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laurolive · 7 months

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Paul and Linda, a collection of PDAs: Part 1 - Kisses

In our walk down the memory lane of Paul and Linda’s love story, which still captivates the romantics and the expressive artists out there, we start with an excerpt of an interview.

Rolling Stone cover June 17, 1976: “Yesterday, Today, and Paul.” In this interview, Paul says something interesting:

I mean, I kissed Linda onstage the other night, and for me, that’s kind of, ‘Wow, I must be getting real relaxed,’ ’cause I can’t do that in public, normally. I’m a bit kinda shy.

Paul McCartney shy about showing affection? Well, artists are certainly a different breed. He can sing a heartfelt love song in a venue full of people, but has to work up the courage to give his wife a little kiss? As photos will tell, he soon got over that quirk.

And even before this RS interview, he could certainly be demonstrative when a photographer or videographer was around, whereas the average person would be more guarded knowing that their tender moment would soon be out there as a picture in a magazine or a video clip on TV (we’re talking pre-internet days here).

RS Interview from The Paul McCartney Project

The 1970s: Not Exactly in Public, but There Must Be Someone Holding The Camera

1970 or 1971. Aww, so sweet.

June 1971 The video for the song “Heart of The Country” was made in Scotland. Is that a kiss? We might have to examine the still pic below.

June 1971 A still image from the “Heart of The Country” video. I’ll count this as a kiss.

1974 In the garden of their house with baby Stella between them. It’s a published pic, so I’m counting it as a public kiss. (An “almost-kiss” but close enough.)

1974 Photoshoot for the Apr. 7, 1974, issue of New York News magazine. The cover story was "Just an Old Fashioned Beatle: An Exclusive Visit with Linda and Paul McCartney." Aww, lips softly touching the cheek is something I’m going to classify as a kiss.

Magazine article: @johnflyons.beatles on instagram

Post-1970s: Now We’re Really in Public

Sept. 21, 1982, at Linda's first photography exhibition in London. Photo © Robert Rosen. Rosen talks about the snap in this excerpt from an interview with I-D magazine:

What's one photo you're really proud of? Robert Rosen: I love the shot of Paul and Linda McCartney kissing. As soon as I had it developed I just thought, wow, I did that. I sent them a print but didn't hear anything more until a few months later, when, Paul and Linda turned up to a gallery event I happened to be at. At one point, Linda tapped me on the shoulder and said, 'Are you ignoring us?' She gave me a big hug and told me they loved the photo. That obviously meant a great deal to me.

From The Guardian archive, 21 September 1982: First London exhibition for Linda McCartney

I-D Interview with Robert Rosen Sept. 20, 2017

November 26, 1982, in Paris, France during photography month. An exhibition of Linda’s photographs was part of the event. Okay, his lips are just grazing her hair, so I’m going to call this a “hair kiss.”

Feb. 8, 1983 The 1983 British Record Industry Awards. Paul gets a congratulatory kiss from Linda after winning the 1982 British Male Solo Artist award and the Sony Trophy Award For Technical Excellence. The Beatles won the Outstanding Contribution to Music award.

More pics: The Paul McCartney Project

The same 1983 British Record Industry Awards. Two kisses in one night! Paul can’t hide his surprise.

Nov. 28, 1984 Another congratulatory kiss from Linda as Paul is presented with the Roll of Honorary Freedom of the City of Liverpool.

October 16, 1986 British Video Awards at Grosvenor House Hotel, London.

Rupert and The Frog Song awarded the Best Selling Video of 1985

April 4, 1989 Ivor Novello Awards at The Grosvenor House Hotel. Paul wins, Linda gets a kiss (so they both win 😊).

July 29, 1990 Backstage during the Paul McCartney World Tour 89/90 at Soldier Field Chicago. Linda is bidding farewell to Paul as she heads for the dressing room and he to the press tent.

From I Saw Him Standing There, Jorie B. Gracen, 2000. @thebeatlesofoz2 on Instagram

April 27, 1994 Press Conference for Linda's Home Style Cooking at Beverly Wilshire Hotel in Beverly Hills, California. Paul comes out to endorse Linda’s book, and greets her with a kiss.

Video clip of Paul’s entrance from CelebrityFootage.com

1997 from the video for the song “The World Tonight”

1997 A kiss in the studio, from the documentary In The World Tonight.

Let’s see the whole sequence of that kiss, right from the beginning:

Bonus: Wedding Kisses March 12, 1969

You go Linda! Give your groom a kiss like the cameras aren’t around.

Everyone’s relationship dream: Get someone to look at you the way Linda looks at Paul here.

#Youtube #paul mccartney #linda mccartney #linda and paul #paul and linda romantic #paul and linda mccartney #paul and linda forever #linda louise mccartney #linda mccartney and wings #linda eastman mccartney #paul and linda #lovely linda

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gone2soon-rip · 11 months

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TINA TURNER (1939-Died May 24th 2023,at 83).American-born and naturalized Swiss singer, dancer, actress and author. Widely referred to as the "Queen of Rock 'n' Roll", she rose to prominence as the lead singer of the Ike & Tina Turner Revue before launching a successful career as a solo performer.Turner began her career with Ike Turner's Kings of Rhythm in 1957. Under the name Little Ann, she appeared on her first record, "Boxtop", in 1958. In 1960, she debuted as Tina Turner with the hit duet single "A Fool in Love". The duo Ike & Tina Turner became "one of the most formidable live acts in history".They released hits such as "It's Gonna Work Out Fine", "River Deep – Mountain High", "Proud Mary", and "Nutbush City Limits" before disbanding in 1976.In the 1980s, Turner launched "one of the greatest comebacks in music history".Her 1984 multi-platinum album Private Dancer contained the hit song "What's Love Got to Do with It", which won the Grammy Award for Record of the Year and became her first and only number one song on the Billboard Hot 100. At age 44, she was the oldest female solo artist to top the Hot 100.Her chart success continued with "Better Be Good to Me", "Private Dancer", "We Don't Need Another Hero (Thunderdome)", "Typical Male", "The Best", "I Don't Wanna Fight", and "GoldenEye". During her Break Every Rule World Tour in 1988, she set a then-Guinness World Record for the largest paying audience (180,000) for a solo performer.Turner also acted in the films Tommy (1975), Mad Max Beyond Thunderdome (1985), and Last Action Hero (1993). In 1993, What's Love Got to Do with It, a biographical film adapted from her autobiography I, Tina: My Life Story, was released. In 2009, Turner retired after completing her Tina!: 50th Anniversary Tour, which is the 15th highest-grossing tour of the 2000s. In 2018, she became the subject of the jukebox musical Tina.Having sold over 100 million records worldwide, Turner is one of the best-selling recording artists of all time. She has received 12 Grammy Awards, which include eight competitive awards, three Grammy Hall of Fame awards, and a Grammy Lifetime Achievement Award. She is the first black artist and first woman to be on the cover of Rolling Stone. Rolling Stone ranked her among the 100 Greatest Artists of All Time and the 100 Greatest Singers of All Time.Turner has a star on the Hollywood Walk of Fame and the St. Louis Walk of Fame. She has twice been inducted into the Rock and Roll Hall of Fame, with Ike Turner in 1991 and as a solo artist in 2021.She is also a 2005 recipient of the Kennedy Center Honors and Women of the Year award.https://en.wikipedia.org/wiki/Tina_Turner

#Tina Turner #American Musicians #Musicians #Music Legends #Notable Deaths in 2023 #Notable Deaths in May 2023 #What's Love Got To Do With It #We Don't Need Another Hero #Ike & Tina Turner

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barbielore · 8 months

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BillyBoy* is or was a jeweler, socialite, fashion designer, artist, muse to Andy Warhol, and Barbie doll collector. (He is no longer all of those things, but he is in fact still alive and living with his husband in Switzerland.)

If you are not familiar - no, I did not put an asterisk there because I am making a footnote for later. BillyBoy* styled his name that way.

The famous Warhol painting of Barbie was actually titled "Barbie, Portrait of BillyBoy*" in honour of BillyBoy* - or at least, the version with the blue background was. Warhol created a second version of the painting with an orange background which was purchased by Mattel.

As mentioned above, BillyBoy* was an ardent Barbie collector - hence the painting in Barbie's likeness being a portrait of him. He drew the attention of Mattel with his 11,000 Barbies and 3000 Kens - and keep in mind, back in the 80's this was much more of an achievement, as there were significantly fewer dolls on the market. He also published Barbie: Her Life and Times, a book about Barbie, in 1987.

Between 1984 and 1990 BillyBoy* worked directly with Mattel on two tours called Le nouveau théâtre de la mode, which were showcases of designer outfits on Barbies, curated by BillyBoy*. He also designed two Barbies for Mattel - and in so doing became the first ever designer to be specifically credited on the box.

Above is first Barbie - Le Nouveau Theatre de la Mode Barbie from 1985.

His second Barbie, Feelin Groovy Barbie in 1986 has rather different vibes, but I have to say I like her a lot more.

I'm sorry, but she rules?

Amazingly when I saw Feelin' Groovy Barbie was being sold on the secondary market for a very reasonable price, I almost bought her on the spot but restrained myself.

#barbie #barbie history #vintage barbie #billyboy*#andy warhol

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slavghoul · 2 years

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Interview from Rock Hard FR #232

The devil is in the details

You never hid it, Metallica had a big influence on your way of thinking about your career. Impera is your fifth album. It allowed you to play in very big venues, it saw you reach the first place of the US charts. Is it, in a way, your Black Album?

I don't think I can compare our career to Metallica. The band was, at the time, part of this huge mainstream rock wave that was the equivalent of what many rap bands are today. In 1991, Metallica was listened to by every high school student. Whereas, on our side, even if it's undeniable that we're doing well, it's always young people "on the fringe" who listen to us because our trajectory has always been more alternative than mainstream. But it's true that the pressure we felt when creating this fifth album is surely the same as the one Metallica experienced at the time, as well as Iron Maiden with Powerslave (1984). Metallica did have a huge impact on me, it influenced my way of thinking enormously, as did Maiden again, especially in terms of how to tour, how much work to put into our projects, how to behave... We've toured with both bands, and a lot of our strategies - even if it sounds a bit like we're a company - about how to create a good atmosphere for all the people who work with us on the road are very much influenced by the fact that we've opened for them and that they've treated us well.

It is not easy to manage such a success, to manage to prolong the ascension while reinventing oneself sufficiently. Metallica made the choice to drastically change its orientation on all levels, even if it meant taking a big risk. How do you approach this step, which is similar, for Ghost?

We're not at a point where we've accomplished everything yet, especially in terms of gigs, the places I want to play, and there are still a lot of new people to reach. Musically, I already have an album in mind that will contain things we haven't done yet. I also have a film project. But if I ever wanted to do something totally different, I would probably do it under a different name. I'm trying to make Ghost evolve into whatever form it can take, but I would never say to myself, "Okay, I'm going to give up the theatrical stuff, we're going to play in the clothes we wear every day". That's not cool, that's not what we're known for, and that's not what people want. Of course, you could argue that we've already disappointed fans of the first and second albums, who feel they didn't get what they wanted, but exploring new territories and evolving is a very difficult thing to define. Nevertheless, I think there are some key ingredients in the Ghost recipe that I can't subtract without causing serious consequences. If you think of Ghost as a dish in an Italian restaurant, the music is the olives and garlic, our visual attitude is the pasta base, you can't remove one of the two ingredients from such a dish without distorting it... I would add that the lyrics would be the cheese! (laughs) But if I had more time, I would love to play drums in a punk rock band in the future!

I'd like to talk more specifically about the universe and philosophy of the Ghost concept, which is a band that has always given the feeling of being black metal... but without the black metal music. The cover of Prequelle (2018), for example, or the lyrics of a track like "Majesty" are elements that one would easily imagine to find in a black metal band...

I come from the black and death metal scene. I built myself up with it, starting to listen to this music when I was in puberty. My whole adolescence was coloured by this extreme scene, although I grew up listening to a lot of different styles of music. It's clearly my home, where this sort of sub-culture or pop-culture that I like so much comes from. But I also got out of sync with the times pretty quickly: by 1995, I had already lost interest in new bands, being too busy listening to 1985 bands instead! (laughs) The bands I liked the most were still around though. Either because their careers were still going strong, or because they were reforming. In fact, the music that followed me all my life was the music my mother listened to when she was young: The Rolling Stones, The Beatles, The Doors, Janis Joplin, Jimi Hendrix. It was an echo of another era, the 60s and 70s, which I obviously never experienced. But metal being closer to me, it comes out in Ghost, even though a lot of our melodic elements come from something else. It's in the attitude and the lyrics that you find my black metal, death metal and punk influences. This nervousness, this biting side, the will to move mountains with words, in a very adolescent, aggressive approach...

Since the beginning of the band, some of your lyrics have been precisely anchored in religious references, sacred texts like the Bible. For example, Satan Prayer contains an ‘inverted’ version of the Nicene creed, and many other lyrics refer to very specific things that I imagine you have studied in detail...

Yes, I've always been interested in religion, especially when I started, as a teenager, to get interested in demons and the occult. That was the beginning of my first band. I started writing songs and spent a lot of time with a dictionary, trying to collect words, phrases, and that's what I still do with Ghost today. When you work with words, you have this desire to explore your inner self, linguistically, to refine your language. I'm bilingual, but I want to keep learning new words, new phrases, grammar, whether it's in English or Swedish. When I started writing lyrics, I wanted to do death metal, then black metal, and all the bands I listened to used these words and names inspired by biblical or semi-biblical texts, or expressions in "Latinized" English. I read books on religion, the Bible of course, but I also turned to films, anything I could find, at a time when, without the Internet, it was more difficult to find sources. I collected and gathered a lot of things!

There's another thing you've cultivated since the beginning, in parallel with these very satanic lyrics: it's your sense of humour, which allows for a rather explosive duality. So, when Ghost was still only on Myspace, you were already sending deadpan messages to the fans who contacted you. Like: “you'll burn in hell for eternity for being interested in Ghost... but you can still send us your questions!”

(Laughs) As far back as I can remember, I've always been like that! It sounds a bit silly when you say it like that, but the world loves to laugh. I've always been guided by humour, satire, even when I was playing with Repugnant. Even back then I had a bit of an ironic attitude, and I always added humorous elements to my work. I've always enjoyed both the joking and the very dark - at least on the surface - aspects of some bands. In the underground scene I know, with the exception of a few idiots who were completely dead inside, and who actually had huge mental problems, most of my friends were very funny guys, always guided by the joke and the humour. That's a very important thing to me. I can't imagine living without comedy, without the ability to laugh at almost anything. From my point of view, it's what allows us to deal with things that are supposed to make us cry. There are so many tragic and horrible events in the world, and you'll always find someone to say, "No, it's too soon to laugh about it". But for me, it's never too early. It's a very contemporary thing, to constantly question what we are allowed to laugh about, what we are allowed to say. But I really think that in the future we'll be able to start laughing at everything again, because that's how we get through things. No matter how negative or horrible the subject is, that's how we should live our lives: trying to entertain each other, allowing ourselves to have fun with almost - and I mean almost - everything.

As we said, despite this fun side, your lyrics are very serious. Nevertheless, in the eyes of some listeners, you may give the idea that all this is only a parody of Satanic codes, for fun. It is however difficult to imagine you making fun of Satanism when we know the strong links you had with the late Selim Lemouchi (The Devil's Blood) or that still unite you with Erik Danielsson (Watain), two figures who we know do not joke at all with the question...

(He cuts me off) But I don't make fun of Satanism! Not at all! That was never my intention (silence) I take the example of the book The Name Of The Rose, written by Umberto Eco. Anybody who reads this book can understand, especially in Europe, where many people grew up under a Catholic religious influence... Do you have any recollection of the Church being associated with anything comical or funny? Do you remember priests as comedians, who make you laugh and have a good time? No... Because the devil has always represented intellectualism, freedom of thought, comedy and satire, whereas Christianity has always represented the opposite: the repression of feelings and needs. For me, if you want to approach things from a satanic angle, I can't imagine a more satanic life than the one we propose! (laughs) We talk about freedom, intellectualism, laughter, not following the conformist path. There is sometimes an attitude among the people who form the underground scene that makes them confuse the totalitarian nature of the Church with its opposite. But what do you want? A totalitarian Christianity without the slightest hint of laughter or the other way? You decide... It's also a funny confusion when it comes to the symbols, rhetorical elements, references to the Bible and visual language we use, both in Ghost and in metal in general: we are all fascinated by the devil, power, all that stuff, but to my knowledge, not a single destructive empire in the history of mankind has been designated as Satanic... The number of murders perpetrated by Satanists can be counted on the fingers of a few hands, whereas the HUGE amount of people tortured, raped, killed, burned, stoned, dismembered, thrown like piles of rubbish in public places, for thousands of years, in the name of Christianity and other religions, is insurmountable. Who are those who do harm? (silence) Who are those who cannot take a joke? If you don't want to laugh and prefer to become an authoritarian person, determined to fuck people up, you should go and see a priest, it's the best thing to do...

A band like Black Sabbath had to make their non-Satanism clear early in their career because they couldn't stand to be misunderstood, both by believers and by Satanists themselves. Ghost is eminently more blasphemous than Black Sabbath, but you were never forced by events to speak out on the issue. The Telegraph newspaper recently ran the headline: "How Ghost became the acceptable face of Satanism".

I think it has a lot to do with the groundwork Black Sabbath laid fifty years ago. The first Satanic bands, like Black Widow, Coven or Black Sabbath - and I think even the Rolling Stones, although it's just a word in the title of a song (editor's note: Sympathy For The Devil /1968) - were confronted with the peculiarity of the late 60s. They were in their twenties, born in the 40s, and had taken a big leap into a new era, with all these new freedoms that their parents didn't have, who had been born in the 10s or 20s. And their parents were embarrassed by it all. The long hair alone was too much, not to mention the way they lived their sexuality and didn't care about anything. For their parents, these kids were ruining everything. Today, I dare say that our concerts probably bring together four generations of people. Those born in the 40s, others born in the 50s and 60s, then my generation, and finally the younger ones. All of these people have grown up with a pop-cultural Satan in one way or another, whether it's movies or rock music. It's not as provocative as it used to be, unless you're a puritan or a black metalhead who doesn't know how to smile and thinks that Ghost is joking with Satanism... I would like to point out something else in this regard: of course, Ghost never joked with Satan, not at all, but on the other hand, I'm not trying to embody the face of Satanism. My approach is different from that of Selim or Erik. I'm not trying to get people to take my... (fumbling for words)... whether I am a Satanist or not. At the end of the day, we're an entertainment group. I want to make people happy, but also inspire them. And while I'm doing that with my band, I take the opportunity to give the listeners an idea of what I think about things, how I feel about them. But let's say there is no... programme! (small laugh) I don't think that way. I want to do my bit to help make the world a better place, according to my vision, that of someone who grew up in the 80s with VHS of horror films. My childhood memories are of such a liberated cultural climate... We had almost no restrictions, and I combined that with my personal life, with an older brother and a very liberal mother. There was BB King in one room, the Dead Kennedys in the other, and me in the middle, playing on the table with my Star Wars figures. I believe in a very culturally liberated society, and I want to offer a kind of big buffet with all these things that made me. I think most people think like me. At least the ones I know, because there are of course people elsewhere in the world who seem to miss the great days of the KGB... I don't know what they miss most: perhaps the lack of food and the empty stalls? But it's natural to be nostalgic, to want to go back to a time when life was cool. I believe that, in the near future, the life we are talking about will be allowed to exist. We will be able to listen to rock'n'roll, eat whatever we want, kiss whoever we want as long as they agree to be kissed back, and that's regardless of gender. And the only thing I can do to move those mountains is music, making people dance and laugh. It's the only thing I've ever been interested in, and also the only thing I'm capable of doing. I can't do more, I can't do differently...

The children's choir at Hellfest singing "Come together for Lucifer’s son" is far more disturbing than any ritual with pig's blood and inverted crosses. Yet few people are shocked. Most find it fun. Ghost is thus a kind of joyful satanic expression!

I love the duality of this experience! I also have my moments where I turn into a poser doing the "invisible oranges" gesture [editor’s note: a gesture that consists of holding both hands in front of you as if you were holding oranges] when I hear something that sounds **EVIL** (laughs) I like this aggressive, dark side, because it is also a part of me. But I chose to present this part, at least with Ghost, in a more joyful, positive way, because I believe that the Force is a balance. You have to combine the light and the dark. Everything evolves in a circular way, and if you try to trick people into using only one or the other side, it doesn't work. I don't believe in that. Doing this kind of stuff is the most intuitive way to express myself and my feelings. For me, "Monstrance Clock" with children defines me exactly, in the strongest way: it's funny and solemn at the same time, in a sacred sense... It's my more childish side because I also want to believe in supernatural things. I really do!

Because you are not an atheist.

(Firmly) No! I am not! I believe in the Force! Of all the explanations that exist, George Lucas' is the best: we have to work with the Force, it needs to evolve, but you can use it in two different ways, positive or negative. With it, you can destroy as well as rebuild...

#the band ghost #tobias forge #interview

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the-hottest-band-tournament · 8 days

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Round one

The Cockroaches

Formed in: 1979

Genres: Pub rock

Lineup: Paul Field- Vocals

Anthony Field- Lead Guitar

John Field- Rhythm Guitar

Phil Robinson- Bass

Tony Henry- Drums

Jeff Fatt- Keyboard

Albums from the 80s:

The Cockroaches (1987)

Fingertips (1988)

Propaganda: "The Hardest Working Rock'N'Roll Band" in Australia, The Cockroaches played over 300 gigs a year, playing at pubs, unis, and touring rural Bachelor and Spinster Balls. They had a great stage presence and were one of the most popular live acts of the '80s. (If you're under 40, odds are you know them better as the band they formed in the '90s: The Wiggles)

Black Flag

Formed in: 1976

Genres: Hardcore punk

Lineup: Henry Rollins – lead vocals

Greg Ginn – guitars

Kira Roessler – bass, backing vocals

Bill Stevenson – drums

Albums from the 80s:

Damaged [1981]

My War [1984]

Family Man [1984]

Slip it In [1984]

Loose Nut [1985]

In My Head [1985]

Propaganda:

#round 1 #the cockroaches #black flag #Paul Field #Anthony Field #John Field #Phil Robinson #Tony Henry #Jeff Fatt #Henry Rollins #Greg Ginn #Kira Roessler #Bill Stevenson #the hottest 80s band tournament #the hottest 80s band tourney

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thegroovywitch · 1 year

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🌾 spinning records with dee dee: day 5 🌾

i asked you which track you'd prefer to hear first on this poll and "jimmy messing around on guitar" won so here it is!! i chose this one among 17 tracks and almost 50 minutes of him practicing and it took me a long time 🥴 if you'd like to hear more obviously just ask!! enjoy <33

Jimmy Page practicing on guitar and trying to develop new ideas for the song Midnight Moonlight (conceived and rehearsed with Led Zeppelin with the working title Swan Song in 1974, completed and released by The Firm on their self-titled album on 11 February 1985).

There is speculation around when exactly this tape - and the rest of the home recordings which accompany it - was recorded, but judging from the use of synthesizers in some of the tracks, which is not heard in the Led Zeppelin studio demo (and which was surely more in vogue in the 1980s than the mid 1970s), I figured it might have been taped sometime in 1984, after the 1983 ARMS Tour when Jimmy and Paul Rodgers got the idea to form a band, and around the time of the recording sessions for The Firm's first album.

special mention to @jimmysdragonsuit13 who asked specifically for this track! i hope you enjoy 🥰💖

#spinning records with dee dee 🎶#jimmy page #the firm #1984 #classic rock #hard rock #80s

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robsheridan · 1 year

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No band defined the 1980s Demon Metal scene like its breakout superstars, CYBORG SLAVES OF SATAN. This is their story.

By the late 1970s, the rowdy demons of Hell’s lower circles had become obsessed with the mortal music inspired by their lives and work: Heavy Metal - “the devil’s music,” as it was called. Metal’s aggressive sounds, satanic artwork, lyrics about demons, and hard-partying lifestyle enamoured Satan’s working class minions, many of whom were inspired to start playing their own music. Some even dreamed of taking their bands to the mortal plane and pursuing rock fame, but as the lowest caste of Lucifer’s servants, crossing realms was forbidden. However, 1980 found Satan’s power in a rare weakened state after He used a tremendous amount of His energy to get an actor named Ronald Reagan elected President of the United States, part of a long soul-gathering plan. With the devil at rest, the CSOS took their shot and traveled to Hollywood, California (one of the closest places to Hell on mortal earth). The rest is history.

CSOS built buzz rapidly from their early club shows on the Sunset Strip. Earth’s metal fans had never seen anything like it, and the band had a record contract and their first US tour by 1982.

Although Satan had remained distracted with another major project (the infamous 1982 Macy's Thanksgiving Day "Blood Parade"), Hell’s bounty hunters were paying attention, and it became a regular occurrence for members of CSOS to burst into hellfire and spontaneously combust in the middle of concerts, sent back to Hell for punishment. Audiences were delighted by the “gag” and more demons were happy to fill in, so the band’s lineup was always in rotation and the violent disintegration of musicians became a signature spectacle of Demon Metal shows.

(CSOS tanktop available here)

By 1984’s Too Metal For Hell, CSOS had skyrocketed to global superstardom and earned a reputation as "the most dangerous band on the planet." Wild parties, explosive concerts, drugs, groupies, and controversy had become as much a part of CSOS as the music itself.

But as they returned to LA in 1985 to work on new material and rehearse their biggest tour yet, it was fame itself that threatened to tear CSOS apart. Egos flared and bitter rivalries formed between band members as arguments over the new direction of the band intensified.

Would the band collapse under the pressure of fame? Or could they find a balance between Hollywood celebrity and their Underworld roots? Find out next week when Rob Sheridan's Beneath the Music continues…

Cyborg Slaves of Satan began in July 2022 as an artistic exercise of reappropriating and repurposing the maniacal blatherings of professional shithead Alex Jones into badass pulp metal horror conjured from an alternate past. They became t-shirts and posters for an 80s b-movie and/or metal band that didn't exist... until now. Cyborg Slaves of Satan is conceived, written, designed, and visualized by Rob Sheridan.

#rob sheridan #synthography #cyborg slaves of satan #nightmaires #alternate history #80s metal #death metal #ai art #ai horror #synthography horror #demon metal

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scotianostra · 7 months

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youtube

Happy Birthday James “Midge” Ure born October 10th 1953 in Cambuslang.

Born to a working class family Ure attended Cambuslang Primary School and Rutherglen Academy in Glasgow until he was 15 years old. For the first 10 years of his life he lived in a one-bedroom tenement flat. After leaving school Ure attended Motherwell Technical College and then began to work as an engineer, training at the National Engineering Laboratory (NEL), in nearby East Kilbride.

Midge started playing music in a Glasgow band called Stumble in 1969, before joining Salvation, a Glasgow-based group that became the bubblegum band Slik in 1974. Upset in the change of direction, Ure left the band to join the Rich Kids, a punk-pop group led by former Sex Pistol bassist Glen Matlock. The Rich Kids only released one album, 1978’s Ghosts of Princes in Towers, before breaking up later that year. Ure spent a brief time with the Misfits (not the American band) before forming Visage with drummer Rusty Egan and vocalist Steve Strange; he left the group to replace Gary Moore in Thin Lizzy, who had left in the middle of an American tour. After the tour was finished, Ure fulfilled an agreement to join Ultravox as the replacement for John Foxx.

Once he joined the band in 1980, Ure helped make Ultravox a mainstream success; during this time he also worked as a producer, making records with Steve Harley and Modern Man. In 1982, Ure released a solo single, a cover of the Walker Brothers’ hit “No Regrets”; it climbed into the U.K. Top Ten. Ure and Bob Geldof formed Band Aid, a special project to aid famine relief efforts in Ethiopia, in 1984. The two wrote the song “Do They Know It’s Christmas?” and assembled an all-star band of musicians to record the single; it sold millions of copies over the 1984 holiday season.

In 1985, Ultravox was put on hiatus and Ure began to pursue a full-time solo career. Recorded entirely by Ure, his 1985 solo debut, The Gift, launched the number one single “If I Was,” as well as the minor hits “That Certain Smile” and “Call of the Wild.” The following year, he recorded the final Ultravox album; in 1987, the band broke up and he began recording his second solo album. The resulting record, 1988’s Answers to Nothing, was less successful than The Gift in the U.K., yet it charted in the U.S., which is something Ure’s previous album failed to do. Three years later, Ure released his third album, Pure; while it didn’t do any business in America, the album featured the Top 20 British hit “Cold, Cold Heart.” He attempted a comeback in 1996 with Breathe, which went ignored by both the American and British markets. Four years later, his score for the Jon Cryer drama-comedy Went to Coney Island was issued by the Evenmore label.

Ure’s recording activity during the 2000s began with Move Me, which featured some surprisingly hard rocking material. A few years later, he published an autobiography, If I Was, and then, with Geldof, arranged the Live 8 concerts.

Following the release of the covers-oriented 10 IN 2008, Ure participated in an Ultravox reunion and continued to record as a solo artist. Fragile was issued in 2014, and featured the Moby collaboration “Dark, Dark Night.” In 2017, he collaborated with composer Ty Unwin on the album Orchestrated, which featured orchestral reworkings of Ultravox songs, as well as songs from his solo career.

In 2020 Midge released an album Soundtrack 1978-2019, he was one of the lucky artists to have completed his tour promoting this in February that year.

Midge has recently revealed why he turned down an offer to join the Sex Pistols, telling The Telegraph that he considered that taking up the invitation from the band's manager Malcolm McLaren would have been like "joining a slightly edgier Bay City Rollers". He received the offer to join the fledgling punk band back in 1975, while on a visit to McCormack’s instrument hire shop in Glasgow.

In an interview published in the Telegraph he said;

"I was stopped in the street by the Clash’s manager, Bernie Rhodes, who then introduced me to Malcolm McLaren, I didn’t know who either of them was, but they literally asked me to join the Sex Pistols without even asking what I did. To me it would have been like joining a slightly edgier Bay City Rollers, so I turned them down.

On 4th October he celebrated seven decades of music with a concert at the Royal Albert Hall. He is married with four daughters and lives in Somerset.

#scotland #scottish #history #musician #singer songwriter #happy birthday #Youtube

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averagewriter-inthedark · 1 year

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Video Killed The Radio Star ⭐️ | Rhett Abbott Headcanon

Link to my Rhett Abbott Masterlist

Rhett dating someone obsessed with the 80s would look like:

The second verse in the song “1985,” by Bowling for Soup literally describes you when it goes, “She’s seen all the classics. She knows every line. Breakfast Club, Pretty In Pink, even St. Elmo’s Fire. She rocked to Wham! Not a big Limp Bizkit fan. Thought she’d get a hand on a member of Duran Duran.” Yeah, you’ve seen all the classics (including Dirty Dancing, Footloose, Top Gun, The Outsiders, The Karate Kid, Terminator, etc) and can recite every line to the point you don’t even need your eyes on the screen when the scene plays. Rhett was amazed the first time he witnessed it and would challenge you during the scenes with a lot of dialogue.

Rhett was well aware of your love for the 80s. The movies, the music, the aesthetic, just everything. The whole damn reason y’all met was because you worked at the record store in town. He’d always admired you from afar and finally got the courage to go in and talk to you. Wearing an AC/DC shirt and smudged eyeliner, you definitely gave off that classic rock look. Sometimes he’d come in and you were more colorful like when channeling Cyndi Lauper or Witney Houston.

After that first conversation Rhett swore he could hear you talk for hours. You spitted fact after fact to him when he asked questions about a particularly band or movie. Like you knew the exact date MTV launched on cable (August 1st, 1981) and the first music video that aired (Video Killed The Radio Star by The Buggles). Other famous events you knew by heart were Charles & Diana’s wedding, the Space Shuttle Challenger explosion, the Berlin Wall coming down, and the fact the 1984 L.A Olympics was boycotted by the USSR & their allies.

Rhett could easily pick up on who your favorite bands/artists, songs, movies, and 80s heartthrobs were by how consistently you spoke of them. It amazed him, especially because you were likely either a small child or not even alive when the 80s happened, but everything about you screamed you were born in the wrong decade. “I take it if you could go back in time and choose a decade to live in, It’d be the 80s huh?” “Is that even a question? It’s why I need them to crack the code to time travel so I can go!”

Anytime y’all go on road trips you are in charge of the aux and Rhett has grown accustomed to your choice of music. By now he knows all the lyrics from Def Leppard’s Hysteria and almost everything from Journey and Whitney Houston. Before he met you, all Rhett listened to was country and maybe a modern pop or jazz/blues artist once in a blue moon, now his music taste has broaden to classic/metal rock & techno pop. He personally prefers AC/DC, Guns n Roses, & The Simple Minds and you’ll catch him jamming when he thinks you’re not in the room. “Don’t look at me like that, Y/n.” “I’m just admiring those moves, cowboy.” “Stop right there, or imma have to punish you.” “Does punish involve playing ‘Pour Some Sugar On Me,’ if you know what I mean?”

Not many groups/artists still toured, but the ones that did you guys would try your best to attend the concerts. Together you both saw Pat Benetar, Def Leppard, Journey, & even Rick Springfield a couple times. On your bucket list is to see Mötley Crue, Metallica, Cyndi Lauper, and Joan Jett.

When it comes to birthdays & holidays, Rhett loves to spoil you when he gets enough money too. Merchandise and collectors items are usually what he sets his eyes on to get you, but then he discovered the annual ‘80s in the Sand’ festival that takes place in the Dominican Republic where several of your favorite artists/groups will attend. When he heard about that, Rhett was on a mission. For over a year he saved every penny to book flights, tickets, rooms at the resort before surprising you on your birthday with an envelope. You were a fucking mess at the table when you opened the envelope and read the writing—you couldn’t believe he actually got you tickets for the festival. “What the fuck, Rhett—o-oh my gosh how did you—how did you do this!?” You stuttered between sobs, tackling him to the floor and kissing all over his face as he laughed beneath you. “I love you so much—thank you thank you. This is the best gift ever!!”

The anticipation and working so hard to take you to the festival was so worth it when you guys arrived. The smile on your face never left and Rhett swore you were gonna pass out when Simon Le Bon from Duran Duran waved to you. “I just fucking made eye contact with Simon fucking Le Bon—Rhett!! He waved at me!!” Then after y’all had some drinks at the hotel bar you about shit your pants at the realization Nina Blackwood, one of the five original MTV’s VJ’s, was sitting next to you and had complimented your outfit.

Each time you happened to get the once in a life time chance to meet/interact with the artist/group you spent years fangirling over, Rhett would have a tissue ready to catch your tears (of happiness of course) and capture every picture/video so you could have it forever. He literally was the best boyfriend you could ask for, still in disbelief he had given you such an amazing gift he knew you would cherish till the day you died. It was truly the experience of a lifetime.

That entire trip Rhett fell more in love with you and with your love for the decade. He could see it in your eyes and how you connected with people not only y’all’s age who were there, but also the older folks who grew up during that time. Rhett couldn’t wait for you both to go again the next year, making it a goal to attend annually and working to save every penny to make sure he could see that light in you shine bright in the place you belonged.

#rhett abbott x y/n #rhett abbott headcanon #rhett abbott imagine #rhett abbott x reader #rhett Abbott fluff #rhett abbott fanfiction #rhett abbott #rhett abbott outer range #outer range imagine #outer ranger headcanon #lewis pullman #fluff

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freddiemercurylegendabovelegends · 3 months

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Queen Live Performance!

Freddie Mercury and Brian May on stage - Rio de Janeiro, Brazil, Barra da Tijuca, January 12 and 19, 1985

'Rock in Rio Festival', during 'Works! Tour'

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #barra da tijuca #works tour 1984 1985 #1985 #rock in rio #brazil #rio de janeiro

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debdarkpetal · 5 months

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Via deakycheaky on Instagram.

#brian may #queen #queen band #sir brian harold may #dr brian may #bri #live #on stage #the works tour #1984 #1985 #80s #ms

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bm2ab · 11 months

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Arrivals & Departures 26 November 1939 – 24 May 2023 Tina {Anna Mae Bullock} Turner

Tina Turner (born Anna Mae Bullock) was an American-born and naturalized Swiss[a] singer, dancer, actress, and author. Widely referred to as the "Queen of Rock 'n' Roll", she rose to prominence as the lead singer of the Ike & Tina Turner Revue before launching a successful career as a solo performer.

Turner began her career with Ike Turner's Kings of Rhythm in 1957. Under the name Little Ann, she appeared on her first record, "Boxtop", in 1958. In 1960, she debuted as Tina Turner with the hit duet single "A Fool in Love". The duo Ike & Tina Turner became "one of the most formidable live acts in history". They released hits such as "It's Gonna Work Out Fine", "River Deep – Mountain High", "Proud Mary", and "Nutbush City Limits", before disbanding in 1976.

In the 1980s, Turner launched "one of the greatest comebacks in music history". Her 1984 multi-platinum album Private Dancer contained the hit song "What's Love Got to Do with It", which won the Grammy Award for Record of the Year and became her first and only number one song on the Billboard Hot 100. Aged 44, she was the oldest female solo artist to top the Hot 100. Her chart success continued with "Better Be Good to Me", "Private Dancer", "We Don't Need Another Hero (Thunderdome)", "Typical Male", "The Best", "I Don't Wanna Fight", and "GoldenEye". During her Break Every Rule World Tour in 1988, she set a then-Guinness World Record for the largest paying audience (180,000) for a solo performer.

Turner also acted in the films Tommy (1975) and Mad Max Beyond Thunderdome (1985). In 1993, What's Love Got to Do with It, a biographical film adapted from her autobiography I, Tina: My Life Story, was released. In 2009, Turner retired after completing her Tina!: 50th Anniversary Tour, which is the 15th highest-grossing tour of the 2000s. In 2018, she became the subject of the jukebox musical Tina.

Having sold over 100 million records worldwide, Turner is one of the best-selling recording artists of all time. She received 12 Grammy Awards, which include eight competitive awards, three Grammy Hall of Fame awards and a Grammy Lifetime Achievement Award. She was the first black artist and first woman to be on the cover of Rolling Stone. Rolling Stone ranked her among the 100 Greatest Artists of All Time and the 100 Greatest Singers of All Time. Turner had a star on the Hollywood Walk of Fame and the St. Louis Walk of Fame. She was twice inducted into the Rock and Roll Hall of Fame, with Ike Turner in 1991 and as a solo artist in 2021. She was also a 2005 recipient of the Kennedy Center Honors and Women of the Year award. Turner died following a long illness on May 24, 2023, at the age of 83.

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ausetkmt · 10 months

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The BET Awards may be hip-hop's biggest night, but they couldn't forget about the Queen of Rock.

Patti LaBelle paid tribute to rock icon Tina Turner, who died in May, with a performance at the BET Awards on Sunday night. Taking the stage in a shimmery, black fringe dress, LaBelle sang a lively rendition of the Turner classic "The Best."

"Give it up for Tina Turner," LaBelle said at the start of the performance.

"I'm trying y'all," she told the studio audience as she briefly improvised.

LaBelle joined the likes of Bia, Coi Leray, Cutty Ranks, Fat Joe, Soulja Boy and The Sugarhill Gang, who took the stage at the Microsoft Theater in Los Angeles in a star-studded tribute to hip-hop's most significant moments, as curated by Kid Capri.

Throughout her career, Turner's life was one of musical greatness and personal trauma, as she fled an abusive relationship with her musical mentor and first husband, Ike Turner, to achieve unlikely pop stardom in the ’80s with "What’s Love Got to Do With It."

Turner was renowned for her sexy, elastic dance moves on stage – notably influencing Mick Jagger – and she toured relentlessly. Her outing to support her fifth solo album "Private Dancer" played 180 dates in 1984, while subsequent tours filled arenas and stadiums worldwide.

Turner’s talents expanded beyond music. She also worked in films, making an appearance in the big screen version of The Who's rock opera "Tommy" in 1975 and starring with Mel Gibson in "Mad Max Beyond Thunderdome" in 1985.

Tina Turner:Queen of rock 'n' roll dies after long illness

'A true legend has passed':Oprah, Lizzo, Mick Jagger, more stars mourn Tina Turner

#lawd ms patty #patti labelle #tina turner #bet tribute #bet awards 2023 #Patti LaBelle powers through lyric mishap during Tina Turner tribute at BET Awards

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laurolive · 6 months

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Paul and Linda, a collection of PDAs: Part 5 - Miscellaneous

Her head on his shoulder, looks and smiles and touches, dancing together, cheek to cheek, etc.

Put Your Head on My Shoulder

1969

1970 Scotland

Late 1970 or early 1971 Working on the album Ram. Rest your chin on my shoulder. 🧡

March 1971 Malibu, California. A tender pose during photo shoot for April 16, 1971, issue of Life Magazine. Photo by Henry Diltz. 💕

Feb. 12, 1975 New Orleans.

1975. See the unedited pic (which shows a fan standing on Paul’s right) on linda mccartney daily page on Twitter.

May 26, 1976 en route to New York’s LaGuardia Airport. Photo by Harry Benson. Benson says of this photo: “That’s a nice picture, and it’s rather touching,” Benson says. “And that’s what you’re looking for — the warmth. They really like one another.”

1984 Linda resting her head on Paul’s shoulder (well, close enough to the shoulder). Photo by Terry O’Neill.

The Looks(s) of Love

Jan. 1969, as seen in the documentary Get Back (2021)

1970 London

Mar. 16, 1971 Backstage at the Grammy Awards. Paul, John, and George won the award for best original score written for a motion picture or TV special (for the film Let It Be). Paul accepted on behalf of all of them. A loving aura surrounds this moment, as Paul and Linda must feel especially blessed being expectant parents (Linda is pregnant with Stella here).

1971 during photo shoot for Wings’ Wild Life album.

1973 Lagos, Nigeria. Still from a video made during recording of Band on The Run. The way he’s looking at her … sigh. 🥰

1973 Gazing into each other’s eyes 😍

I’m Happy Just to Dance with You

July 12, 1972 Juan-les-Pins, France. Dancing on the top deck of the Wings over Europe tour bus.

Oct. 2, 1974 London premiere of the movie That’s Entertainment. Here’s a picture that truly conveys how much they enjoy being together.

Playing with Hair

Jan. 1969 From the documentary Get Back. Paul gently strokes Linda’s golden tresses. I bet anyone who saw them interacting like this could tell that they were serious about each other.

1970 Paul still running his hands through Linda’s blonde locks.

Always Gotta Be Touching

1972 on the top deck of the Wings over Europe tour bus. Always touching, here’s the couple with Paul’s hand on Linda’s knee. Maybe that’s for practical reasons to keep Linda’s dress from from flying up in the wind; 😎 but that doesn’t mean it can’t be an affectionate gesture as well.

Also, it may look like Paul’s arm is halfway inside the bodice of Linda’s dress. 🥺 Zoom in and you will see that is not the case and that his arm is actually resting behind her. Besides, as demonstrative as they are, I doubt the couple would pose for a photo of Paul feeling up Linda, lol. 🤣 😆🤭

May 24, 1976 Madison Square Garden, New York. Prior to their concert, the band members meet with 300 members of the Daily Mirror Pop Club. A triplet of gestures of affection are on display here: head leaning on shoulder, hands around arm, and hand on leg. Lovely! 😊 🥰 ☺️

1976 Wings concert. Heh heh, Paul — you probably thought the camera wouldn’t catch that. 😍 🤭

1980 at their home in East Sussex, England. I don’t know if this was an interrupted hug or if they were in the middle of dancing, but it looks romantic enough to go on this blog. 🥰

1985 Ear nibble (okay, ear bite — but done with love I’m sure 😘). Photo by Terry O’Neill.

1990 Paul must have delicious ears. 😊 Photo by Bill Bernstein.

Cheek to Cheek

1974. We’re watching you watching us.

1974 Photoshoot for the Apr. 7, 1974, issue of New York News magazine. The cover story was "Just an Old Fashioned Beatle: An Exclusive Visit with Linda and Paul McCartney."

Magazine article: @johnflyons.beatles on instagram

1990s. Can’t resist that baby face. 👶 😘

Date unknown, guessing 1990s from the hairstyles. Linda looking particularly radiant.

#paul mccartney #linda mccartney #linda and paul #paul and linda #paul and linda romantic #paul and linda mccartney #paul and linda forever #linda louise mccartney #linda eastman mccartney #linda mccartney and wings #lovely linda

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