Murió Tommy Ramone, última llama viva de los Ramones

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Tommy Ramone, el último miembro original sobreviviente de los Ramones, quien tocó la batería en y co-produjo legendarios primeros tres álbumes de la banda Ramones (1976), Leave Home (1977) y Road to RuinRamones (1978), falleció el día de hoy, según confirmó la cuenta oficial de Twitter de la banda. Tenía 62 años.

Murió en su casa en Queens, Nueva York, donde se encontraba en cuidados hospitalarios después de ser tratado cáncer en los conductos biliares, según un informe de la revista Variety.

Nació en Budapest, Hungría. Tommy se hizo cargo de la batería de los Ramones cuando Joey Ramone se convirtió en cantante. Tommy tocó en la banda desde 1974 hasta 1978, cuando se fue y fue reemplazado por Marky Ramone. Sin embargo, Tommy se quedó en como co-productor el cuarto álbum de la banda, Road to Ruin (1978).

Sus créditos como compositor incluyen “I Wanna Be Your Boyfriend”, lanzado como single en 1976.

Más tarde, durante los años 80, Tommy produjo otros grupos. Tommy fue el último de los Ramones originales en morir, precedido por Joey (2001), Dee Dee (2002) y Johnny (2004).RAMONESboyfriendassdsds

No es sólo rock’n’roll, son los Rolling Stones. PHOTO

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“Nada es verdad, todo está permitido”. Esta frase del escritor William Burroughs destila el espíritu de los años sesenta. Y resume el ideario del grupo The Rolling Stones que, fundado en 1962, pronto traspasó las fronteras de la música para convertirse en un icono cultural de ámbito planetario. Las imágenes de sus multitudinarios conciertos, de los rostros de sus líderes Mick Jagger y Keith Richard, de sus ensayos o detrás del escenario, contribuyeron decisivamente en la construcción colectiva del mito, que hoy sigue vivo, 52 años después.

La fotografía centra, precisamente, la exposición Sympathy for the Stones del Centro Cultural Bancaja de Valencia, que ofrece un recorrido por la trayectoria musical de la banda británica y la influencia cultural que ha ejercido. Se inaugura la tarde de este martes, un día antes de que el grupo desembarque en el estadio Santiago Bernabéu de Madrid, para dar su único concierto en España de su actual gira.

“Los Stones son historia viva que se reconocen en esa frase de Burroughs”, comenta Fernando Castro, profesor de Estética y comisario de la exposición que reúne un centenar de piezas entre fotografías, carteles, portadas de disco, documentos, películas y obras como el cuadro de Richard Hamilton inspirada en la detención de Jagger por posesión de drogas o una reproducción del retrato que hizo Warhol del cantante.

Se exhiben imágenes de los Rolling con John Lennon, Yoko Ono, Bob Dylan, David Bowie o Tina Turner. Son obra de fotógrafos reconocidos como Ebet Robets, Barrie Wentzell, Michael Putland, Bob Gruen, Gus Coral o Guy Le Querrec y Rene Burri (los dos últimos de la agencia Magnum).
Fotógrafos internacionales repasan la trayectoria musical y la influencia iconográfica del grupo
FOTOGALERÍA 50 años de Stones.
http://ccaa.elpais.com/ccaa/2014/06/24/valencia/1403609060_854468.htm
FOTOGALERIA: http://ccaa.elpais.com/ccaa/2014/06/24/album/1403614671_444553.html#1403614671_444553_1403614766

Exhibition : Dominique Tarlé Rolling Stones, inédits. PHOTO

Villa Nellcôte, Villefranche-sur-Mer, 1971 ©Dominique Tarlé / La Galerie de l’Instant, Paris

Villa Nellcôte, Villefranche-sur-Mer, 1971 ©Dominique Tarlé / La Galerie de l’Instant, Paris


To celebrate the arrival of the Rolling Stones in France, La Galerie de l’Instant is exhibiting photographs by Dominique Tarlé.

Every fan of the Stones knows the name and history of the photographs taken at the Villa Nellcôte in Villefranche sur Mer, where Dominique Tarlé spent 6 months with the group during the recording of Exile on Mainstreet. In 1971, The Rolling Stones, swindled by their manager, were fleeing British taxes. The members of the group settled in the South of France, and during a visit to Keith Richards’ home in April, 1977, Dominique Tarlé shot a few portraits of the Richards family. That evening, as he was thanking his hosts for the lovely evening, Keith uttered the magical and decisive sentence, “But your room is ready,” thus inviting the young photographer into both his villa and his private life.

Mick & Bianca Jagger, Sud de la France, 1971 ©Dominique Tarlé / La Galerie de l’Instant, Paris

Mick & Bianca Jagger, Sud de la France, 1971 ©Dominique Tarlé / La Galerie de l’Instant, Paris

EXHIBITION
Time is on my Side
June 6 – July 12, 2014
Galerie de l’Instant
46 rue de Poitou
75003 Paris

http://www.lagaleriedelinstant.com

Baron Wolman : Woodstock Real Art Press. Book

Woodstock © Photographs Baron Wolman

Woodstock © Photographs Baron Wolman


2014 marks the 45th anniversary of Woodstock. Baron Wolman was Rolling Stone magazine’s first photographer. In 1969 he attended what would become the most famous music festival of all time. This June, Reel Art Press releases Woodstock, an edition featuring Wolman’s photographs, published here in their entirety for the first time, with a worldwide launch and an exhibition in London in June.

“I remember flying in on the helicopter, looking down at all the people thinking, “Oh my god, it’s like a single living organism. An ocean of hair and teeth and eyes and arms!” The sound of the crowd was so loud you could hear it over the sound of the helicopter engine” – Carlos Santana

What started as a free event advertised for 50,000, would become the most important music festival in history, attended by over half a million people, united in a message of peace, love, openness and cultural expression. Woodstock was a defining moment for the wider counter-culture generation. “No one could have predicted the enduring influence of the Woodstock experience,” comments Wolman. “Yes, the bands were first rate and there were many of them. And the setting … was picture perfect and tranquil, a bucolic setting for relaxing with friends and listening to music and getting high. But in unexpected ways, Woodstock became more than a concert for all of us.”
http://www.loeildelaphotographie.com/2014/05/29/book/24860/baron-wolman-woodstock-real-art-press

LOU REED, NICO AND JOHN CALE DO VELVET UNDERGROUND MINI-REUNION ON FRENCH TV, 1972

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In 1972, Velvet Underground alumni Lou Reed, John Cale and Nico reunited before the cameras of the POP2 TV program at Le Bataclan, a well-known—and very intimate—Paris venue. It was Cale’s gig originally and he invited Reed and Nico to join him. Reed, who hated rehearsing, spent two days with Cale working out what they were going to do. According to Victor Bockris’ Lou Reed biography Transformer, rock critic Richard Robinson videotaped these rehearsals, which took place in London.

Both the videotape and the audio from this show have been heavily bootlegged over the years. A legit CD release happened a few years ago, but it still sounds like a bootleg. A high quality video turned up on various torrent trackers and bootleg blogs after a rebroadcast on French TV. It’s fairly easy to find. Now if only some of the outtakes from the Le Bataclan filming (if there were any) would slip out—they did “Black Angel’s Death Song” which I’d dearly love to see—not to mention what Richard Robinson might have (There is an audio only recording of the rehearsals attributed to Robinson’s tapes already making the rounds on bootleg torrent trackers.)

This is Reed coming off his first solo record (which had not even been released yet) and just a few months before he recorded “Walk on the Wild Side” with David Bowie and took on a totally different public—and we can presume, private—persona. This is “Long Island Lou” last seen just before Reed’s druggy bisexual alter-ego showed up and took his place. Cale does the lush “Ghost Story” from his then new Vintage Violence album and Nico looks stunning and happy here singing “Femme Fatale.” It’s before the damage of her drug addiction took its toll on her looks.

I will direct you here for the full version, but I can’t embed the file.

One thing worth pointing out here is that during “Berlin” you can see Nico’s face as Reed sings a song which he told her was about her. She might even be hearing it for the first time.
http://dangerousminds.net/comments/lou_reed_nico_and_john_cale_do_velvet_underground_mini_reunion

EL VEZ, THE MEXICAN ELVIS: CHE GUEVARA MEETS ‘VIVA LAS VEGAS’

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Although he regularly tours internationally—and he might not even live here anymore—I tend to think of El Vez, the Mexican Elvis, as one of the best things about the city of Los Angeles. One of my very, very first nights out “on the town” when I first moved here involved catching El Vez and the Elvettes—totally by accident—at the Atlas Bar and Grill on Wilshire Blvd. Claiming to be the bastard son of Elvis and Charo, his act was super fun—reminding me of John Sex, Deee Lite or The B-52s—and the sort of multilayered political and racial satire and hilarious dog whistles that went into his material like “En El Barrio” made me an instant fan. Over the years I’ve seen El Vez (real name Robert Lopez) at least a dozen times and it’s always been a blast. He’s a local institution. (Still in high school, Lopez co-founded LA punk legends, The Zeros way back in 1976. He can also be seen as part of Catholic Discipline in The Decline of Western Civilization.)

El Vez doesn’t only do Elvis songs. He might do something by ABBA or The Clash or T.Rex or David Bowie (El Vez had his “Thin Brown Duke” phase), but it’s always ultimately filtered through his “Chicano power” persona, one part Che Guevara, one part Viva Las Vegas. The guy pays attention to the details and the revolutionary politics in his idiosyncratic (and very, very funny) artform. Is it just a novelty act? Well, sure, but only to someone too stupid to get all the jokes. He’s like The Simpsons, even someone thick would enjoy seeing El Vez do his thing.

El Vez will be touring with his Cinco de Mayo review. Dates are listed on his website, where you can also buy a lock of his hair (in a “deluxe” ziplock bag) for just $3.
http://dangerousminds.net/comments/el_vez_the_mexican_elvis_che_guevara_meets_viva_las_vegas

Husmear en la basura con Tom Waits. Por Fernando Navarro

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Conocí a Sang Wook en aquella academia de clases de inglés en el corazón mismo de Manhattan, en la calle 34, a pies del Empire State. Alto, estirado como un tronco de caña de azúcar, con el pelo liso y rabiosamente oscuro, sonreía con gran expresividad pese a que tardaba en articular una frase casi un interminable minuto, causando la impaciencia de los que siempre iban con prisa, desinteresando a los que siempre iban a lo suyo. Sang Wook se esforzaba por expresarse con más soltura mientras intentaba no inmutarse de los pequeños desplantes de algunos de sus interlocutores en inglés. En los ejercicios de conversación que se hacían por parejas o grupos, muchos terminaban por finiquitarlos antes de tiempo o dejarle como mero oyente. Todos los compañeros de clase pensaban que no tenía nada que decir.
A todas luces, se veía que no era fácil para él. Llegó un día que se sentó a mi lado. Nos sonreímos y pude comprar en primera persona que casi era imposible conversar con él. Nadie sabía muy bien qué hacía en nuestro nivel. En gramática era un alumno sin fisuras, pero a la hora de charlar hacía aguas. Por eso, supongo que ante mi boba incapacidad para quedarme callado en situaciones de forzado silencio, acabé hablando de música en aquel estúpido ejercicio de conversación en inglés sobre qué problemas nos encontramos la primera vez que viajamos a un país extranjero. Con su aplastante silencio o su asombrosa lentitud a la hora de juntar palabras, estaba claro que Sang Wook me estaba dando una respuesta demasiado obvia para el ejercicio. Pero, en mi verborrea chapucera en el idioma de Elvis Presley, terminé recomendándole a Tom Waits.http://blogs.elpais.com/ruta-norteamericana/2014/04/husmear-en-la-basura-con-tom-waits.html