New Wave for the New Week #31

The Three O'Clock via last.fm

Forefathers of what became known as the Paisley Underground scene in LA, The Three O'Clock began life in 1981 as The Salvation Army. Made up of Michael Quercio (then calling himself "Ricky Start"), John Blazing and Troy Howell, they released their self-titled debut on the independent Frontier Records in 1982. Armed with farfisa organ, trippy neon colors, and appropriately titled songs (the wonderful "She Turns To Flowers" is one of the finest things ever to come out of Los Angeles), The Salvation Army unleashed a dose of happy, jangly psychedelia that caught the hardcore kids off guard.

The actual Salvation Army complained about the band using their name, so Quercio and his band renamed themselves The Three O'Clock. A bit of a shake-up in the lineup also occurred about this time, with ex-Quick drummer Denny Benair joining along with Louis Gutierrez taking over guitar. With a mildly poppier influence in their psychedelic sound, the newly rechristened band released a series of albums that received positive notices in the fanzines of the era (Baroque Hoedown, Sixteen Tambourines and Arrive Without Traveling, all of which are highly recommended), and had a few college-radio hits including "With A Cantaloupe Girlfriend," "Jet Fighter," and this week's entry, "Her Head's Revolving." They had found a formula that gave them a certain level of success, but couldn't push through to larger commercial acceptance. They made the mistake of fixing what wasn't broken in the hopes of making that leap.

A misguided 1986 experiment with a more synth-heavy sound, Ever After, had the single "Suzy's On The Ball Now" and not much else going for it, and sank from view quickly. An even more poorly thought out project, 1988's Vermillion saw the band team up with Prince (!) in an obvious grab at mainstream gold, but they were grasping at air. Nothing more was heard from The Three O'Clock.

Quercio soldiered on with a new band, Permanent Green Light; Gutierrez formed Mary's Danish and saw some college radio airplay. Jason Falkner, who came on board just in time for the failed Vermillion, went on to form the band Jellyfish, and Denny Benair continued to play drums for several LA bands.

For this week's NW4NW entry, enjoy The Three O'Clock's last great moment in the sun, "Her Head's Revolving" from the 1985 album Arrive Without Traveling:



And here's the original line-up, The Salvation Army, with their finest moment, "She Turns To Flowers":

RIP Sam Lugar

Here today
Gone tomorrow
I'll be far away...
- "On My Own" by The Sharks

Sam Rawhauser passed away this morning after a brief battle with lung cancer.

As "Sam Lugar", Rawhauser was the guitarist and lead singer of THE local band here in Lancaster throughout the 1980s, The Sharks. The Sharks began life in 1979, and built a devoted following in and around Lancaster and York, PA, initially as a new-wave cover band. Though they were faithfully playing songs by Elvis Costello, A Flock of Seagulls, Talking Heads and the like, the raw talent that Sam and bandmates Shea Quinn, Doug Phillips, Steve Zero, and Mark Showers possessed was obvious. Before long, originals not only crept into their sets, but soon formed the bulk of the material they played.

Cultivating a sound that was likeable to both new wave and pop ears in the 80s, and with eye always toward the audience having a good time, The Sharks legend grew beyond local boundaries, beyond the regional circuit, to national notice when they entered MTV's Basement Tapes competition in 1985, winning with the largest margin of any band to ever win the competition thanks to their black-and-white and oh-so-80s clip for "On My Own." Their victory secured them a major-label record deal with Elektra Records, who (as major labels often do) chewed them up and spit them out in no time at all.

In A Black And White World was overproduced and under-promoted. The bland, antiseptic MOR sound of the record sucked every bit of personality out of what was truly a great band. I remember the year I became the music director for the University of Richmond's radio station, WDCE, I found The Sharks' major-label fiasco LP in the station's record library. Whoever had been music director at that time had written a note on the album cover that said something to the effect of, "Remember that band from PA that everybody said was going to be the next big thing? This is them. They aren't."

Truly a shame, because listening to their pre-Elektra recordings, the Holiday EP and the Backs Against The Wall album, you really do get the sense that they could have been huge.

The Elektra experience, sadly, seemed to take the wind out of their sails, and The Sharks went their separate ways for awhile, reuniting for annual shows around Thanksgiving each year since about 1999. Apparently, new material was being written for a possible reunion album when Rawhauser was diagnosed with a very aggressive form of lung cancer. That was barely a month ago; this morning, it took his life.

The band's website is now a memoriam page to Sam, and directs donations in Sam's memory to be sent to his wife and son, Sandy and Ian Rawhauser. According to the very well-written tribute Gil Smart posted on his blog here, there is also talk of a benefit concert to help Sam's family with the medical bills.

The video below was put together in tribute to Sam; you can see a clip of their finest moment, the Basement Tapes-winning "On My Own" video, towards the beginning of the compilation.

RIP, Sam. Your music will be missed.

So Close...So Very Close...

One of the original impetuses behind the creation of the the wild card in MLB playoffs (along with both leagues expanding to the point that three divisions were needed) was the sad tale of the 1993 San Francisco Giants, who won an amazing 103 games that year but finished second in the NL Western Division behind the Atlanta Braves, who won 104. The Giants didn't make the playoffs, and a lot of people thought they really should have because they had a better record than the NL Eastern Division winners, the Philadelphia Phillies, who only won 97. I, of course, did not subscribe to that particular line of thinking, but many did. How was it right that a team could win over 100 games in a season - no easy feat in a 162-game schedule - and not be in the playoffs to determine the best team in baseball?

So, after the 1994 strike-shortened season had no playoffs, 1995 brought about the birth of the wild card: out of the three second-place teams in each league, the one with the best record gets into the playoffs as well. Problem solved. The most deserving second-place team gets into the post-season, right?

Part of what makes baseball such a wonderful game is that, although it is a game whose very identity is found in its precise numbers and meticulous statistics, and although every effort has been made throughout the years to insure that the rulebook takes into account virtually any situation that might arise, there remains in every fan, every player, every manager and coach, every umpire, every person associated with the game, the knowledge that each game and each year brings about the distinct possibility that a situation no one ever thought of before could occur. It took 15 years for the Grand Old Game to show us that the wild card slot indeed does not insure that every deserving team makes the playoffs, but show us it did. Just ask the Detroit Tigers.

After the full 162-game season was played, only seven of the eight playoff berths were determined. Both leagues' wild card teams were already decided. The only spot not decided was the pennant winner in the AL Central Division. The Tigers, who had been in first place needing to win only one of their final four games to secure the pennant, and the Minnesota Twins had finished with identical 86-76 records, tied for first place.

Today, they played their 163rd game of the regular season to decide the victor. After three innings, the Tigers led 3-1 and were cruising along nicely, until the bottom of the 7th, when Twins pulled ahead 4-3. The Tigers promptly scored in the top of the 8th to tie the game at 4-4, and when neither team scored in the ninth, a season that had to go an extra game to decide a winner saw that extra game need extra innings to make that call.

The Tigers scored in the top of the tenth, pulling ahead 5-4, and just needed to set the Twins down in the bottom of the inning to advance to the playoffs. But the Twins wouldn't cooperate. They, too, scored, and the game went on. Two more innings, in fact, when in the bottom of the 12th inning Minnesota's Alexi Casilla singled in Carlos Gomez with the winning run. The Twins took the pennant, and the Tigers - who were in first place until the last half of the 12th inning in the 163rd game of the season - don't go to the playoffs at all.

The Twins certainly proved their worth, having won 17 of their final 21 games to catch the Tigers. And the Tigers did choke in their final four games. They only had to win one of them to have taken the pennant; instead the 2009 Detroit Tigers take their place in baseball history next to the 1993 San Francisco Giants among the best teams not to make the playoffs.

New Wave for the New Week #30

Image via Wikipedia

One of the more popular bands to come out of the early 1980s was The English Beat. With their ska/soul sound and hummable hits like "I Confess," "Mirror in the Bathroom," and "Save it for Later," it's hard not to like them. But they were only called The English Beat here in America; in their native UK they were simply The Beat. How many of you know why the origin-specific identifier was added to their name here?

Ladies and gentlemen, meet Paul Collins.

Back in 1976, Collins was one third of the legendary L.A. power-pop band The Nerves, along with Jack Lee and Peter Case. The Nerves released one record, a much sought-after four-song EP that nowadays fetches a pretty penny if you can find a copy. The record includes their most well-known composition, "Hanging On The Telephone," which was later very successfully covered by Blondie (most people who know the Blondie version have no idea it was a cover!)

The Nerves shattered soon after, and the three gentlemen went their separate ways, each landing rather well: Peter Case would go on to form The Plimsouls (whose signature song "A Million Miles Away" was featured in the movie Valley Girl) as well as release several solo records; Jack Lee would become a song writer of some note, scoring his biggest success writing the Top 40 hit "Come Back And Stay" for Paul Young. And Paul Collins put together a very Nerves-like combo called...wait for it...The Beat.

The timing was just off: as Collins and his band started to gain recognition on the west coast and landed a recording contract with CBS, the other band from the UK using the same name was starting to make people sit up and take notice. Hence, both bands made name adjustments: the UK-based band became The English Beat here in the states, and the American band became The Paul Collins Beat overseas. (In fact, they used the adjusted name for one album here in the US as well, but after the name changes settled out, they went back to being just The Beat here.)

For those of you who have never heard them, this week's NW4NW entry is The Beat...er, The Paul Collins Beat that is...with one of their finest moments, "The Kids Are The Same." As a bonus, take a listen to The Nerves' original recording of "Hanging On The Telephone." Enjoy!

Post-Season Baseball!

Image by Brian Wilson Photography via Flickr

We're in the midst of the final weekend of 2009 regular-season baseball, and depending on how your team did, you're either gearing up for the playoffs or turning your attention to football.

For me, this is an exciting time, as my beloved Philadelphia Phillies have won their third consecutive National League Eastern Division pennant, a feat they only previously accomplished in the 1976-1977-1978 seasons. Further, they are the defending World Champions, looking to become the first National League team to win consecutive World Series since the Cincinnati Reds turned the trick in 1975-1976. Those who, like me, are lifelong Phillies fans also know that the joy we feel seeing our team winning is only magnified by the many, many dreadful losing seasons we have suffered through.

I haven't posted a great deal about baseball and the Phillies on this blog this year; my baseball conversations mainly take place on Twitter (follow me: @berutt). However, as the playoffs progress, expect to see a bit of baseball talk here as well - especially if the Phils do well!

I would, however, like to call your attention to a post I made here back in April, on Opening Day, which you can read here. Therein, I made my predictions as to who would win each division and wild card spot. Let's see how I did...

I called the National League like this:

NL East - Philadelphia Phillies
NL Central - St. Louis Cardinals
NL West - Los Angeles Dodgers
NL Wild Card - Chicago Cubs

Hey - 3 out of 4! The Phils and Cards have indeed clinched their divisions, and while the Dodgers are still battling with the Colorado Rockies to determine which team takes the Western Division pennant and which gets the wild card, they have at least clinched the other playoff spots (The Dodgers are leading in the division by 1 game at this writing.) The Cubbies did finish in second place in their division, but their record was just not good enough this year to grab that wild card slot.

It figures I'd do well picking the NL teams - I'm a National League fan through and through. I can watch American League ball, but I have always despised the designated hitter rule. Pitchers should bat. Removing them from the lineup removes so much of the intricate strategy that makes the game so wonderful. That's an argument for another time, though; let's check the results of my American League predictions...

I called it like this:

AL East - Boston Red Sox
AL Central - Cleveland Indians
AL West - Texas Rangers
AL Wild Card - Minnesota Twins

Oof. I got one team for sure - although not in the right spot; the possibility is there to have a second team, also in the wrong spot. The Boston Red Sox are indeed in the playoffs, but they took the wild card slot, not the Eastern Division pennant. That was claimed by the New York Yankees. The Los Angeles Angles of Anaheim, in addition to having the most pretentious team name in all of professional baseball, clinched the Western Division pennant over my pick. The Rangers did finish second, however, so I wasn't so far offbase there. Now let's look at the Central Division, which is still being decided. Cleveland?!? What in the blue hell was I thinking? They're 20 games out of first place, only half a game better than the basement-dwelling Kansas City Royals. Meanwhile, the Detroit Tigers and Minnesota Twins are battling it out for the pennant, and unless Detroit wins tonight, the potential exists for a one-game playoff to decide the victor.

I also predicted a Phillies - Red Sox World Series with the Phils repeating (an admittedly hopeful prediction!), and that still has the possibility of occurring. The first round of playoffs begins on Wednesday...get your peanuts and popcorn - and rally towels - ready!

GO PHILLIES!

New Wave for the New Week #29

Holly Beth Vincent via last.fm

Chicago native Holly Beth Vincent found herself in L.A. in the late 1970s. After a few years of drumming, playing guitar, and singing in a variety of now-forgotten groups, she was ready to put together her own band. Holly & The Italians began playing the L.A. club circuit in 1978, and by 1980 had their first single on record store shelves.

That first recording, "Tell That Girl to Shut Up," immediately defined Holly's snarl-lipped tough-girl persona and remains her most well-known song. A full album, The Right To Be Italian, followed in 1981 and remains an impressive slab of vinyl. Coming across like Blondie's brunette counterparts from the other coast, the band churns through the album's tracks with gusto, but never loses their sense of strong melody or pop hooks.

The following year, the band split up and Holly released a solo record, confusingly titled Holly & The Italians. She was beginning to explore new territory musically; her cover of The Buffalo Springfield's "For What It's Worth" is simply stunning and is worth the price of admission alone. Shortly thereafter she recorded a duet with Joey Ramone, covering Sonny & Cher's "I Got You Babe"...and then she disappeared.

The forever enigmatic Vincent resurfaced in 1994 with a new band, The Oblivious, again releasing one album and disbanding. A year later she teamed up with Concrete Blonde's lead singer, Johnette Napolitano, to form Vowel Movement. Guess how many albums they released before fading to obscurity? A nifty two-disc set of demo recordings from the Holly & The Italians days (both the band and the album) appeared a few years back, and a new solo work, Super Rocket Star, in 2007.

With the variety of styles she's tried and the limited catalog of releases she's been involved with, it's difficult to suggest to a new listener where to start - other than to say, start at the beginning! So, this week's New Wave for the New Week is that first single, the excellent "Tell That Girl To Shut Up." Sadly, no video exists for the song, so, as a bonus, I'm also including a clip of Holly & The Italians performing two songs, "Youth Coup" and "Rock Against Romance," from The Old Grey Whistle Test. Enjoy!

Lancaster Then and Now: Water & Orange

I love finding old pictures of downtown Lancaster. It fascinates me to see how the city has changed over the years. I could listen for hours to stories of old hangouts, long-defunct businesses, the people and the community of Lancaster from years gone by. Certainly, as I grow older, I grow nostalgic for the Lancaster of my childhood, but my interest goes back further than that to include the Lancaster my parents knew in their youth, and my grandparents before them. Getting the chance to see what was before through old photographs is a joy to me.

Not too long ago, in an insomnia-inspired late night 'Net surfing session, I found one of the most beautiful photos I've seen of a street scene in downtown Lancaster on a website devoted to railroad photography, RailPictures.net. I want to thank the photographer, John Dziobko, and his associate, Ray Peacock, for giving me permission to repost the photo here:

(click image to enlarge)
The vibrancy of the colors and the clarity of the image belie the fact that this photo was taken in December of 1966 - the month before I was born over four decades ago! (Take a moment, folks, to mourn the loss of Kodachrome film. It gave us "those nice bright colors"...) The original posting labeled the site of the photo only as "along Water Street." It looked so familiar, and yet unfamiliar at the same time.

Thanks to collaboration with friends on Twitter and Facebook, the location was determined to be the intersection of North Water and West Orange Streets, but initially we all thought the photo was looking south. If it were, though, the "One Way" sign on the right of the photo would be pointing the wrong way. Or, could Orange have possibly run the other direction at one point in time? Confused discussion ensued as we wracked our brains, and those who were around at the time tried to recall if there had been a time when Orange ran west-to-east rather than east-to-west. Finally, one of my Twitter friends figured it out: we were turned around the wrong way - it was Water and Orange, but facing north!

Should it have been so hard to figure, though? Had that intersection changed so drastically that it took a group of long-time and lifetime Lancastrians hours to recognize it? Well, judge for yourself:

(click image to enlarge)
Happened to be in the area about a week ago, and since I had my iPhone handy, I thought I'd try to take a quick snapshot of the same intersection from roughly the same vantage point. I didn't have the old photo with me to use as reference, so I didn't get the angle completely right, but I think close enough for comparison. So what has 42+ years done to the intersection?

Surprisingly little, actually. Aside from the three identified businesses in the original photos all having been replaced, the train tracks having been removed from the street, and some changes to building facades on the north side of Orange, little else has changed. The structure of the buildings remains the same, and there has been no change at all to the background buildings. The biggest giveawway should have been the fire escape on the right of the frame - still intact, still the same.

Helen's Lunch, on the right side of the original photo, is now the Lancaster Trophy House. The gray building on the north side of Orange, to the left of the train, was a liquor store in the original photo (I can't quite make out the name); it is now the Tally-Ho. The Gulf Station on the immediate left in the 1966 pic is now a Firestone. Note the gas prices back then?

I found only limited information on the train in the picture, identified as PR-1223. The engine is currently on permanent display at the Railroad Museum of Pennsylvania in Strasburg, and is the only preserved example of its class of steam locomotives of the Pennsylvania Railroad. As another friend on Twitter noted, how cool it would be to see a steam locomotive chugging through downtown Lancaster today!

If any fellow Lancastrians are reading this who remember the days when trains came through downtown, or who remember the eatery or the liquor store in the original picture, and have stories to share, please do in the comments section below. I'd love to hear your memories. I also hope to do future "then and now" posts where I compare an old photograph from somewhere in downtown Lancaster to a current snapshot of the same location.

Again, my great thanks to John Dziobko and Ray Peacock for their blessings in reproducing the original photo here. Ray is helping John set up a website, GodFatherRails, where more of his railroad photography will be shared - please check it out!

New Wave for the New Week #28

Quick - what mid-to-late '70s power pop band played supporting gigs with both Van Halen and The Ramones?

Quick - what quirky, Sparks-influenced band's lead singer went on to co-write and perform the theme song for one of the most-watched TV shows of the 1990s?

Quick - what band that hasn't played live since 1978 and never played a gig outside of their native California is challenging its fans that, if at least 1000 people commit to buying tickets, they will play a reunion gig in Los Angeles THIS YEAR?

If you answered, "The Quick!" you're right on all three!

Consisting of Danny Wilde on vocals, Denny Benair on drums, guitarist Steven Hufsteter, bass player Ian Ainsworth and Billy Bizeau on keyboards, The Quick started life in the mid-seventies California post-glam/pre-punk scene. Their influences ranged from the British Invasion bands of the 1960s to their obvious close study of Sparks' Propaganda and Kimono My House albums; their music was equal parts glam, bubblegum and power pop.

Despite never venturing beyond the California state line, The Quick released their only full album, Mondo Deco, on a major label (Mercury) in 1976. Their most wonderful creation, however, is not found within its grooves. Over the next two years, the band self-issued two EPs in the hopes of securing a deal with Elektra Records; the second of these, In Tune With Our Times (1978), is where their masterpiece can be found.

"Pretty Please Me" is a damn-near perfect song: musically catchy and lyrically clever, its only flaw is that it was about a year or so ahead of its time. Had it been released while bands like Cheap Trick and The Knack were the darlings of radio programmers across the country, it would likely have been a huge hit.

Unfortunately, Elektra passed and the band went their separate ways. Denny Benair would go on to drum for various L.A. bands including The Weirdos and The Three O'Clock, and Danny Wilde would have his moment in the sun as a member of The Rembrandts, whose theme for the TV show Friends would be inescapable in the mid-'90s.

The Quick have long been celebrated by bands who came after. "Pretty Please Me" has been covered - very well, I might add - by The Dickies and by Redd Kross. Fans of power pop and what we sometimes used to call "skinny-tie new wave" have been rediscovering the band, and an excellent CD compilation of the band's recordings, Untold Rock Stories, was issued in 2007. This renewed interest has resulted in the band staking their claim to a MySpace page, and agreeing to the "We Want The Quick to Play Live" fan challenge: if 1000 fans commit to buying tickets by 12/1/09, the band will play a reunion gig! (If you are in the L.A. area - or are willing to travel to see them - you can add yourself to the head count using the widget at the bottom of this post.)

"Pretty Please Me" will be another audio-only entry in this series (not even a performance clip of the song to be found?!?), but with a song this good I think that's OK. Please enjoy the New Wave for the New Week entry this week, The Quick's "Pretty Please Me":

Triumph of the Rude

Oregon running back LeGarrette Blount punches Boise State's Byron Hout after a game, and has to be restrained from punching fans, because he doesn't like what they said to him.

South Carolina Rep. Joe Wilson interrupts the President of the United States during a nationally televised speech to Congress to call him a liar, because he doesn't agree with the President's statements.

Serena Williams threatens to shove a tennis ball down the throat of a line judge for calling a foot fault on her.

Kanye West interrupts Taylor Swift's acceptance speech after she had won Best Female Video at MTV's Video Music Awards, because he didn't think the right person won.

In each case, even though there are still those who chide such boorish, vulgar behavior, especially when exhibited on a national stage, voices rose up actually supporting these folks behaviors! In each case, the person didn't seem to think there was anything wrong with what he or she had done, and found many, many others who agreed. In each case, a half-hearted "apology" was only offered after someone in authority demanded it be given. In each case, the offender stole the spotlight from someone else and benefited from the publicity.

When did the concept of socially acceptable behavior become passe? How have we let ourselves reach a point where society celebrates the scandalous, where actions that once would be the source of great embarrassment are now points of pride? We as a culture seem to be teaching our own that such outbursts are the way to express disagreement, that if it satisfies our own needs we should do it without a thought given to those around us, that the old saying "no publicity is bad publicity" is really true, and as long as you have your people release a hastily worded press-release of an apology, everything will be just fine. In fact, better than fine: it'll make you a household name! You'll be a star!

We have reached a point where the governor of a state can admit to having an extra-marital affair and to misusing state funds for personal use, and still stand before cameras straight-faced declaring it unfair to judge him because "other governors have done the same things," as if that somehow gives him a free pass. Our national "news" coverage consists more of supposed adults calling each other names than of actual journalism. The President himself can call the police stupid, and we all smile and nod approvingly.

When did we all become so rude?

Some friends and I recently challenged one another to identify the last time someone engaged in publicly scandalous behavior and was actually embarrassed, was actually chastised uniformly by both critics and supporters with no voices rising to defend the indefensible. Exactly how long ago did scarlet letters become badges of honor? The most recent one we came up with was almost twenty years - a full generation - ago, when Pee Wee Herman was found having a little more fun with himself in a movie theater than he should have been. He was the last we could think of who apologized because he truly felt ashamed of and sorry for what he had done. Nowadays, people only apologize because they have to.

It's a sorry state of affairs, and I'm not sure what the solution is - or if one even exists. We live in a world where adults behave in a manner that most parents I know would be horrified to see their children behaving in. How very, very sad for us.

RIP Jim Carroll (8/1/50 - 9/11/09) | New Wave for the New Week #27

Jim Carroll via last.fm

"You get nothin' back for all you've saved
Just eternity in a spacious grave"

-Jim Carroll, "Nothing is True"

Jim Carroll passed away in his apartment in New York City this past Friday. He was 59. The cause of death was an apparent heart attack.

As a teenager growing up in NYC, Jim Carroll was a good enough high school basketball player to make the National High School All Star team in 1966, all the while leading a double life as heroin addict who routinely sold his body to support his habit. He also wrote feverishly, seeing his poems published in assorted magazines, writing bits of dialogue for Andy Warhol films, and publishing three collections of his work between the ages of 17 and 23.

In 1978, he turned the journals he kept as a teenager into the autobiographical masterpiece, The Basketball Diaries. It is at once a spellbinding and horrifying book; an unflinching and unapologetic description of the life he led as a drugged-out kid surviving on the streets. An absolutely riveting read, the book was given a second, perhaps more commercial, life in 1995 when it was turned into a movie with Leonardo DiCaprio playing Carroll.

About the same time as The Basketball Diaries, Carroll began setting his poems to music and assembling a band. This was largely at the urging of Patti Smith, who had taken a similar route into the music world. The Jim Carroll Band released three magnificent albums, the best being the 1980 debut, Catholic Boy. Dry Dreams followed in 1982, and I Write Your Name in 1983.

By the mid-'80s, Carroll decided to return to the written word, hitting the spoken-word circuit and intermittently releasing recordings of readings of his works. The release of movie version of The Basketball Diaries saw a resurgence in interest in his music, and an excellent compilation of tracks, A World Without Gravity, was released. In 2000, an EP appeared based around Carroll's cover of Del Shannon's "Runaway," but no album followed.

Carroll continued making spoken-word appearances as well, but in recent years had focused on writing a novel, which remained unfinished at the time of his passing.

For this week's New Wave for the New Week entry, we celebrate the life of Jim Carroll with three clips. First, his best-known song, the stunning "People Who Died." A punk-rock ode to his friends who had passed on during his teenage years, it is at once celebratory and harrowing as he name-checks real people he grew up with and how they died. The song was originally recorded and released in 1980, the clip below comes from the 1995 soundtrack to the DiCaprio film. Following that, a 1980 clip of The Jim Carroll Band performing "Day and Night" on the old Fridays television show, and finally, the only proper promo video Carroll ever made, for his 1983 cover of The Velvet Underground's "Sweet Jane" - complete with guest appearance by Lou Reed himself.

Goodbye, Jim. You will be missed.