$LAYYYTER

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ellievsbear
2025 on Tumblr: Trends That Defined the Year

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Monterey Bay Aquarium
NASA
art blog(derogatory)
KIROKAZE
occasionally subtle
untitled

shark vs the universe
I'd rather be in outer space 🛸

gracie abrams
Fai_Ryy
Noah Kahan
EXPECTATIONS
Mike Driver
d e v o n
🩵 avery cochrane 🩵

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@industrial-horror
Sisters of Mercy - Royal Albert Hall (1985)
Of all the production/publicity shots Boris Karloff did for FRANKENSTEIN (1931) -- this quite possibly is the most majestic and dramatic.
30 ago today, the Ramones played their final concert at the Hollywood Palace in Los Angeles. Johnny Ramone wanted to retire the band while they were still performing at a high level live; he didn't want them to become rock ""dinosaurs,"" like some other veteran bands. Adding to this was a severe breakdown in internal relations, particularly the feud between Johnny and Joey Ramone, who went more than fifteen years without speaking to each other offstage.
Despite their enormous cultural influence, the band never achieved massive commercial success in the United States, forcing them to rely almost exclusively on constant touring to make ends meet. This demanding work schedule, coupled with Joey's recurring health problems, ultimately triggered the final conflict: the situation reached a breaking point when the singer refused a lucrative offer to play in South America, as he needed to rest. Johnny responded with an ultimatum: if they didn't play those shows immediately, he would stop performing for good. Adding to this tension was a decisive factor: the guitarist had already reached his personal savings goal, giving him the financial security he needed to retire.
The farewell show in Los Angeles was recorded on video and included guest musicians from bands influenced by the Ramones, including Eddie Vedder, Motörhead, Soundgarden, and members of Rancid. Dee Dee Ramone joined him on stage to sing ""Love Kills."" The last song the quartet ever played live wasn't one of their own: a cover of ""Any Way You Want It"" by the British band The Dave Clark Five, performed as a duet with Eddie Vedder, a close friend of the band.
The show's ending perfectly reflected the strained relationship between the members: after the song, they left the stage without saying goodbye to the audience together or embracing each other, and Johnny Ramone left without saying a single word to his bandmates.
At the end of the night, George DuBose, the band's longtime photographer, smashed his camera against the stage, injuring his hand. When Johnny asked him why, DuBose replied that if the band was done, then he was done too. After that concert, the Ramones officially broke up, and its two central figures, Johnny and Joey, practically never spoke to each other again for the rest of their lives.
On November 18, 1997, Eagle Rock Records released 'We're Outta Here!', the band's fourth and final live album, which immortalized that final show along with a video directed by Kevin Kerslake of the event and behind-the-scenes footage.
Tracklist:
1. Durango 95
2. Teenage Lobotomy
3. Psycho Therapy
4. Blitzkrieg Bop
5. Do You Remember Rock And Roll Radio
6. I Believe In Miracles
7. Gimme Gimme Shock Treatment
8. Rock 'N' Roll High School
9. I Wanna Be Sedated
10. Spiderman
11. The K.K.K. Took My Baby Away
12. I Just Want To Have Something To Do
13. Commando
14. Sheena Is A Punk Rocker
15. Rockaway Beach
16. Pet Sematary
17. The Crusher
18. Love Kills
19. Do You Wanna Dance
20. Someone Put Something In My Drink
21. I Don't Want You
22. Wart Hog
23. Cretin Hop
24. R.A.M.O.N.E.S.
25. Today Your Love, Tomorrow The World
26. Pinhead
27. 53rd & 3rd
28. Listen To Your Heart
29. We're A Happy Family
30. Chinese Rock
31. Beat On The Brat
32. Any Way You Want It
12 years ago since we were introduced to this wonderful band...
On this day in 1983, legendary photographer glen E. friedman captured one of the most iconic images in punk and hardcore history.
The photo features Minor Threat on the front porch of the Dischord House in Arlington, Virginia. From left to right: Jeff Nelson (drums), Ian MacKaye (vocals), Lyle Preslar (guitar), and Brian Baker (bass).
Friedman later revealed that he envisioned the photo as punk rock's version of American Gothic: "That's what inspired me: this family of punk rock, this house, and this band that practiced in the basement there. That's what I was going for."
The image became the official cover art for Minor Threat's posthumous Salad Days 7" EP in 1985 and has since become one of the most recognizable photographs in hardcore punk history.
In November 2018, all four original members reunited on the same porch to recreate the exact pose. Brian Baker shared the updated photo on Instagram with the caption, "Senior Threat."
More than four decades later, fans from around the world still visit the house almost every day to recreate the iconic photo or simply see the legendary porch in person.
Be prepared (and stop following profiteers, celebrities, & vanity for 20 years. Please get involved in your community and support organizations, post about that…)
New from Ministry
Keller, who co-founded the celebrated band in 1986, had been battling cancer of the esophagus
The Ramones have officially been selected as part of the Hollywood Walk of Fame Class of 2027 in the Recording category. The legendary punk rock band is being recognized for its enduring influence on music since forming in 1974, adding another milestone to its lasting legacy.
The Hollywood Walk of Fame Class of 2027 features 33 honorees across music, film, television, radio, and more. Since its creation in 1960, the iconic landmark has celebrated entertainers who have shaped popular culture and continues to welcome millions of visitors to Los Angeles each year.
26 years ago this month, Rancid’s frontman, Tim Armstrong, and his friend and roadie, Skinhead Rob, recorded Transplants’ debut album in Armstrong’s Los Angeles basement.
Formed in 1999, the Transplants began not as a commercial endeavor but as a creative outlet in Armstrong’s basement. Armstrong sought to move beyond traditional song structures by experimenting with beats and loops on Pro Tools. This transition from a punk veteran to an aspiring producer laid the foundation for a project that would eventually challenge genre boundaries.
The narrative took a definitive turn when Armstrong invited Rob Aston, aka Skinhead Rob, to collaborate. Aston had never been in a band before, yet Armstrong saw a raw, authentic voice in him. For two years, the duo operated as a private experiment, with Armstrong playing every instrument and Aston crafting gritty lyrics that reflected their shared street-level perspectives.
The project reached its final form in 2002 when the duo realized they needed a live percussive force to elevate their sound. They reached out to Travis Barker of Blink-182, who was then at the height of his fame. Barker’s contribution was legendary; he famously tracked the entire debut album's drum parts in a single five-hour session, cementing the group’s status as a formidable "supergroup."
The Transplants' philosophy was rooted in the belief that punk rock and hip-hop are cultural siblings. Both genres emerged from underground movements as voices for the marginalized, the "misfits, and the runts." By blending these styles, the band aimed to mirror the sonic diversity of the streets, where subwoofers and safety pins often occupied the same space.
Regarding the song here, Punktastic says: "‘D.J.D.J.’ is one of the best songs on the album... [it shows] they can create this punk attitude with a groove laced with hip hop."
As of early 2026, the Transplants still officially exist, though they operate as a "periodic" project rather than a full-time touring band.
#Transplants
#RocknrollSocmedtelling
You have had all that money can give you, but that wasn't enough. You became a thrill-seeker. Kill for the thrill. This thrill-seeking became the one great thing in your life, planning one thrill on another until the murder. Kill for the love of killing. Kill for the thrill. The thrill-seeker comes from all walks of life. He comes from the home, a home where the parents are to busy to treat their children with respect. #SoWhat
Done. Sayonara. Finito. However you want to say it, Ministry is coming to an end. But before bidding adieu, creator and music madman Al Jourgensen has a few final things to say about the state of the world, those in charge and how we should all collectively move forward.
He gets it all off his chest in Ministry’s final album Hate To Go (Take Out Or Delivery) coming October 30 on Cleopatra Records.
Cover Photo: Derick Smith Layout: Ben Garcia
Figure of a female in oak, from Ballachulish, 725 - 500 BC
National Museums Scotland
On this day in 1995, the Ramones released their final studio album, ¡Adios Amigos!. Released on July 18 through Radioactive Records, it became the band’s fourteenth and final studio album. The Ramones officially disbanded the following year after completing the album’s supporting tour.
Recorded at Baby Monster Studios in New York City, ¡Adios Amigos! was the band’s third release on Radioactive Records after leaving Sire Records due to a lack of significant sales and chart success.
Although Dee Dee Ramone had left the band after 1989’s Brain Drain, he contributed six songs to the album.
The cover artwork, featuring two Allosaurus wearing sombreros, is a digitally altered version of artist Mark Kostabi’s painting Enasaurs, which originally depicted the dinosaurs wearing yellow witch hats. Johnny Ramone later said the dinosaurs were “what we felt like.” Kostabi’s painting was itself adapted from an earlier work by George Geselschap.