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New "What's In My Bag?" Episode with Writer Jake Fogelnest

Posted by Amoebite, November 14, 2017 07:55pm | Post a Comment

Jake Fogelnest What's In My Bag? Amoeba Music

"This was a long time coming," proclaims writer/comedian/producer Jake Fogelnest about Criterion's newly restored Blu-ray of Multiple Maniacs. "John Waters is my favorite, he is my hero," Fogelnest says of the film's director, a pioneer of cult, transgressive movie-making. Pre-dating his breakthrough feature, Pink Flamingos, Multiple Maniacs features many of Waters' usual actors, including Divine, who would become the persona most associated with Waters' films. "It is still psychotic and shocking, probably even more in this new cleaned up print by Criterion," says an exuberant Fogelnest, who had plenty of witty insight into all of the goodies in his bag.

Jake Fogelnest has written for several TV shows, including Wet Hot American Summer, Difficult People, Girlboss, and Billy on the Street. He has contributed to VH1's Best Week Ever and written jokes for Saturday Night Live's "Weekend Update" segments. Fogelnest began his comedy career early, attracting attention for his cult public-access cable show Squirt TV, that he created when he was just fourteen years old. The program was eventually picked up by MTV, counting guest appearances by Wu-Tang Clan, Liz Phair, Cibo Matto with Sean Lennon, Adam Sandler, The Kids in the Hall, Kevin Smith, and Beck.

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Watch The Buttertones Perform Live at Amoeba Hollywood

Posted by Amoebite, July 14, 2017 06:50pm | Post a Comment

The Buttertones Live at Amoeba Music

Amoeba Hollywood was excited to have local garage rockers The Buttertones live on stage performing songs from their latest record, Gravedigging, which is out now on Innovative Leisure. The quintet drew a rapt crowd as they tore through their surf and psychobilly influenced tunes.

The Buttertones GravediggingFirst up was "Pistol Whip," a mid-tempo, night-stalker of a song showcasing vocalist/guitarist Richard Araiza's David Byrne/Bryan Ferry-like vocals. Next was the manic "Sadie's A Sadist," featuring a Cramps-y guitar groove and some killer saxophone trills. "A Tear For Rosie," a dark ballad with staccato guitar and organ hits followed third, and ending the set was the titular track, "Gravediggin'" which begins with a chaotic muted "Peter Gunn" by way of "The Twilight Zone" guitar riff which suddenly drops down to a subdued groove with chilling, falsetto-accented vocals, before spinning back into the riff-y vortex.

Watch the performance below:

The Buttertones - Live at Amoeba Hollywood
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Rest in Peace to Iconic 70's Photographer Leee Black Childers (Drag Queens, Rent Boys, Pick Pockets, Junkies, Rock Stars, & Punks)

Posted by Billyjam, April 7, 2014 08:15am | Post a Comment

Legendary New York underground photographer Leee Black Childers, whose iconic 1970's photos were captured in his 2012 published book Drag Queens, Rent Boys, Pick Pockets, Junkies, Rock Stars, and Punks, has died in LA. The folks from Lethal Amounts in Downtown LA had recently flown Childers out to Los Angeles for a showing of the photo exhibition of the book photos, that opened on March 22nd and is scheduled to run through April 19th, which Amoeba Music was one of the sponsors of.  In conjunction with that photo exhibit Amoeba Hollywood obtained two of signed Childers’ prints (one of David Bowie and another of Patti Smith) to have for sale in the LA store.

The Kentucky born Childers, who worked for Andy Warhol in both NY and London was among the earliest photographers to capture the burgeoning glam scene and the early NYC underground punk scene, was also at one time involved in the business management of both Johnny Thunders (New York Dolls) and David Bowie (he was the tour manager for the Ziggy Stardust tour). Childers' photography was featured in the cover art of Bowie's Diamond Dogs album and Thunders' Born Too Loose - among others. Childers' Factory era photos of Warhol, his countless pics of the Hotel Chelsea denizens including lots of drag queens, and his photos from the Stonewall era NYC had made made him  a milestone historic chronicler of both gay and rock cultures.

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10 Albums to Pick Up for Valentine's Day

Posted by Billy Gil, February 7, 2014 05:21pm | Post a Comment

Hey you! Valentine’s Day is just around the corner. Like it’s next week. We’ll leave the chocolates and stuff to you, but we’ve got your music covered. Pick up any of these releases to help you seal the deal. Or to just enjoy quietly on your own with some white wine. That sounds great, actually.

Tina TurnerLove Songs

This compilation CD was just released and features some of Turner’s best songs, focusing on her comeback from 1983’s Private Dancer and on. Songs include a cover of Al Green’s “Let’s Stay Together,” “What’s Love Got to Do With It,” “The Best” and more.

 

 

SadeThe Ultimate Collection

I mean, c’mon, duh. You can’t go wrong with any Sade album, but this readily available collection has all the hits, including later period songs like “Soldier of Love.”

 

 

WarpaintWarpaint

Of course, if your taste skews newer (or if you’re all stocked up on Sade), you could try a newer band. Warpaint’s latest album is sly, nuanced and sexy as hell, moving from moody declarations (“Love is to Die”) to heated post-punk (“Disco // Very”). See also: Rhye and their singer Milosh, who is kind of like the modern-day Sade, or there’s always nighttime neo-classic the xx.

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Geoffrey O’Connor Brings His Noir Synth Pop to Hollywood Forever

Posted by Billy Gil, September 28, 2011 02:09pm | Post a Comment
Geoffrey O’Connor, frontman for Australian indie pop band Crayon Fields, released his debut record under his own name this week with Vanity Is Forever, a dark and sexy collection of new romantic pop reminiscent of Bryan Ferry and later-period Roxy Music. It’s gorgeous stuff, and tonight he’ll play it at Hollywood Forever Cemetery alongside Swedish songsmith Jens Lekman at 8 p.m. I took a minute to chat with O’Connor about his music upbringing and influences — surprise, it’s not all ’80s all the time!

PST: Can you tell me a little bit about your musical background up until releasing Vanity Is Forever?

O’Connor: I’ve been writing and recording songs since high school, which is when I started playing with Crayon Fields — we are now working on album number three. I released a solo record in 2007 as Sly Hats, but then decided to drop the name for the one my mother gave me.

PST: What are some of the influences, musical or otherwise, that got you making the music that appears on this album?

O’Connor: Classics like Fleetwood Mac, Lou Reed and Dory Previn are the first musical influences that come to mind. I work in a cinema and get to see a lot of free movies — often there will be a memorable scene or quote that will trigger a song idea, even in the ones I don’t like.

PST: I definitely hear a cinematic quality to your music. Have you or would you consider scoring a film?

O’Connor: Very much so — it is pretty much my dream to score a film. I often feel like my efforts making films are more to do with wanting to score them.

PST: I feel like there's been a return to sort of luxurious music of the '70s and '80s lately in underground/indie music and film. Music like Washed Out and The Field, referencing bands like Roxy Music; the movie Drive comes to mind. This sort of like, underside of "Miami Vice" thing. I see songs like "Whatever Leads Me to You" fitting alongside that to some degree. But that's just it conjures up for me, I guess. Does that sound along the lines of what you'd like to create, or is it very different for you? What imagery come up for you when you hear/make your own music, and do you see it as fitting alongside other artists of this era?

O’Connor: It’s been interesting how often the ’80s has been cited in the write-ups and reviews for the record so far. Generally it doesn’t bother me — I can see how the comparison could be drawn. I do love Roxy Music too, especially the later stuff. It’s certainly not a premeditated thing though, or an homage of any kind. I guess I’ve always liked the purity of direct, melodramatic pop music — which is typical of many ’80s classics. While I love a lot of contemporary music, a lot of it frustrates me in its lack of both lyrical and melodic conviction.
 
PST: At the same time, the music is very removed from a lot of trends. It's more deliberate and sensitive to me. Did you seek to make music that sounded like it could come have come from a number of different eras and genres?

O’Connor: To a degree I did, I always aim to make my songs sound contemporary — but I guess my approach to song writing resembles that of the ’60s and ’80s in that the melodic hooks and lyrics always come first. I’m very much into music that sounds deliberate, as opposed to being improvised — and that’s the way I go about writing and recording.

PST: Are you involved in any other projects, musically or otherwise?

O’Connor: I’m finishing a Masters in film this year, and using my time in the course to put together a series of music videos. I’d like to be more involved in film/video making, I enjoy it just as much as making music. I’m still not entirely sure what I want to do with it yet, though I’m toying with the idea of putting together a soap opera at some point — I’ll probably call it “Vanity Is Forever,” too. I also play in a couple of other people’s bands on guitar and bongos — Guy Blackman, Montero and Monnone Alone.
 
PST:
What's your setup for playing live?

O’Connor: I have two modes at the moment. I usually play with two other dueling synthesizer players, and then for the solo shows it’s just me with a guitar and sampler. I’m very much into making it a visual thing and I bring my own projections, lasers and smoke when I can. I think both modes work in very different ways and suit different environments — it’s always nice to have company though!


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