Pearls of The Trash Metal Era - Nuclear Assault

Nuclear Assault is an American thrash metal band formed in New York City in 1984. Part of the mid-to-late 1980s thrash metal movement, they were one of the main bands of the genre to emerge from the East Coast along with Overkill, Whiplash, Toxik, Carnivore, and Anthrax, where Nuclear Assault bassist Dan Lilker was a member from its formation in 1981 to 1984 (when Frank Bello replaced him). After releasing five full-length albums and touring relentlessly throughout the 1980s and early 1990s, Nuclear Assault split up in 1995. They briefly reunited in 1997 and then reunited permanently in 2002.

Nuclear Assault has released six studio albums to date, the latest being Third World Genocide (2005). Their most successful records are Survive (1988) and Handle with Care (1989), which peaked at #145 and #126 on the Billboard200 chart respectively.

Discography
Studio albums
1986: Game Over
1988: Survive
1989: Handle With Care
1991: Out of Order
1993: Something Wicked
2005: Third World Genocide

EPs
1986: Brain Death
1987: The Plague
1988: Good Times, Bad Times
1988: Fight to be Free (Single)
2015: Pounder

Live albums
1992: Live at the Hammersmith Odeon
2003: Alive Again

Compilations
1997: Assault & Battery

Demos
1984: Nuclear Assault demo
1985: Live, Suffer, Die

VHS/DVDs
1990: Handle With Care European Tour '89 (VHS)
1991: Radiation Sickness (VHS, Re-released on DVD in 2007)
2006: Louder Harder Faster DVD

Music videos
Brainwashed (1988)
Critical Mass (1989)
Trail of Tears (1989)
Something Wicked (1993)
Behind Glass Walls (1993)
Price of Freedom (2005)
Long Haired Asshole (2005)

THE HILARIOUS RENAISSANCE ART GIFS OF ‘SCORPION DAGGER’

Pearls of The Trash Metal Era - Destruction "Mad Butcher"

Their original name was Knight of Demon, but that was changed after a few weeks. They went from an Iron Maiden-esque sound to one heavily influenced by Venom in a matter of weeks.

In the early '90s, Flemming Rönsdorf (Artillery) was asked to join Destruction as new vocalist. He rehearsed with the band, but didn't join because, according to Ronsdorf himself, the label didn't want to send him money in advance before the upcoming tour.

The releases between 1994 and 1998 have been disowned by the band and are now classed as "Neo-Destruction" and not part of their official discography.

Mike Sifringer was unable to perform at Portugal’s Caos Emergente festival in September 2009 due to a broken finger. Ol Drake of Evile took his place onstage.

Oliver Kaiser works as editor in Basle and gives for many years lessons in Musiclab. After leaving Destruction in 1999, he studied sociology, law & on the music academy.

EP Release date:July 25th, 1987

The Museum of the Moon: An Illuminated 23-Foot Lunar Replica Currently Touring the World

Pearls of The Trash Metal Era - Sodom - "Agent Orange"

Agent Orange is the third studio album by German thrash metal band Sodom, released on 1 June 1989 by Steamhammerand SPV. 

It was their last album with guitarist Frank Blackfire (who would later join Kreator) until his return to the band in 2018. The lyrical content delves deeply into Tom Angelripper's fascination with the Vietnam War, with a song dedicated to the ground assault aircraft AC-47 as well as the Agent orange defoliant-inspired title-track. It was the first thrash metal album to enter the German album charts where it reached number 36. Agent Orange sold 100,000 copies in Germany alone and marked the commercial break through for the band. The song "Ausgebombt" was released on the EP Ausgebombt with German lyrics.

The album's liner notes carry the message: "This album is dedicated to all people – soldiers and civilians – who died by senseless aggressions of wars all over the world."

In March 2010, Agent Orange was re-released in a digipak with bonus tracks and liner notes containing lyrics and rare photos.

The Milky Way’s Glimmering Core Captured in a Timelapse Video by Adrien Mauduit

Mauduit explains in a statement about the project that from a young age he has been interested in the natural wonders of the environment, and by “showing the true beauty of the universe I could contribute in my own limited way to bringing the real dark skies to the hectic and light polluted urban jungle.” The resulting film includes dramatic shots of shooting stars, silhouetted mountains, and rushing clouds foregrounding the shimmering night sky. You can see more of Mauduit’s work on Vimeo and Instagram. (via Vimeo Staff Picks)

Pearls of The Trash Metal Era - SACRED REICH "Surf Nicaragua"

Sacred Reich is an American thrash metal band based in Phoenix, Arizona, that was formed 

in 1985. Singer/songwriter Phil Rind's interest was in socially conscious and political speed metal. 

After several albums on Metal Blade Records, they signed to Hollywood Records for a short stint, 

but later returned to Metal Blade to continue their musical career. The band split in 2000, but reunited in 2006. Sacred Reich has been credited, along with Testament, Destruction, Death Angel and Dark Angel, for leading the second wave of thrash metal movement in the late 1980s

In November 2006, the band announced they would play several shows in the summer of 2007 in Europe, including Wacken Open Air. However, according to an interview with bassist/vocalist Phil Rind, there are no plans to record a new Sacred Reich album.
The band also contributed the Black Sabbath cover "Sweet Leaf" to the Hempilation: Freedom Is NORMLcompilation album to benefit NORML, and the Subhumans cover "The Big Picture" appears as the B-side of the "Open Book" promotional single. A three disk boxed set with remastered versions of Ignorance and Surf Nicaragua with additional bonus material, including the "Draining You of Life" demo tape and a live DVD, was originally slated for release in September 2005, but was released in Europe only in the summer of 2007 by Metal Blade Records. In the spring of 2017, the band announced their first North American tour in 21 years.

In January 2018, Sacred Reich signed to Metal Blade Records and are at work on their next album, due for a tentative 2019 release

AUDIENCES AT THE ORIGINAL RUN OF ‘THE EXORCIST’ LOSING THEIR SHIT

https://dangerousminds.net

While I love The Exorcist and watch it at least once a year—wherever Penderecki is booming from big speakers, I’ll be there—I’m unable to see it without thinking about hype, suggestibility and mass hysteria. Most promotional campaigns for horror movies are more or less artful variations on the tagline Dudley Moore’s ad man comes up with in Crazy People: “It will fuck you up for life!” Rumors of a cursed set, damned celluloidand occult frames were for The Exorcist what $1,000 life insurance policies were to William Castle’s Macabre. Since its release, the movie has benefited from the outsize expectations first-time viewers bring to it.

When I was growing up, I regularly heard The Exorcist cited not only as the scariest movie ever made, but as the legitimate exemplar of subliminal techniques in filmmaking. The first time I saw the movie (on VHS), I remember noticing that at least some of these subliminal images I had heard so much about, the ones that had supposedly been engineered to make you puke and cry from abject terror, were plainly visible to the naked eye when the tape played at normal speed; seemed pretty superliminal to me. If you’re aware that you just saw a flash cut of a ghoulish face, is it your unconscious mind that’s being manipulated, or your fear of subliminal editing?

The widespread belief that the movie used modern techniques of mind control probably had more to do with the reaction it provoked in audiences than anything William “Fuck them where they breathe” Friedkin did in the editing room. As with The Blair Witch Project, an inferior movie similarly hyped, audiences were primed for terror by hyperbolic news reports and hours standing in line, anticipating the most traumatizing experience modern media could deliver.

Below, in local news footage, audiences at the original theatrical run of The Exorcistwait for hours to buy tickets. There is much weeping, wailing and gnashing of teeth among those exiting the theaters. An usher describes the crackups he’s seen, and some moviegoers step into the lobby to get some air mid-screening. Smelling salts are requested.
In other words, it’s a pop sensation! What’s more reminiscent of The Exorcist than the shrieks, sobs and streams of urine that greeted matinee performances by Frank Sinatra and the Beatles?

MONDO BONDAGE: WHY FEE WAYBILL OF THE TUBES IS ONE OF THE THREE MOST IMPORTANT PEOPLE IN THE WORLD

If the title of this post and affirmation of the importance of vocalist Fee Waybill (born John Waldo Waybill in 1950) of The Tubes sounds at all familiar, it is because this is precisely how Fee Waybill was addressed in the 1989 film, Bill & Ted’s Excellent Adventure. Since I know you’re curious, the other two people included in this very important trio were Martha Davis of The Motels (because of course, she was) and the big man himself, saxophone player and long-running member of Bruce Springsteen’s E Street Band, Clarence Clemons. Bill and Ted might not have been the brightest bulbs, but they were right to call Fee Waybill important. Because god dammit he was and still is and I’ve got pictures and live footage to prove it. Excellent.

Anyone growing up on MTV remembers The Tubes. “Talk to you Later” was in such heavy rotation it would have been impossible not to absorb the lyrics without even wanting to. Their early, proto-punk records were popular in the UK but didn’t really break through in the U.S., so as far as most MTV kids were concerned, The Tubes they saw on television didn’t exist before “Talk to You Later.” They had likely never heard of the band’s 1975 debut, White Punks on Dope. During their time in the 70s, they became known for their elaborate stage productions which stepped far beyond merely going to see a band, and more like live, interactive, improvisational theater with sick jams.

Then, you have Fee Waybill, taking it a leap beyond the beyond appearing in characters he created for the stage such as a BDSM fan, and a glam rocker called Quay Lewd. Waybill also dressed up like a crazed astronaut from time to time and a masked bad-dude. Others would follow, and Waybill’s revolving cast of characters would make regular appearances during Tubes’ shows for years and years. According to Waybill, Quay Lewd was an “amalgam” of “Rod Stewart, David Bowie, David Johansen, Robert Plant and all the quasi-homosexual glam-rock gay lead singers with platform shoes in the 1970s.”

In 1977 The Tubes played two highly praised totally gonzo sold-out shows at the Hammersmith Odeon with Wire. Both performances were recorded and released in 1978 as What Do You Want from Live. In addition to wanton appearances by Waybill dressed in bondage gear, Quay Lewd also came out to taunt the crowd. Journalist Paul Rambali reviewed the gigs for NME, including the following assessment which I think sums up what the fuck happened at the Odeon:

  “They (The Tubes) are not strictly a rock band, neither are they a show, a satire, nor a marriage of rock and theatre, (although they do admit early inspiration from the original Rocky Horror Picture Show). The Tubes are a spectacle like no other. They present a relentless two-hour onslaught of humor, outrage, parody, idiocy, music, and costume—a feast for the senses.”

read the full article at:
https://dangerousminds.net/

 

‘I F$CK$NG HATE YOU!’: IGGY POP GOES APESH#T DURING COMBATIVE (AND AMAZING) 2003 STOOGES SHOW

On April 27th, 2003, a reunited Stooges played at Coachella, marking the first time in nearly 30 years Iggy Pop had performed with the Asheton brothers. It went so well that what was supposed
to be a one-off gig turned out to be just the beginning. For the next five-plus years, the Stooges toured the world over, playing in front
of adoring crowds—for the most part. Six months after the Coachella date, the band had another festival appearance, but instead of encountering their usual audience—fans thrilled to be seeing the Stooges—the group was met with indifference and hostility.
This REALLY pissed off Iggy, and brought out the fighting spirit in him. The Stooges’ set that evening recalled the confrontational shows of the past, and turned out to be one of the most memorable gigs this version of the band ever did.

In 2003, the annual Voodoo Music Experience festival was held at City Park in New Orleans from October 31st-November 2nd. The lineup was a mix of jam bands, rap acts, and groups that were popular on mainstream rock radio at the time. Plus, the Stooges. 

The Stooges hit the stage at 8:15 pm.

A photo taken by one of the few Stooges fans in attendance.

The first song is their usual set opener, “Loose,” from the second Stooges album, Fun House—

one of the greatest records EVER MADE—and the crowd just stands and stares. Iggy immediately recognizes that the audience doesn’t care, and he becomes combative. Throughout the show, 

Pop hurls a range of insults at the apathetic kids—including a guy he can clearly see is yawning. 

The best put-down of the night: “You suck like the bands you like.” But there are moments when Iggy’s doing his best to stay positive; at one point, he invites the audience to come on stage, 

though just one dude takes him up on it. Other times, as he unleashes on the dum dums in attendance, the Ig’s rage is palpable. 

The Stooges’ November 1st performance was scheduled between nu metal band Staind and the headlining act, Marilyn Manson. At the conclusion of Staind’s set, a good chunk of the young crowd—who we have to presume had never heard of the Stooges—left to check out another one of the fest’s stages, while most of those that remained were there to hold their ground for Marilyn Manson. When an MC came out and hyped the upcoming Stooges set, there was faint applause, but the kids went crazy when he mentioned Marilyn Manson

It turned out to be a fantastic performance, despite—no, scratch that—*because* of the aloof crowd, which spurred the band on. It’s the closest a reunited Stooges would ever get to the days of Metallic KO.

Pearls of The Dead Metal Era - Death "Spiritual Healing"

One of the first death metal bands, originally founded in 1983 as Mantas, changed their name to Death in late 1984.

Death disbanded due to Chuck Schuldiner dying of a high-grade pontine glioma (a malignant

type of brain cancer that invades the brainstem) on December 13th, 2001.
The cause of death was that he took the drug vincristine to help combat the cancer and his condition worsened as he became ill with pneumonia.

Clearly, this band is not to be confused with Death, the garage rock/proto-punk band from Detroit, Michigan.
Throughout their career, Death went through constant line-up changes; however, the long enduring name was and still is regarded as a moniker of mastermind Chuck Schuldiner, who was the only member to appear on all recordings, except for one demo, which Kam Lee released, under the name Death, after Chuck's move to San Francisco in 1985. The demo is better considered Massacre material.
Death had some dramatic changes in their sound; in the beginning, before even r

eleasing a demo and under the name Mantas, the band wanted to play Venom/Celtic Frost 

influenced metal, but upon hearing bands like Possessed, Mantas wanted to play and expand death metal.

Thus, they decided to change their name to Death to sum up what their music and lyrics 

were about. So Death started off as death metal with gore related lyrics, as heard on Scream Bloody Gore. Starting with Human, the band underwent a noticeable transformation, with lyrics not relating to gore but more to the human mind; starting Individual Thought Patterns, the band had brought in progressive elements: thus the last studio album, The Sound of Perseverance, has a sound significantly different from that of the traditional death metal the band originally helped to define.

A tribute album is in the works for Death and Chuck courtesy of ex-guitarist James Murphy and will have appearances by members of: Obituary, Six Feet Under, Iced Earth, Shadows Fall, Testamentamong many other big names in metal.

Beginning in 2012, former members of the band and others have toured as cover/tribute band under the names Death to All, Death DTA, and Death DTA Tours. These acts have the support of the Schuldiner family's Perseverance Holdings Ltd., which manages Chuck's legacy.

Spiritual Healing's middle section riff was originally the opening riff for the track Legion of Doom, which only appeared in demos and in the Scream Bloody Gore aborted sessions tape.

Recording information:
Recorded and mixed at Morrisound Recording, Tampa, Florida.
Produced, recorded and mixed by Death.
Arranged by Death with invaluable studio assistance by Scott Burns.

A Stunning NASA Visualization of the Sun Crossing Over the Moon Set to Debussy’s ‘Clair de Lune’

The Scientific Visual Studio at the NASA Goddard Space Flight Center has gorgeously combined
the quiet, moving lull of Debussy’s “Clair de Lune” with stunning visualizations of the path of the sun 
as it crossed over the moon. The visualizations were developed with the use of 3D global elevation maps and images by the Lunar Reconnaissance Orbiter, while the accompanying music was performed by the National Symphony Pops at the John F. Kennedy Center during the celebration of NASA’s 60th Anniversary.

Clever Racoon Uses Problem Solving Skills to Open a Series of Gates That Lead to an Awaiting Treat

Evolution of Video Game Graphics 1958-2018 by Cussan

How an Octopus Breathes

How does an octopus breathe?

Where are its organs?

And what’s this about a siphon? 

Find out from intrepid cephalopod aquarist Candace about the general body plan of a giant Pacific octopus and what provides the cephalopower to all that inkredible octopus behavior.

via:

The Nardi 750 Bisiluro Was The Strangest Car To Race Le Mans

from: www.roadandtrack.com

There have been Le Mans racers, and there have been ambitious, potentially zany Le Mans racers, fantastical bouts of engineering and bizarre pseudo-innovation that its builders intended would lead
to something greater. Why else would they showcase their cars at the greatest endurance race in the world? Probably because it was there. (Jalopnik has a great rundown of the truly weird that ran down Mulsanne, including the car you see above.)

But perhaps the weirdest race car to ever enter the 24 Hours of Le Mans—the weirdest race car ever, one of the weirdest cars ever—may just be a missile-shaped, twin-boom race car with an oval steering wheel and a strange, brilliant, fantastical combination of catamaran, airplane, and motorcycle influences. It's a 1950s belly lake dragster, doubled. Born from jets? Baby, this thing is born from torpedo tubes.

Nardi, known today for wooden steering wheels and shift knobs, began life as a race car builder. Enrico Nardi was an accomplished mechanic and driver with Lancia, and he began building bizarre, Fiat-based sports cars powered by BMW motorcycle engines. There was the Nardi-Monaco Chichibio, named after co-creator Augusto Monaco's dog; a front-drive, V2-powered spindly little thing that could reach 80 kilometers per hour. Look at the 750 Nardi-Danese: exposed cylinder heads, one single headlight. Or the full-bodied Barchetta version, named the "Boby Sport" with a goofy grin for a grille and a bulging proboscis that makes various mid-2000s Mercedes-Benz sports cars look subtle. Laugh you will, and you just might, but these cars dominated local hillclimbs, whooping MG Midgets the whole way up.

Unsurprisingly, Nardi's most ambitious project carried on a proud tradition of the Strange.

Asymmetry is a highly underrated quality in design. It messes with our brains. Humans seek out symmetrical shapes in nearly everything we see: art and architecture, leaves on the ground, even our own faces (which are not at all symmetrical). And certainly in cars, where any bold dash of asymmetry is relegated mostly to hood scoops and ephemera: the Ford SVO, the Mazda RX-7, the hood bulge on a Mitsubishi Eclipse, the rear door on a Nissan Cube, the driver's head fin on a Jaguar D-Type.

Not for Enrico and his associates. Here was Nardi's ultimate project, the Nardi-Danese 750 Bisiluro. What's in a name, asked another famous Italian, and while this car has had a few, its formal name was Damolnar, combining the last names of chief engineers Mario Dalmonte, Carlo Mollino and Enrico Nardi. And in Italian, "bisiluro" means, rather appropriately, "twin torpedo."