eisbær

Though only producing four albums and disbanding after ten concerts together, we appreciated the introduction to the short-lived musical collaboration courtesy of Dangerous Minds to the Swiss Neue Welle group Grauzone (grey area) with their standout 1981 single Eisbär, their biggest hit charting at number twelve in Germany and number six in Austria.
Drummer and bassist Macro Repetto joined up with vocalist and led guitar Martin Eicher backed up by Eicher’s guitarist brother, Stephen (whom later went on to forge an accomplished solo career as a chanteur), and saxophonist Claudine Chirac and had their first gig at a club in Bern in the spring of 1980, their musical stylings were instantly recognised as something resonant that spoke to the mood of the times. Their songs were remastered in 2010, the accompanying video produced for that release. Much more to explore at the link above.

patco

Having first organised in 1968 as a trade association before representing the interests of members as a fully-fledged labour union and lobby, the Professional Air Traffic Controllers‘ Association was effectively disbanded on this day in 1981 when then president Ronald Reagan declared their strike, called two days prior, illegal as a “peril to national safety” and ordered the federal workforce back on the job, breaking the strike by firing over twelve-thousand employees.  Faced with a lifetime ban (later eased by degrees, relaxed first to allow them civil service jobs, just not their old positions back) on government employment and disempowered to pursue the working conditions that the industry needed, Reagan‘s firings—catching many off guard, the unions have backed his candidacy over Jimmy Carter‘s re-election over sore dealings with the Federal Aviation Administration thinking relations would improve—marking the beginning of the decline of organised labour in the US, lockouts, sickouts and strike actions having dropped precipitously over the decades.

jennyanydots

I think we are all this film review of the upcoming “live,” demented deep-dreaming nightmare adaptation of the musical Cats. So many questions that dare not seek answers.
The 1981 piece is based on a collection of epistolary poetry that T. S. Eliot (previously) composed to entertain his godchildren in the 1930s—presenting a sociological tract on a tribe of felines and their nomination of one of their members to ascend into a paradisaical afterlife and be reincarnated, and the new production, starring an ensemble cast of screen and stage luminaries projected onto cat-sized avatars, is seemingly riding the coattails of attempting to revive old properties with live-actors aided by digital graphics, dispensing the need for imagination and suspension of disbelief, illustrative of what happens when creative outlets are not constrained by a budget and no one has the courage of conviction to say when a project is going in the wrong direction.

i am the operator with my pocket calculator

Via Open Culture, we are reminded that when the pioneering electronic band Kraftwerk (previously here, here, here, here and here) released their eighth studio album in May of 1981, Computerwelt / Computer World, which presciently dealt with themes of the rise of computers in society at a time when they were hardly ubiquitous, they recorded several different language versions of the single Taschenrechner / Pocket Calculator—also Mini Calculateur, Mini Calcolatore and Dentaku (電卓)—and even commissioned a custom synthesizer from Casio as a promotional give away. Sheet music was included with the album to instruct fans how to recreating the melodies, and not just for the new material but their early synthpop hits as well. Much more to explore at the links above.

rocky horus

Via Messy Nessy Chic, we are treated to the 1981 production from Egyptian director Mohammed Shebl, who had several horror credits to his name, called Fangs (al’Anyab, الأنياب)—an homage to the Rocky Horror Picture Show. The plot, with ample musical interludes, is faithful to the original up through the first act (plenty of glam vampires but nothing too transgressive to sneak past the censors) and certainly demonstrates a degree of craft and talent that separates it from other knock-offs, like the nearly unwatchable “Turkish Star Wars.”