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Jean Cocteau’s poem for Orson Welles
04.21.2017
08:16 am

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Heroes
Literature
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Orson Welles by Jean Cocteau (from the frontispiece of André Bazin’s book on Welles)
 
Orson Welles and Jean Cocteau first met at a performance of “Voodoo Macbeth,” the all-black Shakespeare production Welles staged in New York in 1936 with funding from a New Deal program. They remained friends and encouraged one another’s rascality, according to Simon Callow’s account of the 1948 Venice Film Festival in One-Man Band, the third volume of his Welles biography:

He and the perenially provocative Jean Cocteau formed a sort of anti-festival clique, clubbing together to commit what Cocteau rather wonderfully called lèse-festival. [...] Together in Venice, the two men behaved like two very naughty boys. Welles shocked his hosts by ostentatiously walking out of the showing of Visconti’s uncompromisingly severe masterpiece, La Terra Trema.

 

Cocteau and Welles in Venice, 1948
 
Welles was a member of the Comité d’Honneur at Cocteau’s 1949 Festival du Film Maudit, at which both The Magnificent Ambersons and The Lady from Shanghai were screened. (Kenneth Anger’s Fireworks made its European debut there, too, and Artaud’s “Sorcery and Cinema” was first published in the festival catalog.) Cocteau contributed this sketch of his friend to the program for Welles’ The Blessed and the Damned, an evening of two one-act plays that opened in Paris in 1950:

Orson Welles is a giant with the face of a child, a tree filled with birds and shadows, a dog who has broken loose and gone to sleep in the flower bed. An active loafer, a wise madman, a solitary surrounded by humanity, a student who sleeps during the lesson. A strategy: pretending to be drunk to be simply left alone. Seemingly better than anyone else, he can use a nonchalant attitude of real strength, apparently drifting but guided by a half-opened eye. This attitude of an abandoned hulk, and that of a sleepy bear, protects him from the cold fever of the motion picture world. An attitude which made him move on, made him leave Hollywood, and carried him to other lands and other horizons.

Quoting some of the increasingly hysterical praise for Welles printed elsewhere in the program and then in the show’s reviews, Callow wonders: “At least Cocteau had the excuse of being an opium addict; what were these chaps on?”

Keep reading, after the jump…

Posted by Oliver Hall | Leave a comment
Iggy Bop? New music from the godfather of punk on his 70th birthday—with a jazz trio!
04.21.2017
07:39 am

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Music

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James “Iggy Pop” Osterberg is one of a handful of figures who need zero introduction to Dangerous Minds’ readers. Not just a godfather of punk rock in his capacity as vocalist for the Stooges, but a far greater champion and exponent of its aesthetic and ethos than fellow proto-punk figures like Reed, Tyner, and Bowie. His influence was and remains incalculable—TRY to imagine David Johansen, Nick Cave, Johnny Rotten, or Stiv Bators without elements of Iggy’s bratty, combative, and entirely unhinged stage persona to draw from. He’s settled into a marvelous and once-improbable-seeming afterlife as one of music’s great coolest-guy-ever figures, holding a similar status in rock ’n’ roll as Bill Murray does in the film world. But sorry not sorry, Iggy’s cooler.

The date of this posting is Pop’s 70th birthday (happy birthday, sir, and thanks for all the awesome shit), and even at this age, he continues to explore new territory. Today, it’s Dangerous Minds’ pleasure to premiere a new track featuring Pop singing with Jamie Saft, Steve Swallow, and Bobby Previte, the jazz trio behind 2014’s acclaimed album The New Standard, a title they used as a band name for a spell, but it didn’t stick. A traditional piano/bass/drums trio, Saft, Swallow and Previte have earned justified praise for straddling trad and transformative, jumping genres and modalities effortlessly while preserving the ineffably cool feeling of mid-century instrumental jazz, never becoming precious or NPRishly slick—Swallow’s bass playing is brawny and fiercely eclectic, and pianist Saft and drummer Previte are both former Zorn collaborators, so preciousness is likely not part of their vocabularies. Their forthcoming album Loneliness Road features Iggy Pop’s vocal contributions on three tracks, the title track, “Don’t Lose Yourself,” and “Everyday.” It’s the title track we’re sharing today.

Listen after the jump…

Posted by Ron Kretsch | Leave a comment
Steven Spielberg predicts the psycho-delic future of today in 1971’s ‘Los Angeles: A.D. 2017’!
04.20.2017
12:08 pm

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Environment
Media
Movies
Television

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I had heard about this impossible-to-see episode of The Name of the Game—a cutting edge television show that ran for seventy-six 90-minute episodes from 1968 to 1971 on NBC—but until recently, I’d never seen it. The Name of the Game had the biggest budget of any show of its time and a very interesting concept. First of all each episode was, in effect, it’s own semi-standalone 90-minute movie. The series was one of the first of what was then known as a “wheel series.” A wheel series was mostly known as a time slot on TV that two or three different shows shared, alternating each week. With The Name of the Game‘s high concept though, this wheel was alternating between three different stars who were featured in their own episodes/movies. And what a high concept it was!

From Wikipedia:

The series was based on the 1966 television movie Fame Is the Name of the Game, which was directed by Stuart Rosenberg and stars Tony Franciosa. The Name of the Game rotated among three characters working at Howard Publications, a large magazine publishing company. Jeffrey “Jeff” Dillon (Franciosa), a crusading reporter with People magazine (before there was a real-life People magazine); Glenn Howard (Gene Barry, taking over for George Macready, who had originated the role in the earlier film), the sophisticated, well-connected publisher; and Daniel “Dan” Farrell (Robert Stack), the editor of Crime magazine. Serving as a common connection was then-newcomer Susan Saint James as Peggy Maxwell, the editorial assistant for each.

 
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Which brings us to one of the last episodes of the series, LA 2017 aka Los Angeles: AD 2017. This episode was the first long form directing assignment for 24-year-old Steven Spielberg. Written by well-known offbeat author Phillip Wylie (who wrote Gene Barry’s wild episode Love-In At Ground Zero in the first season). Wylie’s work is known to have inspired the characters of Superman, Doc Savage and even Flash Gordon (from his story that was later made into the film When Worlds Collide). In this episode, Glenn Howard is hunted down in a lethally polluted, frightening and sometimes hilarious Los Angeles of the future, where the fascist government is ruled by psychiatrists and the populace has been driven to live in underground bunkers to survive the pollution. Sounds about right, right? This was the sixteenth episode of the third season, and the cast included Barry Sullivan, Edmond O’Brien, and (in a brief cameo) Spielberg’s friend Joan Crawford.
 
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It starts out with a car crash while character Howard (Gene Barry) is seen driving through the mountains recording a memo to the President to do with an important pollution scandal story that will appear in his magazine, and ends up being a dream, which allowed the science-fiction plot to fit into the modern-day setting of the show, though in the final moments he is still contemplating what happened while driving back in his car (cue close-up shot of his tail pipes chugging out 1971 style car exhaust fumes). In the end, we see a stiff bird hanging in a tree… a close encounter of the (dead) bird kind indeed!
 
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Watching this 1971 pop culture prophecy in the actual Los Angeles of 2017 is a total mindblower. Some of it is insanely far-fetched and yet there are a few humdingers that really freak you out and make you think, the most well known being my favorite scene where we are taken into a truly “underground” club with a demented octogenarian acid rock band totally freaking out (or at least trying to):
 

 
More after the jump…

Posted by Howie Pyro | Leave a comment
For when you have more dollars than sense: $2,145 designer purse resembles the blue IKEA bag
04.20.2017
12:01 pm

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Amusing
Fashion

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This is perhaps one of the dumbest ideas I’ve seen in a long time: A $2,145 Balenciaga handbag allegedly inspired by the blue IKEA bag. Is this for rich people to haul their dirty clothes to the laundromat in? ‘Cause that’s what I use my IKEA bags for. But then again, the wealthy probably don’t use laundromats. What was I thinking?

Anyway, the bag is on Barneys website with this description:

Balenciaga’s Arena extra-large shopper tote bag is constructed of blue wrinkled, glazed leather.

The real question is though: does it make that annoying crunchy sound? That’s how you get the full effect of an IKEA bag.

Here’s what IKEA has to say about the $2,145 designer bag:

We are deeply flattered that the Balenciaga tote bag resembles the ILEA iconic sustainable blue bag for 99 cents. Nothing beats the versatility of a great big blue bag!


 

 
via Today and Geekologie

Posted by Tara McGinley | Leave a comment
Dolly Parton performing a death metal version of ‘Jolene’
04.20.2017
09:09 am

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Amusing

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You’re either going to find this amusing for shits and giggles purposes or completely loathe it. Here’s Dolly Parton “singing” a death metal version of her classic ballad, “Jolene.”

The video is by Los Angeles-based musician and producer Andy Rehfeldt. He’s also responsible for the death metal version of Mary Poppins singing “Supercalifragilisticexpialidocious” that went viral a few years ago.

If you can’t get enough of these, you can see more of Andy’s work on his YouTube Channel.

 
via Laughing Squid

Previously on Dangerous Minds:
Attention ‘Slow Ass Jolene’ Dolly Parton uploader: Plunderphonics did that same thing 25 years ago!
That time in 1978 when Dolly Parton posed for Playboy with a super pervy-looking bunny
Dolly Parton talks about growing up poor, 1978

Posted by Tara McGinley | Leave a comment
Oh, you pretty thing! Polaroid portraits of Andy Warhol in drag
04.20.2017
09:07 am

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Art
Heroes
Pop Culture
Queer

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Andy Warhol in drag taken with a polaroid camera.

Back in 2013 auction house Christie’s sold off 62 of Andy Warhol’s Polaroid photos for the tidy sum of $978,125. Fifteen of the Polaroids were of objects such as shoes and Absolute Vodka. Another 37 of the shots in the group were portraits taken by Warhol that he would then use to create silkscreens of his famous friends and muses like Grace Jones or Jean-Michael Basquiat. In a fascinating (at least to me) analysis done by Exhibition Inquisition, it appears that Andy’s Polaroids of women sold for vastly less than their famous male counterparts—by an approximate margin of $7,000. Even in the art game, us girls can’t seem to get a fair shake. Who knew?

Exhibition Inquisition also broke down Warhol’s “top ten” selling Polaroid portraits which included some of the artist closest acquaintances like Debbie Harry and Dennis Hopper. Farrah Fawcett also made it into the top ten as well as former governator of California Arnold Schwarzenegger and Muhammad Ali.

Now let’s discuss the topic of this post—Warhol’s drag self-portraits which were taken in the early 80s. In this series, we see Warhol in full make-up and bombshell red lipstick wearing a variety of different wigs from a smart, short black bob to full-on, teased-up heavy metal hair and black eyeliner. Here’s more on the creative process that got Andy ready for his closeup as a girl from the Getty Museum’s website:

Andy Warhol enjoyed dressing for parties in drag, sometimes in dresses of his own design. He admired “the boys who spend their lives trying to be complete girls,” so in 1981 he and a photographic assistant, Christopher Makos, agreed to collaborate on a session portraying Warhol in drag. In many ways, they modeled the series on Man Ray’s 1920s work with the French artist Marcel Duchamp, in which the two artists created a female alter ego name Rrose Sélavy for Duchamp.

Warhol and Makos made a number of pictures, both black-and-white prints and color Polaroids, of their first attempt. For the second round of pictures, they hired a theater makeup person. This stage professional better understood the challenge of transforming a man’s face into that of a woman. After the makeup, Warhol tried on curled, straight, long, short, dark, and blonde wigs.

Warhol might not have been the most attractive fella (or dame) but he knew how to give great “face” and his drag self-portraits are absolutely mesmerizing. Curiously, they are not as covetable to collectors as one might think. Warhol’s selfies out-of-drag have sold for far greater sums that his drag portraits. And it seems that the most covetable Polaroid images of Andy are the ones that were taken of the pop culture icon in his famous “fright wig” (you know, this look) which have sold at auction for $50 grand apiece. I’ve included the drag Polaroids of Andy below for you to check out. Warhol’s Polaroids can be seen in the wonderful, well worth owning 2015 book, Andy Warhol: Polaroids.
 

 

 

Posted by Cherrybomb | Leave a comment
Small World: Artist’s miniature models have BIG political message
04.20.2017
08:42 am

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Art
Environment
Politics

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Sometimes cliches are true. Strong medicine does often come in small bottles. We need only to look at the work of artist Isaac Cordal to apprecaite the truth of this adage. Cordal produces handcrafted minature cement scupltures which he then places in urban landscapes and photographs to make big and important statements.

His miniature sculptures—half-submerged in puddles, imprisoned in filing cabinets, or choking in dirt and rubble—critique modern life. Isaac describes his work as making “small interventions in the big city.” His figures depict the ruinous greed of corporations and politicians who devastate the world through their thoughtless actions. Cordal’s subject matter is climate change, the plight of refugees, and the destructive nature of capitalism.

Cordal’s artwork is powerful and eye-catching. He has exhibited these incredible tiny sculptures on sidewalks and public locations all across Europe. He’s like a movie director creating highly iconic and dramatic scenes which shock the passerby into questioning what it is they have just seen and thinking about how it reflects the world in which we all live. More of Isaac’s work can be seen here.

From such small acorns do mighty oaks grow.
 
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See more of Isaac Cordal’s minature marvels, after the jump…

Posted by Paul Gallagher | Leave a comment
‘100,000 tabs of acid’: Lemmy talks records, touring with Hendrix, and sex with a trans person
04.20.2017
08:25 am

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Drugs
Music
R.I.P.
Sex

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Back in 2000, Lemmy was the guest on Channel 4’s series All Back to Mine, an interview show based on Desert Island Discs. Usually, Sean Rowley, the host of the show, would visit musicians at home and listen to a few of their favorite records, but this episode was filmed at a bar table with a bottle of Jack Daniel’s.

Lemmy lists a few favorite records—“Good Golly, Miss Molly,” something by the Shadows he doesn’t name, “Hotel California”—in the course of this freewheeling conversation, which is not really about his favorite records and offers something for everyone. There’s material on being a Ted and hating Mods (“How can you be mean on a Vespa?”), the Hawkwind way of life (“We weren’t in a regular job, we weren’t paying our taxes regular, we weren’t like joining the Young Conservatives or whatever it is, y’know—we were just, like, gettin’ wrecked and playing music that we liked”), and megadosing with Jimi:

Lemmy: I was Jimi Hendrix’s roadie, what’d you expect? I mean, he’d come back from America with a hundred thousand tabs of acid, right?
Rowley: Who, Jimi had?
Lemmy: Yeah, and it wasn’t even illegal then. He brought it back in his suitcase. And he gave half of it ‘round the crew. I mean, that’s a lot of acid, you know.
Rowley: And you were part of the crew, at the time, then.
Lemmy: There was only two of us.

And then there’s the astonishing answer to Rowley’s question about having sex with a trans person, in which Lemmy frames gender reassignment surgery in terms of manly virtue…

More after the jump…

Posted by Oliver Hall | Leave a comment
Meet Rita, the blow-up party doll that took 1970s Germany by storm
04.20.2017
08:13 am

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Advertising

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In 1969, Swiss advertising agency Gerstner, Gredinger + Kutter (GGK) launched an innovative campaign for Germany’s most popular soft drink: Sinalco Kola (distinct for its “sherbet powder” taste). It starred a brightly colored, life-sized blow-up party doll named Rita. With striking red hair, curly lashes, lush shapes, and a Sinalco Kola in hand, the campaign slogan boasted “Rita ist lieb,” which in English translates to “Rita is sweet.” “She will follow you everywhere: to parties, seaside holidays, or even into the bathtub. She does not smoke, does not drink, does not scold. Rita is all yours and she is not an expensive girl: she comes to you through the mail for 6,60 Deutsche Marks.” Yes, besides this colossal beauty’s presence in magazine advertisements, insert posters, TV ads, and in-store displays all over Germany, you could also have an inflatable Rita sent directly to your home for about $4 US.

Within two years of the campaign’s launch, Rita had quickly achieved cult status and helped Sinalco garner tons of attention, but more importantly, a unique personification and lasting impression that would help separate their brand from ubiquitous competitors such as Coca-Cola. In March of 1971, several inflated Rita’s were thrown from the roof of the Rhein-Main-Halle building during a trade fair as part of a spontaneous marketing stunt. Dozens of excited Wiesbaden residents ran through the streets with their Rita dolls, continuing their celebration in local pubs and train stations. By the mid-‘70s, every hippie in Germany owned this eye-catching piece of plastic pop art, and Rita’s became very common at public gatherings: from crowd surfing at outdoor music festivals to political protests. A male counterpart to Rita was created: a macho, muscular, spandex wearing man pathetically nicknamed “The Guy,” but Rita proved that her popularity could never be matched.

Rita blow-up party dolls can still be found floating around Germany, occasionally someone will sell one on eBay. She typically goes for about 70 euros, who can score me one?
 

 

 
More after the jump…

Posted by Doug Jones | Leave a comment
Girls just wanna be punk: Early recordings and demos by the Go-Go’s
04.19.2017
03:46 pm

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Heroes
Music
Pop Culture
Punk

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An early single by the Go-Go’s on Stiff Records.
 

AMERICA AND THE MUSIC INDUSTRY, meet the Go-Go’s: International, Filthy Rich, Jet-Setting Rock- and Screen-Star Bitch Goddesses

Rolling Stone journalist Steve Pond being very, very right about the Go-Go’s back in 1982.

 
Easily the most famous all-girl band in the world, the Go-Go’s played a hugely influential role in the emerging punk/new wave scene in Los Angeles. In the late 1970s before they became the Go-Go’s they called themselves the Misfits despite the fact that the name was already taken by a group of muscle-bound horror punks in New Jersey led by a certain Glenn Danzig. Belinda Carlisle was unsurprisingly a cheerleader in high school in her hometown of Conejo Valley, but that all allegedly changed after she saw the half-naked image of Iggy Pop on the cover of the Stooges’ 1973 album, Raw Power. At nineteen Carlisle left home with her pal Theresa (aka the future “Lorna Doom” of the Germs) bound for Hollywood. Once the Germs were born Carlisle did a brief stint with them playing the drums and calling herself “Dottie Danger.” She and Doom dropped acid, Carlisle did some modeling and in her autobiography Lips Unsealed: A Memoir she confesses to having had a make out session with Alice Bag.

Prior to getting with the Go-Go’s timekeeper Gina Schock was drumming for John Waters’ star Edith Massey and her punk band Edie and the Eggs. Before rhythm guitarist Jane Wiedlin joined the band, she was a seamstress in a sweatshop in downtown Los Angeles who preferred crystal meth to coffee so she wouldn’t fall asleep on the job. While at her day-job Wiedlin would use the paper that the sewing patterns were printed to write her punk poems, parts of which would make their way to the band’s albums. Wiedlin and Carlisle ended up living across the way from each other (Carlisle was rooming with Lorna at the time) and their friendship would eventually lead them both to the Go-Go’s.

When the band started playing gigs around town it didn’t go unnoticed. They partied as hard as their male counterparts, did tons of coke, popped pills and excelled at the rock ‘n’ roll 101 skill of destroying hotel rooms. Early on their gigs were kind of a hot mess. Their first set was opening for the Dickies at LA punk club, the Masque. For a short time, the band was just a trio comprised of Wiedlin (who was going by the gonzo name of “Jane Drano”), Margot Olavarria on bass and with Carlisle front and center on vocals. According to Olavarria even though they really didn’t have a clue as to what they were doing it really didn’t matter because at the time there was “no shame in being a horrible musician.” In another punk rock six-degrees of separation type moment worth noting, Olavarria found out she had been given the boot by Belinda and her bandmates from none other than Exene Cervenka of X. The reason for Olavarria’s dismissal was said to have stemmed from her getting pinched by the po-po trying to score some cocaine. Oh, the shifty-eyed, typewriter-jaw irony that is two coke-heads accusing another coke-head of doing something shady. Tisk tisk.
 

Jane Wiedlin.
 
The then very new Stiff Records had the girls make a bunch of great recordings including a single that you may have heard of before called “We Got the Beat.” Their early recordings and demos are not only really fucking good but are a real scream to listen to if you’ve never heard them for some of the in-studio banter between the band members. Later I.R.S. head-honcho Miles Copeland (the brother of Police drummer Stewart Copeland) came calling and signed the Go-Go’s and they embarked upon making their first record which they had always envisioned as a punk record. I.R.S. was already a home away from home for other punks like The Cramps, The Damned and The Fleshtones. But the production team behind Beauty and the Beat of Rob Freeman and Richard Gottehrer had other ideas. Beauty and the Beat was miraculously completed in three weeks while the party animal antics of the Go-Go’s terrorized New York City and Penny Lane Studios. When the girls first heard the record they were pissed off. Go-Go’s guitarist Charlotte Caffey said she and the rest of the band and even cried while listening to it the first time. It wasn’t a punk album, it was pure pop perfection (Which is a good enough reason to shed a few tears if you ask me). They went over Gottehrer’s head and appealed directly to Miles Copeland to have the record remixed. Copeland refused and the album, which was released in 1981, would go down in history as one of the most successful debut albums by a band in history.

I’ve included a few choice photos of the band from their early days as well as various songs, demos and recordings of the band rehearsing back before they became America’s sweethearts in the early 80s. If it’s been a while since you’ve thought about the Go-Go’s, I hope this shines a light on the fact that they were pretty much the best and deserve way more credit (as many female musical artists do) for the deeply impactful mark they made. And that my friends is a goddamned fact.
 

Belinda in a Germs t-shirt back in the day.
 

 
Much more after the jump…

Posted by Cherrybomb | Leave a comment
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