Posts Tagged ‘rock and roll’
“Don’t hate the media; become the media”*…
Punk Planet was a 16,000 print run punk zine, based in Chicago, Illinois, that focused most of its energy on looking at punk subculture rather than punk as simply another genre of music to which teenagers listen. In addition to covering music, Punk Planet also covered visual arts and a wide variety of progressive issues — including media criticism, feminism, and labor issues.
The most notable features in Punk Planet were the interviews and album reviews. The interviews generally ran two or three pages, and tended to focus on the motivations of the artist (or organizer, activist, or whoever) being interviewed. Punk Planet aimed to be more inclusive than the well-known zine Maximum Rock and Roll, and tried to review nearly all the records it received, so long as the record label wasn’t owned or partially owned by a major label. This led to a review section typically longer than thirty pages, covering a variety of musical styles. Although much of the music thus reviewed was, expectedly, aggressive rock, the reviews also covered country, folk, hip-hop, indie rock, and other genres. The Punk Planet reviews section also encompassed independently released comics, zines, and DVDs…
The first issue of the zine was published in May 1994, in part as a response to the perception that Maximum Rock and Roll was becoming too elitist. In September 2006, Punk Planet had printed 75 issues of their bi-monthly publication, and in the fall of 2004 launched a book publishing arm, Punk Planet Books, in conjunction with the New York-based small press Akashic Books…
A number of poor distribution deals and the collapse of the Independent Press Association resulted in mounting debts for the editors. As a result, issue 80 was shipped with a cover reading: “This is the final issue of Punk Planet, after this the fight is yours.” Subsidiary business Punk Planet books remains in business…
The annals of punk, the subculture as much as the genre– the invaluable Internet Archive (@internetarchive) has digitized and made the full run available: “Punk Planet Archive.”
* Jello Biafra
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As we travel in time, we might recall that this date in 1959 was “the day the music died”: the day that a plane crash near Clear Lake, Iowa killed Buddy Holly, Ritchie Valens, J.P. Richardson (aka, The Big Bopper), and pilot Roger Peterson.
If Beethoven had been killed in a plane crash at the age of 22, it would have changed the history of music… and of aviation.
– Tom Stoppard

“Every record I put on was like a baptism”*…
The sensation of being “in the groove” is the holy grail of jazz. As the renowned drummer Charli Persip described it, “When you get in that groove, you ride right down that groove with no strain and no pain—you can’t lay back or go forward. That’s why they call it a groove. It’s where the beat is, and we’re always trying to find that.”
This expression from the Roaring Twenties is an allusion to an insect secretion. The close fit between a phonograph needle and the grooves in early shellac 78 rpm records determined the quality of the playback. Shellac—a resinous, amber-colored secretion of the tiny scale insect Kerria lacca—served as the key ingredient in the first generation of phonographic disks. Odd as it may seem, a gummy substance manufactured by bugs and their human hosts in South Asia was the pioneering medium for the transmission of recorded sound.
The curious story of how a sticky discharge from billions of insect bodies became a vehicle for the globalization of audio culture spans millennia and crosses oceans…
The miraculous properties, and fascinating history, of shellac: “Like Jazz, Bowling, and Old Hollywood Hairdos? Thank Insects.“
* Questlove, Mo’ Meta Blues
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As we gently lower the needle, we might send tuneful birthday greetings to James Marshall “Jimi” Hendrix; he was born (Johnny Allen Hendrix) on this date in 1942. Though his career as a front man lasted only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. Indeed, the Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music.”
“I’m Your Puppet”*…

What have you been doing during the COVID-19 Lockdown?
Binging on boxsets? Drinking too much? Self-medicating? Finding all your good clothes have shrunk from lack of wear?
All of the above?
George Miller spent his time lockdown making a set of beautiful marionettes featuring some of the biggest stars of rock ‘n’ roll, country, and R&B.
Miller is a Glasgow-based artist, singer, musician and iconic pop figure who’s better known as the front man to the legendary Kaisers and more recently the New Piccadillys…
Over the past few months, he would post a photograph of his latest marionette in progress. Sculpting heads of rock stars like Little Richard, Jerry Lee Lewis, Chuck Berry and Buddy Holly or country greats like Johnny Cash. They were beautiful, fabulous models, which were then dressed by Ursula Cleary and placed in boxes designed by Chris Taylor…

From the ever-illuminating Dangerous Minds, “Your favorite rock ‘n’ roll, country and R&B legends as marionettes.”
* song written by Dan Penn and Spooner Oldham; most famously recorded by James & Bobby Purify
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As we pull the string, we might recall that it was on this date in 1933 that the first singing telegram was delivered. On that day, a fan sent Hollywood singing star Rudy Vallee a birthday greeting by telegram. George P. Oslin, the Western Union public relations director, decided this would be a good opportunity to make telegrams, which had been associated with deaths and other tragic news, into something more popular. He asked a Western Union operator, Lucille Lipps, to sing the message over the telephone… et viola!
The initial response within the company was not-so-positive; Oslin recalled that he “was angrily informed I was making a laughingstock of the company.” But the service caught on. As relatively few telegram recipients had telephones in the 1930s, most telegrams, including singing telegrams, were first delivered in person. As the phone caught on, delivery shifted there– but demand for telegrams began to drop. Western Union suspended the service in 1974, though it survives as a novelty provided by independent companies.
“Soon silence will have passed into legend”*…

The idea behind myNoise is to use the noises you most enjoy to mask the noises you don’t want to hear: chatty colleagues, your tinnitus, or even your inner voice when you can’t shut it down! The concept is simple, works extremely well, and doesn’t require expensive noise-cancelling headphones. Thanks to its sound quality and unique audio engineering, myNoise sets the standard among online background noise machines…
Missing the buzz of the coffee shop? Anxious to mask unwanted audio distractions? Need to concentrate (or sleep)? MyNoise is ready to help.
[Image above: Flickr user Sascha Kohlmann, via]
* “Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation…tooting, howling, screeching, booming, crashing, whistling, grinding, and trilling bolster his ego. His anxiety subsides. His inhuman void spreads monstrously like a gray vegetation.” — the censorious Jean Arp (who, if he were alive today, might or might not agree that “if you can’t beat ’em, join ’em”…)
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As we bathe in sound, we might recall that it was on this date in 1955 that that Bill Haley & His Comets’ “Rock Around the Clock” reached number one on the Billboard charts– the first rock and roll record to ascend to that pinnacle.
Exactly one year later, Dick Clark began one of television’s longest-running stints as a host when he debuted Bandstand on WFIL, a Philadelphia TV station. The show was eventually picked up by ABC-TV and changed its name to American Bandstand.
“If you don’t have a plan, you become part of somebody else’s plan”*…

In 1955, a bank executive and a New York society photographer found themselves in a thatch-roofed adobe home in a remote village in the Mazateca mountains. Gordon Wasson, then a vice president at J.P. Morgan, had been learning about the use of mushrooms in different cultures, and tracked down a Mazatec healer, or curandera, named María Sabina. Sabina, about 60 at the time, had been taking hallucinogenic mushrooms since she was a young child . She led Wasson and the photographer, Allan Richardson, through a mushroom ceremony called the velada.
“We chewed and swallowed these acrid mushrooms, saw visions, and emerged from the experience awestruck,” Wasson wrote in a Life magazine article, “Seeking the Magic Mushroom.” “We had come from afar to attend a mushroom rite but had expected nothing so staggering as the virtuosity of the performing curanderas and the astonishing effects of the mushrooms.”
Appointing himself as one of the “first white men in recorded history to eat the divine mushrooms,” Wasson inadvertently exposed much of the Western world, and the burgeoning counterculture movement, to psychedelic mushrooms. On the other side of the globe, the Swiss drug company Sandoz received 100 grams of the mushrooms from a botanist who had visited Sabina on one of Wasson’s return trips. They went to the lab of Albert Hofmann (see here) the Swiss chemist who first synthesized LSD. In 1963, Hofmann traveled to Mexico with pills containing synthetic psilocybin, the active compound in magic mushrooms.
“We explained to María Sabina that we had isolated the spirit of the mushrooms and that it was now in these little pills,” Hofmann said during an interview in 1984. “When we left, María Sabina told us that these tablets really contained the spirit of the mushrooms.”
Hofmann’s pills were the first indication that while people can have spiritual and transcendent experiences from eating the mushrooms themselves, they can also have such experiences with a man-made version of just one of the mushroom’s compounds: psilocybin.
This development is particularly relevant today, as scientists study psychedelic mushrooms as potential treatment options for those who suffer from severe depression, addiction, and more. In clinical trials, such as those ongoing at Johns Hopkins University and Imperial College London, participants don’t eat caps or stems. They consume synthetic psilocybin, made in a lab by chemists in a way similar to how Hofmann first made his psilocybin.
It’s a necessary hurdle: Psilocybin mushrooms can be grown relatively easily, and aren’t expensive to produce. But researchers have to source their psilocybin from highly regulated labs because natural products vary, and researchers need consistency in chemical composition and dosage in order to do controlled studies. Clinicians need to know how much of a drug they’re giving to a patient, how long it takes to kick in, and how long it lasts; they also need to be sure their drug isn’t tainted with other chemicals. It also helps to be able to mass-produce large amounts and not be threatened by variables, like weather, that affect agricultural products.
As psilocybin moves closer to becoming a legal medicine meeting all the regulatory requirements, doctors won’t be writing prescriptions for mushroom caps or stems—and this will come at a certain cost. Johns Hopkins researchers have claimed they’ve paid labs $7,000 to $10,000 per gram of psilocybin, whereas the street price of magic mushrooms is around $10 per gram. Besides the cost of chemical materials, the steep sticker price comes from the labor required to adhere to the U.S. Food and Drug Administration’s strict drug-making standards, known as Current Good Manufacturing Practice.
It’s an unprecedented moment, and psychedelic culture must reckon with what it means for a magic mushroom to become a synthetic pill, to be picked up at your local pharmacy or from a doctor. There’s some wariness in the psychedelic community about what synthetic psilocybin represents: big business, questionable investors, and patents on experiences they think shouldn’t have a price tag or a profit margin. Since it’s a known natural compound, psilocybin itself cannot be patented, but the way it’s made and used can be. Already there are organizations applying for patents for their synthesis process, and innovators coming up with new ways to make large amounts of synthetic psilocybin, all seeking protection for their intellectual property…
The truth is, there is money to be made in psychedelics, and investors are flocking to back startups in the psychedelic and mental health spaces. The current antidepressant medication market was valued at $14 billion in 2018 and is estimated to grow to $16 billion in the next three to five years. Any drug company that can compete stands to become very wealthy…
As magic mushrooms make the shift from recreational drug to mental health treatment, patients won’t be eating caps and stems, but a synthetic product made in a lab—one that pharma companies can patent and from which they can profit: “Get Ready for Pharmaceutical-Grade Magic Mushroom Pills.”
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As we ponder the profound, we might recall that it was on this date in 1956 that city authorities in the California beach town of Santa Cruz announced a total ban on the public performance or playing of rock and roll music, calling it “detrimental to both the health and morals of our youth and community.”
It may seem obvious now that Santa Cruz’s ban on “Rock-and-roll and other forms of frenzied music” was doomed to fail, but it was hardly the only such attempt. Just two weeks later in its June 18, 1956 issue, Time magazine reported on similar bans recently enacted in Asbury Park, New Jersey, and in San Antonio, Texas, where the city council’s fear of “undesirable elements” echoed the not-so-thinly-veiled concerns of Santa Cruz authorities over the racially integrated nature of the event that prompted the rock-and-roll ban… (source)



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