The Beatles “perform” “Smack My Bitch Up” at Shea Stadium, 1965.
Initially, I thought this video was going to be terrible, but the editing by YouTuber pleaseunhelpme is so damn clever I ended up enjoying the hell out it.
(via KFMW)
Please spread this message far and wide. Everyone in the country should watch this, especially people who watch Fox News...
Hey, dumb people gotta be ministered to, too, you know. Praise Jeebus!
For the life of me, I can’t even figure out what these people think they are doing or how they are benefitting from doing it in any way. What would one gain by engaging in this sort of behavior? Someone with even 3/4 of a brain would feel like an idiot acting like this publicly. If you want even more Todd Bentley madness—and who doesn’t—click here.
Previously on Dangerous Minds:
Rocker chick preacher dreams of Oral Roberts and dancing elephants, then has freak out onstage
Volume One (1978 - 1983)
01 [00:00] Laurie Anderson – “Example #22″ (‘Big Science,’ 1982)
02 [02:48] Delta 5 – “Innocenti” (‘See the Whirl,’ 1981)
03 [04:54] The Go-Go’s – “Automatic” (‘Beauty & The Beat,’ 1981)
04 [07:40] Raincoats – “Red Shoes” (‘Odyshape,’ 1981)
05 [10:28] X – “The Once Over Twice” (‘Wild Gift,’ 1981)
06 [13:01] Flying Lizards – “Her Story” (‘Flying Lizards,’ 1979)
07 [17:17] Jane Hudson – “Mystery Chant” (‘Flesh,’ 1983)
08 [21:00] Crass – “Smother Love” (‘Penis Envy,’ 1981)
09 [22:46] Blondie – “Heart of Glass” (‘Parallel Lines,’ 1978)
10 [27:17] Sonic Youth – “I Dreamed I Dream” (‘Sonic Youth’ EP, 1982)
11 [31:55] Selecter – “On My Radio” (‘Too Much Pressure,’ 1980)
12 [34:54] Marine Girls – “A Place in the Sun” (‘Lazy Ways,’ 1983)
13 [37:26] Lizzy Mercier-Descloux – “Funky Stuff” (‘Mambo Nassau,’ 1981)
14 [41:34] Weekend – “Nostalgia” (‘La Varieté,’ 1982)
[Total Time: 45:18] Download here.
Volume Two (1979 - 1983)
01 [00:00] Family Fodder – “Savoir Faire” (Monkey Banana Kitchen, 1980)
02 [02:23] Au Pairs – “It’s Obvious” (Playing With a Different Sex, 1981)
03 [08:43] Chris & Cosey – “This Is Me” (Heartbeat, 1981)
04 [11:42] Plastics – “Back to Wigtown” (Origato Plastico, 1980)
05 [14:20] Pylon – “Cool” (Cool/Dub 7″, 1979)
06 [17:18] The Slits – “Love und Romance” (Cut, 1979)
07 [19:46] Siouxsie & The Banshees – “Lunar Camel” (Kaleidoscope, 1980)
08 [22:43] The B-52′s – “52 Girls” (The B-52′s, 1979)
09 [26:19] Swamp Children – “Boy” (Little Voices EP, 1981)
10 [29:36] Y Pants – “That’s The Way Boys Are” (Beat It Down, 1982)
11 [32:30] Antena – “Camino Del Sol” (Camino Del Sol, 1982)
12 [36:15] Vivien Goldman – “Launderette” (Launderette 7″, 1981)
13 [39:14] Cocteau Twins – “But I’m Not” (Garlands, 1982)
14 [41:55] Thick Pigeon – “Jess + Bart (Mix)” (Unreleased [Miranda Dali bonus], 1983)
[Total Time: 45:10] Download here.
Volume 3 (1980 - 1983)
01 [00:00] Creatures – “Miss The Girl” (Feast, 1983)
02 [02:27] Eurythmics – “Sing-Sing” (In the Garden, 1981)
03 [06:30] Phew – “Doze” (Phew, 1981)
04 [09:57] E.S.G. – “Moody” (ESG EP, 1981)
05 [12:47] Maximum Joy – “Searching for a Feeling” (Station M.X.J.Y., 1982)
06 [17:01] Los Microwaves – “La Voix Humane” (Life After Breakfast, 1982)
07 [19:44] Ludus – “My Cherry is in Sherry” (The Seduction, 1981)
08 [22:24] Crash Course in Science – “Cardboard Lamb” (Signals from Pier Thirteen EP, 1981)
09 [24:57] Grace Jones – “Nightclubbing” (Nightclubbing, 1981)
10 [29:57] Lydia Lunch – “Gloomy Sunday” (Queen of Siam, 1980)
11 [32:46] Marilyn & The Movie Stars – “So Disgraceful” (So Disgraceful EP, 1982)
12 [36:16] Young Marble Giants – “Music for Evenings” (Colossal Youth, 1980)
13 [39:19] The Pretenders – “Lovers of Today” (Pretenders, 1980)
[Total Time: 45:14] Download here.
A set of 3 female-centric, post-punk mixes from the Musicophilia blog. To quote:
In a way, it seems slightly odd to explore “the role of women in post-punk” because I don’t want to ghettoise or marginalise it–women were so central that there is none of the feeling of searching for exceptions to the rule here: many of the artists featured are Big Names, who’d make any top-40 list of Most Important Post-Punk Bands. However, singling women out only illustrates their centrality: you could play these mixes for a post-punk neophyte, and they would come away with a good sense of the breadth and depth of the fertile era/ethos; but they might not even notice, if you didn’t point it out, that the mix focuses on women.
Thanks to Sian Williams.
The good people at See Of Sound continue to offer stellar rock documentaries over on their Youtube channel and I’m pleased to be able to showcase them here at Dangerous Minds for your viewing pleasure.
Wesley Willis: The Daddy Of Rock ‘n’ Roll directed by Daniel Bitton is a sweet, non-exploitive documentary about the weirdly wonderful, tormented, talented and irascible Wesley Willis who died at the age of 40 in 2003.
God gave me this rock career to keep me busy. Back in 1991 I used to hit old people with folding chairs. Suddenly, I moved to the north side of Chicago, Illinois in 1992. It made a rock star out of me at last. I’m the daddy of rock n roll! I’m Wesley Willis, I’m 36 years old. I play music and do art. I have schizophrenia. I have chronic schizophrenia. Roger Lee Carpenter asked me for $600. He told me that if I dont give him $600, he was going to blow my brains out. Thats when I started hearing demons. I have three demons: Nervewrecker, Heartbreaker, and Meansucker….I yell, I scream, I holler at people on buses.”
Willis recorded several hundred songs that were like mini-explosions in a pop culture fireworks factory. Obscene, hilarious, poignant, surreal and angry, Willis had a unique take on the modern world and there will never be another like him.
Via See Of Sound
The folks over at Exophrine put together this compendium of 150 famous catchphrases from popular movies dating back to 1932.
The entire list of 150 phrases can be found at the Exophrine website.
“Gooble gobble, gooble gobble. We accept her! We accept her!
Gooble gobble, gooble gobble. One of us! One of us!”
Freaks
On February 21, 1965 Malcolm X was assassinated by three members of the Newark chapter of the Nation of Islam led by Elijah Muhammed.
The New York Post published this eye witness account by reporter Thomas Skinner on February 22, 1965:
I Saw Malcolm X Die.
They came early to the Audubon Ballroom, perhaps drawn by the expectation that Malcolm X would name the men who firebombed his home last Sunday, streaming from the bright afternoon sunlight into the darkness of the hall. The crowd was larger than usual for Malcolm’s recent meetings, the 400 filling three-quarters of the wooden folding seats, feet scuffling the worn floor as they waited impatiently, docilely obeying the orders of Malcolm’s guards as they were directed to their seats.
I sat at the left in the 12th row and, as we waited, the man next to me spoke of Malcolm and his followers: “Malcolm is our only hope,” he said. “You can depend on him to tell it like it is and to give Whitey hell.” Then a man was on the stage, saying: “. . . I now give you Brother Malcolm. I hope you will listen, hear, and understand.”
There was a prolonged ovation as Malcolm walked to the rostrum past a piano and a set of drums waiting for an evening dance and stood in front of a mural of a landscape as dingy as the rest of the ballroom. When, after more than a minute the crowd quieted, Malcolm looked up and said, “A salaam aleikum (Peace be unto you)” and the audience replied “Wa aleikum salaam (And unto you, peace).”
Bespectacled and dapper in a dark suit, his sandy hair glinting in the light, Malcolm said: “Brothers and sisters . . .” He was interrupted by two men in the center of the ballroom, about four rows in front and to the right of me, who rose and, arguing with each other, moved forward. Then there was a scuffle in the back of the room and, as I turned my head to see what was happening, I heard Malcolm X say his last words: “Now, now brothers, break it up,” he said softly. “Be cool, be calm.” Then all hell broke loose. There was a muffled sound of shots and Malcolm, blood on his face and chest, fell limply back over the chairs behind him. The two men who had approached him ran to the exit on my side of the room shooting wildly behind them as they ran. I fell to the floor, got up, tried to find a way out of the bedlam. Malcolm’s wife, Betty, was near the stage, screaming in a frenzy. “They’re killing my husband,” she cried. “They’re killing my husband.” Groping my way through the first frightened, then enraged crowd, I heard people screaming, “Don’t let them kill him.” “Kill those bastards.” “Don’t let him get away.” “Get him.”
At an exit I saw some of Malcolm’s men beating with all their strength on two men. Police were trying to fight their way toward the two. The press of the crowd forced me back inside. I saw a half-dozen of Malcolm’s followers bending over his inert body on the stage, their clothes stained with their leader’s blood. Then they put him on a litter while guards kept everyone off the platform. A woman bending over him said: “He’s still alive. His heart’s beating.” Four policemen took the stretcher and carried Malcolm through the crowd and some of the women came out of their shock long enough to moan and one said: “I don’t think he’s going to make it. I hope he doesn’t die, but I don’t think he’s going to make it.”
I spotted a phone booth in the rear of the hall, fumbled for a dime, and called a photographer. Then I sat there, the surprise wearing off a bit, and tried desperately to remember what had happened. One of my first thoughts was that this was the first day of National Brotherhood Week.”
Gil Noble, producer and host of the public affairs program Like It Is, directs and narrates this heartfelt documentary on Malcolm X.
Eunice Kathleen Waymon was born 77 years ago today in the tiny town of Tryon, North Carolina. As Nina Simone, she’d go on to become the most powerful singer/songwriter of the Civil Rights era, blending the rawest aspects of jazz, blues, soul, and gospel into a unique style that buoyed her message of liberation.
As a generation of despots falls in the Middle East and people confront the forces of greed in Wisconsin, it seems apropos to recall what Simone bestowed on the world…
After the jump: Simone repossesses the Beatles’ “Revolution” and Billie Holiday’s “Strange Fruit” in the name of avant-garde freedom blues…
The wonderful Eliane Radigue now composes exclusively for acoustic instruments but here are a couple of her slowly unfolding and deceptively complex electronic works for your listening pleasure along with an utterly charming video portrait. These works, composed entirely on the ARP 2500, the same model that was used in Close Encounters to communicate with the E.T.s, and recorded to a consumer grade reel-to-reel are a mind-clearing delight and will reward the patient listener with layers of subliminal tones and rhythms. Listen carefully.
An excerpt from Adnos 1 (1975)
An excerpt from Σ = a = b = a + b (1969)
A brief visit to the home studio of Eliane Radigue and her beautiful (and keyboard-less!) ARP 2500:
With thanks to Justin Meldal-Johnsen !
Primarily a painter these days, Peter Schnitzler was a prolific documentary filmmaker in the 1960s and 70s. He has directed over 100 films on science, the environment and culture. In this short film, Tom, Schnitzler focuses his camera on a young hippie living in the mellower Southern California of the early 70s.
A groovy artifact from the tail end of the Age Of Aquarius infused with good vibes and a heavy dose of nostalgia. This was made for the National Institute Of Mental Health as a training film. An anthropological study of the hippie in its natural habitat?