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GGRR presents
TOKYODIONYSOS Release Party
2015/7/11
at EARTHDOM
[Live]
ANAL VOLCANO
CARRE
ENDON
FILTHY HATE
INCAPACITANTS
ISTERISMO
PREPARATIONﾊSET
ZENOCIDE
CHAOSMONGERS
[DJ's]
AIWABEATZ
LOVEJUICE
YWK1
李ペリー
BLACKMONEY
SHOT-ARROW
In dire need of a wash and scrub-up, 56103 blasts past the gallery at Wichnor Jn with 6Z34 15.10 Chaddesden Sidings to Cardiff Tidal loaded scrap train on Thursday 18th June 2015.
Doncaster Station on Monday 3rd July 1989. This mixed pair of DMUs were working in and out of the station all day. The car nearest the camera is 53696 which was a BR built Derby Lightweight vehicle of Class 108 and the other 51510, a Metro-Cammell built vehicle of Class 101. Externally at least they are the dirtiest pair of such vehicles I can remember seeing. It must be ages since their paintwork was last cleaned.
Dirty 4438 rumbles along on a mixed freight (or "goods" in old language) heading to Chester Hill 1985
GGRR presents
TOKYODIONYSOS Release Party
2015/7/11
at EARTHDOM
[Live]
ANAL VOLCANO
CARRE
ENDON
FILTHY HATE
INCAPACITANTS
ISTERISMO
PREPARATIONﾊSET
ZENOCIDE
CHAOSMONGERS
[DJ's]
AIWABEATZ
LOVEJUICE
YWK1
李ペリー
BLACKMONEY
SHOT-ARROW
The Upper Crust
28 Rugg Road
Allston, MA, 02134
cwriggs@gmail.com
Website: theuppercrust.org
Contact: crustmail@gmail.com
www.myspace.com/benjamingrotto
Members
Lord Bendover (Nat Freedberg) (guitar, vocals) (1995–present)
Count Basie (Chris Cote) (bass, vocals) (1996–present)
The Duc D'istortion (Dave Fredette) (guitar, vocals) (1995–present)
Jackie Kickassis (Jim Janota) (drums) (1995–present)
From the official Bio
The Upper Crust played their first show in the back room of a Cambridge, Massachusetts bar one Monday night in 1994.
Not for a moment did they or anyone else imagine that-more than a decade later-they would be comfortably enshrined in
the pantheon of rock stardom, polishing their platform shoes to kick it up a notch with their newly remixed, remastered
collection of stellar hits “Cream of the Crust.”
The original band concept was simple and loaded with comic potential: Young fellows singing about the joys and sorrows
of the only life they knew, like numberless youths since the dawn of rock and roll… only these lads are filthy rich and
theirs is a life of appalling self-indulgence, entitlement and privilege. The result was seen in instant classics like “Let
Them Eat Rock,” “Little Lord Fauntleroy,” and “We're Finished With Finishing School.” Like any other concept band, the
odds against longevity seemed loaded. No one has been more surprised then they themselves to find that the public's
appetite and affection for the Upper Crust, far from diminishing, has grown more insatiable with every passing year.
It was not long before the band's image resolved into sharper focus, as they adopted the dress and personae of members of
the 18th century European aristocracy in powdered wigs and knee breeches, and the identities Jackie Kickassis (drums),
Lord Bendover (guitar, vocals) the Duc d'Istortion (guitars, vocals). Original members Lord Rockingham and the Marquis
du Rocque left to pursue other careers and were replaced by the vastly talented Count Bassie (bass, vocals).
The Crust appeared on Conan O'Brien, played with Aerosmith, earned accolades in national press (Vogue, GQ, etc.). They
released three studio CDs and one live CD on various independent labels. They won the love and devotion of an ever-
growing legion of fans, among them many music and show-business celebrities like Joan Jett, Steven Tyler and daughter
Liv, Steve Jones (Sex Pistols), Tenacious D, etc.; people who could appreciate the nuances of their art with its peculiar
blend of head-banging hard-rock, comedy, and theater.
Preferring the lavish comforts of their stately homes and disliking the hardships of the road, for several years they played
mainly East Coast shows and spot tours, where they would fly to England, New Orleans or Los Angeles for one or two
shows. In this way they succeeded in avoiding the demands of celebrity while enjoying its perquisites.
But now the time has come for them to claim their due, and with the aid of famed producers Sean Slade and Paul Q.
Kolderie, they've remixed and remastered a compilation of 18 of their greatest hits. Cream of the Crust is released in
collaboration with Redeye Distribution.
The band has been feverishly active since September, hitting such diverse markets as Raleigh, N.C., Milwaukee, Chicago,
Cleveland, Boston, Providence, R.I., New York, Philadelphia and Baltimore. Next, they contemplate a full West Coast
tour and a more detailed Southern itinerary, and are entertaining offers from European promoters.
A live Upper Crust DVD entitled “Horse & Buggery” will be issued by Reptilian Records of Baltimore in November
to celebrate the label's 17th anniversary.
An animated appearance on the Comedy Channel's “Code Name: Kids Next Door” is scheduled for this winter (date
to be determined).
Press activity is already swelling, with forthcoming spreads in several national publications.
The band will be doing extensive radio and press promotion is available for interviews, in-store appearances and all other
publicity.
From Wikipedia, the free encyclopedia
The Upper Crust is an American hard rock band from Boston, Massachusetts. The members adopt the personas of 18th century aristocratic fops and sing songs from that perspective. They use titles of nobility, wear powdered wigs and period costumes, and maintain a snobbish attitude while performing live and on their albums. The members say that their guiding philosophy is "If not great and excellent, then debauched."
Their major music influence is Bon Scott-era AC/DC, alongside glam rock band Kiss and fictional heavy metal band Spinal Tap. Rolling Stone has stated that "Dismiss Boston's Upper Crust as a joke rock band if you must, but give them this much: They're actually funny, and there's as much rock as mock to their singular brand of "roque"" and that "there's plenty of worthy riffs and double-entendre wit to go around". The group originated from a Boston surf rock band called 'The Clamdiggers'. Other related bands were The Bags, The Titanics, The Satanics, The Flies, The Oysters and Seks Bomba.
Website: theuppercrust.org
Contact: crustmail@gmail.com
Yeastie Girlz (San Francisco, USA) - 1988
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1987-1988:
Culture Shuck (Warminster, England) - 1987+1988
Die Trottel (Budapest, Hungary) - 1988
Fear Of God (Zurich, Switzland) - 1988
Filler (Nottinghamshire, Engand) - 1989
Filthy Christians (Falun, Sweden) - 1988
Generic (Newcastle, England) - 1988
Heresy (Nottingham, England) - 1988
Karma Sutra (Luton, England) - 1988
Lärm (Amersfoort, Netherlands) - 1988
Loveslug (Amsterdam, Netherlands) - 1988
Milgram Experiment (Hanau, Germany) - 1987
Open Session - 1987
Negazione (Turin, Italy) - 1988
Rich Kids on LSD (Santa Barbara, USA) - 1988
Spermbirds (Kaiserslautern, Germany) - 1988
The Plot (Amsterdam, Netherlands) - 1988
UFD - Uncounted Faces of Death (Hanau, Germany) - 1988
Yeastie Girlz (San Francisco, USA) - 1988
5Les (Brussel, Belgium) - 1988
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
I found this in a ditch (while I was working) off the side of the road, a couple of years ago. She was half submerged in swampy water. She was so incredibly filthy, that I was amazed, and thought I would shoot a couple of photos. I felt sorry for the little kid who lost her. Perhaps she got thrown out of a car window.
Have you ever seen a filthy country boy?
Look no further: here is Alan James Heyns of Filthy Country Boys who I watched sing / play at Jack Rabbits tonight. He and I went to school together. I took up the challenge of trying to better some of his recent Blackberry selfies.
Canon 6D, F4, ISO 1000, 1/125 sec, slight bounce flash
Wild East Urbex Meeting 3 - Polska!
On tour with:
and Stromi
Its a shame to see this wonderful church in decay!
Schlesische Deutsche Kirche in Polen.
Filthy toilet in Germany . More information here : toiletsguide.eu/2011/07/filthy-toilet-germany-parkplatz-d...
My loyal Keen hiking sandals after wading through the waters and walking the mucky shoreline of Sand Run Lake in Canaan Valley, West Virginia. I consider these part of my standard photo gear. Washable leather - perfect.