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French Fry Pizza
11:12 am



I’d be a damned liar if I said I wouldn’t eat the hell out of this “French Fry Pizza” concocted by Endo over at Foodinese. I’d hate myself after eating it, for sure, and my arteries will probably hate me, but still, c’mon it’s… French Fry Pizza! You gotta at least try it once, right?

Using cheese as a glue to hold the fries together I was able to create a crust and build a pizza on top of it.  As an added bonus for those of you who want to be health conscience while eating a pizza on top of your french fries, it’s gluten free!

Throughout the article Endo stresses it’s “GLUTEN FREE!” So all you gluten-free folks out there have no excuses to not partake in this artery-clogging mess.

Here’s the recipe as follows:


2lb Bag of Frozen French Fries


2 Cups of Shredded Mozzarella Cheese – Divided

¾ Cup Pizza Sauce

Pizza Sauce:

Makes about 4 ½ cups.


1 (15 oz) Can Tomato Sauce

1 (6 oz ) Can Tomato Paste

1 ½ Teaspoons Basil

1 ½ Teaspoons Oregano

2 Teaspoons Garlic

Pinch Red Chili Flakes

Salt and Pepper

Toppings – Optional

15 Slices Pepperoni (1 inch)

The rest of the detailed instructions and procedures can be read at Foodinese.

h/t Nerdcore

Posted by Tara McGinley | Leave a comment
She’s got Betty Davis Eyes: Rare interview of funk goddess giving demure interview to flirty DJ
10:25 am



Betty Davis cares not for your notions of respectability
It really is an injustice that Betty Davis (born Betty Mabry) is perceived primarily as Miles Davis’ “muse”—that’s her photo on his Filles De Kilimanjaro album and that record’s “Mademoiselle Mabry” is a tribute to Betty, obviously—rather than an artist in her own right. This is not to say she didn’t have a huge hand in the trajectory of his work. Bitches Brew would not have been Bitches Brew had she not introduced Miles to the music of JImi Hendrix and Sly Stone, and she says that she convinced him to change the original title from “Witches Brew.”

After her divorce from Miles, Betty recorded two albums in the early 70s with crack backing musicians like Larry Graham, Merl Saunders (Grateful Dead, Bonnie Raitt), Neal Schon (Santana/Journey) and members of Graham Central Station, Tower of Power, even the young Pointer Sisters singing back-up. Davis was the original “nasty gal” creating the blueprint for suggestive “outrageousness” well-trod by today’s female chart toppers.

Her 1973 self-titled debut, for example, featured “Your Man My Man,” a wholesome little ditty about… sharing:

He’s your man, my man
it’s all the same ‘cause you need him
you please him when he’s there
I free him, I release him, when he’s here.


The follow-up, 1974’s They Say I’m Different, featured her as a gorgeous afro’d Ziggy Stardust-type on the album cover and the trademark slinky funk sound and lascivious lyrical content does not disappoint. Her third album, aptly named Nasty Gal, is also amazing, but none of Betty’s records ever really got the credit they deserved, and her fourth record, Is It Love or Desire? was shelved until 2009 (although this material was bootlegged twice.)

In his autobiography, her ex-husband wrote:

“If Betty were singing today she would be something like Madonna, something like Prince only as a woman.”


There’s very little press record of Betty’s career floating around—her highly sexual music and live shows earned her boycotts and radio censorship from the NAACP and church leaders. She didn’t get a lot of public relations opportunities, and I highly recommend you listen to the below track, “If I’m In Luck I Might Get Picked Up” to understand why—it makes “Your Man My Man” sound downright subtle:

I said if I’m in luck I just might get picked up
I said I’m vampin’ trampin’ you can call it what you wanna
I said I’m wigglin’ my fanny (“Ooooh”)
I want you dancing I’m a movin’ it movin’ it (“Man, I’ma take her home, man”)
Try not to pass out

The parentheticals are the voices of her very appreciative male counterparts, by the way.

In stark contrast to her delightfully dirty persona is the audio below, from a 1974 radio interview promoting They Say I’m Different, one of the rare documents of her career you can find on the Internet. Davis is warm and charming, but… modest here. As the DJ attempts to draw out a little bit of her infamous sexual persona, she’s not having it, keeping decorous manners right up until she drops a coy, “I love to be loved… by a lot of people.” (There is a more recent interview with Betty Davis from The Sound of Young America podcast in 2009)

Posted by Amber Frost | Leave a comment
Can, Tangerine Dream, Amon Düül II, and so many more on ‘The German Rock Night’
07:18 am



In 2006, a six-part Rockpalast documentary on German rock music aired on German TV. It was called “Kraut und Rüben,” a title which literally means “cabbage and beets,” but is idiomatic for “higgledy-piggledy,” “topsy-turvy,” etc. If I could speak German for shit, I might be able to tell whether it was any good. It’s probably incredible—the performance footage is terrific, but unfortunately, it’s all truncated, or talked-over by interviewees. This resulted in an outpouring of viewer interest in seeing the unexpurgated performances:

After the broadcast of “Kraut und Rüben,” the Rockpalast documentary about German rock music, viewers would frequently ask when they would get to see the full-length concerts of which only short snippets had been televised. Before Rockpalast, full-length concerts were shown only in exceptional cases, but we have indeed found so many more or less complete clips that we decided to show the ten hours of footage over two evenings.

They cover the full range of the groups that were introduced in the documentary, from Scorpions to Tangerine Dream, Kraftwerk, Eloy, Ton Steine Scherben, Can, Guru Guru, all the way to Amon Düül II. In addition some rarer clips that could not be incorporated in the doc will be shown. The majority of the material has not been seen since the original telecast. We hope that the umbrella term “Krautrock” can once and for all be buried as useless. At the same time, the two nights provide the beginning of a loose series, in which the lost treasures of German television archives could be made available again.


Amon Düül II

Guru Guru

So, for two consecutive Sunday nights, WDR TV aired historical performance footage of German rock bands pretty much nonstop. Plenty of important Krautrock bands are included (say what you will, Rockpalast, that term simply is not useless), and there are gems from bands purveying more standard-issue rock ’n’ roll fare. In the first night alone, there were four songs from Amon Düül II, five from Can, and a television appearance by Ralf Hütter and Florian Schneider’s pre-Kraftwerk band Organisation. Oh, and the Guru Guru stuff should not be missed.

What follows is only the first night. For the second, see this YouTube playlist. If you carve out enough time to make it all the way through this (and if you’re able to, I think you should, as chances seem really high that you might see something amazing of which you’ve never heard before), I’m certain you’ll get a grin out of the back-to-back juxtaposition in the third video of those binary opposites of German rock, Kraftwerk and Scorpions.

Hours of Krautrock German music after the jump…

Posted by Ron Kretsch | Leave a comment
This isn’t a ‘shred’ video: Hear Courtney Love’s horrible isolated vocal and guitar track
06:55 am



Here’s Courtney Love performing “Celebrity Skin” in 2010 live at Don Hill’s in NYC and holy WOW WOW…. this is just truly awful. Love’s vocals aren’t the worst here, but that guitar! Was it not tuned properly before she played? Or does she just not even know how to make a bar chord?

According to YouTube uploader J.M. Ladd:

“I was hired through the venue to record this show (including many others throughout that week) and was then left standing with a hard drive and an invoice no one seemed to want.”

He then goes on to write:

“To address the most obvious, inevitable question that I will be asked… this is not fake. Whether you think she’s the worst or this just makes her all the more “punk rock” is for you to decide. I’m merely presenting the facts as they are. Make of them what you will.”

She’s no Linda McCartney that Courtney, eh?

via Noisey

Posted by Tara McGinley | Leave a comment
‘Say hello to my little friend’: Behind-the-scenes of ‘Scarface’
05:55 am



Actor Paul Muni so immersed himself in his film roles that he often continued to remain in character long after a scene had been shot. Director Howard Hawks noticed this when Muni played notorious gangster Antonio “Tony” Camonte in the original version of Scarface in 1932. It was said that Muni became possessed by the character and his whole demeanour changed—in particular his eyes seemed utterly deranged. Al Pacino had heard the stories of Muni’s great acting talent and in the early 1980s he attended a screening of Scarface at the Tiffany Theater in Los Angeles. The film and Muni’s performance blew him away, and Pacino contacted his agent, producer Martin Bregman, to suggest they collaborate on a remake of the movie.

Pacino had an idea of keeping the film in period 1930s, but after discussions with first choice director Sidney Lumet it was decided to set the film in the present day and to tell the story of a Cuban exile, Tony Montana, and his rise and fall as a violent drug lord. Lumet wanted to use the film as a political attack on the US government’s involvement in South America, and the reasons for the massive influx of cocaine into the country. Bregman disagreed and Lumet quit the project. Brian De Palma was then chosen to direct the film with Oliver Stone as screenwriter. At that time, Stone was apparently struggling with his own cocaine problems, and chose to write the screenplay in Paris, later explaining:

I don’t think cocaine helps writing. It’s very destructive to the brain cells.

Tell us something we don’t know Oliver Stoned! Solely fixed on writing, Stone delivered a hefty three-hour movie script, which De Palma turned into one of cinema’s greatest gangster movies. When the film was released, not everyone agreed as the majority of movie critics denounced Scarface as being a morally bankrupt, overblown B-movie, and damned the film for its excessive bad language (the word “fuck” was used 226 times) and its gratuitous violence. However, most of this violence, in particular the notorious chainsaw scene, is suggested rather than seen, and while most critics headed for the exits, the likes of Roger Ebert and Vincent Canby praised the film.

The negative reviews had little effect on the audiences and the film made a profit. Over the years, the “ayes” were proven right, as in 2008 Scarface was included by the American Film Institute as one of the ten greatest gangster movies ever made.
Director Brian De Palma prepares to shoot a scene with Al Pacino as Tony Montana.
De Palma with cinematographer John A. Alonzo.
De Palma, Alonzo and Pacino setting up shot.
Though set in Miami most of the movie was filmed in Los Angeles, as the Miami Tourist Board feared the depiction of the underworld of drugs and gangsters would deter tourists from visiting the city.
Pacino as Montana pulls the trigger.
More from Tony Montana after the jump…

Posted by Paul Gallagher | Leave a comment
The Replacements censored on live awards show (but get the last laugh), 1989
05:46 am



The Replacements
The collective hearts of Replacements fans everywhere have been aflutter since the announcement that the reunited band would be returning to the small screen, as they are due to appear on The Tonight Show with Jimmy Fallon September 9th. Naturally, there’s been much talk of their infamous Saturday Night Live performance in 1986, when they got drunk, stumbled around, and generally behaved like one would expect the Replacements to have behaved. Singer/guitarist Paul Westerberg even committed the ultimate TV sin, shouting the F-word during “Bastards of Young.” It was awesome. SNL producer Lorne Michaels was, of course, not amused, and reportedly banned the group for life from 30 Rock (The Tonight Show is filmed at the same address and Michaels is the executive producer).

The Replacements only performed in front of television cameras a handful of times, and while there’s no topping the SNL gig, their appearance on a long-forgotten awards show in 1989 is a close second.

ABC aired the International Rock Awards live on May 31st, 1989. Lou Reed, Living Colour (who took home the “Newcomer of the Year” prize), Keith Richards (there to be presented with a “Living Legend” award), and David Bowie’s ill-fated super-group, Tin Machine, all performed at the event. Winners were handed a bronze “Elvis” award.

The reason I was plopped in front of the family television that night was to see my favorite band, the Replacements. I had watched a crappy videotaped copy of the SNL show hundreds of times and was ready for anything. I was excited, to say the least.

The lights lower and an announcer says, “We apologize; here the are: The Replacements.” Wow, a more hilarious (and ultimately fortuitous) opening couldn’t have been imagined. It’s already a classic clip and the band hasn’t played a note! But then “Talent Show” begins and Westerberg walks up to the mic and manages to one up their introduction: “What the hell are we doing here?” And they’re off!

“Talent Show,” from their then most recent album Don’t Tell a Soul, couldn’t have been a better choice for this event. The song—about feeling vulnerable and scared to get up on stage only to be judged by and against your peers—suddenly becomes more literal than intended. The band were booked on a silly awards show with hip young acts and rock royalty, and the Replacements, a group of outsiders and punks at heart, perversely thrived on these sorts of moments. Instead of rising to the occasion and doing their best to “win,” they instead become the little engine that won’t.

But that’s not to say what transpired wasn’t great. Heck, any Replacements fan knows that half the fun is watching the band gleefully launch themselves off the stage ledge, flipping the bird to showbiz protocol. Bassist Tommy Stinson can barely keep from laughing throughout the performance and Westerberg is at least a couple of sheets to the wind—it’s rough and raucous for sure, but isn’t that’s the way its supposed to be?

Before the show, they were told they needed to change the line, “We’re feeling good from the pills we took.” Well, fittingly, Westerberg did no such thing, and the censors were obviously ready for it, as the tape goes silent during that section of the song. What the censors at ABC didn’t anticipate was this: Near the conclusion of “Talent Show” the lyrics address the time when the band hits the stage and there’s no retreating: “It’s too late to turn back, here we go” is repeated twice on the album version, but here Westerberg has changed the line to “It’s too late to take pills, here we go”—ha! The censors missed it and they’ve pissed everyone off again! To add insult, the line is sung three times.

Paul Westerberg
The clip ends with a shot of movie star (and big ‘Mats fan) Matt Dillon enthusiastically whistling and clapping in the audience. Perfect.

I imagine the Tonight Show appearance will be a more orderly affair. Heck, it’s been 25 years since the International Rock Awards, the last time they were seen by a national television audience. People mature. Another famous admirer of the group, Keith Richards, will also be on hand (to promote his children’s book!), so the Replacements will surely be on their best behavior. Or not.

Mr. Michaels just might have to institute another lifetime ban. Fingers-crossed!

Previously on Dangerous Minds:
‘Color Me Impressed’: Listen to The Replacements’ 1st show in 22 years!

Posted by Bart Bealmear | Leave a comment
Beautiful Colors: Early posters of Duran Duran
01:55 pm



Andrew Golub has been collecting Duran Duran memorabilia for a very long time—well over 30 years—and has probably (definitely?) amassed more, well stuff relating to their career than they’ve even got themselves. It’s hard to keep track of posters, lunch boxes and promotional key rings when you’re off gallivanting around the world shooting big budget music videos with supermodels on yachts made of pure cocaine, isn’t it? Careless memories? Thanks to Andy’s archival efforts—the results that can be see in his book, Beautiful Colors: The Posters of Duran Duran, gallery exhibits he’s mounted and his website—Duran Duran can relax, he’s got them covered.

Duran Duran emerged at the height of the New Romantic movement. Inspired by the escapist fantasies of Bowie and Roxy Music, and motivated by the do-it-yourself credo of bands like the Sex Pistols and The Clash, for Duran the scene was a natural fit. As Nick Rhodes would reflect many years later in 1998, talking to Boyz magazine, “Of course [New Romanticism] was camp and over the top, but we felt very comfortable with that. It seemed very natural to put something forward that had a great visual aspect. It grew out of glam and punk, both of which were incredibly stylish movements.”

—Text above and below from Beautiful Colors: The Posters of Duran Duran by Andrew Golub. Here’s a selection of posters from the group’s early years.


On September 12, 1981, Duran Duran played a show at Amsterdam’s most famous concert venue, Paradiso. The poster below is among Paradiso’s collection of over 1000 silkscreens designed by Martin Kaye. As the concert hall’s in-house designer from 1972 to 1983, Kaye perfected a signature style of bright, attention-grabbing colors and unique lettering that helped define Paradiso’s reputable image for many years.



This poster advertises a Manchester gig on the band’s first UK tour. The artwork incorporates elements from the ‘Planet Earth’ 7” single sleeve, designed by Malcolm Garrett, who engineered Duran Duran’s graphic work and packaging up until 1985. Garrett’s close attention to detail and the importance he placed on interconnectivity between record sleeves, advertisements, and merchandise would play a huge part in realizing the band’s visual identity: “I was looking to have a kind of consistency, so that everything that might come out with the words ‘Duran Duran’ on it felt like it had come from the same family, the same visual floor.” Helping to usher in postmodernism, Garrett’s use of fonts was a conscious effort to create something new by looking back: “There was a feel in the graphics of the early ‘60s that they were really futuristic. So, if you like, I was looking backwards to move forwards. It felt right and it felt contemporary—but it also felt timeless.”



In November 1980, an English singer-songwriter and actress named Hazel O’Connor had just starred in a critically acclaimed film called Breaking Glass. She also penned the film’s soundtrack and was about to tour the UK in support of her album. For an opening act, O’Connor enlisted a then-unknown group from Birmingham called Duran Duran. Michael Berrow, one of the band’s managers, sold his flat to purchase the support slot on the tour, taking advantage of the media interest O’Connor had generated from her film. Duran Duran enjoyed valuable exposure on the Megahype tour, earning 10 GBP a week and spending nights sleeping together in the back of a van. On the road, the band got an opportunity to hone its live performance and test a brief catalog of material with large audiences. Requests for encore performances and emphatic approval from females in the audience gave Duran a first glimpse of things to come.

More early Duran Duran posters plus some very early videos of the band, after the jump…

Posted by Richard Metzger | Leave a comment
The Beatles play for 18 people in Aldershot, 1961
01:27 pm



Photos of the 18 damned lucky buggers who got to see The Beatles play at the Palais Ballroom, Aldershot, on December 9th, 1961. The Beatles’ then agent, Sam Leach, effed-up and didn’t advertise the show properly—hence the lousy turnout of less than two dozen people in attendance. Sam Leach was replaced by Brian Epstein as their manager after the Aldershot disaster.

However, according to Beatles’ Source, Sam Leach didn’t screw up, but, “The local newspaper, Aldershot News, neglected to feature Sam Leach’s advertisement for the show.” If this is to be believed, you really can’t blame Leach.

Truth be told, they all look like they’re having a good time regardless of the poor turnout.




More after the jump…

Posted by Tara McGinley | Leave a comment
‘2001: A Space Odyssey’ comic in fantastic Howard Johnson’s ‘Children’s Menu’
10:44 am



Only the most observant of Kubrick-aholics will even remember the Howard Johnson’s reference in his landmark 1968 movie 2001: A Space Odyssey, but it’s right there, around the 30th minute. Dr. Heywood Floyd, played with purposeful blandness by William Sylvester, finds himself in a veritable barrage of product placement following the legendary Johann Strauss “Blue Danube” slam cut from the apes’ bone to the graceful, silent spacecraft. Dr. Floyd is flying in a Pan Am vehicle, we’re told, and over the next few minutes, at the space station, he walks through a Hilton hotel lobby, places a call to his wife and daughter using a Ma Bell videophone, and yes, walks by a “Howard Johnson’s Earthlight Room.”

As the beneficiary of a truly special promotional opportunity, Howard Johnson’s did their part, releasing a combined comic book/children’s menu depicting a visit to the premiere of the movie by two youngsters—well, the title actually tells it pretty well: “Debbie and Robin Go to a Movie Premiere with Their Parents.” Neat-O! Given that in the movie (SPOILER ALERT) a computer bloodlessly kills off several members of the crew of the U.S.S. Discovery One and that the movie ends in a psychedelic and well-nigh incomprehensible farrago of colorful effects that Mad Magazine insisted was a result of David Bowman (Keir Dullea) crashing into “the brand new 105-story Jupiter Museum of Op Art,” it’s understandable that the comic focuses on the gee-whiz feeling conveyed in the middle chunk of the movie, and glosses over the ending—the two comic panels in which the family emerges from the theater discussing “the way the mystery was solved!” are, given the downbeat goings-on in the movie, perfectly apposite and false in the only way it can be. The synopsis ignores one of the movie’s most noteworthy aspects outright, by which I mean the apes of the opening sequence. But note that the comic’s discussion of the movie—hilariously—does not gloss over Hal’s murders, as evidenced by the above panel.

What we see here is the old Hollywood promotional methods associated with Mary Poppins, perhaps, or Cleopatra attempting to deal with the totally new, technologically sophisticated, and thematically bleak mode of filmmaking. Would you be able to create credibly cute kiddie characters who gush about “The Dawn of Man” and what lies “Beyond the Infinite”? I sure can’t.   







More great cartoon panels and a video clip, all after the jump…..

Posted by Martin Schneider | Leave a comment
Oh ‘Kitty’ You’re So Fine?: Toni Basil’s 1982 smash first released by UK band in 1979
10:39 am

One-hit wonders


Mickey 45 sleeve (US)
It’s all about the beat. It doesn’t take more than a moment after pressing play on one of the most famous songs of the 1980s before just about anyone who has even a toe in the pool of pop culture is able to recognize Toni Basil’s “Mickey.” But relatively few realize it had a former life under another name and that Basil played such a large role in its success.

Smash and Grab cover
The British band Racey were discovered by producer Mickie Most in 1978, and their second 45, “Lay Your Love On Me,” was their first hit. Written by Mike Chapman and Nicky Chinn, the Chapman-Chinn partnership had already proved extremely successful, and the duo were known for penning strong and winning material for a number of acts, most notably Sweet (“Ballroom Blitz,” “Blockbuster,” etc.). Racey’s debut LP, Smash and Grab, was released in 1979 and though the hits continued, they failed to crack the coveted U.S. market. Smash and Grab featured a number of Chapman-Chinn songs, including a catchy number called “Kitty,” which, for some reason, wasn’t released as single.

Toni Basil was a show biz veteran when “Mickey” began scaling the charts in the early 1980s. Her first single came out in 1966 and she appeared in a few movies, including Easy Rider and dancing with Davy Jones in the Monkees’ Head. She also had directed videos, but was primarily known in the industry as a choreographer.
Word of Mouth cover
“Mickey” appeared on her Word of Mouth LP and was released as a single in 1981. Though it took a while to take off, by late 1982 it was a smash, going all the way to #1 in the states. It was one of the first songs to benefit from having a popular video—which Basil choreographed, produced and directed—on MTV.

Basil changed the title of the track to fit her gender, and chose Mickey as it roughly rhymes with Kitty. She also wrote the “Oh Mickey you’re so fine/You’re so fine you blow my mind” hook—a hook so massive that it can’t be overlooked when considering the song’s popularity.

I was always a cheerleader and I remember the echoing in the basketball court of cheerleaders, of us, stomping, chanting. I said I would do it if I could put the cheerleader chant on it. The record company asked me not to put the chant on because they were concerned it would ruin the rest of the tune.

There has been much speculation over the years as to what “Mickey” is about. Some believe the song is about Micky Dolenz of the Monkees; others think the song alludes to anal sex! Here’s what Basil had to say on the matter:

It’s not about anything dirty. You change the name from boy to girl and they read anything they want into it! When it’s a guy singing about a girl, it’s a sweet line. But when a girl sings it, it must mean butt fucking!

Oh, Mickey

No matter what anyone might think regarding the lyrics, one thing is certain: Basil essentially took an already appealing pop song and turned it into a #1. It is now considered one of the most iconic songs (and videos) of the entire 1980s. But she received no writing credit, and after 30+ years she claimed she had only earned about $3,000 in royalties from “Mickey.”
Mickey 45
Love it or hate it, Toni Basil’s colossal hit was a pop culture moment in 1982 and refuses to leave our collective consciousness. Long live the beat, I say!


Posted by Bart Bealmear | Leave a comment
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