Haring opened Pop Shop in New York City in 1986. The store sold posters, t-shirts, and other items baring his artwork and designs.

 He was also interested many social causes, painting an anti-drug mural that same year. In all, he did more than 50 public works and held numerous workshops for children.

 In 1988, Haring discovered that he had AIDS. The next year he created the Keith Haring Foundation to support AIDS organizations and children’s programs. 


Untitled, 1988  


Recycled Tire Sculptures by Yong Ho Ji


Gary Burger, o vocalista do heróis do proto-garage rock rock Monks morreu. Segundo o jornal Minnesota Bemidji Pioneer , Burger faleceu sexta-feira ( 14 de Março) , depois de perder uma batalha contra o câncer de pâncreas. Ele teria sido 70 .
Originalmente chamados de 5 Torquays, Monks formaram-se em 1964 e eram constituídos por cinco soldados norte-americanos estacionados na Alemanha. Eles no início tocavam em hospitais e casas de repouso  antes de  eventualmente, bater o German club circuit.

Um promotor musical alemão ficou atrás da banda e convenceu o grupo a adoptar o nome Monks, usavam um traje monástico de vestes negras ostentando tradicionais tonsuras de monge.

A banda passou a abrir para Jimi Hendrix, The Kinks e The Troggs, e logo se tornou numa lenda do rock'n'roll, graças não só para aos seus trajes únicos, mas também pelas estruturas proto-garage/punk selvagens.

Em 10 de janeiro de 2008 Dave Day morreu de um ataque cardíaco.


The Residents: Icky Flix – Live at the Queen Elizabeth Hall, London 9th June 2001 – Icky Flix

There have been plenty of strange and powerful musicians and groups out there for many a long year.Captain Beefheart, Coil, Wesley Willis, Ken Nordine an so forth, each extending the realms of taste and disrupting the boundaries of what exactly constitues music and art . Then there are The Residents.

Through thirty years of wilful obscurity and cutting-edge innovation, they have maintained a largely successful anonymity, one of the features about the group which is at once integral to their mystique and irrelevant. The eminently ridiculous sight of a Resident in a tuxedo with an eyeball for a head is at once silly and sinister, a Situationist metaphor for the spectacle (and spectator) on one hand and a potential distraction from their music, or so it might seem. In fact, their disavowal of persona and biography sets free some key aspects of their appeal.

 There could easily be a circulating ensemble behind the years of masks and headset light rigs, screens and paper suits. It doesn’t really matter, but when the member who may be known as Mr Skull puts the gimpish peacock-strut, beaked mask and suit on for the Icky Flix show, it is clear that The Residents have a character unique in the world of (anti-)showbusiness.

The Icky Flix tour is to promote the DVD of the same name, a spectacular use of the global market’s favourite commodity, i.e. one which outstrips and replaces previous technologies with fearsome rapidity and all-conquering ubiquity. Instead of adopting the blatant shovelware approach which a format capable of storing hours and hours of video and music offers, the group have once again taken the chance to push the envelope a little on the disc. Seventeen videos, including their still incomplete Vileness Fats film selected from thirty years of multimedia innovation aren’t just dumped onto Icky Flix with a few biographical details and a Surround Sound makeover.

 No, the Residents decided to completely re-record every track, plus make some new films to boot, and then offer the choice between original and all-new music for good measure. Throw in a novel 3D track selection “Flix Cube” and between-film mock (and mocking) adverts, and this DVD is one of the best examples of what the format is capable of at the same time as being thoroughly enjoyable.

The head-scratching, mind-bending fun and frolics take on a new dimension when presented in a live setting. Introduced by a monocular compere, the band take their places behind scrim and concealing lights. The Day-Glo make-up, shlocky wig, platic sunglasses and outragous ensemble of patterned hipster flares and giant flourescent sneakers of Molly Harvey lend a theatrically lysergic aspect to the show, which proceeds with the Flix Cube used to choose each piece following the DVD intro. So the band really do play along to the disc projection, while Harvey and the beaky Resident act out the songs and skits with sub-operatic glee. The capacity for disturbance and hilarity alike The Residents offer on record and video springs to proximate life on stage, their twisted pschyodramas taken way beyond hammy surrealism and in the realms of Dada greatness.

That they make the show flow with childish ease from the hilariously dark video for “Third Reich and Roll”, where a newspaper-suited band jitter in glorious monochrome and revised surral Hitlerian bad taste, to Renaldo And The Loaf‘s distended and awesomely strange mini-drama “Songs For Swinging Larvae”. How many artists get to go on stage and act as weird and goofy as they really feel, and get away with it? It’s entirely possible for The Residents to do so thanks to their wholesale grasp of parallel logic which sevres to engender an entirely willing supension not only of disbelief but perhaps also of disgust in the audience.

 Once surrendered to their multimedia world of virtual reality, theatrics and cinema, it’s quite difficult to remember another exists outside the Hall, from the computer-generated gloom of the “Bad Day On The Midway” tour through the CD-ROM of the same name, with its sinister funfair atmosphere, “Harry The Head” from the equally disturbing Freak Showproject and into the ultimately weird landscape of “The Gingerbread Man”.

This latter has to rank as one of the crowning achievments in edgy fairy-tale dissonance that The Residents have delivered to an equally deranged world, as the Gingerbread Man struggles with reflective existential questions of an ageing star as his sweetmeat avatar strides across a gloaming landscape and around an endless treadmill of misfortune from disappointment to disheartening observations of shallowness and Rock’n'Roll despair in Doug Carney‘s visceral blend of computer and cut-up animation.

This bitterness and barbed venom directed at themselves, the audience and commercial music in general is even more apparent in the stunningly vicious “Just For You (Transfigured Night part 7)”. With typical inverted logic, this piece was originally recorded as part of an hour long live broadcast on German TV, and the video shows the male and female Resident singers clasped in bizarre fluffy-suited embrace before a bemused studio audience. Now it appears as a recursive backdrop to the same (probably) pair on stage, twisting the original manic cover of saccharine charity plea “We Are The World” into even more unsettling dimensions.

 “I am a fake/I am a ripoff” croons the man to an increasingly bombastic electronic backing, becoming more impassioned and disgusted as the song reaches an intensity of loathesome ire. “I am unreal/I am pretenentious/I am definitely far beyond redemption” he admits, and “I’ll make a perfect turd and sell it/Just to you” isn’t just a threat, it’s a promise delivered with an implied rictus grin of fake sincerity. The Residents may not take themselves too seriously, but they have something pointed to say in the sinister interface between whimsy and bilous cartoon humour, and it seems that the audience take their part in the self-aware disdain with a hint of squirming disquiet too.

Despite a playful hint at playing the Vileness Fats film following a break during which the band mill about onstage sharing chit-chat and cups of liquid, the live Icky Flixshow gets in most of the DVD videos, and more. The beaky man delivers a honking, stuttering sax solo during “Constantinople”, while he and Molly Harvey sweep through the mini-playlets of “One Minute Movies”, swapping roles as the cowering, ape-like man becomes a vile, ranting tyrant and Harvey changes from submissive to self-obsessed as the films flick by on the screen behind.

The “thank you” whined out at the end of the strangely wistful “Act Of Being Polite” has a particularly gruesome quality, while The Residents’ new take on “Stars & Stripes Forever” is even more scathing these days, giving Sousa’s patriotic march a thoroughly discordant mauling of swoops and whoops, keyboard arpeggiations and a searing guitar solo worthy of the late lamented Snakefinger himself which scorches with a large dose of gleeful disrespect for the original and what it has come to stand for.

The encores bring the only top-hatted and eye-balled Resident to the keyboards through various soaring instrumentals and Electro stomps fromFreak Show as the singing duo perform a series of intense stop-start domestic tableaux in song and posture front of stage to complete the evening’s remarkable entertainment. From the moments of interplay between the pitiful man and his shrewish partner via the electric almost-Rock-out into rausous discord and roars of pain and feedback which disgorge into a blast of incrementally stepped-up rhythm an exhortations to “Follow that dream” and a final fade to the Icky Flix outro tune, the evening shows that even when running through the films in a PA to promote a release, The Residents are really without compare.

As mentioned before, the DVD itself is a wholly remarkable example of what a little imagination can bring to this format which is only beginning to start being used and abused in innovative ways. Add in two soundtracks for the price of one, and the disc can provide oodles of stunningly sick watching and re-listening, even if this may be at the expense of appreciation of other more normal forms of music and film which somehow seem at once tamer and so much safer after a session with this collection or in the presence of the band themselves. It’s entirely worth the expenditure on obtaining a player just for the sake of Icky Flix alone, with bonus moments and the enhanced Surround Sound for those with even more splashed out on the Dolby 5.1 decoders and so forth.

 For those without the technology required, the soundtrack featuring the new performances ofVileness Fats and the highlights of the new video songs is also available as a stereo CD for listening pleasure and discomfort. Whatever the chosen mode of appreciation, there is so much to tweak the darker recesses of humour on Icky Flix to please and disturb at one and the same time.
-Linus Tossio-


Concluding the celebration of their 40th anniversary, The Residents are pleased to announce Shadowland, Part 3 of the Randy, Chuck & Bob Trilogy. Aspiring to examine life in reverse, the trilogy began in 2010 with The Talking Light, a study of ghosts and death; reflecting on love and sex, the group continued with their Wonder of Weird tour in 2013; and finally with Shadowland, Randy, Chuck & Bob will focus on the beginning of life - birth.

As with Parts 1 & 2 of the trilogy, Part 3 will feature music from The Residents’ extensive catalog interspersed with short videos about birth, rebirth, reincarnation and NDEs (near death experiences).

It is now such a good 40 years ago that the enigmatic avant - garde collective The Residents made ​​themselves heard. First Pioneers in the field of multimedia performances , praised and vilified by their bizarre combinations of electronics deconstructed rock ' n' roll and avant - jazz with surreal visuals and absurdist satire . Makers of brilliant conceptual albums like ' Eskimo ' , ' The Commercial Album ' and ' Not Available ' , which have influenced generations of underground musicians . And notorious recluses who have always refused to disclose their identities and interviews consistently avoided .

During this last theater tour the legendary cult band brings the last part of their " Randy , Bob and Chuck" trilogy , which began in 2010 . After " The Talking Light ' , with death as a subject, followed ' Wonder of the Weird ," about love and sex . The third ' Shadowland ' is about birth, reincarnation and " near-death experiences ."


Hardy Fox, the Residents’ longtime spokesman, gives us some insight into the “band”’s Talking Light tour and new album Lonely Teenager:
B: Who and what are the Residents at this point in time?
HARDY FOX: Next year is the 40th anniversary for the group. And the way they’ve survived all this long is they’re constantly evolving. They never really set out as a traditional band, and they’ve never tried to record hit music. As a result, they’ve never had any real commitment to be a certain way or stay a certain way or play certain music in certain styles.

The Talking Light show approaches the concept of telling stories set against abstract music. It’s something they really hadn’t done particularly in a live situation; the touring shows have generally been compositional. The stories can change from show to show, and there’s a lot more improvisation that goes on, and calculated surprises, to keep the music from becoming too stale and predictable ­­­–– for them.
“Randy’s Ghost Stories” are performed on the Talking Light tour. Apparently these have something to do with TV culture and commercials, among other vaguely delineated things. There are many different kinds of ghosts, of course. 
The Residents don’t even know for sure if ghosts exist. “Randy’s Ghost Stories” has a lot to do with the concept of aging and death, and how aging and death affects perceptions. We’re haunted.
The new album Lonely Teenager, which grew out of ideas germinated on the Talking Light tour, reveals the music growing more subtly complex –– and beautiful, and scary, too. “The mirror has two sides” is a sample lyric. “I threw the ring and the baby’s skeleton into the hole, and I went home.” “I tried to convince myself it was a dream.” What is going on here? Maybe it doesn’t matter.
I don’t actually know. But it has something to do with a loss of innocence, and completing the cycle of life to death. Everything about it really points to those elements in some way or another. It’s something they’re concerned with; I mean, you don’t get to be doing your 40thanniversary without getting pretty old yourself in the process.
As people age, they stop recognizing themselves when they look in the mirror. There’s a two-sided mirror in the show, one side reflecting Randy and the other reflecting the audience. The audience has to face the mirrors just like the performers do –– just like your death, each person has to deal with that at a very individual level.
The Residents don’t take a political or moral stance as such. But do they feel that their art posits moral imperatives?
I feel reasonably certain not, because I don’t know that they think anything really exists. No, they don’t really take much of a stand on anything. They’re much more in the position of other people taking stands. I don’t think that they really have an agenda, as far as a political or social agenda goes, but they’re aware that other people do and sometimes they incorporate that in what they do.
How about musical/artistic imperatives? Is there a kind of music that can and should be pushed, to edify, to better entertain?
No, because when you’re dealing with sound you’re dealing with an abstract thing, and it’s sort of like dealing with color. It has a lot to do with one side saying, “This is what I like,” and then you’ve got the other side saying, “Well, I agree with you, I like that too,” or “That’s not what I like.” The reality is, there are many different ways of seeing things, different ways of thinking, some of which you understand and enjoyed or those you don’t understand and you don’t enjoy. There’s really no right or wrong in music.
Are the Residents affected at all by things of a topical nature? Spurred to create music by current social or political phenomena, natural disasters, assassinations, etc., etc.?
Usually not, but I know that they were on tour in Europe when 9/11 happened, and so very impacted with that uncertainty of not knowing what was going to happen next, whether there would be war or attacks all over the place or whatever it might be. And the big concern was whether they’d be able to get back home, because planes had stopped flying and there was just no sense of what was going to happen. Well, there were two more weeks of the tour, and all they could do really was just to keep touring, because that was the reality that they had. And they were the family that they had; it made them very tight and just made them want to keep doing those shows.
I’m hearing some really incredible guitar playing on Lonely Teenager. Is this a musician who can be named ?
Bob. It’s Bob.
Oh, Bob. Everybody knows Bob.
It’s Bob.
The Residents have maintained a policy of strict anonymity for 40 years, as if in rebuke to celebrity, though perhaps it’s just a practical stance.
Well, this is interesting: They’re not anonymous now. They’re now Randy, Chuck and Bob, that’s the new version of the Residents. Of course, when you get down to it, Randy, Chuck and Bob are just names like everybody has, it doesn’t give information about who the people are, all it does is give them names. They could be John, Paul George and Ringo just as easily and it still wouldn’t give any information about who the people are.
Everyone’s anonymous if all you know is their names. But the Residents are different because you know not only that their names are Randy, Chuck and Bob, but you also have 40 years of seeing what they’ve done. So you know much more about Randy. Chuck and Bob than anyone who would actually be anonymous.
Okay, now strictly musically speaking, what sort of aesthetic do the Residents pursue? I’m still struck by how their music grows ever more just plain beautiful. It is, of course, as dark as ever, if not darker, even. Is this what they call a deliberate juxtaposition?
Their view of the world is that it’s both beautiful and dark, and you know, they’re not even really two different things. Life is complicated, and that’s why there’s always an element of dark humor in what they do as well, because they see that too as a part of the world, a part of humanity. So they sort of feel like it’s important to attach a lot of contrasting emotions next to each other, because it heightens the impact of each of them.
The Residents have influenced the culture, but who might’ve influenced the Residents? Did they find an affinity with Beefheart and Zappa, for example?
There’s a similar attitude of not feeling like you have to conform. The Residents appreciated the fact that Beefheart and Zappa had a vision that they pushed forward, and that it wasn’t a vision based upon what other people were doing. The Residents knew that anyone can do weird music, but respected people who represent a vision, even though it may be a popular vision.
Such as the Residents' skewed interpretations of the Rolling Stones.
Like Beefheart, they were a blues band, and the Residents always loved blues music. The Rolling Stones were interpreting an American form into a British form that changed what it was. They thought it made sense to try and change it back into an American form. It’s like translating Spanish back to English again, how it changes the meaning of things.
Would the Residents accord similar respect to Lady Gaga?
They’ve seen her on television and were very touched with her very strong sense of visuals. But they would point out that she could be anonymous, too: If it says “Lady Gaga” on it…[laughs]
The Residents have pursued their alternative-to-all-alternatives music and art for 40 years, weathered the storms from late-‘60s hippie counterculture through ‘70s-‘80s-‘90s DIY counter-countercultures right on up into the Internet digital free-for-all 2000s. So how do they keep up? How do they stay savvy, trendy and very, very popular?
The Residents work and think by observing, so they feel like they have to be tuned into where the culture is. Even if they’re not trying to imitate what’s current musically, they’re always influenced by what’s going on musically, as well as any other art form. And they’re always very interested in technology, and they keep on top of it –– What is this? What’s the impact on the culture? How does it change who we are?
The Residents have done a series of podcasts called River of Crime. That seems like a natural medium for the group.
That’s an area they’re exploring, providing the story by music: How do you combine them and get interesting new ideas that work? And they’re very impressed by the iPad; they’re trying to figure out how that can be turned into an instrument for supplying media, just like a radio. Ultimately, the Residents want to create a whole new medium itself, and that’s what they’re looking for down the road.
Who are the Residents for?
In every school across the world you’ll find those pockets of people who don’t really relate to mainstream culture and who want something ­­–– who need something –– different. Because they are different. And those are your lonely teenagers. 


The Residents bubbled up from a swamp in Louisiana, moved to the Bay Area in the late ‘60s, and set out to be a non-band. The Residents didn’t come together via a mutual love of jamming on guitars and drums and pumping fists and flinging tresses. No, the Residents were and are an ideas band, avant garde, okay, but with a sonic difference channeled through a perfervid love for pop culture garbage. So over 30 or more albums, films, DVDs, podcasts and, soon, iPads, they have parodied, deconstructed and severely warped such icons as the Beatles, Elvis, Hitler and god; they’ve done epic paeans to Eskimos and moles, too, in works loaded with dissonant electronic elegies to normalness, arcane spoken-word patches and a cast of sympathetic dweebs, dorks, scum and saints. And for lo these 40 years now, they have explored this elation and revulsion with popular culture while cloaked in utter anonymity.

THIS IS AN ERA WHEN TO LIVE THE LIFE OF POP super-ultra-megastardom means to have one's every pore pried and probed, as if the Truth could be confirmed in bacteria and glandular secretions. But what do we find? More flesh. How refreshing it is, then, to ponder the enduring mystique of a phenomenon such as the Residents, who for over 25 years have explored their elation and revulsion with the evil banality of American pop culture while happily cloaked in utter anonymity. Their giant-eyeball heads have no pores.
Recently, prior to the group's upcoming performance of their latest epic, Wormwood, I had a chat with one of the group's spokespersons, Homer, a folksy longtime associate of the "band" and co-head of the Cryptic Corporation, the Residents' production conglomerate. Homer amiably conveyed the group's way-out Weltanschauung, bizarre beginnings, current crazes and fears for the future.
The Residents, it seems, germinated somewhere in Louisiana, possibly a swamp, but packed their bags and moved to San Mateo in the late '60s. They spent their early years honing their style and recording such unreleased masterpieces as "The Ballad of Stuffed Trigger" and "Baby Sex." It was here too that they met their guru, The Mysterious N. Senada, whose Theory of Obscurity later inspired them to record The Unreleased Album, a pure-art work created intentionally to be heard by no one.
Moving to San Francisco in 1972, the Residents set up a four-track recording studio in a small, windowless room. Their modest goal was to tell true stories about the real America, the one they knew from puerile pop music, terrible TV and horsepoo Hollywood movies. Significantly, it had dawned on them that any truly countercultural telling of the Great American Adventure not only had to shun stardom, it had to be interpreted in a musically original form –– for them, an honestly white no-soul music derived from disparate views of reality squished together for maximum cranial excitement.
You'll recall that in the wake of '70s punk rock there was a trend called new wave, which spit-shined the sweaty spirit of punk and took it to heady heights at the top of the charts. The Residents, having been discovered by the ravenous British music press, suddenly became the next big new wave thing, a phenomenon that spread into Europe and, in classic fashion, back to America.
Having been officially approved of by the people who wore skinny ties and rolled up the sleeves on their blazers, the group began to sell in sizable, if not exactly mass, quantities. The Residents used this relative prosperity to found their own label, Ralph Records, which released high-quality uncommercial music by the likes of Fred Frith, Yello, Snakefinger, and Renaldo and the Loaf, and established Pore No Graphics to handle album-cover, poster and T-shirt art. Along the way, they won fans in Czechoslovakia and Yugoslavia. The Residents are huge in Greece

ANONYMITY HAS HELPED THE RESIDENTS ACHIEVE durability, but...the masks must become a burden at times. Surely the band wants to rip them off and proclaim, "Yes, it is me, John Johnson, who has created this art." And surely there's been some fanaticism to deal with, the mad compulsion of fans with nothing better to do than to unveil the men (?) inside the eyeball heads.
"It's there," says Homer, "but people seem to respect that it's important that the Residents be allowed to exist in their own little world. We've had a few people who've tried to crash through the backstage doors, or get through security and things like that. But it's like people have accepted that the Residents really want to be treated as a group, they don't want to be treated as individuals, and it's not to anyone's advantage that they be forced to give that up."
The Residents have thus maintained their mystery, yet they couldn't have done it without such ambitious music. From humble beginnings messing with tape loops, detuned guitars, one-fingered cheapo organs and twangy, retarded vocals, often reinterpreting to horrific effect the "best" of the rock canon (hilariously tin-eared and unfunky covers of "Satisfaction," "Land of a Thousand Dances," "It's a Man's Man's Man's World"), they've slowly developed a pretty slick production technique, largely due to their discovery of the Emulator sampler in the early '80s, and their exploration of computers and MIDI programming. They've taken on works of gigantic scale, such as Eskimo, a history of life in the Arctic, and the ethnic-cleansing/dignity-in-work legend of the Mole trilogy (volumes 1, 2 and 4), which relates the struggle between the industrious, sincere Moles and cheerfully vacuous hypercapitalist Chubs ("We don't want your brow/We don't want your eye/All we really want is/For you to puke and die"). Consistently, they've established a distinctive homegrown tonality, owing equal debts to the Stones, Harry Partch, Mauricio Kagel and Don Kirschner. Their Third Reich & Roll album, wherein Adolf Hitler imitates Chubby Checker singing "Let's Twist Again" and concludes with a discordant medley of "In-A-Gadda-Da-Vida," "Hey Jude" and "Sympathy for the Devil," was also a nod at '70s Krautrock, the Residents demonstrating that America could generate its own avant-garde style derived from a purely American tradition.
The band has been prolific, with two dozen-plus albums released since 1974, wide-screen works loaded with dissonant electronic elegies to normalness, arcane spoken-word patches and a cast of sympathetic (sometimes) weirdos, gimps and losers. The recent two-CD retrospective Our Tired, Our Poor, Our Huddled Masses is a good intro.

THE RESIDENTS HAVE LONG RESIDED IN THE VANGUARD of new technologies –– as well as being among the first to use the Emulator, they've produced a number of award-winning videos and CD-ROMs (Gingerbread ManFreak Show and their most recent, the bracingly grim Bad Day on the Midway, featuring such endearing characters as Benny the Bump, Herman the Human Mole, the Old Woman and the Sold-Out Artist) –– yet their music remains the product of a highly refined ignorance. The core members enjoy limited instrumental chops, though recent projects have incorporated skilled players and singers to better transmit the sickness.
"From the craftsman concept of musician," says Homer, "the Residents couldn't hardly be worse. From the idea standpoint of musician, with the emotion and energy for music, I'd say they can hardly be beat. With Wormwood, they would write things using the computer, and then print scores out, and then people would come in to play them. They feel like Wormwood, being about the Bible, it was really important to have that human spirit behind it."
Wormwood is, in part, the Residents' reaction to the severely literal-minded Christian atmosphere that has plagued the American consciousness in recent times. Gleaning insight from Jonathan Kirsch's book The Harlot by the Side of the Road: Forbidden Tales of the Bible, the group retells several of the hairier Bible stories without all the mayhem, humiliation and abnormal sex sanded off.
"The Residents watch television a lot," says Homer, "and they've always been fascinated by TV evangelists. Several years ago, they said, 'We have to find out. These people are waving this book in the air and telling other people how horrible they are because this book says they are, and it's time to sit down and read this book and see if it really does say that.' It didn't –– these evangelists were holding the Bible hostage."
The Residents' reading of the Good Book proposes other options. "The Bible," offers Homer, "is saying that it's okay to be failures as humans and as gods, because that's all there is. And it's really not about denouncing this group or that group. In fact, when you read it, everybody gets denounced at some point or another."

KNOWING THAT THE RESIDENTS LIKE TO KEEP UP with all the latest nifty trends, I ask Homer if there're any new bands they like.
"The Residents are very fond of the Spice Girls, and Hanson particularly," says Homer. "They like them a lot, because they really love pop music, and they think pop music should never last, that two weeks later you should forget entirely about the music and who performed it. So they like whoever does that."
Well, I guess these veteran Residents aren't a pop band then, going by their own definition. I wonder what they'll be doing 20 years from now.
"I've heard the Residents talking about what they'll be doing 100 years from now," Homer says, cryptically.
But...that's impossible!
"I'm not allowed to say, but they have some interesting schemes on how the Residents will live forever...They're thinking replacements. They're thinking apprenticeships and training."
The Residents, eminent purveyors of a grotesquely beautiful, sometimes anti-, sometimes pro-American art, are an American success story, having achieved a preferred way of life by precisely locating their audience. And who might that audience be?
Homer says, "You know, in high school you've got the majority of people that sort of rigidly listen to the same music, and they like the same things and dress the same way. And then you have this smaller group of people that stand apart from that –– they can't really relate to that larger group of people at all, and don't like anything they like. That's the Residents' audience. They're everywhere." 




O Vodafone Paredes de Coura prepara-se para ter James Blake - que no ano passado esteve no Optimus Primavera Sound, no seu cartaz e de duas formas diferentes.

O vencedor da edição 2013 do Mercury Prize apresenta-se no certame em dose dupla: atua, a 23 de agosto, no Palco Vodafone do certame, estando, no mesmo dia, também responsável pela curadoria do After Hours, no Palco Vodafone FM, acompanhado pelos companheiros do projeto 1-800-Dinosaur

Os norte-americanos Three Oh Sees e os britânicos Cheatahs foram hoje confirmados para o Vodafone Paredes de Coura 2014. Mick Turner, da banda Dirty Three, também vai actuar mas a solo.
Há mais de vinte anos que o festival Paredes de Coura mexe com a música e em 2013 cresce ainda mais com o patrocínio da Vodafone. Esta aposta da marca reforça a sua ligação à música fora dos grandes centros urbanos e conta com um cartaz criterioso, alinhado com o posicionamento musical da rádio Vodafone FM, que se associa ao festival. 

21 de agosto: Franz Ferdinand, Chvrches, Mac DeMarco, Yuck, Cheatahs  
22 de agosto: Cut Copy, Black Lips, Buke & Gase, Seasick Steve, Thee Oh Sees  
23 de agosto: The Dodos, Goat, Kurt Vile, Mick Turner (Palco Jazz), James Blake, 1-800-Dinosaur 
Nicolas Jaar é a mais recente confirmação do Optimus Alive 2014. O músico nova-iorquino irá actuar no festival no dia 12 de Julho no Palco Heineken. O Optimus Alive'14 decorre nos dias 10, 11 e 12 de Julho no Passeio Marítimo de Algés. Os bilhetes do festival já se encontram à venda nos locais habituais.

 Nomes confirmados? Au Revoir Simone, Arctic Monkeys, Bastille, Ben Howard, Buraka Som Sistema, Caribou, Cass McCombs, Chet Faker, Chromeo, Daughter, Elbow, Foster The People, Interpol, Imagine Dragons, Nicolas Jaar, MGMT, Parquet Courts, PAUS, SBTRTK, Temples, The 1975, The Black Keys, The Lumineers, The Vicious Five, The War on Drugs e Unknown Mortal Orquestra.


Echo and the Bunnymen acabam de divulgar a primeira faixa do seu décimo álbum, Meteorites, previsto para o dia 3 de junho, acabam de mostrar uma canção do seu novo disco, Meteorites. “Market Town”
"Finalmente fizemos o sucessor digno deCrocodilesHeaven Up HerePorcupine eOcean Rain", disse o vocalista Ian McCulloch, sem falsa modéstia. "Meteorites é o que o Echo and the Bunnymen representa, intocável, celestial, lindo e real."
a tracklist completa:
Lovers On The Run
Is This A Breakdown
Holy Moses
I Loved The Devil
Market Town
New Horizons


É a notícia do dia e do ano: a Filho Único acaba de anunciar a visita da Sun Ra Arkestra a Portugal ainda este anos. Os concertos são dois e até já estão marcados: o primeiro acontece a 1 de junho, no Serralves em Festa (Porto) e o segundo terá lugar no B.Leza (Lisboa) logo no dia seguinte. Os concertos acontecem numa altura em que se celebram 100 anos sobre o nascimento de Sun Ra (1914 - 1983) e os 90 anos do actual líder Marshall Allen. OBRIGATORIO.

Sun Ra abandonou há duas décadas, no dia 30 de Maio de 1993.
Na introdução de “Space is The Place – The Lives and Times of Sun Ra”, John F. Szwed escreve: «Há alguns anos, um jornalista alemão abria a sua crítica a um concerto de Sun Ra com a questão “génio ou charlatão?”. Ele poderia ter acrescentado “louco” à sua pergunta, porque esses são os papéis que foram atribuídos a este lendário e semi-recluso músico de jazz americano e que fazem parte do mistério de um dos mais estranhos artistas que a América já produziu.»
O triplo CD que a Fantastic Voyage – editora cujo nome de baptismo bem poderia ter sido inspirado pela vida de Sun Ra – acaba de dedicar ao homem do leme da mítica Saturn, “A Space Odyssey – From Birmingham to the Big Apple: The Quest Begins” é uma excelente porta de entrada no, de facto, estranho e talvez por isso mesmo fascinante universo de Herman Poole Blount, o homem que o mundo recorda como Sun Ra.
Kris Needs, responsável pela selecção do material presente neste álbum, começa, nas suas notas de capa, por enumerar alguns dos pilares do estatuto que a história consagrou a Sun Ra: «Ele foi o primeiro músico a declarar que o espaço era o lugar, passando a sua vida a trabalhar para criar pinturas tonais que traduzissem o que o espaço poderia ser. Foi também o primeiro a encorajar a improvisação colectiva no contexto de uma “big band” e a usar teclados electrónicos no jazz. Ele antecipou o psicadelismo e o afro-centrismo, usando bailarinos e roupas exóticas para amplificar os seus conceitos do outro mundo. Criou a sua própria etiqueta para operar nas margens da indústria discográfica, editando prensagens rudimentares e extremamente limitadas em capas feitas à mão, o que fez dele um pioneiro das editoras independentes de espírito “faça você mesmo”».
Needs agradece no seu texto a John F. Szwed, mas também ao visionário activista John Sinclair, manager dos MC5 (grupo que chegou a partilhar palcos com Sun Ra), fundador do White Panther Party e vítima das perseguições do FBI que inspiraram John Lennon a dedicar-lhe uma canção.
E não apenas no meio do jazz. Sinclar abriu a porta para um imensa minoria de “outsiders” rock, de George Clinton dos Parliament/Funkadelic a Thurston Moore dos Sonic Youth, que identificaram em Sun Ra uma fonte de inesgotável inspiração. Como escreve Needs, citando John Sinclair: «Ele era um individuo complexo; homem, mito, extraterrestre e anjo. Sun Ra era o irmão de outro planeta.» O «outro planeta» aqui bem podia ser o do jazz para os habitantes do mundo do rock.



1. “Stillness Is The Move” (from Bitte Orca, 2009)

2. “Dance For You” (from Swing Lo Magellan, 2012)

3. “Useful Chamber” (from Bitte Orca, 2009)

4. “Fucked For Life” (from New Attitude, 2006)

5. “Gun Has No Trigger” (from Swing Lo Magellan, 2012)

6. “My Offwhite Flag” (from The Glad Fact, 2003)

7. “Depression” (from Rise Above, 2007)

8. “Two Doves” (from Bitte Orca, 2009)

9. “Tour Along The Potomac” (from The Getty Address, 2005)

10. “Because Your Light Is Turning Green” (from Slaves’ Graves & Ballads, 2004

 The 10 Best Dirty Projectors Songs

When Dirty Projectors mastermind and bandleader Dave Longstreth sings about being “in the gray mesh shorts” of his alma mater, honestly, I freak out a little bit. When he croons, “I boogied down gargoyle streets, searching in every face for something I can believe,” my stomach burns. Every time I hear about how his “college smells like vomit,” I can’t help but laugh and nod.

I’d been listening to the Dirty Projectors well before I shared an alma mater with Longstreth — who famously dropped out of school to pursue his career in music — but being around campus and listening to his band’s catalog put things into an interesting perspective. Because soon enough, at school, I found myself kicking around the gargoyle streets, running in gray mesh shorts, and throwing up in dorm stairwells myself. I took biology on the “science hill” in “Off Science Hill.” And for me, anyway, he was right — about everything.

Longstreth’s lyrics are littered with that kind of anxiety that would draw someone away from a set path: anxieties about death, and potential, and loneliness; yearnings for love, and success, and fire, and some sleep. He was exactly right about feeling 21 and wanting to do something that probably won’t pay well. And the craziest thing is that he got me feeling those things before I even got to school.





Paco de Lucia, o gigante da guitarra morre aos 66 anos.A cultura espanhola perdeu um dos seus pilares.
Paco de Lucia,
nome artístico de Francisco Sánchez Gomes, o guitarrista espanhol influente que expandiu enormemente o público internacional para flamenco e fundiu-a com outras sonoridades musicais, principalmente com o jazz ou a bossa nova, embora os blues, a salsa, a música hindu ou a música árabe também o tenham marcado. fundiu-a com outros estilos musicais, morreu repentinamente de um ataque cardíaco na terça-feira à noite, no México.

A solo, com o seu sexteto, ou em colaborações, o guitarrista espanhol universalizou o flamenco, recriando-o e mesclando-o com outras sonoridades, mas sem nunca perder de vista a raiz fundadora do género.


Fundador e guitarrista da banda Devo, o norte-americano Bob Casale morreu na segunda-feira (17) aos 61 anos. É um choque para todos os amantes do grupo pós-punk, punk e new wave Devo.

Devo, cujo nome é uma contração de " de- evolução", foi formada em 1972, em Akron, Ohio, e mais tarde mudou-se para Los Angeles.

Num comunicado, Gerald Casale, vocalista e baixista dos Devo e irmão de Bob disse:
"Como um integrante original do Devo, Bob Casale estava lá nas trincheiras comigo desde o começo. Ele era meu irmão equilibrado, um performer consistente e um talentoso engenheiro de áudio, sempre dando mais do que recebia. Ele estava empolgado com a possibilidade de Mark Mothersbaugh permitir que os Devo fizesse shows novamente. A sua morte repentina devido a problemas que levaram a uma falha cardíaca veio como um choque total para todos nós".

Bob Casale ajudou a formar o Devo em 1973 ao lado do irmão, Gerald, dos também irmãos Mark e Bob Mothersbaugh. Pouco depois, a formação clássica teria ainda o baterista Alan Myers (este morto no ano passado). Bob Casale era conhecido como " Bob 2", enquanto o cantor Mark Mothersbaugh e o irmão Bob Mothersbaugh são conhecidos como " Bob 1. "

O guitarrista esteve presente nas principais fases da banda, como no final dos anos 1970 e início dos anos 1980, quando lançaram discos como "Q: Are We Not Men? A: We Are Devo!" (1978), "Freedom of Choice" (1980) e "Oh, No! It's Devo" (1982).Ele também co-produziu The New Romantics, 1981.

Bob Casale tocou ainda em "Something for Everybody", nono disco dos Devo, lançado em 2010.

O grupo que explorou a new wave, com um pé no punk e outro na eletrónica, surgiu em 1972 com os irmãos Bob e Jerry Casale e Bob e Mark Mothersbaugh, que batizaram o projeto de Devo (abreviatura de D-Evolução) por causa da morte de estudantes em manifestações anti-guerra.
Devo também gravou covers off-beat dos Rolling Stones (I Can't Get No) Satisfaction e de Allen Toussaint's Working in the Coal Mine.
 Brian Eno produziu-lhes o álbum ‘Q: Are we not men? A: We are Devo!’, de 1978, mas o sucesso viria anos depois com ‘Freedom of Choice’ (1980), disco do qual faz parte o tema ‘Whip it!’

Depois de vinte anos de ausência discográfica, os Devo editaram o último álbum, ‘Something for Everybody’, em 2010.


(“Black Postcards: A Roll & Roll Romance”, 2008),

A couple weeks ago, inspired by a discussion of Dean & Britta’s “You Turn My Head Around” Lolita. It’s showed up in a couple paper magazines over the years. At that time, we had no idea he was working on a memoir about the music he was making in the ’80s and ’90s, dramatically titled Black Postcards: A Rock & Roll Romance. But he was. In this Sunday’s NY Times Liz Phair weighs in on what sounds like a really interesting read: via N.Y. T.
one ’Gummer was talking about Dean Wareham’s literary bent. There are plenty of examples, but the thing that came up was one of those “What Are You Currently Reading?” blurbs, which Wareham (or a publicist) had written about Vladimir Nabokov’s
Freddie Mercury once said, “I want it all and I want it now.” This appetite might aptly be called the rock ’n’ roll disease, and Dean Wareham seems to have caught it. Or is in recovery. Or is somewhere along the road. Part confessional, part unsentimental career diary, Wareham’s Black Postcards: A Rock & Roll Romance reads like good courtroom testimony: to the point, but peppered with juicy and unsolicited asides. Dominick Dunne would make sure his seat was saved before excusing himself to use the restroom.
Then she talks about that juiciness…
He portrays himself as a surprisingly unsympathetic character. He visits a prostitute. He makes people angry. He follows girls home after the show. He snorts coke. No apologies are made because this is, after all, a rock ’n’ roll autobiography. Late nights, a lot of drugs, a little infidelity (well, maybe not just a little, but I won’t give away the ending) — that’s par for the course, right? His honesty is challenging and humbling. Yet, for an egghead (Wareham is a graduate of both the Dalton School, the progressive and prestigious Upper East Side preparatory academy, and Harvard) with an elective reading list to rival Art Garfunkel’s (Thomas Mann, Mark Twain, André Malraux, Nietzsche, to name a few), he seems perfectly happy to partake in whatever recreational opportunities come his way, with enviable disregard for the consequences. Guilty? Not guilty? What are we as a jury to think?
On top of a hilarious mention of Shimmy Disc dude Mark Kramer, Galaxie 500 in-band issues, a moving bit about Wareham and his son, and etc., she has an interesting insight regarding Dean’s prose style.
…But his supreme interest is clearly and purely music. It is the scaffold on which he hangs most of the feelings and fragments included in the book. Even his writing style has a rhythm to it: passages move rapidly back and forth between incident and impression, creating a kind of (I’m not kidding) rock ’n’ roll. If the writing suffers from a tone of detachment throughout, the author is well aware of it. In fact, the long journey to inhabit the present is the book’s crowning sentiment.
So, two things we’ve taken away from this review: 1) We really want to read Black Postcards and 2) Though Phair’s last couple of albums have really sucked, maybe she’s found a second calling. Top job, Liz. Definitely more refreshing than another Michiko Kakutani piece.

Extracto do livro: Damon and Naomi , were graduate students at Harvard , were spending the summer in New York and went with the intention of making music together.
Galaxie 500 was born on the day that Naomi offered to play bass . Damon and Naomi dating school .
Naomi had seen all concerts Speedy And the castanets , and was commissioned to design the scenery and playbills of our actions . Now studying architecture at Harvard University , and Damon had a graduate degree in Comparative Literature .
Mary Harron wrote the e rock'n'roll " is the only form of music that can be improved if the artists do not master their instrument. " I do not know how you fit in the Jimi Hendrix Experience in this theory , but it is true to some extent . What is clear is that it is not necessary to be a virtuoso. The world is full of great players . But sometimes its limitations as a performer that make you stand out .
Besides learning how to play bass , Naomi was becoming a graphic designer with an extraordinary talent , and a graphic design group is at least as important as the bass. Naomi was always thinking in visual terms . If I saw a gas station , she saw something completely different . Took pictures of ugly things , but your photos have been converted into beautiful things .
Damon and Naomi were explorers . Liked nothing more than to get in his little yellow Fiat and travel to Concord to Walden Pond or Plum Island .
Our first experience was on May 27, 1987 . Our plan was to prepare some versions and act in Washington Square Park . Naomi proposed " Where Have All The Flowers Gone ? " . The best known version is that of Peter , Paul and Mary , but my favorite is Marlene Dietrich with the Burt Bacharach and support your band . We also tested "I Can See Clearly Now " by Johnny Nash , " Just My Imagination ( Running Away With Me) " by The Temptations and " Knockin 'On Heaven's Door " by Dylan . No group not tested this theme Dylan . It is easy to play and is perfect for stretching . And Axl Rose had not come to hate .
We rehearsed all summer . Sometimes , Damon and stayed for lunch . That summer was studying Damon surrealist poetry and occasionally had to stop walking down the Bobst library. In late summer , which gave a concert at my apartment on Front Street . Naomi designed some flyers for the event . It was the best show of my life . No, not me rope broke and I did not forget any lyrics . We played 20 minutes and everything went well .
In August we caught studies in 6/8 in Cable Building at the corner of Broadway and Houston to record the first demo of Galaxie 500 . There were two sessions, one Thursday and Saturday night with a technician named Perkin Barnes . Seven songs were recorded .
My favorite song of this session was " The Other Side " composed by Naomi . He sang with insecurity ( like me) , but it looked good . The best music moment is when I 'm wrong chord and slide to the right . I sat on the wrong track when we started playing live accordingly. If you make a mistake , repeat it for everyone thinks you did it on purpose .
I took the tape home and put it nonstop . Sometimes , if you hear something often , you just look better . This was not the case this tape . Clearly it was mediocre . I only had two guitar sounds : coward ranger . Some singing lessons , I would not have been bad . As always rehearsed without a microphone , I had never heard him sing . When I stood before the microphone in the studio, I heard very well. Shame give me my cards , so that the air and then performed the voice buried deep in the mixture.
What I did not know is that we on the right track . We were an early version and make the middle group that would become later. Our surround sound was repetitive , with simple chord progressions , which reached a climax and then diluted. We were not good , but they were different .
I could not get the head of Claudia , but trying to date other girls . The Thursday night in June, there was a party on an expedition from New York University . Drank more than usual and ended up kissing a girl . A week later, I stayed with her and took me to her apartment in Greenpoint . The walls of his room only had a crucifix . We made ​​love right then and told me he loved me .
But hey ! I did not know that these things are not spoken on a first date ?
When September arrived , I realized that I had no reason to stay in New York . Damon and Naomi resumed his graduate studies in Boston and decided to go with them to see how far we could get with the group


Galaxie 500, CBGB (1988)


2014 HAPPY NEW YEAR 2014



IN SEPTEMBER 1964, AGED 21, Jimi Hendrix joined Little Richard’s touring band The Upsetters, and further developed the unique guitar style that would shortly electrify the world.
But this was not the first time that Hendrix had met the Georgia-born rock’n’roll star. According to Jimi’s younger brother, Leon, the budding guitarist initially encountered Richard in their home town of Seattle at the age of 12.

“Me and Jimi met Little Richard in 1959 because his mom and sister lived in Seattle,” recalls the surviving Hendrix brother, speaking to MOJO. “I took a bunch of greens over to a neighbour’s house, Mrs Penniman, saw this black limo and Little Richard. I ran home to get Jimi, we rode bikes up there and sat there in awe at him preaching at the Goodwill Baptist Church.”


Jimi Hendrix with his brother Leon (left).  A tumultuous childhood haunted them both.

Speaking in the same interview, published in the latest MOJO magazine, Leon recalls the tumultuous home life that haunted the brothers as they grew up and explains how Jimi – whom he called Buster – used music to escape what was an increasingly fractured domestic situation. “When he got that ukulele with one string on it, everything took off. He got free,” says Leon.
For Jimi Hendrix, his graduation from ukulele to the six-string was to be the making of him. He left Seattle in 1961, initially enlisting in the US Army before becoming a sought-after guitarist. “He was the best guitar player so everyone wanted to hire him,” reflects Leon.
By the time he’d joined Little Richard’s band, Hendrix had already played with Wilson Pickett, The Isley Brothers, Chuck Jackson and Sam Cooke. While he knew his role as a sideman, his flamboyance was evident and appears to have caused clashes with Richard.
Nevertheless, he stayed long enough to record one single with Richard – the smouldering, begging-and-pleading I Don’t Know What You’ve Got (But It’s Got Me)in early 1965, released on Vee-Jay – and he also made his first TV appearance while a member of Richard’s band, backing soul duo Buddy And Stacy as they covered Junior Walker And The All Stars’ Shotgun on Night Train, filmed in Nashville in the summer of ’65.
The clip shows Hendrix resplendent in his dinner suit and bow tie, digging to the horn-powered groove. Less than 18 months later, Jimi landed in London and his meteoric rise had begun…


Vampire Weekend 'Modern Vampire in the City
Hookworms 'Pearl Mystic
Justin Timberlake 'The 20/20 Experience
James Blake 'Overgrown
My Bloody Valentine 'mbv'
Blood Orange 'Cupid Deluxe´
Kurt Vile 'Walkin' On A Pretty Daze'
Daft Punk 'Random Access Memories' 
Arcade Fire 'Reflektor'
El-P and Killer Mike 'Run The Jewels'
Queens of the Stone Age 'Like Clockwork' 
Joanna Gruesome 'Weird Sister' 
Death Grips 'Government Plates'
Janelle Monae 'The Electric Lady'
Nick Cave 'Push the Sky Away' 
Chance the Rapper 'Acid Rap'
Haim 'Days Are Gone'
Rhye 'Woman'
Arctic Monkeys 'AM'


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