Born A Rolling Stone
The Sonic Gypsy Band are: Mickey Banks (The Sonic Gypsy): Vocals / Electric Slide Guitar, Kaptain Boogie: Lead Guitar, Pig Man: Harmonica / Trumpet, Dub Punk: Bass, Mon Duncalf: Drums.
FIlmed and Edited by David Martin www.DavidMartinFilms.com
Entre 1976 y 1978 en Londres y Nueva York surgió como una explosión, el Punk: unos cuantos grupos de música agrupados en torno a fancines, tiendas de moda o locales que mostraban oposición frente a los convencionalismos. Surgió como una reacción a la crisis del sueño hippie; enredado en la aparición del terror y el terrorismo como acción política; atenazado por la crisis económica ligada a la gestión de la escasez; todo ello aderezado con un regreso del conservadurismo político que anunciaba la aparición del tacherismo y Reagan. El Punk mostraba un descontento rabioso frente a una situación sin futuro que enseguida prendió y se extendió geográficamente. En España apareció poco después en los grupos incipientes de la movida madrileña y en Euskadi y Cataluña con una generación que ya había perdido la ilusión democratizadora de la lucha antifranquista. Pero el Punk es sólo el punto álgido, una explosión en la que se oyen ecos del Dadaísmo o el Situacionismo, de un sentir común, un malestar, descontento, insatisfacción y una rabia que acompaña todo el siglo XX. Una rabia cuyo eco todavía está presente hoy en día.
Tanto el Punk como su genealogía y antecedentes han sido analizados y estudiados. En “Rastros de carmín”, el ensayo más significativo e icónico sobre sus repercusiones, Greil Marcus trazaba por primera vez un recorrido por los antecedentes del Punk. Esta exposición pretende establecer una genealogía que llegue hasta nuestros días o según Greil Marcus, seguir sus rastros hasta el presente. “PUNK. Sus rastros en el arte contemporáneo” busca hacerse eco de la importante presencia de lo Punk como actitud y como referencia entre muchos creadores. Tanto que quizás esa referencia es el único punto en común entre artistas y obras muy distantes; o tanto como para rastrear el arte contemporáneo como un espacio de disidencia en el que congregar una actitud Punk.
Carlos Aires, Martin Arnold, Fabienne Audeoud, Bill Balaskas, Jean-Michel Basquiat, Laurent P. Berger, Chris Burden, Tony Cokes, Jordi Colomer, Brice Dellsperger, Christoph Draeger, Jimmie Durham, Tracey Emin, Mario Espliego, Ant Farm, Hans-Peter Feldmann, Claire Fontaine, Chiara Fumai, Iñaki Garmendia, Kendell Geers, Gelitin, Nan Goldin, Douglas Gordon, Dan Graham, Eulàlia Grau, Guerrilla Girls, Johan Grimonprez, Antoni Hervas, Mike Kelley, Martin Kippenberger, João Louro, Christian Marclay, Raúl Martínez, Raisa Maudit, Paul McCarthy, Jonathan Messe, Jordi Mitjá, Joan Morey, Janis E. Müller, Matt Mullican, Itziar Okariz, João Onofre, Antonio Ortega, Tony Oursler, Mabel Palacín, Juan Pérez Aguirregoikoa, Raymond Pettibon, Maria Pratts, Tere Recarens, Jamie Reid, Tim Reinecke, Martín Rico, Aida Ruilova, Pepo Salazar, Santiago Sierra, Federico Solmi, Natascha Stellmach, Gavin Turk y VALIE EXPORT.
COMISARIO DAVID G. TORRES.
Vídeo realizado por Mar Rojo.
Más info: http://www.ca2m.org/es
PUNK. ”SUS RASTROS EN EL ARTE CONTEMPORÁNEO”.
Between 1976 and 1978 in London and New York emerged as an explosion, the Punk: a few music groups grouped around fancines, fashion stores or stores that showed opposition to conventions. It emerged as a reaction to the crisis of the hippie dream; entangled in the emergence of terror and terrorism as a political action; gripped by the economic crisis linked to the management of scarcity; All this seasoned with a return of the political conservatism that announced the appearance of tacherismo and Reagan. The Punk showed a rabid discontent in front of a situation without a future that immediately ignited and spread geographically. In Spain it appeared shortly after in the incipient groups of the movida madrileña and in Euskadi and Catalonia, with a generation that already had lost the democratizing illusion of the antifranquista fight. But Punk is only the high point, an explosion in which you can hear echoes of Dadaism or Situationism, of a common feeling, discomfort, dissatisfaction, dissatisfaction and anger that accompanies the entire twentieth century. A rage whose echo is still present today.
Both Punk and its genealogy and background have been analyzed and studied. In “Rastros de carmín”, the most significant and iconic essay on its repercussions, Greil Marcus traced for the first time a tour of the background of Punk. This exhibition aims to establish a genealogy that reaches our days or according to Greil Marcus, follow its traces to the present. “PUNK. His traces in contemporary art “seeks to echo the important presence of Punk as an attitude and as a reference among many creators. So much so that perhaps that reference is the only point in common between artists and very distant works; or as much as to trace contemporary art as a space of dissidence in which to gather a Punk attitude.
“1979” is a song by American alternative rock band the Smashing Pumpkins. Released in 1996 as the second single from their third studio album, Mellon Collie and the Infinite Sadness, “1979” was written by frontman Billy Corgan, and features loops and samples that were uncharacteristic of previous Smashing Pumpkins songs.
The song was written as a coming of age story by Corgan. In the year 1979, Corgan was 12 and this is what he considered his transition into adolescence. The song was popular with critics and fans; Allmusic’s Amy Hanson called it a “somewhat surprising hit”.
The Smashing Pumpkins are an American alternative rock band from Chicago, Illinois, formed in 1988. Formed by frontman Billy Corgan (lead vocals, guitar) and James Iha (guitar), the band included D’arcy Wretzky (bass guitar) and Jimmy Chamberlin (drums) in its original incarnation. It has undergone many line-up changes over the course of its existence, with the current lineup being Corgan and rhythm guitarist Jeff Schroeder.
Disavowing the punk rock roots of many of their alt-rock contemporaries, the Pumpkins have a diverse, densely layered, and guitar-heavy sound, containing elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock, shoegazing, and electronica in later recordings. Corgan is the group’s primary songwriter—his grand musical ambitions and cathartic lyrics have shaped the band’s albums and songs, which have been described as “anguished, bruised reports from Billy Corgan’s nightmare-land”.
SMASHING PUMPKINS LYRICS
Shakedown 1979, cool kids never have the time
On a live wire right up off the street
You and I should meet
Junebug skipping like a stone
With the headlights pointed at the dawn
We were sure we’d never see an end to it all
And I don’t even care to shake these zipper blues
And we don’t know
Just where our bones will rest
To dust I guess
Forgotten and absorbed into the earth below
Double cross the vacant and the bored
They’re not sure just what we have in store
Morphine city slipping dues down to see
That we don’t even care as restless as we are
We feel the pull in the land of a thousand guilts
And poured cement, lamented and assured
To the lights and towns below
Faster than the speed of sound
Faster than we thought we’d go, beneath the sound of hope
Justine never knew the rules,
Hung down with the freaks and the ghouls
No apologies ever need be made, I know you better than you fake it
To see that we don’t even care to shake these zipper blues
And we don’t know just where our bones will rest
To dust I guess
Forgotten and absorbed into the earth below
The street heats the urgency of now
As you see there’s no one around
In a 1996 Spin interview, Corgan indicated that “1979” was probably the only indication he had for what the next Pumpkins album would sound like, “something that combines technology, and a rock sensibility, and pop, and whatever, and hopefully clicks. Between ‘Bullet with Butterfly Wings’ and ‘1979’ you have the bookends of Mellon Collie and the Infinite Sadness. You’ve literally [heard] the end of the rock thing, and the beginning of the new thing”.
According to statements in interviews, Corgan worked nonstop after the Siamese Dream tour and wrote about 56 songs for Mellon Collie and the Infinite Sadness, the last of which was “1979”. As the Mellon Collie sessions came to a conclusion, “1979” was just a couple of chord changes and a snippet of a melody without words. When the time came to choose the songs that were to appear on the album, producer Flood said that “1979” was “not good enough” and wanted to drop it from the record. This, however, inspired Corgan to finish it in four hours. The next day, Flood heard “1979” once and decided immediately to put it on the album. Corgan considers “1979” the most personally important song on Mellon Collie.
Single by The Smashing Pumpkins
from the album Mellon Collie and the Infinite Sadness
Released January 23, 1996
Format 7″ and 12″ vinyl, CD, cassette
Genre Alternative rock
Length 4:24 (album/single/video version)
4:16 (radio edit)
Writer(s) Billy Corgan
Producer(s) Flood Alan Moulder Billy Corgan
SOURCE: 1979 by WIKIPEDIA (CC BY SA) https://en.wikipedia.org/wiki/1979_(song)
Smashing Pumpkins by WIKIPEDIA (CC BY SA) https://en.wikipedia.org/wiki/The_Smashing_Pumpkins
“No Copyright Infringement Intended, Strictly For Promotional Purposes Only! All Rights Reserved To Their Respective Owners.”
“Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.”
blink-183 performs “Enema of the State” at Zughaus Gallery in Berkeley, CA 12/17/11
2. Don’t Leave Me (3:20)
3. Aliens Exist (5:40)
4. Going Away to College (8:50)
5. What’s My Age Again? (11:53)
6. Dysentery Gary (14:11)
7. Adam’s Song (17:31)
8. All the Small Things (22:42)
9. The Party Song (25:32)
10. Mutt (28:23)
11. Wendy Clear (32:21)
12. Anthem (36:00)
This is recorded from the Virgin Radio Pepper and Dylan Welcome Back Party at the Edmonton Event Centre (EEC). Before the show the band was kind enough to invite me into their Green Room where they all signed my guitar. Truly a great bunch of guys.
(As of 5/10/2017) Audio had been unblocked. ENJOY!
(Also on Vimeo – http://vimeo.com/99865134 )
SET LIST — The Easter Show 4:19:1992
00:00 – Intro
02:05 – Don’t Leave Me
05:45 – 2000 Light Years Away
08:35 – 409 In Your Coffeemaker
11:40 – At The Library
15:01 – Welcome To Paradise
19:40 – Christie Road
23:12 – Only Of You
26:30 – 80
30:25 – 16
34:17 – Paper Lanterns
38:51 – One Of My Lies
41:47 – Who Wrote Holden Caulfield?
45:31 – Road To Acceptance
50:28 – Knowledge
53:56 – Going To Pasalacqua
COMPLETE 15 SONG, 60 MINUTE performance by GREEN DAY.
Recorded live @ Raji’s in Hollywood, CA on 4/19/1992 – Easter Sunday.
Shot with three HI-8 cameras, audio mixed from camera source.
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