Podcasts about Ari Up

El m

El m

Ariadna D

Ariadna D

Vor 45 Jahren erscheint das Debütalbum "Nina Hagen Band" – das erste Album, das Nina Hagen zusammen mit ihrer westdeutschen Band aufgenommen hat. Eine Revolution der deutschen Musikszene. Das Album ist voller – damals unglaublich provokanter – weiblicher Selbstbeherrschung. Irgendwo zwischen Punkrock, Oper und Reggae angesiedelt. Eine ganze Generation von Mädchen und jungen Frauen hatten schon lange auf ein Album gewartet, dass ihnen eine Stimme gibt, selbstbewusst, selbstbestimmt und voller weiblicher Power. Nachdem Hagens Stiefvater Liedermacher Wolf Biermann 1976 aus der DDR ausgebürgert worden war, setzte sie sich zunächst für seine Wiedereinreise ein, folgte ihm aber, nachdem ihr Antrag abgelehnt worden war. Er wurde zu ihrem Mentor und verschafft Nina schlussendlich auch ihren ersten Plattenvertrag bei CBS Records. Das war ein unglaublicher Freifahrtschein. Ihr Weg führte Sie zuerst nach Hamburg, wo sie auf Udos Panikorchester traf bevor sie 1976 nach London ging. Hagen entdeckte während ihres Aufenthalts neue Musikstile und ließ sich vor allem vom Punk inspirieren. Sie traf sich mit Ari Up, der Leadsängerin der Band "The Slits" und gemeinsam schrieben sie den Song "Pank", der später auf dem Album erschien. Inspiriert von der Londoner Musikszene kehrte Hagen nach Berlin zurück und traf sich mit den Mitgliedern der Band Lokomotive Kreuzberg, Manfred Praeker, Herwig Mitteregger und Bernhard Potschka. Zu den drei Musikern gesellte sich anschließend Reinhold Heil und gemeinsam mit Hagen gründeten sie die "Nina Hagen Band". Im November 1977 unterschrieb die Band einen Vertrag mit CBS Records unter dem Management von Jim Rakete. Die meisten Songs ihres Debütalbums hatte Hagen bereits in der DDR geschrieben. Aufgenommen wurde das Album in den Hansa-Studios in Berlin. Dort wurden zu dieser Zeit große - auch internationale - Produktionen mit namenhaften Künstlern wie David Bowie oder Iggy Pop gemacht. Um es mit Nina Hagens Worten zu sagen "Sie wollte Quatsch machen und ein bisschen mit ihrer Stimme zaubern", was ihr auch gelungen ist. Das Album war ein kommerzieller Erfolg. In Deutschland erreichte es in der Spitze Platz elf. "Nina Hagen Band" wurde vom Bundesverband Musikindustrie mit Gold ausgezeichnet und hat sich über 250.000 Mal verkauft.Nina Hagen präsentiert sich bunt, schrill, politisch und unterhaltend. Sie steht für die weibliche Selbstbestimmung und weibliches Selbstbewusstsein und für die Befreiung der Frau. In "Nina Hagen Band" werden Themen wie die Kritik am Konsum, Sex zu Dritt und die Begeisterung für die Natur behandelt. So etwas gab es in der deutschen Musik bis dato nicht. __________ Über diese Songs vom Album "Nina Hagen Band" wird im Podcast gesprochen 19:24 Mins – "TV-Glotzer" 29:05 Mins – "Rangehn" 38:46 Mins – "Heiß" 43:42 Mins – "Unbeschreiblich weiblich" 50:43 Mins – "Naturtöne" 01:02:05 Mins – "Aufm Bahnhof Zoo" 01:09:45 Mins – "Pank" __________ Über diese Songs wird außerdem im Podcast gesprochen 07:32 Mins – "Du hast den Farbfilm vergessen" von Nina Hagen 23:39 Mins – "White Punks on Dope" von The Tubes 01:12:46 Mins – "Talk of 79" Phil Lynott __________ Konzertmitschnitt Nina Hagen Band Rockpalast 1978 in der ARD-Mediathek: https://www.ardmediathek.de/video/rockpalast/nina-hagen-band-westfalenhalle-dortmund-1978/wdr/Y3JpZDovL3dkci5kZS9CZWl0cmFnLTJmY2UxNWE3LTFlN2YtNDkxNC04YTEzLTg0MTRjMTM1MzNjNg Website zum Buch "She Bop: The Definitive History of Women in Popular Music" von Lucy O'Brian: http://lucyobrien.co.uk/books Das Album "Nina Hagen Band" bei Laut.de: https://www.laut.de/Nina-Hagen-Band/Alben/Nina-Hagen-Band-111460 __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

We push and pull on "Pistol", Hulu's slick and stylized miniseries which re-imagines  Steve Jones' autobiography, "Lonely Boy". "Pistol" presents one possible story of the birth and death of the Sex Pistols. We talk about the compromises inherent in telling any story, the merits of related documentaries, the truth and fiction behind "Pistol", and the impact of the Sex Pistols.--References:Official Trailer for "Pistol".  John Lydon's comment about the trailer and disclaimer about the series. The Filth and The Fury: Julien Temple's documentary about the Sex Pistols.$1000 in 1984 is worth $2850 today. "Her name was Pauline, she lived in a tree".Adam Curtis "The Trap", which talks a bit about London in the 1970s.No original members in Foreigner, Steve Jones "Mercy" (title track from his first solo album). Steve Jones PSA (though not the one I mention in the podcast). Chiefs of Relief "Freedom to Rock" (Steve Cook's post-Pistols band) Ari Up of The Slits.Here To Be Heard: documentary about The Slits.I Am A Cliché: documentary about Poly Styrene.--Michael Hateley:Lotus Mastering   http://lotusmastering.com/       Extra Fancy "You Look Like a Movie Star":https://youtu.be/0pE1TqlWHCkBaldyloks (Michael Hateley & John Napier):https://soundcloud.com/baldyloks-1Dee Madden:https://www.deemadden.com/Penal Colony “Blue 9” video:https://youtu.be/Fes9E3ea8FYDee Madden on Spotify:https://open.spotify.com/artist/4jsYxJ4QxzoGn9t0HRllPkAnu Kirk:https://www.anukirk.comAnu on BandcampSid Luscious and The Pants on BandcampLuscious-235 on BandcampRêvenir on Bandcamp

Dunia Best was a member of the very first incarnation of The Slackers. And after she left the band, she took a song she'd hope would be a Slackers song, "Walk," and started playing it acoustically. A friend suggested she could start her own band. That band, Agent 99 (1993-1995) played all over New York with No Commercial Value (Scott Sturgeon's first band), The Slackers, as well as punk and funk bands. Though Agent 99 was short-lived, many great musicians came through, like Ara Babajian (The Slackers, Leftover Crack), Alec Baillie (Leftover Crack), Jayson Nugent (The Slackers), and perhaps the most famous of all: Dunia's brother Ahmed Best, who would go on to play Jar Jar Binks in the Star Wars prequels. On today's episode, we talk to Dunia about her time in Agent 99 and the Slackers, but also get into newer projects like Brave New Girl, Dubistry, Rude Girl Revue and Dunia and Aram, who just released their debut LP called Bedfellows. We also talk about Dunia's non-ska influences (Steely Dan, Sade, Joni Mitchell), mind-numbing data-entry jobs, the trials of teaching music, and how being a fitness instructor doesn't pay a living wage. We also discuss the Fierce Pussy Fest and the formation of Riot Grrrls (Agent 99 was there!), and Dunia's deep friendship with Ari Up from The Slits. From Doo-Wop To Death MetalTwo music nerds form theories, explore hypothetical situations, and take deep dives...Listen on: Apple Podcasts Spotify Formidable OpponentsFunny and intense arguments about what is "the best" in the world of movies, music,...Listen on: Apple Podcasts Spotify Support the show

In which they discuss: The Album at The Centre of The Banshees' Split! Budgie leaves Liverpool for London - finds fluorescent socks and The Artful Dodger aka Steve Strange. / London's empty Apartments are a Network of Knowledge for Survival in Post-war Britain / Money was Scarce, Ideas were Plentiful.Budgie's management was Swingbest - The Sex Pistols management was Glitterbest / The London Scene was Exclusive - Budgie lands in its Centre as Drummer with The Slits Opening for The Clash on their ‘Sort it Out' tour / Budgie watched Topper watched Budgie / Lol hears the Beginning of Budgie's Style.From Island Records' Jamaica Hub in London to Ridge Farm Recording Studio in Surrey, Cut begins on Passion Sunday, April 1st 1979 / Viv Albertine and Mick Jones are the Romeo and Juliet of Viv's lyrics / No Punk Rock for Ari Up! / A 4 Week Emotional Roller Coaster but The Food was Amazing!Budgie's Trojan Records - Reggae Roots nurtured by Cut producer Dennis ‘Blackbeard' Bovell / Blackbeard ‘Moonlights' producing Linton Kwesi Johnson's album ‘Forces of Victory', back to back with ‘Cut' / Viv says, Budgie was an extraordinary man to find / Ari and Budgie connected with a Passion for Beats and Pulse / The Slits found Their Gang - started by original Drummer Palmolive / Budgie embraced the Spirit of Palmolive and found his Own / A Magic Time!Dedicated to: Ariane Daniele Forster - Ari Up (17 January 1962 – 20 October 2010)CONNECT WITH US:Curious Creatures:Website: https://curiouscreaturespodcast.comFacebook: @CuriousCreaturesOfficialTwitter: @curecreaturesInstagram: @CuriousCreaturesOfficialLol Tolhurst: Website: https://loltolhurst.comFacebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whooInstagram: @budgie646

In this Episode Lol and Budgie continue our talk with: Zola Jesus with whom, we discuss:Zola in LA - Seattle and Wisconsin / Sacred Bones and family.A Spiritual Strength to ground you / Zola's black metal box in the woods.Lol imagines a desert commune / A post-punk Kibbutz / Budgie acknowledges strong women.Zola battles the male power dynamic and the Dark Witch Goddess archetypeWomen in music - is it getting better? / Zola and the balance of masculine-feminine traits.Progress in the Present! / Is the record industry any better? / As Deviants, We Always find a Way! Budgie rediscovers Malaria and Berlin's community / Zola is channelling Brian Eno & BowieSo much Good music Then - So much Good music Now! / We are in a Transition period.An Emotionally Fertile Ground for Art Exists Now!Dedicated to: Ariane Daniele Forster - Ari Up (17 January 1962 – 20 October 2010)‘ARKHON ‘ - New Zola Jesus Album May 20 via Sacred Bones“ Stick around and then we'll see ”CONNECT WITH US:Curious Creatures:
Website: https://curiouscreaturespodcast.com
Facebook: @CuriousCreaturesOfficial
Twitter: @curecreatures
Instagram: @CuriousCreaturesOfficial  Lol Tolhurst:  Website: http://www.loltolhurst.comFacebook: @officialloltolhurst  Twitter: @LolTolhurst  Instagram: @lol.tolhurst  
Budgie:  Facebook: @budgieofficial  Twitter: @TuWhit2whoo
Instagram: @budgie646Zola Jesus:Website: http://www.zolajesus.comFacebook: @zolajesusofficialInstagram: @zolajesusTwitter: @zolajesusCurious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. 

Episode 45 of STARK REALITY features James Dier aka $mall ¢hange's in-depth interview with Honeychild Coleman, a longtime friend in NYC we met in the mid 90s at a loft party in Williamsburg.  She is an OG afro punk, rude girl, DJ, musician, an original. One of those ppl that keeps New York still New York, despite the yuppification of this town. Forward thinking politics and dope fashion. Top top ppls. And she keeps very busy. Originally from Kentucky, Carolyn / Honeychild fronts blues-punk outfit The 1865 (Mass Appeal Records) on vocals/baritone guitar, and spins records under DJ Sugarfree BK. plays on bass/sings in Post Punk trio Bachslider. Collaborators/ Projects: GKA, Heavensbee, Gracefully, Mad Professor, Apollo Heights, Death Comet Crew, Burnt Sugar, DJ Olive, Raz Mesinai's Badawi, etc etc In this interview we discuss black women's contribution to rock and roll, mixing politics and music, her various projects and the different playing styles for each group, the general stereotypes on black ppl, and the folks pushing beyond those parameters, gatekeepers/snobs in underground scenes, meeting Ari Up from the Slits and going on tour with them, her DJing and how her style has evolved. For more info about Honeychild go to www.honeychildcoleman.com and follow her on Instagram @hccoleman Honeychild also gives us a nice set of local / newer underground and punk sounds, featuring tracks from Simi, Mother Goddess, Tamar-Kali, Suffrajett and her own band The 1865.  To hear this exclusive Stark Reality Playlist, go to Episode 46 of STARK REALITY or on Apple Podcasts' STARK REALITY PLAYLISTS Episode 46. See omnystudio.com/listener for privacy information.

RockerMike and Rob discuss the Legacy of Lee “Scratch” Perry Lee "Scratch" Perry OD (born Rainford Hugh Perry; 20 March 1936[1] – 29 August 2021)[2][3] was a Jamaican record producer and singer noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks.[4] He worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, The Congos, Max Romeo, Adrian Sherwood, Beastie Boys, Ari Up, The Clash, The Orb, and many others. http://www.lee-perry.com/ https://www.nytimes.com/2021/08/30/arts/music/lee-scratch-perry-dead.html https://mobile.twitter.com/ScratchLee?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor https://www.npr.org/2021/08/30/1032554968/remembering-jamaican-producer-lee-scratch-perry https://www.facebook.com/perryscratch?__cmr=1&refsrc=deprecated&_rdr https://www.instagram.com/lee_scratch_perry/?hl=en Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net https://8bcded2xph1jdsb8mqp8th3y0n.hop.clickbank.net/?cbpage=nb Subscribe to the channel and hit the like button --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup #dj #djlife #jamaican #jamaicangirls #jamaicancuisine #jamaicanmusic #reggaeton #reggae #reggaemusic --- Support this podcast: https://anchor.fm/rob-rossi/support

One of the most inspired of producer Adrian Sherwood’s many collaborations is the early-’80s dub project New Age Steppers – a loosely-configured collective of British and Jamaican musicians that primarily centered on Sherwood’s studio alchemy and the distinctive singing of Slits vocalist Ari Up. The project mixes up bright reggae songs and experimental zoners and helped pave the way for the most adventurous sounds of the ’80s and ’90s. Sherwood went on to work with Nine Inch Nails, Ministry, Lee Scratch Perry, Sly & Robbie, KMFDM, Cabaret Voltaire, and many others. This year marks the reissue of all four New Age Steppers releases, along with the odds-and-ends package Avant Gardening, in a single package titled Stepping Into a New Age 1980-2021 on Sherwood’s storied label On-U Sounds. Chris Kissel and Chuck Soo-Hoo, hosts of dublab’s Contact Wave, host this in-depth conversation with Sherwood --- Support this podcast: https://anchor.fm/dublab-inconversation/support

We meet Adrian Sherwood, the founder of On-U Sound, who’s done things differently right from the start. He started the label at the height of London’s “punky-reggae” moment and quickly put out dozens of groundbreaking dub recordings from acts including Creation Rebel, African Head Charge, New Age Steppers and Tackhead. Drawing on a loose collective of improvisers and wildcards – including Ari Up, Annie Anxiety and Bonjo Iyabinghi Noah – Sherwood leveraged his lack of musical training to produce some of the most influential records of the ‘80s. In this episode he joins Chal from his home in Ramsgate to talk about squatting with Ari Up and Neneh Cherry, dub reggae philosophy, and why you should never trust a hippy. Check out the accompanying RELEVANT PARTIES Playlist on Spotify: https://bit.ly/relevantparties_playlist On-U Sound: http://on-usound.com | https://www.instagram.com/onusound | https://www.youtube.com/user/onusoundrecords Carhartt WIP: https://www.carhartt-wip.com | https://instagram.com/carharttwip

Episode 10 will be looking at the influential women of punk and new wave that revolutionized the way women were seen, heard, and represented in the music industry.  Women have made significant contributions to punk rock music and its subculture since its inception in the 1970s. In contrast to the rock music and heavy metal scenes of the 1970s, which were dominated by men, the anarchic, counter-cultural mindset of the punk scene in mid-and-late 1970s encouraged women to participate. This participation played a role in the historical development of punk music, especially in the US and UK at that time, and continues to influence and enable future generations. Women have participated in the punk scene as lead singers, instrumentalists, as all-female bands, zine contributors and fashion designers. Bands Include: Debby Harry, Chrissie Hynde, Exene Cervenka, Wendy O Williams, Annabelle Lwin, Souxsie Sioux, Dale Bozio, Terri Nunn, Pat Benatar, Annie Lennox, Belinda Carlisle, Poly Styrene, Ari Up, Joan Jett and Lita Ford

I’m still working away on season two of She’s a Punk. In the meantime, you’ll hear spotlights of some of our favourite women in punk history to hold you over until we’re back in full swing. Here, we shine a quick light on Ari Up.

Dr. Aram Sinnreich is a media professor, author, and musician. He currently serves as chair of Communication Studies at American University’s School of Communication. http://sinnreich.com Sinnreich’s work focuses on the intersection of culture, law and technology, with an emphasis on subjects such as emerging media and music. He is the author of three books, Mashed Up (2010), The Piracy Crusade (2013), and The Essential Guide to Intellectual Property (2019). He has also written for publications including The New York Times, Billboard, Wired, The Daily Beast, and The Conversation. In prior incarnations, Sinnreich worked at Rutgers University, NYU Steinhardt, OMD Ignition Factory, Radar Research, and Jupiter Research. As a bassist and composer, Sinnreich has played with groups and artists including reggae soul band Dubistry, jazz and R&B band Brave New Girl, punk chanteuse Vivien Goldman, hard bop trio The Rooftoppers, and Ari-Up, lead singer of The Slits. Along with co-authors Dunia Best and Todd Nocera, Sinnreich was a finalist in the 2014 John Lennon Songwriting Contest, in the jazz category. Chiron Armand is mentioned in this episode: https://www.impactshamanism.com Rendering Unconscious Podcast is hosted by Dr. Vanessa Sinclair, who interviews psychoanalysts, psychologists, scholars, creative arts therapists, writers, poets, philosophers, artists and other intellectuals about their process, world events, the current state of mental health care, politics, culture, the arts and more. Rendering Unconscious is also a book! Rendering Unconscious: Psychoanalytic Perspectives, Politics and Poetry (Trapart, 2019): www.trapart.net Rendering Unconscious Podcast can be found at: Spotify, iTunes, YouTube, Vimeo, SoundCloud... visit www.renderingunconsious.org/about for links To support the podcast visit: www.patreon.com/vanessa23carl For more, please visit the following websites: http://sinnreich.com www.drvanessasinclair.net/podcast www.renderingunconscious.org/about www.trapart.net www.dasunbehagen.org The music playing at the end of the episode is "Third Minds Think Alike" by Genesis Breyer P-Orridge & Carl Abrahamsson from the bonus 12" "Slowly/Third Minds Think Alike" accompanying the album "Loyalty Does Not End With Death" from iDeal Recordings: https://idealrecordings.bandcamp.com Photo of Dr. Aram Sinnreich

Echo Beach – more than 23 Years of DUB! Kaum ein kontinentaleuropäisches Label hat so viel für die Verbreitung, Pflege und Entwicklung jener exquisiten Geheimwissenschaft getan, die seit King Tubbys Tagen „Dub“ genannt wird, wie die Hamburger Institution Echo Beach. Die Geschichte begann vor 20 Jahren: Im Kooperation mit dem Musikmagazin Spex präsentierte Echo Beach mit KING SIZE DUB 1 die Sounds der britischen „Digidub“-Szene. King Size Dub entwickelte sich im Folgenden zur Kultserie mit insgesamt über 20 Folgen, darunter auch einem Schlaglicht auf deutsche und internationale Dub-Exkursionen mit zahlreichen exklusiven Versions. Echo Beach ebnete den Karriereweg des Berliner „Reggae-Dub-Pop“ Phänomens SEEED und erhielt für diese mehrfach „obilgatorische“ brachenübliche Edelmetall-Auszeichnungen. Weitere „signings“ von Bands wie DUB SPENCER & TRANCE HILL, iLLBiLLY HiTEC, DUBBLESTANDART, DUBXANNE, DUBMATIX u.v.a. sprechen nicht nur für aktuelle DUB-Dichte, sondern auch die unendlichen Co-Operations mit bedeuteten nationalen und internationalen Koryphäen des Genres wie DUB SYNDICATE, TACKHEAD, JAN DELAY, TON STEINE SCHERBEN, JAMARAM, LITTLE AXE, NOISESHAPER, ROB SMITH, RUTS DC, SLY & ROBBIE, Bally SaLEE SCRACT PERRY, THE SLACKERS, BAD BRAINS, ADRIAN SHERWOOD, ARI UP, AXIOM RECORDS, SENIOR ALL STARS, Up, BUSTLE & OUT, WILLIAM S. BURROUGHS, HORACE ANDY, DREADZONE, STEREO MC`s , UMBERTO ECHO, STEWART COPELAND, KLF, G.CORP, MANASSEH, CIDADE NEGRA, BLOOD & RIRE RECORDS, AFRICA UNITE, ALMAMEGRETTA u.v.a. Neben der „Verdubbung“ der BIBEL, finden sich auch spektakuläre Formate wie JAND DELAY IN DUB, TON STEINE SCHERBEN IN DUB, CHRISTMAS IN DUB, USA IN DUB, FRENCH DUB CONNECTION, NZ IN DUB, SOUTH AFRICA IN DUB und viele andere. Für unsere Sunday Joint Reihe legte der Labelchef nun einmal mehr selbst Hand an und setzt uns die Bass-Mütze auf. Zu hören gibt es heißen Stoff vom Label, aber auch abseitige Sound-Reminiszenzen mit einigen zwinkernden Sample Kommentaren, die in einem wabbernden Dub Monster münden.

Echo Beach – more than 23 Years of DUB! Kaum ein kontinentaleuropäisches Label hat so viel für die Verbreitung, Pflege und Entwicklung jener exquisiten Geheimwissenschaft getan, die seit King Tubbys Tagen „Dub“ genannt wird, wie die Hamburger Institution Echo Beach. Die Geschichte begann vor 20 Jahren: Im Kooperation mit dem Musikmagazin Spex präsentierte Echo Beach mit KING SIZE DUB 1 die Sounds der britischen „Digidub“-Szene. King Size Dub entwickelte sich im Folgenden zur Kultserie mit insgesamt über 20 Folgen, darunter auch einem Schlaglicht auf deutsche und internationale Dub-Exkursionen mit zahlreichen exklusiven Versions. Echo Beach ebnete den Karriereweg des Berliner „Reggae-Dub-Pop“ Phänomens SEEED und erhielt für diese mehrfach „obilgatorische“ brachenübliche Edelmetall-Auszeichnungen. Weitere „signings“ von Bands wie DUB SPENCER & TRANCE HILL, iLLBiLLY HiTEC, DUBBLESTANDART, DUBXANNE, DUBMATIX u.v.a. sprechen nicht nur für aktuelle DUB-Dichte, sondern auch die unendlichen Co-Operations mit bedeuteten nationalen und internationalen Koryphäen des Genres wie DUB SYNDICATE, TACKHEAD, JAN DELAY, TON STEINE SCHERBEN, JAMARAM, LITTLE AXE, NOISESHAPER, ROB SMITH, RUTS DC, SLY & ROBBIE, Bally SaLEE SCRACT PERRY, THE SLACKERS, BAD BRAINS, ADRIAN SHERWOOD, ARI UP, AXIOM RECORDS, SENIOR ALL STARS, Up, BUSTLE & OUT, WILLIAM S. BURROUGHS, HORACE ANDY, DREADZONE, STEREO MC`s , UMBERTO ECHO, STEWART COPELAND, KLF, G.CORP, MANASSEH, CIDADE NEGRA, BLOOD & RIRE RECORDS, AFRICA UNITE, ALMAMEGRETTA u.v.a. Neben der „Verdubbung“ der BIBEL, finden sich auch spektakuläre Formate wie JAND DELAY IN DUB, TON STEINE SCHERBEN IN DUB, CHRISTMAS IN DUB, USA IN DUB, FRENCH DUB CONNECTION, NZ IN DUB, SOUTH AFRICA IN DUB und viele andere. Für unsere Sunday Joint Reihe legte der Labelchef nun einmal mehr selbst Hand an und setzt uns die Bass-Mütze auf. Zu hören gibt es heißen Stoff vom Label, aber auch abseitige Sound-Reminiszenzen mit einigen zwinkernden Sample Kommentaren, die in einem wabbernden Dub Monster münden.

Echo Beach – more than 23 Years of DUB! Kaum ein kontinentaleuropäisches Label hat so viel für die Verbreitung, Pflege und Entwicklung jener exquisiten Geheimwissenschaft getan, die seit King Tubbys Tagen „Dub“ genannt wird, wie die Hamburger Institution Echo Beach. Die Geschichte begann vor 20 Jahren: Im Kooperation mit dem Musikmagazin Spex präsentierte Echo Beach mit KING SIZE DUB 1 die Sounds der britischen „Digidub“-Szene. King Size Dub entwickelte sich im Folgenden zur Kultserie mit insgesamt über 20 Folgen, darunter auch einem Schlaglicht auf deutsche und internationale Dub-Exkursionen mit zahlreichen exklusiven Versions. Echo Beach ebnete den Karriereweg des Berliner „Reggae-Dub-Pop“ Phänomens SEEED und erhielt für diese mehrfach „obilgatorische“ brachenübliche Edelmetall-Auszeichnungen. Weitere „signings“ von Bands wie DUB SPENCER & TRANCE HILL, iLLBiLLY HiTEC, DUBBLESTANDART, DUBXANNE, DUBMATIX u.v.a. sprechen nicht nur für aktuelle DUB-Dichte, sondern auch die unendlichen Co-Operations mit bedeuteten nationalen und internationalen Koryphäen des Genres wie DUB SYNDICATE, TACKHEAD, JAN DELAY, TON STEINE SCHERBEN, JAMARAM, LITTLE AXE, NOISESHAPER, ROB SMITH, RUTS DC, SLY & ROBBIE, Bally SaLEE SCRACT PERRY, THE SLACKERS, BAD BRAINS, ADRIAN SHERWOOD, ARI UP, AXIOM RECORDS, SENIOR ALL STARS, Up, BUSTLE & OUT, WILLIAM S. BURROUGHS, HORACE ANDY, DREADZONE, STEREO MC`s , UMBERTO ECHO, STEWART COPELAND, KLF, G.CORP, MANASSEH, CIDADE NEGRA, BLOOD & RIRE RECORDS, AFRICA UNITE, ALMAMEGRETTA u.v.a. Neben der „Verdubbung“ der BIBEL, finden sich auch spektakuläre Formate wie JAND DELAY IN DUB, TON STEINE SCHERBEN IN DUB, CHRISTMAS IN DUB, USA IN DUB, FRENCH DUB CONNECTION, NZ IN DUB, SOUTH AFRICA IN DUB und viele andere. Für unsere Sunday Joint Reihe legte der Labelchef nun einmal mehr selbst Hand an und setzt uns die Bass-Mütze auf. Zu hören gibt es heißen Stoff vom Label, aber auch abseitige Sound-Reminiszenzen mit einigen zwinkernden Sample Kommentaren, die in einem wabbernden Dub Monster münden.

William Badgley has made two music documentaries - Kill All Redneck Pricks: A Documentary Film about a Band Called KARP and Here To Be Heard: The Story of the Slits.Both bands were hugely influential, in vastly different ways for different generations. KARP has a small but mighty cult following, especially for the ‘90s Pacific Northwest, the scene that Badgley grew up in.The Slits were a wild band of young women in the first wave of UK punk. ‘they broke up in the early 80s, then reformed with 2 principal members in the oughts and kept touring until the death of singer Ari Up in 2010Badgley is wrapping up his documentary about Don Letts, the crucial link between London’s punk and reggae subcultures who is an archivist and filmmaker in his own right (and former manager of The Slits). I was able to catch an in-progress cut of the Letts film, Rebel Dread, at the Echo Park Film Center - so there’s some talk about that version which will be pretty different by the time of an official release.Follow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

Lee "Scratch" Perry OD (born Rainford Hugh Perry; 20 March 1936) is a Jamaican music producer and inventor noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks. He has worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, The Clash and many others.#leescratchperry #reggae #music #nowplaying

The Slits now-iconic 1979 debut Cut is an unusual, but delightful, melting pot of sounds: strains of UK punk mix with Jamaican reggae, girlish chants dance with abrasive DIY noise. Slipping between the grooves and finding a home within the mix — perhaps most indecipherably, or even curiously, to the casual listener — is the influence of the early-60s pop standards of Dionne Warwick and Burt Bacharach. Growing up in post-war Britain in the 1960s, Slits guitarist Viv Albertine heard plenty of Warwick’s hits while listening to pop radio. Later, as a scrappy young woman running around London with next to no money and not much to do in the early-to-mid ‘70s, she came across a compilation album — Dionne Warwick’s Golden Hits, Part One — in a used record shop with her bandmates. It became not just an album that they spent countless hours listening to together, playing it front-to-back over and over again, but one they — particularly Viv and lead singer Ari Up — would study, dissecting songs to their individual parts and taking note of the details, attempting to learn how to emulate Warwick and Bacharach in their own unique way. For the past 40 years, the Slits have served as touchstones for female musicians, often cited for blazing a necessary trail for the coming riot grrrl movement and beyond. Today, we have the privilege of being able to look to Viv Albertine, and the Slits as a whole, for inspiration and empowerment, and are finally beginning to see their important role in history recognized in more mainstream circles. But in their formative years, female role models, particularly musicians, were much harder to come by; Dionne Warwick was one of them. In this very special episode, we are so pleased to discuss Dionne Warwick’s Golden Hits, Part One with Viv Albertine herself. Join us for a wide-ranging conversation that touches upon Warwick, Bacharach, and Hal David’s influence on the Slits’ music, as well as their own lives as young women in late-70s and early-80s London, the importance of representation, and so much more.

Bay Area music critic and culture historian, Greil Marcus, discusses The Slits and former Slits guitarist Viv Albertine's new memoir as well as his fascination with The Manchurian Candidate.Transcript:Lisa Kiefer:Method to the Madness is next. You're listening to Method to the Madness, a biweekly public affairs show on KALX Berkeley, celebrating Bay Area innovators. I'm your host, Lisa Keifer, and today I'll be speaking with Bay Area native and resident Greil Marcus. Greil's has been writing about music and culture for the last 40 plus years, and today we're going to be talking about an event coming up as part of the Bay Area Book Festival. He'll be speaking with Viv Albertine, formerly of the seminal girl punk band, the Slits, on Sunday, April 29th at 3:15 PM at the David Brower Center, Goldman Theater, right here in Berkeley at 2150 Allston Way. Viv Albertine wrote a debut memoir in 2014 that was shortlisted for the National Book Award. Her new book is called To Throw Away Unopened. We'll be talking about that and much, much more.Did you ever see The Slits live?Greil Marcus:Nope.Lisa Kiefer:When did you first hear the Slits?Greil Marcus:You know, I heard the Slits, I was in England in 1980, and I went over there to do a story about the Raincoats and the Gang of Four and Essential Logic early in 1980, and met everybody, and in some cases had formed lifelong friendships out of that trip. And somebody handed me a record there. Yeah, it was called Once Upon a Time in a Living Room. It was the Slits official bootleg, or maybe, I don't know how official it was. It was on Y Records, and it was just the rawest stuff I'd ever heard in my life. I knew who the Slits were, I was aware of them. I heard their first album and it didn't knock me out, but this destroyed me.The first song, Once Upon a Time in a Living Room, starts off with one of them saying, "You're ready?" And someone else is, "Ready?" And then they just burst into laughter, and then there's this tremendous guitar chord coming down and that's it. There is just this storm of guitar noise with the most joyous back and forth, up and down yelping all through. It really is a song, even though at any given moment you, depending on how you're hearing it, it absolutely is noise. But there is a song, there is a musical theme. There are words, not that you could ever make them out. And I just thought it was the purest expression of punk I'd ever heard and I still do.Speaker 3:You're ready? Ready! Oh, no. (singing)Greil Marcus:I just fall over. How could anybody have the nerve to do this?Lisa Kiefer:They had no role models. It was so fresh. And I wonder, has there been anything so fresh as that period of time where the Sex Pistols emerged? They came on the scene, it was a short time, then they're gone. Do you think there's been anything quite like that?Greil Marcus:Yeah, there are analogies. There are parallels, maybe. Elvis at Sun Records in 1954 and '55. It was a similar explosion of creativity, and it brought people from all over the south to knocking on that same door saying, "Let me in. I want to make records too." And a lot of those people became legends, and there's creativity going on in hip hop, just unlimited. There are no borders. There's no bottom, there's no top. It's not just Kendrick Lamar, it's not just Kanye West. There is a group in Edinburgh called the Young Fathers, which is just tremendously playful and experimental, and at the same time, dead serious.Speaker 4:(singing)Greil Marcus:And I'm just talking about the few things I know, but in terms of coherence, with punk in England you have a time, you have a place, you have a scene, you have all different kinds of people who know each other, who are topping each other, who are learning from each other. Viv Albertine of the Slits, I want to be a guitarist. Well, she finds people who can show her how to be a guitarist, and there isn't envy and there isn't fear. I don't want to teach her, you know, she may end up outshining me. There isn't that spirit and it doesn't last very long. None of them. And yet that kind of camaraderie and a desire to speak and a desire to be heard, that was really what punk was all about, at least as I hear it. That was replicated all over the world and still is.One of the best stories about punk I ever heard was from a friend of mine who was spending time in Andalusia in Spain, and she's fluent in Spanish, and she was sitting in a cafe, and these kids came up to her and they said, "You're American, right?" And she said, "Yes." "But you speak Spanish." And she said, "Yes." And they said, "Well, we're punkies, and we have the Sex Pistols album, but we don't understand any of the words. Could you translate these songs for us?" So she did. And that led them, this little group of people who were trying, they didn't know if they wanted to form a band, if they wanted to put out a magazine, if they just wanted to do disruptive things in public, put on hit and run plays.That led them to rediscovering the history of their own town. The anarchist history of their own town, which had been completely erased and buried. And they started talking to older people, and they started digging into the libraries, and they realized that they were the heirs of a tradition that was being reenacted on this Sex Pistols record. And it gave them this tremendous sense of pride and identity. Now they didn't form a band, they didn't make any records, and yet that is a punk story. That is a story about a punk band, band of people as true and as inspiring as any other.Lisa Kiefer:It's a way of being, like as you've pointed out in many examples in Lipstick Traces, one of my favorite of your books.Greil Marcus:Oh, thank you.Lisa Kiefer:And I find myself going back to that. I mean I bought it when it came out, and the Lester Bangs collection that you edited.Greil Marcus:Sure.Lisa Kiefer:That I continue to go to, and that really opened my eyes. I was listening to this kind of music and I saw the cover and I thought, oh, this is a book about the Sex Pistols. So I start reading it and really it wasn't, but it educated me on the history, all the movements that I considered to be punk. From the Priests going up on Easter Sunday in 1950 and saying, "God is dead."Greil Marcus:In Notre Dame.Lisa Kiefer:Somewhere in France.Greil Marcus:Easter Mass in Notre Dame.Lisa Kiefer:And then, 10 years later, and John Lennon saying, "We're more popular than Jesus." I mean, this has been happening along the way.Greil Marcus:Yeah. And what was so fascinating to me, and the stories I end up trying to tell in Lipstick Traces was that it involved all sorts of people who were not unaware of each other, but are doing the same work, speaking the same language in different formal languages, whether it's English or French or German or whatever it might be.These are people who never met, who, if you told them, if you told the Dadaist Richard Huelsenbeck in the 1970s just before he died, that his real inheritors, his real soulmates were these people across town, he was living on the Upper West Side in Manhattan, people across town called the Velvet Underground, he might say, "I have all their albums." Or he might say, "Leave me alone. I'm a serious psychoanalyst." Who knows? But these people weren't aware of each other, and yet they are following in each other's footsteps and taking inspiration from other, whether they know it or not.Lisa Kiefer:Let's talk a little bit about what's going on Sunday and your conversation with Viv, her first memoir, and now I want to talk a little bit about musician memoirs. I love literature deeply and it's kind of my guilty pleasure to read all of these rock memoirs or whatever, whether it's Keith Richards, Kim Gordon. Have you read Kim Gordon's?Greil Marcus:Sure.Lisa Kiefer:Viv's first one, which is called Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys, it was so entertaining. I was so engaged and I didn't expect to be.Greil Marcus:You know, it's a marvelous book.Lisa Kiefer:You called it the best punk book ever.Greil Marcus:I think it is. I think if you want to get a sense of what impelled people, what drove people to step out of their shells, their shyness, their manners, their politeness and reinvent themselves and the joy they felt in doing so for a very brief period of time, this book will show you that, not just tell you, but show that to you, like no other book or film that I'm aware of. But you know, the title really sums up Viv Albertine, I think. Clothes, Clothes, Clothes, Boys, Boys, Boys, Music, Music, Music, which is what her mother once said. "That's all you care about. Clothes, clothes, clothes and boys, boys, boys and music, music, music." And she's, "Yeah, that's right." And there's a wonderful scene at the end of the book. She's in her fifties, she's been married and divorced, she has a daughter, she has this boyfriend and their relationship is not working.And at one point he just explodes, and he grabs her by the neck, and he's shoving her face into the carpet on the floor and she really feels he's trying to kill her, and she's struggling and she's thinking, but she takes you right into her head at that moment. And she says, "Here's a man who I've introduced to my mother and my daughter, who I've cooked for, who I've dressed. I've done everything for this person. And here I am wearing an applique blouse." And she goes and tells you exactly what clothes she's wearing at this moment. And he's pounding my face into the carpet. And she says, "You know, there's just no pleasing some people," and she has that sardonic attitude. But what have you got here? While there's no music in that scene, but you got the boys and you got the clothes, and there's an appendix that tells you what she was wearing and what she was listening to and who she was involved with in any given point of time in the many years covered by this book.The only analogy to that is a Jan and Dean album, the wonderful surf doo-wop group from the 50s and 60s, and it's a collection, and on the back of the album there's a concordance matching the car and girlfriend that Jan or Dean had at the time any given record was released. And what's really fascinating as you read through this is that both the cars and the girlfriends are constantly shifting back and forth between the two of them. They both have Corvettes. One gets a Porsche, the other gets a Maserati. One is going out with Jill, the other's going out with Debbie, and then Debbie is going out with the other one. It's just so funny to read. And so is Viv Albertine's book.Lisa Kiefer:Yeah, she starts her book saying, "I don't masturbate and I never had a desire to masturbate." That's how she starts the book. Later she's talking about Ari Up, who is their vocalist, that she takes a wee right on the stage. I mean, that had to be the first time ever for a girl band to, she had to go and that's where she did it. She was stabbed a couple of times. Really vivid, and you just get this idea that she was so courageous and brave and honest. She's talking about when she first started listening to T. Rex. And why? Because he was a little less aggressively masculine. And I can remember the same thing happened to me in my little town in the Midwest. No one was listening to T. Rex. They did not understand what I liked about Marc Bolan and I loved him, so I've really connected with this book on many levels.Greil Marcus:Yeah, and one of the things that I find so moving in her new book, it's called To Throw Away Unopened, which is another book. I hate to think of them as memoirs because both of these books are so imaginatively constructed, and they really are about things outside the writer's life. The writer is living in a world. The world is present in these books. I think of them as much more ambitious intellectually than memoirs. What happened to me, this all really happened. You should care about it. Why should I care about this? I don't care about this. You have to make me care.This is a book revolving around the death of her mother in 2014, which was at the time that she published her first book, and her conflicts with her sister, and the mystery of her parents' marriage and why it broke up, and who her parents really were. Things that she began to find out after her mother died. Putting all this stuff together, and yet you are always aware of a particular individual fighting to maintain her sense of self, which is constructed, which is self-conscious, which is real, but which could disappear and shatter at any time.There's one incident early on in the book, where she's talking about going to pubs, playing her songs. You know, she's got her guitar, she goes to places, she plays songs because she wants to be heard. She's not making money doing this. She's not supporting herself doing this. It's something she absolutely has to do. And she's in one pub, and there's a bunch of guys right up front who are really drunk and loud-mouthing and shouting and paying no attention to her at all, making it impossible for anybody else to pay attention to her. And there are people there who want to, and impossible for her to pay attention to what she's supposedly doing. So she asked him, "Could you maybe go to the back, maybe go to the bar. I'm trying to get these songs across." And they ignore her. They didn't even say (beep) you. Sorry, we're on the radio.Lisa Kiefer:I'll bleep.Greil Marcus:They don't say a word to her, they just ignore her. And so she gets up, she puts her guitar down, she gets up, she walks over to their table, she picks up a mug of ale, which is the closest thing to her, and she simply sweeps it across the faces of these four guys sitting at the table, and they look at her, absolutely stunned. And then she picks up another mug and she says it was a Guinness, which, this is Viv Albertine as a writer. Every detail is important. It's a Guinness. That's interesting. It's going to be thicker. It's going to stay in clothes more. It's actually going to be more unpleasant to have that thrown in your face.And she throws that in their face and she says, "Your punk attitude, it comes back to you when you need it." And there's a way in which that is sort of the key as I read it anyway, to this new book, as it comes back to you in terms of the the responsibility you have to not back down, to stand up for yourself, but also to stand up for things you believe are right and in jeopardy, to fight when you have to. And to be relentlessly honest, and not pretend you don't care when you do or that you do care when you don't.Lisa Kiefer:I've read her first book. The second isn't out yet. So are they going to be selling it on Sunday?Greil Marcus:Well, she's on a book tour.Lisa Kiefer:So I assume it'll be there.Greil Marcus:So presumably, you don't go on a book tour unless you've got a book that people can go out and get.Lisa Kiefer:And it is the Bay Area Book Festival.Greil Marcus:Yeah.Lisa Kiefer:So, it sounds like you think it's as strong as the first book, which was nominated for a National Book Award.Greil Marcus:It's very different. It's very different, and as writing, it certainly is strong. Whether the story is smaller in terms of the room that makes for the reader, maybe it is, I'm not sure. Viv Albertine is a remarkable person who's done exceptional things in her life, who has a tremendous sense of humor, who has a sense of jeopardy and danger.You can hear it in her music and you can feel it coming off the pages that she writes. I don't know what we're going to talk about. I don't know what this will be like. I just know that as someone listening to the record she made, seeing her play live, reading her books, that she is just a person who can go in any direction at any time. I saw her in 2009 at the Kitchen in Brooklyn, at a show with the Raincoats. She was opening for them, just herself and her electric guitar. Most of what she did was tell stories on stage, was talk. She played songs, but she was mainly telling stories, and it was the most entertaining and diverting and compelling stuff I'd seen in a long time. I was just hanging on every word, and she was both funny and sardonic and cruel to herself and anybody she might be talking about.And at one point she made some reference to how she looks. She was, I think, 54 then. She looked about 30. There was just no question. You say, "Is this real? Is this happening?" And she said, "Yeah, yeah, I know, it's the curse of the Slits." Well, one thing I'm going to ask her is, "What do you mean by that?" You know, the Fountain of Youth? What's going on here? You know, I met her once in, I think, 1991 in England.Lisa Kiefer:When she was doing films. She's a director.Greil Marcus:Yeah, she was a TV director. We were introduced and I said, "My God, you're Viv Albertine?" I'm like, wow. And she was saying, "No, I just, you know, I'm just doing this little TV crew." And I said, "No, this is a big deal for me to meet you." Well, it will be a big deal for me to meet her again.Lisa Kiefer:If you're just tuning in, you're listening to Method to the Madness, a biweekly public affairs show on KALX Berkeley, celebrating Bay Area innovators. Today I'm speaking with Greil Marcus, music critic and culture historian.You've written a monogram on The Manchurian Candidate sometime ago, and you introduced it as part of a film series at the Pacific Film Archive this week. What is your fascination with this Frankenheimer film?Greil Marcus:Well, I saw it when it came out in 1961, saw it at the Varsity Theater in Palo Alto with my best friend. I was 16 and came out of that movie shellshocked. I had never seen anything like it. The only analogy was, I guess the year before seeing Psycho in a theater across the street in Palo Alto. And when that chair turns around at the end of the movie, and you see this mummy, I think you could have peeled me off the ceiling of the theater. But that movie, ultimately it was a puzzle. It was a game. It was a tease for the audience. It wasn't about anything real. You didn't carry it with you. It wasn't like a waking bad dream. It wasn't like a bad conscience that this movie was passing onto, and that's what The Manchurian Candidate was. It was shocking in every way I could possibly account for, and at 16 couldn't begin to account for.I realize now that I had never seen a movie that so completely went to the edges of possibility of the medium itself. What I mean by that is I understood what movies could be after seeing The Manchurian Candidate, and I had never even thought the movies could or couldn't be anything before. The question wasn't even there. The only comparable experience was seeing Murnau's Sunrise quite a few years later and say, "Ah, now I understand this is what movies were meant to be, but almost never are."Lisa Kiefer:With Trump as our president, it's almost like he could be the Manchurian Candidate.Greil Marcus:Well, you know, since John McCain was first running for president and he was, you know, remember he was a prisoner of war and he was beaten and he was tortured. He was filmed, essentially confessing. And there were many people who began to spread rumors about him that he was, and this phrase was used, the Manchurian Candidate, that he had been brainwashed in Vietnam.And he had come back here as a kind of sleeper agent. And somebody once said to him, "How do you make decisions?" And he said, "Well, I just turn over the Red Queen," which is one of the clues in The Manchurian Candidate.Lisa Kiefer:Yeah, I brought one with me. I was going to try and brainwash you.Greil Marcus:Yes, exactly. The Queen of Hearts. That is a crucial marker in the film. But it wasn't that it was showing us a conspiracy to destroy our country, which is part of what the movie is about. And that we would then say, "Oh my God, this could happen. This is so scary. This is so terrible." Over the years, this is 1961 or '62, Kennedy, John F. Kennedy was involved in the making of the movie. He and Sinatra discussed it. Kennedy wanted Lucille Ball to play the role of the mother that Angela Lansbury ended up playing. Kennedy was weighing in on the casting.He and Sinatra were close at that time. Sinatra's the lead in the movie. Kennedy is assassinated in 1963, Malcolm X was later. It was Malcolm X who said that with Kennedy's assassination, the chickens had come home to roost. And then we just go through the decades, it's just a panoply of disaster, whether it's Wallace, whether it's Reagan, whether it's Malcolm X, whether it's Martin Luther King, whether it's RFK, and going on and on to Gerald Ford, two assassination attempts on him, and into the present.As each of these things happened, the movie comes back to people with more and more reverberation because the story, the sense that our politics don't make sense. This is that everything is happening in a world beyond our control, knowledge or even our abilities to comprehend.Lisa Kiefer:And there are so many secrets that we aren't able to know about.Greil Marcus:Yeah, this gets more and more present. So when you end up with a president, a candidate, and then a president who is at the very least beholden to, and at the very worst, under the control of another country, it's almost as if you can't make the Manchurian Candidate argument because it's too trivial. Well, this movie said, but that's what we carry around our heads.But what's shocking about the movie? I want to get back to that because if people haven't seen it, it was unavailable for many years. It was essentially, it wasn't banned in any legal sense, of course, but you couldn't see it for many, many years. It just felt wrong after Kennedy's assassination and it played on TV after Kennedy was assassinated, but then Sinatra controlled the movie. He pulled it. It didn't come out in video. It didn't show on late night TV. It didn't show in revival screenings. It just wasn't there.You could tell people about it as a kind of legend. Now it's available. People can watch it in any way they want, at any time they want. And one of the things that happens in this movie is violence. Violence that from the very first moment is wounding, is disturbing, is hard to take, and it's absolutely in your face. I mean that literally, the movie puts blood splatters in your face. It happens in a way that you're just desperate, as the movie is going on, for it not to go where you know it's going to go. This is not a movie with a happy ending. This has one of the most awful endings that I know. It is an ending of complete despair and self-loathing and hopelessness. The last words of the movie is Sinatra. "Hell, hell, hell!" That's how the movie ends. And there's a thunderclap. Bang. That's it. And you just walk out of there...Lisa Kiefer:Stunned.Greil Marcus:... and it's like your world has been taken away from you. None of this would matter if this movie wasn't made with tremendous glee and excitement on the part of the director and the writer and the editor and the cinematographer and Lawrence Harvey and Frank Sinatra...Lisa Kiefer:Great cast.Greil Marcus:... and Angela Lansbury and Janet Leigh and on and on and on. All these people are working over their heads. They've never been involved in anything that demanded so much of them, that is making them feel, this is what I was born to do. Can I pull this off? Can I make this work? Can I convince people this is who I really am, that I actually would do these terrible things, and going past themselves. None of the people in this movie, to my knowledge or the way I see it, ever did anything as good before or after.They never did anything as innovative. They never did anything as radical. They never did anything as scary. And whether or not they felt that way about their own work in their own lives, don't have any idea, but I don't think so.Lisa Kiefer:I do want you to mention your website, which I have found to be very interesting. What is that?Greil Marcus:Well, there's a writer named Scott Woods who lives in Canada, and he approached me a number of years ago and asked if he could set up a website to collect my writing and just be a gathering place. And I said, "Sure." It's greilmarcus.net, and he just immediately began putting up articles, old things I'd written, recent things I'd written in no particular order, no attempt to be comprehensive, at least not right away. He did it with such incredible imagination and flair, but he started a feature a few years ago. It has the rather corny title of Ask Greil where people write in and ask me questions, and it could be about a song, or a band, or politics, or history or anything, or novels, movies. And I just answered them. I answered them all immediately because if I didn't, they'd pile up and I'd never get back to them. Is Donald Trump a Russian agent? Well, here's why he might be, and that's a complicated argument. So I take some time to talk about it.Lisa Kiefer:Thank you for coming onto Method to the Madness and being our guest here at KALX.Greil Marcus:Well, thank you. It's a thrill to be on your show.Lisa Kiefer:That was musicologist Greil Marcus. He'll be in conversation this Sunday, April 29th at 3:15 with Viv Albertine, formerly of the Slits. This is part of the Bay Area Book Festival in partnership with the San Francisco Chronicle. They'll be speaking at the Goldman Theater of the David Brower Center at 2150 Allston Way. Tickets are $10 ahead.You've been listening to Method to the Madness. You can find all of our podcasts on iTunes University. We'll be back in two weeks. See acast.com/privacy for privacy and opt-out information.

Lee "Scratch" Perry OD (born Rainford Hugh Perry; 20 March 1936 in Kendal, Jamaica) is a Jamaican music producer and inventor noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks. He has worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, and many others.After the demise of the Black Ark in the early 1980s, Perry spent time in England and the United States, performing live and making erratic records with a variety of collaborators. His career took a new path in 1985 when he met Mark Downie (Marcus Downbeat) with whom he worked on the 1986 album "Battle Of Armagideon" for Trojan. It was not until the late 1980s, when he began working with British producers Adrian Sherwood and Neil Fraser (who is better known as Mad Professor), that Perry's career began to get back on solid ground again. Perry also has attributed the recent resurgence of his creative muse to his deciding to quit drinking alcohol and smoking cannabis. In his earlier days, the act of producing for Perry was a frenzied and ritualistic one where he stated that "he blew smoke into the microphone so that the weed would get into the song. Perry stated in an interview that he wanted to see if "it was the smoke making the music or Lee Perry making the music. I found out it was me and that I don't need to smoke

Lee "Scratch" Perry OD (born Rainford Hugh Perry; 20 March 1936 in Kendal, Jamaica) is a Jamaican music producer and inventor noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and studio effects to create new instrumental or vocal versions of existing reggae tracks. He has worked with and produced for a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, and many others.#crsradio.http://www.crsradio.com

Det brittiska bandet The Slits kom att revolutionera både mode och musik när de i september 1979 gav ut sin debutskiva Cut. Nej, riktigt så gick det inte till. Förändringen kom snarare att ske gradvis, och det var inte alltid de fyra kvinnorna i bandet som fick äran för sina nyskapande idéer, som att blanda in reggaerytmer i rocken, klä sig i både tyll och tunga kängor och ge fullkomligt den i att försöka spela på sin kvinnliga charm. I veckans STIL berättar vi mer om punkpionjärerna i The Slits. I likhet med många andra banbrytare var The Slits helt enkelt före sin tid, och istället för dem blev det The Clash som gratulerades till att ha fört in reggae i punken, Madonna, Cindy Lauper och Courtney Love som prisades för att se ut som om de klätt sig på fyllan med förbundna ögon – och riot grrrls för att ha fört fram ett feministiskt perspektiv inom musiken. Om man ska hårdra det hela. Men äras den som äras bör. Med sitt alternativa sätt att som kvinnor klä sig, och bete sig, på scen har The Slits banat väg för många andra kvinnor som inte vill nöja sig med att vara näpna.  The Slits sätt att närma sig musik var lika okonventionellt som deras val av kläder. The Slits hade inte någon större vördnad för rockhistoriska referenser, eller några traditionella gitarrhjältar som husgudar. De lyssnade på musik från Latinamerika, Afrika och Jamaica och värjde sig länge mot att kallas för ”punk”. ”Vi är inte punk, vi är The Slits och vi gör Slits-musik”, som de sade. I veckans program åker vi till London och träffar Viv Albertine. Hon spelade gitarr i The Slits och publicerade nyligen sin självbiografi som har fått översvallande god kritik, inte bara av musiknördar. Men så handlar boken om så mycket mer, vilket titeln skvallrar om: ”Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys”. Idag, då kroppsmedvetenheten är överallt förekommande och varenda selfie noga filtreras innan den läggs ut till allmänt beskådande, är det nästan svårt att greppa med vilken självklarhet de fyra kvinnorna i The Slits ansåg att de hade rätt att vara precis som de var. ”Jag är inte här för att bli omtyckt, utan för att bli lyssnad på”. Så svarade Ari Up, sångerskan i The Slits, när de fick kommentarer om hur de såg ut, och hur de betedde sig. Ari Up var bara 14 år gammal när The Slits bildades. Hon blev känd föra sin vilda scenpersonlighet, men också föra sina långa dreadlocks. Men varifrån kommer egentligen fördomen om att dreadlocks skulle vara smutsiga? Vi har pratar med konstnären och musikern Makode Linde. Det vara inte bara kvinnliga rockmusiker som började göra sig gällande under 1970-talets punk-era. Tiden gav också utrymme åt kvinnliga rockskribenter, och rockfotografer. En av dem var Roberta Bayley. Det är hon som har tagit omslagsbilden till en annan klassisk skiva från denna tid – den amerikanska gruppen Ramones debutplatta, från 1976. Ett omslag som lanserade en rocklook bestående av smala jeans, tajta tröjor och svarta skinnjackor. Vi har ringt upp Roberta Bayley i New York. Veckans gäst är Petter Wallenberg, skribent, producent och artist under namnet House of Wallenberg. Programmet är en repris från 19 september 2014.

Det brittiska bandet The Slits kom att revolutionera både mode och musik när de i september 1979 (för exakt 35 år sedan) gav ut sin debutskiva Cut. Nej, riktigt så gick det inte till. Förändringen kom snarare att ske gradvis, och det var inte alltid kvinnorna i bandet som fick äran för sina nyskapande idéer, som att blanda in reggaerytmer i rocken, klä sig i både tyll och tunga kängor och ge fullkomligt den i att försöka spela på sin kvinnliga charm. I veckans STIL berättar vi mer om punkpionjärerna i The Slits. I likhet med många andra banbrytare var The Slits helt enkelt före sin tid, och istället för dem blev det The Clash som gratulerades till att ha fört in reggae i punken, Madonna, Cindy Lauper och Courtney Love som prisades för att se ut som om de klätt sig på fyllan med förbundna ögon – och riot grrrls för att ha fört fram ett feministiskt perspektiv inom musiken. Om man ska hårdra det hela. Men äras den som äras bör. Med sitt alternativa sätt att klä sig, och bete sig, på scen har The Slits banat väg för många andra kvinnor som inte vill nöja sig med att bara vara näpna. The Slits sätt att närma sig musik var lika okonventionellt som deras val av kläder. The Slits hade inte någon större vördnad för rockhistoriska referenser, eller några traditionella gitarrhjältar som husgudar. De lyssnade på musik från Latinamerika, Afrika och Jamaica och värjde sig länge mot att kallas för ”punk”. ”Vi är inte punk, vi är The Slits och vi gör Slits-musik”, som de sade. I veckans program åker vi till London och träffar Viv Albertine. Hon spelade gitarr i The Slits och är nu aktuell med sin självbiografi som har fått översvallande god kritik, inte bara av musiknördar. Men så handlar boken om så mycket mer, vilket titeln skvallrar om: ”Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys”. Idag, då kroppsmedvetenheten är överallt förekommande och varenda selfie noga filtreras innan den läggs ut till allmänt beskådande, är det nästan svårt att greppa med vilken självklarhet de fyra kvinnorna i The Slits ansåg att de hade rätt att vara precis som de var. ”Jag är inte här för att bli omtyckt, utan för att bli lyssnad på”. Så svarade Ari Up, sångerskan i The Slits, när de fick kommentarer om hur de såg ut, och hur de betedde sig. Ari Up var bara 14 år gammal när The Slits bildades. Hon blev snabbt känd för sin vilda scenpersonlighet, och så småningom även föra sina långa dreadlocks. Men varifrån kommer egentligen fördomen om att dreadlocks skulle vara smutsiga? Om det har vi pratat med konstnären och musikern Makode Linde. Det vara inte bara kvinnliga rockmusiker som började göra sig gällande under 1970-talets punk-era. Tiden gav också utrymme åt kvinnliga rockskribenter, och rockfotografer. En av dem var Roberta Bayley. Det är hon som har tagit omslagsbilden till en annan klassisk skiva från denna tid – den amerikanska gruppen Ramones debutplatta, från 1976 - ett omslag som lanserade en rocklook bestående av smala jeans, tajta tröjor och svarta skinnjackor. Vi har ringt upp Roberta Bayley i New York. Veckans gäst är Petter Wallenberg, skribent, producent och artist under namnet House of Wallenberg.

Ari-Up, the punk reggae singer from The Slits, discusses her anarchic philosophies on life, interluded with clips of her in London, performing on stage and interacting with the street.www.poppieskold.com

PUNKCAST#1328 Ari Up of The Slits talks about her outlook on life. Dir: Poppie Sköld.. More info: http://punkcast.com/1328