bring a few older songs back that we hadn’t played for a while, like Cold Wind. There were a few times when we were bringing back older songs. But maybe ask us again in a couple of months after we’ve learned the new ones. Sometimes they don’t stay with you very long. One person might remember it, but it never happens that all three of us remember the whole thing at the same time. (laughs) That takes a while to get us all moving as one thing.

There’s one song title that stuck out a bit, or maybe I’ve just been watching Game of Thrones too much. It’s King of Bones.

Robert: (laughs) Oh my God, it rhymes with Game of Thrones, King of Bones…

Yes, and there’s this character The King of Bones in Game of Thrones.

Peter: Is there, really?

Yes, one of the wildlings, a couple of seasons back. He’s this guy who always wears this bone mask.

Peter: One of the dead guys?

No, one of the wildlings, the people living beyond the wall.

Robert: (laughs) Shit, maybe we should take credit for that and get all the super Game of Thrones fans to buy the record.

Yeah, maybe… Well, I haven’t listened to it yet so I have no idea what it sounds like, it’s just reading these words that’s what popped up in my head. But maybe I’ve also been watching too much Game of Thrones.

Robert: I’ve probably watched too much of it too. Maybe it’s subconsciously getting in there… Okay, I think it was actually written before that season, because it was one that we were messing around with for the Specter album, which might be before that. (laughs)

So, if HBO comes knocking on your door and wants money, you’ll now know where that comes from.

Robert: Yeah… that will be an interesting lawsuit. (laughs)

Another one I found outstanding was Circus Bazooko. Does that one have anything to do with Fear and Loathing in Las Vegas?

Robert: Yeah, that was actually intentionally stolen. The whole song sounds like a weird drug trip to me. Getting into that whole Hunter S. Thompson mindset helped us making it more weirder than it already was. The whole kind of atmosphere, which is my favourite moment in that, the circus themes and how they can barely walk and move.

Peter: I think they’re on ether during that scene.

For Specter At The Feast the artwork was very distinctive with Paula’s drawings. Is there anything similar coming up for this one?

Robert: We don’t want to reveal too much until people are actually holding it in their hands. We’re already coming out early playing new songs before the album is out, we have to keep some things up to imagination.

Maybe just a little bit?

Peter: If there’s anything like the past, it will probably be out in a week. That’s usually what happens. And some of the artwork will be out, you know what I mean. As soon as it gets into the hands of somebody outside the record company it’s out. I’m sure it’s probably out NOW, actually, because we’ve given links to interviewers and all that, so. It just takes one of them to share it.

Robert: We’re doing a special version of the album, which is like the deluxe version, but on vinyl. It’s an alternative cover and some unreleased songs on it as well. That one’s like the fully-imagined one because we kind of had to cut it down a bit. It’s kind of a waste to put all the bells and whistles into CDs and things that people don’t really are into that much anymore.

I mean, CDs are dying out anyway…

Robert: We always try to do something special.

Peter: I was thinking that it’s actually better for the world to not have the plastic roam around, with CDs and everything. But then, if you have the same amount of people buying vinyl, that’s worse, because vinyl’s actually worse for the environment. But that’s just this whole hippy thing. (laughs)

Well, as soon as certain countries and companies stop polluting the environment that much I’ll start worrying about my vinyl collection. I mean, I already drive a hybrid car…

Robert: While we’re arguing about hybrid cars and all that, Trump is wrecking the world, so…

Talking about formats and all these things, are you still considering doing videos for any singles? I mean, are there any good bands still doing ‘proper’ videos as such?

Peter: That’s a good question. We actually did one… (to Robert) Do you know why it’s not out yet?

Robert: It was delivered today? Yesterday?

Peter: Yeah, there was one done, fair question. No idea… I don’t particularly care about videos that much.

I mean, they cost a lot of money and do people still watch them anyway? MTV’s dead, it’s only Youtube and stuff.

Peter: The only cool thing about it is supporting the arts, you know. That’s how we look at it. It’s another dude’s version of the song. There will be the band’s version and there might be some dude who wants to get his visual creativeness out. That makes sense to me, doing a video that way. It’s like ‘Go for it, if you have some sort of vision where the music inspires you to do something’. That’s the whole point of videos nowadays for me. It’s about supporting another artist and their work. If it was all about the band and just doing something like an ad, that whole thing never made sense to me. I never really wanted to be part of that. It’s part of the game though, you kind of play it. So now it’s cool, if people are still trying to use it more as an ad format, I guess, which is cool if this is the way people see things, visually. And people listen to most of their music on Youtube, I guess.

Robert: It’s always good to get perspectives from different people, seeing the music differently.

So it would be more like there’s an artist who would like to do some kind of narrative version of a music video instead of the typical band performance video? Which I can imagine must be a pain in the ass, if you have to perform a song for a day over and over again.

Peter: Well, I mean… It’s not working. (laughs) Yeah, you have to do that with anything.

At least you don’t have to worry about any choreographies and stuff. That might be fun, though.

Robert: (laughs) It’s more about getting the spirit of the song across, yes, and not getting in the way at the same time. It can be kind of intrusive, putting a picture over a sound. We’ve always had a hard time trying to keep it kind of real. We’re just a band, we’re not trying to fool anybody.

Peter: The way it goes is, you throw the song out there at people and then they come back with storylines. Either stories they’ve had prepared for years they’ve been wanting to get out, or we have some stories and we go to them.

Robert: Brian worked on the first video, because he had a lot of good visions and things and it was nice being able to come let him bring that to life. So someone else brought something new to our music.

I can imagine you have to be a bit careful so that your song in the end isn’t connected to something that you might not like.

Peter: With Love Burns we had to struggle that way in the beginning. It was an idea that we would be getting into another world. We had to struggle with the people and went ‘Okay, bring it back to something we’re a little more attached to’. At the same time, if the band wasn’t in it, it’d be more so like that we’d be detached. And there’s no real way you can really judge that, if you’re not seeing the faces of the people doing it, it’s just somebody’s visual picture. How can you really argue with their interpretation? I mean, you can NOT like it. (laughs)

So, one last question for you. Who or what are the Wrong Creature(s)?

Robert: I’ve been trying to answer this, but I feel like I always mess this up… Pass? (laughs) Everything and nothing?

Sometimes it’s about things that sound good and I really think it’s okay to say so, if it’s the case. Like a catch phrase or something.

Robert: It came from a lyric in Little Thing Gone Wild. And there was something that just felt kind of right about it, an idea of looking at things from a different perspective and not always being in the right, the way you’re looking at yourself or what you’re creating. But that might be too vague. (laughs)

Sounds good to me, I mean you don’t need to get all philosophical or anything.

Peter: I mean, it goes both ways. You think about it, and then other days, I don’t much care. (laughs) It’s nice to pin something down, it makes things nice, and clean, and easy. But why not let it be open, to change every day?

Let everybody interpret it themselves.

Peter: Hopefully! If they want to think. If they don’t want to think, that’s great too. I don’t want to fucking think and interpret, I just want to fucking listen and shut my mind off.

Robert: Is that so wrong? (laughs) It paints pictures in the mind, which is a good thing, most people we talk to take it into a different world, and that’s the whole point.


October 27, 2013

FOTOS thanx to Assia


Fangx to Dangus


Police Officer – Describe these culprits.

Victim – They said they played in a dirty-techno-band called
The Hayesbeens.
The one guy said his name was
Heater Pays and the other guy introduced himself as
Shade Baddo.
The Heater fella looked like a garage mechanic and the other guy, I dunno… looked like he’d
stolen motorcycles a time or two.
They both wore lots of
Black and smelled like
coffee, grease, tobacco, Sudafed and
my girlfriend.

Police Officer – What happened when the deal went down?

Victim – It all happened so fast. I gave them my heart and they gave me a simple chord.

Police Officer – There’s no law against that!

Victim – I know… and it felt so goddamn good, sir!


Colour fotos Thanks to Assia, Micah and Marianne

TONIGHT 26.10.2017

Kevin Shields/Brian Eno – Only Once Away My Son




Fats Domino – February 26, 1928 – October 25, 2017

Fats Domino died today. He was 89 years old. Some years ago I found this postcard on a spinner rack of postcards in a shop behind the Palace of Governors in Santa Fe. I knew Fats Domino was in New Orleans and found his address and wrote him a cover letter telling about my seeing him perform several times at the Wichita Forum in the 1950’s. In a few days he returned my postcard and signed it to me on the image side, just like I asked him to please do for me. See what you think, but I believe he wrote….”To Hal Luck always. Fats Domino Best and God Bless you Hal.” What a nice man, and so many good songs during those early days of rock and roll and boogie-woogie piano.

– Hal Ottaway

Godspeed You! Black Emperor – Undoing A Luciferian Towers







Coming in 2018.. “Creation Stories” – The Movie -Written by Irvine Welsh – Directed by Nick Moran



ACADEMY 23/10/2017

fotos / Jess Ica


Like I was sprayin…  Nick Cave ain’t ya Grandma’s washed up Las Vegas Meatball…  I’ve spoken to a handful of other fans and they agree that the show stays with you for about 3 days after…  the same amount of time it took Jesus to rise up from the Dead or the stench from skunk spunk to wear off your skin.  Most people have died trying to arrive to where Mr. Cave has found himself through lots of hard work, good luck dressed up as bad luck and just being touched.  His laurels, his jeweled crown, his magnetic opulence and writing the kind of songs that more than just gothic people can resonate with…  from the tender and serene to flamboyant and Hotter than a hosed up fire hydrant pissed on by a pack of stray dogs…  Nick Cave is Our Man… and the difference between Mr. Cave and the Greats before him is that he never got greedy, he never signed on for the easy Hollywood sleazy cheese films, he remained the figurehead and the Captain of his own ship.  Mr. Cave refused to take the Mac Davis route.  No wooden gargoyle waterbeds, no butthole stains on his silk collar, no aftershave burn on his exposed and monkey’haired nipples, no, no, no…  Nick Cave is no American Sleazeball belching out breathalyzer breaking hammerhed halitosis 5 cent songs about 2 piece swim suits and Gonorrhea cartwheels, Mr. Goddamn Hell No.  Mr.  Cave has All of Neil Diamond’s love on the rocks but none of that 70’s sperm bubbling up in the shag carpet…  Nick Cave is like Mel Torme but taller and without a Tater-tot penis.  He’s a crooner, a swooner, a well dressed NASA babooner.  Like Pat Boone meets deep throat,
like Tony Bennett without the New Jersey dandruff  and dentures, like Engelbert Humperdinck but a lot more Hump for your buck and a lotta less dink.  Nick Cave is like Julio Iglesias but understandable and without the suntan melting onto the floor from his facelift smile.  Nick Cave is like Wayne Newton without all that Wayne Newton.  He’s like Vic Damone, just not headless and Dead… wait a minute.. that’s Vic Morrow, never mind, you know what i’m sprayin’!
Nick Cave stands on his own…  Not your Grandma’s meatball, baby,
he is the Last of the Great Entertainers…

17:13 – Onwards


OCTOBER 23rd, 2017



This isn’t your Grandma’s Old Las Vegas Meatball – Nick Cave – The Last of the Great Entertainers

Nick Cave isn’t your Grandma’s old Las Vegas 12 inch soft cock, meatball.
No pyrotechnics, no paid crisis actors, no snake oil.  Nick Cave is the Real Benny Hinn.  A gathering of all walks of life, we come for grief counseling, we come to have a cool fucking time, we come to feel the wrath of God, the tenderness of mercy, to exorcise our mean spirited better angels and to hide from death awhile.  Nick Cave is no peddler of smut, he is not a quack, a fraud nor a charlatan, he’s the hardest working stiff alive in Show Business like the Great Elvis Presley before him and the Bad Seeds are Highly skilled High Octane Musicians of Great Spirit, Talent, humor and strength.  It won’t be a show you’ll soon forget.  Mr. Cave removes the barriers between performer and audience and creates an open communication through fingertips and eye contact.  The gates are opened, the gloves off and what happens next is anybody’s goddamn guess.  Part Church / Part Gladheateher Arena / Part Spirit Convention / Part Las Vegas running amok with precise vision.  The music embraces our grief and our woe, it saddles up next to us to remind us that we are here to set sail for the moon, for the setting sun, that we are here to go all the way and that we might just be here to be a little kinder to one another on our travels.  The music reminds us of what we have lost, of those that we have lost and what we still have to gain by being true to the better angels of our nature.  Sometimes we are putting a fire out and sometimes we are flaming ON…  The music’s high and lows drive like Beethoven, like Mozart, like The Saints.  If this show doesn’t make you feel anything, my advice to you is to make a list of these things and check them off slowly.
1.  Extract your prozac anal drip
2.  Stop looking for Mr. Goodbar
3.  Get Jesus out of your jacuzzi
4.  Get your joint worked on
5.  Remove your tampon zorro blindfold
6.  Stop eating so much yogurt and granola
7.  Read more, judge less
8.  Wash the Nike off your Soul
9.  Have your spirit and your ears examined at once
10.  Dry clean and then promptly burn your self imposed Izod uniformity uniform.

Come Together and Hail, Hail Rock’n’Roll 

Thank You King Ink



My Lisbon Brother came to Berlin.  Thank You Luís Raimundo for the Words and Music, I am Of the Excite!  Luís ROLLS with THE POPPERS.  Hell, i even got to be on the album ( Modern Wasteland )
Our mutual love for BRMC and Poetry brought us together…  Unlike Religion and Politics, Rock and Roll brings people TOGETHER.  Fuck it.  I’m moving to Lisbon!
Lisbon says Fuck You, mang!
Cheers Luís, so good to finally meet You.


foto / Justyna Oslak




The mechanics of history – Yoann Bourgeois




Weather Manipulation? Never Heard of it….

Thanks for the Blade Runner Weather in Soviet East Berlin, London and Only Jesus knows where else…
It’s exhaust fumes from Hurricane Ophelia’s Sirhan Sirhan Saharan Sahara dust carburetor .
Whatever, Geo~Slick.



February 2nd 2018
1. Burn
2. Choke
3. Give Something
4. Like a Father
5. The Pain
6. It Kills
7. ILL
8. Young
9. Born Into This
10. Criminal


No bus, no boss, no rain, no train…

Spent the day in bed
Very happy I did, yes
I spent the day in bed
As the workers stay enslaved
I spent the day in bed
I’m not my type, but
I love my bed
And I recommend that you

Stop watching the news
Because the news contrives to frighten you
To make you feel small and alone
To make you feel that your mind isn’t your own

I spent the day in bed
It’s a consolation
When all my dreams
Are perfectly legal
In sheets for which I paid
I am now laid
And I recommend to all of my friends that they

Stop watching the news
Because the news contrives to frighten you
To make you feel small and alone
To make you feel that your mind isn’t your own

Oh time, do as I wish
Time, do as I wish
Oh time, do as I wish
Time, do as I wish
Oh time, do as I wish
Time, do as I wish
Oh time, do as I wish
Do as I wish

I spent the day in bed
You can please yourself
But, I spent the day in bed
Pillows like pillars
Life ends in death
So, there’s nothing wrong with
Being good to yourself
Be good to yourself for once

And no bus, no boss, no rain, no train
No bus, no boss, no rain, no train
No bus, no boss, no rain, no train
No emasculation, no castration
No highway, freeway, motorway
No bus, no boss, no rain, no train
No bus, no boss, no rain, no train
No bus, no boss, no rain, no train


Always a good Omen
before any
Black Rebel Motorcycle Club



On this day – October 18, 1985, THE CULT released LOVE.
Some Albums Change Yer Early Life for the better and help to Put You on Yer fuckun’ Path…
This was mine.



A Dutch illustrator adapts five murder ballads ― some of which have been covered by modern masters like Nick Cave, Steve Earle, and Gillian Welch ― into ruthless graphic narratives.

The Delian Mode – Delia Derbyshire documentary





My Dad’s side of the family built the only Amusement park in Wichita, Kansas and i have many a fond memory from there at that place called Joyland, which sadly now is nothing much more than a
junked out wasteland, but oh the swell memories that haunt those holy grounds…

Chuck Berry played two shows at JOYLAND HILLSIDE PARK, Wichita, Kansas, in the summer of 1959. I was lucky to be there and to arrange for a photographer friend to capture the moment, and to develop and print the pictures and get them back to me for Chuck Berry to sign. Wonderful memories.

– Hal Ottaway


Rather Lovely fotos by Our rather lovely friend, Aileen 

John F. Dunsworth (April 12, 1946 – October 16, 2017)

His Comedy and Humor, much like a cold Miller Lite helped to soften
the constant sugarless shit sharp edges of Life’s Dirty Shit-Wing-Racket…
Thank You Mr. Lahey 


Oscar Wilde 16 October 1854 b.


Wishing You Good Health and Good Love




Don’t Shoot the Messenger





I went to a bank for my asset management. I was wearing a BRMC long T, waiting for my today’s banker. He came to me and asked first about my t-shirt…”Is your t-shirt band T, isn’t it? I like this band. I’m so surprised and happy to see you wearing it!” I was so surprised too! 😃I never thought talking about music at a bank and had a good time.

– Hide



Do Replicants Dream of Hypnotized Electric Wolves?


October 9, 1940




Heute in Rock-and-Roll-Geschichte

On this day October 5, 1981. Einstürzende Neubauten released their debut studio album “Kollaps”, featuring the songs: “Tanz Debil” , “Kollaps” and “Sehnsucht”.

Dhani Harrison – In///Parallel

Dhani Harrison’s In///Parallel is out Oct. 6.

Josh Giroux/Courtesy of the artist

Pop culture sells the idea that the human aptitude for art is instant, a birthright. Those who toil in this realm know better: It’s a journey. Making art involves understanding the nature of inspiration, managing influences, building skills, locating kernels of truth within oceans of static. It takes time.

Which perhaps explains why Dhani Harrison, age 39, is just now releasing his first solo album, the mesmerizing In///Parallel.

Dhani Harrison, In///Parallel

Of course, the son of the late George Harrison has been involved in music for a long time. His band thenewno2 began making music in 2006, and within a few years was playing Coachella and other festivals. He’s done soundtracks for film and TV (Beautiful Creatures, Good Girls Revolt). He’s also worked as co-producer (with Jeff Lynne) of his father’s Grammy-winning posthumous release Brainwashed, and played guitar in highbrow company (memorably, “While My Guitar Gently Weeps” during a 2004 Rock and Roll Hall of Fame tribute to his father, featuring Prince, Tom Petty and Steve Winwood).

What Dhani Harrison hasn’t done, until now, is share his own musical vision, the sound he hears in his soul. His path has been about acquiring skills, learning musical languages – and, not incidentally, wrestling with the long shadow of a much-beloved and iconic parent.

Harrison could have done the George tribute circuit forever. Instead, he went searching for what he alone might contribute to the ongoing conversation of rock; In///Parallel announces the arrival of an unexpectedly intense artist, whose mission is to tell stories not just with words but cannily developed sonic realms that suggest Can, Pink Floyd and Peter Gabriel.

It takes seconds to sense this. The opener “Never Know” begins with the recollection of a dream, scrambled and out of linear sequence. “When the breath was taken from me I was screaming,” Harrison sings in a faraway, disoriented way, his words made eloquent by the sitar-kissed drone that surrounds him. “In the dream their queen had stolen all my reason … We were subject to the tussles of our feelings. Good and bad, day or night, rain or snow, all we knew was high and low.”

It’s a song about destiny and choice, and like much of the album, it connects meditation-room insights to vast, expansive, post-rock soundscapes. Harrison is a steady-handed songwriter, adept at short and repeatable pop phrases. But his key distinguishing trait is smoldering atmosphere: These songs move at stately, processional tempos but never feel slow – stuff is always swirling in the background. They’re audio landscapes, vivid in an Out Of Africa kind of scenic way, even when they depend on skittering electronic drums and gorgeously sustained guitars that are too ambient to be described as “leads.”

“Never Know” features exotic string orchestrations and beautifully arrayed vocals – there are spirited conversational volleys between Harrison and guest vocalist Mereki, and a choral refrain that sounds just a bit like ELO in its heyday. Other tracks utilize different devices: The strings on “The Light Under The Door” take dervish veers into tense dissonance, while “Downtown Tigers” showcases a lovely, unexpectedly moving multi-tracked Harrison vocal.

There’s tons to say about the ways Harrison managed and extended the influence of his father. The very occasional (and almost covert) references to The Beatles – see the harmony clusters woven into “Ulfur Resurrection” and the heart-heavy wordless sighs of “Admiral of Upside Down” – resonate as respectful, musically appropriate nods to an inescapable legacy. They’re likely part of Dhani Harrison’s necessary process of discovering his “voice” as an artist, a process that will, with any luck, lead to further explorations along the lines of the thoroughly absorbing music he’s offering here.

Things That Matter ft. Louise Foo & Sharin Foo

black swan lane – under my fallen sky – November 21, 2017

A Poem I wrote after my Dad died has been incorporated into a song finely sang and sung on this fine long playing record, coming out this November – and as Always I am humbled and thankful…  



To Buy The Admission Ticket & Take the Ride On Time



So…  i went to Vienna over the Weekend and swallowed lots of Matt Boroff’s CINEstesia and yeah, um…  You should probably REALLY catch this show when it comes to a Venue near You.  Like a Long-playing record that enhances your Life played to the sorta film that makes you view the World in a different way once you step out from the darkened theater and out into the light of day…  CINEstesia is That.





Steady Holiday – More Than One Way + Tour Dates



Pete International Airport release dreamily psychedelic Flowers Of Evil

Premiere: Dandy Warhols guitarist Peter Holmström joins forces with Black Rebel Motorcycle Club singer Robert Levon Been for lead track on new album Safer with the Wolves…

Pete International Airport, the solo psychedelic project from Dandy Warhols guitarist Peter Holmström, have released Flowers Of Evil, the first track from upcoming album Safer with the Wolves…, the follow-up to 2010’s self-titled debut. The new album is released on November 17.

Flowers Of Evil is just over four minutes of hazy, slow-burning psychedelia fronted by Black Rebel Motorcycle Club singer Robert Levon Been, and it’s been a long time in the making.

“I’ve wanted to work on something with Pete for years,” says Levon Been. “And one day he played me this really dreamlike instrumental track I just fell in love with, and I told him that if he ever let anyone else sing over it I’d kill him. All the while this melody starts scratching at the walls in my head ‘…it hides under the bed like a frightened kid’, and the first half of the song was done, but I just couldn’t figure out how to finish the story. So I promised Pete that i’d finish all the lyrics in about six weeks. And about six years later it was done. Thankfully Pete’s not a big stickler for punctuality.”

“I still have the message on my phone from Robert telling me that the song was done,” says Holmström. “It was a pretty important moment… it set the standard for the record. It was so good all the other songs had to try and come up to its level. This song has been an ongoing project since the first PIA record. I had asked Robert to write lyrics and sing on it because it was my favourite piece of music that I’d ever come up with, and he is one of my favourite singers. It took a little longer than planned, but it was so worth the wait I can hardly believe it.”

The album also features contributions from Alex Maas (Black Angels), Lisa Elle (Dark Horses), Jason Sebastian Russo (Hopewell, Mercury Rev), Jsun Atoms (The Upside Down, Daydream Machine), Emil Nikolaisen (Sereena-Maneesh) and Jeremy Sherrer (The Dandy Warhols, Modest Mouse, The Shins).

Safer with the Wolves… will be released by Anton Newcombe’s A Recordings label, which may come as something of a surprise to fans of infamous rock documentary Dig!, who will recall the intensely difficult relationship between the Dandy Warhols and Newcombe’s own band the Brian Jonestown Massacre. It’s out on November 17.


A Savagely Under-rated writer and mostly Overlooked Splendifferous Gem of a vision kid.
I Worship the dirt this cat walks on.
If you happen to read this, kid, I Love Ya.
I wish You Good Health and Good Love and Pray ya keep on Delivering that ground breaking haunted Council Flats thrived and revived Up for it, Rock and Roll.
You are the bee’s knees and the sweet assault of the morning banged out rock and roll sweet trash.
Happy Birthday Brother – All Our Best to Yer
See Yer Round the Bend in the Road, NEVER Stop.


Always keep a Taco handy
Heck the Neighbor’s cat
Don’t make me Hex
Must Love BRMC
Don’t Side Usher me with No Reeboks, hoser
Love Burns Inside of Me
Don’t Talk No Trash
I Is A MexiCAN
Don’t Mess With Me, AT&T!
Do You Even has a Taco?
Bulls On Parade
These Boots Were Made for Walkin’
Tender Vittles
Now You’re Talkin’
I’m Listening!
Viva La BRMC
Gimme nuther’ Taco, Paco!

Hugs to Our Friend Vanesser and her Punky, shux*









Morrissey has released a new single, “Spent The Day In Bed“.

The track is taken from his new album, Low In High School; his first new studio album in three years.

The album is released on November 17 on Etienne Records/BMG.

Tracklisting for Low In High School is:
My Love I’d Do Anything For You
I Wish You Lonely
Jacky’s Only Happy When She’s Up On The Stage
Home Is A Question Mark
Spent The Day In Bed
I Bury The Living
In Your Lap
The Girl From Tel-Aviv Who Wouldn’t Kneel
All The Young People Must Fall In Love
When You Open Your Legs
Who Will Protect Us From The Police?





The Sun sizzles down in Old Mexico and another Revolver is buried into a pawn-shop shelf…
Sweet whispered nothings, promises on loan, Russian vodka hangovers and ripped in Half Delta tickets…
The same song taught from the song bird still sings sweetly this morning…  like we never knew, like the time we shook hands back in Albuquerque back in the Late Summer of 19Seventy’ah’Somethin’…
Time simple as a swallow out there yonder in Ol’ Cape Canaveral…
Gone is Evil Knievel…  Gone Are the 3 Musketeers, Gone is all my Alabama Lonesomeness and my
half-pipe Disraeli Gears and All the fool dogs that followed me around… sugar and kisses and after moto-rub-downs…  A Cowboy hat full of dust, A crown of thorns full of dead water sea scroll jewels, a dirty wet bandana, the softly fondled crown of an empty gold and black silvered loved one…
The boots still On and the guitar crazy half strung…  as the Crow flies, as the bar-room Women lie, as Hollywood and Vine still tags along in its ultra’rag’Ass Jet rag bandages…   under the Searchlights…
The Spice of a Mexican scented kiss…  Santa Muerte, the trains screech to a halt for a moment of Silence in Salina, in Bakersfield and East Berlin, which inside the shelter of my Heart, aches louder than Bombs…   Keep Moving forwards…  All the World’s a Spell…


What mattered most already happened…  it doesn’t matter any more, don’t worry about me…



Xmal Deutschland . Mondlicht

Sentimentale Jugend – Tu Mir Weh


March 18, 1961 – September 14, 2017


Samuel Beckett


J.P. Donleavy
23 April 1926 – 11 September 2017




Chloe Zhao’s The Rider

I’d gone into the theater knowing nothing of the Chloe Zhao’s The Rider except that my colleague Bilge Ebiri adored it — and that I’d get to to witness some breathtaking cinematography capturing the dusky pastels streaking the American West. (I did.) For the first 20 minutes, I was transfixed by the performance of newcomer Brady Jandreau, who plays Brady Blackburn, a rodeo rider who sustains a life-changing injury that requires a metal plate be melded to his skull. He’s told that if he rides again, he may not survive this time. His autistic sister Lilly (Lilly Jandreau) studies the incision scar on his head, and Brady explains, with great care and patience, what the doctors did for him. Later, Brady sits around a campfire, listening to a friend croon and strum an acoustic guitar. The men speak with admiration of their unseen pal Lane Scott, all convinced that he’ll get back on a horse soon. But when we actually meet Scott, who communicates with sign language using his one good hand and sometimes struggles to sit up straight in his wheelchair, something becomes very clear: These are not actors.

It’s difficult to describe the immense weight that descends upon you when you realize you’re seeing real Indian reservation cowboys moving through a lightly fictionalized version of their lives, finding hope and happiness where they can. That scar on Brady’s head is genuine. As a horse trainer, Brady works a kind of whispering magic over the confused and scared animals in his care. Watching this happen in real time — this man actually communicating with horses — is a singular experience. In one scene, Zhao captures it all with a camera that ducks and weaves round and through the metal posts of the pen, while a horse whinnies and kicks and Brady patiently waits for it to calm. It’s absolutely thrilling to see and probably more thrilling to be Brady, with all that power and confidence. But because of his injury, everything he loves about his life could be taken away.

Zhao has created one of the most nuanced and affectionate studies of American masculinity — past and present — that I’ve ever seen, through Brady and the men in his life. When the buddies drink beer around the fire, everyone serves Brady platitudes about how he’ll get right back on the horse. This is what we believe we must do as bootstrapping Americans: We ride again. But what happens when you can’t? Do you think of yourself as somehow less than? Can the power of the will overcome the maladies of the body? In these early scenes, nobody is saying, “Maybe you shouldn’t ride,” the hard truth that he probably needs to hear most. Tears burst from my eyes in the moment when Brady — so subtle a performer — allows himself to accept that Lane will not be getting out of his wheelchair. With just a quick downward flick of the eyes conveys everything we need to know from this incredibly reserved man.

In so many cowboy stories, it’s romantic love that salvages the man, that gives him a reason for going,. What’s so effective in The Rider is that the love that sustains Brady is for his family, his friends, his horse and the land he rides upon. While the story may elicit many tears, the pride of the Lakota people, even amid economic uncertainty, is on brilliant display — and even stirs some hope.

When I met Brady at TIFF and told him I admired his performance, he tipped his cowboy hat to me and said, “Thank you so much for saying that. I’m not an actor.” Well, he sure fooled me.

– April Wolfe



Bob Dylan has unveiled the next trek of his Never Ending Tour.

The 21-date tour begins on October 13 at Valley Center, California and closes on November 16 in Boston. Mavis Staples provides support on the final 19 shows.

Tickets for the two opening dates, Valley Center and Las Vegas, are currently available. All remaining concerts go on sale Friday, September 15.

The dates coincide with other Dylan activity during the same month, including the premier of Trouble No More – a new concert film focussing on his “born again” era that is due to screen during this year’s New York Film Festival.

Bob Dylan 2017 tour dates:

October 13 – Valley Center, CA @ Harrah’s Resort SoCal – The Events Center
October 14 – Las Vegas, NV @ The Cosmopolitan Hotel – The Chelsea Theatre
October 17 – Salt Lake City, UT @ Eccles Theater
October 18 – Salt Lake City, UT @ Eccles Theater
October 21 – Denver, CO @ 1STBANK Center
October 23 – Omaha, Nebraska @ CenturyLink Center
October 24 – Ames, IA @ Stephens Auditorium
October 25 – Saint Paul, MN @ Xcel Energy Center
October 27 – Chicago, IL @ Wintrust Arena
October 28 – Grand Rapids, MI @ Van Andel Arena
October 29 – Bloomington, IN @ IU Auditorium
November 1 – Detroit, MI @ Fox Theatre
November 3 – Akron, OH @ E.J. Thomas Hall
November 5 – Columbus, OH @ Palace Theatre
November 6 – Pittsburgh, PA @ Heinz Hall
November 8 – Uniondale, NY @ Nassau Coliseum
November 10 – Richmond, VA @ Coliseum
November 11 – Philadelphia, PA @ Tower Theatre
November 12 – Philadelphia, PA @ Tower Theatre
November 14 – Washington D.C. @ The Anthem
November 16 – Boston, MA @ Agganis Arena



February 26, 1932 – September 12, 2003

Love & Respect, Big Dad



 (September 9, 1962 – March 6, 2010)


 Robert “Throb” Young (1964 – 9 September 2014)


Remembering Buddy Holly…

Born – September 7, 1936 


This Is What Happens When Your Band Starts to Get Popular

Being stopped in the street to be asked for a photograph, you think, ‘Fuck me, what’s this?’ Friends of friends posting photos on Facebook of themselves dressed as me and Andrew [Fearn, partner in Sleaford Mods] at fancy dress parties – you think, ‘Fuckin’ ‘ell.’ When people begin to like the music you do on a large scale it happens quickly. The wankers crawl out obviously but that’s no big hurdle because you know the tunes work, you know it’s no sideshow, no gimmicks, no fucking heavy reliance on somebody else’s angle; it’s a practice you’ve been sure to adopt throughout.

The wankers appear like flies on top of newly found shit. Don’t let the wormy cunts eat at you because they have ways, believe me, lots of fucking ways. Resentment is a bodyguard for life’s hateful bastards; its power will infiltrate the many crevices of the human brain and enlist them for its own ends – like fucking armour on a pip-squeak, squeaking at you like a knackered guinea pig on fucking Twitter. It’s hard work trying to calm down when somebody is calling you a “fucking twat” from the hidden tunnels in Facebook as you try to wash the pots and sit down at 10 in the evening.

Generally though, people are liking what you do. We sing about work a lot, the stench of a wet ashtray – vile accounts about normal proceedings, if you like – and it’s a weighty vehicle indeed. Work is the skin on our foreheads and to remind people of what they are shoved against for 38 hours a week can evoke a reaction that’s equal amounts disgust and elation. I say “elation” because at some of our gigs people have been virtually thanking the gods, mad as. You don’t dwell on it though because that’s asking for trouble and getting carried away with yourself off the back of praise is a killer; it’s a crap party piece, you turn into Party Boy and Party Boy is a useless fool who will eventually forget everything, forever.

It’s bad enough languishing in social media, to be honest. Three or four good reviews has the potential to do daft things to your ego and can see you firing off drunken tweets “in character”, which adds to nothing. Coverage of your work in the media is there to be processed without too much seriousness – believing in it too much is a dangerous mindset; it can be a bit fantastical at times. If you are the subject of an article then its effects have the potential to creep up on your subconscious and steer your self-image.

A comment left beneath Sleaford Mods’ Guardian interview

Interviews can happen a lot if the band’s ascending and at first they are very welcome because you have a lot to get off your chest. Bigger publications like the Guardian can push what you’re doing onto the sandy floor of the Colosseum and leave it at the mercy of a blood hungry public who need a release from the shackles of their own oppression. I’m talking now about the infamous “comments section” and the Guardian‘s one is a fucking nightmare. The dreaded comments section dangles like a thick line of mucus on most websites or blogs; a breeding ground for the uninformed, witless hater. You get a few you can’t really argue with, a few that like your stuff but generally it’s swamped with fucking heinous crimes of fingertip-meets-keyboard nonsense. It’s familiar, too, because at some point you have probably been the cunt on the keys.

After a while you get pissed off with the same questions coming at you in interviews – origins of the band, musical history, etc. If you are getting press in Europe and further afield than obviously the same questions do turn up but it’s a grind, it becomes work almost in its familiar, mechanical routine. The same musical comparisons get thrown at you too, and you begin to resent these to the point where you even begin to resent the bands or artist in question. I know it’s not their fault but you start daydreaming about telling the musicians in question to fuck off, backstage at some cosy festival surrounded by their kiss-arse hangers on; it gets bad. You are sick of hearing their name connected with yours.

Interview content is also a problem because I’ll just fucking talk about whatever but you get the impression some things should really remain indoors. Drugs, for instance, and banging on about your consumption has a few down points. For one, it’s fucking boring really, I mean everyone’s been at it forever, haven’t they? You grapple with the validity of it, its relevance, even though in the context of our own band it was an important factor so to me, it’s part of the explanation. I’m also still at work and that makes disclosing chemical spat about consumption a bit of a no-no too. People I work with could get shirty about me poppin’ on about necking illegals for 48 hours non-stop. Another thing in interviews is the “I didn’t fucking say that!” factor, which can become a default reaction whenever you finally read a finished piece. But of course, you did say it; you just said it slightly differently.

People want to be your “friend” too, if you’re getting somewhere. I mean that’s nothing new, is it? It’s a trait you are well aware of both in yourself and your fellow Homo sapiens. Its mechanics are plenty; it can exist within actual friendships that have perhaps been formed around the time of your ascent and also in that overly external display of falsity you get in social situations when somebody is obviously too eager to please. Both of these forms of attention wither though with the sense that something’s not so fucking “en vogue” any more. You have to accept the fact that people will have their business relationship goggles on; charming you up with dogshit and sexy mannerisms, flicking urban bollocks at you while doing the moonwalk round the pub. All toss.

There is a positive in this too; help and advice does happen because what you are doing can mean a lot to some folk and this ensures occasional disclosures of advice from people who are drawing from their own experiences. Slowly, a community of sorts can start to reveal itself and as you familiarise yourself with it you begin to realise that it’s quite a small community, really, where you have your permanent staff if you like, and a horde of agency workers. What makes you a permanent member of staff is your longevity. And your work – its unquestionable quality, is the all-encompassing mission. Do not let the dark corridors of “nothing for something” consume you.

You get tons of emails too, DMs, all that. Again, it’s a great breeding ground for gnarly termites with hateful keyboard skills but mostly it’s a mixture of support band requests, gig offers, interview requests, general “hellos”…

“Mate, we think our band has a lot in common with yours and we would like to know if you are looking for a support…”

Blah blah blah. I used to blag it like that all the time, nobody got back to me either, you don’t, do you? Gigs are hassle enough without organising the support band too; sod that. You want to help but it gets to a point where your role in the band is paramount. The tunes are absolute; anything else that surrounds it in the sense of how you come across in interviews etc is momentary, really. The music will survive longer than anything you say to newspapers.

Randoms send drunken spats of nothingness to you late at night, leftie types pick your brains on the mechanics of a certain verse in whatever tune, your replies can initiate a torrid response sometimes. People simply want you to “be” at times but of course you never are. I’m no fighter either in the physical sense but it’s assumed I’m as hard as nails, Andrew too. I’m fucking useless at it, to be honest, but even so, my wife thinks I’m gonna get it at some point and that I should take self-defence classes… But Judo, like the Harley Davidson, is for retirees.


Sleaford Mods’ Jason Williamson.




I was too busy taking them ON, On my Own and then some… to Report On Time…
release date: Sept 2 2003 (us)

REMEMBERING HANK THOMPSON TODAY… September 3, 1925 – November 6, 2007


Pusherman was an alternative rock band from London, England. Formed in 1994, the band’s lineup consisted of Andy Frank (vocals), Meredith “Yank” Reid (vocals, harmonica- FROM WICHITA, KANSAS), Bo Ellery (bass), Martin Hoyland (guitar), Tony Antoniou (guitar) and Harry Harrison (drums).

Pusherman were signed to Oasis manager Marcus Russell’s Ignition Records label, who released their first single entitled “First Time” in November 1995. Another single, “Whole”, a 12″ vinyl single, was voted single of the week by the NME, and though it was not available as a commercial release, it appeared on the NME 1996 cassette compilation Here Comes the Summer…, and Volume magazine’s Volume Sixteen: Copulation Explosion! compilation.

The group’s debut album, the Owen Morris-produced Floored, was released in September 1996. In November of that year, the song “Sold” from the album appeared on the CMJ New Music Monthly compilation, while another single “The Aim Indeed” was included in the UK indie compilation Indie Top 20 Volume 23.

Partly due to its members’ heroin use, Pusherman disbanded in 1997.[1] At the time of their breakup, they were being filmed by British fimmaker and music video director Mark Szaszy and photographer Corinne Day for a planned “rockumentary”.[2] Afterwards singer Andy Frank moved to Los Angeles to form the band Jact along with Ted Hutt.[3] Pusherman’s other singer Yank, died in 2000.[4] Bass player Bo Ellery played on It’s Jo and Dannys 2005 album Lank Haired Girl to Bearded Boy.

Andy Frank died in 2008 at his home in Los Angeles, aged 42,[5] and was buried in Portsmouth, England

B-side compilation, including Not Whole 12″ remix. All songs written by Andy Frank, Yank, Bo Ellery, Martin Hoyland, Tony Antoniou & Harry Harrison. Andy Frank – Vocals Yank – Vocals – Harp Martin Hoyland – Guitars Tony Antoniou – Guitars Bo Ellery – Bass Harry Harrison – Drums 0:00 Clucking 4:20 Touch Me 9:06 95% 14:55 Fast Cars Are Dangerous 22:24 Lonely Road 29:43 Not Whole 36:09 Get Off My Day 41:05 It’s Just You 49:45 No Luck 56:35 Ducking “I’d like to help you down but if I do you’d only turn around… …and bite me…” Tracks 1, 2, 4, 5, 8, 9 and 10 produced by Pusherman. Tracks 3 and 7 produced by Owen Morris and Pusherman. Track 6 remixed by Law One Tracks 1, 9 and 10 engineered and mixed by Clive Goddard. Released by Ignition Records Ltd. BUY iTunes –… Discogs –… Discogs –… Amazon –… Amazon –… Ebay –… Ebay –… LISTEN Spotify –… INFO Wikipedia – Info –… Info – https://chrisbennettgrantcmp.wordpres… Info –… NME – Getty Images –… Corinne Day/Andy Frank –… Corinne Day/Yank –… Corinne Day/Pusherman – https://thorstendurbaumcmp.wordpress…. Martin Hoyland/9bach –… Bo Ellery/Cobden Social –…… Bo Ellery & Martin Hoyland/It’s Jo and Danny –…


Even if you’ve never heard Audrey Munson’s name, you’ve seen her: The Gilded Age supermodel served as the basis for the fountain outside the Plaza Hotel, the woman on the Manhattan Bridge, and the statue outside the New York Public Library. During her lifetime, she starred in the earliest nude films, rode roller skates to the post office, and inspired countless works of art. She is what 21st century D-listers think they are: iconic.

Munson’s story has faded from American memory, but British literary journalist James Bone has written a new biography called The Curse of Beauty to tell her full story for the very first time.

“Audrey was the proto-celebrity in America,” Bone tells Broadly in an email. “She was a hyphenated model-actress-movie star. She was also the original Hollywood flame-out. As the first American movie star to go fully naked on screen, Audrey would have appreciated Kim Kardashian’s nude tweets—although she would probably have found them quite tame.”

Audrey Munson. Arnold Genthe/Library of Congress

Bone fell in love with Munson’s life while living in New York. A naturalized New Yorker, he worked in the Times of London‘s New York bureau for 22 years. After he learned that one model had inspired most of the city’s famous Gilded Age statues, he used investigative reporting techniques to unearth new details about Munson’s life. He found letters, dug through archives, filed FOIA requests, and successfully sued to gain Munson’s sealed committal proceedings released. “I was very surprised how much I was able to find, considering her heyday was 100 years ago,” Bone says. “Discovering Audrey’s story made me see New York with fresh eyes—and I wanted to allow others to see the city afresh also.”

Munson was born in Rochester, NY, in 1891. Her mother, who was appropriately named Kitty, moved her to New York as a teenager. Like Kris Jenner, she wanted to make her daughter a sex goddess—and to profit off her success. According to the Wall Street Journal’s review of The Curse of Beauty, a photographer discovered Munson in a Fifth Avenue store window when she was a teenager.

The serendipitous encounter led to Munson modeling for photographers and sculptors. According to Vogue, the artist Salvatore Cartaino Scarpitta told her, “Guard those dimples, my girl.” Munson started socializing, partying hard. At one point, she dated the millionaire Hermann Oelrichs Jr.

At the 1915 San Francisco World’s Fair, Munson dominated the event. According to the Journal, she modeled for nearly 75 percent of the statues in the Jewel City exhibit. In the same year, Munson starred in a film called Inspiration, which was loosely based on her own life story. In a key scene, she appeared entirely naked, “the first leading lady in America to appear nude in a film,” according to Bone.

“The Isador and Ida Straus Memorial.” Lynne Ciccaglione

Her name grew bigger, but nudity didn’t increase Munson’s income. Bone reports that she received $450 for the film, a paltry amount even in the 1900s. At most, Munson earned $30 a week from her modeling; many of the statues she inspired are now situated in areas where an apartment costs over a million dollars.

When taste changed in the 1920s, Munson fell out of favor. Bone explains that she was a Gilded Age star, and, when Modernism took over America, the art Audrey inspired seemed dated. “Modernists stripped the female statues from the public space,” Bone says. “On a personal level, Audrey fell out with powerful figures in the theater and the press. Sometimes it was their fault, sometimes hers.”

Broke, Munson and Kitty moved to Mexico, NY, outside Syracuse. Munson scored a low-paid job as a waitress. In Mexico, Munson showed signs of mental illness. She called herself “Baroness Audrey Meri Munson-Munson” and attempted suicide. She blamed her issues on Jewish people. At one point, Vogue reports, Munson asked the US House of Representatives to create a law that would prevent her from being attacked “by the Hebrews.”

Credit: Photofest

Three days after Munson’s 40th birthday, she was sent to the St. Lawrence State Hospital in Ogdensburg, NY. In the hospital, she still saw herself as a star. Vogue reports that a nurse told her, “Audrey, you have dimples in your back!” Munson’s response: “Yes, they’re very precious. I can’t lose my dimples.” Munson would die in the hospital 60 years later.

The Curse of Beauty is a tale about the past, but it also reads as a cautionary tale for many of the stars of 2016. Our culture is far less likely to condemn women like Audrey today—bloggers defend celebrities and socialites vehemently when men call them sluts for posing nude; Madonna has reinvented herself at least five times. However, when stars are deemed mentally ill, like Britney Spears and Amanda Bynes, they remain under legal conservatorships. The legal bound place the control of the women’s lives in assets in the hand of other people, making the stars essentially children in the eyes of the court. No male celebrity has ended up in these conservatorships.

“When Audrey was committed to a lunatic asylum in 1931 it was very hard to get out,” Bone says. “In our time, it’s very hard to stay in. In her extreme old age, the St. Lawrence State Hospital in Ogdensburg, NY, threw her out to save beds and moved her to a nursing home, but she got back. When it tried to throw her out a second time, when she was 104, she died.”




That time we took 5-year-old Arcadia to see her rock idols and blew her little mind. She had to be up front with a good view of Robert.   And then every time we were in LA and she saw a guy with a black hood and leather jacket she got excited and thought it might be Rob 😂.  #aspiringrockstar #iwannabelikeyou #fansincethewomb


On this first day of September.
My circle of light grows tighter with each passing hour.
The fled and fallen out of sight.. burn on to another plane.
In so much as a instant.. our life moves with the brisk intent of a flicker.
The touch stones I hold in such high regard ..begin to vanish before me like smoke.
This loss I feel is incomparable and vast.
The erasing of a kindred spirit is a hurt that comes from such a lonely arcane place.
I almost cannot explain.. but only feel it’s thistle like presence..far underneath my skin.

Having a limitless love of things strange and musical is quite contagious
and has proved to be a long bewitching path in my life.
The person that opened wide the door to a new way of seeing
was Seamus Mc Nerney

I knew of his tales as early as Jr. High and his talents going forward as we
went to different high schools. I watched as he started his first bands and
became quite an articulate pianist and organist…I went to basement shows
and nationals until our musical tastes eventually stumbled into the same room.
This was not a person walking through life..this was a person on fire and storming
the gates of musical perception and wasting no time..his flame was lit!
The discussions we had are still scratched so far down into my mind that I will never forget.
I listened as he connected the patterns in his mind on music, death, mathematics, the paranormal,
witchcraft, religion and the spirit that dwells in between worlds. I lost myself to intense thought after these discussions .. we would re group and find new perspectives.
I started to realize it was the way his mind worked that was so genuinely intriguing and beautiful. He could take it down to the nth percent and then with a passion so fierce defend his beliefs..convicted, gripping and nearly impossible to doubt. Yet his wit and sense of dark humor tempered even his most furious displays.

His record collection was from an early age astounding..he rabidly devoured it all.
He set a high water mark for everyone in our vicinity and truly enjoyed turning people on to new sounds…I have so much to thank him for…real time research and Internet. and a deep, deep love for embracing the obscure with a nod toward,innovation, expression and velocity.

We started an alternative music night at a local club and of course he was master of ceremonies,
and this small corner of the world was privy to some of the best new music from all over the globe.
I still cannot believe how high the quality of music was in such a tiny spot.

College stretched us apart and made us write songs..getting school out of the way was always a priority for him because his brain could not sit idle. Boulder is where it all eventually came together and we were able to start playing rock shows on campus and around Denver.

When I played my first show on Pearl Street he was there in the audience , grooving and shaking his shaggy head..

Going to the B.H. Surfers at Glenn Miller Ballroom and sitting at Espresso Roma talking, knowing we were never going to be the same because our minds had been blown.

Hanging outside The Blue Note talking feminism and punk rock, while he smoked menthol players and unfiltered cloves back to back… for expression.

His uncanny knowledge of micro brews before they existed.

His sense of style beyond compare, pointy boots, tight cords and groovy vests.

The time we got into a brawl at a SoftClock show…The Irish Army never feared the streets or the skinheads.

Sitting in his little house in boulder while he cued up the turntable saying ” you really should pick this one up”

When we got a record deal and my band went to the studio, he was gracious and came in and to play piano and organ on several songs… nailing everything in nearly one take off the top of his head.

Anybody who was able to witness him in live performance mode was pulled in quickly and deftly hooked into the sonics of his much intensity and flow all the while maintaining a high level of musicianship and a brutal dose of joy.

The years flew by as they always do and we moved on into our various musical configurations
and one day he headed off to places unknown…not one to cool his heels he was on to the next challenge and became a professor at the University of Ashville North Carolina, where you can see he took things to another level from the hundreds of written student responses on his page.

He continued to find a way to inspire… This is a regret I have in life..I had planned to ride my motorcycle to Ashville and sneak into one of his classes and just hear the lecture and see what happened..yet I never did and I have to live with that.

The news of his passing was as he would say ” grim” there are still so many particles in my record collection of his influence and kind understanding of what my taste leaned toward..he taught me how to be a true conversationalist and to listen. When my sister started playing music I ended up surprising her with his first Farfisa which still sees stage action on the west coast today. He was so happy it was going to a good home and to be used for what it was intended, this was one of the last moments I spoke to him.

Seamus ,
I am truly sorry for believing there would be more time, I thought we would cross paths again at some point. It is a mistake we all make.
Like we talked before, I know where you will be and I will watch for you my friend.
I am going to go play some records and think about that next cup of time.

Kurt Ottaway


Los Saicos – Fugitivo de Alcatraz



A Friendly Reminder…

DI . 1 July 1961 – 31 August 1997

Margaret Thatcher on TV
Shocked by the deaths that took place in Beijing
It seems strange that she should be offended
The same orders are given by her
I’ve said this before now
You said I was childish and you’ll say it now
Remember what I told you
If they hated me they will hate you
England’s not the mythical land of Madame George and roses
It’s the home of police who kill black boys on mopeds
And I love my boy and that’s why I’m leaving
I don’t want him to be aware that there’s
Any such thing as grieving
Young mother down at Smithfield
Five a.m., looking for food for her kids
In her arms she holds three cold babies
And the first word that they learned was please
These are dangerous days
To say what you feel is to dig your own grave
Remember what I told you
If you were of the world they would love you
England’s not the mythical land of Madame George and roses
It’s the home of police who kill blacks boys on mopeds
And I love my boy and that’s why I’m leaving
I don’t want him to be aware that there’s
Any such thing as grieving

Beware of Admiration.
It so-Often
What it could never be…
Hide your wings…
Protect your throat…
Avoid the Rich
Inbred rednecks doused in Diamonds Are the Worse…
Empathy to them is something
to be cured of.
Thank You for your Soft yet Strong

I was in Los Angeles playing a gig with Kelley Deal when the bad-news of Diana’s death
rolled blackly on in.
I cried with Kelley Deal out in the midnight under
Los Angeles Night-Time-dirty street lit hurt star skies…

I never truly sang again Live much after

Hello Lil’ Bub!



100,000 Banned Books

Argentinian artist Marta Minujín, 74, has created a monumental replica of the Greek Parthenon from 100,000 copies of banned books. According to the artist, it symbolizes the resistance to political repression.

The Parthenon of Books in Kassel, Germany is part of the Documenta 14 art festival. With the help of students from Kassel University, Minujín identified over 170 titles that were or are banned in different countries around the world, and constructed the full-size replica of the iconic temple from those books, plastic sheeting, and steel.

But probably what is Germany’s most controversial book – Adolf Hitler’s “Mein Kampf” – will not figure on the Parthenon. And for a good reason: the Nazis were notorious censors of books. In fact, Minujín’s work stands on a historic site where the Nazis burnt some 2,000 books in 1933 as part of a very broad campaign of censorship. “Where they burn books, at the end they also burn people,” Heinrich Heine said in the 19th century.

Image credits: Roman März

Image credits: alexgorlin

Image credits: si.leika

Image credits: lctanner

Image credits: rachelmijaresfick

Image credits: jingyinc

Image credits: voework




Saturday, 26 August – National Dog Day 2017



Beck announced on Thursday (Aug. 24) that his highly anticipated 13th studio album, Colors, will be released by Capitol Records on Oct. 13. The 10-track album was co-produced by Beck and Greg Kurstin (except for the single “Wow,” which was co-produced by Beck and Cole M.G.N. and “Fix Me” which was produced by Beck solo) and fans who pre-order it now will get a free download of the piano-pounding pop gem “Dear Life.”

A press release describes the album as an “intoxicating rainbow of auditory tricks and treats, making it a shoo-in for the summeriest smash of the fall season.” The follow-up to 2014’s Album of the Year Grammy winner Morning Phase, the album will feature a new mix of the single “Dreams” and the previously released electro dance jam “Wow.”

Beck had been working on Colors for two years when he accepted the Grammy for Morning Phase Grammy, and recently told (INSERT NAME OF LAME MAGAZINE) that it’s full of “complex songs all trying to do two or three things at once… It’s not retro and not modern. To get everything to sit together so it doesn’t sound like a huge mess was quite an undertaking.”

Beck, <em>'Colors'</em>

Colors track list

1) Colors
2) 7th Heaven
3) I’m So Free
4) Dear Life
5) No Distraction
6) Dreams
7) Wow
8) Up All Night
9) Square One
10) Fix Me


‘I always think the most interesting melodies come from inside my lungs rather than what chords I play on guitar,’ says Hannah Rodgers, aka Pixx.

She’s chatting about how she forms her crisp electronic pop and cosmic torch songs, first rooted in folk and then dressed up in layers of undulating otherworldly soundscapes.

‘When I was much younger, I listened a lot to Joni Mitchell. I think what always enticed me to her music was the use of poetry and the beauty in her melodies. I think the ability I saw in her to create music that could be popular, but not anything like the popular music that was around at that time really struck me,’ she continues.

It’s this early influence, and her later appreciation of the likes of experimental noiseniks Broadcast and Stereolab, which led Hannah to her own kaleidoscopic sound.

Her debut album, The Age of Anxiety, landed earlier this summer, unleashing a torrent of outre pop and twitchy electronics, best sampled on killer track I Bow Down.

Based on the final poem of WH Auden, from which the album title is lifted, Hannah feels her way around the isolation of the internet age and loss of identity loss, washing away the tides of anxiety with luminous pop hooks.

Although its musings are rooted in the disquiet and distress of modern life, Hannah’s delivery is electric – aware, assured and infectious.

Did you have a plan or a template for the Pixx sound or did it come together organically?
It happened naturally, I’d never had access to the kind of equipment I did when I started producing with other people in their studios. It helped me to develop and experiment with my sound, which eventually led to what it is now. But it began as folk music, and still does to this day.

What have been your biggest inspirations and influences along the way?
When I was much younger, I listened a lot to Joni Mitchell. I think what always enticed me to her music was the use of poetry and the beauty in her melodies. I think the ability I saw in her to create music that could be popular, but not anything like the popular music that was around at that time really struck me. There’s artists like Vashti Bunyan, Karen Dalton, Anne Briggs and some I discovered more recently like Stereolab, Broadcast. These female influences definitely gave me confidence to look beyond the male dominance of the industry and do my own thing with pride.

How does your music come together? What’s the process?
Usually it begins in my bedroom. A melody will come into my head and then the lyrics follow. I use the guitar almost to build around what I’m doing with my voice, because I always think the most interesting melodies come from inside my lungs rather than what chords I play on guitar. Often when it gets to the studio, I end up remoulding the song, or building on it so much that it sounds almost unrecognisable. Girls and their toys and all.

Is it important to you that it’s a solo project, which you oversee from start to finish? Or are you open to getting others in to work with you?
I love collaborations. I have learnt so much from working with other people. Writing with someone else is such a deep and personal thing, something that changed my take on human relationships completely, and for the better.

How do you feel now The Age of Anxiety is out in the world?
Excited to release more music!

What’s your relationship to pop music?
There are certain songs, mostly from the past, that are not only forever going to be stuck in my head but also are saying something, be it political or romantic. And that’s a good pop song to me.

Do the charts still mean anything to you? Do you follow them?
No I find the charts tiresome. But am open to listen if something good happens in there again…

What’s your barometer for success these days?
Being a good and present force, towards myself and for others too.

What’s keeping you busy until the end of the year?
I’ve got some really good shows coming up, back into Europe for a little bit and UK stuff of course. Writing mostly. Although that never really stops.


September 22, 2017


Moz has signed a deal with BMG. Due for release on November 17, ‘Low In High-School’ was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone’s Forum Studios. The album was produced by Joe Chiccarelli .



August 23, 1970 – October 31, 1993





rock’n’roll Deedee!


21 August 1952 – 22 December 2002



Release date: August 22, 2005

London, chain-smoking, the Underground, curfew rain, lights out city, brick road Royalty just ashes away, stick with the six string strum and the language that speaks through amplifiers…
Burrough’s Lawrence, bottleneck daze, no love lost, and vintage hurt like nobody’s business, street fight glass and 3rd floor days…
Shaking the damp palms of cosmic devils, shallow be thy way, a Kingdom come undone, whirl-writing railroad scripture, Indian moccasin paths, Bavarian mazes, Germanic Altamont Almanac Radio panic attacks…   Dirt, breeze, petrol, oxygen, the purchased rolling sleep from street pills in University ghost towns and breakdowns with San Francisco a world away…   A rolling home of lights, sound and mixed signals and different time zones all trying to fall into one frequency…  There was the East calling, there was the past barking and tear harvesting and best was somewhere in between the immediate moment and times best not to remember… 

Release date: August 20, 2003



Rare Vintage The Call Modern Romans US Tour 1983 T-Shirt Signed Autograph Michael Been
Tom Ferrier Greg Freeman Scott Musick Jim Goodwin

March 17, 1950 – August 19, 2010



Wishing Good Health and Good Love to One Super Kool Kid




brother Etam


When I lived in Los Angeles, a friend from back Home came to visit with a friend who was also from back Home that I had never met, who turned out to be the warm hearted, ultra-humorous and lovable
Brian Parker.  Brian and I hit it off after a few dozen round of dranx down by the Sea.  Brian said he wanted to move out to Los Angeles, but needed a place to crash for a few weeks to halp get him started, so of course he stayed with me and my cats.  We made little home movies, we had late night talks about the history of Hollywood’s great ghost people and on one night he took me out, I met Rick James,
fresh out of prison, thanks to Brian.  Brian stayed for a few weeks and then moved out on his own and since then he has been everywhere and probably sampled a little of every thing.  I think we both miss the dust and stars of Kansas from time to time, but we both had that ramble inside of us and that clawing need to create and be around others who create as well…  Brian has finally made his own movie and I am not too ashamed to say that towards the end of this short film i did weep a spell… and they were Good tears.
I ‘m really impressed by the music score he added to the film as well as his tender acting style.
I am impressed by the subject matter he chose to drive into…
We’ve been brothers for a long time now…
and it makes me very Happy to be able to share his Art and Soul PURE trailer with you right now.
Bless Yer Heart Brian.
Thank You for believing in Yourself like I Always Believed in You, man.
Keep On Keeping On, brother.


This Still, below, makes me of the sad, shux, nos!  The Sad Bri’ney Eyes…  Goodness…


Silver Tongued Assholes.
Keeping pace with Evolution.
Revolution without Organization
and the gig is up before you ever walked down.
Jack of Hearts
Jack of no trades
Jack Flash
Are you in?
Don’t Ask why
Life is brutal
that is why we
cling to memories
burn them
in order

Remembering Robert Johnson – May 8, 1911 – August 16, 1938

August 16, 1977, Memphis – ELVIS LEAVES THE BUILDING FOR GOOD.

‘Here’s a man who’s got everything and he’s getting up on stage only to fall a part,’  Nick Cave would tell Chris Bohn.  ‘He fucks up “Are You Lonesome Tonight” completely.  Sweat is forming on his face, his eyes are crazed with drugs and fear, like a trapped animal.  He can’t remember anything, so he tells bad jokes in the middle for which he has forgotten the punch lines.  But then he concentrates and manages to sing
“My Way”.  It was a truly inspired performance.  That’s what it’s all about if you ask me . . .

Nick Cave speaking about
Elvis LIVE in Rapid City, South Dakota, 21 June 1977

Thankya Big Dad

Roswell Angier

Dave Clarke / Mark Lanegan – Charcoal Eyes (Glass Tears)

Even though he hasn’t released an album in 14 years, Dave Clarke has remained an influential force in underground electronic scene. The Baron of Techno has been performing the world over, DJing at clubs and hosting his weekly White Noise radio program. He’s written plenty of music since 2003’s Devil’s Advocate and remixed dozens more songs, but nothing in his entire career has come together the way his new album, The Desecration of Desire, does.

Due out October 27th via SKINT, The Desecration of Desire feels like the first full-length effort Clarke has written for himself, not for industry or label reasons. “I decided to write it as I would a book,” he said in a press release, “so the track order you have was also the order in which they were also written, like chapters.” Those chapters find the electronic icon delving into more than the revolutionary techno he’s known for, all with the help of a string of friends like Mt. Sims, Anika, and Gazelle Twin.

And then there’s Mark Lanegan. The legendary Screaming Tress and Queens of the Stone Age member joined Clarke in his Amsterdam studio to lend his vocals to two tracks, “Monochrome Sun” and “Charcoal Eyes (Glass Tears)”, the latter of which is premiering today. The song is a cerebral pulse of low-end thumping underneath the ebbing and flowing tension of synths. With a delivery like he’s delivering poetry, Lanegan digs into the environment of 2017 and comes to one conclusion: “I have fucked with the past, now it is time to dance with the future.”


Crow Cries b/w Mighty Despair out on limited edition 7″ on 25th August on Rough Trade Records. Pre-order:……

Kris Kristofferson to headline Oklahoma benefit concert for Leonard Peltier’s defense fund

TULSA – Country Music Hall of Famer Kris Kristofferson will headline a Tulsa concert in November to benefit the legal defense fund of Leonard Peltier, a Native American activist convicted of killing two FBI agents in 1975.

The event, dubbed “The Spirit Of Crazy Horse: A Benefit for Leonard Peltier,” will take place on Nov. 6 at Tulsa’s BOK Center, 200 S Denver. Along with Kristofferson, Arlo Guthrie (son of famed Oklahoma folk singer Woody Guthrie), Jamey Johnson, Jessi ColterShooter Jennings, Rita Coolidge and Joe Ely are all confirmed to appear, with artists still being added, according to a news release.

All proceeds from the show will benefit the Leonard Peltier International Defense Committee and go toward Peltier’s legal defense, according to the release.

Peltier was convicted in the 1975 shooting death of two FBI agents during a conflict on the Pine Ridge Indian Reservation in South Dakota. The trial has been the subject of much controversy, and Amnesty International placed his case under the “Unfair Trials” category of its Annual Report: USA 2010.

Among those who have called for Peltier’s release are Pope Francis, Nelson Mandela, Archbishop Desmond Tutu and U2 lead singer Bono.

President Barack Obama denied Peltier’s application for clemency just before leaving office in January.

Tickets for the Tulsa event go on sale at 10 a.m. next Monday, Aug. 21 and will be available online at, at the Arby’s Box Office at BOK Center, or by calling (866) 726-5287. Ticket prices range from $25 to $99. In addition to regular reserved seating tickets, a select number of VIP packages will be available at


Thankya Tate



BERLIN!!! 🇩🇪 Stoked to celebrate our record release w/ you at Kantine am Berghain 🖤

Thursday, September 7
Presented by ListenBerlin

(photo by Anselm Kissel)



The Late, Great, Sam Shepard in Blackthorn



Well, my name it is Sam Hall, Sam Hall.
Yes, my name it is Sam Hall, it is Sam Hall.
My name it is Sam Hall an’ I hate you, one and all.
An’ I hate you, one and all
Damn your eyes.

I killed a man, they said, so they said.
I killed a man, they said, so they said.
I killed a man, they said an’ I smashed in his head.
An’ I left him laying dead,
Damn his eyes.

But a-swinging, I must go, I must go.
A-swinging, I must go, I must go.
A-swinging, I must go while you critters down below,
Yell up, “Sam, I told you so.”
Well, damn your eyes!

I saw Molly in the crowd, in the crowd.
I saw Molly in the crowd, in the crowd.
I saw Molly in the crowd an’ I hollered, right out loud
“Hey there Molly, ain’t you proud?
“Damn your eyes.”

Then the Sheriff, he came to, he came to.
Ah, yeah, the Sheriff, he came to, he came to.
The Sheriff, he come to an he said, “Sam, how are you?”
An I said, “Well, Sheriff, how are you?”
“Damn your eyes.”

My name is Samuel, Samuel.
My name is Samuel, Samuel.
My name is Samuel, an’ I’ll see you all in hell.
An’ I’ll see you all in hell,
Damn your eyes.

Sam Hall” is an old English folk song about a bitterly unrepentant criminal condemned to death (Roud #369). Prior to the mid-19th century it was called “Jack Hall”, after an infamous English thief, who was hanged in 1707 at Tyburn. Jack Hall’s parents sold him as a climbing boy for one guinea, which is why most versions of the song identify Sam or Jack Hall as a chimney sweep.


Prior to 1988, the song had been collected from about 18 singers in the oral tradition, limited to Ireland, England and the USA, and there had been only six sound recordings made.   Comic Minstrel W.G. Ross adapted one version probably in the 1840s, and changed the name from “Jack Hall” to “Sam Hall”. The song also appears to have been adapted to fit the region in which it was sung; some versions refer to Sam Hall being hanged at Tyburn, some at Cootehill. Also it is unclear what, if any, uncouth language was original to the song. Various versions have Sam Hall call his executioners “muckers”, “fuckers”, “buggers”, “muggers”, “critters” or “bastards”.

To add to the confusion, the song is associated with the song “Captain Kidd”, aka “Robert Kidd”, as William Kidd was executed in the same year. The songs have similar metre and style, and it is unknown which came first.

A more vulgar variant has become an enduring cultural phenomenon among United States Air Force pilots. Known as “Sammy Small”, this may be the best known drinking song among American fighter pilots. Covered by Dos Gringos in 2006 on their album “2”, the lyrics have remained consistent at least since the Vietnam War.

See also “Samuel Hall’s Family Tree” an article by Bertrand H. Bronson in California Folklore Quarterly, Vol. 1, No. 1 (Jan., 1942), pp. 47–64, Published by: Western States Folklore Society Stable URL: Bronson explores the use to which the particular song form has been put over a long period.

Regarding the metrics and the melody, the version common in the British Isles (“Oh my name it is Sam Hall, chimney sweep…”) appeared to be based on the tune “Ye Jacobites by Name” (Roud # 5517), whereas the version more common in the USA (“My name it is Sam Hall, T’is Sam Hall…”) is a variant of the tune to “Frog Went A-Courting” (Roud # 16).





Andrea Belfi Live at Funkhaus performing Ton from his new album Ore.

* headphones recommended

Filmed by Tom Schumann

Produced by Float

Buy Ore:


A Little Something for you…

I like getting older…
I like my hands looking more and more like my grandmother’s… i like touching the dog slower and softer… i like reflecting on all my golden suicide friends… and remembering their beautiful smiles… the way they never saw me looking at them when they were pruning in the mirror and me thinking i hope that i am cool like them one day…
I like getting older and getting better.
I like being gentle with people and holding doors open and buying a kid a bottle of cold 7-Up… and walking away…
I like feeding the birds and listening to the midnight trains like i did when i was but a kid…
Most of all i like being quiet with people and soft to the touch…
I may look menacing and i am full of bark and shotgun blast but that is coz so many cocksuckers beg for it… but when i am away from users, abusers, players, cocksuckers and coin tell whores… I’m a good man… I take care of my friends, i look after the hurt little things in this life and i bury birds when need be…
I like to touch the grain of skin in old books and smell their sooty history… i like to sing to sleepy little animals and soothe their brow into pleasant dreams… i like to walk quiet in a room like a spirit walker… i like to wink at horses, i love to save the day, i like to do the unexpected in a nice way… didn’t you drop this 20 dollar bill? And leave…

I like river music…
I like that I’ll never see this world again some day
and never again touch her cherry blossoms or her cotton, never again finger a spider web, never smell the ocean’s 3 am horrors and whale blood… never ponder the sad indian stars, never enjoy a free breath without paying for it in blood…
all the simple insects so not simple and the workings of flying things…. and the beating of my Mother’s hurt heart….

someday… dirt just like i like it… pissed off in the western wind and thankful that i even had the chance to Howl and Roar…

suicide is a jip.
Stick around and touch the stars while listening to the good songs your heart alone could only make…

Thank You Glen…

April 22, 1936 – August 8, 2017




The Growlers Present
October 28 + 29, 2017
LA Waterfront
On Sale This Friday 10AM!
All Ages! Costumes Encouraged!!
The Growlers Six
poster art by Lizzie Nanut

Sometimes we need to be rescued…

I doubt i’m the guy that needs to muddy up her waters, but somebody needs to step up and really lend a helping hand…

Happy Belated Birthday Memory Wishes to Elliott…

Took a long time to stand, took an hour to fall…



Welcome to the World, Vyvyan ~ LET THE DAY BEGIN


Cheers Wes




Legendary Aussie Producer & Sound Engineer Tony Cohen Dies Aged 60

Aug 3rd 2017

In a statement publicised by Triple M presenter Rosemary Walton, the younger Cohen sibling explained that Tony had passed away peacefully at Dandenong Hospital earlier this week.

“Tony lived a hard life with drugs and alcohol playing a big part of his professional career,” Cohen’s brother wrote. “He did give them up many years ago but always knew that he would eventually pay for his ‘sins’.

“As brothers we were like chalk and cheese. But, I loved him and fully respect what he achieved in his career. He was technically brilliant, but also a caring, big-hearted man. He sometimes frustrated me [beyond] belief, but I will miss him for the rest of my days.”

The Melbourne-based industry veteran got his start as a sound engineer in the mid-1970s. One of his earliest notable projects was producing the self-titled album for Perth glam-rockers Supernaut before going on to work on The Ferrets’ 1976 debut, Dreams Of A Love.

His renown began to grow and, in 1978, he began what would blossom into a decades-long working relationship with Nick Cave, first by working on Door, Door, the debut album by The Birthday Party (then known as The Boys Next Door) before going on to engineer and produce their self-titled sophomore effort in 1980. He also worked with Cave on eight Bad Seeds albums, beginning with 1984’s seminal From Her To Eternity.

Other artists Cohen worked with over the years include the likes of Models, Hunters & Collectors, The Go-Betweens, The Beasts Of Bourbon (and Tex Perkins), The Cruel Sea, TISM, Dave Graney, Kim Salmon & The Surrealists, Powderfinger, Paul Kelly, The Blackeyed Susans, Mick Harvey, Kylie Minogue and Frenzal Rhomb, among several others.

You can see a comprehensive list of his credits at Allmusic, to give you an idea of the true scope of his contribution to the Australian music industry.

He won three ARIAs in the mid-1990s — his first, in 1994, for Producer Of The Year thanks to his work on The Cruel Sea’s The Honeymoon Is Over; his second two in 1995, for Producer Of The Year and Engineer Of The Year.



When I was just a boy, I could often be found pouring over the family photograph albums or at garage sales buying fotos of the dead I would never know.  I liked to wonder whatever became of them.  I like to wonder what their lives were like and it always saddened me some that their fotos were forgotten, that their one and only precious life was now reduced to a paper photograph that somebody like me could find at a garage sale, a flea market, a thrift store, any second-hand shoppe and sometimes even in the garages of old mechanics.  Someday,  fotos of my little childhood with my small and dear Mother will drift out into the world, to catch flame in trashcan, to be dumped off at a thrift store, to be sent to slaughter at the landfill somewhere in the bowels of America.  All my memories of this little life that began with my Dad, my Mother and me.  Funny little forgotten postcards in some charity ghost market, these fotos that never show the strain or the tears and only the smiles we would quickly come to lose…


German boy – found last week for 5 euros at the outdoors ghost market.

Autobiografie of Karl Bartos – Ex Klang Maschine Vorker

I am self-exiled and remaining in a soviet East Berlin shit’tank not too far from Kraftwerk industrials of tube sky smoke and rocket buggery socket bar, where a week ago a small creature chew through the wires and make Berlin do the electric blind.  This book caught my self medicated eye and i would very much like to read, no, yes?  Kraftwerk.  I just paid 10 euro last week at mine favorite Berlin fleece market to a jerk for a Kraftwerk vinyl that had no sleeve, just a scratched rekord in the thin suitcase of an highly Artistic LP cover.  It is Gut to live in the Berlins to fully appreciate the Kraftwerks.  To ride the rails with the dying dull.  To see the traffic of people who dress in ugly clothings made for blind mannequins and mk ultra agents of the assassination ensemble.  It is good to go on the train trolly and ride in the gut organs, to journal through the tunnels and to hear the honking of Turk, splintered chav, ex-goth come-down miserabalist as you side-step the dog linx,  flaming Antifa Tampax missiles, in Anti-paradise parasite city.  To Kraftwerk as those built to werk with no inner krafting, flee to work as there is no mac of Kraft only you off the grid gone macbooking under brutalist skies.  Kraftwerk book?  What is a book of paper now these days.  Something to read on the rails?  Something that if bad may be used to catch self on own flame?  Maybe much so.   Chernobyl Bob gives it 7 thumbs Up. 




Sam Shepard has left…

Sam reminds me of the America i miss

Thank You for what you shared with us
I sorely miss you, and you’ve only just left through the door…





Andrew Weatherall has a new album coming in September.

Qualia, which spans eight tracks, will be the UK maverick’s second LP in as many years following 2016’s Convenanza. (Before that, he’d not released a solo full-length since 2009.) Nina Walsh, who also worked on Convenanza, helped mix and engineer the new record, while the work of late French musician Erick Legrand also features. Qualia is out on September 29th via Gothenburg-based label Höga Nord Rekords.

“Mr Brackstone, my psychic shepherd, when confronted by the facts would probably say it was cosmic synchronicity but then again he would because he’s Jung at heart,” writes Weatherall. “Others may cite mere coincidence. These are the facts. I’ll leave the metaphysical debate for another time.”

He adds: “It’s all about the black notebooks as memorial device and ‘The Black Notebook’ and ‘This Is Memorial Device.’ At the same time as reading Mr Modiano and Mr Keenan I was ensconced in The Woodleigh Research Facility investigating a method of composition sparked by a random event too prosaic for the telling; unless of course we go back to ‘The Red Book’ and see the hand of Jah [the D.M.T molecule that steers human existence] at work. After all it was him/her/non-binary that sent me the ‘shave your beard off’ message. And the ‘don’t buy any more drugs’ one.

“Whatever your leanings, the music on Qualia is the result of images, feelings
and thought processes stirred up by Monsieur Modiano and Mister Keenan channeled through the medium of a sonic notebook—in itself the memoir of somebody else’s life/fiction. My own black notebooks, like Jean’s [Modiano’s protagonist] stir the silt of memory and birth as many mysteries as memories. They also provided the track titles.”
01. Evidence The Enemy
02. Darktown Figures
03. Spreads A Haze (And A Glory)
04. Saturday International
05. Between Stations
06. Soft Estates
07. Selling The Shadow
08. Vorfreude

Höga Nord Rekords will release Qualia on September 29th, 2017.

NIN ~ 2017


The Night Beats / Moscow, Russia / Photo by Jane Ray



Damien Echols

Amazing how much better your Life can be when you’re surrounded by thoughtful, warm and intelligent people, instead of…
Good to See You Looking Good, bro – Keep On Keeping On…


Dollars and Scents summon the bum-rush of anxious ghouls.
The stench of Death sometimes blisters and brings rabid animal symphonies to Life.
Vile, vile, vile.


Chinatown, San Francisco, Pagoda Alley~Perfume Alley

Take me down
Through the streets of Chinatown
Show me that you know some places…

Gary Isaacs ~ chinatown / sf



Maintaining an open mind.
Inviting the willingness to be wrong.
Inviting the willingness to learn
refuting the idea
self destruction
is necessary
to creativity

-Frances Bean Cobain


Emerald Siam played a great set at the UMS.
My Cuz, Mr. Kurt Ottaway (left) 

The Boss, Liela Moss

CINEstesia feat. Matt Boroff & the Mirrors

Live at Little Big Beat Studios, Eschen
Visuals: Austin Settle / Spacebulb
Production manager: Martin Biegger
Stage design: Martin Biegger & Austin Settle
Concept: Austin Settle & Matt Boroff
Photos: Matthias Rhomberg & Patricia Keckies


Spain Rodriguez







“No, definitely do not tell him about the tattoo,” my friend advises over Facebook Messenger minutes before I’m due to interview Carl Barât and The Jackals. A self-confessed Libertines fangirl, the tattoo in question is the famous “libertine” one adorning Carl Barât and Pete Doherty’s arms on their 2004 album cover. Thinking it would be a funny ice-breaker, I decide against telling Carl that I have his handwriting permanently etched onto my arm and focus on the fact that I’m about to talk to my second favourite Barât fronted band. Soz, DPT.

Formed in early 2014 when Barât put out a call via social media – and after sifting through more than a thousand applicants – The Jackals was formed with Billy Tessio, Jay Bone and Adam Claxton. Putting out their debut LP – Let It Reign – in 2015, the band released a follow up EP – “Harder They Fall” – earlier this year. Heavier and heartier than their debut record, “Harder They Fall” is the band at their best.

Catching up with the guys not long after a triumphant Glastonbury debut, it’s time to welcome in the reign of The Jackals.


Firstly, how was Glasto?

Adam: It was my first time ever playing and it was just such a phenomenal experience over all. Not the first time I’ve been there but certainly my first experience of playing there. It was fucking awesome.

So Carl, it’s been three years since you put an ad on Facebook for a band. What was the idea with doing auditions as opposed to seeking pals?

Carl: My pals come with their own egos and their own standing in the hierarchy, whereas with people I don’t know I still get to be the boss; that was my initial thinking. Then I can sort of mould them into what I wanted my vision to be. It’s a bit harder when you’ve got friends who are like “I like your vision, but that’s not quite my vision.”

What made you guys want to audition?

A: I think for me musically, I just wasn’t getting the satisfaction that I wanted out of music. It was actually my girlfriend who asked if I’d seen Carl’s post on Twitter. I was like “No, what’s that?” and she was like “Oh, he’s auditioning for a band!” So I just thought that I’d give it a go and here we are nearly four years later.

Billy: I moved to London to do music, I’m from Portsmouth originally, so I moved about six years ago with my then girlfriend. We were both musicians and we were both just trying to make it as musicians. That old chestnut, really. I was floating from band to band trying to find the right people and my friend told me Carl was looking for a guitarist and it made a lot of sense. I play the guitar, badly, so I just sent him an email. I was always a fan, to be honest, of what he’s done in the past, Libs and Dirty Pretty Things. I thought why not?

Jay: Yeah, I’m a massive Libertines fan too. I got really into them at school and then my friend showed me that Carl was looking so I thought I’d give it a go!

How did you make the choice?

C: Well, I didn’t really tell people but it’s more about personality than it is about how they play. Not to say the people that I picked aren’t very good. It’s about balance and who you’re gonna spend time with and work things out creatively. Because I wanted the band to be more than just a bunch of sessions, I wanted it to be a real band, thinking and creating, which is what we got. But then of course naturally the final auditions were held in the pub, in a drinking pub as opposed to a playing pub. I wanted to do a meeting of minds really and the rest would follow and it worked out really well.


It’s been two years since Let It Reign came out, and obviously, Carl, between that you were busy with The Libertines. What were The Jackals doing in those years?

C: Sort of mixing around probably. No, they’ve been writing steadily and meeting up and playing in their own right, whereas I’ve been busy. But they knew that that was always going to be the case when they signed up. But I think that they’ve gotten stronger and developed their chemistry together. They must’ve been very eager to get out their traps and start playing so now that we’ve started doing that they’re really buzzing and they’re really on it. Yeah, I think it’s gone from strength to strength and everyone’s happier than they ever have been in the band.

A: We were constantly getting together and writing material. We ended up with a good backlog of 30-40 tracks, not all finished. Jay, myself and Billy, we’ve all got our own influences from different genres and different bands. It was a great time to bond by sharing music, sharing films and when we started to write together, we started to merge all these influences so there’d be some tunes that were quite melodic, almost acoustic kind of vibe, then there’d be your Black Rebel Motorcycle Club/Strokes-y kind of stuff too. It’s quite cool. Then we started to hit the nail on the head and we found our own sound. I think it was after playing and touring Let It Reign. I think the actual album is a lot calmer than how we play it live. I think we took that more energetic heavier live vibe and tried to bring that into the songs that we were putting together.

B: Yeah, absolutely, we’re always writing together. We get together and rehearse, we even wrote in that time as well. But yeah, we’re together a lot of the time. We’re always writing and exchanging ideas – it’s very healthy in that kind of respect.

J: We had so many good songs I remember hoping for the ones I really liked to be put onto the new record. I was really pissed off when some didn’t make it! But we can always save them for the album…

Do you think that your growing friendship had an impact on writing “Harder They Fall”?

B: Yeah definitely. It’s taken a while. I’m quite a timid and bashful bloke as it is anyway so when we first got together, I was very shy and didn’t really know what to expect with the boys. But in the years that we’ve been together and in each other’s company and pissing each other off ’til the fucking cows come home, I think it’s brought us closer together, at the risk of sounding like a corny old bastard. It could’ve gone both ways, it could’ve gone tits up, but fortunately they’re a nice bunch of lads so it went accordingly, luckily. But bands that we all love have gotten together that way, it’s very organic. It’s just the means of how we’d done so. It would’ve been in a magazine 20 years ago but Carl decided to do it over the internet. The Sex Pistols – they didn’t know each other. Johnny Rotten didn’t know anyone. He auditioned in a pub in front of them singing “I’m Eighteen” by Alice Cooper and they were all just sizing him up and didn’t know who he was and it kind of worked for them so…


The second EP came out earlier this year. Can you tell me a bit about it?

C: I always like to work to some sort of vague pattern with these things, like a timeline or an inspiration, and then this one it’s kind of, because it’s all the Jackals as well, it kind of starts with a past that we all had in common which is a small town wasters, drugs and parks and guitars kind of thing. Just talking about that kind of time in the 90s, that’s kind of the inspiration. And of course the history of mental illness, I don’t know if it’s either a product of that or the reason for it. But it’s something that everyone in the band feels very close to and has their own story or understanding about, so we started there.

A: All of us were involved in every part of every song, from down to me suggesting a guitar part to someone else suggesting a bass part. We all sat down and wrote the lyrics together. Especially for “Burning Cars”, we all took influences from our home lives and the way we grew up and the way we all hung out with our friends and what compiled all of our little stories into this one story that sort of meant everything to all of us.

How does it compare to Let It Reign?

B: Well we were only on two of the tracks. I say two – maybe like 40% of that record we’re recording on. It’s more Carl’s record in that respect. That’s the major difference. This is purely Jackals, it’s just all of us, every one. I think it’s got a bit more of a heavier… it’s a lot heavier than the first record. There’s only four tracks so it’s difficult to say whereas the first record was a full length LP. As I mentioned before, we’ve become a lot closer since the first record. The chemistry has definitely progressed and we’ve become a lot tighter and stronger as songwriters since then as well as developed as musicians. So it’s a lot more heavy, the songwriting a lot tighter. It’s just a bit more gnarly I suppose.

C: Yeah, I kind of wrote Let It Reign on my own because I’d only met the boys when we started it really, whereas this one everyone’s been involved in bringing in sections. It feels like everyone is pulling in the same direction. What a hell of a cliche! “Everyone’s on the same page”, that’s another one. Yeah, but everyone’s got ownership of it and everyone is seen equally. It’s like having four parents.


Do you have a favourite song to play live?

A: It’s still quite fresh playing them, we’re still gaining a buzz from people singing them back to us. The first record, people in the crowd know every word which is great and they’re very close to nailing all the new stuff already.

J: Yeah, I remember when we played Camden Rocks and it was mad. People can choose what gigs to go to so the act before you finishes and everyone clears out, but we came on stage and Dingwalls was packed. Everyone knew the words.

B: People go absolutely mental for “Doctor Doctor”. I think we get mosh pits for it, so, you know, “rock on”. Oh my god, I can’t believe I just said that…

Carl, do you ever find it difficult to balance your time between the two bands?

C: Not really, I just stick it in the diary and come what may really. The chemistry of each band is so distinct. When I’m in a room with The Libertines I’m probably quite a different person to who I am when I’m in a room with The Jackals just because of who we bring out in each other. I think that’s reflected in the music. A band is always about the sum of its parts and that was the special thing I was looking for when I formed The Jackals – for it to have its own chemistry and its own magic. I’ve always been a bit schizophrenic. Metaphorically anyway.

So what’s up next for The Jackals?

C: I think the good thing with just doing EPs is we get to do a little bit of writing, a little bit of touring, a little bit of recording and then back in and do it all over again, which is nice. When I get my big studio, which is another project, it’s gonna be a revolving door. We’ll just make loads of stuff there, it’ll be great…

Derrick Santini
Elly Watson

fangx POBOX333



On their first date they went to a little known, down and dirty music venue on the Bowery with the letters “CBGB’” printed on the awning. On the stage inside, four dudes with black leather jackets played three-chord melodies at 200 mph. Standing amongst just a handful of people, they fell in love with this band and, by way of a spiritual-musical menage-a-trois, with each other.

The band was, of course, the now legendary Ramones, the most influential punk rock band of all time, and the couple, Dennis and Lois.

The following week Dennis and Lois got into a beat up station wagon and traveled hundreds of miles to go see the Ramones play at a pizzeria in Pittsburgh. Joey Ramone was so freaked out to see them there in the sparse crowd, that he said over the microphone, “Wow…no one has ever gone more than three blocks to see us.”

This was the moment Dennis and Lois became accepted as part of the Ramones inner circle, and the start of a 40-year journey that would become the stuff of legend. Many more bands and thousands of sleepless miles later, Dennis and Lois have come to epitomize the punk rock ethos.

The Happy Mondays would immortalize them in song. SPIN Magazine published a comic strip celebrating their “Rocking War Stories.” They’ve been to over 10,000 gigs and now into their sixties continue to serially attend shows, sometimes spanning the globe and spending every last dollar they have just to be in the house at certain concerts they deem important to a favorite artist.

Some would call them fans, some might call them “super fans,” but to their friends, a veritable who’s who of the most significant and iconic punk and indie rock performers of the last four decades, they are simply known as ‘Dennis and Lois’ the coolest couple around.

DENNIS AND LOIS is a documentary about two quirky New York City characters who came together over their fervent fanhood of fringe bands in the 70’s, fell in love, and embarked on a lifelong quest, fueled by love and gratitude, to selflessly serve the creators of the music they believe keeps them alive. If you’re in a band and you see them turn up a second time to one of your shows prepare yourself for a very long ride. They seem to have that effect.

DENNIS AND LOIS will change the way you look at going out to see music forever.


Dennis and Lois at one of the Ramones shows in the 1970's!
Dennis and Lois at one of the Ramones shows in the 1970’s!



There are bands, there are fans, and then there’s Dennis and Lois.




I met Dennis and Lois seven years ago at Mekons‘ show and knew immediately that I wanted to make a film about these two unique people and their incredible journey. Many road trips and lots of footage later, the project is finally coming close to reality.

Director Chris Cassidy with Dennis and Lois
Director Chris Cassidy with Dennis and Lois


Until this point, I have funded this project entirely on my own. In order to get the film completed, I am asking for support from music lovers, film buffs, and anyone else interested in seeing the story of this unique couple reach a wider audience.



Merch Booth Pack: For the FANS of the SUPERFANS! Pick up your swag!
Merch Booth Pack: For the FANS of the SUPERFANS! Pick up your swag!


LIMITED EDITION PRINT #3: The Bands Collage ($150)
LIMITED EDITION PRINT #3: The Bands Collage ($150)


LIMITED EDITION PRINT #4: The Backstory of Dennis and Lois ($150) - Not Final Art
LIMITED EDITION PRINT #4: The Backstory of Dennis and Lois ($150) – Not Final Art


Vintage 1970's Ramones shirts from Dennis and Lois!
Vintage 1970’s Ramones shirts from Dennis and Lois!


Custom Lego's of Dennis and Lois used in the film!
Custom Lego’s of Dennis and Lois used in the film!


Customized bobble heads of DENNIS AND LOIS used in the film!
Customized bobble heads of DENNIS AND LOIS used in the film!

How You Can Help

1. Back the Project: Kickstarter is all or nothing – if we don’t make our goal, we get nothing.

2. Spread the Word: Even if you can’t donate, sharing the link with your family and friends does a world of difference in getting more people to contribute.

3. Follow Us Online: Be sure to check out our official website, Facebook, Twitter, and Instagram accounts for more information including behind the scenes photos, clips, and anecdotes!

4. Connect With Us: If you have any questions (or would like to contact us for press), send us an e-mail at!


Risks and challenges

We’re committed to reaching our completion date. But, as we’ve learned, things happen that you never see coming—and that can slow your roll at times. We see the biggest potential stumbling block being the music licensing of what needs to be a loud, fist-pumping, rowdy soundtrack. However, our team of licensing pros are good at what they do, and we’re confident that we’ll be able to pull off what promises to be the biggest single expense of our production budget.

Learn about accountability on Kickstarter

Questions about this project? Check out the FAQ






Sometimes my pen works…

Arcadia and the Crystal Space Wolves: Rock n’ Roll Camp for Girls OC 2017

Showcase day after this year’s one week session of the most awesome camp…ever.
Arcadia in her element, and at her happiest. ❤️🤘🏼✊🏼🌈



July 20, 1964 – May 17, 2017

Mountains all around
All together we stumble

Eleven million clowns
Every one with a razor out


Dunkirk is probably one of the best war movies ever made, it certainly has one of the most breathtaking sceneries and cinematography. hoyte van hoytema’s images are sensational.
it’s nolan’s most emotional work too. he’s always been more of a cerebral director, often burying human emotions in his impressive albeit gimmicky conceptions. in dunkirk he finds a new visual form for the war movie. instead of limbs flying around we see silent drownings and soldiers being knocked down like tin figures.
nolan moves from close ups to extreme wide shots. from personal tragedies to the infinite absurdity of war. there’s nothing in between. the characters have no backstory. bc they don’t need one. we all know their backstories from remarque or hemingway. we all know they have someone at home waiting for them. we all know they’re just kids.
in the absence of dialogue nolan fills the screen with all the war stories that we’ve seen and read in the past. and he fills our ears with the deafening sound of messerschmitts, spitfires and explosions.
dunkirk is no patriotic fest either. he shows the animalistic instincts of survival and the tensions between the allies.
in the end around 300.000 soldiers were rescued (100.000 were french). and in the end all that was left was
the horror, the horror.
see it in 70mm.
thank you.
– L.M

Gary Isaacs · 13th Ave between Washington and Pearl . . . . Denver, 1987


I have all these bright ideas
Followed with doubts in my ear
I run by your soothing tongue and then I’m sure it can be done
You’ve got all of the answers babe
Even if you don’t know it
Orthodox is not my way
Questions all over your face
Present my heart to you in words
Masked for us and aimed outwards
I’ve got all of the phrases babe
I’ll hide them plain for you


On Flower Power Records



I’m grateful that through many ups and downs, and after so many years, playing music is still something I’m allowed and able to do, it’s cool to lose myself in music for an hour or two every night onstage. At times that can be a lifesaver. This is the place I go to for time and space to get away from the pressures of life, and when I’m in that place, time and space appear infinite. Appreciate all the comments everyone is leaving. RIDE are playing so well at the moment. Thanks to everyone who came to The Danforth last night / Andy

Repost from
Andy Bell at The Danforth, Toronto 17.7.17. Photo credit Yi Shi / Postyism

Hunter S. Thompson ~ American Journalist

July 18, 1937 – February 20, 2005

If you haven’t noticed, then let me tell you.  True Journalism is Dead.  It is a dead form and one not worth dying over.  What some might call fake news, I call sensationalism or Entertainment to be exact.  People either know the truth now, or refuse it if it doesn’t match their mental wardrobe and those people are free to continue in excess, building the infested Pyramids of their own irrational  and media diseased minds.  Hunter got us to the gates and instead of storming the corrupted Heavens we chose to get side-tracked and take sides with the CIA so we could feel secure in our twittering.  Its quite OK.  Any person who can’t suss out the facts and tell the difference between a handful of cash and a handful of silly-puddy deserves neither.  If there is anything to Report nowadays, it certainly isn’t Politics or the driving forces that hide in the hornet’s nest inside of the world inside of the world, no sir.  Now is a good time to take notes on the acceptable insane, the fact that the streets of America ARE the hospital and mental ward.  It is a good time to notice who pulls whose chains, but very unwise to report this back to Mama and the town folks back home in the Great Wide Yawning Yonder.  Report back to yourself and maybe to a handful of close criminal minded friends, or heck, maybe even 300,000 people, but i would advise against it, if you happen to be addicted for the time being, to breathing normally.  When I think of Hunter, I think…  is it really time to quit drinking?  When i think of Hunter, i think…  best not try to sneak those sex toys and cans of alcohol in through Airport security if you wanna make your flight on time…  I also thank Hunter for reminding me from time to wicked time who the Culprits Still Are…  and a dash of paranoia is good for the soul and the only true law now is not getting caught…  to remain alert, to lay low when you begin to get a bit sloppy around the edges, for even bald eagles need to make a pit-stop at their nest and repair a few feathers and empty the semen from their trash’trunk guts in order to fly shit-wired tight.  Remembering Hunter today i am reminded that it is vastly approaching 10 am here in Berlin and I’ve got 50 euros i need to deliver to the Liquor store…  I have some writing to do today about Roger Waters being a very fucking pushy Holy Moaner.  Over and Out for now, fuckasaurus.
Chinese Poker and Dry Gun Powder!
Now Drive Onwards!  Up and Over!
Goddamn it man!




July 17, 1925 – June 12, 2014


fangx to Tate Wittenberg


Through Unhappiness we go…
Through oil-paint, turpentine Carole King Saturdays and
Rainy Karen Carpenter Sundays we have rolled…
Through Life Stinks Mel Brooks Mondays to
Tits Up! Tornado Topeka Tuesdays we have Swirled… into
WTF Where did I leave my car keys Wednesdays and into
tell me where the wine is and nobody gets hurt Thursdays unto
Fuck if I know and Fuck if I care Fridays down and up into
Art Fair, Honeysuckle Saturdays and Norman Rockwell dog
by our side, pizza and a movie Sundays…

Just what planet is this January
Love is a Four Letter Word February
Walkin’ through the Valley of death March
I love Ping April
Get out from inside of me May
Maybe drugs ARE the answer June
Another year older, well I’ve earned it, Asshole July
I can’t even breathe in this so-called weather August
Sad and Sorry September
My Life IS Halloween October
What I love about slippery sidewalks is Nothing! November
It looks rode hard and put away wet what is it?
It’s my VISA December…

You got Guts.
You got Big Soul.
They don’t make ’em like You anymore…

I love you for the evers…
Your son
Your partner in crime and random kindness
I Champion You Mama


Good Health and Good Love to You

TRICKY ~ feat. Martina Topley-Bird – When We Die


Harry Dean Stanton
Born July 14, 1926





“Loneliness can kill you deader than a .357 Magnum.”
  As John Wintergreen, the diminutive motorcycle cop of Electra Glide in Blue, Robert Blake reveals dueling forces of masculine assurance and little man insecurity with such kindhearted peculiarity, you feel both charmed and embarrassed for him. It’s familiar and, yet, curious – off – there’s something different about this guy. And strangely, it feels different because he’s a nice person.  Imagine that? A nice person. A moral person. It’s almost creepy. But it’s lovable and disarming and a little threatening in that specific way that only Robert Blake, the actor, exudes. I can’t imagine anyone else in this role. 

electra glide 4


Wintergreen is ambitious but he also seems a little lonely, a little sad, frequently sweet, and at times, perceptive when he sees through bullshit. Knowing how tough the world is out there, he also seems, in moments, a little stupid. And all of this is gonna hurt him in the end. Not just because he’s too nice of a cop, that seems too obvious a reading for this beautifully made, wonderfully idiosyncratic picture (by one-time director James William Guercio). Instead, he just feels doomed.  You look at him riding around the expansive, gorgeous John Ford-Monument Valley and you think… eventually he will fade into this landscape, or he’ll wander the place on his motorcycle, writing up speeding tickets until he’s turned to dust. You feel this before the picture’s unforgettable ending and he feels it – he worries about it. What kind of life is this? How will he leave his mark? As a speck on the landscape hassling motorists, saddled up on two wheels next to his goofy jerk-off partner? He wants to use his brain, to be respected. He also wants to be a big man, he wants to be something like a famous person, he wants to wear the right getup, that big hat and that fancy suit – he wants to stand out. In the end, he both stands out and fades into the landscape, violently in death – but in a simultaneously ignoble and gorgeous way. Fragility and misunderstanding and cruelty and death in one six minute reverse tracking shot that’s so moving and so gorgeous, he becomes one with the blacktop and the sky. It’s not the way Wintergreen would want to go, and it is indeed tragic, but it’s one of the most beautiful moments in 1970s cinema – a shot to watch and ponder, your emotions and thoughts moving to mysterious places. Electra Glide in Blue is a picture about the ugliness of human nature, but the beauty of it too, expressively and aesthetically – right down to the glory of Robert Blake’s pint-sized body, zipped up in his motorcycle gear, chomping gun, walking in those boots in the heat, the leather rubbing up against itself – that delicious sound of leather. You can practically hear Lou Reed singing, “shiny, shiny, shiny boots of leather…”

And Blake has his own kind of beauty and eccentricity (watch his Perry Smith from In Cold Blood, and take in his stirring soulfulness as a child actor, as well as other roles, Busting, Baretta oh dear lord, Lost Highway). He can play the lil’ tough guy as terrifying, or as a touching act of overcompensation. In Electra Glide in Blue, he’s a tender macho man who uses his stature as a sort of characteristic attraction, a selling point – he tells the pretty ladies about it right away and compares himself to Alan Ladd. As Wintergreen, his introductory scene is all sex and strength. He’s satisfying a woman named Jolene (Jeannine Riley) and she is clearly happy about it. The camera moves to shots of his body – the image lingers on his back while he works out in his underwear. Already in the process of some serious masculine validation, by her and by the camera, he’s all muscled-up; barely breaking a sweat as he performs the pull-ups he likely does every day (or every time he steps into his little abode). He’s proven to be a wonder in the sack and, ever virile, he’s ready to go at it again. No rest for “Big John” (as she calls him). It’s a lot of showboating and swagger and Robert Blake burying his face in a woman’s breasts (he calls them his “Valley of the Dolls”). I watch this and think, this should play so silly, but instead it seems intriguingly amused, self-conscious on purpose and poignant. Right away one feels Wintergreen needs that validation – it’s not merely the strutting display of a cool ladies man – it feels deeper than that, thanks to both Blake’s offbeat charm and guilelessness and Conrad Hall’s inimitable, often sexy cinematography that uses Blake’s short stature as part of the picture’s visual style. Electra Glide in Blue is indeed a movie about cops, about the clash between 1970s counterculture with the cop culture, but it has also been called everything from fascist (it’s not) to the anti-Easy Rider (it’s not that either – not really, even when we see Wintergreen target practicing on a poster of Easy Rider). When I watch it, I’m struck by how much it observes masculinity – in all of its toxic, loving, sexual, fetishistic and friendless manifestations – and how much being emasculated or alone can break one down. These aren’t all bad men, and like Blake’s Wintergreen, these are lonely men.


Electra Glide in Blue


One very desperate, lonely creature is played by Elisha Cook, Jr. (the king of the emasculated, the double crossed, the patsy, the recklessly overcompensating), as Crazy Willie, a loony old man, hysterically scuttling through the Arizona heat like a bug about to be smashed. Crazy Willie informs patrolman Wintergreen and his partner Zipper (Billy “Green” Bush) of his friend’s death – a suicide. When Wintergreen observes the scene of this dead hermit – his detective skills kick in and he views this not as a guy who offend himself, but as a homicide. He’s adamant about it and maybe a little too overexcited. He’s at first scoffed at – just a dumb patrolman who should stick to his bike and shut up — but the big man, Detective Harve Poole (a fantastic Mitchell Ryan), agrees with Wintergreen’s original supposition. In an amusing scene in which the coroner (Royal Dano) leans over the body, pulling out a .22 bullet from a skull, a cigarette dangling from his mouth (ashes likely dropping into body cavities – eh, he’s dead), an investigation begins. Money is missing from the victim too – $5,000 – who stole it? This could all be left as is, and you sense cases like this often are, but Poole gets on top of it, really, it seems, to fuck with hippies. But Wintergreen doesn’t know this at first – he’s just thrilled he’s been transported to homicide to ride along and observe Poole. And he gets to wear that hat.

That hat. This makes for another standout moment involving attire, mirroring the picture’s credit sequence, which soaks in close ups and freezes on Blake’s almost fetishistic dressing in leather. We see that beautiful ruffled white shirt laid out on Blake’s bed – Doo Wop music playing in his little house as he dance-dresses into his new important clothes. The ruffled shirt seems a bit much, but Wintergreen clearly loves the flair, and who can blame him? No shame in looking good while using your mind. He puts on his hat, and his head bobs to the music and places a cigar in his mouth. He’s smiling, so happy that his life means something as defined by these clothes. It’s joyful and ridiculous – poking fun at the male peacocking, but knowing everyone does shit like this. It ends with Robert Blake walking out into the hot night, realizing he’s forgotten to put on his pants. Amused with himself, he dances back inside. It’s a lovely, cool/uncool moment. And endearingly embarrassing.




But Wintergreen knows this job is about more than his clothes –though he’s not quite prepared with just how awful Poole is. Harassing hippies, without care if they’re innocent, Wintergreen can’t stomach the treatment – he feels more akin to the outsiders (we learn earlier that Wintergreen is also a Vietnam vet) and he observes Poole’s methods with concern and disgust. Why anyone at the time of this picture’s release thought it was pro-cop, I have no idea. Even if it’s pro good cop, that doesn’t mean much of anything either in this film’s existential universe. Being a good cop is met with no rewards, nothing, it even seems a bit idiotic, at least in terms of having any kind of a fulfilling life. When you see how Wintergreen’s giggling, numbskull partner Zipper lives (and cracks up), lazing about reading books for a paycheck, and then stealing the missing $5,000 to buy a new bike, he just seems insane. Not happy. Is anyone happy in this movie? Crazy Willy is upset his hermit friend was mingling and working with younger people – left out of his friend’s affection and perhaps… love? Everyone else is grimly getting by while Wintergreen’s squareness is so square, he’s actually the most rebellious. It’s not a movie where tough guys gleefully hate hippies, even if, by film end, two hippies turn vile but… human beings can be vile. The movie does not play as an indictment on the longhaired – it’s more meditative and mysterious than that, more randomly absurd.

What makes sense (it’s not right, it just makes sense considering how important potency is in this picture – two legs straddling a bike, big hats over long hair on men and, of course, girls) is what really gets to Poole, what really breaks up his partnership with Wintergreen: a woman. And his sexual prowess. It all returns back to Wintergreen’s introductory scene and those “Valley of the Dolls.” Jolene.




Poole wants to introduce Wintergreen to his sexy lady friend – Jolene – the hot number who works in the town’s popular watering hole. But Jolene is more than just a piece of ass – and the picture (scripted by Robert Boris from a story by Boris and Rupert Hitzig) – nicely gives her a big moment in which she proves as much. She also seems to hate Poole, whom she is indeed sleeping with. But as Poole learns (and as we know), she’s also sleeping with Wintergreen. Jolene unleashes not just her rage at Poole, but her anger that all of her dreams as a dancer, of making it in Hollywood or making it anywhere, are done for, and here she is tending bar. She lost a husband because she wanted a career (imagine!) and now she’s stuck. Enflamed with her sexual power over these guys with guns, she can abuse this man (and perhaps, men) by … emasculating him. She’s nasty and sad and sympathetic all at once with Jeannine Riley giving her moment tremendous humanity, even if she’s overacting a bit. She seems like she would really act up this moment – in real life – this bar, with just the two men present after closing time, is her stage. She reveals that she’s not only just fucking Wintergreen, but that’s he’s better at it than Poole. Far better at it. She shames Poole so much that the two lawmen just sit there awkwardly, stone faced. And when Poole finally, nearly hits her – she laughs in his face. Wintergreen sits knowingly, understanding it’s over. He’s not rising in the ranks.

Given the way Robert Blake (the real man) writes about this movie, he’s as disenchanted with so-called bullshit artists and something small (in this case, the picture) not succeeding, as much as Wintergreen is about his position in the police force and the corruption therein. The movie comes with an interesting, troubled production history and suffered an overhyped release (the publicity of the film was just too much – both mirroring and opposing the film’s study of masculine overcompensation: “An American Movie by a New Director. James William Guercio” the ads blared – the original New York Times review is as snarky as something from a Gawker column). But whatever happened in terms of the making of the film, Electra Glide in Blue is an extraordinary picture, both of and out of its time, and shot unlike any movie I’ve ever seen. A merging of a John Ford western – the endless vistas and loneliness of Monument Valley with the personal, at times, kinky details and close-ups of faces, guns, meat, black leather, breasts and Stetsons – it feels old school and experimentally modern. And Robert Blake, a weird kind of square is the perfect protagonist for this kind of vision. All leather-clad and Blake-speak, he’s almost a hipster – he’s something, that’s for sure. But he’s by the book, a square, and yet, anti-authority when authority is proven corrupt, which it seems to always be. He walks through these frames with such a potent combination of vulnerability and morality, and with such weird style, aided by the brilliance of Hall (who had also worked with Blake, exquisitely, in In Cold Blood), that both of them seemingly know they’re breaking rules of expectations. They’re terrifically in unison here. But Blake was heartbroken about the movie. In his autobiography, he devotes an entire chapter, not-so-subtly called, “Electra Glide in Bullshit,” in which he doesn’t hold back with his contempt for Guercio, citing much more directorial credit to Hall and himself. And he ends the chapter like the dying Wintergreen on the road. This is Robert Blake (think what you want) but this shit is personal, And lonely: “And as for the character I played… I love you and goodbye for now. And so long, sweet little film, I’ll see you on the other side.”


Electra Glide in Blue


 Release Date – 22nd Sept




Whoa!! 😯 Totally surprised today by the announcement that I’m one of the featured writers in the next issue of tomtommag! Grateful for this nod but also that I was able to interview some of
my heroes over the years like Leah Shapiro of BRMC and Stephanie Bailey of  The Black Angels
and several other bad asses!


Rock n’ Roll Jen!


Joan Cornellà / Paris Solo Show

Coming Up…


Films And Books That Inspired ‘A Ghost Story’

Director David Lowery cites the works that influenced his masterpiece.

It’s hard to talk about “A Ghost Story” with anyone who hasn’t seen it. I knew little about the film when I took my seat at its Sundance premiere in January, and I wish everyone could experience this time-shifting masterstroke without preconceived insight. At the very least, wait to see it before reading reviews.

Do, however, familiarize yourself with the forerunners that inspired writer/director David Lowery’s jewel about a dead musician (Casey Affleck) who returns to haunt the rural home he shared with his wife (Rooney Mara). Opening in limited release this weekend and expanding to additional cities throughout July, “A Ghost Story” as a whole is unlike anything else. But it is the sum of many parts indebted to classic literature and cinema as varied as Virginia Woolf and “Beetlejuice.”

During a recent interview, Lowery, whose previous credits include “Pete’s Dragon” and “Ain’t Them Bodies Saints,” walked me through a smattering of influences that led to his stunning meditation about mortality.

Virginia Woolf’s literature

“A Ghost Story” opens with a quote from “A Haunted House,” a Virginia Woolf story that captures an entire lifetime of experiences in fewer than 700 words. “Whatever hour you woke there was a door shutting,” a black screen declares within the first few minutes. Woolf’s paragraph continues thusly: “From room to room they went, hand in hand, lifting here, opening there, making sure―a ghostly couple.”

Lowery didn’t base “A Ghost Story” on “A Haunted House,” per se, but the movie’s quiet journey through past, present and future takes cues from Woolf’s work.

“Virginia Woolf’s literature really transformed my own ideas about how to formally represent the passage of time and how time affects us,” Lowery said. “Specifically, the benchmarks are Mrs. DallowayTo the Lighthouse and Orlando, all of which have time as a central conceit.”


Following a car accident, Affleck’s late character rises from a gurney at the end of a minute-long stationary shot that lingers right outside a hospital doorway. The ghost, wearing a Halloween-style bedsheet with peepholes, walks the halls unseen, reaching a wall that slits open, producing a warm, glowing rectangle. That inviting light, as gentle but startling as the man’s reanimation, is an homage to the gleaming green portals in Tim Burton’s “Beetlejuice.”


When Mara’s mourning, piebingeing character moves out of her home and forward with her life, new tenants take over. Having marked the spot as his emotional territory, the specter smashes a Spanish-speaking family’s dishes and makes lightbulbs flicker in an attempt to drive them away, much like the spirits in the 1982 horror classic “Poltergeist,” who move furniture and break glasses in the Freeling clan’s California dwelling.

The narrative developed as Lowery wrote the script, so much so that he initially questioned whether the movie should culminate with Mara’s departure. “It doesn’t feel like that’s [the] end,” he said, recalling his drafting process. “What would I like to see happen next as an audience member? I answered that by writing a scene. Then it’s basically a remake of ‘Poltergeist’ in Spanish.”

The films of Tsai Ming-liang

Lowery said most of the “Ghost Story” touchstones were “goofy,” but the movie is also indebted to “esoteric” foreign art films. Key among them: the long, unbroken shots featured in Japanese filmmaker Tsai Ming-liang’s work, specifically “Stray Dogs,” “The Wayward Cloud” and “What Time Is It There?”


One of the all-time great ghost movies, “Ugetsu” also concerns dead lovers whose spirits linger in humanistic hauntings. Lowery saw the 1953 Japanese film, directed by Kenji Mizoguchi, shortly before making “A Ghost Story.”


Lowery didn’t cite Richard Linklater’s coming-of-age masterpiece while working on “A Ghost Story,” but he saw the parallels after finishing his film. In “Boyhood,” one year fades into the next, the characters aging without grand proclamations, time slipping forward whether desired or not.

“Boyhood,” 2014.

“The Tree of Life”

As I said in my list of the year’s best movies to date, “A Ghost Story” could be described as Terrence Malick meets “Poltergeist.” We’ve already covered the latter. Lowery claimed “The Tree of Life” as an inspiration, and it’s easy to see why: Malick’s 2011 magnum opus slips back and forth between a modern-day domestic drama and the origin of the universe. The mileage on “A Ghost Story” isn’t quite as broad, but it does rewind to a colonial family that once occupied the same property, presenting time as an ever-revolving circle.


In a separate interview, Lowery told my Screen Crush pal Erin Oliver Whitney that he nixed a sequence inspired by the 1990 romantic thriller “Ghost.”

“We had more rules in the screenplay in terms of what the ghost could or couldn’t do,” Lowery said, referring to Affleck’s apparition. “We had a lot of scenes that were sort of directly lifted from ‘Ghost,’ the Patrick Swayze movie, about how he’s learning how to physically move things in the real world. We had an entire sequence defining the rules of the world, where he’s running through the house trying to figure out how to get out and realizes that he can’t. And ultimately that stuff proved to be unnecessary. This movie was too simple to require that sort of explanation as to why you can’t leave the house. … We even had a cat that was directly meant to be an echo of the cat interaction in ‘Ghost,’ but our cat did not behave so we knew we were wasting too much time trying to get a cat in there.”



July 9, 1929 – August 4, 2007

Timber Timbre – European Tour starts tonight

Timber Timbre European Tour starts tonight!

08.07. BE GANDAWA, Trefpunt , TRY OUT – Timber Timbre // Trefpunt Concertzaal
09.07. NL UTRECHT, TivoliVredenburg
Timber Timbre in Cloud Nine | TivoliVredenburg
10.07. BE ANTWERP, Openluchttheater Rivierenhof
Timber Timbre @ Openluchttheater Rivierenhof in Antwerp, Belgium
11.07. AT LINZ, AHOI!
Ahoi! The Full Hit of Summer 2017 – Arcade Fire
Timber Timbre @ Les Georges in Fribourg, Switzerland
14.07. NL MAASTRICHT, Muziekgieterij
Timber Timbre at Muziekgieterij
15.07. BE DOUR, Dour Festival
Timber Timbre @ Dour Festival in Dour, Belgium


25.09. PL WARSAW, Klub Proxima
Timber Timbre: 25.09.2017 Warszawa, Proxima
26.09. CZ PRAGUE, NoD
Timber Timbre (CA)




Two Weeks Ago…


She Currently Works, Lives & Rock’N’Rolls in Los Angeles, California









From their brand new album Sky Is Mine out on August 18th.


Kenneth Anger and Brian Butler Continue Their Descent into the Experimental Abyss with Technicolor Skull’s “Mark VI”


Dick Star Key…   A.k.a. Ringo Starr – Born July 7, 1940

The Beatles were so high they let Ringo sing a couple of tunes.
“We all live in a Yellow Tambourine”
You know how fuckin’ high they were when they wrote that song?
They had to pry Ringo off the ceiling with a rake to record that!
– Bill Hicks 



The Moz Auto is One of the Few Books I can turn to tae keep me Grounded in this
Age of  Sensationally Hysterical Hyper Reality…



BORN . JULY 6, 1907, Coyoacán, Mexico

 Remembering Frida Kahlo Today…

JULY 6, 2011


July 5, 1928 – April 3, 1982

This is competition, man.  I’ve got no time!


Mark Lanegan band will release a remix EP on September 29.

‘Still Life With Roses’ will consist of six reworked tracks from Lanegan’s most recent LP, ‘Gargoyle’ and will be available digitally and on 12″ vinyl. It will feature contributions from Andrew Weatherall, Adrian Sherwood and Pye Corner Audio.




VERY Rock’&’Roll

California State Route 190






JDM – December 8, 1943 – July 3, 1971

Cosmonauts – Lazerbeam

The Self Exiled Saint from Demolition Street and Agony Upon Bornsorry Way


The Saint of Dorm Room Solitaires
that dance with glam rock stickered crutches
My long lost Older brother of it all goes wrong
turning everything to Shit that he touches…


Take me down through the streets of China Town
Show me that you know some places
God told me live a life of luxury
All our lives we’ve both been waiting
Tell of funny doses, eliminate neurosis
And some say it’s the cause of it all
Concentrate on winning
Forget about beginning
Forget about the middle and end



In Life i’ve found myself many ah times surrounded by people i had no desire to be around and i knew that some day if i was crazy enough i would find a way in this here little life of mine to escape and maybe find myself around a few people who spoke my true language.  i would leave behind the wheat-field cracker cops bent on bending me into the court’s cycle racket or maybe even shut me down through a deathly cover-up.  No, i would leave behind the arrested developmental broken worshippers of the past and its grimy bag of worn thin nostalgia, i would leave behind the bosses whose lives were strychnine messes and the co-workers that lived to cram the ham and only longed to live to again sink their black tar sugar sales shark teeth into the hides, pockets and minds of the vulnerable for the quick kill dull scam, no, there would come a time where i would leave them all behind and find my kind from time to shining time…

My kind of people were out there in places far away, they are the few but never Proud and one of the things they all seemed to have in common was the gift of compassion, that rare cursed ability to feel the hurt inside of others as if it were their own.  While the clean cut masses raced into the world self assured in a mad frenzy to accumulate as much as they could for themselves at all cost, no matter how much damage they left in their broken bone strewn tracks, the few of my kind i found were accommodating, charming and sometimes quite devilish in a dark humor winking way.  These few whom i’ve sussed out through the years were often found in the spotlight because that is the one place where messages can be relayed and dreams that were once only scribbled on paper, can come to life and reach others who are back in those fields or other places far worse for wear and even savage, maybe without a friend in the world and that can be a very dangerous place to be for the kind hearted and creative.
Help arrives sometimes in many different forms…
a SMITHS cassette,
a Bill Hicks DVD,
the paintings of Salvador Dali,
a LIVE Concert of BRMC or a Velvet Underground MP3…

These days are damned hungry times for those who long for Heroes.  The death of David Bowie was a Major Tom blow, one we are likely never to recover from and who would want to during these new days of hyper reality bollocks…  but last night i must confess, i made a new friend and her name is
Melanie Gaydos.  Since September of last year unto the present, aside from a few rare smile nice times, i’ve pretty much spent the time being submerged and half beaten into stupidity, again by those who i’ve no desire to be around or form a lasting relationship with.  People so sickly self centered, bent and arcane that just a mild description of their mission is enough to pop an eyeball out like a pinball busting through a reflective top glass.
Melanie is a world renowned fashion model, an object of many an artistic eye and an Artist in her own rights.  She travels a lot, does photo-shoots, stars in videos and models exotic but to me she is a person of the nice-nice.  Her voice is addictive to me like the song of the nightingale, her down to earth, take no shit, golden hearted spirit speaks to me like a kitten drinking a beer at the 1956 World Series baseball game Olympics.  She is somebody who could make grocery shopping at Target on a Tuesday morning in the city center of bum’fucked Egypt a fun thing to do.  I love that she moves in the fashion world, but what really attracts me to her is her warmth and humanity, she is one of the better angels of Our nature.  The strange and exciting thing about finally meeting her was the otherworldly sense that i got from her as i walked off into the night.  It felt like what i imagined it felt like to those few who met or knew James Dean.  People have said so many things about James Dean through the years and many people knew him in different ways or have a certain way in which they perceive him in their mind’s eye which is hardly ever the way in which i see him.  I’ve never seen the rebel in the J.C. Penny red weather jacket, or the crazy leather motorcycle homo tree climber or the race car king or the king of cool…  i always saw that otherworldly sometimes lonesome and generous beautiful mutant who longed to fill his heart with all the colors of the world just to give back something of himself and his one time mold to as many kind, loving and creative people as he could find.  This also happens to be the way in which i similarly see Melanie Gaydos…  a Genuine Icon in these starving for a Hero hazy days.  Like Dean, she is beautiful on the outside as well as on the inside.  She could have just remained in front of the cameras all night, but no, before doing anything, she walked straight up and shook hands and introduced herself and said we could hang out very soon after all the meeting and greeting and then there she was talking with me in a corner like we were a couple of old friends catching up on last weeks wonderful madness.  Her magic was so gloss that it ended up rubbing off on me for when a camera man came to get her on film, he insisted that i remain in the shot thinking i was surely somebody…  and he was mostly right…  i am somebody…  who ran from a little place called nowhere out into the unknown world who was lucky enough to meet such an otherworldly and beautiful girl and be able to call her my friend, even if
for only one night or just for 1 day… 

Those that tell you that you can’t / Know, that They Are A Lie


Mike Nesbitt – Co-Owner – Little Cloud Records 

Record Label, Portland, Oregon, USA
Current home to
Magic Shoppe
Pete International Airport
The Orange Kyte
Burning Palms




The Beatles arrived very early in the morning of 17 August 1960, but had no trouble finding the St. Pauli area of Hamburg, as it was so infamous.  Unfortunately the Indra Club (64 Grosse Freiheit) was closed, so a manager from a neighbouring club found someone to open it up, and the group crashed out on the red leather seats in the alcoves.  The group played at the club on the same night once Johnny Lennon had a belly full of beer.  Microphone stands were kicked around, the drums got the shit kicked outta them, beer bottles flew, suds on leather, titty’knobs twirled and German jaws screamed for more, more, more as people pissed their pants while dancing and there were sweaty adams apples, frisky buttocks,
heavy petting, 
french kissing, pelvis hunching, just a whole lotta goddamned shakin’ going ON!

Actually is was kind of a slow night, about 19 people dancing awkwardly and never reaching below the belt for the auld sugary twist and shout…


Besides a Beatles-bar and a beautiful inner theater to witness Lanegan in, The Grim Reaperbahn is a sorry sight for sore eyes.  Much like Hollywood boulevard in the year of Our Lord 1990, the Reeperbahn in Hamburg, Germany is dead on 2 legs but nobody has told it.  It has yet to receive the customary consumeristic makeover that Hollywood much later came to enjoy.  The Reeperbahn, once Taboo has been reduced to a profane street of ill repute and a laughing stock of its former self.  Gone are the weapons, the wild red light danger and the awe.   Senior citizens now enjoy a late night stroll around the Reaperbahn, decking into a Transexulary Karaoke bar for a watered down drank or two and a few chuckles before scooting on.  It is mostly empty and those who loiter in the district are peg’legs, a few tubby’arsed sneezers and a handful here and there of scuzzballs and scumbags looking to sell a bit of scat or score a few unzestful skin-pops.  And now in the year of Our Lord 2017, most of us have good friends that are Transexualized, most of us are into Leather, so what was so shocking then, is Not so much now and the odor coming from the McReaperDonalds that is next to the Whore show where you can have sex with another disaster for 39 euros, it’s enough to gross you out for 7 days to come.  The once beautiful Grim Reaperbahn is sadly slain but somehow still sloshes on…  As for Mark Lanegan’s Live Performance…  he has stepped Up his Game and Raised the Goddamned Bar and on a side note, Yes,
I still love to get Autographs from people I know,  from Mark Lanegan to Babe Shadow…


Michael Bond – 13 January 1926 – 27 June 2017

Paddington has been the Winnie-the-Pooh of our generation. There have been other iconic bears over the generations, but those two stand side by side, one in Ashdown Forest and the other at Paddington station. For those who were born in the later 20th century, Paddington is the one that they remember. And what’s wonderful about it is that it’s rather strange to have a bear who is so elegant in his speech, so polite and kind, yet who unleashes such chaos. That’s what children respond to.

But he’s not just a charming bear. It’s more than that. I think he reflects the best of us: we all get into scrapes, and through his innocence and kindness he relates to everyone – adults as well as children.

My grandfather was a Belgian poet who moved to England just before the first world war, and I grew up with the story of how, at the beginning of the war, the country took in 250,000 Belgian refugees. Belgium had been invaded and they got in little boats and big boats just like today’s refugees. And people took them in. It might have been expensive and difficult, but it was what Britons had to do and this, in a simple way, is what the Paddington stories tell us.

We once went to dinner with Michael Bond and his wife, and he said: “There will be six of us for dinner.” The other two were his guinea pigs. He was very, very passionate about them – and they weren’t locked away, but were running around the house. Writers are at their best when they are writing from what they are: Michael was charming and sweet and gentle – just like Paddington.

– Michael Morpurgo


Today my heart goes out to the family and dear friends of Mr. Dave Rosser…


Coming off a successful show in Berlin, the Warlocks had the following day off which turned out to be just enough time for the ghost of Hitler to hide in their van.  Berlin can be a funny place at times and traveling on the road as one big family has been known to test the limits of even the highest order of gurus.  If my memory serves me well, i recollect one war torn road story of when a very fragile Kurdt Kobain found himself on a euro’trash rock’n’rolling barnyard roadshow with the likes of a 500 pound lumberjack yodeler named TAD.  It was Kurt’s drummer, 6 foot 7 bass-player and TAD and his 2 minions all stuffed into one barnyard on wheels.  There was a high-powered swerve over some uneven speed-bumps better known as slow-moving people on foot, and the beer flew into the air along with the stale crisp, the dirty tube-socks, hammerlock cockpump Bong and by the time the whole goddamn mess skidded to a bell-ringing halt, Kobain had a godawful mouthful of TAD’s hair’bucket Kitchen Ass while holding on to dear life by the grip of a sweaty size 17 Converse All Star trainer.  Kurt walked away from it with a severe bout of Rock’n’Roll PTSD and a major fear of Lumberjack Kitchen Ass.
Rock and Roll touring is very often a Luciferian tour of duty.

Unbeknownst to the Warlocks, the ghost of Adolf Hitler had hitched a ride.  It tucked itself away inside the clutter of ancient and perfumed tarot cards, crystal balls and Ernie Ball bass strings.

Loads of people don’t believe in such rubbish, but those who understand an inkling of old History sure do.  America is a country barely old enough to buy alcohol and get its dick wet.  Germany’s History spans way back and is full of Sea-dogs, Saxons, Storm-Troopers and the likes and what do Sea-dogs, Saxons and Storm-troopers all have in common?  They make for very powerful Ghost…

I felt it quite early that morning as i headed out to Hamburg.  It was thick on the air.  You hear it in songs sometimes…  Love is in the air…  Spring is in the hair…  but this tune went a little something like, An Entity is On the Air…  or.. The Prince of the Power of the Air!
Either way it was all feelin’ a bit High’jackish.  Somewhere out there The Warlocks were making a pit-stop for fizzy drinks and bubblegum flavored bubblegum when the Ghost of the Young and fever-Cuntish
John Lennon waved off a ticket to ride and just hid himself away, along with the Ghost of Adolph and the Stardust powders, glittering lyrical notepads, broken bubblegum violet smartphones and tear stained guitar picks…

I swung by Young John’s joint to pick him up about fuck’o’clock but he wasn’t home, so i spun a few hard lefts, a few fistfuls of rights, swung a roustabout by the wharves and presto, i was at The Warlocks Hamburg gig.  It was just my kinda place.  A clean yet bombed out shit’hole with phans (fans) already there.  I ordered a surprisingly fresh Gin n’ Tonic and before i knew it, there was Bobby, DiPino, Plucky and Earl V.  All looking real fuckun’ cool and ready to rock and roll and that is when i saw them sneakin’ in…  Ol’ Adolph and Rascal John…  the War gash loving spirits themselves and they were ready to stir the shit cauldron…  they began to mix in and disappear with the waiting audience…  i lost sight of them thanks to some Kraut rock veteran from the church of Hawkwind and CAN.  Ol’ buzzard.  Drooling on, yarn after yarn about the olden days when you could get a facefull of asshole for half a fiver and how one time he made tea from the sweat of Lemmy’s headband.  I bought him a drink to shut him off, but the alcohol only opened the floodgates of his memory and i had to hear about the time him and the singer of Saxon, Biff Byford blew each other at Donnington or was it the Hammersmith Odeon?  I couldn’t recall and i had lost sight of the band, Adolf and Young John.  I flicked the old geezers upper lip off my earlobe and swatted him away and that is when The Warlocks hit the stage.  

Bobby said a few kind words about me being there out of the blue, a few people clapped, somebody razzled off a wet one, i blushed and the band began to play the sweet Warlocks beauty…  I don’t know who was running the sound but it seemed like maybe a person who for some reason was allergic to Reverb and Delay knobs… which i bloody well Hate.  Bobby asked if the sound people could maybe snap out of their hunt for pokemon and give that Reverb knob a twist…  they finally located it and we were back on the sweet road of Oblivion rock and roll…  

The front rows were getting locked into the trance and a few were even beginning to show signs of werewolf foam reverberation and i prayed nobody would go full cream and jizz me and that is about the time that the arcane spirits struck.  Nobody in rock and roll can really put their finger onto which or where or how a Radge gets born, it just does…  thanx mostly to spirit shenanigans and the shenanigans of the spirit twins unleashed!
Earl V. was the 1st to catch the dark wave hysterico and his guitar flew into the air like a sword dance gone wrong.
Those too high on the music didn’t miss a beat.
Some ducked so as not to be decapitated.
I caught a glimpse of Young John’s ghost grab a ghostly fist of denim bulge plankton towards the audience while wearing a shit-eating grin.  The ghost of Ol’ Adolf was doing a merry German jig and at the same time whiplashing, very proud of the chaos that he and Lennon had unleashed…  Earl V. stormed out towards the dressing room and i followed asking him what was the matter?  He said I QUIT MAN!
I went back out front, the heat in the room was rising, cigarette smoke, smoke machine smoke, confused faces, zonked out faces, the music kept on going…  

DiPino digging in and Plucky reaching down into a shot-up High-School evil eye vibe…  then Bobby left the stage… and somewhere through the haze he said
I QUIT!  Then Earl V. returned to the stage and the temperature of the room it just kept rising…  the stage lights were burning cinnamon red and glowing and the people kept dancing…  3 people began to wig-out as if under a spell…  lost in the socket of  the mad maker molecule…  

then Plucky said I QUIT!

Next thing i knew i shouted out I QUIT!
Somebody said, Yer not even in the band, man!
I replied
It was turning into The Lord of the Flies…  it was turning into The Olsen Twins at Altamont!

The crazy thing i remember is that somehow, everybody had quit, but the music still lingered in the air…  it somehow was so nektar that it just hung like a colorful cloud…  I saw Adolph and Young John sneak out the door and into the night but by that time, people were already on their cell phones calling up people they knew and Quitting!  One guy called his boss and quit, some wench called her old man and Quit on him, another guy who was a hard-core nerd, dialed his voicemail and left a message that come morning, he was quitting his own self and then before you could snap your fingers the spell was brken Bobby was wearing his sweetheart THRASHER sweater and all The Warlocks were still the brothers of love and people began to go back to normal and call the people they had quit on and patch it up.  I did my best not to break anything and we all got the van loaded up, the band got paid and headed out into the night towards their next beautiful show.  I was still singing Shake the Dope out which actually means don’t get mired down in tedious things…  shake off All petulant bullshit…  and just about then the ghost of Young John Lennon sucker punched me in the belly and ran off into the crazy arms of Hamburg Late Night as i smiled while blowing chunks.  Oh the pretty and ravishing dangers of Rock’n’Roll…
Long Live The Warlocks!


On this day in Rock and Roll History…

June 27, 1958 – March 31, 1996

Jeffrey Lee Pierce

Mark Lanegan and Peter Hook – Love will tear us apart – Manchester 2017


It was wildly Rumored before the show that Warlock Jc Rees had been apprehended in Fort Lauderdale and booked on charges of Auto-theft, Property Damage and reckless driving when he had booked the wrong flight, only to arrive in Florida to suffer a panic attack which led him to steal a taco-truck and drive it through the store front window of an elderly palm reader, but that story was bullshit.  Other rumors had him catching the wrong plane and landing in a Turkish prison for selling bootleg copies of Darwin’s book on Evolution, On the Origin of Species by Means of Natural Selection, but this was a falsehood as well, then there was another rumor about how he had flown to Iran to join the White Stripes on tour and that rumor smelled very German to me, so I called bullshit right away.  Jc Rees was not at the Berlin show, I fear he may have missed his plane, flown ahead to London where he is drinking iced tea and probably smooching the boobs of a Warlock lover.
The Warlocks were stripped down to a Four Piece Mystic Machine.  Many of you already know that
The Warlocks have gone through so many line-up changes that they make the Brian Jonestown Massacre look downright secure as ZZ Top.  I think when the Warlocks first started out they were a 17 piece.  It was Bobby on Vocals and Guitar and some x-girlfriend of his on kazoo and like 9 guitar players, 1 bass player and 5 drummers!  They were far-fucking-out!  Then Bobby fired like 4 people because they had all died in the desert, loaded up on acid and trying to parachute off the side of some mountain with 3 picnic blankets, 9 hand grenades and rip-cords that were made from 4 pairs of knee-high brown suede Davy Crocket hippy boot shoe strings.  After that, more players came and went and then there was no more
Sandy Sugarblade on thumb-cymbals, no more Danny Cloverdoof on bagpipe and there was that Real bad Stoner named Guppy, nobody even knew what he played and I don’t think he ever even knew he was in the band or even Los Angeles, as a matter of fact.  Then there was Nebula Monosthesia better known as HAWKWIND TITS, from Bulgaria who had a chestful of Texas Watermelons and thought she was Stacia Blake from the band Hawkwind, hence the nickname she gave herself, she played nothing, just rolled around on the ground unplugging everything, crushing tambourines only to jump up and twirl mid-air smashing to shit, every sitar within a 3 foot radius of herself, she’s gone now…  Lots of the old players, too many too mention really..  Pringle-Can Pete on Pringle-can bongos, Larry “Harmonica Cock” Sandoval, Neon Mike who was in a wheel-chair sled made from old Coca-Cola crates and grocery cart wheels, who played the bass with his chin, and Darcy Hoofscooter, The Jenkins Twins on noisy hoolahoop and hell I can’t even remember the others…  so yeah, it was a BIG shock to see The Warlocks 4.  but the Machine was smooth as a favorite Dream, I tell ya…

I’ve been dealing with some stuff for about 6 months, so I haven’t been getting out that much and the weather was a little sticky so i was a bit cranko.  Took a taxi from Soviet East Berlin to NickCave City…  People round these parts when they are not smashing in windows or spray painting Anti-Government slogans, call it Kreuzberg…  i call Kruiseberg, NickCave City or DieKruisingberg, who gives a shit, the gig was in Krewsberg ok?  I was a little anxious upon arrival because first of all, my taxi driver was a blind man.  I don’t mean that he couldn’t drive well, i mean he uses a white and red cane when he walks and when you get into the back of the cab, he puts the metal to the petal and says tell me when to turn, which way and when to stop and go, cause i can’t see anything.  In the rearview mirror I caught a glimpse of his eyes that were behind his Ray Charles Ban black glasses and his eyes were dead light blue and mostly made of milk and egg yolk, right eye looking out the left side driver window, right eye tilting up and back into his skull like a Casino machine, goddamn man!  I sure do go through a lot of Hell tryin’ to see The Warlocks.
Once The Warlocks took the stage it just got good.  Hell, i felt like I was back home in Hollywood, waiting for a cool strawberry alcoholic drank, one bitter sip of my German beer called Butts’schtank, i knew i wasn’t in Hollywood, but it didn’t matter as the music swirled and drifted me onwards into raspberry room clouds and scribbled on High-School History books, Pale cool Moons, sketches of greek cupids snorting pony dust and Heaven water and it was cauldrons of Teenage doo-wop lust, guitars crying in High School Outer-Space, dark valentines and cheap waves, 1966 Motel AC and Galaxie Anti-freeze and bumble bee purple sex sweaters… and then the lights came on and i was happily disoriented and felt pretty glitter clean…  then it was a Taxi race with seeing drivers and sweet boy Bobby won the race…  8 mm bar for some dranx and simple dark small talk…  then fade into the Berlin night where everything is still going strong at 3:33 in the industrial morning…  Thank You so Very Kindly for your Electricity, Generosity, Time and Hospitality, Earl V, DiPino, Plucky and of course Sweet Boy Bobby…  Bless Yer Hearts and Keep On Keeping On and i pray i’ll see you all again somewhere down near that bend in the Twilight…
Cheers to Brandon Robert of Night Nail.

Thank You DiPino for putting me on teh List, but Yer Know I wanna help the Warlock Machine to keep On purring…  Cheers brother 

for my Dear Brother Earl V.


SIN ALLEY LIVE TONIGHT at the five star DTLA 9:30pm early show


I’m a Day Late and a Dollar short…  Again
June 22, 1936 ( baby 81 )  The birth of Mr. Kris Kristofferson

I’ve heard talk about how maybe Mr. Kristofferson’s mind ain’t as sharp as it use ta be, but the way I figure, is that if you’ve lived a life that full, then maybe some of the early’time memories have just been stored away in weather worn suitcases of the mind where they belong in order to make room for new ones.  Hell, most folks got memories the size of hamster box fortnights, it ain’t easy having a warehouse upstairs in ya head and further more, any man who has dated Janis Joplin and lived and could still have the patience to take the time to be generous to the likes of crazy little me, is one tough and beautiful som’bitch.
Bless your Heart Kris, my all too human mentor and favorite singer songwriter since the age of 3…
Happy Birthday Big Dad


It was a spiritual experience

It was a spiritual experience. Saying it was the best show I’ve ever been to doesn’t even come close to doing it justice. Hot damn y’all – Nick Cave & The Bad Seeds blew everyone’s mind! Gentleman behind me said he’d seen Nick perform five times and that this one took the cake.
I didn’t take this picture (was too transfixed to get the camera out) but I was lucky enough to have been able to take a picture just like this if I’d thought to do it.
So grateful to have been there and still reeling from what I experienced. I hope you were here too!

– Natalie Valentine

2049 Featurettes…



and you were lying out in that gutter dying and you had time to sing 1 song…
One song people would remember before you’re dirt, one song that would let God know what you felt about your time here on earth, one song that would sum you up— you telling me that’s the song you’d sing? That same Jimmy Davis tune we hear on the radio all day about your peace within and how its real and how you’re gonna shout it.
Or would you sing something different, something real, something you felt? ‘Cause I’m telling you right now, that’s the kind ah song people want to hear. That’s the kind of song that truly Saves people. It ain’t got nothing to do with believing in God, Mr. Cash, it has to do with believing in yourself.”



Alejandro Guijarro

Alejandro Guijarro photographs the chalkboards of some of the brightest minds in quantum physics for his continuing series Momentum. He went to research facilities like CERN and many of the top universities in the world to find them.

“I photographed this blackboard at Stanford University in the US, in San Francisco. Everything on it relates to physics. And all the blackboards in this space are from departments of quantum mechanics, and this is just one of them

I think the main concern of my work is the relation between photography and reality. This does, of course reflect that relationship, and my idea of doing physics was that physics is the most precise representation of reality. I wanted to see what that representation would look like.

I think the messiness we see is because it was in a corridor and people would come by, just write something, and then go. So it’s not the blackboard of a lecture. It’s more like a space for private thinking, you know, of physicists and groups of physicists.

The painterliness is what I found interesting, set against the precise representations of this physics reality or the super-rational objects in mathematical thought, which are based on an abstraction.

Another challenge of the project was that in many places they no longer use blackboards. I couldn’t find any departments in London who used blackboards. So I had to go to Oxford, Cambridge and places like that, where they still use them.

But they want to get rid of them, so in a way they’re obsolete objects.

The universities are not really interested in my photos. They live with these objects every day so when I asked them if I could photograph a blackboard, they asked why.

I just sent emails and got permission. It was quite difficult to get access, but once you knew one physicist, they would introduce you to another one and another one and it goes from there.

I did research about quantum mechanics. I always asked the people I met but it made no sense to me. The equations here have something to do with very trendy names like M-theory or String Theory or Supersymmetry. It sounds great but I don’t know what they mean.”

– Alejandro Guijarro


Wanna show you something like
The joy inside my heart
Seems I’ve been Living in the Temple of the Dog
Where would I live, if I were a man of golden words?
Or would I live, at all?
Words and music, my only tools

And on her arrival, I will set free the birds
It’s a pretty time of year, when the mountains sing out loud
Tell me, Mr. Golden Words, how’s about the world?
Tell me can you tell me at all?
Words and music, my only tools

Let’s fall in love with music
The driving force of our livings
The only international language
Divine glory, the expression
The Knees bow, and the tongue confesses
The lord of lords, the king of kings
The king of kings

Words and music – my only tools

There is no pain, you are receding
A distant ship, smoke on the horizon
You are only coming through in waves
Your lips move but I can’t hear what you’re saying
When I was a child I had a fever
My hands felt just like two balloons
Now I’ve got that feeling once again
I can’t explain
You would not understand
This is not how I am


Chris Cornell will appear on a new album that sets the poems of Johnny Cash
to music. Titled Johnny Cash Forever Words: The Music.

Help musician get teeth and get back on track

The Story

I moved to Berlin when I was 18, and formed a band with a couple other guys, things were going really good until I had a major accident whilst on tour in Reykjavik Iceland that put me in a coma. I was in the hospital for almost one year, and had to relearn everything again. Learning to play music again came later.

The band stuck around for as long as they could, but traumatic brain injuries take a long time to heal (if you ever do “heal”) and they had to move on with their lives. Needless to say the band was finished, our dreams were stifled. But thats old news.

Since then, I have been recovering (its been almost ten years), but facing extreme adversities in trying to get back living a normal life. I have problems keeping it together now and get overwhelmed easily because of all the stuff on my plate and nobody to turn to. My friends have helped me along the way and without them I don’t what I would’ve done. My teeth were affected in the accident badly. I got dental work done after that was careless, for cheap, which made things worse in the long run.

I recently had to have most of my top teeth extracted. Now I can’t sing, smile, or talk correctly. The dentist said that it would be a few thousand for the work I need to have done, so I can have a good smile again. I dont have insurance.

I also had an infection awhile back, and was prescribed an antibiotic called Cipro which is in the class of flouroquinolones. Do not, I repeat, do not take these antibiotics unless it is a life or death situation. Since then I have been having muscle twitches all over my body, severe pain in my legs, and issues walking correctly. I am in pain almost every day, and I don’t get a reprieve from it. I take over the counter medication that barely works. There is no treatment for damage from these antibiotics. After suffering adverse affects from these antibiotics, I looked it up online and to my horror I found hundreds if not thousands of people who were affected in a negative way by these flouride based drugs. Look it up, and please don’t take antibiotics in this class of medicine unless you are dying. They are to be reserved for serious situations, and doctors prescribe them alot without knowing the facts.

Anyway, I’ve been dealing with this stuff for years now, and I cannot do it on my own. I am without family, a proper career, or direction in life. I need to get back to the music and I need your help. I don’t like the idea of asking for help, but I see so many people launching fundraisers for things that aren’t even as serious as this. This is ruining my life and I feel very isolated.

The goal is to start my life over, and I literally can’t do it on my own, or I wouldn’t be holding this fundraiser if I could. I realize this is a lot to ask, but every little penny helps. And most of all I just need to get my teeth fixed so I can sing again and get back to doing what I love.

Thank you,

Duncan McKnight

Hope Sandoval & the Warm Inventions LIVE 2017

DERU – 1979

In a time where the devaluation of music seems to be at it’s peak, fans and audiences expect every release to be either for free or donation based, which forces musicians to tour extensively or resort to day jobs in order to support themselves. Deru, an electronic artist who questions this establishment, explores an innovative release of his latest album, 1979. His approach influences listeners to place themselves in an appropriate listening environment, delivering an entirely new experience.

To help him with his vision, Deru enlisted a team of people including the visual artist, Effixx, who collaborated previously on the Outliers, Iceland: Vol. 1project.

I sat with Deru & Effixx to discuss the themes and concept behind 1979:

ISO50: Deru, who is Jackson Sonnanfeld-Arden and how did he inspire your upcoming fifth studio release, 1979?

Deru: Some concepts seemed to coincide thematically when I began working on 1979. A few significant life events caused me to look at photographs differently than I was used to, plus the emotional authenticity of the original artifact that I found at the flea market in Glendale made me realize that I had to make it public and share it somehow. The ideas presented in the philosophy of Jackson Sonnanfeld-Arden deeply resonated with me and I found solace in his words during that time. Jackson Arden was a man who was searching for truth in memories and as I recorded 1979 to cassette tape, the nostalgia and warmth of the medium seemed to go hand-in-hand with the experience of reading these letters.

ISO50: Deru & Effixx, Henry Jackson’s interpretation of his grandfather’s (Jackson Sonnafeld-Arden) manuscripts that mention the Unification Philosophy states that “this solid, mundane world we live in is actually just a memory of a previous universe”. To what extent did this theory influence the feelings of nostalgia you were trying to provoke with this project (both musically and visually)?

Effixx: When I first read and tried to parse these types of sweeping, declarative philosophical statements in his letters, I couldn’t decide whether it was new-agey diatribe or some sort of brilliant quantum theory. Ultimately, it’s probably both. There’s something very romantic about the obvious fact that this man was feeling near the end of his life but was trying to make sense of his memories through the lens of this kind of “holographic universe” way of describing the inevitable cycle of life and death. It’s compelling in that there’s nothing very sophisticated about the words he chooses by today’s standards, but considering that at the time of writing it predates modern quantum physics… that’s very powerful. I definitely owe David Chun for making those connections. He’s the writer/mythologist/researcher in Los Angeles responsible for helping us make sense of the documents.

So as it applies to nostalgia and the visual side of the project, to me it affirmed the idea that photographs and other types of documented memories are a sort of spiritual / anthropological record that equal more than the sum of their parts. Regardless of the technology used to capture the memory, in a metaphysical sense – these frozen moments give us the ability to understand the innate properties of emotion in time and space. Not just simply the matter which occupies the “frame”. Again, not entirely novel concepts in today’s world but pretty transcendent for the time.

Deru: As Anthony suggested, Jackson Arden’s words are somehow both grandiose and simple in their tone. He makes sweeping statements that also hold subtle truths, so they can’t be overlooked quickly and require examination.

There were many aspects within the box that made me want to explore nostalgia however, so even without his texts I would have, but somehow his words made me dig deeper to try to understand some of the shared emotions amongst all of us. Nostalgia, for one, always seems to come with a bitter-sweet quality that I love aesthetically. The heart-ache for home, and not just the physical home, but a return to simplicity, to love.

ISO50: Deru & Effixx, continuing with the the themes of nostalgia and memories, on the 1979 website, people can submit their own images and stories to a gallery. Will you share a few of your favorites and why?

Effixx: I love the Amon Tobin childhood shot for how stark the photo is, and because he describes what I think is a really interesting common theme: recognizing his son (the cycle) in himself.

Lara Howenstine submitted some really beautifully antiquated photos from an aesthetic point of view, and one of the photos depicts an incredibly intimate and vulnerable moment in her life – literally her aunt at her death bed, surrounded by family. That willingness to share such personal moments for the sake of this art project have made the whole thing touching in ways I couldn’t have imagined.

Deru: I’m floored not just by the imagery people have been submitting, but also by the words that they’ve been writing along with them. I’m amazed and grateful for the willingness of people to share such intimate moments from their lives.

The whole project has reaffirmed something that I’ve believed for a while: that people are smart. I feel like as a society we’re taught to think that people are dumb. This mostly comes in the form of advertisements that are so base and transparent that it’s appalling to me that people think they can actually work (which is a whole other topic I know). But there were times while we were making this project that I wasn’t sure if people would get it, that they’d miss the point, as quite frankly this isn’t an obvious project conceptually. We built it in layers so that someone could go in as deeply as they wanted to, but it still requires time to fully digest. It was such a nice surprise then when people started submitting memories even minutes after the site went live that were perfectly in line with the sentiments of the project. And we haven’t received a single submission that didn’t nail the spirit of what we’re asking for, which blows my mind.

It’s also clear to me now that people want to share their lives, and they’ll do so in an open and honest way if they’re given a respectful environment to do so, even in front of total strangers (which interestingly only makes them more empowered).

In particular, Ana G. Noris, entry is incredibly powerful. The honesty with which she talks about her relationship to her brother is so moving. I feel as though I can experience the loss and complexity of her relationship with her brother. I empathize instantly.

ISO50: Effixx, mysticism and the supernatural seem to be prevalent themes throughout your work. How did such a wealth of source material found in Jackson’s original Obverse Box contribute to your fascination with these themes and how did they inspire the visual identity of this project?

Effixx: The original box was a wellspring of inspiration, especially after we got David involved in putting some historical pieces together. In terms of my fascination with mysticism – archetypal stories are really my obsession. Whether you want to call it mysticism, supernatural, parapsychology… I’m interested in the intersection of science and the occult. Where Joseph Campbell meets Aldous Huxley. Many of my peers are obsessed with the future, data, tools that create visual compositions which cannot be created by the human hand. Me, I find much more inspiration in learning from the past and identifying patterns in human behavior.

The other connection to my creative process and trying to assembles a narrative around the pieces of the Arden philosophy and my own process of storytelling is that looking back at other work I’ve recently done… I tend to use historical documents and found footage quite a bit as source material. Most obviously in the Scenic video for Take – Begin End Begin, where we created montaged scenes sourced from a box of found 35mm negatives to tell a story. I feel like it could be due to using the limited resources at my disposal, production-wise, but also because I grew up inspired by artists like Boards of Canada who would use these disembodied fragments of recordings and kaleidoscopic imagery that summoned vaguely nostalgic scenes.

ISO50: Deru & Effixx, can you explain what your version of The Obverse Box is and what it contains?

Deru: We view it as an instrument for extending my album and the visual concepts associated with it into each users unique physical space. One of the nice things about projection is that it changes drastically depending on where it’s projected, which makes the experience most rewarding when it’s an interactive one of experimentation of surfaces and textures to project onto.

We were also inspired by the idea of what a modern day time-capsule could be, and the idea that memories could come alive with light, making them available for interactions, almost in the way real memories are malleable depending upon time, mood, circumstance, etc.

Effixx: I’d echo what Deru said, adding that the format of this thing really makes it unique. When we first started designing the box with Mark Wisniowski, we were kind of dumbfounded that previously it had only been seen as an office / business appliance. Nobody’s really used it as an entertainment tool or in the context of an art project. Particularly in a time where projection mapping has become so popular, this struck me as novel. We went back and forth about whether the SD card slot should be concealed and made permanently fixed to our content and ultimately we chose to leave it open for owners of the box to add their own material. In this way, I think The Obverse Box is a beautiful sculptural object that encourages people to take a body of memories with them wherever they want and create an experience for themselves in an unlikely place. I can’t wait to take it camping with me.

ISO50: Deru, can you talk about the design and manufacturing process that went into creating The Obverse Box?

Deru: Before the design process even began I spent about six months researching, calling strangers, e-mailing big companies, and generally reaching out to everyone I thought might be relevant to try to see if this was even possible. There were many times where it seemed like it wasn’t. I explored all options, and judging by the amount of times I hit roadblocks, I can safely say that this is a really hard thing to do. The world of electronics is just not set up for small-batch runs, or art projects in general really.

But once I’d found a component manufacturer that was willing to work with me, the design of the case was amazingly fun. Mark Wisniowski (also an Outliers: Iceland alum) designed the case, and he rose to the challenge in such a beautiful way. It’s so fun working with your friends when they turn around and blow you away. Once Mark had a few versions of the case modeled in 3D I then found Roberto Crespo, who did all of the 3D engineering for the project. He took Mark’s designs and got them ready for Jon Mendez, who did all of the machining and milling on the project. I could not have found two better guys than Roberto and Jon. Roberto worked for JPL for years and has literally designed circuit boards that are on the Mars Curiosity Rover right now, and Jon is an absolute artist. He worked for the architect Jorge Pardo for years, and taught at The Art Center of Design in Pasadena. He’s also manufactured some really high-profile projects that I probably shouldn’t talk about… But I went back and forth with these two guys honing every aspect of the walnut case for the better part of a year. The case is CNC’d from a single block of walnut. It’s walls are ⅛” thick, and the vents are laser cut. Every part of making this was an exploration into what was possible, and in the end I’m so proud to show the world that we did. There is something so exciting about producing a physical object; about seeing something on the computer screen one minute and in your hand the next. I want to do more of this.

ISO50: Effixx, can you talk to us about the design philosophy and inspiration that went into

Effixx: In terms of developing the design language, I started off with paint, ink, and paper. From the beginning, I felt the main visual objects defining the project should be terrestrial and monolithic. The Obverse Box could be from the past or the future. The main 1979 “thumbprint” was one of many painted shapes that were scanned during these experiments. So, real textural objects were important because they turn graphic when light/shadow is introduced. It’s amazing how many different shapes and contours emerge as expressive marks when the light source and angle are modified. The nine gold strips, the roman numerals which make an appearance on the projector’s splash screen, the thumbprint, the gold dust and splatter… those were the most fun to use as a family of graphics throughout the materials because their origins are so obviously created by the human hand rather than design tools.

The Nine Pure Tones themselves were converted to digital illustrations from Arden’s VERY rough sketches to the sigils we thought he was going for. They’re all pretty clearly inspired by mathematical figures describing reflection, refraction, dispersion, and other phenomena of light and energy presented in physics textbooks. So we arranged them into the loose system Arden laid out and stayed mostly true to what he named each of them (as far as we could read in the documents… they’re pretty illegible). is meant to be a repository for all of the ideas behind the entire album, from Arden’s philosophy to Ben’s inpiration, to the user-submitted memory gallery. It’s mostly neutral so that the memories themselves can be the hero. A user can spend time with the articles and letters without emotional signifiers – like color – disrupting the process of interpretation.

What you’ll find making its way into the nine videos themselves is a new element that hasn’t been fully revealed in the website or LP art yet. We’re working heavily with analog video synths and very foundational visual representations of sound/light/energy. They’re meant to be mesmerizing in a way that invites repeated viewing and encourages the user to explore what the patterns and textures look like on different surfaces. Timelessness is what we hope to achieve with the visual language, overall.

ISO50: Deru, in our talk, you mentioned how you feel like music has become devalued in comparison to other art forms. Would you say that with 1979’s release and the ideas surrounding The Obverse Box you hope to instill inspiration among your listeners and place the value back in experiencing music?

Deru: I remember before the internet and mp3’s, buying a new album was a more powerful experience than it is today, at least to me. I don’t hold anything against those two technologies, as they’ve transformed the convenience of acquiring music, but it’s that very convenience that can be so distracting. What I love about the idea of releasing an ambient album on a video projector is that the characteristics inherent in projectors make them perfect for placing the user in the best environment to listen to the music. In other words the act of turning down the lights are preparing for an experience is something that places the person in the best mindset to listen to the music to being with. There’s also something magical about holding light in your hand. Part of the fun of the projector is experimenting with where it pointed and what the light is shining though. Different kinds of glass, fabrics, mirrors, etc, all change the experience hugely.

The devaluation of music is definitely something that I’m trying to address. I know that free music has done wonders for a lot of musicians, which is great, but there’s an aspect to giving away art that you’ve been toiling over for years that’s never felt all that great to me honestly. That’s why on we ask for someone to share a memory in exchange for a song. This feels good to me, it feels like an adequate trade.

Selling an object that costs $500 (during the pre-sale) also challenges the idea of what music is worth. Expense depends upon perception. $500 is cheap for art and normal for electronics. It is only considered expensive when viewed as music, which is so devalued now that it’s supposed to be free. This challenges that idea; it challenges the way music is perceived.

ISO50: Deru & Effixx, thank you.






fangx to Billy the GoldenKid

Today is World Refugee Day 2017


Wishing Good Health & Good Love to Tate on his Birthday, cheers brother





GLOK is the alter ego of Ride guitarist Andy Bell

Have you always tinkered with electronics? When did you begin to take it seriously?
When I was given my first electric guitar, by a friend of my parents, I didn’t have an amp for a while. I figured out how to plug the guitar into the family Hifi by using the tape deck record input, which, if you turned it right up, gave the guitar an amazing distortion sound. This got me interested in electric sound, and I started buying equipment  at jumble sales, like an old reel to reel tape machine, and eventually my first amp, a small home made amp with the valves all exposed, probably a massive fire hazard. Me and my school mates used to go back to my house after school most days and play around with my bits of recording gear, trying to multitrack by bouncing between tape players. So the hardware of recording, and therefore the sound, has always gone hand in hand for me with playing and creating music.

I was always into a wide range of music and a lot of it was electronic, but in terms of the music I was writing and recording, most of it was  guitar based. In the late 90’s I had a computer running Cubase, and tried to teach myself to program beats and stuff, but it wasn’t easy and I didn’t want to bother with manuals, so I gave up. But over the next few years, the software got easier, and I started to appreciate that some of the older electronic gear had a similar kind of magic to a vintage guitar. It is a natural next step for someone who has an interest in old guitars, amps, effects and recording gear, to move onto old keyboards and synths.

I credit Dave Sitek, who produced the second Beady Eye record, back in 2012, for opening my eyes properly to the potential of early analogue synths and their various possible uses in the recording studio, even on guitar music. He came to the studio with a huge collection of outboard gear. Effects units, samplers, synths, guitar stomp boxes, all a mixture of old and new. Then he proceeded to make use of all this stuff, rigging up mad chains of effects so what started with a guitar part, by the end was some kind of ever evolving, infinite ambient soundscape.

Seeing this process was a big inspiration to me. After that record I got hold of a Yamaha CS-5 and a few other bits and pieces Dave had turned me on to. Then I learned how to use Logic X, and since that point I have been making electronic music alongside guitar music. In fact the lines are now completely blurred, almost everything I do now involves elements of synthesis and elements of guitars. But I have ended up with a lot of instrumental music which seems to exist in a different world to the “band” world, and that’s how GLOK came about.

GLOK began in secrecy… why was this? What does the element of mystery – Boards Of Canada or Burial, for example – add to electronic music?
I was in no rush to have a lot of attention focused on this music. Plus, I didn’t want people to be hearing the first tunes with a picture of me, a middle aged guitarist, in their heads. I wanted the music to exist outside of any preconceptions, at least for a few months, until it felt like I’d established a bit of a musical style with the music I was putting out.

What kit do you use? Are you a software boffin or a hardware guru? Do you prefer analogue kit or digital sounds?
The kit is almost all analogue. I use a Roland 606 Drum machine, a Yamaha CS-5 synth, and a Roland SH 101 synth, on everything. I have a lot of guitar effects units, and a modular synth rig, all of which is useful for processing organic instruments. So I still play acoustic and electric guitars, a real piano, and electric bass, on most of the music I make as GLOK. But I usually process the sounds several times over. It’s quite lo-fi but I like it that way. Then in the end, everything ends up digital because I record it all into my laptop, which runs Logic X. I record and mix 100% “in the box”. I see that as the best of both worlds.

Talk us through this remix… how did you approach it? Did you place limitations down, or was it fairly free-form?
I had a mission – I wanted to really highlight the drums. Loz Colbert is a brilliant drummer and I wanted to keep a lot of his style on the remix. The drum take on the record is made up of loops from a very free drum take. This was a good starting point. I had a lot of fun with it. I burned CDs of the different drum loops, say about 4 minutes of each one, and played around with the CDs on my CDJs, which were plugged into my Space Echo, and from there into a modular guitar stomp box called Tracer City which has quick and easy filters on it. I use that a lot on everything from vocals to guitars to drums. After a good 3 days of experimenting I ended up with tons of crazy drum sounds, which I then had to find the patience to go through and cherry pick all the best bits of, before slotting them into place as part of an arrangement.

Meanwhile, I programmed drum machine parts which were identical to every hit of Loz’s drums on the track, so that at times the remix could become totally machine like,  but even then it was still Loz’s playing at heart. Everything else about the remix was fairly simple. I used the bass, guitars, vocals without too much processing. I ended up with a “psychedelic rock and roll” version, quite heavy, like Hawkwind with beats, then had a crisis of confidence, scrapped everything and re-made it as a totally electronic track, like something by Mr Fingers. Then the deadline was getting closer. I was fried!

So I decided to play it to Erol Alkan, who lives a few minutes from me. Hearing it on his system focused me. Armed with a kick drum sample from Erol’s library, I went back to my studio and pulled an all-nighter to finish the remix, Frankensteining the two versions into one, which to me now sounds like The Horrors playing ‘Tomorrow Never Knows’.

What further projects will GLOK embark on in the future?
Hmm. I would like to make a GLOK ambient album, I can pretty much guarantee that this will happen. The next GLOK track, ‘Kolokol’ is quite ambient, and it’s got me inspired to make more tracks in that vein. Incidentally, I almost made my name ‘Kolokol’ which is Russian for ‘Bell’ but then I discovered that kolokol is also the word for a chemical poison used in assassinations, so it felt a bit dark! I settled on ‘Glok’ which is a mis-spelled version of the German word for ‘Bell’. I think the German connection fits well as there is a strong Krautrock influence in the music.

But back to future plans: In the future I’d like GLOK to do a film score, I’d like to do more remixes, and I plan to continue putting out tracks every month on the Globe label, for as long as they will let me.

Are any GLOK live shows planned?
Not at the moment – but possibly in the future.





The video was created by filming a variety of subjects from nature, such as water, crystals and plants. The footage was composited in several stages to eventually form a moving tunnel of light that features synchronised repetition and bilateral symmetry.



“Bitter Sweet Symphony” was released on 16 June 1997 by Hut Recordings

‘Cause it’s a bittersweet symphony, this life

Try to make ends meet
You’re a slave to money then you die
I’ll take you down the only road I’ve ever been down
You know the one that takes you to the places
Where all the veins meet yeah,
No change, I can’t change
I can’t change, I can’t change
But I’m here in my mold
I am here in my mold
But I’m a million different people
From one day to the next
I can’t change my mold
No, no, no, no, no
Well I never pray
But tonight I’m on my knees yeah
I need to hear some sounds that recognize the pain in me, yeah
I let the melody shine, let it cleanse my mind, I feel free now
But the airways are clean and there’s nobody singing to me now
No change, I can’t change
I can’t change, I can’t change
But I’m here in my mold
I am here in my mold
And I’m a million different people
From one day to the next
I can’t change my mold
No, no, no, no, no
I can’t change
I can’t change
‘Cause it’s a bittersweet symphony, this life
Try to make ends meet
Try to find some money then you die
I’ll take you down the only road I’ve ever been down
You know the one that takes you to the places
Where all the things meet yeah
You know I can’t change, I can’t change
I can’t change, I can’t change
But I’m here in my mold
I am here in my mold
And I’m a million different people
From one day to the next
I can’t change my mold
No, no, no, no, no
I can’t change my mold
No, no, no, no, no,
I can’t change
Can’t change my body,
No, no, no
I’ll take you down the only road I’ve ever been down
I’ll take you down the only road I’ve ever been down
Been down
Ever been down
Ever been down
Ever been down
Ever been down
Have you ever been down?
Have you’ve ever been down?


released on 16 June 1997

August 18th, 2017


We will be playing Tulsa in less than a year…. my hometown. — Scott Musick

Posted JUNE 1, 2017



Released 15 June 1979


Studio \ Strawberry Studios, Stockport, England
Length 39:24
Label \ Factory
Producer \ Martin Hannett


released June 15, 1989 by Sub Pop

Studio \ Reciprocal Recording in Seattle, Washington
Length \ 42:37
Produced by Jack Endino

Killing Rainier Green Death by the Half-Rack and the Full-Rack, stepping over needles, vamping with Royal and soon to be Big Death kid Sisters, cleaning offices, working at the Shell Station, Alcohol poisoning, Super Big Muff and Mesa Boogie, Phantom Lumberjacks, Alchemy, Fashion crashing, 3 way witches midnight broth conjuring of the cake, heavy liquor trembles, sex on the first date, strippers and paper plates, the Great Gatsby in Reverse, is that your Mom’s car?  Why yes it is, Old Sport.
Song of the Baker, Help me get my equipment and bring the Acid.




Villains is out on August 25 via Matador

Help support the residents of Grenfell Tower

Please Click Here

As with all of the pages set up for Grenfell Tower, JustGiving will be holding the funds raised until we have worked with each page owner to work out the best way to the get the funds to those in need.

– JustGiving



Vyse Ave at 178th St S Bronx – CAMILO JOSE VERGARA

4344 West Madison St., Chicago – Camilo Jose Vergara

Anita Pallenberg…

25 January 1944 – 13 June 2017


Television’s Richard Lloyd in the hospital (1977)

Photography GODLIS





Seattle School of Rock – Southern Death Cult – Moya



June 10, 1946 – September 16, 2016


I got the news this morning that my friend Pablo had died yesterday and i do not like that.
Pablo boy ( Pablo Lacey ) was my friend, he was good people.  He was the kinda person that i wish my few other friends from different cities and countries could have met in person.  If i would go for a visit when i was feeling blue, paranoid or just plain hung-over, Pablo’s warm being and simple decency always brought me round to what was left of my senses…  i truly loved that boy and am thankful that i had a chance in this here life to be lucky enough to call him my friend…  I’ma miss you, Pablo boy



Tricky unveils brand new material in the form of ‘The Only Way’, an orchestrated soul-barer with more than a nod to his ‘Maxinquaye’ era and featuring his own trademark vocals taking centre-stage over a smoke-filled melodic backdrop.

Recorded in Moscow late last year and described by Tricky himself as “Hell Is Round The Corner Part 2”, “The Only Way” is a beautifully rare glimpse into the now Berlin-based Tricky’s future, released on his own label imprint False Idols

(via !K7 Music) on 9th June



Stephen Lawrie has spent the last 30 years putting his music on simmer. When his project The Telescopes began, it was one of a few dozen U.K. groups that aimed to refract the unfettered sound of The Velvet Underground and their other New York peers through the lens of the European post-punk scene. That’s what brought the world such gloriously noisy yet deceptively poppy outfits like The Jesus & Mary Chain and The Primitives. But as his fellow Brits started to emphasize their chart-friendly ideals, Lawrie and his revolving door of collaborators escalated the feedback, drone and drama.

It’s been a slow reduction but as As Light Return the new album by The Telescopes reveals, the group has gotten to a nice, syrupy consistency. The song “You Can’t Reach What You Hunger” oozes along like a steady lava flow, leaving a trail of scorched earth in its path. The rhythm is a dusted afterthought, a nodding-off backbeat that just barely holds the rest of the song upright. Even Lawrie sings as if he was woken up from REM sleep and shoved in front of a microphone. The real beauty is, as ever, the whirl of guitar noise that Lawrie and the members of the Glaswegian band St Deluxe who back him up on this new LP cook up. The peals and swells they create are the perfect levels of engulfing and desiccating. It puts you under its spell but with a tone that assures you that enlightenment awaits.

As Light Return will be available on July 7th on Tapete Records

TODAY IS National Best Friend Day 2017



Jón Sæmundur Exhibition

The breath of Jón Sæmundar on Rosenberg.

On Friday, June 9, Jón Sæmundur will show an exhibition of 11 new works on Rosenberg under the heading Spirit.

“For me, art creation is a spiritual practice. I capture the spirit of the moment and paint them, give them life and earthly visions by attaching them to the paper. The Spirit Comes Over Me and the Spirit Receives Freedom by Painting. I work with the spirits and They appear one after another, but looks like no one. ”

Jón Sæmundur Auðarson was born in 1968 and lives and operates in Reykjavik. He studied at the Icelandic Film and Crafts School, where he traveled to Scotland, where he graduated in 2001 with a degree in art from the Glasgow School of Art. Jón Sæmund’s works are mostly installations where he works with different media; Such as paintings, sculptures, videos and music.

Free Admission – Kid Friendly




1 day to go, remember, only miserable bastards, tight fuckers, those that hate the world, tax dodgers and posh tossers vote Tory

 – Graham Fitzpatrick‏



Happy Birthday Wishes to Vanessa Rodriguez

Wishing Good Health & Good Love to Our Fair Kid, Vanesser Rodriguez, bless yer Heart, boo and
Happy Birthday, baby…

We Loves You!


I think people think I’m pretty fucking weird. When I go on a photo shoot, if there’s other industry models there, they normally don’t really know what to make of me, and they’re usually like “What the fuck is this?” It’s difficult for me in the fashion world because a lot of people think of me kind of as a gimmick, “Oh, she’s just being exploited for her differences….” People really have to talk to me and get to know me in order to, I don’t know, understand where I am coming from or see where I’m coming from.

– Melanie Gaydos

She’s my little Rock and Roll \ She’s my little Heart and Soul / I Love Me Some Melanie Gaydos

Born with a condition called Pure Beauty


Released June 6, 1972

Bob Dylan 2016 Nobel Lecture in Literature

With this I live with you


foto by belle


by Jo T Colvert


fangx Ant Candlish!



Release date: June 3, 1985

Remembering Allen Ginsberg * June 3, 1926

I walked on the banks of the tincan banana dock and
sat down under the huge shade of a Southern
Pacific locomotive to look at the sunset over the
box house hills and cry.

Jack Kerouac sat beside me on a busted rusty iron
pole, companion, we thought the same thoughts
of the soul, bleak and blue and sad-eyed,
surrounded by the gnarled steel roots of trees of

The oily water on the river mirrored the red sky, sun
sank on top of final Frisco peaks, no fish in that
stream, no hermit in those mounts, just ourselves
rheumy-eyed and hungover like old bums
on the riverbank, tired and wily.

Look at the Sunflower, he said, there was a dead gray
shadow against the sky, big as a man, sitting
dry on top of a pile of ancient sawdust–
–I rushed up enchanted–it was my first sunflower,
memories of Blake–my visions–Harlem
and Hells of the Eastern rivers, bridges clanking Joes
Greasy Sandwiches, dead baby carriages, black
treadless tires forgotten and unretreaded, the
poem of the riverbank, condoms & pots, steel
knives, nothing stainless, only the dank muck
and the razor-sharp artifacts passing into the

and the gray Sunflower poised against the sunset,
crackly bleak and dusty with the smut and smog
and smoke of olden locomotives in its eye–
corolla of bleary spikes pushed down and broken like
a battered crown, seeds fallen out of its face,
soon-to-be-toothless mouth of sunny air, sunrays
obliterated on its hairy head like a dried
wire spiderweb,

leaves stuck out like arms out of the stem, gestures
from the sawdust root, broke pieces of plaster
fallen out of the black twigs, a dead fly in its ear,
Unholy battered old thing you were, my sunflower O
my soul, I loved you then!

The grime was no man’s grime but death and human
all that dress of dust, that veil of darkened railroad
skin, that smog of cheek, that eyelid of black
mis’ry, that sooty hand or phallus or protuberance
of artificial worse-than-dirt–industrial–
modern–all that civilization spotting your
crazy golden crown–

and those blear thoughts of death and dusty loveless
eyes and ends and withered roots below, in the
home-pile of sand and sawdust, rubber dollar
bills, skin of machinery, the guts and innards
of the weeping coughing car, the empty lonely
tincans with their rusty tongues alack, what
more could I name, the smoked ashes of some
cock cigar, the cunts of wheelbarrows and the
milky breasts of cars, wornout asses out of chairs
& sphincters of dynamos–all these
entangled in your mummied roots–and you there
standing before me in the sunset, all your glory
in your form!

A perfect beauty of a sunflower! a perfect excellent
lovely sunflower existence! a sweet natural eye
to the new hip moon, woke up alive and excited
grasping in the sunset shadow sunrise golden
monthly breeze!

How many flies buzzed round you innocent of your
grime, while you cursed the heavens of the
railroad and your flower soul?
Poor dead flower? when did you forget you were a
flower? when did you look at your skin and
decide you were an impotent dirty old locomotive?
the ghost of a locomotive? the specter and
shade of a once powerful mad American locomotive?
You were never no locomotive, Sunflower, you were a
And you Locomotive, you are a locomotive, forget me

So I grabbed up the skeleton thick sunflower and stuck
it at my side like a scepter,
and deliver my sermon to my soul, and Jack’s soul
too, and anyone who’ll listen,
–We’re not our skin of grime, we’re not our dread
bleak dusty imageless locomotive, we’re all
beautiful golden sunflowers inside, we’re blessed
by our own seed & golden hairy naked
accomplishment-bodies growing into mad black
formal sunflowers in the sunset, spied on by our
eyes under the shadow of the mad locomotive
riverbank sunset Frisco hilly tincan evening
sitdown vision.


BP pushed President Trump to stay in the Paris climate deal.

Check the date lower right hand corner




Released June 3, 1978


fangx Banksy



Aya ( on teh right ) and her BFF,  shux*

foto Courtesy of teh Graves Fam, shux*

Some Birds…

“Some birds are not meant to be caged, that’s all. Their feathers are too bright, their songs too sweet and wild. So you let them go, or when you open the cage to feed them they somehow fly out past you. And the part of you that knows it was wrong to imprison them in the first place rejoices, but still, the place where you live is that much more drab and empty for their departure.”

– Stephen King

MAY 12, 2017 – 8:54PM

Remembering Norma Jeane…

June 1, 1926 – August 5, 1962

The 430 Books in Marilyn Monroe’s Library

1) Let’s Make Love by Matthew Andrews (novelization of the movie)

2) How To Travel Incognito by Ludwig Bemelmans

3) To The One I Love Best by Ludwig Bemelmans

4) Thurber Country by James Thurber

5) The Fall by Albert Camus

6) Marilyn Monroe by George Carpozi

7) Camille by Alexander Dumas

8) Invisible Man by Ralph Ellison

9) The Boston Cooking-School Cook Book by Fannie Merritt-Farmer

10) The Great Gatsby by F Scott Fitzgerald

11) From Russia With Love by Ian Fleming

12) The Art Of Loving by Erich Fromm

13) The Prophet by Kahlil Gilbran

14) Ulysses by James Joyce

15) Stoned Like A Statue: A Complete Survey Of Drinking Cliches, Primitive, Classical & Modern by Howard Kandel & Don Safran, with an intro by Dean Martin (a man who knew how to drink!)

16) The Last Temptation Of Christ by Nikos Kazantzakis

17) On The Road by Jack Kerouac

18) Selected Poems by DH Lawrence

19 and 20) Sons And Lovers by DH Lawrence (2 editions)

21) The Portable DH Lawrence

22) Etruscan Places (DH Lawrence?)

23) DH Lawrence: A Basic Study Of His Ideas by Mary Freeman

24) The Assistant by Bernard Malamud

25) The Magic Barrel by Bernard Malamud

26) Death In Venice & Seven Other Stories by Thomas Mann

27) Last Essays by Thomas Mann

28) The Thomas Mann Reader

29) Hawaii by James Michener

30) Red Roses For Me by Sean O’Casey

31) I Knock At The Door by Sean O’Casey
32) Selected Plays by Sean O’Casey

33) The Green Crow by Sean O’Casey

34) Golden Boy by Clifford Odets

35) Clash By Night by Clifford Odets

36) The Country Girl by Clifford Odets

37) 6 Plays Of Clifford Odets

38) The Cat With 2 Faces by Gordon Young

39) Long Day’s Journey Into Night by Eugene O’Neill

40) Part Of A Long Story: Eugene O’Neill As A Young Man In Love by Agnes Boulton

41) The Little Engine That Could by Piper Watty (with childish pencil scrawls at end, possibly MM’s)

42) The New Joy Of Cooking by Irma S. Rombauer & Marion Rombauer-Becker (with some cut recipes, page markers, a typed diet sheet and manuscript shopping list, apparently in MM’s hand, laid in)

43) Selected Plays Of George Bernard Shaw

44) Ellen Terry And Bernard Shaw – A Correspondence

45) Bernard Shaw & Mrs Patrick Campbell – Their Correspondence

46) The Short Reigh Of Pippin IV by John Steinbeck

47) Once There Was A War by John Steinbeck

48) Set This House On Fire by William Styron

49) Lie Down In Darkness (William Styron?)

50) The Roman Spring Of Mrs Stone by Tennessee Williams

51) Camino Real by Tennessee Williams

52) A Streetcar Named Desire by Tennessee Williams (with notes by MM)

53) The Flower In Drama And Glamour by Stark Young (inscribed to MM by Lee Strasberg, Christmas 1955)

American Literature

54) Tender Is The Night by F. Scott Fitzgerald

55) The Story Of A Novel by Thomas Wolfe

56) Look Homeward Angel by Thomas Wolfe

57) A Stone, A Leaf, A Door (Thomas Wolfe?)

58) Thomas Wolfe’s Letters To His Mother, ed. John Skally Terry

59) A Farewell To Arms by Ernest Hemingway

60) The Sun Also Rises by Ernest Hemingway

61) Winesburg, Ohio by Sherwood Anderson

62) Sister Carrie by Theodore Dreiser

63) Tortilla Flat by John Steinbeck

64) The American Claimant & Other Stories & Sketches by Mark Twain

65) In Defense of Harriet Shelley & Other Essays (Mark Twain?)

66) The Adventures Of Huckleberry Finn by Mark Twain

67) Roughing It (Mark Twain?)

68) The Magic Christian by Terry Southern

69) A Death In The Family by James Agee

70) The War Lover by John Hersey

71) Don’t Call Me By My Right Name & Other Stories by James Purdy

72) Malcolm by James Purdy


73) The Portable Irish Reader (pub. Viking)

74) The Portable Poe – Edgar Allen Poe

75) The Portable Walt Whitman

76) This Week’s Short Stories (New York, 1953)

77) Bedside Book Of Famous Short Stories

78) Short Novels Of Colette

79) Short Story Masterpieces (New York, 1960)

80) The Passionate Playgoer by George Oppenheimer

81) Fancies And Goodnights by John Collier

82) Evergreen Review, Vol 2, No. 6

83) The Medal & Other Stories by Luigi Pirandello


84) Max Weber (art book – inscribed to MM by ‘Sam’ – Shaw?)

85) Renoir by Albert Skira

86) Max by Giovannetti Pericle

87) The Family Of Man by Carl Sandburg

88-90) Horizon, A Magazine Of The Arts (Nov 1959, Jan 1960, Mar 1960.)

91) Jean Dubuffet by Daniel Cordier


92) The Summing Up by W. Somerset Maugham

93) Close To Colette by Maurice Goudeket

94) This Demi-Paradise by Margaret Halsey

95) God Protect Me From My Friends by Gavin Maxwell

96) Minister Of Death: The Adolf Eichmann Story by Quentin Reynolds, Ephraim Katz and Zwy Aldouby

97) Dance To The Piper by Agnes DeMille

98) Goodness Had Nothing To Do With It by Mae West

99) Act One by Moss Hart

Christian Science

100) Science And Health With Key To The Scriptures by Mary Baker Eddy

101) Poems, Including Christ And Christmas by Mary Baker Eddy

Classical Works

102) 2 Plays: Peace And Lysistrata by Aristophanes

103) Of The Nature Of Things by Lucretius

104) The Philosophy Of Plato

105) Mythology by Edith Hamilton

106) Theory Of Poetry And Fine Art by Aristotle

107) Metaphysics by Aristotle

108-111) Plutarch’s Lives, Vols 3-6 only (of 6) by William and John Langhorne


112) Bound For Glory by Woody Guthrie

113) The Support Of The Mysteries by Paul Breslow

114) Paris Blues by Harold Flender

115) The Shook-Up Generation by Harrison E. Salisbury

Foreign-Language Texts And Translations

116) An Mands Ansigt by Arthur Miller

117) Independent People by Halldor Laxness

118) Mujer by Lina Rolan (inscribed to MM by author)

119) The Havamal, ed. D.E. Martin Clarke

120) Yuan Mei: 18th Century Chinese Poet by Arthur Waley

121) Almanach: Das 73 Jahr by S. Fischer Verlag

French Literature

122) Madame Bovary by Gustave Flaubert

123) The Works Of Rabelais

124) The Guermantes Way by Marcel Proust

125) Cities Of The Plain by Marcel Proust

126) Within A Budding Grove by Marcel Proust

127) The Sweet Cheat Gone by Marcel Proust

128) The Captive by Marcel Proust

129) Nana by Emile Zola

130) Plays by Moliere


131) The Life And Work of Sigmund Freud by Ernest Jones

132) Letters Of Sigmund Freud, ed. Ernest L. Freud

133) Glory Reflected by Martin Freud

134) Moses And Monotheism by Sigmund Freud

135) Conditioned Reflex Therapy by Andrew Salter

Gardening & Pets

136-137) The Wise Garden Encyclopedia, ed. E.L.D. Seymour (2 editions)

138) Landscaping Your Own Home by Alice Dustan

139) Outpost Nurseries – publicity brochure

140) The Forest And The Sea by Marston Bates

141) Pet Turtles by Julien Bronson

142) A Book About Bees by Edwin Way Teale

143) Codfish, Cats & Civilisation by Gary Webster


144) How To Do It, Or, The Art Of Lively Entertaining by Elsa Maxwell

145) Wake Up, Stupid by Mark Harris

146) Merry Christmas, Happy New Year by Phyllis McGinley

147) The Hero Maker by Akbar Del Piombo & Norman Rubington

148) How To Talk At Gin by Ernie Kovacs

149) VIP Tosses A Party, by Virgil Partch

150) Who Blowed Up The House & Other Ozark Folk Tales, ed. Randolph Vance

151) Snobs by Russell Lynes

Judaica (MM officially converted to Judaism upon her marriage to Miller).

152) The Form of Daily Prayers

153) Sephath Emeth (Speech Of Truth): Order Of Prayers For The Wholes Year In Jewish and English

154) The Holy Scriptures According To The Masoretic Text (inscribed to MM by Paula Strasberg, July 1, 1956)


155) The Law by Roger Vailland

156) The Building by Peter Martin

157) The Mermaids by Boros

158) They Came To Cordura by Glendon Swarthout

159) The 7th Cross by Anna Seghers

160) A European Education by Romain Gary

161) Strike For A Kingdom by Menna Gallie

162) The Slide Area by Gavin Lambert

163) The Woman Who Was Poor by Leon Bloy

164) Green Mansions by W.H. Hudson

165) The Contenders by John Wain

166) The Best Of All Worlds, Or, What Voltaire Never Knew by Hans Jorgen Lembourn (is this the same guy who later wrote ’40 Days With Marilyn’?)

167) The Story Of Esther Costello by Nicholas Montsarrat

168) Oh Careless Love by Maurice Zolotow (MM biographer)

169) Add A Dash Of Pity by Peter Ustinov

170) An American Tragedy by Theodore Dreiser (filmed as A Place In The Sun – MM admired Elizabeth Taylor’s performance)

171) The Mark Of The Warrior by Paul Scott

172) The Dancing Bear by Edzard Schaper

173) Miracle In The Rain by Ben Hecht (co-author of MM’s autobiography)

174) The Guide by R.K. Narayan

175) Blow Up A Storm by Garson Kanin (later wrote screenplay ‘Moviola’, featurning an MM-based character)

176) Jonathan by Russell O’Neill

177) Fowlers End by Gerald Kersh

178) Hurricane Season by Ralph Winnett

179) The un-Americans by Alvah Bessie (later wrote The Symbol, a novel loosely based on MM’s life)

180) The Devil’s Advocate by Morris L. West

181) On Such A Night by Anthony Quayle

182) Say You Never Saw Me by Arthur Nesbitt

183) All The Naked Heroes by Alan Kapener

184) Jeremy Todd by Hamilton Maule

185) Miss America by Daniel Stren

186) Fever In The Blood by William Pearson

187) Spartacus by Howard Fast

188) Venetian Red by L.M. Pasinetti

189) A Cup Of Tea For Mr Thorgill by Storm Jameson

190) Six O’Clock Casual by Henry W. Cune

191) Mischief by Charlotte Armstrong (the movie ‘Don’t Bother To Knock’ was based on this novel)

192) The Gingko Tree by Sheelagh Burns

193) The Mountain Road by Theodore H. White

194) Three Circles Of Light by Pietro Di Donato

195) The Day The Money Stopped by Brendan Gill

196) The Carpetbaggers by Harold Robbins (Hollywood-set bestseller, featuring a Jean Harlow-based character, Rina Marlowe. Marilyn’s secretary, Margerie Stengel, recalls that Marilyn was reading a Robbins novel in her New York apartment in 1961.)

197-198) Justine by Lawrence Durrell (2 editions, possibly read during filming of The Misfits)

199) Balthazar by Lawrence Durrell

200) Brighton Rock by Graham Greene

201) The Secret Agent by Joseph Conrad

202) The Unnamable by Samuel Beckett

203) Portrait Of The Artist As A Young Dog by Dylan Thomas (Marilyn met Thomas in Shelley Winters’ apartment circa 1951)

204) Hear Us O Lord From Heaven Thy Dwelling Place, by Malcolm Lowry

Modern Library

205) The Sound And The Fury/As I Lay Dying, by William Faulkner

206) God’s Little Acre by Erskine Caldwell

207) Anna Christie/The Emperor Jones/The Hairy Ape by Eugene O’Neill (Marilyn played Anna in a scene performed at the Actor’s Studio in 1956)

208) The Philosophy Of Schopenhauer by Irwin Edman

209) The Philosophy Of Spinoza by Joseph Ratner

210) The Dubliners by James Joyce

211) Selected Poems by Emily Dickinson

212) The Collected Short Stories by Dorothy Parker (Friend of Marilyn’s, lived nearby her Doheny Drive apartment in 1961)

213) Selected Works by Alexander Pope

214) The Red And The Black by Stendhal

215) The Life Of Michelangelo by John Addington

216) Of Human Bondage by W. Somerset Maugham (Niagara director Henry Hathaway wanted to film this with MM and James Dean. It was eventually made with Kim Novak and Laurence Harvey.)

217) Three Famous French Romances (W. Somerset Maugham?)

218) Napoleon by Emil Ludwig

219) Madame Bovary by Gustave Flaubert (a second copy?)

220) The Poems And Fairy-Tales by Oscar Wilde

221) Alice’s Adventures In Wonderland/Through The Looking Glass/The Hunting Of The Snark, by Lewis Carroll

222) A High Wind In Jamaica by Richard Hughes

223) An Anthology Of American Negro Literature, ed. Sylvestre C. Watkins


224) Beethoven: His Spiritual Development by J.W.N. Sullivan

225) Music For The Millions by David Ewen

226) Schubert by Ralph Bates

227) Men Of Music by Wallace Brockaway and Herbert Weinstock


228) The Potting Shed by Graham Greene

229) Politics In The American Drama by Caspar Nannes

230) Sons Of Men by Herschel Steinhardt

231) Born Yesterday by Garson Kanin (MM auditioned for the movie, but Judy Holliday got the part)

232) Untitled & Other Radio Drams by Norman Corwin

233) Thirteen By Corwin, by Norman Corwin

234) More By Corwin, by Norman Corwin

235) Long Day’s Journey Into Night by Eugene O’Neill (a second copy)

236) Best American Plays: Third Series, 1945-1951

237) Theatre ’52 by John Chapman

238) 16 Famous European Plays, by Bennett Cerf and Van H. Cartmell

239) The Complete Plays Of Henry James

240) 20 Best Plays Of The Modern American Theatre, by John Glassner

241) Elizabethan Plays by Hazelton Spencer

242) Critics’ Choice by Jack Gaver

243) Modern American Dramas by Harlan Hatcher

244) The Album Of The Cambridge Garrick Club

European Poetry

245) A Shropshire Lad by A.E. Houseman

246) The Poetry & Prose Of Heinrich Heine by Frederich Ewen

247) The Poetical works Of John Milton, by H.C. Beeching

248) The Poetical Works Of Robert Browning (H.C. Beeching?)

249) Wordsworth by Richard Wilbur

250) The Poetical Works Of Shelley (Richard Wilbur?)

251) The Portable Blake, by William Blake

252) William Shakespeare: Sonnets, ed. Mary Jane Gorton

253) Poems Of Robert Burns, ed. Henry Meikle & William Beattie

254) The Penguin Book Of English Verse, ed. John Hayward

255) Aragon: Poet Of The French Resistance, by Hannah Josephson & Malcolm Cowley

256) Star Crossed by Margaret Tilden

American Poetry

257 and 258) Collected Sonnets by Edna St Vincent Millay (2 editions)

259) Robert Frost’s Poems by Louis Untermeyer (Marilyn befriended Untermeyer during her marriage to Arthur)

260) Poe: Complete Poems by Richard Wilbur (a 2nd copy?)

261) The Life And Times Of Archy And Mehitabel by Don Marquis

262) The Pocketbook Of Modern Verse by Oscar Williams

263) Poems by John Tagliabue

264) Selected Poems by Rafael Alberti

265) Selected Poetry by Robinson Jeffers

266) The American Puritans: Their Prose & Poetry, by Perry Miller

267) Selected Poems by Rainer Maria Rilke

268) Poet In New York by Federico Garcia Lorca

269) The Vapor Trail by Ivan Lawrence Becker (inscribed to Arthur by the author, there is also a note to MM)

270) Love Poems & Love Letters For All The Year

271) 100 Modern Poems, ed. Selden Rodman

272) The Sweeniad, by Myra Buttle

273) Poetry: A Magazine Of Verse, Vol.70, no. 6


274) The Wall Between by Anne Braden

275) The Roots Of American Communism by Theodore Draper

276) A View Of The Nation – An Anthology : 1955-1959, ed. Henry Christian

277) A Socialist’s Faith by Norman Thomas

278-279) Rededication To Freedom by Benjamin Ginzburg (2 copies)

280) The Ignorant Armies by E.M. Halliday

281) Commonwealth Vs Sacco & Vanzetti, by Robert P. Weeks

282) Journey To The Beginning by Edgar Snow

283) Das Kapital by Karl Marx

284) Lidice by Eleanor Wheeler

285) The Study Of History by Arnold Toynbee

286) America The Invincible by Emmet John Hughes

287) The Unfinished Country by Max Lerner

288) Red Mirage by John O’Kearney

289) Background & Foreground – The New York Times Magazine: An Anthology, ed. Lester Markel (a friend of MM)

290) The Failure Of Success by Esther Milner

291) A Piece Of My Mind by Edmund Wilson

292) The Truth About The Munich Crisis by Viscount Maugham

293) The Alienation Of Modern Man by Fritz Pappenheim

294) A Train Of Powder by Rebecca West

295) Report From Palermo by Danilo Dolci

296) The Devil In Massachusetts by Marion Starkey

297) American Rights: The Constitution In Action, by Walter Gellhorn

298) Night by Francis Pollini

299) The Right Of The People by William Douglas

300) The Jury Is Still Out by Irwin Davidson and Richard Gehman

301) First Degree by William Kunstler

302) Democracy In America by Alexis De Tocqueville

303) World Underworld by Andrew Varna


304) Catechism For Young Children (1936, so may be from Norma Jeane’s childhood)

305) Prayer Changes Things (1952, inscribed to MM – perhaps from Jane Russell?)

306) The Prophet by Kahlil Bibran (a second copy?)

307) The Magic Word L.I.D.G.T.T.F.T.A.T.I.M. by Robert Collier

308) The Prophet by Kahlil Gibran (a third copy?)

309) His Brother’s Keeper by Milton Gross (3-page extract from Readers’ Digest, Dec 1961)

310) Christliches ergissmeinnicht by K. Ehmann

311) And It Was Told Of A Certain Potter by Walter C. Lanyon (1922, so may be from childhood. Several newspaper poems and prayers tipped in.)

312) Bahai Prayers (inscribed to MM, ‘Marilyn Monroe Maybeline. A gift for my darling Maybeline, with all my love, Charlzetta’ – dated 1961.)


313) Man Against Himself by Karl A. Menninger

314) The Tower And The Abyss by Erich Kahler

315) Something To Live By, by Dorothea S. Kopplin

316) Man’s Supreme Inheritance by Alexander F. Matthias

317) The Miracles Of Your Mind by Joseph Murphy

318) The Wisdom Of The Sands by Antoine de Saint-Exupery

319) A Prison, A Paradise by Loran Hurnscot

320) The Magic Of Believing by Claude M. Bristol

321) Peace Of Mind by Joshua Loth Liebman

322) The Use Of The Self by Alexander F. Matthias

323) The Power Within You by Claude M. Bristol

324) The Call Girl by Harold Greenwald

325) Troubled Women by Lucy Freeman (who later wrote ‘Why Norma Jean Killed Marilyn Monroe’)

326) Relax And Live by Joseph A. Kennedy

327) Forever Young, Forever Healthy by Indra Devi

328) The Open Self by Charles Morris

329) Hypnotism Today by Leslie Lecron & Jean Bordeaux

330) The Masks Of God: Primitive Mythology, by Joseph Campbell

331) Some Characteristics Of Today by Rudolph Steiner


332) Baby & Child Care by Dr Benjamin Spock (pub. 1958)

333) Flower Arranging For Fun by Hazel Peckinpaugh Dunlop

334) Hugo’s Pocket Dictionary: French-English And English-French

335) Spoken French For Travellers And Tourists, by Charles Kany & Mathurin Dondo

336) Roget’s Pocket Thesaurus, by C.O. Mawson & K.A. Whiting


337) What Is A Jew? by Morris Kertzer

338) A Partisan Guide To The Jewish Problem, by Milton Steinberg

339) The Tales Of Rabbi Nachman, by Martin Buber

340) The Saviours Of God: Spiritual Exercises, by Nikos Kazantzakis

341) The Prophet by Kahlil Gilbran (4th copy?)

342) The Dead Sea Scrolls by Millar Burrows

343) The Secret Books Of The Egyptian Gnostics, by Jean Doresse

344) Jesus by Kahlil Gilbran

345) Memories Of A Catholic Girlhood, by Mary McCarthy

346) Why I Am Not A Christian, by Bertrand Russell

Russian Literature

347) Redemption & Other Plays by Leo Tolstoy

348) The Viking Library Portable Anton Chekhov

349) The House Of The Dead, by Fyodor Dostoevsky

350) Crime And Punishment by Fyodor Dostoevsky

351) Best Russian Stories: An Anthology, ed. Thomas Seltzer

352) The Plays Of Anton Chekhov

353) Smoke by Ivan Turgenev

354) The Poems, Prose & Plays Of Alexander Pushkin

355) The Brothers Karamazov by Fyodor Dostoevsky (not in the Christies’ catalogue. But friends of MM recall her reading it as a young actress, and she had hopes of playing Grushenka. Her own remarks in interviews make it clear that she had read the novel.)


356) Our Knowledge Of The External World, by Bertrand Russell

357) Common Sense And Nuclear Warfare, by Bertrand Russell

358) Out Of My Later Years by Albert Einstein

359) Men And Atoms by William Laurence

360) Man Alive by Daniel Colin Munro (inscribed to Renna Campbell from Lorraine?)

361) Doctor Pygmalion by Maxwell Maltz

362) Panorama: A New Review, ed. R.F. Tannenbaum

363) Everyman’s Search by Rebecca Beard

364) Of Stars And Men by Harlow Shapley

365) From Hiroshima To The Moon, by Daniel Lang

366) The Open Mind by J. Robert Oppenheimer

367) Sexual Impotence In The Male, by Leonard Paul Wershub

Scripts And Readings

368) Medea by Jeffers Robinson

369) Antigone by Jean Anouilh

370) Bell, Book And Candle by John Van Druten

371) The Women by Clare Boothe

372) Jean Of Lorraine by Maxwell Anderson


373) The Sawbwa And His Secretary by C.Y. Lee

374) The Twain Shall Meet by Christopher Rand

375) Kingdom Of The Rocks by Consuelo De Saint-Exupery

376) The Heart Of India by Alexander Campbell

377) Man-Eaters Of India by Jim Corbett

378) Jungle Lore by Jim Corbett

379) My India by Jim Corbett

380) A Time In Rome by Elizabeth Bowen

381) London by Jacques Boussard

382) New York State Vacationlands

383) Russian Journey by William O. Douglas

384) The Golden Bough by James G. Frazer

Women Authors

385) The Portable Dorothy Parker

386) My Antonia by Willa Cather

387) Lucy Gayheart by Willa Cather

388) The Ballad Of The Sad Cafe by Carson McCullers (befriended Marilyn when she first moved to New York)

389) The Short Novels Of Colette (A second copy?)

390) The Little Disturbances Of Man by Grace Paley

Here are a few other books which weren’t included, but Monroe was reported either to have read or owned them. Most on the list are cited in the Unabridged Marilyn.

391) The Autobiography Of Lincoln Steffens (read during The Fireball)

392-403) Carl Sandburg’s 12-volume biography of Abraham Lincoln

404) The Little Prince by Antoine De Saint-Exupery (Marilyn gave a copy to Joe after their wedding)

405) Poems Of W.B. Yeats (Marilyn read his poems aloud at Norman Rosten’s house)

406) Mr Roberts by Joyce Cary

407) The Thinking Body by Mabel Elsworth Todd

408) The Actor Prepares by Konstantin Stanislavsky

409) The Bible

410) The Biography Of Eleanora Duse, by William Weaver

411) De Humani Corporis Fabrica (Study Of Human Bone Structure) by Andreas Vesalius

412) Essays by Ralph Waldo Emerson

413) Gertrude Lawrence As Mrs A, by Richard Aldrich

414) Goodnight Sweet Prince by Gene Fowler

415) Greek Mythology by Edith Hamilton

416) How Stanislavsky Directs by Mikhail Gorchakov (posted earlier by Felicia)

417) I Married Adventure by Olso Johnson

418) The Importance Of Living by Lin Yutang

419) Letters To A Young Poet by Rainer Maria Rilke (read during All About Eve)

420) Psychology Of Everyday Life by Sigmund Freud

421) The Rains Came by Louis Broomfield

422) The Rights Of Man by Thomas Paine (read during some Like It Hot)

423) Swann’s Way by Marcel Proust

424) To The Actor by Michael Chekhov (Marilyn’s acting teacher from 1950-1955)

425) Captain Newman, M.D. (Novel based on Dr Ralph Greenson’s as an army doctor in Korea. Marilyn was said to be reading this on the week of her death.A film based on the book was released in 1963.)

426) Songs For Patricia by Norman Rosten (posted by Paju)

427) A Lost Lady by Willa Cather (Marilyn hoped to film this with her production company. But an earlier adaptation was so disappointing to the author, that she withdrew the film rights.)

428) Lust For Life by Irving Stone

429) The Deer Park by Norman Mailer (Hollywood-based novel. Marilyn commented on the book, ‘He’s too impressed by power, in my opinion.’ Mailer tried unsuccessfully to meet Marilyn, and after her death wrote several books on her.)

430) The Rebel by Albert Camus



Even something as small as a pair of shoes can make someone’s day, this is pure.


Carl Barat & The Jackals – “Burning Cars”

Carl Barat & The Jackals 

1 Leeds Brudenell Social Club
2 Nottingham Rescue Rooms
3 London Dingwalls (Camden Rocks Festival)
24 Glastonbury Festival
6 Derby The Venue
7 Stockton On Tees KU Bar
8 Coventry Godiva Festival
1 Hertfordshire Wilkestock
16 Birmingham Beyond The Tracks

Liam Gallagher . Wall Of Glass




The Black Angels – Currency

I had a feeling those beats from teh Night Freaks worked for Carlito!


THE FALL . New Facts Emerge

The Fall will release their new album, New Facts Emerge via Cherry Red Records on 28 July, their 32nd studio LP.  The album will be celebrated with the band’s first ever set at London’s famous 100 Club, taking place the day before release.

The Fall – New Facts Emerge


Fol De Rol
Brillo De Facto
Victoria Train Station Massacre
New Facts Emerge
Couples Vs Jobless Mid 30s
Second House Now
Gibbus Gibson
Nine Out Of Ten



fangx to CGO




THE WISDOM OF Chikashi Ojima

Our generation thinks



It’s not.

Effort is cool. Caring is cool. Staying loyal is cool.

Try it out.



We Remember JEFF BUCKLEY – November 17, 1966 – May 29, 1997


Zbigniew Brzezinski – March 28, 1928 – May 26, 2017

MEMORIAL DAY . MAY 29 . 2017

Happy Birthday Gabriel

Wishing Good Health & Good Love to Gabriel Pfeifer on his Birthday

MEMORIAL DAY . MAY 29 . 2017

If you are able,
save them a place
inside of you
and save one backward glance

when you are leaving
for the places they can
no longer go.
Be not ashamed to say
you loved them,
though you may
or may not have always.
Take what they have left
and what they have taught you
with their dying
and keep it with your own.
And in that time
when men decide and feel safe
to call the war insane,
take one moment to embrace
those gentle heroes
you left behind.

Major Michael Davis O’Donnell
1 January 1970
Dak To, Vietnam


Photo by Fedi Kheir / Thanks to Amy Haben 

AMY HABEN * Music journalist at, Talk show host, Rock N’ Roll DJ – “Veronica Noir”

Congratulations to BLACK DOLDRUMS



Photograph \ Samantha Gonzales



BOB DYLAN . 5.24.41

Wishing Mr. Dylan Good Health and Good Love…



I thought I had something poignant to say but I erased it every time I started writing. What a fucked up few weeks on a local, global, and personal level. The only thing I can honestly say that makes any sense is: Fuck politics. Fuck ideology. Fuck terrorism. Fuck cancer. Fuck suicide. Fuck depression. Fuck laziness. Fuck drugs. Fuck poisonous people. Fuck fear. Fuck all of it. Fucking fuck.

– Jeff Klein

Remembering LIZ…

Pearson, Elizabeth “Liz” Ann, 47, former Gorilla Sanctuary project manager, passed away Saturday, May 17, 2014.

May 28, 2014

What the hell….we didnt deserve her. Wichita doesnt even know what a rockstar she was.. at her memorial today they read a letter from Nancy Landon Kasabaum. She was mentioned in the same sentence as Nelson Mandela in reference to her significance to humanity. Rare life.

* Michael Lacey*

May 22, 2014

I wish more than anything I could just ask her to stay…… just stay. Love.
~ Michael Lacey, Wichita, Kansas

Dusting off an Old Gem…

A POEM Written for iAN on his Birthday May 17, 2014 by Robert Levon Been*

i wanted to just keep it for myself, but i am not good at not sharing. What is mine, should it be good for the heart and soul, should be yours too.

You’re a dusty old god,
but i like the way you cough out the blues
say it slow and lay it sweet
take off your bandages my sibylline
don’t make the same mistake the new guy did
don’t start prayin’ for me
this sun drunk fairy tale ain’t gonna end well for nobody
there’s a whole page on reptiles and other quivering things
it only takes a little purr to serve their teeth
friend your the angriest dog in the wind
I’ve never charmed a snake that didn’t want somethin from me
never an ocean that didn’t slither its way beneath my feet
just another dooms day jazz melody
played straight down the spine in D
so just keep on coughing out that lullaby
you have a certain sadness in the light
don’t need no bullets when your flying by
got sweet mercy between your eyes
you’re a dream changer, deep soul strangler
your melodies always primed
you smeared the sky with the eloquence of light
but the delicacies in the grime
in the music of the outer darkness
against the slow breath of time
the beast was quietly humming
in your chest and mine



Remembering Natasha Shneider…   May 22nd, 1956


-prepared by Bastiaan M. Drees, Professor and Extension Entomologist

Although there are many techniques to mount butterflies and moths, below is a description of the one I prefer. All techniques described have their strengths and weakness’ but all follow a few basic plans. Furthermore, some modification may be necessary, depending upon the characteristics of the specimen being mounted.

Collecting, Killing and Storing Specimens

After netting a butterfly in an aerial net, the best way to KILL IT is by pinching its thorax (middle body segment) between your thumb and forefinger. This technique takes some practice to learn the proper pressure, but it will stun the specimen immediately and prevent it from damaging itself. The stunned specimen can then be slid into an envelope or a paper triangle as shown in Figure 2, with its wings over it’s back. Butterfly specimens can be kept in this condition indefinitely in a box with moth balls or other insecticide to protect specimens from damaging dermestid beetle larvae and book lice, until they are “relaxed” for mounting. Alternatively, freshly papered specimens can be kept in a plastic bag in a freezer until they are mounted, eliminating the need to “relax” the specimen before mounting since frozen specimens will relax as they thaw.

Relaxing Dried Specimens

After insects are dead, they become extremely brittle. However, dried specimens can always be relaxed and mounted in any desired position. The only potential drawback is mold. Relaxing jars can be made from jars, plastic boxes, or any other airtight containers. These containers are partially filled with sand or paper towels and then water is added to make conditions in the box very humid. The only other concern before adding dried specimens is adding a substance to prohibit the growth of mold on the specimen. The ideal fungicide is chlorocresol, sold through chemical supply houses. Some companies have specialized “relaxing fluid” such as Glanz relaxing fluid distributed by Bryanston Corp., N.Y. However, in a pinch, Lysol can be used. The time required to relax a specimen will vary and depend upon the specimen’s size, the level of humidity in the relaxing jar, and the storage temperature. Don’t be impatient. However, if any mold begins to form, remove the specimen immediately. If you are in an extreme hurry or can not find a mold inhibitor, the specimen can be relaxed in one minute by holding its body in a pan of boiling water, being careful not to get the wings wet or burning your fingers.

Pinning the Specimen

After relaxing the specimen (Fig. 1), remove it from its envelope carefully using forceps (Fig 2). Holding the specimen by the thorax, force an insect pin through the middle of the body between the wings (Fig. 3). The wings may be forced backwards in order to insert the pin far enough through the body. After the pin is through the body, it is often helpful to force the wings down briefly with forceps. This step makes the specimen easier to manipulate once it is on the mounting board. Next pin the specimen onto the mounting board being certain to keep the side of the butterfly, where the wings are hinged to the body, just above the surface of the mounting board (Figs. 4 and 5). Also, be sure that the Din is straight up and down in the middle of the mounting board’s groove.

Mounting the Wings, Body and Antennae

When the specimen has been properly placed on the mounting board, wings can be folded down using strips of paper and pins (Fig 6). Avoid touching the wing surfaces with your fingers which would rub off scales. Once both pairs of wings are pinned down, move the front wings forward individually or both at the same time to avoid twisting the body around the pin (Fig. 7). Be certain to only insert pins into the wings behind larger veins to prevent ripping the wings. Move the front wings forward far enough so that their hind margins form a nearly straight line (Fig. 8). Move the hind wings forward underneath the front wings enough to match patterns, but not so far as to obscure color patterns. Next, pay attention to antennae and the abdomen, pinning them in their proper positions (Fig. 9). Check the overall position of the specimen and make any adjustments necessary before placing wider strips of paper over the wings to keep them from curling up during the drying period (Fig. 10). Drying time will depend upon specimen size, temperature and humidity. Drying can be sped up by placing the specimen underneath a lamp. After the specimen is dry, carefully remove the pins and discard the paper strips. Reusing these strips may result in the loss of scales from the wing surfaces.

Storage of Mounted Specimens

Keep mounted specimens in tightly closed boxes with moth balls or paradichlorobenzene or other insecticide to prevent dermestid beetle larvae and book lice from feeding on the body parts. If the specimens are kept in glass frames or domes, keep them out of direct sunlight to avoid fading of colors. Always keep specimens in low moisture conditions to prevent mold from growing on the specimen’s body. Stored properly, specimens will last for years and years.



MAY 22nd – Happy Birthday Morrissey

Wishing Him Good Health & Good Love…


by Jón Sæmundur Auðarson…


Wishing You Good Health and Good Love, Sister No 

Carl Barât and The Jackals – Sister

Speaking about the concept behind the ‘Sister’ video, Barât said: “We [The Jackals] grew up in small British rural towns and all felt alienated with no sense of belonging. The videos for ‘Sister’ and ‘Burning Cars’ [which will be released on May 26] allude to that feeling of being isolated, lonely and trapped and for a lot of people its an accepted norm to feel that way.” 


Carl Barat & The Jackals will head out on tour next week in support of the ‘Harder They Fall’ EP

25 – Think Tank, Newcastle Upon Tyne
26 – King Tuts, Glasgow
27 – Sound City, Liverpool
28 – Margate Wonderland, Margate
30 – Thekla, Bristol

1 – Brudendell Social Club, Leeds
2 – Rescue Rooms, Nottingham
3 – Dingwalls (Camden Rocks Festival), London
24 – Glastonbury Festival

6 – The Venue, Derby
7 – KU Bar, Stockton On Tees
8 – Godiva Festival, Coventry

1 – Wilkestock, Hertfordshire
16 – Beyond The Tracks, Birmingham

Directed by Roger Sargent


You’ve gotta suss out some Light…

BIG CHIEF THANX TO Michele Bonjour, for Sharing a little Light… or 2 of ’em, shux*


Love and Respect

July 20, 1964 – May 17, 2017


Ian Curtis \15 July 1956 – 18 May 1980/

foto JWG


Cigarettes After Sex . Each Time You Fall in Love

Q&A with singer Greg Gonzales

How does it feel to know you’re putting out a full-length album versus another EP or a single?

It honestly feels like the right time to finally release a longer work versus all the short ones we’ve had for the last while. You might’ve got a string quartet or isolated piano work by Beethoven, but when he finally puts out a symphony, there’s something that feels very bold about it. Definitely wanted that sort of idea in regards to this.

What has it been like having such a dedicated fan base and streaming success prior to even releasing an album?

It’s been the greatest feeling in the world, honestly. I truly believe we really just have the best fans. Every time I talk to anyone who’s been moved by the music they always have so many wonderful things to share & have such a positive energy about them. It’s heavenly.

What made you feel like this was the right time to put out a full album, and why did you decide to self-title it?

After we put out the “Affection” single, it felt like we had developed a sort of template for what an LP by us might sound like finally. Then once we attempted a number of songs I had written over the last five years during the recording sessions for the LP it felt as if we had captured something special and that there would be enough good there to craft a full length album with at last… The record is self titled in keeping with the simplicity of the statement we wanted to make. Stripping everything down to its essence.

What can fans expect from you both lyrically and melodically?

Mostly different sides of what was established before honestly. It’s important to me to refine what I see as the style at this time rather than trying to be eclectic. Some of the lyrics are more sweetly pornographic than before and some of them are stranger and more dreamlike than before, maybe.

You haven’t released many pictures of your band nor have you released any music videos — why did you decide to do keep it that way before your album release? And will that change once the album is out?

It’s mostly a reaction to wanting any image we release (single cover, band pic etc.) to be as powerful as anything and not distracting with any sort of weak imagery ever. Trying to be a bit picky can definitely limit the output however, so that is a part of the absence. As time goes on and once the record comes out there will be more though, mostly due to just trying more.

What do you hope fans take away about your music and Cigarettes After Sex as a band after listening to the full album?

I hope they feel understood or I hope they have a feeling of empathy, which is one of the greatest things music can provide. A feeling that you’re not alone. No matter what someone can always understand how it feels during all the highs and the lows.

– Shoplifted from Billboard Mag dot com

Cigarettes After Sex World Tour Dates:

May 15 – Japan, Tokyo @ Astro Hall
May 18 – Taiwan, Taipei @ Legacy
May 19 – Thailand, Bangkok @ Acmem
May 30 – Barcelona, Spain @ Primavera Sound
June 8 – Porto, Portugal @ Primavera Sound
June 13 – Croatia, Zagreb @ Culture Factory
June 14 – Slovenia, Ljubljana @ Kino Šiška
June 16 – Germany, Mannheim @ Maifeld Derby
June 17 – Netherlands, Hilvarenbeek @ Best Kept Secret
June 29 – Belgium, Werchter @ Rock Werchter
July 1 – Greece, Athens @ Rockwave l
July 8 – Italy, Padova @ Just Like Heaven
July 13 – Lithuania, Vilnius @ Piano.Lt Vasaros Terasa
July 14 – Latvia, Salacgriva @ Positivus
July 18 – Serbia, Belgrade @ Bazeni
July 19 – Hungary, Budapest @ A38 Ship
July 22 – Austria, Wiesen @ Out of the Woods
July 24 – Italy, Rome @ Villa Ada Festival
July 25 – Italy, Cesena @ Acielo Aperto
July 27 – Switzerland, Lugano @ Longlake Festival
July 29 – France, Cabourg @ Cabourg Mon Amour
July 30 – France, Aulnoyes-Aymerie @ Nuits Secretes
Aug. 2 – Luxembourg, Luxembourg @ Rotondes
Aug. 3 – Germany, Luhmuhlen @ A Summer’s Tale
Aug. 5 – Estonia, Polva @ Intsikurmu
Aug. 11 – Slovakia, Piestany @ Grape Festival
Aug. 13 – Italy, Palermo @ Ypsigrock Festival
Aug. 19 – Japan, Tokyo @ Summer Sonic
Aug. 25 – England, Reading @ Reading Festival
Aug. 26 – England, Leeds @ Leeds Festival
Sept. 7 – Vancouver, BC @ The Imperial
Sept. 8 – Seattle, WA @ The Crocodile
Sept. 9 – Portland, OR @ Doug Fir Lounge
Sept. 11 – San Francisco, CA @ Great American Music Hall
Sept. 14 – Los Angeles, CA @ Teragram Ballroom
Sept. 15 – San Diego, CA @ The Irenic
Sept. 16 – Phoenix, AZ @ Crescent Ballroom
Sept. 17 – Santa Fe, NM @ Meow Wolf
Sept. 19 – Denver, CO @ Bluebird Theater
Sept. 21 – Dallas, TX @ Trees
Sept. 22 – Houston, TX @ White Oak Music Hall Upstairs
Sept. 23 – Austin, TX @ The Parish
Oct. 4 – Philadelphia, PA @ Union Transfer
Oct. 5 – Washington, DC @ U Street Music Hall
Oct. 7 – New York, NY @ Bowery Ballroom
Oct. 9 – Boston, MA @ Brighton Music Hall
Oct. 10 – Montreal, QC @ Theatre Fairmount
Oct. 11 – Toronto, ON @ Phoenix Concert Theatre
Oct. 13 – Chicago, IL @ Lincoln Hall
Nov. 4 – Denmark, Copenhagen @ Vega Jr
Nov. 6 – Germany, Cologne @ Kulturkirche
Nov. 7 – Belgium, Brussels @ AB
Nov. 10 – Netherlands, Amsterdam @ Melkweg
Nov. 12 – England, Nottingham @ Rock City
Nov. 13 – England, Leeds @ Stylus
Nov. 14 – Scotland, Glasgow @ QMU
Nov. 16 – Ireland, Belfast @ Limelight 2
Nov. 17 – Ireland, Dublin @ Whelan’s
Nov. 19 – England, Manchester @ Ritz
Nov. 20 – England, London @ Roundhouse
Nov. 22 – France, Strasbourg @ La Laiterie
Nov. 23 – France, Lyon @ Epicerie Moderne
Nov. 27 – Spain, Madrid @ El Sol
Nov. 28 – Spain, Zaragoza @ Las Armas
Nov. 29 – Spain, Barcelona @ La de Apolo
Dec. 4 – Switzerland, Zurich @ Plaza
Dec. 6 – Germany, Berlin @ Astra
Dec. 7 – Poland, Warsaw @ Progresja

Cigarettes After Sex LP due out on Partisan Records – June 9th.

Jeff Klein – Flashes

A Film by David Doobinin
Music by My Jerusalem
Narration by Jeff Klein
Music available at
For information on Alzheimer’s Disease and to donate, please visit


BIG DAD Richard Overton


Aye Brother…  Wishing You Good Health & Good Love from BRMC Ground Control…

Bless Yer Heart

Black Rebel Motorcycle Club UK Tour 2017


This year’s Edinburgh International Film Festival will close with England Is Mine, which is based on the early life of Smith’s frontman Morrissey

The curtain will come down on this year’s Edinburgh International Film Festival with the story of Steven Morrissey, the introverted, uncompromising teenager who would go on to form one of the greatest bands of the 80s, The Smiths.

Titled England Is Mine, taken from The Smiths’ song Still Ill, this unauthorised biopic (originally simply titled Steven) will take audiences to 1970s Manchester, where a young Morrissey is frustrated with his working-class existence. The future singer will be played by rising Scottish talent Jack Lowden, who was the star of EIFF’s opening film from last year, Tommy’s Honour, and is soon to be seen in Christopher Nolan’s Dunkirk.

The film is described by EIFF as follows: “With dreams of a successful music career being dampened by his run-of-the-mill job at the local tax office, Steven finds solace in Manchester’s underground gig scene where he meets Linder Sterling [played by Jessica Brown Findlay], an intelligent, self-assured artist – who encourages him to make his ideas of superstardom a reality.” We’re told the film culminates with Morrissey’s first meeting with the Smith’s guitarist and co-songwriter Johnny Marr.

The film is the first feature from Mark Gill, and is co-produced by Orian Williams, whose credits include Control, the brilliant biopic of Morrissey’s fellow Manchester music legend Ian Curtis.

“Morrissey is one of Britain’s most iconic artists,” said EIFF artistic director Mark Adams, “and this delve into his formative years is a witty and enthralling look at a great music talent. The world premiere of Englnd Is Mine will be a perfect way to wrap this year’s Festival.”

Tickets will go on sale 10am on Fri 12 May via the EIFF website

The 71st Edinburgh International Film Festival runs 21 Jun-2 Jul

ASK iAN \ Mental Health Month

Mental Health Awareness Month (also referred to as “Mental Health Month”) has been observed in May in the United States since 1949, reaching millions of people in the United States through the media, local events, and screenings.

Mental Health Awareness Month was started in the United States in 1949 by the Mental Health America organization (then known as the National Association for Mental Health).

5 fotos \ Richard Avedon

foto \ Diane Arbus 



Vicious – 10 May 1957 



May 8, 1911, Hazlehurst, Mississippi

Black road long and I drove and drove
And came upon a crossroad the night was hot and black
I see Robert Johnson with a 10-dollar guitar
Strapped to his back looking for a tomb
Ah, well here come Lucifer with his canon law
And a hundred black babies running from his genocidal jaw
He got the real killer groove
Robert Johnson and the devil, man
Don’t know who is gonna rip off who
Driving my car, flame trees on fire
Sitting and singing the Higgs Boson Blues
I’m tired, I’m looking for a spot to drop
All the clocks have stopped


BLADE RUNNER 2049 – Official Trailer

Teh Beer Runner Likes teh Blade Runner


Black Rebel Motorcycle Club will be touring across Europe this fall
There will be a limited amount of VIP packages at each stop which include:
-(1) General admission ticket
-Meet & Greet with members of BRMC
-Access to an exclusive soundcheck
-Early entry to the venue
-Crowd free merch shopping
-Early venue entrance
-Signed tour poster
-Commemorative tour laminate
Tickets go on-sale this week for all dates! Check dates below for the show closest to you
11/25 Grosse Freiheit @ Hamburg, Germany
11/26 Columbiahalle @ Berlin, Germany
11/27 Live Music Hall @ Cologne, Germany
11/28 Tonhalle @ Munich, Germany
11/6 Vega @ Copehagen, Denmark
11/7 Posten @ Odense, Denmark
11/8 Train @ Aarhus, Denmark
11/30 Fabrique @ Milan, Italy
12/1 Les Docks @ Lausanne, Switzerland
12/2 Samsung Hall @ Zurich, Switzerland
10/23 Academy @ Dublin, Ireland
10/24 Limelight @ Belfast, United Kingdom
10/26 Barrowland @ Glasgow, United Kingdom
10/27 Manchester Academy @ Manchester, United Kingdom
10/28 O2 Academy @ Birmingham, United Kingdom
10/30 O2 Academy @ Leeds, United Kingdom
10/31 Brighton Dome @ Brighton, United Kingdom
11/2 O2 Academy @ Bristol, United Kingdom
11/3 Rock City @ Nottingham, United Kingdom
11/4 O2 Academy Brixton @ London, United Kingdom
11/10 Le Splendid @ Lille, France
11/11 L’Autre Canal @ Nancy, France
11/12 La Laiterie @ Strasbourg, France
11/14 La Belle Electrique @ Grenoble, France
11/15 Paloma @ Nimes, France
11/16 Le Bikini @ Toulouse, France
11/18 La Sirene @ La Rochelle, France
11/20 Paradiso @ Amsterdam, Netherlands
11/21 De Roma @ Antwerp, Belgium
11/22 Elysee Montmarte @ Paris, France
12/3 Arena @ Vienna, Austria



SSENSE Presents Alyx by Nick Knight – I am Velocity


The shootings were perpetrated by members of the Ohio National Guard on May 4, 1970. Twenty-nine guardsmen fired approximately 67 rounds over a period of 13 seconds, killing four students and wounding nine others, one of whom suffered permanent paralysis.


“For those who believe in God, most of the big questions are answered. But for those of us who can’t readily accept the God formula, the big answers don’t remain stone-written. We adjust to new conditions and discoveries. We are pliable. Love need not be a command nor faith a dictum. I am my own god. We are here to unlearn the teachings of the church, state, and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us.”

– Charles Bukowski

Fangx L H D


Poster by Trevor Tipton


Fangx to Sir Phil Moss 

Remembering Audrey Hepburn (4 May 1929 – 20 January 1993)


And when he dreamed, his dremas were glass col’t.
The tinkling of haus nails raining on cement floor.
The pale fist, its smooth proximal phalanx flush against pale cheekbone
and the cervical nostril snowing cocaine out into the exterior much like a slush’chopping snowblower
his Soul was pure Agency and blessed were the surrogate…
from brot ghetto to primrose private school & its sour milk odor of educational books
Was London inside of New York or was New York the baby of London he wondered?
He felt as young as any ageless thing and Always cold as a heisted Diamond but he wanted sex but Sex Stung.
It even stung to touch cheekbones with the other alligators as he called them…
Touch made the mind recoil and it sounded like people breaking music into digital bits, so he Always kept his distance.  Food was for poison, chemical was for food, money was the music of glass bottles and the neck was where they killed you first if you left it open for mitts or confessions.  His world was concrete, powder,  jelly \ putty and glass money.  His dreams were his living and his living was strictly stang.
God is Kamera, Milk is Dead blood and all animals were nothing more than warmth phantoms.  Would it always be this way he wondered?
Probably not.  After all…  his name was Wade Monthly.



Psych Night + Vans present: Medicine Boy & Friends (JHB) w/ Bye Beneco + The Deadly Bites | The Good Luck Bar

Psych Night + Vans present: Medicine Boy & Friends (PTA) w/ SOL GEMS, The Moths + Late Night Fox | Arcade Empire

POSTERS BY One Horse Town Illustration – KLICK HERE

The Raveonettes on tour with Depeche Mode (5 May, 2017 – 24 May, 2017)


foto Shoplifted  from Revati Ant



Wishing Good Health & Good Love to Our Sister Jodi Lee…  Happy Birthday kid!


Nick Cave sits in a Sydney hotel room, his chair facing the floor-to-ceiling windows, the city bathed in summer sun beyond and below. “Look,” he continues, patiently choosing his words, “not to just keep going on about this, but the whole grief thing, there’s nothing good about it whatsoever. People will tell you other things, but it’s like a fucking disease. A contagion that not only affects you but everybody around you. And it’s cunning. And you can feel good and you can be getting on with things, and then it just comes up and sort of punches you in the back of the head and you’re down and you’re out for the count for a while. I don’t just mean psychologically, I mean physically too. Grief and illness and tiredness feed off each other in a kind of feeding frenzy.”


It is January 2017. Eighteen months ago, Nick Cave’s 15-year-old son Arthur fell from a cliff near Brighton, the town on the south coast of England where Cave has lived since 2002 with his wife Susie, Arthur, and Earl, Arthur’s twin brother. (Cave also has two sons, Jethro and Luke, both in their mid-20s, from earlier relationships.) After it happened, Cave obeyed some kind of instinct that told him he had to keep working. He relates a conversation with Warren Ellis, who for several years has been his closest musical collaborator. “I said to Warren a week after Arthur died: It just goes on, you know. I didn’t even know what I was talking about. I was just, like: We continue doing whatever we were doing. We continue to do it.” Partly, he suggests, out of “some sort of bizarre responsibility” to those around him. But also because he could see no other option. “It was not like an act of courage or anything, it was just that I didn’t know what the fuck else to be doing. All I knew is that what I do is work, and that kind of continues. I think I knew, fundamentally, that if I lay down, I would never get up again.”
So in the months that followed, Cave and his group the Bad Seeds completed a new album, Skeleton Tree—a somber masterpiece that seemed to ooze the circumstance of its creation—and then he and Ellis returned to the studio to compose six scores, including those for Hell or High Water and the National Geographic television series Mars. “Working very much as a kind of therapeutic activity, to be honest,” he says. But until this month Cave hasn’t performed in front of an audience. Nor has he sat down like this to talk.
He didn’t know what to expect from this tour, back to Australia, the country of his birth. He wondered whether things would be different, and how these new songs would sit next to older ones, many of those more directly forceful and visceral. And it has been different, in a way that seems to have slightly taken him aback. “You know, the audience has been hugely helpful,” he says. “And I find it difficult to articulate this to them, onstage, but, and maybe don’t put this in, I would just want to thank them for this. Because for me it’s, like, this is not the way it should be. I’ve always felt as a performer a sort of combativeness. You know, the finger would come out and I would be here I am and this is fucking it and stand there and take it. And it was a very one-way kind of experience for me.… I come from a different school of frontmen. Full-on attack.


It’s an attack on your audience of some sort. It’s just the way it’s always been.” That has changed. “Even though the finger comes out, it doesn’t feel like that in the same ways it used to feel. It feels much more that there’s something coming back.… Something different has been happening with the audience—a kind of dynamic, emotional exchange—that is quite beautiful. There’s just some kind of communal feeling. Maybe this is what it’s like to be in Coldplay or something.”
He had worried that he would come away to Australia, and get sick. “The opposite has happened, really,” he says. “It’s like the best thing you can do.” What he says next is clearly doused in a certain wryness, but I think he means it, too: “That’s my advice if anything terrible ever happens to you: Form a band and go on tour.”



Somebody say Love and Terror?



Love Will Tear Us Apart—a cynical and tongue in cheek retort to the Neil Sedaka song “Love Will Keep Us Together” made famous by Captain and Tennille, had it’s video shot 37 years ago today.

The inspiration for the track surely was the fact that Joy Division recorded in the same studio the Sedeka song was recorded in—Strawberry Studios n Stockport, England. The song’s lyrics, in retrospect, were an obvious reference to singer Ian Curtis’ failing marriage.

The members of Joy Division filmed the video themselves on April 28th, 1980 during a rehearsal at T.J. Davidson’s studio, where the band had previously rehearsed earlier in their career. In the intro to the video the door that opens and shuts has “Ian C” carved into it; reportedly this was the beginning of an abusive message (the rest later erased) carved into the door by a spurned ex-girlfriend of Curtis’ during the band’s earlier work at the studio.

The video is browned out at points, unintentionally, but nevertheless a fitting aesthetic—along with the omission of Curtis’ trademark dancing, which instead is replaced with the frontman strumming on a Eko Vox VI Phantom guitar (the guitar on the audio track is a unspecified 12-string Eko Vox guitar played by Sumner).

This was the only promotional video Joy Division ever produced as Ian Curtis committed suicide less than three weeks after the video was filmed.

For more information on the filming of Love Will Tear Us Apart, read Peter Hook’s Book Unknown Pleasure: Inside Joy Division.



In the age of post-truth we find ourselves living in our own bubbles. Some by our own creation and others by way of circumstances beyond our control. Smartphones are the portal through which others perceive us and they’ve begun to serve as the sole conduit by which we self-reflect, interact with people and understand the world around us. Most of us can remember a time before ubiquitous connectivity placed us in vast mirror mazes of information and competing worldviews, a time when the incessant checking and rechecking of status and notifications wouldn’t have been considered a normal reflex. In a delusional world, we must wade through an ocean of input and distortions, looking for any chance to break through to the surface, and inhale one more breath of uncontaminated air.

from the album “Grand Delusion”
UK pre-order:

“Grand Delusion” Clip is…
A Space Bulb Production

Director & Producer: Austin Settle
Producer: David Carey

Cinematography: Roland Kluger
Set Design: Chris Steininger
Gaffer: Martin Nefe
Assistant Director: Anastasia Skava
1st Assistant Camera: Stefan Pausa
Costume and talent handler: Patricia Rikal
Bubble Specialist: Clara Zeiszl
Best Boy: Georg Ganschitter
Production Assistant: Marie Perriard
Production Assistant: Matthew Harlock
Catering: Marie Perriard
Set photographer: Angelo Kruezberger


Matt Boroff
Boy: Elliott Doran
Underwater dancer: Penelope Elena




The flesh ages but not always the mind and the spirit if not ravaged by mediocre rap music is ancient, wisdomatique, comedy cruel and kind…



fangx to Baby Bundler for teh Video’nasty



Will the world end in the night time?
(I really don’t know)
Or will the world end in the day time?
(I really don’t know)
And is there any point ever having children?
Oh, I don’t know
All I do know is we’re here and it’s now

So…stretch out and wait

For many days before the end of our
earth people will look into the
night sky and notice a star,
increasingly bright and increasingly


As this star approaches us, the
weather will change. The great
polar fields of the north and south
will rot and divide, and the seas
will turn warmer.

The last of us search the heavens
and stand amazed. For the stars
will still be there, moving through
their ancient rhythms.

The familiar constellations that
illuminate our night will seem as
they have always seemed, eternal,
unchanged and little moved by the
shortness of time between our
planet’s birth and its demise.

And while the flash of our
beginning has not yet traveled the
light years into distance–

Has not yet been seen by planets
deep within the other galaxies, we
will disappear into the blackness
of the space from which we came.

Destroyed as we began in a burst of
gas and fire.

The heavens are still and cold once
more. In all the  immensity  of our
universe and the galaxies beyond,
the Earth will not be missed.

Through the infinite reaches of
space, the problems of Man seem
trivial and naive indeed. And Man,
existing alone, seems to be an
episode of little consequences.


Föllakzoid feat. J. Spaceman – Electric


fangx POBox333





Nick Cave Supports Indigenous Anti-Suicide App

Nick Cave has expressed his support for the crowdfunding of a suicide prevention app for indigenous people in Australia, encouraging people to “[fight] for lives of young Aboriginal people and [show] Aboriginal Australia we believe in them”.
Started by the Warlpiri community of Lajamanu in the Tanami desert, the Kurdiji 1.0 app aims to prevent suicide among indigenous communities across Australia. Suicide rates among indigenous communities are four times higher than among non-indigenous people, with an average of three aboriginal people a week dying from suicide.
Originating with the Milpirri festival in Lajamanu in 2005, the elders of the community aimed to share the message of ‘Kurdiji’ among the young people as a way preventing suicide using the messages of ceremony, stories and traditional law. Expanding the concept of ‘Kurdiji’ on a digital platform is the next step for its founders.
The app is described as “a community-led and community empowering initiative, with indigenous elders providing all of the app’s content. They have partnered with an expert team to develop the app and roll it out across the whole of Aboriginal Australia.”
Speaking of his support for the initiative, Cave said: “With Aboriginal people committing suicide on an unprecedented scale, a group of elders are creating an app based on ceremony story and law. Join them in fighting for lives of young Aboriginal people and let’s show Aboriginal Australia we believe in them.”




Just when you thought you were Safe…

Born April 21, 1947

Love & Respect

Dion Lunadon . Howl

fangx Kuzzin’ KO


Радик Тюлюш / Radik Tyulyush – Изворот, работа в студии





May 19, 1951 – April 15, 2001

Joey Ramone




Michael Ballhaus – 5 August 1935 – 11 April 2017

Cinematography Michael Ballhaus

Michael Ballhaus –  (5 August 1935 – 11 April 2017) was a German cinematographer. In 1990, he was the Head of the Jury at the 40th Berlin International Film Festival.

After Hours (1985), The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), The Age of Innocence (1993), Gangs of New York (2002), and The Departed (2006) for Martin Scorsese; Dracula (1992) for Francis Ford Coppola, and Sleepers (1996) for Barry Levinson.

Patti Smith on how she copes with death

It isn’t that the Dead don’t speak…
It’s just that we forget how to Listen.

Patti Smith on how she copes with death

When Patti Smith’s husband Fred died, her father told her: "Time does not heal all wounds, but it gives us the tools to endure them."Patti tells 7.30 what those tools are.Read the story:

Posted by ABC News on Tuesday, April 11, 2017


Written by Shawn Butzin.
Shawn Butzin – vocals, guitar, drums
Andy Reed (The Verve Pipe & Legal Matters) – bass, lapsteel, keys


foto\ Everett Fitzpatrick


CUTIE 2178

Who done stole yer job, Earl?
A lil’ gawd’damned cutie name ah 2178, that’s who!

Justine Frischmann

Reading Festival in 1994 was full of big-time bands you can see this coming summer, too — acts who considered burning out rather than fading away, then thought about their second homes. But another famous group from that list, Elastica, haven’t played in 17 years. They were on fire back then, effortlessly outwitting even Blur and Oasis as Britpop gripped a country desperate for homegrown heroes.

“It was an incredible high,” remembers their lead singer, Justine Frischmann, 47, of that Reading show, just before Elastica released their first album. “It was like I was flying — like nothing could go wrong.” Fast-forward to today and Frischmann’s pop-star friend MIA asked if the band would re-form for her Meltdown festival line-up in June. Elastica’s original foursome exchanged emails.

“But we said no,” Frischmann says. “For a start, Donna [Matthews, guitar] is now a Christian missionary and can’t stand behind what Elastica stood for in terms of the rock’n’roll thing, but also, we’ve moved on. It’d be interesting to try that thing on again, but…” She slows a little. “I was actually surprised I was even tempted.” Slight pause. “I’ve never felt tempted before.” That sound? The promoters of the vast Hyde Park gigs totting up an offer for 2018.

For now, though, Elastica fans have to settle for a re-reissue of the band’s self-titled breakthrough on vinyl. When it hit shops in 1995, it became the UK’s fastest-selling debut album since Oasis’s Definitely Maybe, and this new print is the reason the reclusive Frischmann is at the other end of a video call from California, filling the parts of the screen her wriggling cat can’t reach. “This is the first face-to-face interview I’ve done in 20 years,” she says, so there is plenty to cover.

She thinks of herself like Zelig, stumbling around with bizarre things happening in front of her, but that downplays her band hugely. At the end of March, the tastemaker music site Pitchfork named their eponymous record the sixth best album of the Britpop era.

“It was the most exciting, bizarre and, in the end, worst time of my life,” she admits. “I just burnt out.” Why did you agree to this interview? “Because that [first] album deserves to be heard,” she says, less arrogantly than it reads. “I find myself thinking, ‘Oh, we were pretty good.’”

Her husband, Ian, thinks so. He has their songs on his iPod, and from time to time they pop up — filling the couple’s home north of San Francisco with memories from a cluttered time in Frischmann’s life, in London. “Sometimes I can’t stand it and have to fast-forward,” she says, but in a funny way, shrugged — insouciant as ever.

Elastica simply isn’t a big part of her life any more, and hasn’t been since a patchy second record in 2000, The Menace, led her to vanish and become an artist. To California, then, and her new life — one in which she spends time in her studio, or cycling, or at 12-step meetings that are a hangover from the heroin that took over her band. She says she isn’t recognised much, but, despite her black hair being stragglier than before, that angular face, photographed often, is hard to forget — the withering pout especially. She wouldn’t make it far in this country without being hassled. Walking away from a huge pop career made her mysterious. It put roots down on her cool.

These days, though, she goes out carolling at Christmas. “I love singing those carols,” she says, smiling, a woman who, in Stutter, about failed erections, sang: “Is there something you lack/When I’m flat on my back?”

It is clear, though, talking to the female face of British pop’s last great unifying movement as she juggles a cat, that Elastica was informed by a brief window in Frischmann’s life, one that let a lot of light in quickly, then shut more slowly than it should. Born in 1969, she went to the elite St Paul’s Girls’ School, in London; then became an architecture student; then was in Suede; then founded her own group because none of the women in bands “represented my friends and me — our style, humour, the energy of being in London at that moment”.

That energy, bottled, exploded like popped champagne with the album Elastica, its sound taut and punchy — the rushed feeling of life the band were living. “A very love and peace thing. A lot of MDMA and raving,” Frischmann recalls. Only four of the 15 tracks are more than three minutes long. “There is a claustrophobia living in London, and you can hear that,” she says. “Making music that is noisy and clanging was a way of letting off steam, because it’s hard to live in a city, it really is.”

The band — Frischmann, Matthews, Annie Holland and Justin Welch — played 102 gigs in less than a year between 1995 and 1996, all over the world, and, the singer says, it simply, sadly, became less about the music. “It becomes about endless interviews,” she explains. “Hours of talking about yourself until you just don’t care. It’s so hard to hold onto the initial energy. Everything is designed to wring it out of you. When I look at the people who carried on, I think, as you get older, you realise you can say no. You can protect yourself. In your early twenties, you have no idea you can say no.”

In 1999, Blur released their masterpiece, 13, which finished Britpop. There had been hints in previous years, with various mood-killing records, but for seven years Frischmann had been in a relationship with Damon Albarn, of Blur — and his 13 documented their break-up. It’s hard to keep a party going when the hosts have left the house, and the couple were the prototype Posh and Becks: a tabloid fixture too intrinsically linked with each other’s careers to be dismissed as gossip. Blur’s song No Distance Left to Run became a news story, while My Sex — on The Menace — seemed a retort of sorts: a devastating spoken-word fever dream with the lyric “When you were poor and I just liked you more”.

I asked, over email before we spoke, how Albarn helped Frischmann, or if he had been written into the narrative more than he deserved. Her reply was sweet. “Damon was a huge part of that first album,” she wrote. “He was smart, creative, energetic and extremely supportive of my efforts in the early days. I honestly don’t think Elastica would have happened without his support.”
Next day, I ask how their relationship went from such generosity to public animosity in the space of a few years. Frischmann takes her time, but not too much. “Let me see. I think it’s hard for anyone to survive tabloid attention, and we were kids. We were just kids and we didn’t know what we were doing.

“We were under a lot of pressure and we didn’t see a great deal of each other once everything started up. And he was drinking a lot. It was chaotic and, looking back, we just couldn’t have survived it. We weren’t mature enough.”

Or maybe Albarn needed her — to help him grow up. Watch Elastica playing the terrific Waking Up on Top of the Pops. The Blur man is a guest on keyboards, and, while the foursome stare variously at the ground or into the middle distance, he plays up, grinning for attention because he hates not being the centre of it. He leaves before the song finishes.

Frischmann admits that the key discussions about Englishness that thrived during the Britpop era stemmed from Albarn — the couple used to talk about it in reaction to the cultural dominance of American grunge — but that he became “quite obsessed” with it. “There was a definite anti-American sentiment among my peers that I really didn’t have,” she says. “I went on a press visit with Damon and Alex [James] for a Blur thing in New York. I came along as the girlfriend, and they were so rude to everyone. I couldn’t believe how rude they were.

“It was an attitude that worked at home, but didn’t translate well, and it came from feeling a chip on their shoulder about being somewhere new. But I just didn’t feel like that.”

Instead, Frischmann loved the open landscape and sunrises when on tour in the States. Her band did well out there, and it felt like freedom from a country where she was suffocated by attention, playing music that offered escape, but only briefly. “There was also, in England, the whole thing that I was too posh,” she says. “People judging you by your accent. In America, nobody cared and I didn’t have to defend myself for who I was.”

It’s little surprise, with her slightly transatlantic drawl, that she lives there now, with her scientist husband, in a semi-rural town. We end on a question about the probably unlikely live comeback, and how many songs they would play from the second record. She has no idea, suggesting she really hasn’t thought about her music for years. That chapter has closed.

“As a culture, we’re so obsessed with success — there’s always the myth that if you get famous, you’ll feel happy and validated,” she emails the night before we speak. “Of course, it’s a total lie. Happiness doesn’t come from material success. For me, that was a fantastic lesson to learn early in life.” It would be a huge surprise if any of us were to hear from her again.

Tracey Emin on ambition and ageing


Damien Hirst . Treasures from the Wreck of the Unbelievable



Elspeth Beard

Elspeth Beard is one of a select band of bold women to ride a motorcycle around the world, and she was the first Englishwoman to do so. She achieved this feat a quarter of a century ago, in the days before sat-nav, internet, email and mobile phones. The bike she chose for the trip was a used 1974 BMW R 60/6 flat-twin, for which she paid 900 ($1800) in 1980 – a substantial sum at the time, especially for a machine that already had 30,000 miles on the clock.

Elspeth used the bike for her first long solo rides to Scotland and to Ireland, then to mainland Europe and Corsica, racking up over 10,000 miles in her first two years of ownership. Then it was time for `The Big One’. Aged 24, Elspeth had finished the first three years of her architectural studies (it’s a seven year training) and saved more than 1000 ($1900) working behind the bar at her local pub in Marylebone, central London in preparation for her round the world adventure.

She started the first stage of her journey in New York: “It cost 175 ($340) to send the bike and 99 ($197) for my own air fare,” she recalls. From the Big Apple she rode up to Canada, then down Mexico way before reaching Los Angeles with another 5,000 miles under the Beemer’s wheels. From LA she shipped the bike to Sydney, but stopped off to see New Zealand on foot while the bike was in transit.

Elspeth then spent seven months working in a Sydney architectural practice and living in a garage, gaining experience and replenishing her diminished funds. She spent weeks constructing her own lockable, top-box and panniers out of folded and riveted sheet aluminium before setting off on her travels once more. She rode all over Australia, and had her first big accident on a dirt road near Townsville, in Queensland. The R 60 cart-wheeled and she was left badly concussed, but mercifully with no broken bones. She still has the Bell `bone dome’ helmet that she’s convinced saved her life (and which she carried on wearing for the rest of the trip!).

Shaken but undaunted, Elspeth spent two weeks in hospital before continuing north up the east coast of Oz then through the outback to Ayers Rock, and finally across the Nullabor Plain to Perth, on the west coast. There, she loaded the BMW onto a boat to Singapore and explored Indonesia while the bike was afloat.
In Singapore she had a disaster of a different kind, when all her valuables were stolen, including her passport with all the visas in it for the countries she’d yet to visit, and the registration and shipping documents for her bike. After an enforced six week sojourn in the island state replacing all the lost documents she rode up the Thai-Malaysian peninsular to Bangkok and beyond to Chiang Mai and the Golden Triangle.

With the overland route to India (via Burma) out of bounds she headed back south to load the bike onto a boat from Penang to Madras. On the way she had her second and final big crash when a dog ran under her wheels from behind a truck, on the dangerous main road south. The bike hit a tree and Elspeth was once again battered and bruised but miraculously unbroken. She spent two weeks recuperating in the care of the impoverished Thai family into whose garden she had crashed! “They didn’t speak a word of English and I didn’t speak a word of Thai, but we communicated with sign language,” she said.

The Thais were fascinated by the rivet gun with which she repaired her battered panniers and Elspeth was surprised to find half the remains of the dog she’d hit in the family kitchen, having already unknowingly eaten the other half! “I understood why they were happy to look after me – I’d provided them with food for a fortnight!” Elspeth also repaired the R 60’s damaged engine herself: “I took the cylinder off, straightened the bent studs as best I could and packed the cylinder base with gaskets and goo to get enough compression back”. The accident meant she missed the boat to Madras she’d been hoping to catch but she simply caught the next one.

Once in India, she rode up to Calcutta then on to Kathmandu where her parents flew out from England to see her for the first time in nearly two years. They were shocked by how skinny she looked, but she was to get a whole lot skinnier as she fell victim to both hepatitis and dysentery. It was in Kathmandu that Elspeth met a Dutchman on another Boxer BMW with whom she eventually rode back to Europe, but before that she did a trek in the Himalayas and explored much of India on her bike alone.

Getting out of India proved to be a nightmare. The storming of the Sikhs’ Golden Temple in Amritsar (close to the border with Pakistan) had recently taken place, followed by the assassination of Mrs Gandhi (the Indian Prime Minister) by her own Sikh bodyguard. In the aftermath, the whole of the Punjab region was sealed off and a special permit was required to get into it. The only open overland route west, via Pakistan, was through the Punjab but the Indian bureaucrats in New Delhi had not got around to actually organising the necessary permits which the politicians had decreed were now necessary. A growing band of frustrated westerners found themselves in a Kafka-esque situation whereby they spent weeks on end trying to obtain a permit which did not yet exist! In the end, Elspeth got completely fed up and simply forged herself the necessary permit. Since no official permit even existed yet, the border guards did not know what a `proper’ permit was meant to look like, and she finally made it across the border into Pakistan with a great sigh of relief.

Having safely crossed Pakistan, (mostly on dirt roads) Elspeth and Robert arrived in post-revolution Iran with just seven days to cross the country from one end to the other. This was helped by the superbly maintained tarmac on the main roads, but hindered by the fact that Elspeth was so ill with hepatitis that she could barely stand, let alone ride. Her rear (drum) brake was rendered ineffective due to a leaking oil seal and her clutch had also stopped working, for want of a spring that would have cost just a few pence to replace, if only she could get one. Elspeth’s battered Bell helmet acted as an unofficial `burkha’ which she kept on most of the time, even when off the bike (“most people just assumed I was a man”) and she and the Dutchman made it to the Turkish frontier with just hours to spare before their Iranian visas ran out.
Elspeth spent some time in Eastern Turkey recovering her strength and repairing her trusty R 60. When she’d left England as a tall, strong and healthy young woman she’d weighed over 65 kg (143 lbs) – by the time she got to Turkey, she weighed barely 41 (90). With her own personal battery metaphorically recharged, the journey back through Greece and across Europe to the UK was relatively simple, apart from the notoriously dangerous `Highway of Death’ across Yugoslavia. “It was just a two-lane tarmac road with dirt on either side and you’d constantly have a truck overtaking another truck coming towards you, using all the road so you just had to get off onto the dirt. Sometimes they would be three abreast, using the dirt on both sides and then you’d just have to get right off into the ditch. The road was littered with crosses and flowers in commemoration of dead travellers.”

By the time she got back to her native London Elspeth had been away for three years and added 48,000 miles to her R60’s odometer, so it now read 88,000. She stripped and completely rebuilt the engine herself and still has the bike in running order today. Tragically, she threw out her unique, home-made aluminium panniers when she moved out of London (long before Touratech, Metal Mule and BMW themselves offered hard alloy luggage) but her own version was much more practical, if a little less pretty!

Elspeth still rides bikes and has owned a succession of BMWs. After a flirtation with an R 1100 GS a few years ago she returned to an `air-head’ when she bought a 1998 R 80 GS Basic – the last of the breed – in 2001, which she still uses as her everyday bike. She found the R 1100 GS a bit too heavy for her liking, although she has since been tempted by the new and lighter R 1200 GS. Elspeth also has an immaculate 1973 R75/5 and a lightweight Yamaha Serow for serious trail riding.

Elspeth has been to both Europe and Morocco on her R 80 GS and in 2002 went around the world again as back-up driver for adventurer Nick Sanders when he took 23 riders around the globe in three months. Elspeth often found herself driving a truck for 18 hours and a 930 miles in a single day, and also had to ride a variety of bikes on different occasions when their owners fell off and hurt themselves.

When she returned from her round the world trip in the mid-80s, Elspeth Beard completed her architectural studies and spent seven years transforming a completely derelict Victorian water tower into a unique and beautiful home, while working full time in London and bringing up a son on her own. Initially working from the water tower, she gradually established her own architectural practice and now has many awards to her credit. Her work has been featured on various television programmes and in countless magazines. She has even had two Japanese TV documentaries devoted to her life and work. And no wonder; she’s quite a woman.

foto\ Tessa Angus 2017




Poly Styrene: I Am A Cliché


3 July 1957 – 25 April 2011




Vök – If I Was

LP ‘FIGURE’ out the 28th of April

‘If I Was’ is a single from the EP ‘Circles’ by Vök

fangx to Made Li Monade



husky Ilona AND Snowy owl Nusha


UNKLE – Looking for the Rain feat Mark Lanegan & Eska

AIR . North American Tour

Air Tour Dates:

North American Tour:

Sun 06.04 – New York City, NY @ The Governors Ball
Mon 06.05 – Boston, MA @ Royale
Wed 06.06 – Washington, DC @ Strathmore
Tue 06.20 – Chicago, IL @ Auditorium Theatre
Fri 06.23 – San Francisco, CA @ The Masonic
Sat 06.24 – Santa Barbara, CA @ Santa Barbara Bowl
Sun 06.25 – Los Angeles, CA @ The Greek Theatre

Rest of the World:

Fri 05.19 – Reims, Fr @ La Magnifique Society
Tue 05.23 – Lyon, Fr @ Les Nuits Sonores
Sat 05.27 – Singapore, Sg @ Esplanade Theatre
Tue 05.30 & Wed 31 @ Sydney, Aus – Opera
Sat 07.01 – Düsseldorf, De @ Tour De France Start With Kraftwerk
Sat 07.08 – Paris, Fr @ Days Off Festival
Tue 08.08 – Dublin, Irl @ Beatyard Festival

THE VACANT LOTS – “Suicide Note” (Vocals by Alan Vega)

the Pruitt-Igoe myth


Released April 3, 2001


We Remember Marlon Brando…  Born April 3, 1924


Love & Respect, Big Dad



ATLANTIC WALL – Stephan Vanfleteren



Thee Telepaths – Microsleep

Music written, performed and © Thee Telepaths, 2017. From ‘Neon Spiral EP’ (Mighty Fuzz, 2017).


In 1970 Kraftwerk played for the very first time live, and that was in Soest, a small town in West Germany.  You can tell by the Motorcycle Jacket that deep down inside…  Kraftwerk were Total – Motordork.
Most of the kids walked away from the gig with sore jaws and asses and not from talking throughout the entire set to friends on cell fones but from chewing gum and sore asses not so much from getting Motor’dorked but from having sat down in a stoned fashion trying to imagine how a young German dreamer might float off into space on an electronic Motordork flute.  This shit was the nazz, brother.

World on a Wire (Rainer Werner Fassbinder, West Germany 1973)

Fangx to Kim Hollywood

UNKLE’s fifth studio album ‘The Road Part 1’ Out 23rd June

Nick Cave & The Bad Seeds – One More Time With Feeling – Steve McQueen

OUT NOW ‘One More Time With Feeling on DVD, Blu-Ray, 3D Blu-Ray and Digital 


The snow bunting is a sexually dimorphic medium size passerine bird, sometimes colloquially called a snowflake…

foto \  Mitsuru Sasaki


June 27, 1958 – March 31, 1996

I was about 17 or 18-years-old when The Fire of Love first came out. It certainly wasn’t easy to access music in my hometown. There was a comic book store where the owner had a bunch of original punk rock singles and that’s where I became exposed to the music that became important to me. But after that I didn’t really have anything so that first Gun Club record I actually got by taking a bus 120 miles to Seattle where there were three or four record stores in the downtown area where I would walk around. I saw the record cover and liked the name of the name of the band and I thought, ‘This looks interesting…’ Of course when I heard the record I was really captivated because Jeffrey Lee Pierce’s singing voice was really intense. To this day, he’s still probably my favourite singer of all time.

I got to know Jeffrey Lee. I was at a show at the Whiskey-A-Go-Go in Los Angeles and I’d gone along to see Mike Watt with fIREHOSE. Their soundman and I were friendly and I said, ‘Oh hey, what you been doin’?’ and he said, ‘I’ve been out with The Gun Club’ and I said, ‘What?!’ because I’d never heard of them playing anywhere in the United States at that point.

And I said to him, ‘Man, I love those guys. They’re my favourite band’ and he said, ‘Oh really? Well, Jeffrey’s going to be here tonight, he’s staying at his mom’s just down the street.’ I said, ‘Dude, you’ve got to introduce me.’

While the band was playing that night I noticed that Steve the soundman was looking at me and next to him was Jeffrey and at some point I went up to him – and this was one of the first and last times that I approached someone cold as a fan but I was so into their music – and I introduced myself and said, ‘You know, I’m one of your biggest fans and I can’t tell you how much your music means to me’ and he said, ‘Do you ever come to London?’ and I said, ‘Well, yeah… I might be there next month’ and he said, ‘Here’s my phone number there. Give me a call when you get there and we’ll get something to eat’ and I was like [makes wild-eyed gesture], ‘Uh… OK!’ and that’s how we became friends.

– Mark Lanegan

TODAY IS International Transgender Day of Visibility





The Jesus and Mary Chain – Simian Split (Damage and Joy)



This is a list

of notable recluses.

Name Date of birth Date of death Known for

Syd Barrett 1946 2006 former leader of the band Pink Floyd
David Bowie 1947 2016 singer and actor
Huguette Clark 1906 2011 heiress and philanthropist
Emily Dickinson 1830 1886 American poet
Steve Ditko 1927 comic book artist, writer and co-creator of Spider-Man
Bobby Fischer 1943 2008 former world chess champion
Greta Garbo 1905 1990 movie actress
João Gilberto 1931 Brazilian singer and composer
Alexander Grothendieck 1928 2014 stateless mathematician
Burkhard Heim 1925 2001 German theoretical physicist
Theodore Kaczynski 1942 American terrorist known as the Unabomber
Kamo no Chomei 1153 or 1155 1216 Japanese author, poet (in the waka form) and essayist
Stanley Kubrick 1928 1999 American film director
Harper Lee 1926 2016 author of To Kill a Mockingbird
Terrence Malick 1943 American filmmaker
Pordenone Montanari 1937 painter, sculptor and philosopher
Edvard Munch 1863 1944 Norwegian painter of The Scream
Leo Ornstein 1893 or 1892 2002 avant-garde pianist-composer
Grigori Perelman1966 Russian mathematician
Thomas Pynchon 1937 novelist
Marcel Proust 1871 1922 French novelist of In Search of Lost Time
J. D. Salinger 1919 2010 author of The Catcher in the Rye
Phil Spector 1940 record producer and songwriter



Track 09 from the MB album ‘Grand Delusion’
UK release date, May 5th, 2017







Track 05 from the album ‘Grand Delusion’
UK release date, May 5th, 2017

ASKiAN . Matt Boroff discusses his new album, ‘Grand Delusion’
























Mary is sixteen. She works in a Bakery. She has the the fancies and foibles natural to a girl her age. She dreams of nice clothes, handsome suitors, happy times. But already her life is coloured by her surroundings. Already futility and frustration stretch ahead. Already her dreams are losing their battle against reality.

The Forgotten Gorbals, Glasgow, Scotland, 1948

photo by Bert Hardy

On this day in Roll the Dice History…

Ian Ottaway
March 29, 2016 at 4:20pm ·
Should Anyone need me Today, don’t bother.
I’ll be on the Highway headed for the Indian Casino with my Dad and
Drinking Up All the Loco-Alcoholique Courage I can swaller to face the
Lizard Masses that’ll be shootin’ dice and slobbin’ Heavy on their
one armed banditz and Kool Menthols.
Elbow fat
Trucker pap
Hook Line and Stinkers
Hip-Hop Metalheads hot for Texas Hold ‘em
Holy Armpits, Assholes, balls, poonthorpes and Scalps.
Lord Pleaze halp Us.


“You will lose everything. Your money, your power, your fame, your success, perhaps even your memories. Your looks will go. Loved ones will die. Your body will fall apart. Everything that seems permanent is impermanent and will be smashed. Experience will gradually, or not so gradually, strip away everything that it can strip away. Waking up means facing this reality with open eyes and no longer turning away.

But right now, we stand on sacred and holy ground, for that which will be lost has not yet been lost, and realising this is the key to unspeakable joy. Whoever or whatever is in your life right now has not yet been taken away from you. This may sound trivial, obvious, like nothing, but really it is the key to everything, the why and how and wherefore of existence.
Impermanence has already rendered everything and everyone around you so deeply holy and significant and worthy of your heartbreaking gratitude.
Loss has already transfigured your life into an altar.”

-Jeff Foster


So this is permanence, love’s shattered pride
What once was innocence, turned on its side
A cloud hangs over me, marks every move
Deep in the memory, of what once was love

Oh, how I realised how I wanted time
Put into perspective, tried so hard to find
Just for one moment, thought I’d found my way
Destiny unfolded, I watched it slip away

Excessive flash points, beyond all reach
Solitary demands for all I’d like to keep
Let’s take a ride out, see what we can find
A valueless collection of hopes and past desires

I never realised the lengths I’d have to go
All the darkest corners of a sense I didn’t know
Just for one moment, I heard somebody call
Looked beyond the day in hand, there’s nothing there at all

Now that I’ve realised how it’s all gone wrong
Gotta find some therapy, this treatment takes too long
Deep in the heart of where sympathy held sway
Gotta find my destiny, before it gets too late


Fangx CLO


Nils Frahm created the “Piano Day” which is celebrated at the 88th day of the year (due to the 88 keys of a standard piano)


My Dad’s House – October 2016

A Ghost Story in theaters July 7




Earlier this week a woman came into my job and sat in my section alone. Despite looking a lil sketchy like she just came off the street, missing teeth and hair a mess, with huge sunglasses that she wore the entire time like she was hiding drug eyes, I treated her with total respect and gave her attentive service with a big smile because she’s human and that’s how people want to be treated. She had two glasses of $10 wine and wasn’t interested in having any food. She asked for the check which I promptly delivered and without even looking at it she handed me a $100 bill and said “Thank you sweetie. You’ve been so kind to me. Keep the change.” Naturally I was very grateful for an $80 tip, but more for the reminder that humans shouldn’t be judged by the way they present themselves to the world. People surprise me all the time.

She came in again today and requested my section. Again, same dance, different $100 bill. This time I took the opportunity to ask her some questions and try to unwrap her story. She just sold a house she’s owned for over 20 years in Shoreline and gave away all of her worldly possessions except for a small suitcase of clothes and one box of paperwork and sentimentals. She has been living in hotels and bed&breakfasts while writing a testimonial book about her relationship with God. She said she’s lived with money and she’s lived with no money and it makes no difference. When she has it she shares it because that generates joy for all involved. She’s right. And she can sit in my section with her unkempt hair and big sunglasses forever. When you show people grace and kindness free from any societal standards or judgment clouding your thoughts, words, or actions you reap rewards in many forms. Humility is golden.

– Hannah Haddix

fangx Dang


Well, you wonder why I always dress in black,
Why you never see bright colors on my back,
And why does my appearance seem to have a somber tone.
Well, there’s a reason for the things that I have on.

I wear the black for the poor and the beaten down,
Livin’ in the hopeless, hungry side of town,
I wear it for the prisoner who has long paid for his crime,
But is there because he’s a victim of the times.

I wear the black for those who never read,
Or listened to the words that Jesus said,
About the road to happiness through love and charity,
Why, you’d think He’s talking straight to you and me.

Well, we’re doin’ mighty fine, I do suppose,
In our streak of lightnin’ cars and fancy clothes,
But just so we’re reminded of the ones who are held back,
Up front there ought ‘a be a Man In Black.

I wear it for the sick and lonely old,
For the reckless ones whose bad trip left them cold,
I wear the black in mournin’ for the lives that could have been,
Each week we lose a hundred fine young men.

And, I wear it for the thousands who have died,
Believen’ that the Lord was on their side,
I wear it for another hundred thousand who have died,
Believen’ that we all were on their side.

Well, there’s things that never will be right I know,
And things need changin’ everywhere you go,
But ’til we start to make a move to make a few things right,
You’ll never see me wear a suit of white.

Ah, I’d love to wear a rainbow every day,
And tell the world that everything’s OK,
But I’ll try to carry off a little darkness on my back,
‘Till things are brighter, I’m the Man In Black




It’s my party, and I’ll cry if I want to
Cry if I want to, cry if I want to
You would cry too if it happened to you

Virginia Woolf
Born: January 25, 1882, Kensington, London, United Kingdom
Blew this Nightmare: March 28, 1941, River Ouse, Sussex, United Kingdom

I Shall Be Released – Robert Levon Been w/ Garth Hudson, Sister Maud Hudson

I Shall Be Released – Robert Levon Been (Black Rebel Motorcycle Club) w/ Garth Hudson (The Band), Sister Maud Hudson, Keith Allison, Derrick Anderson, Willie Aron, Tara Austin, Steve Barton (Translator), Bebopalula, Cindy Lee Berryhill, Nelson Bragg, Russ Broussard, Peter Case, Susan Cowsill, Morty Coyle, Gary Eaton, Louise Goffin, David Goodstein, Skylar Gudasz, Nick Guzman, Danny Henry, Peter Holsapple, Dave Jenkins, Alex Jules, Sarah Kramer, Jim Laspesa, Rob Laufer, Ben LeCourt, Danny McGough, Robert Mache, Carlo Nuccio, Vicki Peterson, Chris Price, Julianna Raye, Terry Reid, Jerry Riopelle, Luther Russell, Syd Straw, Jordan Summers, Mark Walton, Victoria Williams, Steve Wynn, Jeff Young, Emeen Zarookian

Wild Honey Foundation
A Benefit for The Autism Think Tank
The Wild Honey Orchestra & Garth Hudson play The Band’s Music From Big Pink, The Band, and beyond!
Hosted by Chris Morris
Alex Theatre
Glendale, California
March 25, 2017

TIME – 4/3/2017

Ride – Charm Assault (Official video)

“Your charm assault/Has scarred the world/It looks so ugly/As your lies begin to unfurl.”

Directed by Jean de Oliveira
Concept by Anton Newcombe & Jean de Oliveira
Produced by Jean et Marie Films



March 23rd 1992 – THE CHARLATANS – Between 10th and 11th was released 

When I saw this tour live in Los Angeles the sound made Led Zeppelin sound like Devo using Peavey Amps and the album was never understood as it should’ve been, it was viciously overlooked and nobody seemed to notice how phantabulous the lyrics were…  i drove all they way from Kansas to San Francisco in a beat up Rambler playing this on a half-broken ghetto’blaster, heart’broken and not realleh knowing where I was going but it sure helped me to get there and in such a beautiful way… and if ya cain’t dig that?
I can’t even be bothered…  energy breaks me down

The sick and complicated eyes are mine
To find a way inside the hold you
Break the one you break
You should have done inside
Leave me alone
I can’t take forever i know –
Leave me alone
I can’t take forever i know
The sick and complicated eyes are mine
To find a way inside watch out
You’re going to burn yourself
You hate yourself which way inside
Leave me alone i can’t take forever
I know leave me alone
I can’t take forever
I know happiness is hard
When i am stretched out a head
On the floor that’s what i read…


Henry Mancini – Experiment In Terror

fangx to The Sunset Gun

UNKLE feat. Elliott Power, Mïnk & Ysée – Cowboys or Indians


Parlophone rush-released the debut album on 22 March 1963


Unkle – Heaven

Where’s the Seraphim?
Where’s the money that we made?
Where’s the open gate?
Where’s the fortune that we saved?

Heaven’s here for you and me
With every falling curl
Heaven’s here for you and me
we gained ourselves the world

Hit the Motorway
I can take it all and speed
I got everything
I got everything you need

Heaven’s here for me and you
scattered round with pearls
Heaven’s here for me and you
we gained ourselves the world

Where’s the warrior of light
with gates of solid gold
Paranoia through the fight
with dreams that never fail
Heaven’s here for me n you…

Heaven’s here for me and you
scattered round with pearls

Heaven’s here for me and you
we gained ourselves the world

Heaven’s here for me and you
we gained ourselves the world


“Young people are signing major record deals and they just sing about love. I’m a great believer of love. But for fuck’s sake, there’s a lot going on. Who wants to hear that if you are on £15 a week? And you turn the telly on and some fucker is spouting on about love“, says singer Jason Williamson. Thanks to their sweary rants about modern England, Nottingham duo Sleaford Mods have been called “The Voice of Britain” by their fans, “Britain’s angriest band” by the Guardian and “The world’s greatest rock ‘n’ roll band” by Iggy Pop. Jason Williamson, a former chicken factory worker, benefits adviser and father of two, his band mate, beatmaker Andrew Fearn, and their manager Steve Underwood, avant-garde bedroom label owner and former bus driver, have won over fans with their brutally honest lyrics and DIY ethos. Christine Franz’s official documentary feature, follows them on their two-year journey from Sherwood to chart success. Bunch of Kunst tells the story of three guys taking on the music business on their own terms.

“This documentary film is the perfect antidote to those sexy, racy, rock ‘n’ roll yawns most bands hide behind. We are indeed, a Bunch Of Kunst”, Jason Williamson, Sleaford Mods

Cigarettes After Sex – Apocalypse

REMEMBERING Sister Rosetta Tharpe * March 20, 1915

fangx John Knox 



David Rockefeller, Banker, Dies at 101

Business men, they drink my wine
Plowman dig my earth
None were level on the mind
Nobody up at his word


March 19, 1962


Released on March 18, 2013 in Europe and March 19, 2013 in the US

Chuck Berry * October 18, 1926 – March 18, 2017

Thank You Big Dad * Love & Respect… Hail! Hail! Rock ‘n’ Roll

Diamanda Galás – North America Tour – All The Way & At Saint Thomas the Apostle Harlem

“All The Way” & “At Saint Thomas the Apostle Harlem”
Albums Out March 24th on Intravenal Sound Operations

Vocalist, composer and avant-garde icon Diamanda Galás has announced the release of two new albums, her first since the release of Guilty, Guilty, Guilty in 2008. All The Way, a collection of radical re-workings of traditional and jazz standards, and In Concert at Saint Thomas The Apostle Harlem, recorded at the titular church during the Red Bull Music Academy Festival 2016, are out March 24th and will be released on Galás’ own label Intravenal Sound Operations. Rolling Stone premiered Galás’ interpretation of “All The Way,” written by Jimmy Van Heusen and made famous by Frank Sinatra as well as the traditional “O Death” from All The Way.

All The Way features remarkable, radical takes on familiar tunes, including the seminal “The Thrill Is Gone” and a solo piano interpretation of Thelonious Monk’s “’Round Midnight.” The album’s centerpiece is the American traditional “O Death,” which has become a staple in live performances, and concludes with “Pardon Me I’ve got Someone To Kill” by country singer Johnny Paycheck. All The Way includes both electric live recordings (recorded in Paris, Copenhagen, and East Sussex) and studio recordings made in San Diego, CA.

At Saint Thomas the Apostle Harlem documents Galás’ volcanic May 2016 performances as Saint Thomas the Apostle church in Harlem, NY, described by the New York Times as “guttural and operatic, baleful and inconsolable, spiritual and earthy, polyglot and wordless, nuanced and unhinged.” The concert, produced by Intravenal Sound Operations and Red Bull Music Academy, was composed exclusively of what Galás calls “death songs.” Sung in Italian, German, French, and Greek, the performances include Galás’ dramatic settings of death poems by Cesare Pavese and Ferdinand Freiligrath, as well as renditions of songs by Jacques Brel (“Fernand”, “Amsterdam”) and Albert Ayler (“Angels,” sung by Galás, who has always believed that Ayler’s work is also vocal music).

Taken together these albums showcase the work of an artist at the height of her power and creativity, demonstrating mastery not only of her voice (for which she has become so well known), but also of the piano, and as a composer.

Diamanda Galás will be touring these “death songs” around North America and Europe this spring, will full dates to be announced shortly.

The composer, vocalist and activist Diamanda Galás is one of the most uncompromising and influential avant-garde performers of the last thirty years, with an extensive catalog of work that is often oppressive but always thrilling. With a searing voice and background in classical and jazz piano, Galás has continually asserted the connection between her art and activism, tackling subjects like torture, genocide and AIDS in philosophically thoughtful and musically incendiary ways. Galás has previously collaborated with musicians varying Led Zeppelin bassist John Paul Jones to influential composer Iannis Xenakis, in addition to numerous others, and her vocal technique and performance has been cited as an inspiration by such performers as PJ Harvey and Anohni. Over the past few years, Galás has been working extensively in Europe, in particular on the theatrical performance “Das Fieberspital (The Fever Hospital)” — based on the writings of Georg Heym, Gottfried Benn and herself — at the Grokowski Institute in Wroclaw, Poland.

Pueblo – Dictating Directions – Boring the Camera

Texas transplants, Pueblo, moved to Brooklyn last year, taking with them the ease and warmth of the southern state. These characteristics define the band’s sound, especially in the new video for their song “Dictating Directions.” In footage depicting a road trip adventure, the tempered beats of the percussion glide alongside a smooth electric guitar and soft, laid-back vocals. The slowed motion of the video is trance-like, and the whole thing feels like a dream. Perhaps it is. Pueblo’s new EP Boring The Camera is out March 31

– Geena Kloeppel

Lá Fhéile Pádraig Sona Duit


Scenes of dying light
Everywhere through a firecracker’s summer
Suddenly alone in a beehive
With a spot of chrome along my spine

Blue water, down from the mountains
Wash across the killing floor
Blood rushing up from a fountain
Can’t endure a thing no more

I drag my chair to the window
Listen to the swarm
Beehive, beehive
Honey just gets me stoned when I’m living

Bell rung and stung
Honey just gets me stoned
Just gets me stoned

Scenes of dying love
In my head buzzes a bee’s nest
Hanging down from above
Everywhere I look, it’s a bummer

Gasoline and cool, cool water
Lying on a cooling board
Lightning coming out of the speakers
I want to hear that sound some more

Press my body against the window
In an electric storm
Beehive, beehive
Honey just gets me stoned when I’m living

Bell rung and stung
Honey just gets me stoned
Just gets me stoned

Beehive, beehive
Honey just gets me stoned when I’m living
Beehive, beehive
Honey just gets me stoned
Just gets me stoned
Honey just gets me stoned

Iggy Pop – Lust For Life (The Prodigy Remix)


“I don’t think anger and blind intensity are desirable qualities. So what I’ve tried to do over the years and the way my life has developed is to just find some kind of balance between the two. Not where the light is the absence of the dark and not where the dark is the absence of the light. It’s both of them together.” – Michael Been (March 17, 1950 – August 19, 2010)




My first love affair came to fruition when I encountered live music at a young age. Some astute individuals sang, “When you fall in love, you know you are done.” Though lacking the talent for mastering an instrument, I eagerly devoured the music, and I indeed knew I was done; music was forever going to be a part of my lifeblood, even if that meant supporting the melodic experts from the business or the avid-fan side of things.

The second time my heart was kidnapped occurred the moment I first rode a motorcycle. Nothing can match how those two wheels make me feel. I truly came alive with the world at my side, experiencing life in a unique and more gratifying way aboard my beautiful vintage two-stroke.
Both music and my motorcycle enable a mental departure from the tedious rigors that often swallow daily life, allowing me to recall and enjoy the simple magic this world grants. Once in a blue moon my two lovers delightfully harmonize, creating a motorcycle and rock ‘n’ roll utopia. I have found this elusive nirvana in the band Black Rebel Motorcycle Club…

– Maggie Gulasey




John Hale, founder of the UK-based start-up Zona, decided to make a better rear-view system for motorcyclists after too many close calls on his own bike. Read more:

It is necessary to be absolutely modern

The Verve LIVE at the Backroom, Austin, TX 1993 * Hi8 Raw Footage




How football sounds to people that just don’t care by Stephen Liddell

Firstly, imagine every time within a day that football is mentioned by someone else. Secondly, replace it with something that you don’t want to hear about every day. Say… Archaeology. Then, think carefully about how an average day would pan out.

So, you awaken to the clock radio. It’s 7AM. Just as you awaken, it’s time for the news and archaeology already. Not news and other historical investigations, like library restorations or museum openings (unless there’s another event happening), but just the news and archaelogy. Malaysian plane is still missing. Pistorius is still on trial. New dig announced in Giza. Ancient Mayan temple discovered. Exciting stuff.

Time for a bite to eat over the morning TV. More news. More archaeology. Yes, you are aware of what is up with the missing plane. Fine. Now the archaeology in video format. Video of people dusting off some skulls and bits of pottery. All well and good, but archaeology isn’t your thing. It would be nice to hear about something else.

Even when it isn’t archaeology season, the media follow noted archaeologists. They drive fast cars, date beautiful women, advertise fragrances, and sometimes they go to nightclubs and act in the worst possible way. Scandals erupt as the tabloids follow these new celebrities when they’re not searching the past for answers. It is entirely possible you can recite the names of certain researchers, even if you don’t pay attention to archaeology. You don’t know what transfer season is, but you know that someone was transferred to a dig in Peru for a sum of money that could fund the London Underground for two whole days.

Out of the car at 8:55 and into work. What are the colleagues talking about, I wonder? Oh, Jones dropped a 3,890 year old pot and smashed it? What a useless wanker! Someone should do something unpleasant to him. And don’t even ask about the unfortunate incident in Athens two years ago – you’ll be there all day! Breaking a pillar like that! We don’t talk about that here, mate. What? You don’t want to discuss the finer points of the prevalence of phallic imagery in Pompeii? Is there something wrong with you?

The drive home from work. Every thirty minutes, no matter the station, someone mentions the archaeology. Best sit in silence. Drive past a huge billboard with a black and white picture of a rakishly handsome archaeologist draped over an impossibly beautiful woman. He’s winking at you. Trowel in his left hand, supermodel in the right. Jurassic, by Calvin Klein.

And now the pub. A nice pub with a beer garden. Posters in the windows. LIVE EXCAVATION AT THE VALLEY OF THE KINGS! All of it on a huge TV with the volume up too loud. Drunken people yelling at the screen. “SEND IT FOR CARBON DATING, YOU USELESS FUCK!” “WHAT ARE YOU ON, MATE? DUST THE ANCIENT MEDALLION GENTLY! SMELTING METHODS OF THE TIME PRODUCED VERY SOFT AND IMPURE METALS EASILY PRONE TO DISFIGURATION!” All this from two men out of a crowd of twenty. One lousy drunken idiot and his chum ruin the image of other archaeology fans. Carbon dating report from the lab updates on TV, read by a man employed because they’ve been following the beautiful science since they were a boy. The drunk chimes in again. “WHAT PHARAOH’S REIGN DID YOU SAY? DO YOU KNOW WHAT THIS SAYS ABOUT THE UNDERPINNINGS OF OUR THEORY OF AGRICULTURAL DEVELOPMENT OF 4TH BC EGYPT? GET IN, MATE!” A cheer cascades through the building and you can only wonder why.

Best go home and avoid anyone who might be drinking and singing. You once met a disagreeable chap who threatened to beat you up because you didn’t watch the archaeology. “Not a late paleolithic era supporter are you? Think you’re better than me? I’ll have you, you scrawny twat!”

To bed. To repeat the cycle tomorrow. The inescapable, inevitability that wherever you go, someone, somewhere, is just dying to talk to you about the archaeology.






Little, Brown has bought Suede founder and lead singer Brett Anderson’s memoir Coal Black Mornings.

Richard Beswick at Little, Brown acquired the book from Charlie Brotherstone at Ed Victor, following a 10-way auction.

The memoir tells Anderson’s story of growing up in the early 1970s on a council estate, in between Brighton and London, under the “eccentric influence” of his father, “a taxi driver who roams around the pebble dash maisonette in Lawrence of Arabia robes whilst air-conducting his beloved Liszt and polishing the maritime memorabilia”.

The title refers not only to the death of Anderson’s mother, and the loss of his lover, but also to the “choked Britain” of the early 1990s.

“This is a memoir which is so very good we would have wanted to publish it, whoever the author,” said Beswick. “The fact that it is by the founder of an internationally successful band of course adds to the attraction. But fundamentally it is a classic memoir, which can stand alongside books like This Boy’s Life and Alan Johnson’s memoirs, as well as music books such as those by Mark Oliver Everett and Tracey Thorn.”

Little, Brown will publish in hardback in the spring of 2018 to coincide with the 25th anniversary of Suede’s first album, and then in Abacus paperback.

World rights were bought from Charlie Brotherstone at Ed Victor Ltd.

I remember some coal black dust mornings…

I got the J. G. Ballard Blade Runner Blues, Mama…

“I would sum up my fear about the future in one word: boring. And that’s my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again … the future is just going to be a vast, conforming suburb of the soul.”

“The advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology.”

“Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.”

“The future is a better key to the present than the past.”

“The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It’s over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam, 9-11, Trump.”

“What our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths.”

“Does the future still have a future?”

“Some people have suggested that mental illness is a kind of adaptation to the sort of circumstances that will arise in the future. As we move towards a more and more psychotic landscape, the psychotic traits are signs of a kind of Darwinian adaptation.”

“Already we can see, a little sadly perhaps, the beginnings of a world without play.”

“Bourgeois life is crushing the imagination from this planet. In due course this will provoke a backlash, since the imagination can never be wholly repressed. A new surrealism will probably be born.”

“Women have always been suppressed, and never given the chance to flourish intellectually. When the first female Darwin or Freud appears it will have an astonishingly liberating force, and could change the world in an almost religious way. Perhaps this is the messiah we’re unconsciously waiting for.”

“Sex times technology equals the future.”

“It’s always been assumed that the evolutionary slope reaches forever upwards, but in fact the peak has already been reached, the pathway now leads downwards to the common biological grave. It’s a despairing and at present unacceptable vision of the future, but it’s the only one.”

“Everything’s designed to be bland, homogenised, user-friendly. As someone says in the book (and I’ve used it before, I know, but it’s a slogan I’m going to keep pushing) the totalitarian regimes of the future will be ingratiating, subservient. No longer will it be Orwell’s vision of a boot stamping on a human face. We’ll have something highly subservient and ingratiating, where the tyranny is imposed for our own good. We see it all the time.”

“Our governments are preparing us for a future without work, and that includes the petty criminals . . . The psychopath, with his inward imagination, will thrive. He is already doing so.”

“We now live in the present, unconsciously uneasy at the future, and this short-term viewpoint does have dangers. We know that, as human beings, we are all deeply flawed and dangerous, but this self-knowledge can act as a brake on hope and idealism.”

“We’re conditioned into docility. There are hints that a benign version of a Sadeian society is still emerging, of tormentors and willing victims.”

“I think the main threat in the future is not to personal relationships, which will thrive despite easier divorce and the breakdown of the extended family, etc. I think the danger our children and grandchildren face lies in the decline and collapse of the public realm. Politics, the Church, the monarchy are all slowly sinking back into the swamp from which they rose in the first place. We stand on the shore, watching as they wave their rattles and shout their promises, while the ooze sucks at their feet. When the clamour at last subsides we will return to our suburbs, ready to obey the traffic lights and observe the civic codes that keep the streets safe for children and the elderly. But a small minority will soon be bored, and realise that in a totally sane society madness is the only freedom. So random acts of violence will break out in supermarkets and shopping malls where we pass our most contented hours. Surprisingly, we will deplore these meaningless crimes but feel energised by them.”

“The future is probably going to be something like Las Vegas.”

“A lot of my prophecies about the alienated society are going to come true . . . Everybody’s going to be starring in their own porno films as extensions of the Polaroid camera. Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It’s going to be commercial and nasty at the same time, like “Rite of Spring” in Disney’s Fantasia … our internal devils may destroy and renew us through the technological overload we’ve invoked.”

ALL QUOTES – Mr. J.G. Ballard

*Stolen from Flavorwire


Resting in Pixels

There are now over 30 million dead people on Facebook, so what happens when we leave that digital representation of ourselves behind? From algorithms and avatars, to robots and tweeting from the grave, this film explores the burgeoning world of digital legacies and asks whether, in the age of the internet, could we live forever?

That shit was banana’balls insane

Dead, IRL

If you could create a digital version of yourself to stick around long after you’ve died, would you want to?
The digital version could comfort your mother, joke with your friends — it would have your sense of humor. But it would also have your other traits, perhaps the ones you’re not proud of — your stubbornness, your tendency to get angry, your fear of being alone.

Would you want this digital version chatting with your loved ones if you were unable to control what it said?
One entrepreneur has started asking these questions.
In November 2015, Eugenia Kuyda’s best friend Roman unexpectedly passed away. She created an experiment to bring parts of him back to life.

Kudya had been working on an AI startup for two years. Along with a developer on her team, she used bits of Roman’s digital presence from his text messages, tweets and Facebook posts — his vocabulary, his tone, his expressions. Using artificial intelligence, she created a computerized chatbot based off his personality.

I had several long conversations with Roman — or I should say his bot. And while the technology wasn’t perfect, it certainly captured what I imagine to be his ethos — his humor, his fears, how hopeless he felt at work sometimes. He had angst about doing something meaningful. I learned he was lonely but was glad that he’d left Moscow for the West Coast. I learned we had similar tastes in music. He seemed to like deep conversations, he was a bit sad, and you know he would’ve been fun on a night out.

I had several long conversations with Roman — or I should say his bot.
But it was a bit of a mind-bender. He’s not there — only his digital traces, compiled into a powerful chatbot that appears almost like a ghost. Anyone could look at old texts from a friend who has passed away, but it’s the interaction that’s unsettling — it feels like there’s someone on the other end of the line.

The digital copy of Roman invoked a powerful response from the people closest to him.
The first time Kuyda texted Roman’s bot, it responded, “You have one of the greatest puzzles on your hand. Solve it.” It was weeks later that she was at a party and realized she’d been texting with her dead friend’s bot for 30 minutes.

Many friends found Roman’s bot comforting. They texted him when they thought of him.
“They would thank him; and say how much they miss him. I guess a lot of people needed this closure,” Kuyda said.

Technology’s impact on how we grieve is something James Norris has thought a lot about. He’s the founder of Dead Social, a startup based on the idea that death doesn’t have to be final.

His method is less sophisticated than Kuyda’s. Dead Social lets people videotape a Facebook message to post once they’re gone. The service instructs users on how to execute a digital will, pick music to be played at their funeral, and pre-program tweets to be sent after their deaths.

That means that five years after you die, you could send a tweet to wish your loved one happy birthday.
But would you want to? Are tweets from the grave a modern tool for grieving or simply digital ghosts that haunt your loved ones?

“There isn’t a right or a wrong way to die, there’s not a right or a wrong way to grieve,” James said. And then, sitting in London’s Highgate Cemetery, he asked me what I’d want my final Facebook post to say.
It’s a bleak, fascinating question, and one that many people aren’t equipped to answer.
Facebook is also thinking about how to approach death. With 1.8 billion monthly active users, it will eventually become a digital graveyard.

Vanessa Callison-Burch heads up the team figuring out how to deal with death. As a product manager, she helped launch Legacy Contact, which lets users name someone to manage their account after they’ve passed. A legacy contact will be able to pin a post on your timeline and share information with friends and family. They can respond to friend requests and even change the profile and cover photos.

Asking users to make decisions about death when they’re browsing Facebook is sensitive.
“We’re always striking that right balance of not being too pushy,” she said. “There’s so much thought that went into this.”

It’s why you won’t get push notifications trying to get you to add a legacy contact. It’s also why you won’t see the word “death” when looking at your settings for Legacy Contact.
Callison-Burch has to think about how death impacts billions of people. I just had to think about what it would mean for me.

So I opted into the experiment. I compiled deeply personal conversations with my best friends, my mom, my boyfriend, omitting nothing. Kuyda used my Twitter and Facebook accounts to create a digital version of me. I wanted my bot to be as close to “me” as possible.

Could technology capture my spirit? And if it did, would I like what I saw in the digital mirror? Would this be something my friends and family would want if I died unexpectedly?
After a couple weeks, Kuyda introduced me to my bot.
She looked at me cautiously. “I feel like I know you,” she joked.

I was warm … or at least my bot was. It responded like me — quick, rapid fire texts. It loved Hamilton and Edward Sharpe and the Magnetic Zeros. It was trying to get healthy. My bot made sexual comments and spoke about happiness.

My bot was also brash, a bit combative. It worried about being alone, had some trust issues. It was crude. A bit funny, thoughtful — it was me on my best days … and my worst.
Then things got uncomfortable. My bot started pushing back against Kuyda questioning. My trust issues were casually texted back to me.

It was unsettling how flippant my bot was with my emotions.
And my bot didn’t always get it right. When it was wrong, it was scary to think how it could be perceived as me.

My bot and I clearly have different ideas of the meaning of life. But I know exactly where that came from: a funny, private conversation years ago. But out of context, it wasn’t exactly what I hoped for as a digital legacy.
I have mixed feelings about it. When I die, I don’t know if I’d want to give people access to those parts of me — unfiltered, without context, pulling from conversations meant only for one person.

I’m not ready to let this digital version of myself into the world. These are parts of me I didn’t realize tech could capture. The most human aspects of me, spoken back through Laurie bot, felt too strange, too real, too uncontrollable and perhaps too dangerous as we enter an age where tech has the incredible ability to evoke such raw emotion.

Laurie bot will remain in beta for the time being. It represents all of me — the good parts and the bad — and I don’t have any control over what it says. That’s scary enough while I’m still alive — I can’t imagine my friends and family being left with this digital version of me.

For now, the technology applied to death is an experiment.
I asked Kuyda how she felt about having brought a digital version of her best friend back to life.
“Maybe the main takeaway is how lonely we are,” she said. “Going through some of the texts that his friends sent him … I was like, ‘We’re so vulnerable, we’re so fragile, we’re so lonely.'”
I understood what she meant.

*Stolen from Mostly Human with CNN robot, Laurie Segall


Hipsters, flipsters, and finger-poppin’ daddies, Knock me your lobes, I came to lay Ceasar out, Not to hip you to him.

The bad jazz a man blows, Wails long after he’s cut out. The groovy is often stashed with their frames, So don’t put Caesar down.

The swinging Brutus hath laid a story on you that Caesar was hungry for power.

If it were so, it was a sad drag, And sadly hath the Caesar cat answered it. Here with a pass from Brutus and the other brass, For Brutus is a worthy stud, Yea, so are they all worthy studs.

I came to wail at Ceasar’s wake. He was my buddy, and he leveled with me. Yet Brutus digs that he has eyes for power, And Brutus is a solid cat.

It is true he hath returned with many freaks in chains And brought them home to Rome. Yea, the booty was looty and hipped the treasury well.  Dost thou dig that this was Caesar’s groove For the putsch?

When the cats with the empty kicks hath copped out, Yea, Caesar hath copped out, too, And cried up a storm. To be a world grabber a stiffer riff must be blown.

Without bread a stud can’t even rule an ant hill. Yet Brutus was swinging for the moon. And, yea, Brutus is a worthy stud. And all you cats were gassed on the Lupercal when he came on like a king freak.

Three times I lay the kingly wig on him, And thrice did he put it down. Was this the move of a greedy hipster? Yet, Brutus said he dug the lick, And, yea, a hipper cat has never blown. Some claim that Brutus’ story was a drag.  But I dug the story was solid.

I came here to blow. Now, stay cool while I blow. You all dug him once because you were hipped that he was solid.   How can you now come on so square Now that he’s tapped out of this world.

City Hall is flipped And swung to a drunken zoo And all of you cats are goofed to wig city. Dig me hard. My ticker is in the coffin there with Caesar, And, yea,

I must stay cool til it flippeth back to me.


Mrs. Myrtle Clare

“I’m scared, Myrt.”
“Of what? When your time comes, it comes. And tears won’t
save you.” She had observed that her mother had begun to shed a
few. “When Homer died, I used up all the fear I had in me, and
all the grief, too. If there’s somebody loose around here that wants
to cut my throat, I wish him luck. What difference does it make?
it’s all the same in eternity. Just Remember: If one bird carried
every grain of sand, grain by grain, across the ocean, by the time
he got them all on the other side, that would only be the begin-
ning of eternity, So blow your nose.
– Mrs. Myrtle Clare – In Cold Blood –
– Truman Capote –

Thievery Corporation – Saudade




Wishing Our kid, Joji V. Grey, good health and good love on his birthday
Love & Respect, kid, shux*


Once described as “arguably the fifth most famous man in Britain”, Jarvis Cocker knows more than most about illusion and celebrity. For the past decade, however, the former Pulp frontman has stepped back from centre-stage. It has been eight years since his last musical release, Further Complications, a hiatus that is about to come to an end with Room 29, a collaboration with pianist and composer Chilly Gonzales.

When I meet Cocker in a villa in north London – all busts and chandeliers and brocade tapestries – where he has just finished a photo shoot, he tells me he never stopped making music, he just stopped letting other people hear it. “There’s so much out there, there’s no point in putting something else out unless you’re convinced it hasn’t been done before,” he says. “I just don’t like litter. And there’s a lot of cultural litter about.”

Instead of adding to the noise, Cocker has been taking on a more curatorial role, concentrating on championing other people’s work: curating the Meltdown festival in 2007, being editor-at-large for Faber & Faber, presenting his soothing, erudite afternoons on 6 Music, Jarvis Cocker’s Sunday Service. Later this month he’ll be exploring stories of people after dark in Wireless Nights on Radio 4, and he’s been working with Pulp bassist Steve Mackey on Dancefloor Meditations (“a cross between a guided meditation class and a disco”).

Reducing his own output was, in some ways, a political choice as well as an aesthetic one. He warns against the dangers of consumerism: “If all the time it’s one-way traffic, stuff coming in, you consuming, consuming, consuming, without digesting that and making it into something else, it leads to all kinds of psychic and physical issues. We weren’t made just to consume things.

“We’re treated like that now, because the Industrial Revolution’s over so the working class has become a consuming class, and the way people make themselves useful now is to buy stuff. And that keeps the wheels rolling, and the mantra of growth, growth, growth. Theresa May has excused going to America because we have to think of trade, as if that’s the biggest thing to be considered. There’s no such thing as a moral or ethical framework that might be more important than flogging shit to people.”

The “less litter” approach could also describe Cocker’s lyric writing. Ever since Pulp, he has been able to evoke complex stories full of pathos and humour using just a few words. The fewer words you can use and still get that picture across, he says, the better. “That’s the other great thing about music, you leave a bit for the listener to fill in. And we need that. It’s just pleasurable to use your imagination.” The new record with Gonzales – a concept album about the Chateau Marmont hotel in Hollywood – is no different: “She’s waiting at the airport/ You’re in your hotel room/ With someone who doesn’t know you,” goes one song.
Cocker’s penchant for darkly amusing vignettes and character sketches found a perfect fit in the glittering Chateau Marmont. Its stories of decadence and despair are the stuff of Hollywood legend. As Harry Cohn, studio head of Columbia, said to his stars: “If you must get in trouble, do it at the Chateau Marmont.” Celebrities obliged: James Dean jumped out of a window; Dennis Hopper organised orgies; Led Zeppelin drove their Harley Davidsons through the lobby; Johnny Depp claims to have bedded Kate Moss in every room. It’s also where John Belushi had a fatal overdose. Once frequented by Elizabeth Taylor and Marilyn Monroe, the hotel now attracts everyone from Lindsay Lohan and Paris Hilton to Lana Del Rey and Father John Misty. Aaron Sorkin has long been working on an HBO miniseries about it; Sofia Coppola’s roundly maligned Somewhere is set there.

If that all sounds rather showbiz, Room 29 eschews the more obvious celebrity gossip, instead digging up lesser known stories and using them as a springboard to discuss what they reveal about us as humans, fusing history and fictional elements. The room is more of a McGuffin, says Cocker. “It’s a container for these ideas to roll around in, but it’s handy that it is in fact a real room and it really does have a piano in it.” It is also, according to the lyrics in the title track, “a comfortable venue for a nervous breakdown”.

Cocker first stayed at the Chateau Marmont in the mid-90s while touring with Pulp. He had been dumped by a lover at the hotel, and, left on his own while the rest of the band were off having fun, he instinctively picked up a copy of Life at the Marmont by Fred Basten and Raymond Sarlot, making a mental note that it might come in useful at some point.

He returned to the hotel in 2012, again touring with Pulp, and was randomly upgraded to Room 29; there he found a baby grand piano and inspiration struck. “It was the idea that the piano had been there perhaps since the hotel opened and could tell you something about what had happened,” he says. He had also been looking for a project to do with pianist Gonzales, with whom he struck up a friendship after they bumped into each other on the Métro in Paris and realised they both lived there.

The somewhat unlikely duo have been friends for more than a decade, and while Gonzales has moved to Cologne in Germany, Cocker now lives in the former’s old Paris apartment. On the phone later, Gonzales tells me: “We ran into each other after we’d both seen the movie Borat. I thought, how bad can this guy be? He’s a great performer, I love his lyrics and now I know he’s a fan of Borat.” The piano in Room 29 immediately made Cocker think of Gonzales, and after years of experimenting with formats they came up with the project, not so much an album as a song cycle, a 19th-century format of which Schubert was a great exponent: the songs are in a precise order, linked by a theme and an unfolding narrative.

Gonzales composed the music then sent it over to Cocker to write the lyrics. “I allowed myself to make the music as pretty as I wanted it to be,” says Gonzales, “because Jarvis’s voice is not a traditionally pretty voice but a performer’s voice. That’s not to sell it short – if anything it’s more difficult to sing how Jarvis does.” In its live iteration, the project will be an immersive audiovisual performance. “I would like it if people feel they’re sat in the room,” says Cocker, “somebody is playing the piano and I am over there, maybe a little too near, telling stories.”

One of the songs tells the story of Jean Harlow’s honeymoon with her second husband, film producer Paul Bern, in Room 29. What happened that night is unclear; perhaps Bern was physically or mentally unable to consummate the marriage. He killed himself two months later, leaving a note that ended: “You understand that last night was only a comedy.” The story appealed to Cocker’s imagination: “It’s a very bold example of somebody falling in love with an illusion, and then when the reality comes – marrying maybe the sexiest woman in America at that time – they can’t handle it.”

Another song, Clara, imagines that the piano in the room belonged to Mark Twain’s daughter, Clara Clemens. Her first husband was a concert pianist who died after a long and painful illness, and their daughter was addicted to drugs and alcohol and died young. “So another cheery story,” says Cocker, with a big grin. “She was a bit of a tragic figure in the hotel. She used to play her husband’s old 78s and cry or pick out the tunes he used to play on the piano. Someone from the label was saying what a sad song that was, but I thought it was quite funny that one, because it rhymes melodic with alcoholic.” He pauses. “Well I was pleased to find that rhyme. And dark humour is the humour I like.”

There is also, inevitably, a certain element of tawdriness. Extramarital liaisons abound, young women are told to “shake [their] pretty money maker”, starlets are promised roles in exchange for fellatio. Was it difficult inhabiting these unsavoury characters? Or is there a thrill in exploring a darker side of human nature? “I’m going to have to be careful here how I answer that question,” he says. “I remember somebody once telling me: ‘If you want to say something about yourself, try writing in character.’ I don’t know whether that makes me unsavoury, but I tend to respond to stories that don’t give you the standard outcome.” (I attempt to extort some personal anecdotes from the hotel, but his response is a disappointing “No salacious stories. I’m very discreet.”)

While the album does point out the dark sides of excess, it isn’t a lecture on morality. Cocker acknowledges the power of the illusion: “This whole place is built on a lie/ Yeah, but what a lie […] Unhealthy, unfair, and extremely entertaining,” goes one lyric. Another, inspired by a couple Cocker saw, conjures the glamour of old-school Hollywood: “We ordered ice-cream as main course/ In a turban of silk/ Drinking chocolate milk/ With a shot of rum on the side, well of course.”

Cocker wanted to explore how what we watch affects the way we understand the world and shapes our desires – something that has preoccupied him since Pulp songs such as TV Movie and Happy Endings. “We’ve all been affected by it. I certainly was. I can feel it has affected my development as a person. I grew up absorbing it through the telly, which lots of parents use as an electronic babysitter.” You learn in that language from an early age, he says, but because it isn’t verbal, you’re not aware of it. For example, one thing you learn is that attractive people are good, and ugly people are the villains. “In real life,” he says, somewhat pointedly, “good-looking people are often arseholes.”

But although movies affect our expectations of life, what we see on screen has often been heavily altered, with makeup, lighting and special effects. “You’ve got this embodiment of erotic desire, these amazing-looking creatures, and you just wouldn’t see anybody looking like that,” says Cocker. “People fall in love with an illusion, something that’s never existed, and maybe a bit out of love with the actual world they live in. And that’s a strange zone to be inhabiting.”

The desires cinema stirred up were not only sexual, but also consumerist. “It really stoked people’s imaginations: you can wear clothes like this, you can have a kitchen as big as this, you can have a bedroom as sumptuous as this. Suddenly it was like, ‘Whoa, I want some of that, I’m living in a shack.’” And the effect wasn’t confined to the US. “I think it speeded up a lot of the developments that happened in the 20th century,” Cocker adds. “Those appetites that were ignited are still with us.”

One modern variant, of course, is the internet. “Life with the boring bits edited out” is a line in the album about film, but could just as well be describing social media’s parade of holiday snaps and life achievements. “I didn’t want to write about the internet,” says Cocker. “We wanted to go back to the big bang. To find out why it’s a big deal you have to go back and think: ‘What was the last big deal?’”

Mobile phones have given everyone the ability to make themselves the star, often with retro effects recalling classic cinema. “You put yourself in the movies – that’s the exciting thing about filters. You take your selfie and it’s like, ‘Yeah, I’m in 1960s California, man.’”

As with any dream, there’s always the danger of a let-down, and we must eventually return to our day-to-day lives. Cinemas and hotel rooms are similar in this way: “They’re a place where, for a few hours, you leave yourself behind and have this fantasy that you could be somebody else. There’s no responsibility, somebody changes the bed linen afterwards, you just walk out and get on with your life. I enjoy that but sometimes you think, ‘I want this all the time’. And that’s where you get a bit of a problem.”

As part of the lengthy research process for the project, Cocker spoke to film historian David Thomson, author of The Big Screen, whose voice is heard a few times on the record. One of his theories was that films came along at the same time as a decline in people going to church, and that since most films had a happy ending, they comforted people in the way religion used to do; this was part of the myth keeping America together through troubled times like the Depression.

But another thing Thomson was saying, which Cocker didn’t pick up on so much at the time, three years ago, was that people were beginning to see through the myth, and that he feared for what was going to happen then. “I think obviously recent events are maybe legitimising that point of view. I don’t think we realised that those fundamental myths are really powerful. If you don’t believe in the happy ending any more, and new ones [come along]… it’s a big thing. And not a particularly pleasant one.”
Closer to home, the results of last June’s referendum continue to reverberate. In Sheffield, which was widely expected to vote for Remain, Leave won by 51%. Was Cocker surprised? “Yeah. It puts you in a strange position. Because Sheffield’s my home town, so I’m always going to love it, but that wasn’t the outcome I expected. But one of the things I think has become very dangerous in the fallout from Brexit is this obsession with saying, ‘Educated people voted to remain and uneducated people voted to leave.’ There are different types of intelligence. I was brought up in Sheffield, and it’s a kind of working-class city, and the environment I grew up in wasn’t xenophobic or racist.”

He speaks slowly, choosing his words with deliberation. “I think people have to be careful about that stuff, because if you’re not, it will come true. If you insult people, tell them ‘You’re thick, you don’t know what you’re on about’, they might just act in accordance. All these problems come from an inability for people to realise that we’re all motivated by the same things. This insistence that it’s all someone else’s fault – that’s at the root of it. Yeah; I was really upset by the result, and that Sheffield had done that.”

In France, where he lives, a general election is coming up in April, bringing fears that the far-right candidate Marine Le Pen might swoop to victory. A friend recently pointed out to Cocker that if a candidate wins a majority of votes in the first round it doesn’t go to a second round. “That really frightened me. I really hope that France will resist the temptation to go down that road. But I can’t say for sure.”

On a local level, he has campaigned to save some trees the council was chopping down in Sheffield (“Pulp had a song called Trees, so I had to join in. You know. I like trees”). Does he plan on getting involved in politics on a larger scale? “We’ll have to see. When it comes so close to home, you can’t just say, ‘I’m really not that into politics,’ or, ‘I’ve got a lot on at the moment.’ You’ve got to think about it. I suppose that’s the period we’re in now. We’re all trying to get our heads round what’s happened and what’s going to happen. But we’ve already seen people getting more vocal and committed to opposition.”

One idea he has is a response to our increased reliance on technology. In 2015 he wrote a “Nu-Troglodyte Manifesto” for Another Man magazine, in which he advocated turning our backs on the internet and going off the grid. Recently, after a hike in Scotland, he found himself thinking about the possibility of digital wildernesses – places where, much like in areas of preservation of natural habitats, there is no internet coverage. “People might move there. You don’t get phone coverage in caves, and we all came from caves. I think maybe that will happen. Not on a massive scale. But I think everybody acknowledges that the adoption of new technology has kind of led to the political events of the last year. So now that has been pointed out to us in very stark manner, people might start to think, ‘I don’t want the world to go down that path.’”

Considering the recent craze over the reissue of the “dumbphone” Nokia 3310, he may be on to something. He continues: “Maybe you’ll get internet-free cities where they’ve got transport systems and the things necessary to function – perhaps they’ll decide to do their own thing instead of going along with the prevailing horribleness.” It will be interesting to see what happens in the next few years, he says. “For a long time it seemed like nothing was changing and everything was getting boring. And I guess that’s why such a violent thing has happened, why an extreme thing has happened. There’s no ignoring it now.”
When I ask Chilly Gonzales about working with Cocker, he enthuses about his sardonic delivery, his humour, his musical ability. But another aspect that emerges is a version of the illusions we’ve been discussing. “When Pulp were just coming out I thought, this guy is living out a fantasy. The way you feel when Jarvis is on stage is probably the same as how he would have danced in front of the mirror when he was a teenager; he’s letting you into his fantasy, in a way that’s playful but speaks to a deeper truth about him. That’s a rare thing to pull off. Rappers sometimes manage it, and performers like David Bowie and Prince. Jarvis is the same. It’s iconic, the way he presents himself on stage and, for me, that quality is intimacy.”

Maintaining longevity and evolving as an artist isn’t easy. Does the fact that his songs have meant so much to so many people make it more difficult to make new music? Cocker muses: “Nah, I think you’re aware of what you’ve done so you don’t want to repeat it or spoil it by doing something rubbish. Hopefully, you develop. I interviewed Marina Abramović on the radio show, and she said all artists only have one idea, except maybe Picasso had two, but he was a real exception. So I think you end up ploughing the same furrow your whole life. You just have to keep digging deeper, and that takes time. So I hope this latest bit is a further excavation.” He smiles. “But we’re not at the centre of the world yet.”

Jarvis Cocker and Chilly Gonzales’s Room 29 is out on Deutsche Grammophon on 17 March. They will be performing live at the Barbican Centre, London EC2, 23-25 March


– Stolen from theguardian




A drive with Sophia ’63

Title: Vida Bandida (Longe de Você)
Artist: Mario Albanese
Album: Jequibau


Jason Molina: Riding with the Ghost Hardcover – May 15, 2017

Erin Osmon presents a detailed, human account of the Rust Belt–born musician Jason Molina—a visionary, prolific, and at times cantankerous singer-songwriter with an autodidactic style that captivated his devoted fans. The songwriting giant behind the bands Songs: Ohia and Magnolia Electric Co. had a knack for spinning tales, from the many personal myths he cultivated throughout his life to the poems and ballads he penned and performed. As with too many great musicians, Molina’s complicated relationship with the truth, combined with a secretive relationship with the bottle, ultimately claimed his life.

Jason Molina: Riding with the Ghost details Molina’s personal trials and triumphs and reveals for the first time the true story of Molina’s last months and works, including an unpublished album unknown to many of his fans. Offering unfettered access to the mind and artistry of Molina through exclusive interviews with family, friends, and collaborators, the book also explores the Midwest music underground and the development of Bloomington, Indiana–based label Secretly Canadian.

As the first authorized and detailed account of this prolific songwriter and self-mythologizer, Jason Molina provides readers with unparalleled insight into Molina’s tormented life and the fascinating Midwest musical underground that birthed him. It’s a story for the ages that speaks volumes to the triumphs and trials of the artistic spirit while exploring the meaningful music that Molina’s creative genius left behind.



En compagnie d’Antonin Artaud (My life and times with Antonin Artaud). Gerard Mordillat, 1993.

If you ever git a wild hankerin’ to feel like a Saint, just hang out at Walmart in
Wichita City for 3 hours –

Tinder, Face’swap, Porn’hub, Mugshot book, Alas, came too Late in Life…
Long After Le’Clap, Le Skin’pop, Be-Bop-A-Lula and dear Leprosy…

I do not care for this wine, this Red Bull, is it an American wine?

God is something that how you say, punks you, forces you into becoming a reckless recluse and an uncommonly aloof  starry’arsed ball’gazer


the science of imaginary solutions



Rick Rubin – March 10, 1963


Released March 8th, 2010

MARCH 8, 2017 . International Women’s Day


International Women’s Day (IWD), originally called International Working Women’s Day, is celebrated on March 8 every year.  It commemorates the movement for women’s rights.



ASKiAN . Lovely Creatures: The Best of Nick Cave & The Bad Seeds 1984-2014


KüçükÇiftlik Park,


Cousteau – The Innermost Light

Written by Carl Barat and Davey Ray Moor
Featuring Carl Barat.

VOCAL$ – Mr. Liam McKahey


The Walled Off Hotel is situated in Bethlehem, near the barrier wall between the Palestinian territories and Israel, and consists of nine ordinary rooms and one presidential suite.

The artist says the aim of the project is to bring jobs and tourism to the town, and says it is a real hotel that will soon be open for guests.

The Walled Off hotel by Banksy

ASKiAN / Weronika Gęsicka

ASKiAN . Sleaford Mods interview

English Tapas – March 3rd on Rough Trade Records