100 gecs 101 Things To Do With Your Modem 1080p 1969 1990s 20 is the new 40 2012 2013 2013: Appropriating a 2013 2014 3D Animation 3D Cool World 5.4 A Guide to Buying Haunted Items A. G. Cook A.I. aaron carnes Abelton Abner Jay abstract art abstractionists Absurdism acoustic action action figures Ad Hoc Adam Harper Adult Swim Adventure Time advertisements advertising aesthetic aesthetics Afterschool Specials Alain Delorme Alan Vega album art alcohol Alexandra Rowland Alissa Timoshinka Alt Space altered states alvin & the chipmunks ambient American Apparel analyses analysis Andre Ulrych angelina jolie Animal Collective animation Ann Steel Anti-art anti-consumerism anti-fashion anti-virus software anti-war anxiety Apophenia Appropration Aquarium Drunkard aquariums architecture Architecture in Helsinki Architecture of Utopia archive ariel rechtshaid Army of Trolls art Art Bears art installation art museum articles artificial intelligence artist artists ASMR Astral Weeks Austin Psych Fest 2013 auteur authenticity avant garde Avey Tare and Panda Bear b-movies Babette's Feast Baby Blue Baby Cartoon Rhymes bad operation Barf-O-Rama Barstool Sports baseball cards BASEKetball bass guitar bath salts Battle vs Death Battle bbrainz beautimus Begotten believers Ben Butcher Bernard Dumaine Berndnaut Smilde Bertolt Brecht Bill Doss Bill Murray Billy Childish Bio-dynamic biodegradable urn biosonic MIDI technology Black Dice Black Flag Blackest Rainbow Records Blackout Blade Runner blog Blow Job: An Extreme Wind Photoseries Bob Marley Boo Boo books bootleg toys Bradford Cox brains Brand New Wayo Brian Brian Eno Britt Brown Broadened Horizons: The Ultimate Shit List Bruce Goff Bruce Nauman Brushy Brushy Brutalist Architecture Bubblegum Bass Bubbly Bulbasaur Building the Bridge Burger bus stops butterfly Cadillacs and Dinosaurs Can cannabis career motivated Carl Sagan Cartoon Network Casino Night catbite Censorship chandelier Charles Grodin Charles Thomson Charlie Brown Cheddar Goblin children children's books Chillwave chopped & screwed chris cutler Chris Jordan Chris Maggio Chris Marker Christopher Columbus Christopher Reimer Christopher S. Hyatt Christopher White Chrysta Bell Church of the SubGenius cinema click and point games clothes Clothes of the year 2050 Clothing Clouds Cody Meirick collaboration collage Collateral Damage collections collectors items comedy albums comedy films comic books communication compilations Comus condition consciousness consumerism conversations cooking cookwear copyright cosmic jazz costumes cottagecore cover band Cradle of Filth Crass creepy criticism Crock Pots crown shyness cult films cultural movements culture Culture Jamming Cyber Secrets #3 Dada Daevid Allen Dallas Observer Damien Hirst Damo Suzuki Dan Lam Daniel London Daniel Lopatin Danni Filth Danzig dark database Dave Allen David Bowie David Henry David Lowery David Lynch David Toro David Zucker Dean Ween Dean Zeus Colman December Decimus 4 decline Definition of Hunk Dennis Flemion dental calendar Design Destroy All Monsters Detachment and the Spiritual Life Diane Cluck dick jokes digital art Digital DIY Labels digital trends Dimensions of Dialogue Dimitri Tsykalov Diplo director directory DIS Magazine disco Discogs Discordianism discussions distaste DIY DJ Dog Dick DJ Evangelion Fan Theory DJ Warlord documentaries dolphins Donka Doka Dope Diglett Dopesmoker Doug Ferguson Douglas Hill Dr. John drawing Drinkfy drugs Duane Pitre dub Dudeism Duppy Gun Dustin Wong Dux Content dysmorphia dystopia Eartheater eBay echo chamber edible fixtures eichlers electronic music electronica Eleh elevators Elias Mehringe Elizabeth Hart ELO Emily White Energy Entourage Ephermeral Work Eric Copeland Eric Lumbleau esoterica essays etienne conod Eurock Evan Prosofsky events Excepter exercises exhibition experimental experimental cuisine experimental music eyesight fake toys Family Fan Fiction Fandom Music fashion fast food FDA feature films Felicita fiction film film reviews films fire place glass Fire-Toolz Fishing Floating Flying Spaghetti Monster Foetus FoFoFadi food food porn Ford Four American Composers: Robert Ashley France Frankie Valli and the Four Seasons fraud Fred Camper Freddy Got Fingered free free jazz Fun Boy Three Furniture future pop gadgets gallery Gang of Four Generation Y Generation Yawn genre George Harrison George Plimpton Germany GFOTY Ghost Capital Ghost Modernism Ghostcapital III ghosts Ginny Arnell Giorgio Moroder Glenn Branca golden retrievers Gong Goosebumps (TV series) Gorilla vs Bear Goth graphic design grooming Groundhog Day Gruff Rhys Guest Mix Guest Mixes guide guides Guillermo del Toro guitar tunings gummy bears Guo Yi-Hun Guru Guru Gustav Holst hacker culture Hackers hacking Haircut Halloween halloween mix hallucinatory hallucinogens therapy handcrafted objects Hannah Diamond Harmony Korine Harvey Milk Hausu Mountain healing HEALTH health & fitness Health Goth hearing loss Hella Hellraiser Hem Sandwich Henry and Glenn Forever Henry Cow Henry Darger Henry Rollins Hippos in Tanks hipster culture hipsters Holger Czukay Holly Herndon holograms Holotropic Breathwork holy fuck Holy Warbles Home Alone Homes Homestuck hope hopepunk horror horror movies How to Have a Zen Attitude How to Keep Healthy httpster humaity humanities humor Hung I-chen Hunk Hunk uniform (loosely) hyper connectivity hyperreal Hyperreality I Have No Idea What I'm Doing ice cream identity Idrissa Diop and Cheikh Tidane Tall Igor Wakhevitch Illuminated Paths Ima Read imagination Important Records indie rock industry news Infectious Disease Balls ink inspiration inspirato installations Interior Design internet art internet videos interview interviews intoxicants inverviews IRL Glasses irony it is most definitely art Ivan Cash Iván Diaz Math J Henry Fair Jabberwocky Jack Long James Blackshaw James Bridle James Ferraro James Wines Jan Svankmajer Japanese Bug Fights Japanoise Jared Davis Jeff Bridges jeff rosenstock jer Jessica Chen Jessica Ekomane Jif Peanut Butter Jimmy Buffett John Brien John Carpenter John Fell Ryan John Hamblin John Lytle Wilson John Maus John McAfee johnny lee miller Journal of Nervous and Mental Disease Julian Cope Julian Koster Julien Pacaud junk food Junk Food Dinner Kane West Kazumasa Nagai Keippah Kelly Reichardt Kevin Ayers Kevin Champeny Khelifi Ahmed Kickstarter Kids Incorporated kill lincoln Kim Laughton King Frog KinoVino Kiyohiko Senba and The Haniwa All-Stars Kleenex Knitting clock Krautrock Krautrocksampler Kria Brekkan L.A. La Croix LA Vampires Land art Lauren Boyle law of attraction layout Les Claypool Lester Bangs Life Begins at the End of Your Comfort Zone lifestyle lilangelboi Lindsay Cooper Liner Notes Lipgloss Twins lists literature Little Dolls live reviews live streaming Lol Coxhill London Longest Recorded Echo Lou Reed Lou Reed: Caught Between the Twisted Stars Love (sculpture) LSA LSD Luca Yupanqui Lucie Thomas Lucky Me Lydia Lunch M. Geddes Gengras M. Sage Macauly Culkin Macintosh Plus magazines Magic and Superstition magic mushrooms maintenance art Majestic Casual Malcolm McLaren Malcolm Rebennack Male Chef Mandy Manicure Records Manifesto For Maintenance Art mannequins Marco Roso marijuana marine life Mark Prindle Mark Schultz Martin Short Mary Steenburgen masterpieces Matt Furie Matthew Lutz-Kinoy Matthew McConaughey Max Headroom Max Payne 3 Mayan Apocalypse McDonald's MDMA Mean Clown Welcome Meat Clothing media media culture Meditation Men Without Hats Meow Wolf merchandise Metal Machine Music Mica Hendrix Michael Nesmith MIDI Mike Hughes Mike Kelly mike park mike sosinski Mike Stoklasa Mindfuck mindfulness Minecraft Miracle Legion miscellaneous Mist Mister Mellow Mix Mixes mixtapes modern music analysis modernism Molecular Gastronomy molly Monkees monkeys monoskop Moon Glyph Moth Cock movements Movie Promotional Merch Unlimited movies movments Mr. Impossible Mr. T Mrs Doubtfire Mukqs murder music music charts music downloads music journalisim music journalism music software music videos music websites Music with Roots in the Aether: Robert Ashley mustard plug Mutant Sounds my bloody valentine My Little Pony My Mother's Brisket & Other Love Songs my sharona Myles Byrne-Dunhill NASA Natural Natural Materials & Structures: Trend Analysis Nature Nautipuss negative influencer neon lights NEST HQ’S GUIDE TO NIGHTCORE New Mexico New York New York Times news Nickelodeon Nicolas Cage Nightcore Nightcorey Nimbus Njena Reddd Foxxx No Use for a Name No Wave No-Neck Blues Band noise NOP Nora Ephron Normcore nostalgia Not Not Fun Not The New York Times NOWNESS NPR nudity Nurse With Wound Nurse With Wound List NY NYC HELL 3:00 OBEY obituaries Obvious Plant ocean oddball music Oingo Boingo Old Joy Oliver Rowe Olivia Newton John Oneohtrix Point Never Online Underground Op Art optical illusion optimism Organ Armani Ornette Coleman Otto Muehl outsider art P.T. Anderson Pacific Rim packaging paint paint flowers painting paintings pandemic pandora's box Panos Cosmatos paranormal activity paranormal objects parody Party Pills pastoral Pat Murano Pat Pollari Pataphysics Pauline Oliveros PC Music peace Penny Rimbaud Pepper Mill Rondo perception shifts Perfect Lives performance art personal growth Pete Swanson Peter Shumann Ph.D. Phil Connors philosophy phonebook Phonocut photography pig-snails Pilgrim Simon pitchfork pitchfork-bashing pizza planetary chocolates plates Plonk art Plop art Plug.DJ plunderphonics podcasts Pokecrew Pokemon Polaris politics Polluted Water Popsicles Pollution PON STOP NOP Poolside Radio pop art pop culture popcorn_10 popsicles porn post-internet posters pranks predictions Primer products prog rock Prolaps promo psilocybin psychedelia psychiatry Psychic Ills psychology public art Public Art Fund punk punk cd commercial punk rock puppetry Quasimoto Questlove quotes R Plus 7 R.I.O. Radio Broadcasts radio stations Randy Gilson Randy Warhol Randyland rastafarianism raw meat Ray Lynch Raymond Pettibon Readful Things Real Love recipes recommended records record label record labels records Red Bull Music Academy Red City Noise reel big fish reggae reincarnated relaxation Religion Rem Lezar Remodernism Remote Viewer Repo Man retro reviews Richard Beck Rick Moranis Rick Springfield Ricky Allman Rinse.fm RIO Rob Tyner Robedoor Robert Anton Wilson Robert Ashley Robert Greenberg Robert Indiana Robert Smithson Robin Arnott Robin Williams robots rock in opposition Roddy Piper Roger Ebert Roky Erickson Runzelstirn and Gurgelstock Ryan Hemsworth Sally Fields Salvador Dali sampling Santa Fe sausage scams Scans scary Scary Stories To Tell In The Dark sci-fi science science fiction Scotland Scott Shaw sculpture Seatec Astronomy self improvement self portrait sensations serious? Sesame Street Seven Figures Severed Heads sex sex tapes sexy Shane Caruth Sharkula Sherman Hemsley sherpas short films sign offline signs Simpsonwave Site-Specific Art ska ska against racism skateboarding skeptcis skull slackers Sleep Slime Cake sludgefest Slyme Records Snoop Dogg Snoop Lion So You'd Like to...Be an Anti-Gen Xer (Part 1) So You'd Like to...Be an Anti-Gen Xer (Part 2) social networks Soloman Chase Sonic Wonderland Sonic Youth Sopa Pipa Sophie sound sound archives sound art soundcloud SoundSelf space space plates Space Trips Spencer Longo SPF420 spirituality spoof sports St. Bernard's Sports Star Trek Star Wars Stephen Colbert Stephen Gammell Stereo Mood Steven Stapleton still life stoner metal streaming Stump Subcultures subversive humor Subvertising Suicide summer Sun Araw Sun Ra Sunday is Raining sunglasses sunshine pop surrealism Swans synesthesia System Focus T.V. Shows Taco Bell Taiwan TALSounds tattoos technology Television Ten Steps on How to Become a Slacker Terrence Malick thc The 13th Floor Elevators The Adventures of Pete & Pete The Apples in Stereo The Art Box The B-52s The Baseball Card Vandals The Beach Bum The Big Lebowski The Birthday Party The Black Madonna The Bread and Puppet Theater The Coen Brothers The Congos The Day My Kid Went Punk The Family International The Frogs The Great Puke-off the handmaid's tale The Illuminatus! Trilogy The Incredible String Band The Jetsons The Last Trick The Life Stains The Master The Music Tapes The Now Age The Odd Recommendation The Oh of Pleasure The Olivia Tremor Control The Red Shoes The Relative Band The Roots The Shape of Jazz to Come The Shining The Simpsons The Sweet Homewreckers The Sylvers The Tubes The Velvet Underground The Wire therapy Theses on Punk They Live Thibault Zimmerman Things Organized Neatly things that would never have happened until they happen This is how NASA wakes up astronauts Thomas Newman Thurston Moore Tinashe tiny hands tips To the Wonder Tom Green Tony Futura Tony Sly Toro y Moi Tox Modell toys Trans Air Records trash Treasure Hunt trees Trevor Cox Trevor Reveur Trey Parker and Matt Stone Trippy Turtle tromp l'oeil tumblr Tupac turntable.fm Tuxedomoon TV Operas TV shows twitter udi koorman UK underground art underground music unicorn unknown unpublished Upstream Color urban legends Urban Outfitters URL shows V/A - West Indies Funk 3 Val Kilmer Van Morrison vaporwave vapourwave vegan Velvet Underground VHS video Video Art video edit video games videos Vince Guaraldi Vine vinyl Vinyl Marketwatch Virtual Reality Wabi-Sabi Want to save your eyes? Change your light bulbs. Warp Records Washed Out Waterpark weapons websites WEDIDIT Weird Al wellness Wendy's WFMU What it feels like to be barefoot all summer What Makes A Bad Movie Enjoyable? Whitney Houston WHTEBKGRND wifislilangel Wild Man Fishcher Will Oldham Williams Street Winston Riley Women Woods Yellow Swans youth culture youtube YouTube Poop Zebra Katz zen Zen Filmmaking Zim & Zou Zin-Say Zoom Lens

Just One Dose of This Psychedelic Drug Can Ease Anxiety

Cancer is a brutal disease on both the body and mind. Not only do treatments like chemotherapy take a massive toll, but the emotional side effects can be hard to bear. Depression and anxiety are high among people with cancer, including those in remission. But two new studies offer promising relief through an unlikely source: hallucinogenic drugs.
In two new studies released simultaneously by researchers at New York University and Johns Hopkins, doctors reveal that a single dose of psilocybin—a compound from magic mushrooms—can ease anxiety and depression for up to six months. The results have great potential for people dealing with the fear associated with a cancer diagnosis, but also for people with psychiatric disorders that haven’t responded to traditional treatments like psychotherapy or antidepressants.

The studies, both published in the Journal of Psychopharmacology, are accompanied by 11 editorials of support from leaders in psychiatry, including two past presidents of the American Psychiatric Association. “Our results represent the strongest evidence to date of a clinical benefit from psilocybin therapy, with the potential to transform care for patients with cancer-related psychological distress,” says NYU study author Dr. Stephen Ross, director of substance abuse services in the Department of Psychiatry at NYU Langone in a statement.
The NYU Langone Medical Center study involved 29 people who had serious psychological distress, like anxiety or depression, stemming from advanced cancer. (Some were in remission.) Each person received either a capsule of psilocybin or a placebo capsule; in a second session, they were given the pill they hadn’t yet taken. The sessions lasted from four to six hours in a room equipped with music to listen to, a couch and a sleep mask.
People had their own individual experiences with the drug. But the results were remarkable: 60-80% of people in the study reported reductions in their depression and anxiety symptoms that lasted six months after the treatment.
The Johns Hopkins study, which involved 51 adults, had similar results. They each received one large dose of the drug, and six months later, 80% of the people in the trial continued to show decreases in depression and anxiety symptoms. Eighty-three percent of people reported increases in their well-being and life satisfaction, and 67% said the trial was one of the top five most meaningful experiences in their lives.
Several people described experiencing an overwhelming feeling of love while on the drug and felt they had changed immediately. “The feeling of immense love lingered for weeks, and four years later I still feel it at times,” says participant Dinah Bazer, who was experiencing severe anxiety about a possible ovarian cancer recurrence. “My fear and anxiety were completely removed, and they haven’t come back.” 
Lisa Callaghan’s late husband, former TV news director Patrick Mettes, was also in the NYU trial. Mettes eventually died from cancer of the bile ducts, but undergoing the trial gave him a sense of peace, says his wife. “In his trip there was an evolution through all of these stages of emotional development,” says Callaghan. “He was reborn into this place of personal and universal love. He said he felt it all around him, and he felt a sense of forgiveness too.”
The potential therapeutic use of psilocybin has been recognized for years, but strict drug laws implemented 45 years ago stalled research. In the 1950s and 1960s, several teams in the United States studied psychedelic compounds for potential mental disorder treatments. But widespread recreational use of the substances became cause for concern and overshadowed the possible therapeutic benefits. In 1971, psilocybin and other psychedelic compounds were classified as schedule 1 drugs, meaning that the government believes they have high potential for abuse. This classification makes it very difficult for research to continue, despite the fact that experts argue adverse side effects from psilocybin (when used responsibly) are rare.
“I tried to understand how something this big had been buried,” says Ross. Due to these restrictions, Ross says it took the hospital a couple years to get their study off the ground.
Some of the men and women in the studies did experience side effects, like nausea and headaches, but none were severe. It’s unclear precisely how psilocybin works, but the study authors say that the drug may activate parts of the brain that are impacted by serotonin, which can play a role in anxiety, mood and depression.
Significantly more research is needed before psilocybin could be considered as a clinical therapy. The researchers stress that psilocybin in the trials was given in a very controlled environment with multiple investigators present, and that people should not attempt the drug on their own. There’s also some concern that pharmaceutical companies may not see financial incentives in single-dose therapies.
Still, many people in the medical community are hopeful. “We’re excited about finding a medicine that can be helpful to people suffering from conditions not successfully treated by standard treatment,” says Dr. George Greer, medical director of the Heffter Research Institute, which helped fund the studies. “There’s a lot of interest.”

Underground Music in 2017

'People are taking safer choices': six alternative artists on today's musical underground

Thurston Moore, The Black Madonna and other underground musicians discuss how the scene continues to mutate – and why quantum physics is where today’s avant garde truly resides

The Black Madonna, DJ and producer

The first time I ever heard of a rave was in a Big Audio Dynamite record, then I saw them on TV. So the second I heard there was a rave in America I was literally out of the window of the place I had been staying. And that was it, I was gone. I barely remember high school. I quit to work in raves full time the second I realised there was another world that you could go to. The idea of living a second life that other people were not aware of was delicious.

I was in the dance underground as it was going through its birth in the US in 1991. We had no road map at all. Now, it’s easy to link that to a better thing than it was; a lot of things that get gilded in nostalgia are actually really shitty. It meant smiling and nodding while women around me were not getting paid. There were a lot of voices that got squashed. There was this “you’re harshing the mellow of the party” if you talk about the fact that there’s a thousand teenage girls here on ecstasy who are not able to give consent.

Dance music is different now. You can only have a total lack of self-awareness once – now, no matter what, there is at least a nominal reference to history in it. It’s also so much bigger now, and there are places I play that are deeply public. The cops know what we’re doing – there’s transparency there, and surely something is lost in that. Having said that, I do still believe that the act of dance music is in fundamental opposition to acts of war and acts of violence. In this world, you can do a lot worse than taking a whole shit-ton of people and having them dance instead of kill each other.

Thurston Moore, guitarist and co-founder of Sonic Youth 

Sonic Youth in London, with Thurston Moore far right, 1987


 Sonic Youth in London, with Thurston Moore far right, 1987. Photograph: Alamy Stock Photo

Underground music, as a genre, was a way to distinguish artists as genuine and hip in distinction to those with commercial ambitions. We first hear about it in the 1960s in connection with the underground press – International Times, OZ, Rolling Stone et al. The underground press was in opposition to capitalism, racism, sexism and, particularly, the daily horrors of the Vietnam conflict. So was underground music, though hardly without conflicts of interest. Most artists defined as “underground” recorded for mainstream record labels like EMI, Warner Bros and Atlantic, and were seemingly inhibited and potentially censored by the social mores held over from earlier, less progressive generations. Artists desiring total freedom of expression could either self-produce or record for like-minded and independent record labels.

Anathema to anyone working within the framework of underground music was the notion of “selling out” – accepting significant sums of money and the promise of recognition through competitive distribution, in exchange for their self-identity being challenged by management and promotion departments. True underground music did not necessitate such trifle, and it remains this way. Contemporary artists have the privilege of history – where working in any context of music production, whether wholly independent or in some negotiation with a mainstream construct, is entirely possible without “selling out”. I called my band Sonic Youth to be emblematic of underground music, where a playful dialogue with the mainstream could incur. The idea was to be all inclusive yet unwaveringly anti-fascist, -sexist, -racist, -war, -violence, -nuclear energy, -guns and anything personified by the current cesspools of the reigning demagogues of human catastrophe.

Penny Rimbaud, co-founder of Crass

Crass pictured at their Dial House base in North Weald, 2000, with Penny Rimbaud far right
 Crass pictured at their Dial House base in North Weald, 2000, with Penny Rimbaud far right. Photograph: Martin Argles for the Guardian
Essentially, the avant garde is about changing the world. It must be, otherwise it wouldn’t exist. But I always think terms like underground and alternative are a bit disingenuous – a way of pushing stuff to the side. That certainly happened in the punk domain, when you had overtly commercial music being made by people like the Clash and the Pistols, and then you had what was called anarcho-punk, which apparently wasn’t a part of that. Well, actually, Crass – as the creators of the anarcho-punk movement – were outselling most people.
Crass were activists with rock’n’roll pretensions. You can’t really expect rock’n’rollers to have activist pretensions – rock’n’roll is just part of the entertainment industry. The scream doesn’t seem to be coming through musically as much as it might have been doing 40 years ago – punk created a new standard of disrule, which will be hard to beat. But people tend to think nothing’s happening because it’s not happening in music. It’s happening in quantum physics. If you want to read the new avant garde, read quantum physics – scientists are just artists of a different kind.

Holly Herndon, electronic musician

Holly Herndon at the Ace Hotel in London
 Holly Herndon at the Ace Hotel in London. Photograph: Sarah Lee for the Guardian
In the 90s, underground artists were able to sell hundreds of thousands of records and have their own economic viability, so they could make whatever music they wanted without having to compromise at all. You could have a pretty out-there artist making a middle-class salary, not having to worry about doing brand partnerships or any of that stuff because it was sustained by the public. And that doesn’t exist in the same way. The economics of the situation have shifted so dramatically, it’s like a house on fire.
When I was in high school, I went to music for ideas and to understand what my identity could be – and I think that’s shifted. I’m not sure music is the place where radical thought is happening any more. I’m interested in the crypto community, people who are interested in radically changing the infrastructure that organises our society. Those kinds of totally out-there ideas and thought processes I don’t really encounter in music quite so much.
Everything is documented and immediately public now, so I don’t feel like people in the underground have the ability to mess up and experiment in the same way they once did, because there’s such scrutiny on people at a really early stage. I’ve had some brutal shows in my life but I needed them to figure out my process, that’s idiosyncratic to me. I see people taking safer choices because they don’t want to fail as they’re being watched from every angle. What you get then is these baby clones, where everyone’s looking really polished but they’re all dressing as each other, and that’s not good for the health of the music community.

Mist, rapper

Rapper Mist
 ‘I can’t go anywhere without getting noticed’ ... Mist. Photograph: Ashley Verse
The underground scene is basically an A&R system in the streets, which allows the mainstream to know about music. When you make enough noise in the underground scene, the mainstream is bound to hear it. It worked for me through word of mouth – my manager met me through his nephew showing him one of my songs.
Coming from Birmingham, you’re knocking on the London doors, trying to get on the London radio stations, even the London YouTube channels. SBTV was the first channel outside of Birmingham that I went on. And then the rest just follows: Link Up TV, GRM Daily. Then when you get Fire in the Booth [on BBC 1Xtra], you’re not so underground any more – I can’t go anywhere without getting noticed.
I remember listening to pirate radio growing up, and a lot of the MCs didn’t really get much out of their career. Now with the internet platforms and social media, it’s easy for you to get your music out there for people to listen to it. While I’ve been coming up a lot of social media sites have been coming up as well. Instagram, for instance, wasn’t used as much – when I first started it was just for pictures. Social media plays a big part. I met [producer] Banglez through social media. If I didn’t have it, I don’t know how any of us would have connected with each other.

Dani Filth, frontman of metal band Cradle of Filth

Cradle of Filth in concert at Academy 2, Manchester
 Cradle of Filth in concert at Academy 2, Manchester earlier this month. Photograph: John Gilleese/REX/Shutterstock
At the time Cradle of Filth started in 1991 you had the onset of grunge, which really killed metal off. It just all became a bit uncool. Grunge was very mainstream, so it drove heavy metal underground, and heavy metal got more extreme. When we began making music, you had to be Don Johnson to own a mobile phone, so people kept in communication via home phone or telephone boxes. And that’s how our underground functioned, by word of mouth and swapping tapes by post. Flyers were very popular. You’d get a thick letter through the post, one tape and the rest would be about a hundred flyers, which you’d then pass on with your next correspondence. At that point I was perpetually drawing fanzine covers to pay for inclusion of the band in fanzines, or just writing letters to penpals and distributors.
I don’t want to sound like an old rocker, but I think people have become a little bit more fickle because of the immediacy of technology. The attention span goes. Metal is exceedingly loyal, but I don’t know how strong people’s commitment to any one band or anything is nowadays.
I have another band called Devilment, and the people I’m in the band with are all from the local music scene in Suffolk. So it’s been like putting your foot back into the waters of the underground. It’s changed quite a bit, I suppose. The metal scene is very crowded because it’s very easy to make music these days as well – after a while, everyone starts sounding the same. When you’ve got thousands and thousands of bands and it’s been going on for 25 years, it’s all going to cross over. The originality is lost.

30 years ago: A powerful video prankster could become Max Jailroom

John Carpenter
On Sunday, Nov. 22, 1987, viewers watching "Doctor Who" on WTTW-TV experienced one of the oddest things ever to cross Chicago televisions: a 90-second hijacking of the airwaves, featuring a person dressed as Max Headroom. This is the Tribune's original report about the prankster, who has never been identified.
An off-color skit starring a bare-bottomed imitator of television character Max Headroom showed up on Chicago-area TV screens Sunday night, evidently the work of a sophisticated video pirate with an unsophisticated sense of humor.
Officials of the Federal Communications Commission were not amused as they searched Monday for clues to the identity of the pirate, who somehow managed to override the signals of two television stations in two hours.
The bizarre 1 1/2-minute skit, which ended with "Max" pulling down his pants and getting paddled with a fly swatter, interrupted a WTTW (Channel 11) broadcast of the British science fiction series "Dr. Who" at 11:10 p.m.

Two hours earlier, the "Max" character made an unauthorized 28-second appearance in the middle of a newscast on WGN (Channel 9), but was zapped by an alert engineer before the imposter could do anything offensive.
Television engineers speculated that the stations had been victimized by a practical joker with an expensive transmitter. They said it would take extremely high-powered equipment to squeeze out the microwave signals that carry the programs from the stations' Northwest Side studios to downtown skyscrapers, where they are retransmitted to television sets throughout the Chicago area.
"You need a significant amount of power to do that," said Robert Strutzel, WGN's director of engineering, who was reluctant to discuss the prank in detail for fear of providing a "how to" guide for others. "The interfering signal has to be quite strong."
"This guy had to have quite a rig," said Larry Inman, chief engineer of an Urbana station, WILL-TV. "Transmitters with Bears game on WGN's newscast. A character wearing a Max Headroom mask gyrated for almost half a minute but did not make audible sounds.

Strutzel said an engineer quickly changed the frequency of the signal that was transmitting the news show to the Hancock building, thus breaking the lock established by the video pirate. Sports reporter Dan Rohn apologized for the interference and continued the sports report.
Two hours later, a "Dr. Who" episode called "Horror of Fang Rock" on Channel 11 was interrupted by wobbling black and white lines.
Then the character in the "Max Headroom" mask appeared and swayed back and forth while saying a number of barely audible words.
Among the words that could be heard were "Chuck Swirsky" (the name of a WGN sportscaster), "TV studio," "great newspaper" and "but it's dirty." "Max" picked up a can of Pepsi-Cola (the real Max Headroom advertises Coca-Cola) and threw it away, then picked up another can and threw it away.
He then put on what looked like a glove.
"Max" bent over, exposed his bare buttocks and was paddled several times by a fly swatter that appeared to be wielded by a woman standing off camera.
"By the time our people began looking into what was going on, it was over," said Anders Yocum, vice president for corporate communications at Channel 11. "Initially, we checked our internal video sources before thinking about something from the outside.
"We've spent most of today figuring out what we can do to prevent this sort of thing in the future, and we believe we will be able to avoid it," he said.
Channel 9 officials said they, too, were studying ways to improve security over their broadcast signal.
The legitimate Max Headroom, a wisecracking, stuttering, computer-generated character, originated on British television in 1985.
His own American prime-time television show, carried on ABC, was canceled earlier this year.
The original story line for the Max character involved a futuristic world dominated by television, where video piracy-such as what occurred Sunday night-was punishable by death.
Video piracy in the U.S. carries a criminal penalty of up to $10,000 in fines and up to one year in prison, an FCC official said.
"We consider this a serious matter," said Maureen Peratino, the FCC's deputy director for public affairs.
She said she was unaware of any previous thefts of a TV station's signal. The most celebrated case of video piracy occurred in April, 1986, when a pirate calling himself "Captain Midnight" intercepted the satellite transmission of Home Box Office, a cable television programmer, and broadcast a message criticizing the company for scrambling its signal to prevent non-subscribers from receiving it on privately owned satellite dishes.
Captain Midnight later was identified as John R. MacDougall, a satellite dish salesman from Ocala, Fla. He was fined $5,000 and sentenced to a year's probation.
In October, 1985, an electronic bandit overpowered the signal of the popular Wally Phillips show on WGN-AM radio and made sexually explicit comments.


Contact Form


Email *

Message *

Powered by Blogger.
Javascript DisablePlease Enable Javascript To See All Widget