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Posts from the “Music” Category

Vince Aletti: The Disco Files

Posted on October 22, 2018

Drag queens mugging. © Peter Hujar

In 1973, Vince Aletti was living in a two-room apartment in New York’s East Village that cost just $125 a month – a fee he could afford as a freelance music journalist for magazines like Rolling Stone and Crawdaddy. Aletti’s beat was covering black pop music like R&B, Motown, and Philly International. Then one night, a friend took him to The Loft, the private party hosted by DJ David Mancuso, where he got his first taste of disco – before the genre even had a name.

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Aletti became the first person to write about the emerging disco scene, chronicling its rise from the underground to the top of the charts, introducing Black and Latinx gay culture to the world. In his weekly column for Record World magazine, Aletti showcased the latest breaking records, top ten playlists from DJs like Larry Levan, Walter Gibbons, and Nicky Siano, scoops and reviews.

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Aletti’s impressive archive is available to the public once more in The Disco Files 1973–78: New York’s Underground, Week by Week (D.A.P.). Here, Aletti shares some memories of those disco nights so long ago.

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Read the Full Story at AnOther Man

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The men’s room at G.G. Barnums. © Toby Old

Refreshments at New York. © Toby Old

Categories: 1970s, AnOther Man, Art, Music

Mike Miller: California Love

Posted on October 18, 2018

Tupac, 1994. © Mike Miller

A fourth generation native of Los Angeles, photographer and director Mike Miller has been repping the West Side since the early ’70s. His story reads like a Hollywood film: a young upstart who went on to find his calling in art – with no less than supermodel Linda Evangelista gifting him his first camera, a Nikon F2, formerly owned by Peter Lindbergh.

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Yet it’s not the gloss of high fashion for which Miller is best known. Instead, it’s the grit, glory and glamour of the LA hip hop scene – a legacy that’s being celebrated in new exhibition California Love, currently on view at M+B Photo in Los Angeles.

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Growing up in Hollywood, Miller and his brothers got into enough trouble for his mother to pack the family up and head out to Santa Monica when he was 12. Living on the beach changed his life. “I wanted to be a director, with no clue how to get there,” he recalls. “Some of my neighbours were big producers and they put me on at Warner Brothers and Fox Studios when they started as 20th Century Fox. My friends from the beach were 50, 60 years old and I was like 15 but they were my bros. We connected on different levels because back in the day, that’s the way it was.”

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Read the Full Story at Huck Online

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Amazing Grace, 2011. © Mike Miller

Categories: 1980s, 1990s, Art, Exhibitions, Huck, Music, Photography

The 35 Anniversary Wild Style Reunion Concert

Posted on August 8, 2018

Kase 2, Busy Bee, Fab 5 Freddy, and friends at the cheeba spot, 1980. Photo © Charlie Ahearn.

Back in 1978, artist Charlie Ahearn saw a couple of vibrant murals in the handball courts of the Smith Projects in New York’s Lower East Side. The word “LEE” appeared across them in big bold letters. Ahearn was intrigued, and quickly realised it was the work of Lee Quinones, one of graffiti’s greatest writers.

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A year later, Ahearn met Lee and Fab 5 Freddy during the historic Times Square Show. The trio immediately started collaborating. At the time, the words “wild style” were on everybody’s lips – it was the name for the colorful, hyper-stylised letterforms dominating graffiti that most people could not read.

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Simultaneously, hip hop music was sizzling in the clubs and parks, as the first generation of DJs spun breakbeats while MCs tore up the mic and b-boys rocked the floor. As all of this was happening on his doorstep in New York, Ahearn decided to turn it into Wild Style – the first ever hip hop feature film.

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Read the Full Story at Huck Online

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Animation drawing by Zephyr, 1982. Courtesy of Charlie Ahearn.

Categories: 1980s, Art, Bronx, Graffiti, Huck, Manhattan, Music

Celebrating the 40th Anniversary of Artrouble

Posted on August 7, 2018

The Motels

Hailing from London, David Allen arrived in Los Angeles in 1976 on what he describes as “an angry whim”. One day while at the newsstand checking for NME, he spotted a magazine with the word Slash written across the front, in a blood-splattered font. Intrigued, he read a story in it before heading to the magazine’s office, where he embarked upon a career in design. Suddenly he was an outsider on the inside of the emerging punk scene.

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It was while he was hanging out at the Masque, a nightclub just off Hollywood Boulevard, that Allen was approached by a young photographer named Jules Bates, who had seen a flyer Allen had designed and wanted to collaborate on the cover for Nick Gilders’ album featuring the hit, Hot Child in the City. One thing lead to another, and Bates proposed they start a company with his then-girlfriend Phyllis Cohen, a make-up artist from Vancouver.

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Allen named the crew Artrouble, and together they began creating album covers for emerging punk bands like the Dickies and Devo, New Wave bands like Oingo Boingo and the Motels, and pop stars like Shawn Cassidy and Peter Frampton. When Bates died in the early 1980s, Artrouble came to an end. Now, on the 40th anniversary of its launch, Allen looks back at the LA collective that defined an era.

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Read the Full Story at AnOther Online

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Canterbury Punks

Categories: 1970s, 1980s, AnOther, Art, Music

Bruce W. Talamon: Soul. R&B. Funk. Photographs 1972–1982

Posted on August 7, 2018

Donna Summer at a Los Angeles shoot for SOUL Newspaper, 1977 © 2018 Bruce W. Talamon

As staff photographer at SOUL Newspaper during the 1970s, Los Angeles native Bruce W. Talamon knew the score: “always respect the artist and don’t fuck up the vibe. Always be on top of your game, and take any chance you can”. These lessons served him well documenting artists such as the Jackson Five, Parliament-Funkadelic, Donna Summer, James Brown, and Marvin Gaye; the legendary soul, funk, and R&B acts of the 1970s that turned pop music into an unforgettable trip on the Soul Train.

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Every Saturday morning, kids and teens across the United States tuned into Don Cornelius’ dance extravaganza. In the decade before video killed the radio star, the sound of Black America hit the high bar as artists like Al Green, Bootsy Collins, and Rick James burned up the stage. After they turned off the TV they hungered for more; more photos and stories about their heroes. So, they read SOUL.

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Talamon jumped on the scene, quite literally, when he walked on stage at Wattstax to photograph Isaac Hayes in 1972 – unaccredited. The young photographer had picked up a camera the year before, and decided to forgo his studies as a law student for something entirely different – something no one in the mainstream media was covering in any depth. It is fortunate that he did; as without Talamon, there would be no photograph of Maurice White of Earth, Wind & Fire walking with a white umbrella towards the Great Pyramids of Giza.

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Now, in his new book published by Taschen and titled Bruce W. Talamon. Soul. R&B. Funk. Photographs 1972–1982, the artist takes us back to this pivotal era in history, when glamour, grandeur, and grooves reigned supreme.

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Read the Full Story at AnOther Man

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Bootsy’s Rubber Band at a Burbank portrait session, California, 1977 © 2018 Bruce W. Talamon

Chaka Khan at The Roxy, 1977 © 2018 Bruce W. Talamon

Categories: 1970s, 1980s, AnOther Man, Art, Books, Music, Photography

Godlis x Angela Boatwright on Punk, Now & Then

Posted on July 22, 2018

Blondie, CBGB, 1977. Photo by GODLIS.

GBGB, 1977. Photo by GODLIS.

On a cool night late in the summer of 1976, David Godlis stood on the Bowery: a desolate NYC strip synonymous with flophouses and winos who’d lived under the shadow of the Third Avenue El train for more than a century. Although the train had been dismantled, that thoroughfare remained barren and bleak – but for a white awning emblazoned with black letters that announced “CBGB”.

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At 25, Godlis had returned to his native New York towards the end of 1975 after spending seven years in Boston, where he studied photography alongside Nan Goldin and Stanley Greene at Imageworks. Back in town, he’d pick up the latest issue of The Village Voice and flip to the classified section where he perused the help-wanted listings. It was there that an ad for a bar repeatedly caught his eye. Intrigued, Godlis set out to catch a band called Television. When he arrived, the streets were completely empty. He spotted the white awning and said to himself, “That’s got to be the joint.”

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He opened the door and stepped inside what felt like a new world: a long, narrow room illuminated by neon beer signs hanging on the wall. At the front desk sat Roberta Bayley, who had shot the cover of the Ramones’ first album, though Godlis didn’t know who she was at the time.

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Read the Full Story at Huck Online

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Punks at Indiana Street show, Boyle Heights, July 2015. Photo by Angela Boatwright.

East L.A. Liquor, N. Fickett Street, Boyle Heights. Photo by Angela Boatwright.

Categories: 1970s, Art, Huck, Music, Photography

Fabio Sgroi: Palermo 1984-1986, Early Works

Posted on June 18, 2018

© Fabio Sgroi, courtesy of Yard Press

© Fabio Sgroi, courtesy of Yard Press

Picture it: Sicily, 1984. A young man named Fabio Sgroi is coming of age in Palermo, while a mafia war rages around him. The city is dark and desolate, but Sgroi and his friends find solace in the town’s nascent punk scene that – at this time at least – is strictly underground.

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Over the next two years, Sgroi documents the punks, anarchists, surly drunkards, and melancholy monsters who gather regularly in Politeama Square or in each other’s homes, playing music and plotting schemes. Theirs is a teen rebellion filled with adolescent angst, the final chapter of a life of sex, drugs, and rock and roll; the last moment before the realities of adulthood begin to set in.

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With the publication of Palermo 1984-1986, Early Works (Yard Press), Sgroi’s second book, we are transported to this Palermo – “an apotheosis of anarchy, where anomaly is normalcy,” as Francesco De Grandi describes it in the afterword. Ahead of the book’s release this Friday, Sgroi tells us more about this moment in subcultural history and the unique nature of Palermo punk.

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Read the Full Story at AnOther Man

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© Fabio Sgroi, courtesy of Yard Press

© Fabio Sgroi, courtesy of Yard Press

Categories: 1980s, AnOther Man, Art, Books, Music, Photography

Represent: Hip-Hop Photography

Posted on June 14, 2018

Salt’n’Pepa, outside Bayside Studios, Bayside, Queens, Feb. 6, 1989: Collection of the Smithsonian National Museum of African American History and Culture, Photo by Al Pereira, © Al Pereira

“Rap is something you do. Hip hop is something you live,” KRS One memorably said, reminding fans that the culture of hip hop is more than just an MC on the mic. Hip hop is a style, an attitude, and a way of life that transcends all boundaries, be it cultural or political, and brings people together in celebration of black power, pride, and principles.

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At the foundation of hip hop are DJs, MCs, B-boys and B-Girls, and graffiti – which represent the music, literature, dance, and visual arts. Although MCing (aka rapping) has become the most famous element, it’s the fruit of a tree with much deeper roots, one that Rhea Combs, curator of photography and film, and director of CAAMA, explores in the new exhibition, Represent: Hip-Hop Photography.

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Represent takes work from Bill Adler’s Eyejammie Hip Hop Photography Collection as its departure point, visually sampling from the seminal archive that includes more than 400 iconic photographs by 60 leading artists including Charlie Ahearn, Harry Allen, Janette Beckman, Al Periera, and Jamel Shabazz. For the exhibition, Combs has paired these works with historical photographs and other objects from the museum’s permanent collection, to illustrate the ways in which the innovative practices can be found in African-American history decades before hip hop was born in the Bronx.

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Read the Story at Huck Online

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Queen Latifah, NY, June 23, 1991. Collection of the Smithsonian National Museum of African American History and Culture, Photo by Al Pereira, © Al Pereira

Categories: 1980s, 1990s, Art, Exhibitions, Huck, Music, Photography

Remembrances of Studio 54

Posted on June 13, 2018

Pat Cleveland and Andre Leon Talley. Photo: Copyright Dustin Pittman

Glitz, glam, and glory – Studio 54 had it all. The epicenter of the New York disco scene in the 1970s, the infamous nightclub was a symbol of hedonism – a potent brew of celebrity, sex, drugs, and decadence.

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In 1977, co-owners Ian Schrager and Steve Rubell, two friends from Brooklyn, converted an old CBS television studio into a magical space where Hollywood stars, fashion designers, performers, socialites, artists, models, and street legends would dance the night away.

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For 33 months, Studio 54 made headlines for its outrageous stunts, becoming the stuff of legend until it all came crashing down when Schrager and Rubell were arrested for tax evasion and ended up serving 13 months in prison. In 1989, Rubell died from complications due to AIDS, while Schrager turned his life around, becoming one of the most significant hoteliers of our time. After being pardoned by President Barack Obama in January 2017, Schrager broke his 40-year silence, finally telling the true story of Studio 54.

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On Friday (June 15), Studio 54, the first documentary about the famed nightclub will officially release. In celebration of this film, we spoke to its director Matt Tyrnauer and a host of Studio 54 insiders, who share their memories of the endless nights spent partying, rubbing shoulders with everyone from Elizabeth Taylor, Jackie Kennedy Onassis, and Diana Ross to Michael Jackson, David Bowie, and Karl Lagerfeld.

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Read the Full Story at AnOther Man

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Palmoa Picasso. Photo: Copyright Dustin Pittman

Categories: 1970s, AnOther Man, Art, Fashion, Manhattan, Music, Photography

Sons of An Illustrious Father: The AnOther Man Interview

Posted on May 24, 2018

Photo: Sons of an Illustrious Father, clockwise from left: Lilah Larson, Josh Aubin and Ezra MillerPhotography Michael J Fox, Styling Melissa Levy

Inside Lincoln Station, a coffee bar a couple of blocks away from the Brooklyn Museum of Art, Sons of an Illustrious Father have assembled to discuss their new LP, Deus Sex Machina: Or, Moving Slowly Beyond Nikola Tesla, which releases June 1 on their own label in conjunction with Believe.

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Now entering their tenth year, the close-knit trio of Lilah Larson, Josh Aubin and Ezra Miller seamlessly flow in conversation as in song, picking up each others sentences and trading quips about their aspirational Muppets.

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For the record, Aubin, who wears glasses and sports a full beard, solemnly decrees, “I am Kermit. Kermit is me.” Miller, who is effortlessly chic in a long black coat, “was born in Animal, with a rising in Miss Piggy,” while Larson, who has short hair with a glorious swoop in front, claims Gonzo, “the queer Muppet, obviously.”

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Read the Full Story at AnOther Man

 

Categories: AnOther Man, Music

Marina Muhlfriedel & Genevive Schorr: Backstage Pass

Posted on May 22, 2018

L to R: Backstage Pass band members Spock, Marina, Holly, and Genny (1977) © Jenny Lens, Punk Pioneers

One night in late 1975, Marina Muhlfriedel went to the Whisky a Go Go on LA’s Sunset Strip to check out the Runaways, a new girl band fronted by Joan Jett. Her excitement quickly faded when she realized their notorious manager Kim Fowley had the band playing into sex kitten stereotypes.

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After the show, Muhlfriedel gathered her girlfriends at the Rainbow Bar & Grill and they decided to do better. As fate would have it, Rodney Bingenheimer—a DJ and radio personality famous for breaking bands like Blondie and the Ramones—passed by the table. “Hey Rodney,” Muhlfriedel called out, “I just started a new girl band!” He asked their name, and she blurted out the first thing that came to mind: Backstage Pass.

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The band started getting buzz before they even started rehearsing. But by 1976, they were on their way, becoming one of the earliest bands in the LA punk scene and the city’s first mostly-female punk band. (Aside from a male drummer, the four main band members were women.)

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In its heyday, Backstage Pass toured California, playing alongside bands like Devo, Elvis Costello, the Screamers, the Weirdos, and the Nuns. They also helped build and launch The Masque, a legendary Hollywood punk club, before the band dissolved in 1979.

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VICE recently caught up with two key members of the band, Muhlfriedel (Marina del Rey) and Genny Schorr (Genny Body) about what it’s like being a punk pioneer and a woman in a male-dominated scene.

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Read the Full Story at VICE Online

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L: Tommy Gear (The Screamers) and Genny at Bomp Records (The Damned Instore), April 16, 1977. R: Joey Ramone, Genny, Arturo Vega Backstage at The Whisky, February 1977 © Jenny Lens, Punk Pioneers

L: Genny and Marina at Screamers Party Hollywood Hills with Billy Zoom (of the punk band X) and Top Jimmy, 1977. R: Holly Vincent backstage at Mabuhay Gardens in San Francisco for a Backstage Pass show with Mumps, June 1977. © Jenny Lens, Punk Pioneers

Categories: 1970s, Music, Vice, Women

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