If you haven’t seen it. I mean even if you have, it’s still outstanding.
In his acclaimed debut as a filmmaker, Ahmir “Questlove” Thompson presents a powerful and transporting documentary—part music film, part historical record created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park). The footage was never seen and largely forgotten–until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The feature includes never-before-seen concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Ray Baretto, Abbey Lincoln & Max Roach and more.
Summer of Soul premiered at the Sundance Film Festival, where it won both the Grand Jury Prize and Audience Award. It will stream on Hulu in conjunction with Disney’s new BIPOC Creator Initiative; Searchlight Pictures will release it theatrically.
Do proto-punks like the Stranglers think they could possibly be as hip as “the world’s coolest insurance salesmen”? Don’t they know it’s all mistakes? Who wins a fight between 5/4 and 6/8 time signatures?
Ringo Starr was more than just a lucky drummer who hooked up with The Beatles. This video makes the argument that his originality, technique, skill, patience, and influence all add up to making him an unqualified genius of his instrument. He was, by all meaningful ways, the FIRST rock and roll drummer.
Also want to add that something about this guy reminds me of Lurker.
Beneath the mayhem and incompetence, this is a good song with a great hook in the chorus. And the lyrics are as true as any. According to Wikipedia, Terry Adams of NRBQ likened their melodies to Ornette Coleman. I hear what he’s getting at. The long melodic lines appear to meander, but then they resolve into a nutty coherence. But I dunno that they remind me that much of Ornette Coleman. Since none of you can throw a beer at me for being a pretentious ass (today, at least), I’ll go ahead and submit that their melodic lines remind me of Hector Berlioz.
Love ’em or hate ’em, the Shaggs are a genuine enigma, and those are always interesting.
If you happen to run across an original pressing (you won’t), snap it up. They’e very rare and worth thousands.
In a just world, this guy should have been huge. I’ll be pre-ordering this shortly, the package which includes a 45 of the demo versions of “There She Goes” and “Walking Out On Love.”
After two long years of painstaking research and development, we present to you, the first major memoir covering the birth of DIY Power Pop, from Paul Collins. From it’s initial conception as a film script to it’s re-birth as a full-bore rock & roll revelation, this is one crazy story from beginning to end. Outlining the first National DIY cross-country tour by an unsigned band in 1977, and by default, creating the pathway for the true indie underground network of the 80s to take as a template. It wasn’t even a second thought for Collins and bandmates Peter Case and Jack Lee, but the underground rock & roll world is a better place for it. But until now, the real details of the origins of The Nerves, Breakaways, and The BEAT have eluded most of us, so with this tome of incredible survival stories from the trenches, Paul Collins opens up and reveals all the drama, victories and defeats with such an impassioned voice, you won’t be able to put it down. The coverage of the pre-Punk 1975 landscape of both LA and San Francisco is unmatched, and your mind will be BLOWN.
Featuring TONS of previously unseen photos, flyers and ephemera from the earliest days of The Nerves lineup as a FOUR PIECE, to the legal documents challenging The Paul Collins BEAT vs The English Beat, to the ill-fated Nerves reunion, and so much in between. Truly a smorgasbord of juicy details and revelatory discoveries await, balancing the failures with triumphs from the mid 1970s to the mid 2000s, when Paul returned to the touring circuit. From literally renting out a space for the first documented Punk show in Los Angeles in March of 1977, to The Screamers story about buying a copy of The Nerves EP at the Capitol Records swap meet and smashing it to pieces- it’s all in there, along with so many more soon-to-be-legendary tales from the real trenches you don’t usually rise out from unscathed….
Mr. Kwon Soon Keun: When I was young, my family was financially difficult. I played the drums because there was a scholarship program at school. I wanted to alleviate my parent’s financial burden. That’s why I am so grateful when I play the drums.
Obviously you have a lot of passion when you drum, when did your style first emerge?
Mr. Kwon Soon Keun: It’s not passionate. To me, it’s normal. I become one with the drum when I play it.