To preserve the excitement, emotion and dynamics of the original performances these music videos are intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.
To preserve the excitement, emotion and dynamics of the original performances this music video is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
Richie Stotts describing it to journalist Joel Gausten from his blog...
“We got a permit from New York City to film a movie, and we were gonna
do it on the Pier. We built a stage out there. A real freakin’ stage. It
was five feet high and made of plywood, which cost a lot of money. Then
we built all phony stage amps and stuff. Even the guitars we played
were not really real. Then we went to the studio and recorded the songs
we were gonna play. The recorded them without the vocals, because Wendy
was gonna sing live. Then we had to get a PA system out there to play
the music. Then we had a ramp going off the stage, and behind the stage
was the end of the pier and the Hudson River.
In the meantime, we didn’t tell New York City that we put posters all
around saying that there was going to be a free concert by the
Plasmatics. Then we invited Chuck Scarborough and those characters from
ABC, NBC, CBS to come down. We did a press release.
So we built the stage a couple days before. I built part of that stage,
hammering the freakin’ shit in. We built a drum riser, got a cheap drum
set, threw it up there. The plan was for us to do the songs, and Wendy
would go to the front of the pier, get in the Cadillac, drive the car at
us and go up the ramp. Then we’d jump off the stage, everything would
explode and the car would hit this barrier in the back. It was a real
Cadillac, and we wanted to use that for our next show. We buy these
cars, and then we’d drive them to the show and blow them up.
Later on, we got a great pyro guy named ‘Pyro Pete,’ but before him we
had a guy named Rob. We didn’t know much about pyro, but Swenson thought
Rob was taking care of it. And all Rob did was have 10-gallon tanks cut
in half under the stage, and he just poured gasoline in them. This was
not what we expected. If the fire department had seen that, it would
have been all off. There was a tiff before the show, because we were all
nervous.
It was wild, because so many people came. My parents actually came to
this thing. We rented a helicopter, so we’d come down in the helicopter.
We came down and it looked like Woodstock. It was just jam-packed. The
police department was there; the fire department was there. It was
really exciting, and really exciting because we didn’t really have to
worry about playing because it was already taped. (laughs)
We went down there, and we played these songs and it was great. Wendy
goes and gets the car, drives the car up the stage, jumps out and
everybody’s fine. The car goes up the ramp, but doesn’t go up the ramp
the way we thought it would. The whole stage blew up, the gasoline tanks
worked…but the car just kept going and went right into the river.
The whole thing was great!”
Copyright Disclaimer Under Section 107 of the Copyright Act 1976,
allowance is made for "fair use" for purposes such as criticism,
comment, news reporting, teaching, scholarship, and research. Fair use
is a use permitted by copyright statute that might otherwise be
infringing. Non-profit, educational or personal use tips the balance in
favor of fair use. No copyright infringement intended. All rights to
clips and music belong to their respective owners.
To preserve the excitement, emotion and dynamics of the original performances these music videos are intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.
Anne Hathaway has stepped into the recording booth with a new role that goes beyond acting. The Oscar-winning performer has released a single titled Burial, a song tied directly to her character in the upcoming A24 film Mother Mary. The track marks Hathaway’s first commercial single and offers an early taste of the film’s musical direction.
The song accompanies Mother Mary, a dramatic story centered on a fictional pop icon played by Hathaway. In the film, the character navigates fame, identity, and complicated relationships while living under the intense glare of celebrity culture.
Burial serves as the lead single from the soundtrack album Mother Mary: Greatest Hits. The song was written by Hathaway in collaboration with several figures from the contemporary pop world, including Charli XCX, producer Jack Antonoff, and George Daniel of The 1975.
Musically, the track leans into a moody synth-pop atmosphere. The arrangement pairs dramatic vocals with layered electronic textures, reflecting the heightened tone of the story. In promotional clips for the project, Hathaway performs the song as her character, presenting the fictional artist Mother Mary through stylized stage imagery and music-video-style sequences.
Although Hathaway has sung in film before, including her Academy Award-winning performance in Les Misérables, Burial represents a different kind of musical release. Rather than a traditional film number, the track functions as a standalone pop single connected to the movie’s narrative world.
The film itself is directed by David Lowery and explores the intense friendship between Hathaway’s pop star and her former costume designer, played by Michaela Coel. Supporting appearances from performers such as Hunter Schafer and FKA twigs add to the project’s mix of music, fashion, and cinematic drama.
Mother Mary is scheduled to open in limited theaters on April 17, 2026, before expanding to wider release later in the month. The soundtrack album is set to arrive on the same day.
This is a post for the younger generations that often don't even know what dynamic range in music is because they've never experienced it. This Music Video Album was compressed and clipped to a dynamci range of 3dB. That's not music, that's sonic warfare! LOL
Turn Me Up!™
To preserve the excitement, emotion and dynamics of the original performances this music video is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.
Ever since 1984 when I first heard "The Lee Aaron Project" album I was a
huge fan of Lee Aaron. I gathered a lot of video via tapetrading over
the years and last year I decided to restore and remaster the footage as
best as I could. Hope you enjoy this as much as I still do.
To preserve the excitement, emotion and dynamics of the original performances this music video is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
To preserve the excitement, emotion and dynamics of the original performances this music video is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
To preserve the excitement, emotion and dynamics of the original performances this music video is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)
Directed By – Dominic Sena
Producer – Aris McGary
The movie "Rhythm Nation 1814" features selections
from the album "Janet Jackson's Rhythm Nation 1814" including:
Black Cat
Miss You Much
The Knowledge
Rhythm Nation
"Rhythm Nation 1814" is a 1989 American musical short film based on Janet Jackson's fourth studio album of the same name. Directed by Dominic Sena, the film notably includes the music video for "Rhythm Nation", as well as the videos for "Miss You Much" and "The Knowledge". It was filmed at a power plant located in Pasadena, California. The video is notable for its "post-apocalyptic" warehouse setting, the unisex black military-style uniforms in which Jackson and her dancers were outfitted, and its choreography, considered to "set the template for hundreds of videos to come in the Nineties and aughts". The film premiered on MTV on September 16, 1989, coinciding with the release of the album, and was also later released on VHS and LaserDisc by A&M Video.
It won multiple accolades, including MTV's Video Vanguard Award for Jackson's impact on entertainment. Various actors and choreographers, including Wade Robson and Travis Payne, have cited Jackson and the "Rhythm Nation" routine as a primary influence to their careers. Entertainment Weekly considered the video "legendary", and Rolling Stone included it in a list of 10 Favorite Dancing Musicians, calling Jackson "a brilliant dancer”. The publication also titled it "the gold standard for dystopian dance pop music videos", featuring "some of the most memorable choreography in pop video history".
The long-form video won a Grammy Award for Best Long Form Music Video in 1990. The home video release has been certified two-times platinum by the Recording Industry Association of America (RIAA) for shipments of 200,000 units.
Talking about pleasure, either given or taken, I love drums. Sadly you can't put headphones in them, oh well, you can but what's the point right?! But, I really would like to practice but alas, it's quite an expensive hobby so it's not been in the cards yet.
But I also love to hear and watch drummers and I love drum solos very much too. (Unless the drummer is really, really terrible...)
A very nice bonus is always the joy of hearing and seeing a woman do the banging. Why is it that so few known recognized artists are female I wonder. Why is that?
In 1996 I had the pleasure to attend a tour of the brutal dudes from Fear Factory and they had two support acts. One was Manhole (later better known as Tura Satana and My Ruin with the bad ass sweety Tairrie B. handling the mike.) The second band on the bill was Drain from Stockholm Sweden. Due to confusion because there had been a US band with the same name, the all girl doom rockers were later on stylized as Drain STH.
I had the total pleasure of being invited back stage and I first was invited by the guitar player from Manhole L.A. to come see Tairrie backstage and say hello. It was the cutest thing because when the door to the dressing room opened Tairrie stood there all freshly showered and smelling like roses in her perfectly white bathrobe. After some inspiring and warm words had been shared I asked Tairrie if she wanted to sign my CDs. One was the debut Manhole album and the other her first solo album 'Power of a Woman'. She blushed and she gasped for air or so it seems, whispering "Dude! You got one?! I thought I'd burned them all!" She wrote to me on that legendary album (One of the first true Female Gangsta-Rap albums in history if I remember correctly) that I was 'DJ Eddy Lite, DJ Supreme' and that I was down with the Tairrie right from the start. Awe. (and she was rite!)
After some quality time in the venue Noorderligt in Tilburg, The Netherlands, the bands were eager to go into the city and party. I heard the question where to go and so I proposed to go to the legendary (yes, yes) Extase Café in the historical center of the city. And thus a half hour later Fear Factory and following (yes, yes, is sneer) entered Café Extase. After a few beers I saw Burton C. Bell and Tairrie almost flying hand in hand through the emergency exit door in the back of the part of the Café where the DJ-booth and dancefloor are. Once someone opens this door there is an alarm light (luckily without siren) going off and so the DJ and bouncer rushed and looked what happened and then closed the door behind Tairrie and Burton. Aren't they lovely people, those Tilburgers?! Tairrie and Burton probably made sweet, sweet love that night. I believe they dated for some time too.
Because I spent some money on beers (ofcourse I did!) and because the women and following of the Drain STH clan offered me more I got a little tipsy there. I did find singer Maria Sjöholm a bit scary to look at and she didn't say a word that nite but she married Tony Iommi later on so I guess I was rite and wrong at the same time. Now, ever since I had heard and seen Martina Axén from Drain STH (best all female band ever I MUST add!) drum, I had fallen in love with that gorgeous and mighty talented woman. Intelligent too, because she had me seen smoking one doobie earlier and she said that it mushes your brain. Direct talk, love it! But one or two beers too many, and the unthinkable stupidity came over me and oh, god, there it was... Didn't happen before and it probably will never ever happen again, but I asked Martina to marry me! Right there on the spot. *poof* Mushed brain!
I've talked a few times to Martina on various places in cyberspace after the event and she's been really cool. She moved to the USA and played in some bands there. Not the biggest names but quite lovely music. But, the thing is, although it had been quite idiotic of me to propose to her that way, I did have the best intentions. I wanted Martina to conquer the world and be a big star. I wished her nothing but the best.
I lost track of her some time ago. Where are you miss Axén? And how you're doing, are you happy?
