“Una idea que no es peligrosa , no puede considerarse idea“ Oscar Wilde
Tercer Round de las “Noise Conspiracies“ o especiales del aniversario con invitado especial el “Patter Sacrum“, cineasta relajado y sin poses de la “Film or die Crew“ con una buena selección para el congal... el caos y la anarquía lo normal en el lugar mas turbulento de la comarca.
La selección del “Patter Sacrum“
Track /Artist/Cd/Label “Prelude to Alice in the Goon“/Nurse With Wound/Alice in The Wound/ “Cayetano“/Perez Prado/Concierto para Bongo/ “Cumbia Arabe“/Mariachi Nuevo Tecatitlán/Cumbias Mariachi 16 Exitos/ “Princesa Remix“/Modular/El Triángulo de las Bermudas/ “C´est Fab“/Nancy Sesay and the melodaries/C´est Fab/Its war boys “One Thousand Tears a Tarantula“/Dengue Fever/Scape from Dragon House/M80 “Dum Maro Dum“/Asha Boshle/Best of Asha Boshle/Manteca “Mister Penguin part 1 y 2“/Lunar Funk/Bell/Mocambo Records “The Next Message“/Mocambo All Stars/ Mocambo Records “Cumbia Morena“/Eulogio Molina/
La Selección de la Casa “Brand New Cadillac“/ Vince Taylor and the Playboys/The Best of/ “Chicken Bone circuit“/RJD2/Deadringer “Gueto“/Marcelo D2/Meu Samba e Assím/ “Makuroke“/Soil & Pimp Sessions/Pimpoint/Victor “Mashiroke“/Soil & Pimp Sessions/Pimpoint/Victor “Its a burning hell“/Brain Bombs/ Burning Hell/ “Missiles Reprise“/The War on Drugs/Future Weather “Voltos Bolt“/Pan Sonic/Gravitonic/ “Shai Hulud“/Sparkhorse and Fenesz/ In the Fish Tank/
They were invented by fans of trashy science fiction novels in the 1930s before their hand-written Xeroxed pages chronicled the birth of punk. But as the internet threatens to condemn them to history's shredder, traditional music fanzines - amateur magazines written, edited and produced by fans - have found an unlikely saviour. The National Library of Scotland is to embark on the laborious task of tracking down and cataloguing the countless thousands of fanzines published in the UK over the past 70 years. The library has enlisted the help of Chris Atton, a professor of media and culture at Napier University who has written both for and about fanzines for almost 30 years. For Prof Atton, fanzines have become a vital part of the nation's folk history, providing unique, first-hand accounts of major cultural and social change from those who were on the ground and in the concert venues as it was taking place. He said: "When people write the history of rock music, they inevitably turn to interviews with the musicians and taste makers of the day.
Copies of classic punk fanzines like Sniffin' Glue can sell for four-figures "What fanzines do is give us a way of accessing an audience from 30 or 50 years ago who were writing about music purely because of their love of that music. "They show how fans of all kinds of popular culture can become experts with as much insight as professional journalists. "Otherwise the history of music will be written by the same select group of people - it is the equivalent of the old history books that were full of stuff about kings and queens rather than looking at what the ordinary people were doing." The first fledgling fanzines appeared in the 1930s, when they were published by science fiction aficionados whose literary tastes were largely ignored by the mainstream media and critics of the day. Prof Atton said similar publications appeared during the early years of jazz and blues, while in 1966, Crawdaddy! - named after the club where the Rolling Stones played their first gig - became the first US publication, either fan or professionally produced, to write exclusively about rock music. But it wasn't until the late 1970s that technological advances saw the cost of photocopying plummet - allowing the dream of mass-producing amateur magazines to become an affordable reality for many more people, and the so-called Golden Age of fanzines was born. This was, of course, to coincide with the subversive DIY aesthetic of the punk explosion of 1976 and 1977, and before long it seemed that every self-respecting spiky haired, safety-pinned youth was the proud publisher of his own fanzine. The more ambitious front pages featured a flexi disc - a thin sheet of seven inch vinyl - featuring music from new bands, while inside the mix of reviews, interviews and commentary fuelled the exploding scene. Digital age The quality varied widely, with some featuring glossy covers and professional-quality writing and criticism, while others were completely written by hand - often by different people - and then crudely printed on rough A4 or A5 paper. The established British music press were not slow in leaping on the bandwagon, with the NME, Melody Maker and Sounds poaching influential writers like Paul Morley, Simon Reynolds and Jon Savage, who had all cut their critical teeth on fanzines in the late 70s or early 80s. Fanzine culture was also widely adopted on the terraces of football grounds across the country, with publications like Not the View and Follow Follow appearing outside the home stadiums of Celtic and Rangers respectively.
The production quality of fanzines varies widely The Golden Age was to last until the mid-1990s, when fanzine editors gradually started logging on to the digital age and instead published their musings in the cheaper, less-time consuming and apparently more interactive formats offered by the internet. Prof Atton said: "When the web first started to have an impact on amateur publishing in the mid-90s, very few people actually wanted to do it. "Some tried it and moved back again, while a few stuck with it and it completely changed what they were doing. "But I would actually argue that the level of interaction the reader has with a print publication is more serious than people have with a blog or internet site. "It takes so much more thought and effort to actually write an article and contribute it to a fanzine or to write a letter to an editor than it does to type a four-line response to a blog post - the level of debate online is often the equivalent of a bar room discussion that focuses on the minutia. "A lot of people are still turned off by moving to the web, where fanzines lose many of the characteristics that made them so appealing." The sale of fanzines, which often cost a few pence and had tiny print runs when they originally appeared, is now more likely to be done on auction sites like eBay than it is outside gigs or in local record shops, with nostalgic collectors willing to pay four-figures sums for copies of pioneering titles like punk fanzine Sniffin' Glue.
The National Library sees fanzines as part of the cultural heritage of this country but 30 years ago if you had handed them a copy of Sniffin' Glue it would have gone straight in the bin Professor Chris Atton And Prof Atton said that the web, with its blogs, tweets and social networks, is now the undisputed king of amateur music commentary. But small bands of hardcore fans continue to lovingly write, edit and print in their bedrooms - even if sophisticated desktop publishing software has often replaced the cut and paste days of Pritt Sticks, scissors and electric typewriters and the once-omnipresent flexi discs have been ditched in favour of shiny CD-Rs. Some current music fanzines continue to emerge from nascent musical scenes and genres, like the grime and dubstep-focused Woofah. Others, like the long-running Bucketfull of Brains, largely concentrate on traditional but currently "unfashionable" rock genres that are unlikely to be widely covered elsewhere. For many devotees, fanzines have the same appeal over internet blogs as vinyl records do over MP3s - they prefer something they can actually hold. But Prof Atton, who will be giving a public lecture on the history of fanzines on 9 March, admitted he now largely views fanzines as historical artefacts rather than as the cutting-edge cultural phenomenon they once were. He added: "The National Library sees fanzines as part of the cultural heritage of this country but 30 years ago if you had handed them a copy of Sniffin' Glue it would have gone straight in the bin, and that comes from the massive change in how popular culture is covered."
Edgar “Capo de Gamerland“ en los Controles Capesquiat
A un año ... happy B. “Estética del Ruido“
Su congal sonoro de confianza o fan zine radiofónico favorito, esta a unas horas de cumplir su primer año de Caos y anarquía sonora, el personal de terroristas sonoros abordo ha decidido hacer un par de programas especiales de dos horas llamados “NOISE CONSPIRACIES“ con invitados amantes de la música y el ruido.
Para el primer Round tuvimos un tipo que se hace llamar “Capesquiat“ con una selección musical muy ecléctica e interesante.
Para el segundo tuvimos a Jorge Ramírez, artista sonoro , constructor y destructor de estructuras musicales, atmósferas que van de lo particular a lo abstracto.
Primer Round Selección de “Capesquiat“ Track/Artist/Cd “Start the Riot“/Atari Teenage Riot/Berlin Berlin Burn/Gran Royal “ Arawan“ /Tiranicen/Amassakul/ “Panama City“/The Quantic Soul Orchestra /Tropidelica “Gibraltar“/Abdal Malik/Gibraltar “System“/Black Uhuru/Unification “Antropology“/Charlie Parker/Early Bird/ "Audition"/Ataxia/Automatic Writing “Flash Delirium“/MGMT/Congratulations “Bastards in Blue“/The Partizans/The Best/
Segundo Round selección Jorge Ramírez y acto en vivo
“SPDBLL“ “Penile Zipper Entropment“ (Live) “Coladas liroclásticas“ (Live) “Nueva Cociencia de mi pérdida Interna“ http//:www.interela.com
Despues de Octopus Project,APTBS,Prefuse 73,RJD2, Adictive Tv...
Get em up Hand on the Pump How I Could Just Kill a Man Light It Up I Wanna Get High Aint going out like that Insane in the Brain When The Shit Goes Down Latin Lingo Cock the Hammer Three lil' putos Hits From the Bong What Go Around Come Around, Kid A to the K Dr. Greenthumb Armada Latina Rise Up Rock superstar
APTBS SET LIST
Ego Death I Know I'll See You In Your Heart Girlfriend Deadbeat To Fix The Gash In Your Head The Falling Sun I Lived My Life To Stand In The Shadow Of Your Heart Ocean
A giant version of Tom Waits’ 2006 album Orphans: Brawlers, Bawlers & Bastards has been created as part of a unique art installation in London. The Portobello ReCollection opened last week on the Portobello Road in West London, transforming a 100 m long wall into a giant record collection charting the musical influences of the neighborhood. Artists Natasha Mason and Teresa Crawley asked residents for their input on which records they would like to see represented. The result is a colorful celebration of the neighborhood’s musical heritage prominently featuring Waits acclaimed three CD/7 album set . The installation is scheduled to be in place for six months, so get your picture taken with a giant Tom Waits album while you can.
Skateistan is Afghanistan’s first dedicated co-educational skateboarding school. The project will engage with the growing numbers of urbanised Afghan youth in Kabul through skateboarding and provide new opportunities in cross-cultural interaction and education. The school will teach more than 100 students from a range of different cultural and socio-economic backgrounds. Student capacity will be developed in skateboarding, skateboarding instruction, project management, life skills and English. Our aim is to develop a program that empowers youth to take leadership on issues important to them and build networks countering ethnic barriers.
Supporting organizations: Black Box Distribution, 303 Bar, YMCA Victoria, Convic, Crumpler, Lonely Planet, Argusphotography, AADO: Afghan Australian Development Organisation
WHEN THE APES MET...COLECTIVA HISTORIAS DE ROBOTS (BERNARDO FERNANDEZ “BEF“) Fotos Ernesto Rivera Planter
La galería Vertigo ubicada en la calle de Colima 23 en la Colonia Roma, propiedad del Dr.Alderete y Clarisa Moura , cumplió su primer año como espacio al arte alternativo y contemporáneo. El día de ayer se inauguraron tres nuevas exposiciones para celebrar el primer año la primera del fabuloso artista norteamericano Mitch O Conell , la segunda llamada “Historias de Robots del gran ilustrador mexicabo “BEF“ y la tercera una colectiva de llamada “When the apes Met“, desde Bilbao, las tres altamente recomendables. En hora buena Felicidades al equipo de Vertigo , Clarisa y Jorge.