Lourdes Vuitton by Francesco de Molfetta
 
Previously on Dangerous Minds:
Casa Louis Vuitton

See more Lourdes Vuitton images over at High Snobiety

(via WOW Report)

 
Amongst the many gems and oddities being unearthed as part of The Beatles’ Apple Records catalogue and soon to be lovingly re-issued is a funny little single from 1969, never properly released, by an artist named Brute Force (nee Stephen Friedland). King of Fuh (listen below) is a silly, stoney, naughty hippy tale incorporating as many uses of the phrase fuh king as possible. Get it ? Lennon and Harrison (who arranged it) evidently found it hilarious and although they knew EMI would never distribute it pressed up 2000 copies anyway, presumably to give to friends. Who fuh-king knew?
 

 
Thanks Kevin Laffey and Rick Potts!

 
Thanks Kristian Hoffman !

 
Wow !, Much thanks to DM reader Ryan who in his comment on Marc’s Beefheart post yesterday hepped me to this book: Beefheart: Through the Eyes of Magic by the Magic Band’s long suffering drummer, John “Drumbo” French. My copy is flying toward me in the mail as I type but I already know to expect tales of tyrannical cruelty (bunch of dudes living in a run down house in Woodland Hills, practicing 12 hours a day, eating only a handful of soybeans per day) and sublime inspiration. In anticipation, here’s a miraculous clip of the Lick My Decals Off,Baby era Magic Band (including Drumbo) playing a suite of tunes live on Detroit TV in 1971.
 

 
In this mindbending expose, breathlessly narrated by some Bible thumpin’ teenybopper who sounds like he’s tweaking on meth, the truth about Timothy Leary and his infernal connection to Aleister Crowley is revealed to be the ultimate and absolute downfall of civilization as we know it.

Leary, doing Crowley’s bidding, distributed LSD and mescaline to America’s youth with the lusty abandon of a Viagra-fueled Priest feeding Methaqualone communion wafers to rosy-cheeked, tight- buttocksed altar boys. The resulting degradation of society has altered our reality in ways that are immeasurably and indescribably decadent and sinful. For which I am eternally gratefully.

If one were to take the bible seriously one would go mad. But to take the bible seriously, one must be already mad.

Aleister Crowley
 

 
In the mid-1980s Grace Jones’s body became the flesh canvas upon which Keith Haring created some of his most striking images. In the process, Haring contributed to Jones’s reputation as an innovator of cutting edge style and fashion. She wore Haring’s body paint in the video for her song I’m Not Perfect and in live performance at New York City’s Paradise Garage.

Body painting was a natural extension of the ephemeral nature of Haring’s art. Like subway graffiti and street art, it isn’t intended to last.

I remember the days before Haring became famous, when his “Radiant Baby” graffiti was as ubiquitous on the streets of New York as the smell of urine and the sound of ghetto blasters. For awhile, Haring was New York.

In the above photo we see Haring preparing Jones for her role in the 1986 movie Vamp, in which she portrays Katrina the Queen of The Vampires.

The music in this clip from Vamp is by Jonathan Elias who produced Jones’s Bulletproof Heart album.

 
for more photos pull up to the bumper

 
Mark Hartley—the man who brought you Not Quite Hollywood, the documentary on ‘70s and ‘80s Australian action, suspense and horror b-movies—is back to lay the same treatment on the Philippines. Machete Maidens Unleashed shows how that country became the shooting locale for tons of American-funded monster movies, jungle prison movies, blaxploitation and kung fu hybrids—along with better known shoots like Francis Ford Coppola’s Apocalypse Now, which apparently left the land strewn with sets that got repeatedly reused.

Adding to the genre-crazy atmosphere was Prime Minister Ferdinand Marcos’s harsh and corrupt Bagong Lipunan (“New Society”) program of martial law, during which he and his family ruled with the kind of impunity that eventually led to his downfall in the mid-‘80s.

Check the trailer—it’s quite wild—and look for this ‘un soon at yr local movie establishment.
 

 
Thanks to Mark Turner for the heads-up!

Elizabeth Taylor and David Bowie at their first meeting in Beverly Hills, 1975. Photographs by Terry O’Neill. Scanned from the book Legends by Terry O’Neill.

Via Glamour-a-go-go

 
Technology in your face! BAAAAAM!
 
(via Dooby Brain)

 
In 1971 Los Angeles television station KTTV refused to air this 60 second commercial for Captain Beefheart’s album Lick My Decals Off, Baby.

Conceived by Beefheart and directed by Larry Secrest and Jon Fizdali, the ad was considered to be ‘crude and unacceptable” by KTTV management. They also deemed the album obscene and refused to air the spot on that basis as well.

The National Association of Broadcasters banned the ad on their member stations, stating the commercial didn’t fit into their standards, which were to…

[...] enlarge the horizons of the viewer, provide him with wholesome entertainment, afford helpful stimulation, and remind him of the responsibilities which the citizen has towards his society.

Beefheart’s record label, Warner/Reprise, stood by the Captain and declared the spot…

[...] really different, it does everything a commercial is supposed to do. It begins with a cigarette flipping through the air in slow motion several times with Beefheart singing ‘Woe-is-a-me-bop.’ There are long silences, Beefheart finally appears doing his famed Hand and Toe Investment. Rockette Morton, one of the guys in Beefheart’s Magic Band, crosses the screen with a black sack over his head working an egg beater. The Captain kicks over a bowl of white paint in slow motion. It is non sequitur stuff that’s funny, attention getting, and pure Beefheart. It’s unfortunate that the station should be so frightened by it.”

In watching the commercial, one has to think that David Lynch had to have seen it at one point in his early development as a filmmaker. It’s a bold and surreal piece of film making that would have certainly baffled and spooked American audiences of the time. It’s still provocative.