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Take your next vacation in the beautiful USSR! 1930s Soviet travel brochures
02.07.2014
06:22 am

Topics:
History

Tags:
Communism
USSR
Soviet Propaganda

soviet poster
 
In one of my favorite movies of all time, Hedwig and the Angry Inch, there’s a scene where the titular character has been abandoned by her lover. In order to be with him, she had gone through a brutal, crude sex-change operation, and risked her life by leaving her home in communist East Germany. To add insult to injury, the Berlin Wall has just fallen; had she waited a while longer, she could have very well avoided the hasty decision of removing her penis and leaving her home for a two-timing man.

In a brilliant moment of dark comedy, she is then shown looking at a postcard from her mother that reads something to the effect of, “Greetings, from sunny Yugoslavia”—the joke being that Hedwig’s markedly stern mom had found happiness after the collapse of an oppressive communist state by vacationing in an country notable for its political instability, ethnic and nationalist strife, and eventual relentless war.

There are some places that we just don’t think of as fun vacation spots.

But having been around enough older socialists and communists, I do know that the USSR was actually a hot destination for a while, especially for leftists. I even know a couple people whose parents took their honeymoon there! And this was certainly encouraged by Stalin, himself, who established the government-run tourism board with the express purpose of raising the profile of the USSR.

Below, you see Soviet travel brochures from the 1930s. They advertise advanced industrial development, a commitment to the arts, gorgeous cities, and a diverse array of natural beauty. Some of them touch on Socialist Realism, but what strikes me is the diversity of the art, and the visibly ambitious optimism therein.
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Soviet travel poster
 
Via The Charnel-House

Posted by Amber Frost | Leave a comment
Check out The Lumpen, the Black Panther Party’s resident ‘house band’
02.07.2014
06:14 am

Topics:
Class War
Race

Tags:
The Black Panthers

The Lumpen
 
First of all, “The Lumpen” is a fantastically cheeky name for a band of Black Panthers. It’s short for “lumpenproletariat,” Marx’s term for the working class that simply cannot achieve class-consciousness, and may in fact become an obstacle to revolution. (Think very poor, uninsured Tea partiers adamantly against food stamps or universal healthcare.) I’m already sold on the Marxist inside joke.

While The Lumpen were most certainly not the lumpenproletariat, they show that The Black Panther Party made sure to inject a healthy amount of arts and culture into their radical commitments. And though they often had very little time for band practice, (what with Party duties and all), their mission was the capstone to a larger, but usually far less explicit presence of black power politics and rhetoric in soul music—the fascinating book, Party Music: The Inside Story of the Black Panthers’ Band and How Black Power Transformed Soul Music, goes into it more thoroughly. Below, you can hear their one and only single, “Free Bobby Now,” an anthem for Black Panther Party co-founder Bobby Seale, who was serving four years for contempt of court.

Band member Michael Torrance gives his fond recollection of his time spent in The Lumpen, from The Black Panther Party’s Legacy and Alumni:

Throughout history, oppressed people have used music as a means to not only document their struggle, but also to educate, motivate and inspire people to resistance. The Lumpen singing cadre grew out of that tradition. The purpose or mission of the Lumpen was “to educate the People…to use popular forms of music that the community could relate to and politicize it so it would function as another weapon in the struggle for liberation.”

The original members were Bill Calhoun, Clark (Santa Rita) Bailey, James Mott and myself, Michael Torrance. In the beginning we were just comrades who liked to harmonize while working Distribution night in San Francisco to “help the work go easier” (another tradition). We had all sung in groups in the past, Calhoun having performed professionally in Las Vegas, and it just came naturally. I don’t remember just how it came about, but Emory Douglas, Minister of Culture, suggested that this could be formed into a musical cadre. Elaine Brown had already recorded an album of revolutionary songs (Seize the Time) in a folk singing style, and this quartet singing in an R&B or “Soul” form could be a useful political tool. Some folks don’t read, but everybody listens to music.

Shortly thereafter, Calhoun wrote “No More” in a spiritual/traditional style, and then “Bobby Must Be Set Free”, a more upbeat R&B song. We recorded these two songs and soon we were singing at community centers and rallies. Emory named the group the Lumpen for the “brothers on the block,” the disenfranchised, angry underclass in the ghetto. From then on the Lumpen were a Revolutionary Culture cadre - working out of National Headquarters under the direction of the Ministry of Culture, and June Hilliard who was alternately very supportive and very critical.

It was determined that as representatives of the Black Panther Party and to “capture the imagination” of the people, the Lumpen had to perform at a high level - the “product” had to be good. We recruited progressive musicians from the community and they became the Lumpen’s band - The Freedom Messengers Revolutionary Musicians. Thanks to Calhoun’s expertise, we were able to put together a high-energy hour-long “act” complete with uniforms and choreography.

Soon we were performing at clubs, community centers, rallies and colleges throughout the San Francisco/Oakland Bay Area and as word of mouth spread, the Lumpen began to develop a following. By the time the Lumpen were about to go on an East Coast tour, the auditorium at Merritt College was packed for the kick-off concert which was recorded live. The whole audience sang along with “Bobby Must Be Set Free.”

In the winter of 1971, the Lumpen and comrade Emory went on an East Coast tour of colleges and fundraisers in St. Paul/Minneapolis, New York City, Boston, New Haven and the Revolutionary People’s Constitutional Convention in Washington DC. We promoted the Party’s mass line through re-working popular songs by the Impressions (People Get Ready - Revolution’s Come), the Temptations (There’s Bullets in the air for Freedom, Old Pig Nixon) as well as originals such as Revolution is the Only Solution, We Can’t Wait Another Day, Set Sister Erika Free, and Killin’ (If U Gon Be Free).

Upon returning to Oakland, the Lumpen continued to perform throughout California. Attempts to get airplay for the “Lumpen Live” recording were unsuccessful due to the “controversial” lyrics. Eventually, due to departures and shifting priorities, the Lumpen as a group disbanded.

It is important to stress that the Lumpen were Panthers first and foremost. Before, during and after the group, we did all the political and day-to-day work that was required of every rank and file comrade. The music was simply another facet of service to the Party and the Revolution. Furthermore, since we were an educational cadre, rigorous study was necessary to be able to translate the ideology of the BPP into song. At all times, we were representatives of the Black Panther Party.

Being a member of the Lumpen was only one of the various areas of work I was involved in during my years in the Party, but I am proud to have been a part of our struggle’s historic tradition and in the process to have possibly made a little history as well.

 

 

Posted by Amber Frost | Leave a comment
Esquire’s record guide for 1971’s incoming college freshmen is brutal, hilarious
02.07.2014
06:04 am

Topics:
Advertorial
Music

Tags:
Esquire

Esquire, September 1971
 
A few years ago I bought a “vintage” copy of Esquire (September 1971) and much to my delight, tucked inside was a small insert of a dozen or so pages intended to guide the incoming collegiate freshperson on cultural matters such as books, movies, and music. I’ve taken the trouble to transcribe the contents of that insert into this here post, for your enjoyment.
 
Esquire College Preview Fall '71
The cover of the insert
 
It’s fascinating to see opinion on the ground, before posterity has a chance to congeal it. You’ll see names you don’t recognize treated with respect, and names you do recognize treated with great disrespect. The Esquire writers divided the list up into hits and misses, basically. On the “good” list are the Stones, Aretha Franklin, Chicago, New Riders of the Purple Sage, Kate Taylor, and Captain Beefheart, On the “bad” list are The Stooges, Led Zeppelin, Jimi Hendrix, Alice Cooper, The Steve Miller Band, and something called P-Nut Gallery.

The text is transcribed verbatim, down to every comma, colon, and ampersand. It’s reproduced exactly, as far as I can discern.
 
Records to watch for
Barely legible scan of one of the pages
 
Where possible, I’ve tried to link to the albums that are being discussed—as I learned when I checked the albums, this is a highly imprecise endeavor, and in many cases I’m sure it’s not correct. Basically, consider it a guide at best, not an actual resource. The lesson here is that the journalists of the early 1970s were working in a veritable wasteland of information compared to what they have today, and also that Amazon and Allmusic.com are highly imperfect resources (CD information tends to trump original LP info, and so on). In many cases the artist in question didn’t release anything at all in 1971 or 1972! (At least according to popular online resources.) Please don’t write in pointing out that one of the links isn’t so super awesome; I already know that. Beyond that, your certainty is misplaced, or at least, your certainty as to what the Esquire people “must” have meant; all too often, it’s a puzzle. (Clarifications and explanations about puzzling entries are, of course, welcome.)

Having said that, do enjoy this: I’ve wanted for a while for this peculiar resource to live on the Internet, and now that’s happened.
 

Watch for [this means “good”]

Charlie Mingus: Better Git It In Your Soul (Columbia—fall). Any Mingus record deserves a listen, but beware a growing cultishness.

The Firesign Theatre: I Think We’re All Bozos on This Bus (Columbia—Aug.). Rapid-fire satire.

Big Brother & The Holding Company: How Hard It Is (Columbia—Aug.). True underground music. And they can play.

Chicago: Chicago Carnegie Hall Concert (Columbia—fall). If you don’t listen to jazz but would like to, here’s a way to start.

Billie Holiday (Columbia—Sept.). Reissue, sings jazz, rhythm and blues. Buy this record.

Boz Scaggs (Columbia). Blues and country rock. Two years ago, his Atlantic album died from lack of hype. Columbia is smarter and will recognize Boz’s great worth.

New Riders of the Purple Sage (Columbia). Country rock. The Grateful Dead’s spin-off group is now more vital than the parent band.

Vintage Apollo Theatre Performances (Columbia). The Apollo was the birthplace of Aretha, Bessie Smith, Pearl Bailey, Ida Cox and The Mills Bros., and the audiences are as tough as those in a Milan opera house. Therefore, what is recorded there should be good.

Move (Capitol—Aug./Sept.). Good English hard rock.

The Band (Capitol—Aug./Sept.). Their first two albums were classics; they created country rock. Their last album was a disaster. This may be better.

John Lee Hooker (ABC/Dunhill—fall). Still the most compelling blues singer around.

John Coltrane (ABC/Dunhill—fall). The late Mr. Coltrane was one of the master innovators of free-form jazz.

Ray Charles (ABC/Dunhill—fall). 25th anniversary album. Five-record set, containing the best of Ray’s stuff from Atlantic and ABC. If you don’t like the raw material, you’ll like his middle period best. We like raw material.

Harry Nilsson: When the Cat’s Away (RCA—Sept.). This is the guy who did the good version of the theme from Midnight Cowboy.

The Guess Who: So Long, Bannatyne (RCA—Sept.). Excellent commercial group.

Julian Bream: Villa Lobos Concertos (RCA—Aug.). Superb classical guitar.

Judy Collins (Elektra—fall). This will be a live album, recorded during a spring-summer tour. Judy has enormous taste and has matured into the country’s finest female folk singer.

Incredible String Band: Relics of the Incredible String Band (Elektra—fall). A very strange folk group. Somehow their gentle appeal was at its peak during the era of hard rock. Now, when softer sounds are back in, they seem to have waned. Some mysteries are inexplicable.

Carly Simon (Elektra—fall). A fresh new singer and Esquire movie critic Jacob Brackman writes some of her lyrics. What could be bad?

The Rolling Stones (Atlantic—Sept.). Always buy any Rolling Stones album immediately.

Aretha Franklin (Atlantic—Sept.). Little Sister is frequently uneven but there are usually a couple of memorable cuts per album.

Kate Taylor (Atlantic—Sept.). Kate is okay, particularly if you like what her brothers James, Livingston and Alex have been doing.

J. Geils Band (Atlantic-fall). Possibly the best white blues band around.

Jerry Lee Lewis (Mercury—Oct.). Country music; always great.

The Statler Bros. (Mercury—Nov.). Honest-to-God foot-stomping country music.

Rod Stewart (Mercury-Dec.). Very hard rock. A hoarse, grating voice that tries so hard you have to listen.

The Kinks (Warner Bros.—fall). One of the few groups left from the first English invasion. Dependable.

Tom Paxton (Warner Bros.—Aug.). Tom was always one of the best singers among early Sixties folkies, but his tendency to preach is irritating. Lately, he’s been trying to overcome that.

The Beach Boys (Warner Bros.—Aug.). Good, solid Los Angeles plastic has its charm.

Neil Young (Warner Bros.—Sept.). A good songwriter with a strange voice. Interesting.

Captain Beefheart (Warner Bros.—Sept.). This man may be a genius. He is trying to invent new sound patterns and a new language.

The Jackson Five (Motown—Sept.). The hottest soul act, at the moment.

Jr. Walker & The All-Stars (Motown—Sept.). Tough, gritty, bluesy.

Stevie Wonder (Motown—Sept.). Great singer and harmonica player.





Watch out for [this means “bad”]

Ian & Sylvia (Columbia). Commercial folk music. Mediocre.

Santana (Columbia—Sept.). Two-record set. Music to speed by.

Barbra Streisand (Columbia). Your folks and older siblings will like her vocals.

Ten Years After (Columbia). British rave-ups have had it.

Johnny Cash: Greatest Hits (Columbia). At least it wasn’t recorded live in a prison.

The Steve Miller Band (Capitol—Aug./Sept.). Without Boz Scaggs, the group has floundered.

Quicksilver Messenger Service (Capitol—Aug./Sept.). Was one of the finest San Francisco bands, but with the addition of loud, banal Dino Valente, it has plummeted.

B.B. King (ABC/Dunhill). B.B.’s success was long overdue, but now that it’s come, he’s begun to get sloppy.

Mamas and Papas (ABC/Dunhill). This group’s huge reputation was built on only two songs, Monday, Monday and California Dreamin’. Then they broke up. Their reunion is no cause for rejoicing.

Steppenwolf (ABC/Dunhill). Harmless schlock.

3 Dog Night (ABC/Dunhill). See above.

Pharoah Sanders (ABC/Dunhill). Pharoah performed with the Coltranes and put out some good sides with his own band a few years ago, but has become redundant.

Elvis Presley (RCA). El has been enjoying an undeserved revival of late. The Presley from which the myth derived ceased to exist as soon as he left Sun Records in Memphis, immediately before fame struck. What we got was a homogenized version. Why revive that?

Jefferson Airplane (RCA). The Airplane still has its hordes of loyal fanatics, but has been screaming for revolution for so long it has gone hoarse. Besides, there’s a paradox in screaming for revolution from the confines of a Bentley. This can no longer be ignored.

Sha Na Na (Buddah/Kama Sutra—Sept.). Specialize in Fifties rock. Never very good, but now that many of the original Fifties groups are actually playing again, worthless.

P-Nut Gallery (Buddah/Kama Sutra—Sept.). The second coming of Howdy Doody; the roots of the Acid Generation.

Brewer & Shipley (Buddah/Kama Sutra—Sept.). Mildly appealing soft sound, especially if you like mild appeal.

Curtis Mayfield: Roots (Buddah/Kama Sutra—Sept.). Curtis was okay when he sang with groups, but his recent Rod McKuen act has been silly.

Edwin Hawkins: Oh Children (Buddah/Kama Sutra—Sept.). Contrary to popular belief, the Edwin Hawkins Singers did not invent gospel rock.

Melanie (Buddah/Kama Sutra—Sept.). Undigested St. Joan, Edith Piaf, Ethel Merman and Buffy Ste.-Marie.

Buzzy Linhart (Buddah/Kama Sutra—Sept.). Buzzy has been around the Village folk scene for a long time without doing anything remarkable, and there’s no reason to expect him to do anything now.

The Stooges (Elektra). Lead singer Iggy Pop leaps into audiences, smears his half-naked body with peanut butter, tears his lips open by hitting his mouth with the microphone, and stabs himself viciously with shattered drumsticks.

Joan Baez: Blessed Are . . . (Vanguard—summer). It doesn’t matter that Joanie does songs by Little Stevie Wonder and Jagger/Richard on this LP because she still makes them sound like Silver Dagger. Damn all dying swans.

Buffy Ste.-Marie (Vanguard—Sept.). Buffy is a professional Indian. She also sings badly.

Crosby, Stills, Nash & Young (Atlantic—Sept.). The group has fragmented frequently, with each member doing his own solo albums.

Bee Gees (Atlantic—Sept.). Slick Beatles? Yes, slick Beatles.

Led Zeppelin (Atlantic—Sept.). The death of rock and roll.

Jerry Butler (Mercury—Nov.). Rhythm and blues. Good voice, but he’s been suffering from bad material and overproduction.

Jimi Hendrix (Warner Bros.—Aug.). Since his previous album, Cry of Love, was posthumous, this must be odds and ends from his last sessions or rejects from earlier albums. Unpromising.

The Grateful Dead (Warner Bros.—Aug.). The Dead have been making a conscious effort to come up with a salable product. Since their only appeal is extra-musical, this has proved disastrous.

Mothers of Invention (Warner Bros.—Aug.). Frank Zappa was always too smart for his audiences. His contempt is no longer entertaining.

Nancy Sinatra & Lee Hazlewood (Warner Bros.—Aug.). Phoney sexiness & phoney country.

Jerry Garcia (Warner Bros.—Sept.). The Dead’s leader has degenerated into a kind of acid Rod McKuen.

Tony Joe White (Warner Bros.—Sept.). Tony Joe does heavy, bluesy rock, but he only knows a couple of chords and runs.

Alice Cooper (Warner Bros.—Sept.). Posthumous rock by four guys in drag.

The Supremes (Motown—Sept.). Without Diana Ross, the vocals are merely pleasant.

The Temptations (Motown—Sept.). Waning.

 

Posted by Martin Schneider | Leave a comment
The Clash play ‘Safe European Home’ in newly unearthed live footage
02.07.2014
05:37 am

Topics:
Activism
Music
Punk

Tags:
The Clash


 
Web series The Big Fun Show, a project of One Billion Acts of Peace, has unearthed some unreleased footage of The Clash performing at Detroit USA’s Motor City Roller Rink in 1980. They’ve posted “Safe European Home,” from the LP Give Em Enough Rope, with the promise that if the video gets 100,000 views, they’ll post more of the show.

The video has been up for a few days now, and the hit count is still well below 5,000, so maybe we could give them a little hand? One Billion Acts of Peace is a charitable organization worth knowing about. A project of Peace Jam, it’s “an international global citizen’s movement led by thirteen Nobel Peace Laureates and designed to tackle the toughest issues facing humanity.”

Between now and December 31, 2018, average citizens around the world will work together to create one billion high quality projects addressing the root causes of the most important problems facing our planet—crucial areas like rights for women and children, access to clean water for all, and alleviating extreme poverty.

Additional information on the project is available at their web site. But OK, optimism, social change and Nobel Peace Prizes are all maybe a little hippie-ish for some of you, and you clicked on this to see The Clash. I’ll not keep you waiting.
 

Posted by Ron Kretsch | Leave a comment
Google slaps ‘reported phishing’ warning on idiotic Republican scam website


This is what you get when you try to visit contribute.sinkforcongress2014.com

After the word got out earlier this week about their pathetic scheme to mimic Democratic congressional candidates’ campaign websites in a not-so-clever effort to trick would-be Democrat campaign contributors into donating to the GOP instead, the National Republican Congressional Committee has had to start offering refunds to donors who’d been misled by their scammy sites (and true to form, they are hilariously impugning the honesty, in advance, of anyone who’d dare request a refund! They simply cannot help themselves!)

Did they not think this would end poorly for them?

You have to wonder who it was that approved such a thing and WHAT they thought they would gain from doing something like this? You also have to wonder how many Democrats were fooled and gave money to the NRCC and IF IT WAS WORTH IT for the Republicans to look like total dickheads to just about everyone for perpetrating such a goofy move. No matter what your political affiliation might be, this simply makes them appear incredibly stupid, delusionally incompetent, and there very well could prove to be legal ramifications if this activity would be considered fraudulent in the states where it occurred.

To add insult to this bumbling self-inflicted injury, Google has put a “reported phishing” warning on at least one of the Republican scam websites (the one targeting Alex Sink of Florida.)

And of course this information is now being spread across the Internet. Nice work there, Republicans!

Previously on Dangerous Minds:
If you can’t beat ‘em, cheat ‘em: Republicans pull shenanigans to confuse voters—then brag about it

H/T Daily Kos

Posted by Richard Metzger | Leave a comment
Shooting on movie adaptation of J.G. Ballard’s ‘High-Rise’ to begin in June
02.06.2014
03:28 pm

Topics:
Literature
Movies

Tags:
J.G. Ballard

High-Rise
 
Late last year I was casting about for a good book to read, and I inquired on Facebook which J.G. Ballard book is the right one to start with. (I read The Atrocity Exhibition many years ago.) DM’s own Tara McGinley weighed in with alacrity, urging me to try High-Rise, which I directly went and did. I found it just tremendous, and I kept running into Ballardian resonances of the novel while I was reading it, news stories and the like. It’s a marvelous, anomic novel, counterintuitive in all its surface premises and yet emotionally and psychologically true every step of the way.

According to Wikipedia, “For over 30 years, British producer Jeremy Thomas has wanted to do a film version of the book. It was nearly made in the late 1970s, with Nicolas Roeg directing from a script by Paul Mayersberg.” Instead Thomas ended up producing David Cronenberg’s 1996 adaptation of Ballard’s Crash instead.

Ballard fans can rejoice (or cringe) at the news that a high-profile version of High-Rise is officially in the works. Director Ben Wheatley, whose last two efforts were A Field in England and the pitch black comedy Sightseers, today tweeted that principal photography on High-Rise is now set to begin in June. Wheatley is also directing the first two episodes of the upcoming season of Doctor Who, so he is being entrusted to introducing audiences to Peter Capaldi in the main role.

Starring as Dr. Robert Laing in High-Rise is Tom Hiddleston, best known for playing Loki in the Avengers movie franchise. This adaptation of High-Rise is likewise being produced by Jeremy Thomas.
 

 
High-Rise is a formidable challenge for any director, and we’ll just have to wait and see how well it comes out. Certainly, if we can judge by the poster art, we have substantial reason for optimism.

Here’s a peculiar “adaptation” of High-Rise by Mike Bonsall executed in Google SketchUp:
 

 
via Den of Geek

Posted by Martin Schneider | Leave a comment
Live Dead: Wild footage of legendary Grateful Dead set at the ‘Honky Château’ in France, 1971
02.06.2014
02:33 pm

Topics:
Music

Tags:
Grateful Dead


Jerry Garcia at Château d’Hérouville, photo (c) Rosie McGee

Château d’Hérouville is a residential recording studio in Hérouville, France made famous by Elton John, who recorded three albums at the studios, (Honky Château, Don’t Shoot Me I’m Only The Piano Player and Goodbye Yellowbrick Road).  Marc Bolan, Gong, David Bowie, Pink Floyd, Bad Company, Iggy Pop, Fleetwood Mac… there is a long, long list of groups who have recorded there. It was once home to Chopin and Vincent van Gogh apparently painted part of the building.

The Grateful Dead did not record in the famous studio, per se, but they did perform a locally legendary impromptu gig there on June 21, 1971, as Jerry Garcia explained to Rolling Stone:

We went over there to do a big festival, a free festival they were gonna have, but the festival was rained out. It flooded. We stayed at this little chateau which is owned by a film score composer who has a 16-track recording studio built into the chateau, and this is a chateau that Chopin once lived in; really old, just delightful, out in the country near the town of Auvers-sur-Oise, which is where Vincent van Gogh is buried.

We were there with nothing to do: France, a 16-track recording studio upstairs, all our gear, ready to play, and nothing to do. So, we decided to play at the chateau itself, out in the back, in the grass, with a swimming pool, just play into the hills. We didn’t even play to hippies, we played to a handful of townspeople in Auvers. We played and the people came — the chief of police, the fire department, just everybody. It was an event and everybody just had a hell of a time — got drunk, fell in the pool. It was great.

In The Dead Book: A Social History Of The Grateful Dead, Hank Harrison (Courtney Love’s estranged father), briefly a manager of the group, wrote:

The Dead started to play just before the sky got dark, but their entire set was illuminated by bright lights from the Paris socialized television station Link Two, which rebroadcast the event the next week. Their film technique was flawless, as one would expect from a French film team; the camera people were completely unobtrusive on the musicians; the lights bugged Phil a little. Pig Pen just barely recovered in time to sing after downing his two bottles of duty free Wild Turkey… Weir was in fine primal scream voice, and Garcia settled into his trancelike lassitude from which emanates the famous electronic genius that is particularly his.

They played for three hours, and during this time the workers and the fire department and little children lit hundreds of candles and placed them around the pool as if it were a religious shrine… a Lourdes or place of healing waters. As the party progressed, the candles were extinguished by the bodies of of various drunken celebrants being thrown in the pool by other drunken celebrants. The Dead played louder and louder; the locals had never heard anything like it before and they were delirious.

Some parts of the Grateful Dead’s show at Hérouville were broadcast by ORTF on the Pop 2 TV show on July 24, 1971. A second portion from the set was broadcast on November 27, 1971. The video below is from a bootleg compilation of those two broadcasts that’s been going around for the past few years on Dime a Dozen and other torrent trackers. You can listen to the entire set (audio only) here.
 

 
Previously on Dangerous Minds:
If you think you hate the Grateful Dead, give ‘Terrapin Station’ 16 minutes of your time

Posted by Richard Metzger | Leave a comment
Mr ‘96 Tears’: Question Mark from garage punk legends ? & the Mysterians, this week on The Pharmacy
02.06.2014
12:33 pm

Topics:
Music
Pop Culture

Tags:
The Pharmacy
Question Mark


 
Gregg Foreman’s radio program, The Pharmacy, is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

Mr “96 Tears” himself, Question Mark from the legendary ? &  the Mysterians joins Gregg this week. Topics include:

—Why Question Mark wanted to get on American Bandstand to show the world how to dance.

—How the band almost lost their first acetates when the engineer was shot in the head in a barroom brawl.

—The creation of “96 Tears” and translating the sound in his head to the sound of the Mysterians.


 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.
 
Setlist

Mr.Pharmacist - The Fall
Intro Rx - Rare Birds / Vanishing Point
Goodbye , So Long - Ike & Tina Turner
Thunderbird ESQ - The Gories
Intro 2 /We Had Love - Rx / The Scientists
Question Mark Interview Part One
Cheree(Suicide Cover) - ? & the Mysterians
Sur La Planche - La Femme
You Gonna Make Me Cry - O.v Wright
Wind Blows Your Hair - The Seeds
Intro 3 - Negativland - Rx / NEU!
Question Mark Interview Part Two
Hollow Eyes - Red Lorry Yellow Lorry
Just What You’ll Get - John’s Children
Snatch it Back and Hold it - Junior Wells
Sex Beat - The Gun Club
The Nail Will Burn - Loop
Sometimes - Bessie Jones
Intro 4 - Java - Rx / Augustus Pablo
Question Mark Interview Part Three
96 Tears - ? & the Mysterians
In the Dark I See - The Underground Youth
The Old Man’s Back Again - Scott Walker
Intro 5 - Fuzz Wah - Rx / Fuzz Wah
 

 
You can download the entire show here.

Below, ? & the Mysterians lip-syncing along to their biggest hit “96 Tears” on a local Detroit TV program in 1966:

Posted by Tara McGinley | Leave a comment
Post Post-Modern Man: DEVO’s Mark Mothersbaugh plans massive fine art retrospective
02.06.2014
09:24 am

Topics:
Art
Music

Tags:
DEVO
Mark Mothersbaugh

Love Is For the Birds, Baby!
Mark Mothersbaugh, “Love Is For the Birds, Baby!”
 
Mark Mothersbaugh’s work in DEVO (not that he did it alone) has often seemed like an extension of pop art into the commercial realm. DEVO’s “exhibitons” were albums, their “retrospectives” were compilations, and for a while there, their “museum” was effectively MTV. Pop Art 2.0, let’s call it: every bit of cover art or promotional gimcrackery seemed like a new Roy Lichtenstein with a political edge, as befitted a bunch of arty freethinkers from the cultural wilderness (or is it?) of northern Ohio. DEVO famously had a concept, and they fleshed it out with all manner of bold, cartoonish (yet strangely disturbed) pop paraphernalia.

Thus it’s no surprise that Mothersbaugh, at least, has been spending his free time churning out all manner of “paintings, prints, photography, rugs, sculpture and odd inventions like an instrument that plays bird calls” including “30,000 informal, post-card sized drawings that Mothersbaugh, 63, produced during decades of obsessive, mostly private, art-making.”
 
Mothersbaugh
Mark Mothersbaugh, “1932 Matchmaking Stats, Pt. 1”
 
Mothersbaugh
Mark Mothersbaugh, “Robot Loses His Head”
 
It sounds like Adam Lerner, curator of the upcoming show “Mark Mothersbaugh: Myopia” at the Museum of Contemporary Art Denver has his work cut out for him. Fortunately the show will cover all three floors of the MCA. “A lot of these things, it will be the first time any human other than me ever looked at it,” Mothersbaugh said.

The dates for the exhibition are October 31, 2014 to February 15, 2015. If you happen not to live in the Mountain Time Zone, fear not: six prominent museums have already booked the show after its time in Denver.
 
DEVO, “Post Post-Modern Man”:

 
“WB Mobile Art Spew Gallery featuring Mark Mothersbaugh”:

Posted by Martin Schneider | Leave a comment
A visit with Truman Capote
02.06.2014
09:01 am

Topics:
Literature
Movies

Tags:
Truman Capote
In Cold Blood

etopacmantruclutt.jpg
 
Truman Capote said he started writing In Cold Blood to test out his theory that a writer could produce a work of art out of factual material.

“This new adventure of mine, the experiment, is what I call ‘the non-fiction novel.’

“A non-fiction novel being a genre brought about by the synthesis of journalism with fictional technique. In other words, the end result of it being this new book of mine, In Cold Blood.

In Cold Blood is the story about the murder of a family, in a small town in western Kansas. A Mr. Herbert W. Clutter, and his wife, Bonnie Clutter, and their two teenage children. This was an especially strange and brutal murder in 1959, in which the family were shot to death for no apparent cause or motive whatever.”

His experiment was a success, and made Capote perhaps the best known novelist in the world. But it came at very high price, for Capote was never to equal the quality of the writing he achieved with In Cold Blood ever again.

Produced, filmed and edited by Davis Maysles, Albert Maysles and Charlotte Zwerin, this brief film A Visit With Truman Capote (aka With Love From Truman) captures the author at his Long Island hideaway, during an interview with Karen Gundersen from Newsweek magazine.
 

 
Part 2 after the jump…

Posted by Paul Gallagher | Leave a comment
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