New Order interviewed at The Haçienda for BBC2’s Riverside - October 10, 1983
.................................the blog nobody reads
Saturday, September 19, 2026
Richard Hell - The Blank Generation | jt1674
. . . . the Brit version On Stiff . . . if it Ain’t Stiff it ain’t worth a . . . nah I’ll leave it!
Blank Generation Blank Generation (A Story Of U.S. & Canadian Punk & Its Aftershocks 1975-1981) [2023] | Butterboy
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Butterboy says:
PUNK ROCK
VA - Blank Generation Blank Generation (A Story Of U.S. & Canadian Punk & Its Aftershocks 1975-1981) [2023] (5 x CDs)
Punk didn’t arrive as a movement. It arrived as a rupture, a sudden tear in the fabric of American and Canadian music. Blank Generation traces that tear across five discs, beginning with the spark in New York and following the shockwaves as they spread through basements, art spaces, garages and small labels across the continent. The set opens with Richard Hell, Ramones, Television and Modern Lovers, capturing the moment when attitude, minimalism and raw energy became a new language. These tracks still feel like first strikes: fast, sharp, and determined to clear space for something different.
From there, the compilation widens. Cleveland’s Pere Ubu, Detroit’s Destroy All Monsters, San Francisco’s Crime, Vancouver’s Pointed Sticks and The Young Canadians, each scene shaped its own version of urgency. Some bands leaned toward art‑rock abstraction, others toward power‑pop brightness, others toward noise and confrontation. The sequencing makes the geography feel alive, showing how quickly ideas travelled and mutated.
By the later discs, the aftershocks take over. Hardcore beginnings, post‑punk experiments, synth‑driven minimalism, and early college‑rock textures appear beside the original punk core. Mission of Burma, Bush Tetras, Chrome, The Units, The Feelies, The Bongos, all pushing outward, proving that punk’s legacy was expansion rather than repetition.
What makes Blank Generation compelling is its sense of movement. It doesn’t treat punk as a fixed style. It treats it as a chain reaction: one band inspiring another, one city echoing another, one idea breaking open a dozen more. The box becomes a map of how North American punk grew, fractured and re‑formed between 1975 and 1981.
For collectors, it’s a rare chance to see these in one place. For listeners, it’s a reminder that punk’s greatest achievement wasn’t noise, it was possibility. (Butterboy)
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John Prine - Crazy as a Loon
JOHN PRINE - Crazy As A Loon [2005 live Austin City Limits]
Billie Holiday
Saddest Picture of The Day
I just wonder what the photographer thought that day when taking this portrait of Billie ? Clearly show signs of wear and tear of a hard life and the scarring on her face is only accompanied by the track marks on her forearms but the expression on her eyes perhaps tells us all. I hope the scars on her face were not from abuse or violence and yet the tracks tell their own sad tale of addiction and abuse from wherever. One of the greatest voices in music and yet it is somehow reduced to this . . . . . . . .
Aphty Khéa invites us to enjoy her work . . .
. . and I do!
This one’s for our Kostas and I know he’s on holiday somewhere in the Greek islands but maybe he’ll see this when he gets back . . . . a fellow Greek Island hopper?
ORIENTAL BROTHERS BAND - Ilhe Chinyenre | Sonic Surprises
Ilhe Chinyenre

ILHE CHINYENRE - ORIENTAL BROTHERS BAND

70’s
Just let it groove
There’s something utterly irresistible about this one.
The groove settles in, the guitars keep circling, and the same beautiful pattern just keeps pulling you back in.
I could listen to this forever.




