dagsounds

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apropos for this morning. same as it ever was, stopmakingliberalslookbad.

I cried when they shot Medgar Evers
Tears ran down my spine
I cried when they shot Mr. Kennedy
As though I’d lost a father of mine
But Malcolm X got what was coming
He got what he asked for this time
So love me, love me, love me, I’m a liberal

I go to civil rights rallies
And I put down the old D.A.R.
I love Harry and Sidney and Sammy
I hope every colored boy becomes a star
But don’t talk about revolution
That’s going a little bit too far
So love me, love me, love me, I’m a liberal

I cheered when Humphrey was chosen
My faith in the system restored
I’m glad the commies were thrown out
of the A.F.L. C.I.O. board
I love Puerto Ricans and Negros
as long as they don’t move next door
So love me, love me, love me, I’m a liberal

The people of old Mississippi
Should all hang their heads in shame
I can’t understand how their minds work
What’s the matter don’t they watch Les Crain?
But if you ask me to bus my children
I hope the cops take down your name
So love me, love me, love me, I’m a liberal

I read New republic and Nation
I’ve learned to take every view
You know, I’ve memorized Lerner and Golden
I feel like I’m almost a Jew
But when it comes to times like Korea
There’s no one more red, white and blue
So love me, love me, love me, I’m a liberal

I vote for the democratic party
They want the U.N. to be strong
I go to all the Pete Seeger concerts
He sure gets me singing those songs
I’ll send all the money you ask for
But don’t ask me to come on along
So love me, love me, love me, I’m a liberal

Once I was young and impulsive
I wore every conceivable pin
Even went to the socialist meetings
Learned all the old union hymns
But I’ve grown older and wiser
And that’s why I’m turning you in
So love me, love me, love me, I’m a liberal

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Yo La Tengo “Friday I’m in Love” (2015)

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I spent two hours looking for this today.

(h/t paxamericana)

dangerousminds.net
‘TV Wipeout’: Cabaret Voltaire’s rigorously post-punk 1984 video compilation resurfaces
John Coulthart has unearthed an utterly marvelous find from the early days of mass-produced video music content—Cabaret Voltaire’s TV Wipeout, a “video magazine” that was released on VHS in 1984. Watching it today, TV Wipeout is an excellent approximation of late-night avant-garde music programming from the early 1980s like Night Flight, albeit less scattershot and more rigorously postpunk in perspective. Of course, Cabaret Voltaire were often featured on Night Flight themselves. TV Wipeout, videotape cover As Coulthart explains, “This was the fourth title on the Cab’s own Doublevision label which was easily the best of the UK’s independent video labels at the time.” The compilation has plenty of gems. TV Wipeout features an interview with David Bowie on his latest movie, Nagisa Oshima’s Merry Christmas, Mr. Lawrence, excerpts from two Andy Warhol movies (Heat and Flesh), concert and documentary footage from the Fall at their creative peak, a video by Residents discovery Renaldo and the Loaf, footage of Marc Almond covering a Lou Reed song, and excerpts from cult classics like Plan Nine from Outer Space and Eating Raoul. The footage of the Fall was taped at the The Venue in London on...

kewl

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The Equals “Police on My Back" Explosion (1967)

a classic.

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Front Line Assembly “Conflict” Corrosion (1988) 

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City of Caterpillar “And You’re Wondering How a Top Floor Could Replace Heaven” s/t (2002)

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The Fall “Paintwork” This Nation’s Saving Grace (1985)

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Doom “Police Bastard”

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Carter Tutti Void “V1″ Transverse (2012)

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The Cramps “Garbage Man”

if you can’t dig me,
you can’t dig nothin.
do you want the real thing,
or are you just bluffing?

…do you understand?

Watch on dagwolf.tumblr.com

Swans The Great Annihilator (1994)

And I am the sun
I rise above the world 
And when the light goes out 
I kill another child 
And I am insane 
I crawl into your mouth 
I grow like a flower 
I grow a suicide 
And I am the sun 
And I am the light 
And I am the sun 
Yeah I am the light
And I am the dog
I cut out my eyes 
Yeah I will nullify 
My true love creation
And I am the sun 
I love everyone 
I live inside your chest
I grow like a cancer 
And I am the sun
And I am the light 
Yeah I am the sun 
Yeah I am the light

I love everyone (repeat)

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Psychic TV “New Sexuality” A Pagan Day (1984)

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Terry Riley “You’re No Good” (1968)

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Buffy Sainte-Marie Illuminations (1969)

great record

Watch on dagwolf.tumblr.com

Come Out is a 1966 piece by American composer Steve Reich. He was asked to write this piece to be performed at a benefit for the retrial of the Harlem Six, six black youths arrested for committing a murder during the Harlem Riot of 1964 for which only one of the six was responsible. Truman Nelson, a civil rights activist and the person who had asked Reich to compose the piece, gave him a collection of tapes with recorded voices to use as source material. Nelson, who chose Reich on the basis of his earlier work It’s Gonna Rain, agreed to give him creative freedom for the project.

Reich eventually used the voice of Daniel Hamm, one of the boys involved in the riots but not responsible for the murder; he was nineteen at the time of the recording. At the beginning of the piece, he says, “I had to, like, open the bruise up, and let some of the bruise blood come out to show them” (alluding to how Hamm had punctured a bruise on his own body to convince police that he had been beaten). The police had not previously wanted to deal with Hamm’s injuries, since he did not appear seriously wounded. It is probably the earliest instance of which a member of the Nation of Gods and Earths was recorded in a piece of music.

Reich re-recorded the fragment “come out to show them” on two channels, which initially play in unison. They quickly slip out of sync to produce a phase shifting effect, characteristic of Reich’s early works. Gradually, the discrepancy widens and becomes a reverberation and, later, almost a canon. The two voices then split into four, looped continuously, then eight, until the actual words are unintelligible. The listener is left with only the rhythmic and tonal patterns of the spoken words. Reich says in the liner notes of his album Early Works of using recorded speech as source material that “by not altering its pitch or timbre, one keeps the original emotional power that speech has while intensifying its melody and meaning through repetition and rhythm.” The piece is a prime example of process music.

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Discharge “I Won’t Subscribe” Hear Nothing See Nothing Say Nothing (1982)