Morpheus

Morpheus (Greek: Μορφέας, Μορφεύς, "he who forms, shapes, moulds", from the Greek morphe) is the Greek god of dreams. (wiki)

The Blakroc Sessions

Blakroc is the imminent album featuring blues duo the Black Keys collaborating with hip-hop heavies like Mos Def, RZA, and Raekwon. And because nothing says "unlikely rap-rock side project" like a customized sports car, you can also buy an all-black-everything Blakroc Chevy Camaro the same day the album drops this Friday, November 27. This is real.

According to a (unintentionally?) comical press release on the car's official website, "the BlakRoc Camaro has been equipped with sleek, stylish accents that tie in with the BlakRoc brand." Considering all the flash and talk of "branding," we get a feeling Blakroc guru Damon Dash may be behind this glossy bit of synergy. And why not?! For those interested in buying one of these sleek vehicles-- USB port included!-- they're only on sale at Carl Black (!) Chevrolet in Atlanta and Nashville.

Note; I personally think The RZA/Black Keys collaberation would have been the way to go, therefore giving a bit more focus. Getting the RZA involvement in this project is genius, as he is THEE badass producer for anything he touches.(see jarmash's Ghost Dog, the Kill Bill series and of course his Wu Tang library. Also the use of the Nord Lead Elctro 2 instrument can only be a positive thing.
The Camaro is is a 'Gear-Head/Rock'/ Rap culture thing/ creepy marketing and machismo I could do without.(i guess an electric car would not project the muscle image...maybe someday an EV WILL inflate testeroserone levels? Maybe give it a super sonic sound effects to boost the feel?)

The Blakroc tracklist-- full LP Listening stream here



try Download LP here. may not work.


01 On the Vista [ft. Mos Def]
02 Hard Times [ft. NOE]
03 Dollaz & Sense [ft. Pharoahe Monch, RZA, and Dan Auerbach]
04 Why Can't I Forget Him [ft. Nicole Wray]
05 Stay Off the F*%$#n' Flowers [ft. Raekwon]
06 Ain't Nothing Like You (Hoochie Coo) [ft. Jim Jones, Mos Def, and Dan Auerbach]
07 Hope You're Happy [ft. Billy Danze, Nicole Wray, and Q-Tip]
08 Tellin' Me Things [ft. RZA]
09 What You Do to Me [ft. Billy Danze, Jim Jones, Nicole Wray, and Dan Auerbach]
10 Done Did It [ft. Nicole Wray and NOE]

pitchfork

I Forgot More Than You'll Ever Know

Skeeter Davis has never gotten a lot of critical attention, but in the '50s and '60s, she recorded some of the most accessible crossover country music, occasionally skirting rock & roll. Born Mary Penick, Davis took her last name after forming a
duo with Betty Jack Davis, the Davis Sisters. Their 1953 single "I Forgot More Than You'll Ever Know" was a big country hit; its B-side, the remarkable "Rock-a-Bye Boogie," foreshadowed rockabilly. That same year, however, the duo's career was cut short by a tragic car accident in which Betty Jack was killed and Skeeter was severely injured. Skeeter did attempt to revive the Davis Sisters with Betty Jack's sister but was soon working as a solo artist. Skeeter Davis died Sept. 19, 2004, at the age of 72.

Download The Essential Skeeter Davis here

Tracklist
1 I Forgot More Than You'll Ever Know 3:00
2 Set Him Free 2:14
3 Am I That Easy To Forget 2:06
4 The One You Slip Around With 2:45
5 (I Can't Help You) I'm Falling Too 2:45
7 My Last Date (With You) 2:33
8 Optimistic 2:00
9 The End Of The World 2:37
10 Gonna Get Along Without Ya Now 2:21
11 Where I Ought To Be 2:44
12 I Can't Stay Mad At You 2:06
13 I'm Saving My Love 2:00
14 Silver Threads And Golden Needles 2:10
15 Mine Is A Lonely Life 2:15
16 Let Me Get Close To You 2:32
17 Fuel To The Flame 2:44
18 What Does It Take (To Keep A Man Like You Satisfied) 2:36
19 I'm A Lover (Not A Fighter) 2:16
20 Bus Fare To Kentucky 2:58

Look Left, Look Right

Pull Your Pants Down

At age 18, the most a musician should ever hope for is an ill-fated, ramshackle band to fill backyards and basements, a pennant to someday pin on the brick wall of nostalgia. George Brigman wasn’t like most musicians. He came away from the latter part of his youth with an impressive lot of recordings pressed on his own imprint, Solid Records, and a legion of fans eager to get their hands on his tomes of blissful, bluesy sludge. The first of these albums was Jungle Rot and the year was 1975. In the interim between the debut’s release and its 30-year anniversary in 2005, numerous bootlegs would appear of questionable quality, leaving ample room for a proper, dutiful reissue. Enter Karl Ikola and Rick Noll, respective proprietors of Anopheles Records and Bona Fide Records.

download George_Brigman_and_Split-Part_Time_Lover.mp3

But don’t call Brigman the Rimbaud of self-produced psychedelia. Unlike many of his contemporaries, he’s seemingly uninterested in masturbatory poetics; Brigman’s lyrics stand as elemental and unadorned as a rite of passage, allowing for some of the fuzziest layering of guttural guitar chops in ages, not unlike Jim and William Reid’s eventual idolatry of Bo Diddley and “Teenage Lust.” Brigman’s voice takes on a deepness that casts a bizarre patina on the whole record; it’s as if you’re privy to a teenager jumping forward and psychically channeling his formative years, calling forth every hormone-laden scene with a new ferocity that only a few jaded years and a wobbly leg up could bring. These are not the crystalline teenage anthems of the Ramones, nor is this the idle dabbling of a rock ‘n’ roll whippersnapper. This, folks, is what all those white blues brothers from South London were getting at in the late ’60s and early ’70s before the keyboard symphonies came into play. Jungle Rot is up there with Twink’s Think Pink, May Blitz’s Second of May, or any of Ron Warren Ganderton’s material. Fans of Dead Meadow take heed, you can now put down that Blue Cheer record.

Brigman’s tendencies draw comparison to those of the Groundhogs’ Tony McPhee, so it should be no surprise that he covers the icon’s music in later releases. In fact, three tracks from Brigman’s former band, Hogwash, presumably named for the 1972 Groundhogs album of the same name, are included on Jungle Rot for good measure. You’ll hear traces of everyone from Dick Dale to Willie Dixon on this LP, with licks as leveling as Ry Cooder’s. Imagine a less schizophrenic, never-ending version of Todd Rundgren’s “No. 1 Lowest Common Denominator” from the standout Todd LP, spread across a hazy battery of intoxicated but brutal songs. Brigman’s take on the bad boy serenade is equal parts Martin Sheen in “Badlands,” and a sleepier Johnny Burnette.

“Schoolgirl” rivals the Dennis Wilson song of the same name. Its rebel Casanova mentality is contrasted with an appropriately weepy guitar – it sounds just as bombastic as Wilson’s track from the unfinished album, Bamboo. “Don't Bother Me," much like I Can Hear the Ants Dancin's "Blowin' Smoke," first released as a 45 in 1977, punishes as much as the rest of his musical taunts; Brigman is clearly warming up to assume the role that titles his Human Scrawl Vagabond LP, itself still waiting for reissue in European boots."

So what was once lost is now found. Baltimore continues to stand as an unexpected American vortex that occasionally regurgitates clandestine fodder of decidedly potent value. Between George Brigman’s quiet genius and Fortune Teller’s monumental Inner-City Scream LP from 1978, ’70s Baltimore seemed like a serious place to be. John Waters just may have to fork over his throne as Maryland’s King of the Wasteland. It’s now time for Guy Blakeslee to have a glass of Kool-Aid with his predecessor and really get something going. Imagine the possibilities.

The CD version of Jungle Rot is available on Bona Fide Records. Their address is: Bona Fide, PO Box 185, Red Lion, PA 17356. More info available here.
via dusted/ ready for the house

Resurrection 101

alex kopps cutdown

Julian Cope’s Album of the Month

THE GODLIKE GENIUS OF BLUE CHEER was invented by Julian Cope for the purposes of this eulogy to the late, great Dickie Peterson of Blue Cheer, who just died on October 15th.


Although Blue Cheer’s 21st century myth as thee Ur Power Trio is nowadays so suffused with an incandescent Post-Everything 20/20 hindsight that Messrs. Peterson, Whaley & Stevens sit quite snugly alongside the other great Ancestors (MC5, Stooges, Pentagram) on most Stoner Rock.commer’s record shelves, it’s still particularly important at this sad time of Mein Hairy Dickie’s sudden demise to remember that Blue Cheer’s story only even began to re-surface during the Grunge-y, Sabbath-informed-in-a-Melvins-stylee St. Vitus-propelled early ‘90s, as a whole new generation of orphan rockers suddenly asked “But whence sprung our current Mung Worship? And who were these pre-Sabbathians who bequeathed us these snottiest of lick scraps & riffic mishaps?” Had the more literate among them trawled the then-current selection of 1980s Blues Rock treatises available on the high street rockshelf, they’d have been alarmed to discover that Blue Cheer had been entirely passed over by the Bluesologists, those prim Robert Cray’n’Elick Crapton Authenticists relegating Dickie’n’Co to that sub-category just below ‘Hendrix & Cream Copyists’ known as ‘Garage’. Yup, alongside the Count Five is where Blue Cheer dwelled throughout the 70s and 80s. THEY was the world’s forgotten boys (not Nincompoop & the Stooges). Ahem, anyway even Charles Shaar Murray’s big 1982 blues tome CROSSTOWN TRAFFIC didn’t give’em a mench; didn’t even dignify the Cheer with a snidey one-line putdown; their absence in the index says it all. Squish. And the real truth of it? Well, let’s take a look at the sonic evidence, i.e.: the compilation of music contained within this Album of the Month #114. For it was all of it released between July and October 1968, when the original version of Blue Cheer was at its Mekong Delta-strafing height. Yup, the Cheer unleashed two hugely dynamic and killer albums barely 14 weeks apart, each one being chock full of great bludgeoning soul, berserk & off-kilter (so-called) blues rock, and hefty freeform bass’n’drum excursions of sheer cranium pummelling, over which white noise ramalama was inappropriately daubed as often as was possible. So was it blues after all? Who knows? Search me, I hate the blues and love Blue Cheer, so what does that say? Besides, being managed by Hell’s Angels and named after a brand of LSD, Blue Cheer was the absolute antithesis of the Zeitgeist, singer Dickie Peterson later commenting: “We were the ugly stepchildren. Everybody of the San Franciscan scene was all ‘kiss babies’ and ‘eat flowers’. We were sort of ‘kiss flowers’ and ‘eat babies’; we weren’t peace and love.” No shit, Sherlock! Blue Cheer’s debut album VINCEBUS ERUPTUM was an absurdly unbalanced adventure playground of screeching white noise guitar drool and Exxon-levels of axe spillage from Leigh Stephens, clumsy shed-building drum assaults from Paul Whaley and Mae Westian corner o’the mouth vocal asides from bass player Dickie Peterson, each band member showing next to no regard for the standard soul or blues chord patterns that struggled to be heard far far below. Buoyed up by their freak occurrence US Top 20 teen hit versh of ‘Summertime Blues’, the rest of this first LP wedded the Cheer’s brutally tough soul and blues rhythm section to Leigh Stephens’ inordinately disconnected take on the role of the modern lead guitarist, almost every solo commencing as though the guitarist had been caught on tape actually in the act of Giving Up Guitar Playing. Chaos ensues every time his turn comes, as Stephens’ inner demons force him through the solo (“Come on Leigh, you daft tripping cunt, you can give up guitar after this one final assault”). Three months later – in October ’68 – the gentlemen of the ensemble returned with album number two, entitled OUTSIDEINSIDE, and ‘twas another catalogue of drunken midnight dodgem shunts, amphetamine stop-start buzzsaw sprawls, even the occasional moment of delightful Pin Drop silence, this time occasionally overladen with mucho stacked soul harmonies (MC5-style a year ahead) and some exquisitely heavy keyboard contributions from a divinely ordained guest pianist/organist by the unlikely name of Ralph Burns Kellogg. And it is to this brief but Uber Visionary period (July-October 1968) that I have concentrated my attentions for this Album of the Month #114.

Side One (July ’68)

1. DOCTOR PLEASE (7.53)
2. OUT OF FOCUS (4.08)
3. SECOND TIME AROUND (6.17)

Side Two (October ’68)

1. FEATHERS FROM YOUR TREE (3.34)
2. SUN CYCLE (4.18)
3. JUST A LITTLE BIT (3.30)
4. GYPSY BALL (3.01)
5. COME & GET IT (3.18)



download...http://rapidshare.com/files/182383480/Blue_Cheer_-_What_Doesn_t_Kill_You...___2007.rar

So, what’s it sound like?
Julian continues below... also an MP3 stream is available.
via Head Heritage.

Last Stand from Africa

There is a youthful innocence, a third-world naivety that permeates "My Ancestors,"the 1974 album by Zambian guitarist, Chrissy Zebby Tembo. Fuzzed-out wah wah psych had obviously made it's way to Africa by 1974 and Chrissy Zebby Tembo was at the forefront of the scene. If you happen to own the great "Love, Peace & Poetry: African Psychedelic Music" compilation, you may remember Chrissy Zebby Tembo's instrumental "Oh Yeh Yeh", which is also featured on this album. The sun shines all over the 9 songs here, and it's hard not to smile when Chrissy's kooky, relaxed vocals come in. The album has a warmth and closeness that make it absolutely infatuating. I fell in love with "My Ancestors" upon my first listen, and I imagine, you (being a person of distinction and taste) will too.

get it

via

Jawbone And Wing-Blade

photo;john

Back to Zambia

The Witch was a Tuff sounding lofi band From Zambia..
Witch released just one album, Lazy Bones, in 1975. It is a work of sheer genius. Witch played a sort of wah-wah psych but with a bit more darkness. Check out the opening track, "Black Tears." It starts out rather melancholy and builds into a chugging, almost Sabbath-inspired shuffle before finishing with a doomy end. Lazy Bones!! sounds as if it was recorded live to 2-track with the vocals and some acoustic guitar added later. The spartan production only makes the album more Tuff. The drum fills and vocals at times overload the mics. You can almost hear the suffocating heat of whatever slap dash Zambian studio they were in.

link fixed
Get Lazy bones!! http://www.megaupload.com/?d=ZDBX0Z4X

Fuzzy Wuzzy and the Fish Tubes of Fur

Ryan M....just too fast for the shutter.

Never Say I Love You On A Lude

found a blog... wonder what it's all about?

Heron King Blves and the Califone Megapost loadown

1. Wingbone
2. Trick bird
3. Sawtooth sung a cheater’s song
4. Apple
5. Lion & bee
6. 2 sisters drunk on each other
7. Heron king blues
8. Outro
9. I Walk on Gilded splinters (untitled track)
Producer - Califone

Download Heron Blves here

After the breakup of his former band Red Red Meat, frontman Tim Rutili formed Califone as a solo project. Rutili's solo effort soon became a full-fledged musical project with a regular and rotating list of contributors, including many former members of Red Red Meat and some members of other Chicago bands.

this little bathroom jam clip shows one element of the band... yet they are NOT just a bunch a hipsters with cool swamp music gear taking advantage of someones cool LP collection and just getting by. They do have talent.(and yes, bitchen axes and objects.

According to Rutili, Califone started as a home project: "The statement of intent would have been 'easy listening' compared to what we were doing with Red Red Meat. This was supposed to be making little pop songs out of found pieces. It was supposed to be just a little home project, and it slowly grew from there. Now it seems like just about anything goes."

Califone's sound is a combination of Red Red Meat's blues-rock and experimental music, with inspiration drawn from early American folk music, pop, as well as electronic and groups like Psychic TV. Listeners familiar with Red Red Meat can quickly tell that Califone is not an attempt to revive the old band; elements from a number of musical styles contribute to their distinctive sound.

Sure there has been much more done by Califone before and after this and I have yet to hear it all, but King Heron is still my favorite. (a bit dissapointed in 'Guilded Splinters' though) Highlights..."Heron King Blves" and Sawtooth Sung A Cheater's Song".

Pitchfork review;
Califone return in short sentence with an all new recording Heron King Blues, which comes fresh on the heels of 2003's critically acclaimed Quicksand/Cradles nakes. Heron King Blues picks up where Q/C left off, and was again recorded in Chicago at the band's Clava Studios. This time around the band recorded with Michael Krassner (Boxhead Ensemble, Simon Joyner, Edith Frost), and are led by longtime collaborators Tim Rutili and Ben Massarella, along with Jim Becker and Joe Adamik.

For this recording the band set out to make a record like Captain Beefheart's Mirror Man, entering the studio with a blank canvas and laying things down quickly. The resulting songs combine the bands more pop-oriented qualities alongside their more spaced out ethereal thoughts; these most often found on their Deceleration releases available on the bands own label, Perishable. The resulting sessions led to songs that were improvised or written immediately before recording, and within days a series of raw, live recordings had been completed. From there the initial recordings were chopped up, mixed around, and reassembled into the final product: a beautifully lush and patient masterpiece.

While the approach to recording Heron King Blues may have seen it's inspiration come from Captain Beefheart, the records topical and musical make up was inspired from Tim Rutili's recurring dream featuring a giant half-man/half-bird character. Rutili was startled to learn recently that the very character he imagined did indeed exist and was named Heron King. The perhaps real, perhaps fictional character was used by the Romans to defeat the British in ancient times. If you think we're kidding about this stuff, the jokes on you, just listen to the record.

The Heron King and aviary themes are omnipresent through the record with Rutili making frequent mention and reference to the king's legend. He also manages to cull mood and tone from his own personal experience with the "bird man," going as far to feature on the album's cover "an entirely accurate portrayal" of the Heron King of his dreams. Heron King Blues brings together "numerology, bird references, wartime tension, filthy rock and tender mercy" to form what is Califone's most mysterious record to date. One that Rutili himself concludes as: "pretty dark and very natural; it's us."


(from Quicksand/Cradlesnakes)


Dig and download Quicksand and Cradlesnakes also here...

and Sometimes Good Weather Follows Bad People (early EPs) here.

Predictable Islamophobia

Last Thursday's shooting spree at the Fort Hood army base in Texas -- which left 13 people dead and 29 wounded -- was of course the "horrific outburst of violence" that President Obama bemoaned and condemned.

But, because the soldier who was quickly identified as the gunman had a name that led to the presumption that he was Muslim, the incident inspired an all-too-predictable explosion of Islamophobia.

News reports named the man who used two handguns in the assault on his fellow soldiers at a base that is a prime point of departure for troops headed to Iraq and Afghanistan as Major Malik Nidal Hasan. The major, who was wounded during the incident, was identified as a psychiatrist who had served in the Department of Psychology at the Center for the Study of Traumatic Stress at the Bethesda Naval Facility in Bethesda, Maryland, before his transfer to Fort Hood.

Hours after the incident, and hours after news anchors and politicians cited his religion as an explanation for the shootings, a family member confirmed that Major Hasan was indeed a Muslim.



But that was hardly the only relevant detail about the major.

For instance, Texas Senator Kay Bailey Hutchison reported shortly after the shootings, Hasan had been preparing to deploy to Afghanistan. The senator said, "I do know that he has been known to have told people that he was upset about going (to Iraq)." Several new reports suggested that the major saw a deployment to the warzone as his "worst nightmare" and recounted how he had treated victims of combat-related stress and was upset about the ongoing U.S. occupations of Iraq and Afghanistan.

Military officials at the base and in Washington refused to speculate about motivations or intents in the immediate aftermath of the attack. But Paul Sullivan, executive director of the group Veterans for Common Sense, suggested shortly after the incident that it might well be the latest in a series of stress-related homicides and suicides involving soldiers who have served in Iraq and Afghanistan or are being dispatched to those occupied lands.

No matter where the speculation went Thursday afternoon, the bottom line was clear: No one knew on whether stress, fear, anger over mistreatment, mental illness or a warped understanding of his religion might have motivated Major Hasan.

The point here is not to defend the soldier or his alleged actions -- the evidence at hand suggests that he was, at the least, a deeply troubled man whose statements and actions should have raised concerns among his superiors long before Thursday's incident. By Friday, there were news reports that he had shouted "Allahu Akbar" ("God is great") before opening fire. There was clearly something wrong with this imperfect follower of Islam. But that does not mean that there is something wrong with Islam.

Enlightened Americans -- at least those who trace their patriotism to Thomas Jefferson, a man fascinated by and respectful of Islam and whose library contained copies of the Koran -- should be unsettled by the initial rush to judgment regarding not just this one Muslim but all Muslims.

It should be understood that to assume a follower of Islam who engages in violence is a jihadist is every bit as absurd as to assume that a follower of Christianity who attacks others is a crusader. The calculus makes no sense, and it is rooted in a bigotry that everyone from George W. Bush to Pope Benedict XVI has condemned.

But that did not stop right-wing web sites from responding to the release of the suspect's name -- and no other details -- with incendiary speculation about a "Jihad at Fort Hood?" and a "Terrorist Incident in Texas."

Fox News host Shepard Smith asked Senator Hutchison on air: "The name tells us a lot, does it not, senator?"

Hutchinson's response? "It does. It does, Shepard."

With those words, the senator leapt from making assumptions about one man to making assumptions about a whole religion.

What could Hutchinson have said that might have been more responsible response?

She could have emphasized that the investigation of the shooting spree has barely begun.

She might also have noted that thousands of Muslims serve honorably, indeed heroically, in the U.S. military; that American Muslim soldiers have died In Iraq and been buried at Arlington Cemetery; that some of the first condemnations of the slayings at Fort Hood came from Muslim veterans such as Robert Salaam.

"I'm sad for those killed and wounded by a traitor to both God and our country, and I regret that I even feel that I have to write something on the subject. Words cannot express my emotions and the instant headache I received when notified by my dear sister Sheila Musaji over at The American Muslim (TAM) concerning the alleged culprit," wrote Salaam, who served in the Marine Corps, within minutes after learning the gunman's name. "They have not yet released further details such as the motive but I will state for the record that no true Muslim could ever commit such a crime against humanity. As Muslims we are reminded that to take one innocent life is as if one killed all of mankind. Muslims are also commanded to keep their oaths when given."

Salaam is not alone in regretting that, as a Muslim, he feels a need to respond to the incident with an explanation of his religion.

But the conversation between Fox's Smith and Senator Hutchinson reminds us why it is necessary to respond.

And so Muslim groups have responded quickly and unequivocally.

The Council on American-Islamic Relations, the nation's largest Muslim civil rights and advocacy group, issued a statement that read: "We condemn this cowardly attack in the strongest terms possible and ask that the perpetrators be punished to the full extent of the law. No religious or political ideology could ever justify or excuse such wanton and indiscriminate violence. The attack was particularly heinous in that it targeted the all-volunteer army that protects our nation. American Muslims stand with our fellow citizens in offering both prayers for the victims and sincere condolences to the families of those killed or injured."

Salam Al-Marayati, executive director of the Muslim Public Affairs Council, declared that, "Our entire organization extends its heartfelt condolences to the families of those killed as well as to those wounded and their loved ones. We stand in solidarity with law enforcement and the US military to maintain the safety and security of all Americans."

Those are sentiments that are worth noting, especially by news anchors and senators who are in a position to inform the discussion of a horrific incident -- rather than to inflame it.

via The Nation

Zippy

No Wave post#2

Glenn's Biography

Lesson No. 1 was Branca’s first release in which he delved more fully into instrumental sounds that melded the dissonant rock of his former outfits with the heavy, massed sounds that he would later explore with groups of anywhere between ten and a hundred guitarists. Originally issued on 99 Records in 12” format, Lesson No. 1 contained two songs, one on each side.

This cd reissue contains those tracks, “Lesson No. 1 for Electric Guitar” and “Dissonance,” as well as “Bad Smells,” a dance score previously available on a split LP with poet John Giorno. In “Lesson No. 1…,” Branca first exhibits the formula that would serve as the basis of his next LP, The Ascension, a combination of heavy, repetitive, rhythmic statements overlaid with a chorus of guitars that begins in an almost stately mode before rising into a celestial frenzy.

The more aggressive “Dissonance” also builds on a straightforward, repetitive rhythm, though the clangy interjections from the guitars and percussion, and the mechanical yet furious strumming that follows take the track in a new direction in which the different parts of the piece hurtle along together like a locomotive, then battle in and out of rhythmic phase with one another. The twitching rhythms suggest Was (Not Was) and James Blood Ulmer, but the five guitarists, including Sonic Youth’s Thurston Moore and Lee Ranaldo, revel in the darker side of the naked city, sinister and slashing. (dustedmagazine review)

Download

The Variety Show

Alaia girl




Sir Ryan of PC (Knights blademaker for the Queen)






http://flexspoon.com/

Fuji Picks up the Slack

More than a year ago, the death knell of the Polaroid camera was widely documented. In February, Polaroid began shutting down its film factories, as the technology faded to black.





But lomographs, take heart. Fujifilm has stepped in with its line of Instax Mini instant-film cameras, which can be purchased for about $100 or so: a bit much for an impulse buy, perhaps, but cheap enough that a true fan can resuscitate some childhood fun without paying an arm and a leg on eBay.







see all the fuji models here.
the film is 10.00 a pack.