Marianne Faithfull looking stunningly gorgeous in 1967 French musical comedy Anna starring Anna Karina and Jean-Claude Brialy. In this scene Marianne sings ‘Hier Ou Demain’ written by Serge Gainsbourg.
Oh, Marianne. My knees are trembling, my upper lip quivering, my groin is vibrating like a tuning fork struck by the hand of God and storm clouds are bursting in the skies hovering above my feverish head. My dog is slapping me silly and begging to come to my senses. Could this be love? .
In-depth and fascinating, Hotel California: LA from The Byrds to The Eagles charts the evolution of the Southern California rock scene of the sixties thru the seventies. Based on Barney Hoskin’s book of the same name, this is good stuff, whether or not you’re a fan of the lite psych/folk sound of L.A., Topanga Canyon and points West. Myself, I can do without The Eagles, CSN&Y and Jackson Browne, but The Byrds, Buffalo Springfield, solo Neil Young and Joni Mitchell still tingle my spine.
During my days of running a music venue in Manhattan, I had the pleasure of booking Boston band Treat Her Right, a hugely talented group that in retrospect was ahead of its time. Lo-fi, jazzy, bluesy, unhinged and punky, THR created music that oozed a kind of gritty sexuality.
Mark Sandman was in Treat Her Right and over the two years in the 1980’s that I spent time with Mark, I came to know him rather well. Mark was an avid reader of the beats, Bukowski, John Fante and harboiled writers like Raymond Chandler and Jim Thompson, the dark stuff. He also dug badass surrealists like Artaud and Rimbaud. It showed in the lyrics of his songs, which were miniature narratives of the darker side of modern life, fever dreams populated by broken-hearted lovers, alcohol and drugs. In his noirish tales of romance gone bad and the wreckage left in the wake of lives lived on the edge, the evil ways of the world were shot thru with glimmerings of sweet sex and black humor that gave one the sense that all was not hopeless. He could be very tender.
With his band Morphine, Mark continued to create a body of work that was remarkable in its musical and lyrical integrity. Sandman was a writer as gifted as those he admired. He was just hitting his stride as an artist of significant magnitude when he died of a heart attack at the very young age of 46. The night I learned of his death, I went to my bar and sat on a stool that Mark had sat on many years ago and I had a drink in his memory, a good Scotch…straight up. I recalled the way Mark talked, which was like he sang, deep and soulful, and what he said always mattered. Even his small talk was big. Words were a way out of the dark for Mark and his music was a cure for pain.
Cure For Pain a documentary on Mark and his music has been completed and will soon be released. I’m looking forward to it and so should you.
Here’s some raw video of Mark being interviewed:
Check out a very cool Treat Her Right video after the jump…
Not T-Rex, but the earlier incarnation of the band, when they were still called Tyrannosaurus Rex. Marc Bolan is seen here with percussionist Steve “Peregrin” Took, performing “The Seal of the Seasons” from their 1969 Unicorn album.
After an American tour where the decidedly much more “party hardy” Took, well, partied heartily, Bolan sacked Took, replaced him with Mickey Finn and promptly became an internationally recognized superstar. Took immediately went off to work with more underground and anarchic types like Twink (from The Pretty Things) and Mick Farren (who’d been ousted from his band, The Deviants), forming a proto-version of what became The Pink Fairies.
Forget clairvoyants, soothsayers and alike, for CG artist Maxime Luère has made a short film that depicts how our lives may go - mapped out by posts and tags and pokes on Facebook. Her rather fun short, A Life on Facebook is the fictional biography of Alex Droner from his signing up, to being in a relationship, to being a “fucking asshole”, to nights out, holidays, and finding love with mystery poker Diana Houston.
In a scene from Twister, a 1989 cult comedy film starring Crispin Glover, writer William S. Burroughs appears in a cameo role as the weird old guy shooting guns, a part that must have been written specifically for him…
If you want to watch the entire film online, you may do so here.
In response to the recent Glenn Danzig piece I posted, Dangerous Minds reader Phillip J. Birmingham sent me a link to a video of Danzig getting a taste of his own medicine. Apparently Glenn can’t walk it like he talks it. The incident documented below happened several years ago. So, it seems Glenn has a history of acting like a prick.
This may be old news for some of you, but it’s new to me. I’ve only recently become a fan of Glenn’s misadventures.
Danzig allegedly got into a scuffle with North Side Kings singer and frequent Soulfly collaborator Danny Marianinho following Danzig’s performance in Tuba City, Arizona. The following is Marianinho’s official statement regarding the incident, as sent to Blabbermouth.net:
Before crazy rumors begin to spread I would like to explain what happened:
North Side Kings were to play with Danzig last night in Tuba City, Arizona. To make a long story short the whole show was a disaster and a few bands got bumped off. Mr. Danzig (or his management??) refused to push back the original scheduled time slot so NORTH SIDE KINGS and RAPID FIRE would have to play ‘after’ his set. Whatever — we agreed to play later because we drove 6 hours and didn’t feel like going home without playing. Needless to say, as soon as DANZIG was finished, the venue turned on the lights and DANZIG’s crew and the staging company began to take the stage apart almost instantly. I confronted Mr. Danzig backstage while he was signing autographs and told him I thought he was an asshole because of his ‘rock star’ attitude and no consideration towards the FEW other bands that got bumped off tonight. In a fit of rage he turned around and slammed me into the wall yelling ‘Fuck you, motherfucker,’ trying to be a big, tough guy in front of his fans. I, in self-defense, punched him in the face, knocking him out as he was attacking me again. He went down, bleeding from his mouth, eyes rolled back, and in shock that he got knocked to the floor so quickly. A friend happened to tape the entire incident and this is all documented. Many witnesses saw him attack me, and I did what any man would do.
It was unfortunate that this went the way it did — and I hoped Glenn Danzig learned a valuable lesson tonight: Do not lay your hands on anyone unless you can handle what may happen. I apologize for nothing, except for the poor little kids that had to witness this big asshole get his ass kicked in a matter of seconds…”
Having spent my early teen years in France, I was exposed to alot of French rock singers. Of course I was in love with Francoise Hardy and I owned a bunch of singles by Johnny Halliday and Sylvie Vartan. The Yé-yé scene was my scene. Michel Polnareff became a star after I left France but I was still following French rock close enough to appreciate his distinctive style, which was more Brit poppish and American West Coast hippie than his French peers.
English recording studios offered more advanced technology than Paris, so Polnareff went to London to record La Poupée Qui Fait Non. It was released in 1966 and immediately became a huge hit. Great French rock songs are rare and this one hovers at the edges of greatness.
La poupée qui fait non translates as ‘the doll who says no’.
She is a doll who says “no, no, no no”
All day long, she says “no no no no no”
She is, she is so cute
That I dream of her all night
She is a doll who says “no, no, no no”
All day long, she says “no no no no no”
No one has every taught her
That one can say “oui”
Without even hearing, she says “no no no no”
Without looking at me she says “no no no no”
However I would give my life
for her to say “yes”
However I would give my live
That she would say “yes”
But she is a doll, who says “no no no no”
All the day long she says “no no no no”
No one has taught her
That it’s possible to say “yes”
Oh no no no non no
no no no
She says no.
La Poupée Qui Fait Non has been covered by many artists, including Saint Etienne and Jimi Hendrix. This version by Mylène Farmer and Khaled is the loveliest in my opinion.
Hendrix does La Poupée Qui Fait Non after the jump…
Dangerous Minds pal, Lenora Claire, a gal well-known around Los Angeles for curating sensational art exhibitions—and throwing wild parties—is presenting a new show, “Smile Even If It Hurts,” opening this weekend at the Dark Dark Science Gallery in Los Angeles.
“Smile Even If It Hurts” is a dual solo show featuring the work of two woman transitioning from the music world into the art world, Jessicka Addams (Jack off Jill, Scarling, early Marilyn Manson collaborator) and Lindsey Way (Mindless Self Indulgence). For the show, Way has created thirteen labor intensive dioramas, while Jessicka has collaborated with Mark Ryden, Marion Peck, Elizabeth McGrath, Francis Bean Cobain (AKA Fiddle Tim), Tarina Tarantino, photographer Austin Young and others.
Opening reception Saturday, November 13th, 2010, 7pm - 10pm.