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Revolting Teens Lose Their MINDS! The awesome illustrated covers of ‘Punk Magazine’
01:03 pm



The cover of the first issue of ‘Punk Magazine’ featuring an illustration of Lou Reed by John Holmstrom, January, 1976.
Many of the excellent illustrated covers of Punk Magazine in this post were done by the zine’s cofounder John Holmstrom—the man behind the cover of the Ramones album Road to Ruin and Rocket to Russia as well as other illustrated oddities since embarking on his long career as an artist.

Members of the Sex Pistols and Malcolm Mclaren perusing issue #12 of ‘Punk’ featuring an illustration of Robert Gordon on the cover
A dear friend of mine recently gifted me with a copy of Holmstrom’s 2012 book The Very Best of Punk Magazine and I haven’t put the massive thing down in a month. Though Punk only published for a few short years the book itself is a literal goldmine of punk rock artifacts from beautiful reprints of hard-to-find early issues of Punk, photos, essays and even handwritten anecdotes from Lou Reed, journalist Lester Bangs, Debbie Harry, cartoons drawn by R. Crumb and other visual time-capsules too numerous to mention.

While I’m sure that many of our DM readers already own a copy of this heirloom, if you are not one of them I highly recommend picking one up as it is a much a joy to read as it is just to look at. One of my favorite parts of the book were the images of the illustrated covers of Punk the epitome Holmstrom’s cartoony DIY style which some liken to a giant punk rock coloring book. It’s almost criminal that you can find hardcover copies of the book for about $20 bucks out there but you can and it’s well worth the small investment especially if your memories of the 70s are fuzzy thanks to all that bad acid you dropped and whatnot.

Holmstrom recently announced that he is selling some items from his personal collection such as the first issue of Punk
(pictured at the top of this post). More comic-styled images from the covers of Punk follow.

The cover of issue #10 of ‘Punk Magazine’ featuring a big-headed version of Blondie.
More after the jump…

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The owls are not what they seem: Intimate photos taken on the set of the original ‘Twin Peaks’
10:58 am

Pop Culture


Agent Dale Cooper (played by Kyle MacLachlan) having fun smashing glass with his head on the set of ‘Twin Peaks.’

I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
Agent Dale Cooper

Many of the photos in this post captured while the cameras weren’t rolling on the set of Twin Peaks were taken by actor Richard Beymer (who played ‘Benjamin Horne’ in the series) after the photographer hired to take promotional shots for the film quit (you can still buy a few of Beymer’s beautiful photos here). Others are what appear to be candid photos including an amusing polaroid of director David Lynch yelling into the ear of actress Grace Zabriskie (who played Laura Palmer’s mother Sarah in the original series) with a megaphone.

Deputy ‘Tommy Hawk Hill’ (played by actor Michael Horse) hanging out with a deer head.
As pretty much everyone on the face of the earth has been following along with the drama that has surrounded the return of Twin Peaks to TV (predicted to occur sometime in 2017) after Lynch said sayonara to the folks at Showtime via a series of Tweets to his “Twitter Friends” noting that he had himself began to notify the cast that he was no longer attached to the shows revival. Thankfully for lovers of the Log Lady about a month later the one-of-a-kind master of cult films decided to come back as did pretty much every one of the members of the original cast. And if that’s not enough for you to get excited about the fact that television is about to get really fucking weird again the show will start shooting scenes in location around Washington State specifically North Bend—the home of Twede’s Cafe that still serves up “Twin Peaks” signature cherry pie and of course “a damn fine cup o’ coffee.”

Loads of cool behind-the-scenes shots from 1990 series follow.

Actress Grace Zabriskie (Sarah Palmer) and David Lynch on the set filming one of the last episodes of ‘Twin Peaks’ on March 13th, 1991.

‘Caroline Powell Earle’ (played by Brenda Mathers), David Lynch and ‘Annie Blackburn’ (played by Heather Graham).
More after the jump…

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Patti Smith covering Nico is unforgettable
10:27 am



This all begins with a chance encounter on an airplane, when singer/pianist Jesse Paris Smith—daughter of ur-punk high priestess Patti Smith—encountered Stephan Crasneanscki on an airplane bound for New York City. Crasneanscki is the founder and leader of Soundwalk Collective, an acclaimed experimental music trio known for incorporating field recordings and other concrète elements into lush ambient music, and that meeting led to the conception of Killer Road, a 2014 multimedia performance with projections by Tina Frank, that endeavored to examine the work and death of Christa “Nico” Päffgen, the singer best known for her work with the early Velvet Underground, and who died in a bicycle accident in 1988.

That performance has been turned into a studio album for Sacred Bones, also called Killer Road and due out on September 2nd. The album variously features Nico cover songs and poems with Smith mère reciting/singing the lyrics. The songs that have been pre-released suggest that the album will likely be a stunner—a video for the title track, again by Tina Frank, was released in July:

Over the weekend, a new video was issued, for “Fearfully in Danger,” a cover of a song from Nico’s final studio album Camera Obscura. The track underscores the connection between Nico and Smith, who related “…when I was young … I had no ambition to be a singer – I was simply trying to deliver my poetry – as [Nico] did – in a unique way.” The harmonium played on the song once actually belonged to Nico—it was rescued from a pawn shop by Patti Smith herself, in 1978.

Watch more after the jump….

Posted by Ron Kretsch | Leave a comment
Vangelis stars in the most synth-tastic footage ever committed to videotape
09:49 am



Vangelis was born in Italian-occupied Greece during World War II with the moniker Evangelos Odysseas Papathanassiou, but quite understandably, when he came of age said to hell with that and went by plain old Vangelis (or Vangelis O.) most of the time. A true pioneer of synth prog music, Vangelis made his name with Aphrodite’s Child in the late 1960s before breaking out on his own some years later. In the 1980s his relatively tame soundtrack for the Oscar-winning flick Chariots of Fire propelled him to wider fame; you might also know his music from Blade Runner.

In 1974 he appeared on a French TV show called Melody and the results were frankly mind-blowing. This is quite simply a totally righteous 1970s jam (man) in the best sense of the word. The footage is broken up into a few different parts but the throughline is Vangelis burning it up on the synth as well as various percussion instruments, accompanied at various points by a quartet of bongo players and an enormous drum circle of young people bashing the bejesus out of a dozen or so kettle drums. 

The material here heavily emphasizes Vangelis’ 1973 album Earth. The second song in the set is called “Let It Happen” and is almost certainly a track that the French electronic act Air pillaged for their own uses a good 20 years later. The third track is a cheery number called “My Face In The Rain” and resembles a satisfying mashup of mid-career Flaming Lips and Genesis in the days right after Peter Gabriel left.

Vangelis would soon record his masterpiece Heaven and Hell, which ended up furnishing the music for Carl Sagan’s 1980 PBS series Cosmos and also represented his first collaboration with Jon Anderson of Yes. The two men would later release several albums under the name Jon and Vangelis.

The joyous and infectious jam sessions in the show are fantastic, but what pushes this video into must-see territory is the audacious video effects knob twiddling that director Marion Sarraut demanded for the occasion. Basically there seems not to have been a back-projected visual effect that didn’t get used here, and indeed, the final takeaway is that the technician in the booth was improvising right along with the musicians. Vangelis and his singer spend much of “My Face in the Rain” floating around on individual magic carpets (take my word for it; you’ll see) over footage of the Iguazu waterfalls in Argentina and Brazil and similar natural wonders. Those effects and Vangelis’ brazenly open jacket, revealing a multitude of Greek chest hair and at least five ostentatious medallions (couldn’t tell if any of them was a coke spoon but I would be none too surprised), are the clearest markers of the year this footage was produced.

More after the jump…

Posted by Martin Schneider | Leave a comment
Like a demonic Stephen Hawking: Cenobites scene from ‘Hellraiser’ performed by speech synthesizers
09:45 am



DECtalk was a text-to-voice speech synthesizer popular in the 1980s. This nifty little piece of technology came with a variety of built-in voices which enabled people who had lost the power of speech to communicate. Its best known user is Stephen Hawking who communicated with the voice “Perfect Paul” (DTC 01).

The DECtalk was also famously the voice of the US National Weather Service on radio and supplied the message to many a telephone answer machine.

In 1939 the Voder was the first attempt at synthesizing human speech by breaking down words into acoustic components. It was the “first device that could generate continuous human speech.”

All well and good, but the one that tickles my fancy was the first time a speech synthesizer was successfully used over a phone to order pizza. This happened at the Artificial Intelligence Laboratory, Michigan State University in 1974, when Donald Sherman who suffered from Möbius syndrome—a facial paralysis—made his order using a Votrax voice synthesizer and a mainframe computer.

Now you may have seen the recent clip of Monty Python’s argument sketch recreated with speech synthesizers by Per Kristian Risvik. Well here’s another little film he’s made using speech synthesizers to recreate a classic scene from Clive Barker’s Hellraiser. It’s a perfect fit and far, far more creepier.

Here’s the dialog as performed:

Lead Cenobite: The box… you opened it, we came.
Kirsty Cotton: It’s just a puzzle box!
Lead Cenobite: Oh no, it is a means to summon us.
Kirsty Cotton: Who are you?
Lead Cenobite: Explorers… in the further regions of experience. Demons to some, angels to others.
Kirsty Cotton: It was a mistake! I didn’t… I didn’t mean to open it! It was a mistake! You can… GO TO HELL!
Female Cenobite: We can’t. Not alone.
Lead Cenobite: You solved the box, we came. Now you must come with us, taste our pleasures.
Kirsty Cotton: Please! Go away and leave me alone!
Lead Cenobite: Oh, no tears please. It’s a waste of good suffering!
Kirsty Cotton: Wait! Wait! Please, please wait!
Lead Cenobite: No time for argument.
Kirsty Cotton: You’ve done this before, right?
Lead Cenobite: Many, many times.
Kirsty Cotton: To… to a man called Frank Cotton?
Female Cenobite: Oh, yes.
Kirsty Cotton: He escaped you!
Lead Cenobite: Nobody escapes us!
Kirsty Cotton: He did! I’ve seen him, I’ve seen him!
Female Cenobite: Impossible.
Kirsty Cotton: He’s alive!
Lead Cenobite: Supposing he had escaped us, what has that to do with you?
Kirsty Cotton: I… I can… I can lead you to him and you… you can take him back instead of me!
Female Cenobite: Perhaps we prefer YOU!
Lead Cenobite: I want to hear him confess, himself. Then maybe… maybe…
Female Cenobite: But if you cheat us…
Lead Cenobite: We’ll tear your soul apart!
Asian Merchant: What is your pleasure, sir?
Lead Cenobite: We have such sights to show you.

Risvik used a DECtalk Express for the central character Kirsty (“Rough Rita modified for higher stress level”). A Dolphin Apollo 2 for the voices of Pinhead and the female Cenobite (“Heavily altered versions of voice 2/3”). And an Intex Talker (Votrax SC-01A) for the Asian Merchant.
Listen to eerie sound of the Cenobites via a speech synthesizer, after the jump…

Posted by Paul Gallagher | Leave a comment
Altamont, The Rolling Stones, the Hells Angels, and the Inside Story of Rock’s Darkest Day
07:48 pm



I could feel it before I got there. Several miles out and the dark vibes curled through the air like a toxic vapor. Serpentine streams of people twisted through the hills, uncertain of exactly where they were going. There were no maps. No trails. No signs. Nothing pointing toward our destination: Altamont.

Like some hippie version of The Walking Dead, we just followed whoever was in the lead. We assumed the people in front knew where the fuck they were going. It soon became clear we were on the right path when we started encountering people scattered throughout the hilly scrub lying on their backs, curled up in fetal positions or sitting upright with fear etched on their faces. We were on the periphery of a psychic warzone and these were the first casualties – people tripping on low-grade LSD, speed and alcohol. I parted from the zombie march and went to the nearest person struggling through a bad trip. She was a young girl and she was severely freaked-out. This encounter set the tone for most of my experience of the Altamont rock festival.

Like thousands of young people living in the Bay Area in 1969, I got the news of a free concert headlining The Rolling Stones via radio. Time and date were to be announced and we waited. This was going to be the West Coast’s Woodstock and people were psyched. When the word went out that the festival was taking place at a racetrack 50 miles east of San Francisco it seemed like an odd choice. But it didn’t deter the hundreds of thousands of people who ended up there on Saturday the sixth of December.

I hitchhiked from Berkeley to Altamont more out of a sense of obligation than excitement. The distance was a hassle and I wasn’t interested in most of the bands on the bill other than The Rolling Stones and The Jefferson Airplane. The Grateful Dead and CSNY were the other major acts and I wasn’t a fan of either. But as a card-carrying member of the hippie counter-culture this was a call I couldn’t ignore. California had always been the rock festival capital of the world and Altamont was going to shift the attention from Woodstock back to where it belonged. Little did anyone know that Altamont would draw the kind of attention that would later be described by some as the death of the Sixties.

Between the vast quantities of freely distributed toxic LSD, the huge mistake of hiring the Hell’s Angels to provide security and a stark and ugly location, Altamont did just about everything wrong. There was plenty of blame to go around, mostly on the part of The Rolling Stones and The Grateful Dead. But none of us at the concert were aware at the time of the behind-the-scenes fuck-ups. We knew that The Dead had cancelled their gig as soon as they got to the site and we could see the sociopathic behavior of the Angels. Mostly, we could feel the energy. And it was dark. I’ve never taken the concept of black masses seriously. It always struck me as dress-up for losers. But if there is such a thing as a black mass, Altamont would be my reference point.

I saw very little of the actual performances by the bands. I witnessed The Jefferson Airplane’s Marty Balin being assaulted by the Angels while Grace Slick begged the bad guys to calm the fuck down. The bikers were upstaging the bands, pathetically and repeatedly trying to hog the spotlight. The Hells Angels thought they were the fucking show. I moved as far away as I could from the macho stench and spent most of my time talking people down from bad acid trips and escorting the completely helpless to the emergency medical tents. Between being Florence Nightinghale to weekend hippies, I would stand on a hill behind the Hell’s Angel’s modified school bus and watch musicians struggling to get through their sets alive. There was so much chaos near the stage that no one in their right mind (and I was in my right mind) would go near the mess. The stage itself was about about four feet tall and held together by twine. The bands were barely visible. The whole thing was rinky dink. I waited out the horror show for the Stones. Every cell of my body was telling me to get the fuck out and go back to Berkeley. But I’d come a long way and wanted to see the headliners.

The Stones finally went on after the sun had set. The temperature was dropping and people were burning whatever they could find to create some heat in the cold. Bonfires blazed as far as the eye could see. It was hellish.

When The Stones hit the stage they were bathed in red light and Jagger was draped in a scarlet and black cape. In the context of the bonfires, the Hells Angels’ mayhem, and the wailing of people on bad trips, Jagger’s infernal image spooked the living shit out of me. When the opening chords of their third song of the set signaled they were playing “Sympathy For The Devil,” I turned on my heels and headed toward the nearest highway.

I was not alone. People were leaving in droves. Many couldn’t find their automobiles in the dark. It was pandemonium. I got lucky when a van full of freaks slung open the door and yelled “get in!” The further we got from the site, the better we all started to feel. The drive back to the Bay Area took hours but there was a collective sense of relief in the van and we all started talking about what we had just experienced. We were all weary and heartbroken. Altamont was a disaster.

While reading Joel Selvin’s new book Altamont, The Rolling Stones, the Hells Angels, and the Inside Story of Rock’s Darkest Day, I was so deeply disturbed by memories of that day that I had to repeatedly put it down and regain my emotional balance. There’s only been a few books that have this kind of effect on me. Most of them had to do with either the assassinations of the Kennedys and Malcolm X or 9/11.

Without repeating the usual grandiose statements holding Altamont responsible for being the death knell of the Sixties, Selvin has done the far more difficult job of investigating the massive fuck-ups that led to the worst rock festival in history without resorting to a bunch of apocalyptic mumbo jumbo. With the precision and liveliness of a hard-boiled crime writer, Selvin digs deep into the murder of 18-year-old Meredith Hunter who was killed at the festival by an Angel. It makes no apologies for the borderline criminal and reckless behavior of the people who organized the festival. Among those responsible were amateur promoters, the clueless Rolling Stones who were following directions from the hippie dippy Grateful Dead, the sleazeball owner of the racetrack and the utterly ineffectual local police. The fact it was so poorly organized makes it’s hard to know exactly who did what, when and where. Selvin sifts through the mess and gives it about as much shape as is humanly possible. People who were acting on behalf of The Stones had no authority to do so. Scammers and hustlers were intertwined with arrogant rock stars who had little knowledge of what was going on and wanted to keep it that way. The less the bands knew, the better. When it came to laying blame, The Dead and The Stones could claim ignorance. Or they just didn’t care. In an attempt to create the ultimate hippie love fest, the people behind Altamont created the world’s biggest bummer. The festival was free but it came at a cost. The last big concert of the Sixties was Vietnam without the big artillery and the Vietnamese. We only had ourselves to blame for this one. No Nixon. No Kissinger. Our good karma had run out. We were devouring ourselves whole.
Hells Angels go apeshit. The Stones lose control. Video after the jump…

Posted by Marc Campbell | Leave a comment
Thundertrain: The band that was ‘Hot for Teacher’ before Van Halen
04:46 pm



The cover of the 1976 single ‘Hot for Teacher’ by Boston rockers, Thundertrain.
Bands like Thundertrain aren’t made—they are born and the group entered the Boston rock scene back in the mid-70s with a sonic boom. Thundertrain’s heavy-blended jams are full of fuzzy glam grooves and a hard rock mean streak like the kind of riffy juice that runs through the veins of Chuck Berry. To this day they are still revered back east and it’s not hard to understand why as Thundertrain did a great job of “making it up” as they went along back in the 70s. But the topic at hand is the band’s “connection” to Van Halen—specifically when it comes to a song you could probably recite the lyrics to in your sleep, “Hot for Teacher.”

The cover of Thundertrain’s ‘Teenage Suicide’ album released in 1977.
According to an 2003 interview with vocalist Mach Bell (aka Mark Bell), back when Thundertrain was out on the road sometime in the mid-to-late 70s Van Halen apparently requested that the band open for them at a gig at the famed Agora Ballroom in Cleveland. So imagine what Bell thought when 1984 rolled around and he heard a song that instantly became synonymous with Van Halen—the adrenalin-charged “Hot for Teacher.” A song with the exact same title as what most fans consider to be Thundertrain’s biggest hit in their too short career. Despite the fact that Boston was a veritable hot bed when it came to its mid-70s musical exports (bands like Aerosmith, The Modern Lovers and Boston), and even though “Hot for Teacher hit #3 in the UK alternative charts in 1977, Thundertrain never got the break they deserved and the band called it a night in 1980.

More after the jump…

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One-of-a-kind Bowie-fied DEVO ‘Booji Boy’ mask being auctioned for charity
03:27 pm



Mark Mothersbaugh’s sister, Amy, recently posted an item to her Facebook page that may be of some interest to Dangerous Minds’ readers: a one-of-a-kind “Booji Stardust” mask, produced by SikRik Masks.

The mask is currently up for auction, with the bidding ending on Sunday, August 21st at 5:00 pm EDT.

The posting, originally put up by Rick Fisher of SikRik indicates that all proceeds from the sale of the mask will be donated to the Akron Children’s Hospital Free Care Fund. You can view the mask in person at the Studio 2091 Pop Art Show

The mask itself is more than just a “novelty mashup”—it pays homage to the close personal relationship between David Bowie and DEVO. Bowie was critical to the band getting their first record made and getting signed. Bowie came to one of DEVO’s early NYC shows, went on stage to introduce the band, and made the “outrageous claim” that he was going to produce DEVO in Tokyo. Bowie ended up hooking DEVO up with Brian Eno to produce their first album in Germany. According to Mark Mothersbaugh, Bowie and Eno paid for the band to get to Berlin and record the album, which was then shopped to labels.

Mothersbaugh also credits Bowie with introducing the band to sushi!

If you are interested in bidding on the one-of-a-kind “Booji Stardust” mask, you should be able to contact Amy Mothersbaugh or Rick Fisher at one of the above links.

Posted by Christopher Bickel | Leave a comment
Early-Black Sabbath ephemera including postcards from a young Ozzy Osbourne head to auction
02:23 pm



An early shot of Black Sabbath.

Arrived here safely, but it is not a very nice place, I don’t think the people like long hair.

Black Sabbath vocalist Ozzy Osbourne in a postcard to his parents while the band was on tour during their early days.

Memorabilia from the early days of Black Sabbath including a rare show poster advertising the band under their original name “Earth” will head to an auction at the end of September at the Sheffield Auction Gallery. According to the house the items were discovered by a resident of the the town of Sheffield in a building that was set to be torn down in the London Docklands area in the 1980s.

In addition to the Earth-era ephemera are early publicity photos of the band as well as handwritten lyrics and a large number of postcards written by Ozzy Osbourne to his family (including Ozzy’s first wife Thelma Mayfair) while the band was out touring the world. And while I’m on the topic of the postcards from Ozz I took the liberty of transcribing one note Mr. Osbourne sent to his Mom and Dad from France that is so sweet it might hurt your teeth while reading it. Unless you’re reading this somewhere in France of course:


Dear Mom + Dad

Arrived here safely but IT IS NOT a very nice place, I don’t think that the people like long hair. We start playing tomorrow afternoon at 3-OCLOCK until 7-OCLOCK on the night. But apart from that I am still in one peace. By the way don’t forget we are on the radio next Saturday, I hope Iris and the baby are alright. I might phone Jean on my birthday. See soon.

Lots of Love, John xxxxxx

Awww. The heavy metal artifacts (that date from the years 1968-1973) are being presented as one lot which means everything in it goes to one buyer and is expected to fetch anywhere between $2500-$3800 bucks. Images of a few of items in the lot follow.

Earth-era show poster, late 60s.

Handwritten lyrics for ‘The Wizard’ that would appear on the Sabbath’s eponymous debut.

Handwritten lyrics from the ‘Earth’ era of Black Sabbath called ‘Changing Phases.’ The song would become ‘Solitude’ from Sabbath’s 1971 record, ‘Masters of Reality.’

Two postcards written by Ozzy to his parents while the band was off on tour. Awww.
H/T: Antiques Trade Gazette

Previously on Dangerous Minds:
The curious case of Black Sabbath guitar god Tony Iommi and his very 70s sweater collection

Posted by Cherrybomb | Leave a comment
‘Moebius Collector Cards’: Gallery of Moebius trading cards from the early 90s
11:56 am



The Coordinator
Jean Henri Gaston Giraud, or Moebius, is one of the great visionary cartoonists of our time. He cofounded the influential magazine Métal hurlant in 1975, which was the venue for his fantastic stories Arzach (which used no words at all) and The Airtight Garage. Moebius famously teamed up with Alexander Jodorowsky for the L’Incal series as well as the much-lamented movie adaptation of Frank Herbert’s Dune, but it never came to pass.

In 1993 a company called Comic Images put out a gorgeous series called “Moebius Collector Cards,” of which there were about 100. We’ve selected a few for you below, but you can see the entire set at catawiki.

Sexual Sorceress

More Moebius after the jump…

Posted by Martin Schneider | Leave a comment
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