Creativity is each putting their own spin on an idea, advancing new directions. Here's another relay using one song.
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The Who were tearing it up in their early days as a Mod band doing blasting R'n'B and Blues covers. But Pete Townshend found his feet composing his first song and their first Top 10 hit, "I Can't Explain".
The song was inspired in its punching chords riff by The Kinks' "All Day And All Of The Night" (which was inspired by "Louie Louie", which was inspired by a Cuban mambo as well as a Chuck Berry Calypso song, which connects on to songs from the Old World, and the short of it is that I'm your Great Grandchild from the future. But back to the story.)
THE KINKS -"All Day And All Of The Night" (1965)
That's the hand-off. Now here's our young punks creating the future in two minutes flat. (Check for bruises and your wallet before going to the next song.)
Note that from the very start, the band finds its identity in insular lyrics with anthemic power chords.
THE WHO -"I Can't Explain" (1965)
Equally tongue-tied are Italy's Gli Uragani in this cover version.
GLI URAGANI -"Con Quella Voce" (1966)
In the early '70s, as The Who turned its Mod beginnings into the rock opera "Quadrophenia" (1973), others began to look back also.
From the '50s revival in films (American Graffiti, That'll Be The Day) and Glam Rock (T-Rex, Suzi Quatro, Gary Glitter), to the seminal NUGGETS double-album anthology, to DAVID BOWIE's covers album, PIN UPS...
DAVID BOWIE -"I Can't Explain" (1973)
Fresh off her success as Mary Magdalene in the screen version of JESUS CHRIST SUPERSTAR (1973), here's Hawaiian (by way of Ireland, Japan, and China) Yvonne Elliman with one of the best, unheralded versions ever recorded.
This becomes important again later.
YVONNE ELLIMAN -"I Can't Explain" (1973)
The Who's rock opera TOMMY was adapted into a feature film by director Ken Russell, and Elton John integrates "I Can't Explain" (at 2:00) into this classic performance.
ELTON JOHN -"Pinball Wizard" (1975)
The Clash loved this riff and used it a few times: in "Clash City Rockers" (1977), "Capitol Radio" (1977), and "Guns on the Roof" (1978); as well as a sample at the end of Big Audio Dynamite's "Contact" (1989, at 3:04).
THE CLASH -"Clash City Rockers" (1977)
Not far off from that spirit in a Big Beat dance style, here's Fatboy Slim sampling the overlooked Yvonne Elliman version over the drums from Led Zeppelin's "The Crunge".
FATBOY SLIM -"Going Out Of My Head" (1997)
Like The Clash, here's more young punks putting new kick in the strut: the premiere neo-Garage Rock band The Hives from Sweden.
THE HIVES -"Walk Idiot Walk" (2004)
And here it is in a rewrite by Brazilian band Ultraje a Rigor done acoustically.
ULTRAJE A RIGOR -"Eu Nao Sei (I Don't Know)" (2005)
Creativity is a cultural relay race. Here's another great baton.
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"The Moonlight Sonata" by Ludwig van Beethoven is one of the most haunting and romantic Classical ballads of all time. Its actual title is "Piano Sonata No. 14 in C♯ minor, "Quasi una fantasia", Op. 27, No. 2"; the Latin phrase translates as "Almost a fantasy".
Sit back and be transported into mood indigo.
LUDWIG van BEETHOVEN -"Piano Sonata No. 14 in C♯ minor, "Quasi una fantasia", Op. 27, No. 2" (composed 1801)
A classic Pop song that incorporates Beethoven's melody is "Past Present Future" by The Shangri-Las. Producer Shadow Morton, firmly in the Phil Spector aural tradition, smartly puts the spotlight on Mary Weiss and her ever-haunting monologues.
The line "but don't try to touch me" is especially chilling, and the song was a natural for a new remake by Marianne Faithfull.
THE SHANGRI-LAS -"Past Present Future" (1966)
Yoko Ono is a classically trained pianist. While she was playing "Moonlight Sonata" once, John Lennon lit up and asked her to play the chords backwards. This inspired the framework for his song "Because" on the ABBEY ROAD album. George Harrison plays a Moog synthesizer in various parts.
"Because" is loved for its melody, its cheeky puns ("because the wind is high, it blows my mind"), and for the lovely chorus sung by John, Paul, and George.
THE BEATLES -"Because" (1969)
The song became a world-wide anthem, as covered here in Japanese by the band Garo.
GARO -"Because" (1972)
Bringing the relay full circle, the song is often covered by symphonic orchestras. But it is also as popular in a capella versions, such as this one by the late great Elliott Smith.
ELLIOTT SMITH -"Because" (1999)
By coincidence at the same time as The Beatles' song, Italian film composer Piero Umiliani used "Moonlight Sonata" as the framework for this spectral piece for the film ANGELI BIANCHIi...ANGELI NERI/ White Angel, Black Angel.
The piano is most certainly Umiliani, with vocals by I Cantori Moderni (The Modern Singers), who sang on all the classic '60s and '70s Italian soundtracks.
PIERO UMILIANI -"Magical Moonlight" (1969)
In the tradition of The Shangri-Las and The Beatles, here's En Vogue with a midnight serenade.
For an especially unnerving scene in TWIN PEAKS: THE RETURN (2017), director David Lynch slowed a recording of the "Moonlight Sonata" down severely for dissonance and dislocation.
There's a new SPIDER-MAN in town, and it's a wonderful thing.
'Not a dream! Not a hoax! Not a bad musical!'
Marvel Comics built their empire on the character of Spider-Man, as important to their survival as Superman is to their rival, DC Comics. It would be easy for them to play it safe with their breadwinner, but they have a second option to get bold with.
Marvel publishes a regular line of comic titles with all their classic heroes, but they also publish a separate line of Ultimate Comics. In this alternate universe, the characters have been re-imagined as their ultimate best selves for a modern era. The regular comic Spider-Man, that ever wisecracking Peter Parker, is alive and well. But over in the Ultimate Spider-Man comic, Peter Parker has just passed away and a young teen kid named Miles Morales will replace him in September. >
Your friendly neighbor's hood.
There seems to be some kind of flustered fuss about this.
Having an African-American and Hispanic kid as the new Spider-Man is a great thing in multiple ways. Most smart people understand why and said so. But a few fringe voices from the old hate had problems with it, which only reveals their sad flaws.
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"HEY, WAY TO MAKE A GUY FEEL WELCOME!" -Peter Parker
a.k.a., 'Who says only Stan The Man can have a soapbox?', dept.
Spider-Man's 1960s creators, Stan Lee and Steve Ditko.
Well, let's get it out of the way, and point out the elephant irrelevant in the room.
ITEM: Here's the straight-up, pilgrims: there are no such things as races. There is only one race, the Human Race. This isn't idealism, it's simply a scientific fact. >>
When people speak of different races, they are mistaken. The flat scientific reality is... there is only one race, the Human Race, Homo sapiens ("wise man", "knowing man"). You can't divide people by minor physical quibbles, by religion, by map borders, or by cultural traditions and call them races. > It's ignorant and no better than superstition. So terms like 'bi-racial' are just (brace yourself) compounded dumbness. >>>
This may sound like idealism, but it is actually a smack-exact scientific fact, Jack.
"The Journey Of Man: A Genetic Odyssey";
How humanity is one race that branched from Africa
(Let's cut to the quick: a single African tribe seeded every person on Earth, we are all family, stop hitting your cousin and grow up or I'll turn this car around right now.) >>
Races don't exist, but racism does. Racism is the belief in races, and justifying acting badly to others because of it. The results of that mistaken belief are very real, even if it is as stupid as we could possibly be. > I would've skipped all this as a given, effendi, but all the articles -whether pro or con- about Miles prove that the bulk of us still haven't grasped this.
Repeat: When you say 'bi-racial' or 'mixed-race', you're being double-dumb. Like bubble gum.
"Hey, tigers, time to get with reality!" concurs Mary Jane, "Get wise, man; act like you know and let's go. Next."
Stan Lee's Soapbox column, 1968.
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"...SPIDER SENSE IS TINGLING!"
Some folks think this is a heavy subject for such light reading. They're judging covers on mags they've never read.
But you know the score, true believers!
Comic books are as advanced in story and craft as any book, film, or series, and have been for many decades. Four generations worth of hip folks have enjoyed this, while some hack journalists and their clueless readers still have their head up their comics code authority.>>
Regardless, the generation who grew up on graphic novels now writes the best blogs, mags, books, shows, and films, which is turning the tide of public awareness; these professionals know that comics at their best have the pulse of the times, and often accelerate it. >>
Marvel Comics (alias Jack Kirby) introduced the first Black superhero,
the African king, Black Panther, in 1966. >>>>>>>>
There's ways to do a good thing right, and still ways to go wrong anyway.
When the character Batwoman was announced as a lesbian (2006), it was decried by some as a stunt.> But, in practice, the character's confident sexual identity only enhanced some of the most essential stories and art of the decade. By focusing on depth and strength of character, in strong stories with stunning art, the creators showed that quality of craft and humanity of heart are the best keys for progress.
Another good character move was the debut of an Asian Batgirl named Cassandra Cain (1999)>, but she was mishandled. The creators seemed to think the vague concept 'Asian' was enough and blurred her background in a hodgepodge of pan-Asian cultural cliches. In the major city I live in, where everyone comes from all the radically diverse cultures grouped under Asia, this was infuriating instead of empowering.
And you know writers are clueless when they descend to the whole 'hero/now villain/now hero' ricochet. The creators seemed equally tonedeaf to the resulting backlash; "Huh?", blink, blink. Newsflash: way to ruin a great character in no time flat, ya boneheads. (What was their solution? They just replaced her with a blond. Yeh. Nuff said.)
Batwoman; Batgirl
Good stories about good people are the whole point of superhero comics. They're fantasies of our inner spirit personified as its ultimate best.>>
Sadly, some bad people with their own problems slung a lot of abuse at Batwoman for having love in her life; and have so again at the casting of Perry White with a fine actor; and of course at our fledgling spider-kid, Miles for being... in a book they're unskilled to read anyway. So I was really impressed when the main man at Marvel Comics, Joe Quesada, responded to all the bigot blowhards by saying, "if people with racist tendencies disagree with the things we do, then I know we're doing the right thing."
Joe Quesada is hispanic, and extends the proud history of immigrant underdogs that made comics (and culture) great. Comic books were invented in the melting pot of 1930s Depression-era New York City, cranked out by idealistic young Italians, Jews, Poles, Irish, and more who yearned to empower themselves in a better world. > From the later waves of Filipino, French, and Spanish artists in the '70s, to the English and Scottish writers in the '80s, to the rise of African-American artists in the '90s, and Asian artists in the '00s, American comics are only improved by inclusion and empowerment.
"Sayyy, aren't you forgetting something there, buddy?" interjects Mary Jane.
Woman make up the majority of the human race, but they are the most neglected and marginalized part of the comics community.>>>>> So it's even better that the series is being drawn by a woman, which there can never be enough of in comics creation. Sara Pichelli has a keen eye for telling a story, particularly through the humanity imbued in clothes, expressions, and gestures. And what an excellent job with the costume! Totally new and yet totally identifiable as Spidey.
Hey, wake up over there, I'm on a roll. Wow, tough room. Did we run out of women-in-leather pics? Cue the film, Irving!
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"WITH GREAT POWER COMES GREAT RESPONSIBILITY." -Uncle Ben Parker
But what really put the passion in me was in seeing how much they were influenced by the documentary WAITING FOR SUPERMAN.
WAITING FOR SUPERMAN trailer (2010)
This indie film has clearheaded prescriptions for solving the education crisis in America, using the metaphor that we can't depend on any messianic agency when we should focus on saving ourselves. >>
The cruelest and most moving part of the film is seeing all of the bright kids from poor homes pinning all their hopes on a random lottery system that might let them into a school that can save them. The horror of seeing qualified kids thrown to the wind by sheer chance is almost too heartbreaking to take.
In a sequence in ULTIMATE COMICS SPIDER-MAN #1, it's clear that writer Brian Michael Bendis has adapted this exact scene from the film. At that point my empathy for Miles Morales was absolute, and I knew I was going to buy this book every month.
Waiting for hope
WAITING FOR SUPERMAN nails what's criminally wrong about our current education system. We strobe to kids that they can do anything with an education. But we don't provide them with the education which allows them to do anything. When we reduce their chances to a lottery, we tell them that all their hard work means nothing against fickle fate, and they should just give up.
Comic books were first created to lift kids' dreams. Their sole purpose is to empower the hero within you.
In this new Depression, we need to believe that quality will win, that the inner spirit is stronger than evil or fate, that the dreams of our own youth weren't delusions, and that the dreams of the new youth can be given a fair chance. That we have humanity and decency in common, and that together we can make a better world.
We need a narrative of belief that we make happen ourselves. Miles Morales is the hero for our times because we are Miles Morales.
President Obama meets the kids from "Waiting For Superman".
Miles Morales was almost certainly inspired
by the two people shaking hands.
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If you haven't seen the film, I can't urge it enough. Then see how you feel about our friendly new neighbor....
ULTIMATE COMICS SPIDER-MAN #1 goes on sale at comic shops September 14, 2011.
(This is a variant cover.)
Excelsior!
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BONUS UPDATE:
"For only love can conquer hate." -Marvin Gaye
Spider-Man (Miles Morales)
and Spider-Woman (Gwen Stacy), 2016.
Update II: Miles Morales and "Spider-Gwen" Stacy became famous in the mainstream with the smash success of the CG-animated film, SPIDER-MAN: Into the Spider-Verse (2018).
ROCK GRRRL = 'She rocks. Revise your history with her story', dept.:
Sister Rosetta Tharpe was a rocker before there was Rock. She is a mother of us all.
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She was the first Gospel star, while burning off Blues and Jazz licks on her guitar like a greasefire. She toured with The Jordanaires a decade before anyone heard of Elvis. She pulled a young kid onstage to sing with her who later changed his name to Little Richard. She was Johnny Cash's favorite singer for life.
And she may have recorded the first Rock'n'Roll song. Years before Muddy Waters' electric blues band (1948) or "Rocket 88" (1951), here is our angel with all the keys to the kingdom: boogie-woogie, blues licks, swaggering stance.
SISTER ROSETTA THARPE -"Strange Things Happening Every Day" (1944)
Though it was heresy to mix secular sounds with gospel music in the '50s, Rosetta didn't care a whit and poured on the rockin' guitar leads regardless. In the film AMELIE (2001) the elfin star is entranced with wonder watching Rosetta perform this song on her TV.
SISTER ROSETTA THARPE -"Up Above My Head"
Check out her soloing during the second half. Who's your mama now?
SISTER ROSETTA THARPE -"Down By The Riverside" (live, 1964)
The influence of Sister Rosetta Tharpe never ends. Here are three recent songs about her:
ALABAMA 3 -"Sister Rosetta" (1997)
THE NOISETTES -"Sister Rosetta (Capture The Spirit)" (2007)
Sam Phiillips wrote this song, and here are two versions of it.
SAM PHILLIPS -"Sister Rosetta Goes Before Us" (2008)
ROBERT PLANT & ALLISON KRAUSE -"Sister Rosetta Goes Before Us" (2007)
"Some people say little girls should be seen and not heard
But I think
OH BONDAGE UP YOURS!"
ROCK Sex says the up the ante till they cry uncle.
Today the cultureal relay of "Oh Bondage Up Yours!".
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Punk meant to break down all barriers and restrictions- in sound, fashion, and outlook. Because of its physical energy and aggro stance, it could've trapped itself into becoming the macho crap it was trying to defeat. Luckily, Poly Styrene changed that.
Poly and the X-Ray Spex were the molotov cocktail that drove away the mob to save the party. She injected Feminist parody and lacerating wit, creating a political stance with a bracing sense of humor. She made Punk fun and smarter. She opened the doors for The Slits, The Au Pairs, Poison Girls, Bikini Kill, Hole, L7, Babes In Toyland, Tribe 8, Lesbians On Ecstasy, and Peaches.
Here she turns masochism into a metaphor for our slavery to consumerism, and tells where to put it.
X-RAY SPEX -"Oh Bondage Up Yours!" (studio, 1977)
X-RAY SPEX -"Oh Bondage Up Yours!" (live, 1978)
An Indie supergroup comprised of Kim Gordon (Sonic Youth), Julie Cafritz (Pussy Galore), and Yoshimi P-We (The Boredoms) later blasted upped the ante.
FREE KITTEN -"Oh Bondage Up Yours!" (1993)
In the fine tradition of sedition, here's Chicks On Speed to alter the face of things.
CHICKS ON SPEED -"Plastic Surgery" (2006)
Continuing to break down barriers and repressions, here is Russia's Pussy Riot disturbing the quiet.
LADIES FIRST spotlights another classic song that 'she did first'.
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The original "What A Man" is by Southern Soul singer Linda Lyndell. It was released by the ever-wonderful Stax Records on their Volt label, and produced by Isaac Hayes and David Porter, hot off of creating all the hits of Sam And Dave.
LINDA LYNDELL -"What A Man" (1968)
It was first remade by Atlantic Records' Soul great Laura Lee, most known for "Dirty Man", "Women’s Love Rights", and "Crumbs Off The Table".
LAURA LEE -"What A Man" (1972)
The song reached its biggest fame when adapted by Rap dynamos Salt-N-Pepa, backed up perfectly by En Vogue at their peak.
LADIES FIRST spotlights another classic song that 'she did first'.
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We all love "You're No Good" in versions by Betty Everett and later Linda Rondstadt.
But actually, it was done first by Dee Dee Warwick as a B-Side in 1963. Check out the surprisingly tough guitar fuzz in the break (1:17), well ahead of Garage Rock. And Dee Dee sounds both pissed and swinging at the same time!
Beyond being the sister of Dionne Warwick, Dee Dee has gained much love in Soul circles for her own fine body of work.
DEE DEE WARWICK -"You're No Good" (1963)
Sometimes the cover becomes the definitive version, and here's Betty Everett with her great hit take on the song.
BETTY EVERETT -"You're No Good" (1963)
The song went international as a hit for the U.K. band THE SWINGING BLUE JEANS during the British Invasion.
THE SWINGING BLUE JEANS -"You're No Good" (1964)
Which led to the first Finnish version by these amiable moptops.
EDDY AND THE LIGHTNINGS -"Olet Paha" (1964)
And this Danish version by a soulful soloist.
RITA HOVINK -"'T is Voorbij" (1964)
And this terrific French version by Pussy Cat. Great Garage-style attitude in this one!
PUSSY CAT -"Mais Pourquoi" (1966)
In America, this Michigan band gives it the full-on Psychedelic Soul treatment!
PHLEGETHON -"You're No Good" (1970)
Sometimes the cover of the cover becomes the new definitive version.
The reason is twofold: Linda Rondstadt's voice and Andrew Gold's playing. Linda brought a no-nonsense swagger that made the song an anthem during the rise of Feminism. Gold played all of the instruments, bringing the edgy mood, the sultry keyboards, and one of the most letter-perfect George Harrison slide guitar homages ever recorded (1:31).
LINDA RONSTADT -"You're No Good" (1974)
Here's a slamming French HipHop song sampling the piano of the original.
SALIHA -"16 Ans, 9 Mois Et Un Bébé Sur Les Bras" (1994)
Jill Johnson, a Country Soul artist from Sweden, responds to the Linda Ronstadt template here.
JILL JOHNSON -"You're No Good" (2007)
And here's Punk Pop from the French band The Plasticines that owes a debt to The Ramones. Love that "ah, ah-ahhh/ hey-ho-hey" chorus they throw in!
The band took their name from a lyric in The Bestles' "Lucy In The Sky With Diamonds".
ROCK Sex says "That gum you like is going to come back in style."
Today, a riot in the streets or a tumble in the sheets? Here's a song full of secrets both sexy and dangerous.
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It started with a dance in the late-'50s called The Stroll; crowds would line parallel while couples vamped spontaneous dances in the walkway between them. This was often done to easy shuffles like Chuck Willis' remake of the perennial blues, "C. C. Rider".
A Canadian quartet called The Diamonds had a huge hit on the trend with "The Stroll", turning it into a sensuous slow-grind with raunchy sax and an air of menace underneath.
THE DIAMONDS -"The Stroll" (1958)
Guitarist Link Wray was jamming with his band to work out an instrumental take of "The Stroll" for a live gig. They emphasized the grinding edge and came up with a new original which was a smash with the crowd, who demanded they play it five times. Link punched holes in his amp speakers to replicate that live buzz when it came time to record it.
It is the only instrumental ever banned on the radio because of conservative fear that it would trigger gang riots! Instead, it unleashed a style riot that never ends. The song is hailed as the dawn of feedback and distortion in Rock music, opening the way for Garage Rock, Heavy Metal, Punk, Industrial, and Grunge later.
LINK WRAY & HIS RAY MEN- "Rumble" (1958)
Adam Ant and his great guitarist Marco Pirroni modified the "Rumble" riff for their own song of menace.
ADAM AND THE ANTS -"Killer In The Home" (1980)
"Rumble" is the spiritual and sonic father of this song by the acclaimed composer Angelo Badalamenti for the soundtrack, TWIN PEAKS: Fire Walk With Me (1992). In the film, troubled teen queen Laura Palmer gets into a night of debauchery in The Pink Room, a dangerous backroom in a sleazy bar. (The room portends the hinge to The Red Room, the ultimate crux of the TWIN PEAKS series.)
Slow, edgy, sexy, lethal...
ANGELO BADALAMENTI -"Pink Room" (1992)
Here is an alternate extension, released later...
ANGELO BADALAMENTI -"Blue Frank" (1992/2007)
*****NOTE:
If you are new to TWIN PEAKS, watch the original two TV seasons first, and then the follow-up film TWIN PEAKS: FIRE WALK WITH ME after them.
[Then watch the new series, TWIN PEAKS: THE RETURN (2017)].
Though the film is a prequel, it is deliberately meant to be seen after the first two seasons for dramatic context.*****
A friend is a door to more. They open up your life.
The two tricky things in life are money and access. A lot of times, without one you don't get the other. I spent much of the '80s reading about albums I couldn't hear, flipping through LPs in record shops that I couldn't buy. The library, the radio, and music videos were my best friends (being free and all), until I started working at record stores to feed my habit.
In the early '90s a record store amigo named Aaron started giving me mixtapes. He was pulling together lots of stuff I'd heard tangentially or just heard about. They came with great titles like "Far Out In The Red Sky", "It Used To Be Alright But Things Got Strange", and "Trailing On Next To Sick". Cornucopias of Agitfolk, Garage Rock, Dream Pop, Psychedelia, Glam, German Prog, Punk, PostPunk, Shoegaze, Grunge, Neo-Psyche, and Noize.
Aaron had that core understanding...that everything was related, interconnected and ever-evolving through hybrids. In pinball fashion the songs linked the '60s through to the '90s. They were new universes looped through plastic and magnetic tape.
Aaron drew gothic Beardsley-esque covers for each, and wrote extensive liner notes in pencil. Another born culture maven and archivist! His knowledge for a young person was astonishing, guided of course by his boundless enthusiasm. Thank god for those folks.
Whenever I hear The Creation, Captain Beefheart, Brian Wilson, Syd Barrett, The MC5, Marc Bolan, Mudhoney, Bikini Kill, or Jon Spencer, I give a silent thanks to my friend for the gift.
Aaron's mixtapes opened up my mind and expanded my life. I want to thank him for that on his birthday, and pass the songs on to you here. Listen to the music player above and free your mind.
In The Spirit Of
A A R O N
But every door leads to windows!
Here is another music player of bands and songs that I then explored on my own over the years to the present, all in the sonic spirit of the vistas Aaron opened my doors to.
They are in basic order from the '50s to now: a howling blow-out of Rockabilly, Merseybeat, Garage Rock, Girls In The Garage, Psychedelic, Dream Pop, Glam, Funk Rock, Punk, PostPunk, Paisley Underground, College Rock, Grunge, Riot Grrrl, Noize, Neo Garage, and Brian Wilson disciples.
A splendid time is guaranteed for all! Open up a friend and pass it on...
Today, a culture relay from Funk to Samba to Electro to Indie Rock to Thrash Metal.
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Brazil's Jorge Ben Jor made a Funk homage to a soccer star with his song "Ponta de Lanca Africano (Umbabarauma)" in 1976.
The song began (like all things) as a cross-cultural hybrid, this one between Brazilian Tropicalia and West African rhythms with some decided U.S. Funk swagger. A prime influence was The Minister Of New New Super Heavy Funk, James Brown, as evidenced by the rhythmic groove of this classic example.
JAMES BROWN -"The Payback" (1973)
Jorge Ben's lyrics homage "Umbabarauma/ an African point man/ ...a man whose mind is made up."
JORGE BEN -"Ponta de Lança Africano (Umbabarauma)" (1976)
The song was made more internationally famous in 1989 when it was the spotlight hit on David Byrne's Brazilian compilation album, "Beleza Tropical". A striking animated video helped drive its success.:
In England, it morphed into Big Beat Electronica in a mash-up with Graham Central Station's "Now Do U Wanta Dance" (1977).
FILA BRAZILLIA -"Pots And Pans" (1993)
Imperial Teen, a kind of indie supergroup based out of San Francisco, used the rhythm guitar lick as a departure point for their own stellar song, "Yoo Hoo". The song was used in the film Jawbreaker, and star Rose McGowan appears in the song's video:
IMPERIAL TEEN -"Yoo Hoo" (1999)
SOULFY, a Thrash band that Brazilian Max Calavera formed after Sepultura, did a hard-crashing cover of it that extended its fame.
SOULFLY- "Umbabarauma" (1998)
It came full-circle to Brazil with this funky collective.
GRUPO BATUQUE -"Ponta de Lança Africano (Umbabarauma)" (2000)
"Run, kick, find a hole, thrill and give thanks
See how the whole city empties out
On this beautiful afternoon to watch you play"
"Liberation for all. Everything must be rethought." ______________
Two great things hybrid a third great thing. ROCK SEX is a metaphor for the creative connections that link our shared culture together. This Pop Culture hub explores the roots and branches of Music, Film, Art, Comics, and more. _______________
Rock'n'Soul music is a baton relayed by everyone. Learn the holistic history with the most advanced Music Playlists online!:
BLUES, MAMBO, JAZZ, ROCKABILLY, SURF, BEAT, SOUL, GARAGE, PSYCHEDELIA, FUNK, GLAM, PUNK, NEW WAVE, HIPHOP, POSTPUNK, GRUNGE, RIOT GRRRL, ELECTRO, next! _______________
This is our party and everyone is invited!
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