• Essential Records | Lady B

    Video sourced from isaiahsway

    Lady B
    To The Beat Y'all
    Old School Hip Hop
    TEC Records

    Lady B is from Philadelpia. She's one of the earliest female rappers in history. She currently hosts a radio show on Sirius.



  • Essential Records | Non Band

    Non Band were a Japanese No-Wavey, New Wavey, Tribally, Spazzy, Thumping, Bumping, Post Punky outift who released their self titled album in 1982. It's essential to any record collection.





    NON Band Blog (Japanese)
    Download "Duncan Dancin" and a nice collection of rare and obscure post punk goodness here

  • Essential Records | Section 25

    Section 25
    Always Now
    Post Punk
    Factory Records
    Production credits on various albums include: Bernard Sumner of New Order, Ian Curtis of Joy Division and the late Martin Hannett, a man responsible for a lot of good records.

    Image sourced from Acknowledged Classic
  • Essential Records | Space

    Sourced from rafatribe

    Space were an electronic band from France that were active from 1977 - 1980. They pioneered the Space Disco and the Eurodance Electronica genre.

    Wikipedia | Official | Myspace

  • Essential Records | Top Free Jazz Albums According to Thurston Moore



    This list, originally published in the brilliant but defunct, Grand Royal Magazine, has been circulating for years. What's most striking is Moore's enthusiastic writing when describing these nuggets. What's even better is that Rootstrata uploaded these albums for you to download.




    1. DAVE BURRELL - Echo (BYG 529.320/Actuel Volume 20)

    In the fall of 1969 Free Jazz was reaching a kind of nadir/nexus.
    Within the industry it was controversial. Classic traditionalists
    (beboppers included) were outraged by men in dashikis and sandals
    jumping on stage and just BLOWING their guts out creating screaming
    torrents of action. Most musicians involved with this crying anarchy
    could get no bookings beyond the New York loft set. The French lovers
    of the avant-garde embraced this African-American scene wholly. This
    recording is one of many in a series of LP’s with consistent design.
    BYG released classic Free Jazz documents by Archie Shepp (at his
    wildest), Clifford Thornton, Art Ensemble of Chicago, Grachan Moncur
    III, Sunny Murray, Alan Silva, Arthur Jones, Dewey Redman and many
    others. A lot of these cats are present on this recording where from
    the first groove it sounds like an acoustic tidal wave exploding into
    shards of dynamite. If you can locate Alan Silva’s “Lunar Surface” LP
    (BYG 529.312/Actuel Vol. 12) you’ll find a world even that much more



    2. MILFORD GRAVES & DON PULLEN - Nommo (S.R.P. LP-290)

    Milford may be one of the most important players in the Free Jazz
    underground. He enforces the sense of community as a primary exponent
    of his freely improvised music. His drumkit is home-made and he rarely
    performs outside of his neighborhood. When he does perform he plays
    his kit like no other. Wild, slapping, bashing, tribal freak-outs
    interplexed with silence, serenity and enlightened meditation. This LP
    was manufactured by the artists in 1967 and is recorded live at Yale
    University. The interplay between Milford and Don (piano) is
    remarkable and very free. There’s a second volume which also is as
    rare as hen’s teeth.




    3. ARTHUR DOYLE Plus 4 - Alabama Feeling (AK-BA AK-1030)

    Arthur is a strange cat. Not too many people know where he’s from
    (Alabama is a good guess). He resided in New York City in the 70’s and
    showed up in loftspaces spitting out incredible post-Aylerisms. Mystic
    music which took on the air of chasing ghosts and spirits through
    halls of mirrors (!). He hooked up with noise/action guitarist Rudolph
    Grey who was making the current No-Wave scene and with Beaver Harris
    (drums) they played gigs in front of unsuspecting art creeps
    apparently not “hip” enough to dig, let alone document, the history
    blasting their brains. Arthur did release this lo-fi masterpiece and
    it’s a spiraling cry of freedom and fury. AKBA Records released a
    number of classic NYC loft-jazz sessions, most notably those of label
    boss Charles Tyler, a screaming tenor player who also blew with
    Rudolph in the late 70’s/early 80’s. Arthur continues to play/teach
    etc. in Binghamton, N.Y. and recently released in 1993 “More Alabama
    Feeling” on yours truly’s Ecstatic Peace label (available from Forced
    Exposure/POB 9102/Waltham, MA 02254)



    4. SONNY MURRAY - Sonny’s Time Now (Jihad 663)

    Sonny was the drummer considered to be the first to realize and
    recognize and perform, on drums, pure FREE jazz. He played behind and
    along with Ayler early on and Cecil Taylor. He constructed groups
    which always flew and raged with spiritual abandon. He took time as an
    abstract and turned it into free motion. This recording is super-lo-fi
    and is awesome. On it play Ayler(tenor) and Don Cherry (trumpet) as
    well as Leroi Jones (now known as Amiri Baraka) reading a killer poem
    called “Black Art”. This music is very Ayler but more fractured and
    odd. Like a lot of these records there is only a front cover with the
    back of the jacket blank. Whether this was done for economic or
    artistic reasons is unclear. Jihad was a concern of Leroi Jones and
    anything released on this label is utterly obscure. The only other
    title I’ve seen is one just called “BLACK AND BEAUTIFUL” from the
    mid-60’s which is Leroi and friends sitting on the stoops of Harlem
    chanting, beating drums and celebrating Leroi’s “poems” (”The white
    man/at best/is..corny!”) There was an ad for Jihad in an old issue of
    Jazz & Pop magazine which announced a Don Ayler (Albert’s amazing
    trumpet-playing bro) LP but I’ve yet to meet anyone who’s actually
    seen this. “Sonny’s Time Now” was reissued a few years ago in Japan
    (DIW-25002) on CD and LP (with an enclosed 7″ of two extra scratchy
    tracks!) but even that is near impossible to locate. Recorded in 1965.




    5. THE RIC COLBECK QUARTET - The Sun Is Coming Up (Fontana 6383 001)

    Issued in the UK only in 1970. Ric was an interesting white cat who
    came to the U.S. to blow some free e-motion with NYC loft dwellers.
    He’s most well known for his amazing playing on the great Noah
    Howard’s first ESP-Disk release (ESP 1031). The whole 1000 series of
    ESP is critical & crucial to anybody wanting to explore this era of
    Free Jazz featuring recordings by Ayler, Ornette, Sonny Simmons, Sun
    Ra, Henry Grimes, Steve Lacy, Sunny Murray, Marzette Watts, Patty
    Waters, et al. I’m not including any of these in this list as they’re
    all available on CD now (from Forced Exposure, address above). The
    picture of Ric on the Noah Howard LP shows a man with race-car shades
    and a “cool” haircut playing his horn while a ciggie burns
    nonchalantly from his relaxed grip. A very hip dude. And very FREE.
    His only solo recording is this Fontana LP which he recorded while
    cruising through Europe. He connected with South African drummer
    Selwyn Lissack (whatever happened to…) and the UK’s famous
    avant-altoist Mike Osborne and bassist J.F. ‘Jenny’ Clark (student of
    20th century compositionists Lucian Berio and Karlheinz Stockhausen)
    to create this exceptional and complex masterpiece.




    Tchicai is a 6′6″ Danish/Congolese tenor sax player who, in the early
    60’s, started blowing minds all across the Netherlands with his
    radical “music for the future”. Archie Shepp encouraged him to come to
    NYC and join like-minded souls of avant-guardia. Tchicai came over and
    kicked everybodys ass. Leroi Jones shouted his name and talent loudly
    as Tchicai hooked up with Shepp and Don Cherry for the New York
    Contemporary Five and later an even heavier ensemble with Milford
    Graves and Roswell Rudd called the New York Art Quartet. The NYAQ
    recorded one of the most crucial sessions for ESP-Disk (esp1004) which
    had Leroi reciting his infamous BLACK DADA NIHILISMUS (available on CD
    from Forced Exposure). AFRODISIACA was released in Germany (and in
    other re-release configurations…supposedly) and is Tchicai gathered
    with 25 other local-Euro musicians playing a hurricane of a piece by
    trumpet/composer Hugh Steinmetz. This music gets way way out and has
    the real ability to take you “there”. The echo effect on some of this
    shit is quite ill in a very analog way. And the way the shit gets that
    dirty-needled distortion at the end of side one (all 25 cats GOING AT
    IT!) is beautiful, baby, BEAUTIFUL!!






    7. RASHIED ALI and FRANK LOWE - Duo Exchange (Survival SR101)

    Frank Lowe has been studying and playing a consistently developing
    tenor sax style for a few decades now. At present he’s been swinging
    through a Lester Young trip which can be heard majestically on his
    Ecstatic Peace recording (E#19..from Forced Exp.) In the early 70’s,
    however, he was a firebrande who snarled and blew hot lava skronk from
    loft to loft. He played with Alice Coltrane on some of her more out
    sessions. Rashied Ali was the free-yet-disciplined drummer whom
    Coltrane enlisted to play alongside Elvin Jones and Pharaoh Sanders
    (and Alice) in his last mind-bending, space-maniacal recordings (check
    out surely the Coltrane/Ali duet CD Interstellar Space). Elvin quit
    the group cuz Rashied was too hardcore. Those were the fuckin’ days.
    And Rashied had his own club downtown NYC called Ali’s Alley! Duo
    Exchange is Rashied and Frank completely going at it and just burning
    notes and chords where ever they can find ‘em. Totally sick. Survival
    was Rashied’s record label which had cool b&w matte sleeves and some
    crucial releases mostly with his quartet/quintet and a duo session
    with violinist LeRoy Jenkins.




    8. THE PETER BROTZMANN SEXTET/QUARTET - Nipples (Calig - CAL30604)

    The influence of Free Jazz-era Coltrane, Ayler, Esp-disk, Shepp, etc.
    on hard drinking, knuckle-biting European white cats is formidable.
    These guys didn’t care so much about plaing “jazz” as just totally
    ripping their guts out with high-energy, brain-plowing NOISE.
    Brotzmann (sax, German), Evan Parker (sax, UK), Derek Bailey (guitar,
    UK), and Han Bennink (drums, Dutch) are a few of the spearheaders of
    this Free-Euro scene and are caught on this insanely rare early
    document. The b&w cover has a fold-out accordion post card set of
    personal images of the musicians glued and paperclipped to its front.
    Brotzmann went on to help further the critical documentation of the
    Euro-Free-Jazz scene with FMP (Free Music Productions) Records which
    still exists to this day. There are over a 100 releases on this label
    of pure Euro-improv and they all offer remarkable moments. Derek
    Bailey went on to create his own categorically similar Incus Records
    in the UK which is also still extant. As is the Han Bennink associated
    I.C.P. (Instant Composers Pool) Records. The most mind-blasting of
    these recordings may be MACHINE GUN (FMP 24 CD available from
    NorthCountry Distr./Cadence Bldg./Redwood, NY 13679) where Brotzmann
    leads an octet through a smashing clanging wonderland of noise.
    Improvisation and classic western musics are seriously tended to by a
    large Euro community and it’s all pretty fascinating. Check out the
    works of Alexander von Schlippenbach, Barry Guy & The London Jazz
    Composers Orchestra, Misha Mengleberg, Peter Kowald, Andre Jaume,
    Andrea Centazzo, Lol Coxhill and just about anybody who plays with




    Marzette was a serious black art cat who resided in downtown NYC when
    Free Jazz as a NEW cultural revolution was in full gear. He painted
    and composed wonderful music where some of the coolest locals could
    flow their flavor. One of the heaviest ESP-disk recordings is
    Marzette’s MARZETTE AND COMPANY (On CD from Forced Exposure) which has
    the incredible talents of saxist Byard Lancaster (who released an
    early indie b&w Free Jazz classic out of Philly called LIVE AT
    MCALLISTER COLLEGE - find it and send it to me..) and guitarist Sonny
    Sharrock (check his wild influence on Pharaoh Sanders’ TAUHID Impulse
    CD and his own obscure noise guitar masterpiece BLACK WOMAN on Vortex)
    and cornetist Clifford Thornton (academic NEW MUSIC/Free Jazz
    “teacher” who released a few crucial sides such as COMMUNICATIONS
    NETWORK on Third World and THE PANTHER AND THE LASH on America) and
    the amazing free vocalist Patty Waters (who recorded two infamous
    hair-raising platters on ESP-Disc). This recording on Savoy was one of
    a series produced by Bill Dixon, an early associate of Archie Shepp’s,
    who was an incredible composer in his own right. I’ve heard tapes of
    Dixon leading Free-Jazz orchestras into sonic symphonic heavens. Very

    This recording I list because of all its obvious loaded references but
    it’s also quite happening and anything with Marzette, Dixon
    (especially INTENTS AND PURPOSES on RCA Victor), Byard (careful,
    there’s some clinkers) and Clifford is extremely worthwhile.





    10. MARION BROWN - In Sommerhausen (Calig 30 605)
    BLACK ARTISTS GROUP - In Paris, Aries 1973 (BAG 324 000)
    FRANK WRIGHT QUARTET - Uhuru Na Umoja (America 30 AM 6104)
    CECIL TAYLOR - Indent, part 2 (Unit Core 30555)

    Five way tie for last? Well, seeing as there’s no “beginning” or “end”
    to this shit I have to list as many items as possible just to
    reiterate the fact that there was (indeed) a ton o’ groovy artifactual
    evidence to support the reality of the existence of FREE MUSIC. Dig?
    There’s used record stores all over the country (the world!) and they
    all have the potential to be hiding some of these curios amongst the
    bins and most peeps just ain’t sure of their worth and sometimes you
    can find ‘em really cheap. It’s definitely a marketplace of the
    rarefied so when peeps are “hip” to it expect this shit to be way

    Marion Brown was/is an alto player who made an incredible LP with Tony
    Oxley and Maarten Altena called “Porto Novo” that just twists and
    burns start to finish. Marion could really get on OUT as well as just
    play straight up. Shepp dug him and got him to do some great LP’s on
    Impulse. He had a septet at one point that was especially remarkable
    featuring Beaver Harris (drums), Dave Burrell (piano), Grachan Moncur
    III (bone), and Alan Shorter (trumpet). Alan being Wayne Shorter’s
    (Miles Davis sideman/classicist) brother. Where Wayne was fairly
    contemporary (though eclectic as a muh’fuck) Alan was strictly ill and
    has two obscuro LP’s worth hunting down: “Orgasm” (Verve V6 8768) and
    “Tes Estat” (America AM 6118). “In Sommerhausen” is Marion in late
    60’s exploratory fashion and is quite freaky with the vocal whoops of
    Jeanne Lee. There’s another LP from this period called
    “Gesprachsfetzen” (Calig CAL 30601) which really lays down the scorch.

  • Essential Records | Zoo - Hard Times, Good Times

    Zoo were a French funk, rock, fuzz band that sang in English, which is most likely why the lyrics aren't that great. At any rate, they were probably big with the Cocaine set and their video is groovy.


    Via Crotchbat

  • Fishing With Ween


    Dean Ween of the band Ween is an avid fisherman, with his own fishing club Brownie Troop 666.  He also has his own internet fishing TV show that takes him all around New Jersey looking for fish.  Below are two clips. In the first one he's in Trenton looking for stripped bass and drugs. In the second he takes the Butthole Surfers fishing in Manasquan. Below that is my favorite Ween song. I'm hoping he'll eventually take "The Situation" and "Snookie" from Jersey Shore fishing in Seaside Heights.






    There was another great fishing show, Fishing With John, in which John Lurie of The Lounge Lizards took his friends, like Jim Jarmusch, Tom Waits, Dennis Hopper, Willem Dafoe & Matt Dillon fishing around the world. Below are the Jim Jarmusch and Tom Waits episodes. Respect the theme song.



    Categories: sports, Music, Fishing, TV
  • For Arthur Russell Fans | Check out Henri Texier (He is just as beautiful)


    Henri Texier is a French jazz double bassist born in Paris, perhaps best-known for his 1960s work with Don Cherry and for his 1980s band the "Transatlantik Quartet", which featured Joe Lovano, Steve Swallow and Aldo Romano. He also worked with several other American musicians in Paris jazz clubs, including Johnny Griffin, Phil Woods, Bill Coleman and Bud Powell.

    Texier is a self-taught jazz bassist, crediting Wilbur Ware most as an influence. Throughout the 1970s Texier remained active in Europe on the jazz scene, performing with musicians such as Gordon Beck, John Abercrombie and Didier Lockwood, among others. In 1982 he formed a quartet with Louis Sclavis and others.


    Henri Texier | Le Piroguier

  • From Kenneth Anger to Bobby Beausoleil to The Wizard of Oz

    In the sixties Kenneth Anger, who's often called the "Godfather of experimental cinema", lived in San Francisco in a house referred to as the Russian Embassy, probably because it was the ex-embassy of Tzarist Russia. Bobby Beausoleil... you know the guy who Love named their band after... who then went on to murder people for Charles Manson, and then wrote the music to Anger's Lucifer Rising while in prison after Jimmy Page failed to turn in the score on time... well...he lived in that house too. Below is a picture of him in front of the house.

    I'm sure you can imagine the type of wierd shit that went on in this house. One of the things I find most interesting about it is the library, which was stocked with hundreds of books on magick and volumes and volumes of fascinating stuff including the collected works of L. Frank Baum's Oz books.  This collection would later inspire Beausoleil to start the band, The Magick Powerhouse of Oz, which would set the foundation for the tunes he would later re-work in prison for the film. The record is a fucking amazing psych album that appears regularly on "Best of" lists. Below is the album cover and two songs from the recordings, all of which can be downloaded here.



    To read more about this project, the Embassy and Beausoleil's account of his time spent with Manson you should read this interview with Beausoleil here.



    Above are recent photographs of Anger, taken nearly 40 years after the Embassy episodes described. The photographs were taken in and around Hollywood by journalist and photographer, Mark Barry, who met up with Anger for a story that appeared in Bizarre Magazine. The story reads a little bit like Interview with a Vampire.

    “Don’t disobey me. Do as I say and don’t talk back!” waspishly screamed the author, artist and filmmaker,
    waving his fist and practically foaming at the mouth. This was not really an interview; this was more like a strange brief encounter with Kenneth Anger. “I can be charming,” he explained staring straight into my eyes, “but I’m not going to be!” This is a man whose volatile temperament is renowned and recently due to a rare medical condition hadn’t slept for six months. I had been warned though…

    “He is Mr. Anger,” cautioned a neighbour of the cantankerous director while I awaited his arrival in the lobby of his apartment block. Actually, the author of the Hollywood Babylon books – insightful, salacious and scandalous tales behind the real film industry – and experimental filmmaker described by the American Film Institute as “the magus of cinema”, should be addressed fully as Dr. Kenneth Anger, since he was recently bestowed an honourary doctorate in humanities. Those that do not observe his wishes are risking the very nature of their existence – he is renowned for placing hexes and curses upon those that cross his path, his own beliefs surrounded by the Thelema religion and the black magick rites of Aleister Crowley.

    My questions were pitched during car journeys, a trip to Grauman’s Chinese Theatre, a tour of his youthful haunts in Hollywood – populated by many black magicians it seems - and a light lunch off Sunset Boulevard. All were interlaced with wonderfully detailed tales of old Hollywood, incredibly elaborate factoids, stories about his long list of celebrity friends and a politically incorrect stance on California’s black and Mexican communities.

    The rest of the story and more images can be found here.

    Categories: Music, Movies, Books
  • From the Stone Roses to John Leckie to Love to Bob Pepper to Phillip K Dick Without Saying Anything Too Important

    Those paint splattering menaces are at it again! The Stone Roses released their box set a few weeks back and I just had the chance to pick up my copy. The package is absolutely essential to people who forgot just how good this band was.



    Those who have seen the band and have seen Ian Brown sing live, know just how important the high profile production work of John Leckie was to creating the sound to these recordings.  I was recetnly reading Love's Forever Changes Wikipedia page, when I noticed that the partnership between The Roses and Leckie was apparently solidified when both parties agreed that Forever Changes was "the best record ever made", which explains alot when it comes to explaing the Turns Into Stone sound.



    Forever Changes was Love's third record and certainly their best.  The album art was done by Bob Pepper, an artist whose ties with Elektra gave him the opportunity to work on some of the most iconic album covers of the late sixties.



    Pepper went on to create book covers for Ballantine's Fantasy series, most notable the work of Phillip K. Dick.


    Via John Coulthart
  • Good Movie | Chappaqua



    Chappaqua is a 1966 cult film written, directed by and starring Conrad Rooks. It is based on Rooks' experiences with drug addiction. It includes cameo appearances by a host of famous names of the 1960s: author William S. Burroughs, guru Swami Satchidananda, beat poets Allen Ginsberg and Moondog, and Ravi Shankar, who co-wrote the score with Philip Glass. Rooks had commissioned jazz artist Ornette Coleman to compose music for the film, but his score, which has become known as the Chappaqua Suite was ultimately not used. Coleman too makes a cameo appearance in the film.

    The film briefly depicts its namesake, Chappaqua, New York, a sleepy hamlet in Westchester County, in a few minutes of wintry panoramas. The hamlet is an overt symbol of drug-free, suburban childhood innocence, and is also one of the film's many nods to Native American culture. The northern Westchester area had been heavily inhabited by Native Americans; the word chappaqua itself derives from the Wappinger (a nation of the Algonquin tribe) word for 'laurel swamp'.



     CAST & CREW


    Conrad Rooks, Ravi Shankar, Ornette Coleman, The Fugs, Allan Ginsberg, Phillip Glass, William S. Burroughs, Moondog, Jean-Louis Barrault, Guru Swami & More...







  • Hip Hop Facts, Fiction & Rumors





    Paul C was murdered by his wife and his brother

    Showbiz has almost been sent upstate for attempted murder twice

    Johnny Juice did all Terminator X’s cuts on the Public Enemy albums

    Kool Keith met Godfather Don outside some industry event that both of them weren’t allowed entry to. They snuck in through a back window and then hung out for the next month or so recording the ‘Don produced tracks on “the 4 horsemen” and, of course, all the classic Cenobites tracks

    Just Ice was a prime suspect in a murder case

    Just Ice turned up in Queens on Poet’s block after the two Rockwell Noel & The Poet tracks dissing Krs One, Red Alert and Ms. Melodie with a shotgun and waited for Poet to come out. Needless to say, Poet stayed in the crib that day

    LL Cool J and Kool Moe Dee came to blows one night backstage.

    Freddie Foxxx put a gun in Benzino’s(RSO AT THE TIME) mouth on the Flavor Unit tour bus, because Benzino would not stop talking shit about what a thug he was

    The bridge is over” was a Marley Marl beat that Krs One and Scott La Rock found in a studio

    2pac was robbed and shot by some of Supreme’s boys (Jimmy da Henchmen)

    I got a story to tell” was vaguelly based on a real life incident Biggie had when he was slipping pipe to John Starks’ woman.

    Eric. B beat down Large Professor and ran Kool G. Rap out of New York to Arizona after ‘G. Rap revealed Large Pro produced most of the beats Eric B was supposed to have done on the Eric B. & Rakim albums and “wanted dead or alive”.

    Biz Markie produced most of EPMD’s first album

    Rakim recorded a dis cut aimed at ‘Kane for “let the rhythm hit ‘em” and had a verse on the title track itself aimed at him. ‘Kane heard about this and called Rakim to squash it and Rakim went on to scrap the track and remove the verse.

    Eric B. did security for Mike Tyson throughout much of the 90’s

    Diamond D and his old late 80’s group Ultimate Force with Master Rob recorded a full album with Jazzy Jay which has never been heard.

    Not a single member of the group NWA had a criminal record

    Number of times the word cat appears on NWA albums
    Straight Outa Compon: 42
    100 Miles and Runnin: 105
    Efil4zaggin: 249

    Q Tip got fuked up so bad by one of the members of Wrexx N Effect that he lost partial sight in one of his eyes hence why in the video for “hot sex” he wore a mask

    Nas came incredibly close to being on the Large Pro produced Kool G Rap, Xtra P, Freddie Foxxx and Ant posse cut “money in the bank” as he was always hangin’ around Eric B.’s studio but had gone to pick up some weed with a chick so they let the Ant kid on there instead.

    Main Source (sans Large Pro) ran up in the Wild Pitch offices with machetes looking to behead MC Serch (then working as an A&R for the label) after a West Coast promotional tour went sh*tty. MC Serch got wind that they were coming and escaped by crawling over the partial walls for his office and jetting out the back door

    Grimm was supposed to be on “Live at the Barbecue” but he was arrested on the way to the studio the rapper who took his place on the record was of course nasty Nas

    Redman Smacked Prodigy around the time Hell On Earth was out b/c he was dissing Keith and Def Squad a year or so later keith murray himself slapped prodigy in a club(the tunnel in nyc)

    When Nas came to Boston around 94/95 somebody in RSO Crew walked up to Nas and knocked his baseball hat off trying to start a problem nas let it go and walked away

    MF Grimm was not only suppose to be on Live at the BBQ, but his joint with Kool G Rap for 4, 5, 6 was suppose to be the lead single but he was arrested again and G Rap went with the joint with Nas knwn as fast life

    Fat Joe gave Guru a place to live for awhile when guru moved from boston to nyc

    The reason Sheek wasn’t around much after LOX split from Bad boy cause he was clearing up cases he had

    The real reason Mase left hip hop & Harlem is because of heavy extortion, not an epiphany from god

    Pharrel use to carry records around for Teddy Riley he also produced and wrote ‘rump shaker”

    The following rappers been robbed more than one time:
        Busta Rymes
        jazze phae
        Dr. Dre
        Shyheim from the wu
        Mase(most famous for gettin his chain snatched at a knicks game)
        Jermaine Dupri

    Alpo, Fritz, the original 50 Cent from Ft Greene and various other notorious hustlers/killers from the legendary Paid In Full Posse were in the crew shots on “paid in full” and “follow the leader”.

    Freddie Foxxx went to Landspeed records like 200 deep in order to get the money they owed him

    Kool Herc was shot around 78 or something

    Everyone in CashMoney has done at least 2 years in prison

    Rakim was still in high school when paid in full dropped

    JT the bigga Figga returned Nas chain to him when it got stolen in cali

    DJ Ready Red was kicked out of Geto Boys and shafted by J. Prince because of his lack of melanin

    Kool G Raps verse from “the Symphony” were bars he took off “men at work”

    Dj premier stopped workin wit jeru the damaja cuz jeru got pissed when premier was f*ckin around with his sister

    Ghostface said on tony’s money “this what happens when u dont give cats they fuckin money” in response to de la soul for not paying him for the track he was on he also jacked their beat ha ha ha

    Someone got jacked at a soul assasins studio session while gza was their and everyone but gza was forced to strip

    Das EFX stole their iggedy style from UK hiphop outfit Demon Boyz while on tour with EPMD

    According to Marley Marl, him and Cormega had already finished a whole album ready for release before Nas was due to release illmatic. It eventually fell through as Mega was sent to jail

    Reason why curtis jackson took 50 cents name was because the real 50 cent had major beef wit supremes team & had em shook during his prime

    Masta Killa was the last member to join Wu

    Kool G Rap signed a contract with Rawkus worth more than a million dollars

    All of the DJ work on Paid In Full that was NOT done by Marley Marl it was done by Rakim, not Eric B

    littles stole alchemist chain

    A member of Wu got jumped at Suge’s club in Las Vegas and Pac didn’t like the way it went down and told Suge to squash the beef and he agreed outta respect

    A boston beatboxer by the name of A-Train is said to have beaten BizMarkie, Dana Dane, and K-solo in a battle back in 88

    Mf Grimm was held on trial for the murder of a cop

    common performed his diss track “the bitch in you” in Ice cubes home town crowd went berserk common walked outta the venue without a scratch

    Cage (bi polar), Scarface (depression) & Kool Keith (depression) have all spent time in mental institutes…

    Ghostface beat mase up quite badly

    Ced Gee of the Ultramagnetic MCs produced most of Criminal Minded

    Pete Rock is the real person who produced Juicy. Puffy and The Trackmasters did him dirty.

    According to DMX, K-Solo battled him in jail and completely jacked his style of spelling out words in his rhymes

    Kool G Rap is “Super Head” Baby Daddy

        Master P, Ma$e, and Cam’Ron all had a chance to go to the NBA
        Nelly had a chance to be in the MLB
        Cool C Had a chance to play for the 76ers
        Biggie, Jay-Z, and Busta Rhymes went to the same highschool in Brooklyn

    Every rapper in State Property other than Young Chris is Muslim

    Jadakiss bought one of Cam’Ron’s Beemers off E-Bay

    Kurupt got his deal for death row after he battled Snoop in the street… (right after Deep Cover came out) Snoop introduced him to Dre and at Dre’s home, he had to freestyle… if dre wasn’t impressed, he was getting tossed in the pool…

    Chino XL is a member of MENSA

    Q-Tip wrote Phife Dawg’s rhymes on People’s Instictive Travels on the Paths of Rhythm…

    E-40 Created The Terms “O Boy”,”Pop Ya Collar”,”Fasho” and The Fa Shizzle’s.. Also Get Low Was nationally recognized due to the song by Lil Jon and Ying Yang but The Bay Has Been Using it for years. The Term Wanksta was around Long Before 50 Cent Made his song

    Sauce money wrote puffys “ill be missing you”

    Eminem used to sound like Az when he rhymed

    Cormega witness his mother die when he was just a little boy. She was shot dead infront of him

    Rahzel and Grandmaster Flash are cousins

    Canibus admitted that he had never smoked marijuana in his life. (Courtesy of Rolling Stones – November 13, 2002)

    Immortal Technique was born in a military base.

    50 Cent lived on the same street as Ja Rule

    Big visited pac in hospital after the 94 shooting

    Dmx used to stand for “Divine Master of the unknown” (he should had kept that meaning)

    Krazyzie Bone is a Jehovah Witness

    Dre didnt like Snoop’s raps, when he first heard them.

    Just blaze got into producing, mostly to buy videogames.

    LL cool j wanted to do a song with odb. But when odb got to the studio. He rip off one of LL’s plaque & pissed on it. Which made LL mad & got sercuity on him.

    mc hammer dissed redman in one of his song.

    dmx first thought Biggie was soft. Since, he saw Big did somethin real stupid in the studio

    Bad Azz was Snoop’s ghostwriter.

    Jay Z ghostwritten Dre’s verse on “Forgot About Dre”

    Ras Kass use to battle Snoop in High School

    Ras Kass’s baby mother is recording artist Teedra Moses who he helped get a deal

    Kool Keith & DMX used to collects bugs.

    Pharoahe Monch used to be real fat, he also has Asthma

    baron davis and the game grew up together.

    nas dropped out of school in the 7th grade.

    The Fugees used to open up for Nas before either of them really blew up… (right after Illmatic)

    You know that Biggie and Nas were hyped in 94 as the saviors of NY. Well supposedly they were on some tour and Nas began freestyling while they were drunk or something. Biggie fell asleep and then woke up and Nas was still going!

    Nas, Jay and Mad Skillz were known in the early-to-mid-90s as the industries biggest ghostwriters….

    Mos Def was originally on BET’s Teen Summit

    50 Cent wrote most of Blaque’s first album   

    Ron Artest grew up in the same Queensbridge housing projects that Nas, MC Shan, Havoc, and others did. If you look for him you can see him in various QB-related artists’ videos.

    After Nature’s “Nas Is Not” single began circulating, Nature was reportedly beat down by Nas’ brother Jungle and his friends…

    Supposedly Jungle and Lake also got Prodigy his chain back after he had been robbed…

    Also supposedly, Fat Joe and Big Pun had developed a rivalry with Jay Z way back in 98. They supposedly got into it at a club and Pun smashed a bottle of champagne or some wine over Jay’s head…

    The Neptunes used to ghostproduce for Teddy Riley, they produced SWV’s “Right Here” with Pharrell singing backup vocals

    Timbaland used to ghostproduce sorta – sometimes hed get credit, sometimes he didnt – for DeVante Swing of Jodeci….

    Timbaland and Ginuwine used to be in a group on Devante’s label called Da Bassment, if you look for the Nutty Professor Soundtrack they have a cover of Ready for the World’s “Love You Down”

    Missy was in another group on Devante’s label called Sista, they had a song on the Dangerous Minds Soundtrack….

    Lil Wayne Shot Himself When He Was 9

    Game Was On The Dating Gameshow Change Of Heart And His Girl Had A Change Of Heart

     jay and mase had a little beef Supposedly it was a misunderstanding.
     mase got at them on his opening track on harlem world.
     jay got at him on “imaginary player” vol. 1.

     Angie Stone was Signed to Sugar Hill records as a rapper

    Nas was suppose to be on “CAN I LIVE PT 1″ by Jay-z….Nas didnt show up at last minute and Reasonable Doubt had was deadlined for the Next day….So Jayz had to hurry up and WRITE the 2nd Verse of it in 20 minutes and record it by himslef….Alot of people say this was the begining of a long standing fued

    Style’s P Attacked Puffy with Chair…(Security saved his ass)

    Beanie Sigel knocked out Gillie the Kid on South street in front of Whole Cash Money crew when the NBA all star game was there

    NAS wrote “MIAMI” for Will Smith

    2Pac was ready to sign Big Daddy Kane to his label Makaveli Records.

    2Pac took ballet.

    AZ was in one of Jay-Z’s videos.

    Tigger from Rap Citys the basement as well as Mystikal where cheerleaders in highschool

    Lil Wayne ghostwrote for Bow Wow before.

    50 Cent lived on the same street as Ja Rule

    Redman and Tame-One are cousins

    Beastie Boys single “Paul Revere” was written by RUN-DMC

    Cormega was in Big Pun’s “Still Not a Player” video

    Kevin Liles (former Def Jam president) wrote “Girl You Know It’s True” performed by Milli Vanilli.

    Kim had her ass whopped by Faith over B.I.G

    Mary J Blige was a cokehead

    Jay-Z was in Kanes’ old videos

    Roxanne Shante got pregnant when she was 15 years old

    LOX debuted on Main Source 2nd album

    T.I. has 2 kids with Xscape singer Tiny

    Juicy J and Project pat are brothers. And thier father is a minister.

    Will smith hid in a closet when suge night and his blood friends stormed a studio in cali.

    T.I. says urban legend was a paperless album. implying he keeps his raps in his head like jay or freestyles. (it seems everyone is tryin to do this now…)

    Method Man was dusted during the recording of the Mary J. Blige “All I Need” video. (That explains some of his facial features in the video)

    Willie D of the group Getto Boys moved his entire family to Baku, Azerbaijan, a middle east country on the border of Iran.

    Samuel L Jackson appears as a concerned family memeber of Flavor Flav on “911 is a Joke” Only later to say he’ll never work with Rappers.

    Lauryn Hill is a dancer in the MC Lyte video “cappaciono”

    Members of Pharcyde appear as dancing Egyptians in Michael Jacksons “remeber the times” video.

    Heather Hunter former pornstar can be seen huggin up on Big daddy Kane on “cause i can do it right” video.
    Ice-t does the pee-wee in Joeski Loves “Pee wees Dance” video.

    Heavy D gives the camera the middle finger on the “Dont Curse Video”

    punk rock star Henry Rollins potrays Vinilla Ice in 3rd Bass “pop goes the Weasal video.”

    Hype Williams the famous video director got his start in as an intern for Video Music Box and his government name is Harold.

    In the “Killing Me Softly” video The Fugees are actually sitting in the theatre watching the original rejected version of the video.

    In The Infamous pamala Lee/ Tommy Lee sex tape the couple do it to the sounds of MC hammers “Its all Good”

    In Masta Aces’ “Me and The Biz” The Biz Markie doll was added last minuete when it was discovered Biz could not attend the taping.

    Masta Killa punched a reporter for making fun of Wu.

    JD is rich as hell for ghostwriting most of Usher’s cds

    Vinnie of Naughty By Nature is first cousins with Mike Tyson

    Dame Dash played a swordsman named Carlos in Highlander: Endgame.

    Havoc & Prodigy stole they names from the westcoast rappers South Central Cartel (Havok & Prodogy)

    Eve is the one who snitched on Foxy Brown wit DMX, leading to Kurupt leaving her and throwin’ disses at X.

    Rakim wrote some verses for ‘paid in full’ three years before the album came out … that wouldve meant he wrote that sh*t around the ages of 14/15 …damn

    Via Let it Marinate

    Categories: Music, Hip Hop
  • Hipgnosis













    Hipgnosis was a British design group that made some of the best album covers in history. The group consisted of Storm Thogerson, Aubrey Powell & Peter Christopherson. They're no longer together, though Thorgerson still designs covers.

    Storm's Site (see recent & more work as well as his films, videos and books.  You can also buy some prints)

    Images sourced from: The Flavor, Aqui Jazz Lucas & Without Shoes


    Rod Corp has assembled an absolutely amazing collection of the world's best writers, architects, artists, intellectuals, movie makers, musicians and composers and complied a list of quotes of them explaining how they get their job done. Below is are the just a few quotes from the nearly exhaustive list.


    Milton Glaser

    "You can only work for people that you like
    If you have a choice never have a job
    Some people are toxic avoid them
    Professionalism is not enough or the good is the enemy of the great
    Less is not necessarily more [aka: Just enough is more]
    Style is not to be trusted
    How you live changes your brain
    Doubt is better than certainty
    Solving the problem is more important than being right
    Tell the truth"


    Martin Scorsese

    Scorsese is driven to make film; can't write, hates shooting film, loves editing:

    Scorsese enjoys the money and the effects it enables him to create, but not the ensuing commercial pressures that demand films with so little dialogue a Hispanic illegal with six words of English can still follow the plot. "I'm drawn constantly to projects that need a sizeable budget. For that money, what can I give them? Everyone is on a tightrope."

    He admits he became "obsessional" about Gangs of New York in 2002, which went over its $97m budget and lost millions; no other director would have been so indulged. Much as the film world loves "Marty", some will tell you privately he can be a nightmare to work with: "Tinker, tinker, tinker," says one. [...]

    "You say 'I've got to make a film, it's what I do'. And when you make one, you want to be allowed to make a few more." [...]

    There is no hint of retirement, because he is obsessed, just like Hughes [whom his 2004 film The Aviator is about]. "I wish I did know something more than movies so as I could make a living, I wish I could write; I envy Woody Allen that. But I do have an obsession with the actual moving image. I hate shooting, there are too many people on set and too many things can go wrong." But alone in the editing suite is the nearest he feels to life having purpose.


    Steve Reich & Philip Glass

    Steve Reich's (and indeed Philip Glass's) music lends itself strongly to a How we work because it has a strong performative and methodological component. But until we dig into that, read this from a 2006 profile and try imagine what music for moving bookcases he and Glass must have hummed together as they humped sideboards up staircases and carried boxes of records for music-loving householders:

    In 1966 Reich moved back to New York, where he got to know Philip Glass. At one point they had a moving company together; Glass also worked as a plumber while Reich drove a cab.






    Works every single day of the year, including Sundays and Christmas.




    Notoriously, gave up poetry by the age of nineteen.




    Bill Murray has replaced an agent with a freephone number and an insistence upon asynchronous communication. From The Times (link may expire so here we are):

    By definition, Hollywood stars must have agents and publicists. Not Bill Murray. He has never had a publicist and, five years ago, he fired his agents. "I said I didn’t ever want to speak to them again, and I never did," he says. "I like to cut my own lawn now. I don’t need a landscaper."

    Now Murray’s only contact with the film business is through a freephone number. If people need to talk to him - perhaps producers who want him to star in a film - they have to call the number and leave a message. (Of course, they have to find the number first.) If he feels like it, he will call back. Often, he doesn’t. Sometimes, he’ll go for weeks without even listening to the messages. It took Sofia Coppola hundreds of phone calls and seven months to get him to look at the script for Lost in Translation. Even then, she wasn’t sure he was going to make the film until he appeared on the set on the first day of the shoot in Tokyo. Other directors have apparently been told to leave scripts in a phone booth somewhere near his home outside New York, up the Hudson River. On a recent film, a production assistant who needed to contact him was told to call his freephone and leave a number for a phone that she would not pick up, so he could call her back without having to talk to her. Of course, he doesn't see this as strange or eccentric. He likes to be accessible, he says, but on his own terms.




    Hirst has three assistants working solely on the butterfly pictures - he's Britain's biggest importer.

    Waldemar Januszczak went to visit Hirst's new studio in Lambeth in March 2005, and found him rotating assistants on his new photo-realistic paintings to ensure that the authorial hand remains identifiably his, rather than theirs':

    The new painting studio is the size of a large parish church. Though perhaps taller. Stuck to the walls in a ring, as if by centrifugal force, is an assortment of boiler-suited assistants, carefully dabbing away. That's photorealism for you. It can't be done from a distance. Damien's in a boiler suit too, and takes a bit of spotting. He looks well. A couple of pounds heavier, perhaps. Lots more polar-bear hair in the barnet. But he's still on the wagon, and it is still giving him energy to burn. Usually I would let him gabble at me for a while before turning to his art, because Damien is such an entertaining gabbler. But I simply cannot believe what I see when I enter, and brush past him to take a closer look. Of all the things that this gore-splattered chameleon could have become, becoming a photorealist is perhaps the least likely. [...]

    Damien explains how it works. First he identifies a photograph that he wants to re-create. Then he gets his people to phone up and get permission to use it, while never revealing it's for Damien Hirst. [...] The teams of assistants do most of the bread-and-butter copying — "If it was me I'd paint it monochrome and stick a fag packet in the middle" — and Damien patrols the results, jazzing up this and that: a dab here, a daub there. He's just been working on the blood pouring down from a football hooligan's face and takes me over to inspect his handiwork. He's been adding glazes. Making it look more bloody.

    Don't the assistants get upset when he dabs about with their paintings? Doesn't he sometimes spoil what's there? All the time, he giggles, proudly, but they are not their paintings, they're his. And to ensure this is clear, he swaps the assistants around from picture to picture so nobody is ever responsible for the whole thing. Smart strategy.





    Foer's collection of blank sheets of writing paper started by accident: a friend was sorting Isaac Bashevis Singer's belonging for a university archive, and gave the uppermost sheet of Singer's stack of unused typing paper to Foer. The sheet became a mystic writing pad for Foer, a mirror for writing, and the collection followed.

    But I was wrong about the empty page. Or I was wrong about myself. A relationship developed. I found myself thinking about the piece of paper, being moved by it, taking it out of its envelope several times a day, wanting to see it. I had the page framed and put it on my living room wall. Many of the breaks I took from looking at my own empty paper were spent looking at Singer's.

     Looking at what? There were too many things to look at. There were the phantom words that Singer hadn't actually written and would never write, the arrangements of ink that would have turned the most common of all objects--the empty page--into the most valuable: a great work of art. The blank sheet of paper was at once empty and infinite. [...]

    And it was also a mirror. As a young writer--I was then contemplating how to move forward after my first effort--I felt so enthusiastically and agonizingly aware of the blank pages in front of me. How could I fill them? Did I even want to fill them? Was I becoming a writer because I wanted to become a writer or because I was becoming a writer? I stared into the empty pages day after day, looking, like Narcissus, for myself.

    I decided to expand my collection. Singer's paper was not enough, just as Singer's books would not be enough in a library, even if they were your favorites. I wanted to see how other pieces of paper would speak to Singer's and to one another, how the physical differences among them would echo the writers. I wanted to see if the accumulation of emptiness would be greater than the sum of its parts. So I began writing letters to authors--all of whom I admired, only one or two of whom I had ever corresponded with--asking for the next sheet of paper that he or she would have written on.





    "I think people who are not artists often feel that artists are inspired. But if you work at your art you don't have time to be inspired. Out of the work comes the work."





    Burgess was prolific, writing six novels in 1960. "I refuse no reasonable offer of work and very few unreasonable ones" he would confess in 1978.

    It's unclear whether this urgency can be attributed to a doctor predicting that a brain tumour left him with (as much as) a year to live:

    After fighting in World War II, he worked for five years as a colonial education officer in Malaya. While he was there, he was diagnosed with a brain tumor, and a doctor told him he had only one year to live. He later wrote: "I had been granted something I had never had before: a whole year to live. I would not be run over by a bus tomorrow, nor knifed on the Brighton racetrack. I would not choke on a bone. If I fell in the wintry sea I would not drown. I had a whole year, a long time. In that year I had to earn for my prospective widow... I would have to turn myself into a professional writer."




    Knocked a wall down in his studio in order to fit in the canvas that would become Mural (1943), for Peggy Guggenheim's apartment. But he didn't commence work on it until 15 hours before it was due to be delivered - "it was a stampede", he would later report.

    When it was delivered, Guggenheim found that it was eight inches too long to fit into the space. On Marcel Duchamp's advise it was chopped down to fit.


  • Interview with Marc H. Miller | Artist, Writer, & Curator


    In 1968 Marc H. Miller moved to New York from California and spent the next two decades perched above the Bowery on the top floor of an artist occupied loft building.  As a conceptual artist and columnist for the seminal underground newspaper, The East Village Eye, Marc immersed himself in the vie de boheme of the flourishing downtown art and music scene. 

    A little over a year ago, Marc set up the web project 98 Bowery, a work in progress that shares a unique perspective of a lifestyle, that for over 20 years, drove a spike straight through the heart of New York’s counterculture.   The stories on the site are told through a curated selection of archival photographs, ephemera, audio recordings and original artwork that enthusiastically capture the rebellious and playful spirit of one of the most respected and influential creative periods in New York’s history.

    Recently, Marc added an online version of ABC No Rio Dinero:  The Story of a Lower East Side Art Gallery, a 200-page book that “provides a contemporaneous, grass-roots account of artists, groups, and ideas at the onset of the art boom of the 1980s.”

    The book, originally published in 1985, focuses on the first 5 years of the LES gallery and interactive community-based space, as well as the broader collective art scene that were pioneered by groups like COLAB and Fashion/Moda.



    RINY: When and why did you first come to the Bowery?

    MM: I moved to New York in 1968 to get a graduate degree in art history at NYU’s Institute of Fine Arts.  The Institute was located in the Doris Duke mansion” at 78th St and Fifth Avenue and most of the students who went there lived uptown.  It was a formal, old fashion place dominated by aged German professors and quaint rituals like Friday afternoon teas.  I was a “hippie” from California; definitely more “downtown” by inclination and finances.  My first apartment was in a run-down tenement building on Thompson Street in the Village that cost $64 a month.  It was a tiny, cramped studio where visitors from California who were accustomed to much more spacious interiors, were always knocking things over.  When my girl-friend from California, Carla Dee Ellis, moved to New York, we definitely had to find larger quarters.  Fate was kind.  An artist friend had just leased the top floor loft at 98 Bowery, but when delays in legalizing the space kept preventing him from moving in, he lost patience and returned to the west coast.  The Bowery was New York’s skid row dominated by alcoholics and homeless men sleeping on the street.  It was an intimidating place and because of that the rent was cheap: 2000 sq. ft for $175.  Carla was a painter and the space was the attraction. But we soon discovered that the loft would also be our entry into a community of artists and bohemians who lived almost invisibly on the upper floors of the Bowery’s commercial buildings.  Carla returned to California in a few years but I stayed at 98 Bowery for the next twenty.  My life as an artist, curator and writer would be intertwined with people from the building and the neighborhood.

    RINY: What was the downtown scene like at this point?

    MM: When I first came to New York in 1968, the art scene as it had developed in the 1960s was peaking and ready to go through a major transition.  The baby boomers and the counter-culture were knocking at the door, breaking down distinctions between high and low art, and demanding their time in the spotlight.  Downtown was a big party with artists, musicians, writers, dancers, performers and scenesters all intermixed.  98 Bowery was mostly young visual artists who had just come to New York.  Next door at 96 Bowery there were jazz musicians and a young actress who performed in “Hair’ and “Jesus Christ Superstar.”  I knew art historians and critics through the Institute.  When Carla began modeling, our circle expanded to include fashion photographers. There was little distinction between business networking and social networking.  Galleries had just started relocating to Soho.  Openings took place on Saturdays.  You could always learn the location of downtown parties at the bar on the corner of Broome and West Broadway.  




    The looming giant of the scene was Andy Warhol.  But there was also the Fluxus group that staged large outdoor avant-garde festivals each year and initiated a constant stream of extreme art, music and performance events.  The art world was small and seemed accessible but in truth it was very tight and closed.  Only a few galleries like OK Harris were truly open to young artists.  What I witnessed over the years was the development of an alternative art scene: young artists banding together doing their own thing and establishing their own venues and outlets.  Many of these artists were part of the artist group “Colab.” By the 1990s this new generation had taken over. 





    RINY:  You recently set up the website  What enticed you to re-visit your work and the Bowery scene after all these years?

    MM:  Life moves on.  In 1989 I got married, left the Bowery for Park Slope and had two kids.   Then a couple of years ago, I was in the process of moving again and confronted all the boxes from the 20 years I lived on the Bowery.  The website literally came to me all at once. I knew exactly what I wanted to put on it and how it should be structured.  The next day I registered the domain name  It got going a few months later when I met a young web designer, Haoyan of America.



    MM: The impulse for the site is partly rooted in my competitive spirit and desire to tell the story of these years from my perspective.  Mostly though, I’m motivated by a love for the things on the site.  I really enjoy revisiting the images and stories.   I had a pretty good run from 1969 to 1989.  As an artist and curator I was close to the scene and knew some very talented people.  There’s a lot on the site.  It resurrects forgotten talents like Mike Malloy whose ant killing machine got me started as an artist.  I get to share memories about well-known people like poet laureate Billy Collins, who often visited 98 Bowery in the early 1970s. It also allows me to put my own art back out there.  I’ve found that conceptual art often works better online then as wall pieces.  There’s a large audience on the web for the projective drawing pieces where people drew genitalia, pictures of Jesus, and “Unforgettable Moments” (a collaboration with Bettie Ringma).  


    Poetry by Billy Collins



    MM:  I still get a big kick from the “paparazzi self-portraits” that I did with Bettie Ringma and Curt Hoppe.  What started as a game of getting snapshots with celebrities developed into elaborate multi-media productions with Curt making large photo-realist paintings after the photos and Paul Tschinkel videotaping the celebrities autographing the paintings.  I laugh every time I see the tape “Bettie meets Congresswoman Bella Abzug.”  Bella was an outspoken, no bullshit, New York politician. She was flattered by our attention but saw right away that there was humor there.  The tape is very tight.  Bettie got her women celebrity; and Curt got to act out a bit.  Paul caught all the action, keeping the camera going and zooming in on details just like he did taping rock concerts. 







    RINY: You’ve also been putting up online versions of some of the publications and catalogues you produced back in the late 1970s and 80s...

    MM:  The first publication that I put online was the catalogue for the Punk Art Show at the Washington Project for the Arts in DC that Bettie and I organized for Alice Denney in 1978.  That show and a related one-night, multi-media, performance event at the School of Visual Arts in New York that took place a few months later had real impact at the time. They were the first shows that brought together the many visual artists who were part of the scene at CBGB during the period when the club was at its creative height.  The catalogue contains interviews and preserves a moment that affected much that happened in art over the following decade. Almost all these artists still have an art world presence: some in galleries and museums; some in commercial art fields.  I think a thousand catalogues were originally printed.  Now nearly that many people are viewing the online version every week. 




    RINY: Recently you posted an online version of ABC No Rio Dinero: The Story of a Lower East Side Art Gallery that you co-edited with Alan Moore back in 1985.  For those of us who don’t know ABC No Rio, can you explain what it is and tell us a little bit about the book?


    MM:  Alan Moore use to live at 98 Bowery and was one of the founders of Collaborative Projects Inc, an innovation group of artist known as “Colab.”  Alan was one of the contributors to the Colab publication X Magazine which was part of the Punk Art show in Washington DC.  He was also one of the leaders of the “Real Estate Show,” an aggressive, political exhibition that took place in an abandoned, city-owned building that artists broke into on New Year’s Eve 1980.  ABC No Rio was the unplanned progeny of the Real Estate show.  In order to quell the demonstrations that erupted after the police shut down the show, the city offered the artists temporary use of a nearby building and that building became ABC No Rio.  The book tells the story of the early years of the gallery as well as the broader story of the socially-committed art scene that it was a part of in the 1980s.  There are sections on Colab, the South Bronx gallery Fashion-Moda, Group Material and the Time Square Show.  Kiki Smith, Tom Otterness, and Tim Rollins are some of the featured artists.

    Nobody thought that No Rio would survive, but amazingly it is still going today 30 years later without ever compromising its radical agenda.  The gallery is located at 156 Rivington Street and is about to begin the construction of a new facility having recently received $1.6 million in city funds and a totally unexplained anonymous donation of $1 million!  It’s sort of an ironic fairy tale: the little art space that could. 






    RINY:  What music do you listen to? 

    MM:  I always have music on and I listen to everything. I get excited about new things and then bored.  My taste is constantly changing.  Recently a friend has been taking me to a lot of New Music concerts at places like Le Poisson Rouge.  To be honest much of it is hard to take but every once in a while something is interesting.  A few months back I saw Charles Spearin’s “Happiness Project.”  He tape-recorded people talking about happiness and then composed music that imitated the cadence and pitch.  It’s a bit like’s “Yes We Can” after Obama’s speech, but more extreme.



    MM:  When I first arrived in New York in the late 1960s, I got to see Jimi Hendrix at the Fillmore East, Sun Ra at Slugs, and the Stooges and MC5 at a theater in Staten Island.  In the early 1970s I spent a lot of time in Washington DC and was into Al Green and Barry White.  In the late 1970s I was at CBGB three or four times a week.  I bought singles by the Ramones, Richard Hell and Talking Heads at Bleecker Bob’s Record Store; and was a big fan of the groups connected to the art scene like Suicide and the Contortions.  In the 1980’s I taught at St. John’s University and had a desk next to a music professor who taught a course in movie soundtracks.  Suddenly that was all I was listening to.  I especially liked Italian soundtrack composers like Ennio Morricone and Nino Rota.  In the 90s I was frequently down south and listened to Country radio.  I love songs with good stories like LeAnn Womack’s “20 Years and Two Husbands Ago” and Toby Keith’s “Not as Good as I Once Was.”  Four Cd’s that I’m currently thinking about since I recently lost them when I left them in a rental car during a trip to Arizona are “The Best of Fela Kuti,” “Reggeaton Hits  1985,”  “Yo Yo Ma Brazil,” and the soundtrack “Run Lola Run.” I play a lot of African music like the soundtrack for “Tsotsi” and the compilation “Kwaito: South African Hip Hop.”  Recently I started using which gives you access to all sorts of music for free.  Anyone can check out exactly what I’ve been listening to here.




    RINY:  Who are some of the artists who inspire you?

    MM: I like art that not only reflects reality but can actually grab hold of it and mold it.  I love the way Andy Warhol started out as a star-struck kid and ultimately was able to bring all the stars to the Factory through his art, films and his magazine Interview.  Hugh Hefner did the same thing starting out as a cartoonist and then fulfilling his fantasies by creatively expressing them in Playboy.  I’m not necessarily a big fan of Shepard Fairey but I do admire the way his Obama portrait got interjected into the campaign. 


    MM: More generally I admire illustrators who have a distinctive style and are able to channel their own life and passions through commercial assignments.  One of the best is David Stone Martin, who is best known as a pioneer of record cover design in the 1940s.  What really intrigues me about him is how his full career reads like a personal diary and a record of American culture from the 1930s to the 1970.  His art covers the Depression, Roosevelt’s New Deal, World War II, leftist politics, bohemian New York, the McCarthy era, and suburban culture.  I’ve always been fascinated by his affair with the jazz great Mary Lou Williams whom he met at the nightclub Cafe Society in the 1940s.  She was the one who got him started designing record albums.  Their affair was short-lived but they stayed close their entire lives.  He did some amazing covers for her in the 1960s when she was zealously promoting jazz as a spiritual force.
    (NOTE:  You can get images at




    RINY:  What does New York really need now?

    MM: New York already has everything.  You just have to know what you want.  Having witnessed some things over the years I can relay some words of wisdom.  I remember interviewing photographer Marcia Resnick for the Punk Art catalogue and she talked about two seemingly contradictory impulses that were then in play: the anarchistic and the fascistic.  Creativity needs both these impulses.  Anarchism breaks things down and shuffles up the way we think. Fascism prioritizes things and imposes order.  You need rules in order to break them and create new things.


    For more on Marc and his projects visit

  • Jeremy Dean | Artist, Designer & Hardcore Enthusiast







    Jeremy Dean is an artist and designer based in Philadelphia. He designs the hardcore / skate looking fonts you've been looking at above. You might be thinking....hmmmm.... I've seen these before and you have. He worked as the art director for Urban Outfitters, so yeah, if you've been in there, you've seen this look a whole bunch. He also did some work for House Industries - a cool little design boutique I bought these blocks from.



    He runs the hardcore blog THE HARDCORE ARCHEOLOGIST and below are some images from that.










  • Joachim Witt - NDW Dance Classic

    In the 80's Joachim Witt was one of the biggest stars to emerge from the German New Wave Scene. Besides being a chug-a-lugging dance classic, this song would be incredibly fun to sing at a Karaoke party.

    Myspace | Wikipedia | Discogs

  • John Lennon & The Plastic Ono Band Live in Toronto 1969 Is Some Weird Shit


    In 1969 John Lennon & Yoko Ono famously held a two week "bed in" to peacefully protest the Vietnam War. The first one took place in Amsterdam and the second was to be held in New York, but Lennon was banned from the US due to his Cannabis conviction.  They moved the bed in to the Bahamas but the heat bothered them so they moved it to again to Montreal, where it was documented by the CBC. The images below were taken by the CBC and were featured in an exhibition on the event at the Montreal Museum of Fine Art. More info on that here.



    That same year John Lennon and The Plastic Ono Band played the Toronto Peace Festival. The band, which also featured Eric Clapton, Klaus Voorman (who designed The Beatles Revolver album Cover) and Yes drummer Alan White, were billed with Little Richard, Bo Diddley and Jerry Lee Lewis.



    A live version of the performance was recorded and released on record in 1969, while the film footage, directed by D.A. Pennebaker, was released as Sweet Toronto in 1971. Both have been reissued within the last couple years.



    Many people are familiar with the band's song, "Give Peace A Chance", but I don't think most people just how weird, and good this band was. Beatles fans obviously hate it, which explains why the were almost booed off the stage. Below is a clip.



    For those who do like it. I would highly suggest you pick up John Lennon / Plastic Ono Band, which was co-produced by Phil Spector and Yoko's companion record, Yoko Ono / Plastic Ono Band. Both covers are shown below and if you look closely you'll see that they're not identical.



    Categories: Music, Hippies
  • Knockoffs!


















    See more at the absurdly great Knockoff Project