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December 12, 2018

.@dangermindsblog "I want satan," says @RichardMetzger, pointing to a goat on the wall, next to his Aleister Crowley "Disney-orgy IV-using Mouse-stripping-Tinkerbell" poster


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Richard Metzger: bizarre branches into media


"I wanted something that looked fun and satanic," says Richard Metzger, pointing to the small goat head on the living room wall of his Sherman Oaks apartment. It hangs next to the "Disney memorial orgy poster"-- which aficionados of subversive art would recognize by its depictions of an IV-drug-using Mickey Mouse and a stripping Tinkerbell. A 1918 painting by notorious occultist Aleister Crowley hangs on a perpendicular wall.
Such unlikely collectibles -- and the culture behind them -- are the 38-year-old Metzger's raison d'etre.
Metzger, host of the TV show "Disinformation"  on Britain's Channel 4, is a slick multimedia peddler of all things enigmatic, odd and conspiratorial.
Though his show never aired in the U.S., it was released here this week on DVD as "Disinformation: The Complete Series."
The video falls under the umbrella of the Disinformation Company -- a New York-based corporation that puts out DVDs, publishes books and hosts conferences on all things counterfactual and mysterious, under the helm of Metzger and business partner Gary Baddeley.
The "Disinformation" TV series -- which helped put the company on the global map -- was cleverly dubbed "a punk-rock '60 Minutes.'"
"But not everyone was a fan. Metzger recalls one particularly incendiary missive received by Channel 4: "It said that they should be ashamed of presenting such dangerous ideas over Britain's airwaves."
"Disinformation" probes deeply into mind-bending themes ranging from she-males and Satanists to performance artists and comics creators. Topics range from the esoteric and visionary to the out-and-out unbelievable.
Metzger's stock line at the beginning of each episode:

"If you don't wonder if we made this stuff up, we're not doing our job right."

The job gets done right. On one end, visionary metaphysical architect-painter Paul Laffoley discusses his intricate work on pieces inspired by the mathematical precision of the golden mean. On the other, author Brice Taylor tells Metzger about being sold into sex slavery and pimped off to influential politicians and celebrities. Is truth stranger than fiction?

Or are these just a twisted form of truth? These are questions that the host leaves with his audience. But it's hard to dismiss or dislike Metzger, who presents everything with the even, stylish cool of Bryan Ferry.
This approach to these unconventional topics is both mesmerizing and charming. "That show was a spell," he says, a familiar statement to fans who read his book version, "Disinformation: The Interviews." He describes the tome as "a manual of magick."
Metzger, who hails from Wheeling, WV, seems to be this magick's primary practitioner, and his incantations are his snappy marketing catchphrases.

These include:

"We're Caligula, not Mary Poppins," and "I'm Rod Serling and 'Disinformation' is my 'Twilight Zone.' "
Metzger is an undeniable alchemist in business, able to sprinkle magic dust on these reports from society's fringes and transform them into gold. He separately convinced three corporate giants --the Sci-Fi Channel, Razorfish and TCI (now AT&T Broadband) -- to fork over nearly $3 million collectively for various Disinformation projects. In each case, after seeing the finished but very raw product, the company basically paid him to go away while giving him rights to the material.
Right now, he's pitching a new show: "It's a mockumentary version of '60 Minutes,' as if it was directed by Christopher Guest." A show like that may have seemed unlikely a few years ago, but cultural shifts are pushing the bumper-sticker credo "Question Authority" to its outer limits. Metzger points out that edgy writer-filmmaker Michael Moore sells a prodigious number of books via a major publisher. Disinformation's own popular title, "Everything You Know Is Wrong," has sold a respectable 100,000 copies. The underground is over-ground.
Fellow independent publisher Adam Parfrey, of Feral House in Los Angeles, has also profited from this trend, but he maintains a distinction between his approach to the cultural underground and Disinfo's modus operandi.

"They do a very good job of marketing and publicizing this material," he says. "Richard and Gary have packaged it in such a way that it's not offensive."
It's not all easily palatable.

One recurring segment in the "Disinformation" TV series, for instance, shows the dangerous pranks played on an uncle in a rowdy North Carolina home. The inebriated man is set on fire and spray-painted by his impish nephew and cohorts.

Yet in Metzger's hands, even this has turned into a cult fixation, spawning fans and a website. "Disinformation" bought 13 hours' worth of the gritty footage.

The uncle died about a year ago of pneumonia.

"We practically paid for the headstone of his unmarked grave," says Metzger. "He's buried in their backyard." Now that's underground.

`Disinformation: The Complete Series'
Price: $29.95
Running time: About
480 minutes

Richard Metzger
Born July 28, 1965
Wheeling, West Virginia, United States
Residence
Cincinatti, OH
Richard Metzger (born July 28, 1965) is a television host and author.
He was the host of the TV show Disinformation (United Kingdom Channel 4, 2000–01), The Disinformation Company and its website, Disinfo.com. He is currently the host of the online talk show Dangerous Minds.
For several years Metzger hosted a talk show, The Infinity Factory, broadcast on Manhattan public-access television cable TV and distributed online through Pseudo.com. It was similar in tone and appeal to Art Bell and George Noory's paranormal Coast to Coast AM radio show, on which Metzger had also been a guest. Many of the interview subjects on this show would go on to be features in the Channel 4 series. 
Metzger was the host of the TV show Disinformation, which aired for two seasons (2000 and 2001) on Channel 4 in the UK as part of their late night "4Later" programming block.[4]
According to interviews, Metzger was told just twelve days prior to the first specials' air-date that he would have to cut 50% of the material from the show in order to pass the USA Network's corporate lawyers' scrutiny. Those four shows have subsequently been released on a DVD with a second bonus disc presenting highlights of The DisinfoCon, a 12-hour event featuring shock rocker Marilyn Manson via pre-Skype video chat, underground filmmaker Kenneth Anger, painter Joe Coleman, Douglas Rushkoff, Mark Pesce, Grant Morrison, Robert Anton Wilson, and others.
Metzger created the Disinformation website in 1996,[2][5] and was able to regain control of the intellectual property rights and a $1.2 million investment by the site's original backer, cable giant TCI (now AT&T Broadband) after TCI CEO John Malone had demanded funds be cut off when news of Metzger's "anarchist bullshit" reached him.[1] In 1997 he co-founded The Disinformation Company, which joined with Avenue A/Razorfish, and became part of the RSUB Network until 2001.

Max’s Kansas City Christmas Dinner, NYC – 1975 @bobgruen01 PLUS Max's Kansas City: 1976 & Beyond (MP3) @chrissteinplays


http://www.bobgruen.com/wp-content/uploads/2014/06/R-231_MaxsXMASDinner1975_Gruen.jpg

Max’s Kansas City » Max’s Kansas City Christmas Dinner, NYC – 1975

(L-R)

Jimmy Wynbrandt, Robert Gordon, Jayne County, Sable Starr, Richard Hell, Tommy Ramone, Dee Dee Ramone, Joey Ramone and Johnny Ramone
during Max's Christmas dinner party at Max's Kansas City, NYC December 1975
©Bob Gruen
 

VARIOUS
Max's Kansas City: 1976 & Beyond



 Nov 30 – NYC – (L-R) Clem Burke of Blondie, Mike Ness of Social Distortion, Glen Matlock of the Sex Pistols and Walter Lure of the Heartbreakers backstage at the tribute for the 40th anniversary of the Heartbreakers LAMF album at Bowery Electric.
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Play It Loud: Instruments of Rock & Roll - Metropolitan Museum of Art - April 8, 2019


Play It Loud: Instruments of Rock and Roll

Play It Loud

Exhibition Dates: April 8–October 1, 2019
Exhibition Location: The Met Fifth Avenue, Floor 1, Gallery 1999


The first major loan exhibition in an art museum dedicated entirely to the iconic instruments of rock and roll will go on view at The Metropolitan Museum of Art beginning April 8, 2019

Through more than 130 instruments that were used by such artists as

Chuck Berry, The Beatles, Elvis Presley, Jimi Hendrix, Joni Mitchell, Jimmy Page, Steve Miller, St. Vincent, Metallica, The Rolling Stones,

and many others,

Play It Loud: Instruments of Rock & Roll will explore one of the most influential artistic movements of the 20th century and the objects that made the music possible.

Drawn from 70 private and public collections in the United States and the United Kingdom, most of the objects in the exhibition have never been shown outside of their performance contexts.

Organized thematically, Play It Loud will include many of rock’s most celebrated instruments, including such guitars as

Eric Clapton’s “Blackie,” Eddie Van Halen’s “Frankenstein,” and Jerry Garcia’s “Wolf,” as well as Keith Emerson’s Moog synthesizer and Hammond organ, and drums from Keith Moon’s “Pictures of Lily” drum set,

to name a few. By displaying several rigs used in live performances and sound recordings, the exhibition will also demonstrate how artists created their own individual sounds.

The instruments will be complemented by some 40 vintage posters, striking stage costumes, and epoch-making videos.

The exhibition is made possible in part by the Estate of Ralph L. Riehle, the William Randolph Hearst Foundation, and Diane Carol Brandt.

It is organized by The Metropolitan Museum of Art and the Rock Hall.

With objects dating from 1939 to 2017, the exhibition, together with its catalogue, will examine many ways in which rock and roll musicians used their instruments.

The exhibition will highlight themes such as emerging technologies and how they were embraced by musicians, the phenomenon of the “Guitar Gods,” crafting a visual identity through the use of instruments, and even the destruction of instruments in some live performances.

Highlights of the exhibition will include:

Chuck Berry’s electric guitar ES-350T (1957), which was his primary guitar from 1957 until about 1963 and was used to record “Johnny B. Goode”; Jimi Hendrix’s electric guitar “Love Drops,” originally decorated by him; James Jamerson’s upright bass, which he likely used on many early Motown hits; Keith Emerson’s keyboard rig, consisting of the customized Moog Modular Synthesizer, electric tone-wheel organ, and rotary speakers; a reconstructed performance rig from Eddie Van Halen as it appeared onstage in 1978; Steve Miller’s electric guitar that was painted with psychedelic designs by artist Bob Cantrell by 1973; Jack Bruce’s electric bass,  which was painted for him by the artist collective known as “The Fool” in 1967 while he was  with Cream; St. Vincent’s electric guitar, which Annie “St. Vincent” Clark designed in collaboration with Music Man in 2015; and Jimmy Page’s dragon-embroidered costume (Los Angeles, 1975)—the elaborately hand-embroidered suit took over a year to complete and Page wore it during Led Zeppelin’s live performances from 1975 to 1977.

   
The exhibition will also include a sculpture made from what was left of one of Pete Townshend’s electric guitars after he smashed the instrument during a photo shoot with Annie Leibovitz, that was published in Rolling Stone as “How to Launch Your Guitar in 17 Steps.”

Play It Loud: Instruments of Rock and Roll will be accompanied by a fully illustrated catalogue.

The catalogue is made possible by The Andrew W. Mellon Foundation.

The exhibition is organized by The Metropolitan Museum of Art and the Rock & Roll Hall of Fame, where it will travel to in November 2019.

This is the second collaboration between the two after Rock Style, which was presented at The Met in 1999.
Play It Loud: Instruments of Rock and Roll is co-organized by Jayson Kerr Dobney, Frederick P. Rose Curator in Charge of the Department of Musical Instruments at The Met, and Craig J. Inciardi, Curator and Director of Acquisitions of the Rock & Roll Hall of Fame. 
# # #
November 20, 2018

@WFMU PLUS "Probe is Turning on the People" Google CSE


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSM-Q_ZAPzLZkPw__ViYiUG1HHK-xglkeFwiY4e_xywJ5z_jZvCbi0W1hCz4QWUFVmCr_LsokXGfpgU1ZR-t8AiL2BXXLDgx1_MGKGUSH1YKRig1oba_IcbtvF_eMl93BYigP/s1600/f87695d4a7bfa6270de9ed96473493f4.jpg

MP3 PROBE FMU

Probe is Turning on the People Google CSE



 Homepage 
I first came across Phil X. Milstein on what may be the very best website on the entire Internet: WFMU's Beware of the Blog.

There, Milstein is revered as one of the founders of the American Song-Poem Music Archive and a contributor with a vast knowledge of musical arcana. He's a true online music god, writing for countless e-zines and contributing to projects by and about indie artists like Thurston Moore, Half-Japanese and Jandek.

Probe is Turning on the People is Phil's personal virtual radio show, a place to post whatever he likes, arranged into more-or-less themed showcases. The range includes everything from The Ed Sullivan Show clips, oddball covers, unknown B-sides and rare demos. But it's not all novelty funny business—historically fascinating blues, ska and country cuts turn up here, too. This is a place where you can get your Oedipus on with Mr. Rogers' "I'm Going to Marry Mom," hear a Cambodian version of The Carpenters' "Superstar," or learn the back history of the dirty-talk blues classic "Shave Em' Dry."

I'll leave you to sort through the Johnny Cash sound-a-likes, the myriad versions of "How I Got To Memphis" and the sub-sub-genre of songs spawned by game shows. My playlist, though, includes Sue Lyon singing the "Ya Ya Song," Jay Chevalier's "Castro Rock," Gitta Hedding's German-language ska track "Das Ist Der Blue Beat," Porter Wagoner's "Lonelyville" and Big Maybelle's "Ocean of Tears."





December 11, 2018

DEA Deleted Microgram Bulletin (but this guy is more obsessive than me, AND i was first)

DEA Deleted Microgram Bulletin (but this guy is more obsessive than me, AND i was first)





During the summer, the Drug Enforcement Administration pulled down all issues of Microgram Bulletin, its monthly periodical aimed at drug warriors within the DEA and other law enforcement agencies at all levels.

I’ve combined all issues into one PDF, which I’m calling The Collected Microgram Bulletin, 2003-2013 (below).

At the same time, the DEA purged six years of Microgram Journal, a heavy-duty academic journal focusing on the chemistry of street drugs. Again, I’ve combined all those deleted issues into one PDF.





Microgram Bulletin
PDF: The Collected Microgram Bulletin, 2003-2013 [1,468 pages / 110 megs]
During its long life, Microgram Bulletin has mostly been unavailable to the public. It was first published (as Microgram) by the DEA’s predecessor agencies starting in 1967 and it continues to this day. From the beginning it’s been considered Law Enforcement Sensitive, and copies have been 99% successfully kept from the public.
But there was one decade when the DEA mysteriously decided to lift the veil. The issues published from the beginning of 2003 to the end of 2013 were unrestricted. The DEA even posted them on its website.
I downloaded them because I damn well knew that the DEA would yank them down at some point. Sure enough, the redesigned DEA website launched in August 2018 is missing the Bulletin. (Lots of agencies use a redesign as cover for deleting documents they wish they hadn’t posted.)
I’ve combined all issues and presented them in order (with bookmarks) in the PDF above.
If you’d like the issues as individual PDFs, the Wayback Machine captured them here and here.
Bear in mind that all issues from 1967-2002 and 2014-present are still Law Enforcement Sensitive and have never been publicly released by the DEA, even under FOIA. However, Erowid has obtained and scanned the first 17 issues (1967-1969) and posted them at the bottom of this page.


Microgram Journal
PDF: The Collected Microgram Journal, 2003-2008 [752 pages / 22 megs]
In 2002, the DEA split Microgram into two publications. What had been Microgram became Microgram Bulletin, and the highly technical articles about the chemistry of detecting and identifying illicit substances got a new, separate home in Microgram Journal (which is published sometimes quarterly and sometimes semiannually).
The DEA posted PDFs containing two or four issues of Microgram Journal for the years 2003-2008. Those are now gone from the DEA website. I’ve combined them into one PDF (above).
PDF: The Collected Microgram Journal, 2010-2018 [1,166 pages / 63 megs]
There’s no sign of the Journal for 2009, but since 2010 the DEA has been posting piecemeal fashion, with a separate PDF of each article going up every so often. For some reason, those individual articles are still on DEA’s site here. Nonetheless, good ol’ Russ combined them into a single convenient PDF covering 2010 to the first article of 2018







let's take a look back at the memories you made on Facebook in 2018



let's take a look back at the memories you made on Facebook in 2018

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