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‘From Rugs to Riches’: Jonathan Winters in a wonderfully goofy carpet sales training film
01.07.2014
11:59 am
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Jonathan Winters
 
There exist countless tons of hidden cultural artifacts that were never meant for public consumption, all commissioned by private companies or corporations for exclusive distribution to their own employees and executive boards. The collectible 1979 McDonalds flexi-disc is a fairly well known example. I find such things fascinating when they surface. Since I haven’t worked directly for a huge corporation since I think probably 1995, I honestly have no idea if such things even happen anymore. Oftentimes, they’re worthy bits of cultural product, made by perfectly reputable entertainers. Such an example that I ran across recently easily won my smile. It stars the late, great comedian Jonathan Winters—in his prime, no less—performing a variety of roles in this goofy film for the edification and enrichment of Caprolan nylon rug salesmen, back in 1960! It’s hokey, safe comedy befitting the audience and era, but Winters is as charming and funny here as he ever was. Enjoy!
 

 
Previously on Dangerous Minds
A seldom-seen side of comic genius Jonathan Winters, 1973

Posted by Ron Kretsch
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01.07.2014
11:59 am
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Studs Terkel interviews a very young Bob Dylan in 1963 and it’s incredible
01.07.2014
10:30 am
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Dylan and Terkel
 
If you’re a fan of Dylan’s early work, I implore you to spend an hour with this stellar interview that he did with Studs Terkel from the spring of 1963 . You won’t regret it.  It’s a very cool piece of history in my humble opinion.

Bob Dylan is a notoriously tough person to interview and that’s definitely the case here, even this early in his life as a public persona. On the other hand, Terkel is a veteran interviewer, one of the best ever, and he seems genuinely impressed with the young man who was just 21 at the time and had but one record of mainly covers under his belt. Terkel does a good job of keeping things on track as he expertly gets out of the way and listens while gleaning what he can from his subject. It’s an interesting match-up. 

Dylan seems at least fairly straightforward about his musical influences. He talks about seeing Woody Guthrie with his uncle when he was ten years old (Is this just mythology? Who knows?), and he mentions Big Joe Williams and Pete Seeger a few times.

Much of the rest is a little trickier. Terkel has to almost beg Dylan to play what turns out to be an earnest, driving version of “A Hard Rain’s a-Gonna Fall.”  Dylan tells Terkel that he’d rather the interviewer “take it off the disc,” but relents and does the tune anyways. 

In what will prove to be par for the course as his public exposure increases dramatically in the ensuing years, Dylan is an elusive, squirrely moving target who never quite agrees with Terkel’s interpretations of his music.  “No,” says Dylan, ““A Hard Rain’s a-Gonna Fall” is not about atomic rain.”  He laughs a lot to himself throughout the hour.  Maybe he’s gaming the interview, but you really wouldn’t call him arrogant. Maybe he just doesn’t want to be pinned down.  Maybe they way he speaks (mountain talk, as Terkel calls it) is a put on; maybe it’s not. If people want to think that he’s really a college educated fake, fine.  He calls his songwriting a gift just like someone who’s good at baking a cake or sawing down trees has a gift, but then he says that the word “gift” is just a word and he can’t really describe the thing that drives his song-writing talent. 

Dylan’s like this the whole way through as he bobs and weaves in and out of the questions and tries, perhaps, to let the songs speak for them selves. He does six:

“Farewell”
“A Hard Rain’s a-Gonna Fall”
“Bob Dylan’s Dream”
“Boots of Spanish Leather”
“John Brown”
“Blowin’ in the Wind”

Towards the end of the discussion, Terkel asks Dylan if he and his contemporaries are looking for some kind of new road.  To that, Dylan replies:

Seems like there’s a board there, and all the nails are pounded in all over the place, you know? And every new person that comes around to pound in a nail finds that there’s one less space. I hope we haven’t got to the end of the space yet.

Dylan would obviously find a lot more space for nails in the future, but man does he sound young in this interview. Part of what’s fascinating about this piece is that, outside of New York and possibly some other folk hotbeds around the country, people would have barely known who Dylan was at the time. The Freewheelin’ Bob Dylan would be released very shortly after this interview, changing that irrevocably.

This interview has been floating around as a bootleg for some time, and you can buy your own copy on vinyl here.
 

 
Via Open Culture

Posted by Jason Schafer
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01.07.2014
10:30 am
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‘The Last Magician’: Isaac Newton’s ‘Dark Secrets’
01.07.2014
10:19 am
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Isaac Newton kept his experiments in search of the “Philosopher’s Stone” a secret. It was the kind of thing that might have lead him to be imprisoned, or worse, having his whole academic career dismissed as the writings of a quack.

Newton was no quack, though he did experiment with alchemy for over two decades. He honestly thought there might be something in it, and believed the secret to finding the “Philosopher’s Stone” was hidden in ancient Greek mythology.

Olde clever clogs Newton worked out that these Greek tales were possible ciphers for alchemical equations. He worked out that the story of the god Vulcan, who found his wife Venus in bed with the god Mars, created a net with which he intended to hang the adulterous couple form the ceiling.

Newton discovered this was indeed an alchemical equation in which Venus was the alchemical symbol for copper, while Mars was the alchemical symbol for iron, and Vulcan was fire. Mixing the copper and iron together at very high temperatures, Newton created an alloy that had striations reminiscent of a “net.”

With such Harry Potter-like results, Newton felt more than encouraged enough to continue his alchemical investigations. It obsessed him right up to his nervous breakdown (probably caused by exhaustion), but was forgotten soon after. However, his dabbling in alchemy helped Newton with his more important scientific insights.

Newton’s Dark Secrets examines Sir Isaac’s work and inventions, as well as his covert studies in alchemy.
 

 
In 1936, the renowned economist, John Maynard Keynes bought a selection of Newton’s papers at an auction. Keynes was surprised to discover in amongst these papers Newton’s secret alchemical writings. It turned the image of the man of Reason and Enlightenment into a bit of a crackpot, or as Fritz Leiber more eloquently said:

“Everyone knows Newton as the great scientist. Few remember that he spent half his life muddling with alchemy, looking for the philosopher’s stone. That was the pebble by the seashore he really wanted to find.”

Newton was also quite religious, though he did not believe in the Holy Trinity of Father, Son and Holy Ghost or that Jesus Christ was an equal to God. Instead he saw God as the only supreme being. This kind of belief was considered heresy, and punishable by gaol, or execution.

He also worked out, by interpreting the Book of Revelation, that world will end in 2060, or thereabouts. In his calculations, Newton wrote:

”So then the time times & half a time are 42 months or 1260 days or three years & an half, recconing twelve months to a yeare & 30 days to a month as was done in the Calendar of the primitive year. And the days of short lived Beasts being put for the years of lived [sic for “long lived”] kingdoms, the period of 1260 days, if dated from the complete conquest of the three kings A.C. 800, will end A.C. 2060. It may end later, but I see no reason for its ending sooner.”

Again, the proponents of “Science as the answer to all our problems” attempted to have this superstitious mumbo-jumbo—albeit the superstitious mumbo-jumbo of a towering scientific genius—excised from history. It wouldn’t do to have a hero scientist inspired by fantasies or following delusional superstitions, now would it? Personally, I think that kind of well-meaning censorship is the worst kind of censorship. I prefer my heroes and heroines to be human, and seen in their entirety as real people, faults, failings, warts and all, rather than as exemplars of indoctrination.

Newton was probably a reclusive, dry and snobbish individual, who despite his genius, had no social skills, and was emotional immature. He certainly knew how to hold a grudge and get his revenge, as rival (and know-it-all) Robert Hooke found out.

Yet, without Newton the advances in modern science would have far taken longer, and no scientist until Albert Einstein has had such an important role in its advancement as did Sir Isaac Newton.

Isaac Newton: The Last Magician is a 60-minute biography based on the writings of Newton and his contemporaries, which examines the complexities of the “greatest genius of all time.” It’s a rewarding and informative watch, and touches on Newton’s heretical views and his work in alchemy.
 

Posted by Paul Gallagher
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01.07.2014
10:19 am
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‘60 Minutes’ supplies the establishment take on the disco craze, 1978
01.07.2014
09:27 am
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60 Minutes
 
There’s a saying in the financial world, or at least there was when people still paid attention to weekly magazines, that once a company or sector makes the cover of Business Week, the time has come to dump the stock. If Business Week knows about it, the insiders’ advantage has dissipated and you have to find another curve to get ahead of. I felt a very similar feeling watching Dan Rather very, very seriously explain to the home viewer what this “disco” thing is all about.

The problem with the 60 Minutes approach is that it’s insufferably top-down—it’s really all about money, a topic that Rather mentions incessantly. We get Billboard‘s take on the matter; we see some complacent executives plot the can’t-miss release of a disco version of “Chattanooga Choo Choo” (really?); we get a very cool and professional outfit recording a different single, Peter Brown’s “Dance With Me”; and so on.

This segment aired on April 23, 1978; keep in mind that just a year or two later, 60 Minutes was the highest-rated TV show in America—that is, the show with the greatest number of viewers, period. And it wasn’t like 60 Minutes had stormed out of nowhere, it was already an institution by that time. Rather does blandly inform the home viewer that “for a disco to be a disco, you need a very heavy bass beat” and that a “hook” is “an easily recognizable theme or musical phrase.” (Apparently nobody told poor Dan that it’s not “Moog” as in “moo” It’s “Moog” as in “vogue.”)

It’s difficult to imagine a halfway serious report on a subculture done this way today. What’s missing from the report is any vitality or verve; any mention of ethnic, racial, or sexual minorities or sex or drugs or class issues. Nobody ever breaks a sweat. You get a little footage from inside Studio 54, which is pretty interesting, and the studio sections aren’t without interest. (There’s no such thing as payola in the disco world, by the way.) The death knell of disco may have sounded towards the end of the segment, when we hear the aforementioned version of “Chattanooga Choo Choo” as the camera pans over a group of haggard swingers gyrating on a dance floor awash in dry ice.

The home viewer will have gleaned that someone made a lot of money, but otherwise won’t have a clue why anyone would ever be drawn to disco music.
 
Tuxedo Junction, “Chattanooga Choo Choo”:

 
Peter Brown, “Dance With Me”:

 
60 Minutes report on disco, April 23, 1978:

 
via Gothamist

Previously on Dangerous Minds:
X-rated disco: ‘Give Your Dick To Me,’ 1980
‘The Ethel Merman Disco Album’

Posted by Martin Schneider
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01.07.2014
09:27 am
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Giant spheres respond visually and sonically to human touch
01.07.2014
08:46 am
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teamlab spheres
 
Japanese art and technology collective teamLab have created a wonderfully immersive interactive installation for the exhibition “Distilling Senses: A Journey through Art and Technology in Asian Contemporary Art” at the Hong Kong Arts Center. The piece, “Homogenizing and Transforming World,” Consists of a huge mass of colored spheres that sequentially change color when a viewer touches just one of them. Here’s a video of the experience:
 

 

The balls change color when touched by people, when they bump into things, or receive a shock, and sounds are produced in relation to the colors. Those balls send this color information to other balls, which in turn send the information to balls close by, and the information spreads out so that all the balls become the same color.

The internet has spread through out the world. Individuals are connected to closely related people and information spreads back and forth freely between them. People act as the intermediary for the information and in an instant the information spreads and the world unifies. All individuals can freely and simply transmit information, the individual acts as an intermediary that transmits the information to the world, transforming it an instant.

This isn’t the first exploration of this theme teamLab have mounted. Did it occur to you what a marvelously fun energy could be conjured by putting those spheres in a roomful of kids? It occurred to them, too.

Patting the Light Balls changes their color and the sounds created. The Light Balls combine to make an orchestral space. Large balls communicate with the other balls, touching one changes the color of all the balls in the vicinity and changes the color of the entire space. Children using their bodies by touching and playing with the various sizes of balls can collaborate to change the space and freely create music.

 
teamLab have evidently been working on this project since as far back as 2009, with the very nearly eponymous piece “teamLabBall.”

“teamLabBall” is an interactive interface that changes color and brightness and emits different sounds depending on the actions of the people around it.

When you touch the spheres, it causes effects such as a change in color, or the generation of a sound. Each sphere is synchronized by wireless P2P (Peer to Peer), so it is possible to change the colors of all of the spheres or to change the color of the lighting of the space. Furthermore, it is possible for directors/designers to change the colors remotely without touching the spheres. Anybody present can take part in the design of the space by tossing the floating spheres. The moment you toss the sphere, you take center stage and that moment is shared by everyone in the space.

Utilizing all teamLabBalls as a common interface allows the creation of a digital space where people can get immersed and feel emotionally involved.

I would absolutely love to spend some time in “Homogenizing and Transforming World,” but Asia is a bit of a schlep for me, so please, teamLab, please bring it to the US, please, and thank you.

In Hong Kong, or planning to be soon? “Distilling Senses: A Journey through Art and Technology in Asian Contemporary Art” runs through January 12, 2014.

Posted by Ron Kretsch
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01.07.2014
08:46 am
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Nijinsky with a mohawk: The edgy collaborations of punk ballet dancer Michael Clark and The Fall
01.06.2014
11:34 pm
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Although he and his dance troupe have performed choreography set to the music of Wire, Glenn Branca, David Bowie, Iggy Pop, Brian Eno, Igor Stravinsky and others, it is his work with The Fall that the work of Scottish dancer and choreographer Michael Clark will always be the most closely associated with.

The classically-trained Clark has said that hearing the manic, rubbery, jagged-edged relentlessly repetitious music of Manchester’s post-punk bard Mark E. Smith was a sort of clarion call for him as a young man to start doing his own work—if punk bands could do their thing, then that same ethos and attitude (and shock value) could go into creating a new form of modern ballet. Clark’s vision of ballet happened to incorporate Leigh Bowery wielding a chainsaw, syringes strapped to his dancers and sets festooned with fried egg trees . Clark seemed touched by the gods. His angular, asymmetrical, yet bizarrely graceful form of movement caused a sensation in the dance world. He was Nijinksy with a mohawk.
 

Michael Clark as Caliban in Peter Greenaway’s Prospero’s Books

The Fall and Clark’s company appeared together on The Old Grey Whistle Test in 1984 in a provocative performance of “Lay of the Land” that saw Clark prancing around in a Bodymap leotard that exposed his ass cheeks to the nation as the group made a mighty roar behind him.
 

 
They collaborated more formally in 1988 when The Fall provided the live soundtrack for Clark’s ballet “I Am Curious, Orange” at the Sadler’s Wells Theatre in London (The Fall’s LP was called I Am Kurious Oranj). Some tantalizing looks at what that production was like come from Cerith Wyn Evans videos for “Wrong Place, Right Time” and “New Big Prinz,” which were apparently shot at a rehearsal.
 

 
Below, “New Big Prinz”

 
More after the jump…

READ ON
Posted by Richard Metzger
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01.06.2014
11:34 pm
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‘Experiencing Nirvana: Grunge in Europe, 1989’: Sub Pop co-founder Bruce Pavitt on his new book
01.06.2014
07:18 pm
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Kurt Cobain
 
Experiencing Nirvana: Grunge in Europe, 1989 is one of those perfect records of music history that galvanizes the pedestrian as easily as the aural devotee. Chronicling eight electric (and sometimes volatile) days of Nirvana, Mudhoney, and Tad’s 1989 European tour, Sub Pop co-founder Bruce Pavitt has curated his memories, reflections and beautiful photography in an intimate compendium.On the very cusp of the grunge explosion, Pavitt had the wherewithal to photograph the small moments—moments which provide an ambient framing for this lovely scrapbook.

Bruce was kind enough to give Dangerous Minds an exclusive interview on the book, which helps support Seattle’s Vera Project.

(And for those of you in the New York area, Pavitt is launching a month-long installation exhibit at Rough Trade NYC. This Saturday, he’ll be there signing copies, with a Q&A session lead by Michael Azerrad. I’ll be in the corner fangirling and livetweeting @Amber_A_Lee.)

Amber Frost: How did this book come together?

Bruce Pavitt: My friend and editor Dan Burke and I originally released Experiencing Nirvana as an e-book using iBooks Author. Ian Christe from Bazillion Points then contacted us and offered to release it as a hardcover. The whole project has taken about a year and a half, and it’s been quite a process.

Amber Frost: The concept of a retroactive tour diary is total brain candy. Is it what you had in mind at first? Or did the format take shape as you organized your thoughts and materials?

Bruce Pavitt: From the beginning, we knew that we had a series of images that told a story; in fact we feel that Experiencing Nirvana would make an ideal storyboard for a film! Of course, we realized that the photos needed to be embellished with reconstructed diary entries to fully bring the images to life.

Amber Frost: There’s this strange sense of excitement in a lot of the photos—how much of that was the band’s growing success, and how much was just the thrill of being young and traveling?

Bruce Pavitt: A bit of both. My biz partner Jon and I knew that Nirvana, Tad and Mudhoney were three of the greatest live bands we’d ever seen. Those feelings were validated from both the crowds and the critics overseas. People went off at every show, and it built to a climax when all three bands shared the same stage in London. The photos show our appreciation of both the bands and the awe inspiring scenery.
 
Kurt Cobain
Pavitt’s picture of Kurt Cobain in Rome
 
Amber Frost: What was your sense of the tour’s significance at the time? Did you have predictions? How did they turn out?

Bruce Pavitt: I’ve never taken more photos, neither before nor after. I instinctively felt that this tour would be historically significant, and both Jon and I believed that this London showcase would put Seattle on the map. As it turned out, NME proclaimed Nirvana to be “Sub Pop’s answer to the Beatles.” Our gamble paid off.

Amber Frost: You describe a lot of stress on the tour—particularly with Kurt wanting to simply go home. How fragile or stable did the band feel?

Bruce Pavitt: Both Tad and Nirvana were fairly ragged after zig zagging across Europe in a shared van for almost 6 weeks. By the time we met up with the crew in Rome, Kurt was out of patience. It was just day by day after that, until the band finished up in London.

Amber Frost: A lot of Nirvana’s legacy is obscured by the tragedy of Kurt’s death, so much so that his personality is often simplified into depression and addiction. How would you describe him as a person?

Bruce Pavitt: Kurt was essentially a sweet and sensitive guy, creative, humorous and a true fan of indie music. He was also moody, introspective, and appreciated his alone time.

Amber Frost: In the book you obviously talk about Mudhoney and Tad as well Since grunge was gaining popularity as a movement, did you predict at all that Nirvana would becoming its unwitting “stars?”

Bruce Pavitt: My Sub Pop partner Jon Poneman was Nirvana’s earliest and biggest fan. However, by the time Nirvana played London in December of ’89, I was a true believer.

Amber Frost: With the genre name no longer in use, and Sub Pop now an institution, what do you think the “legacy” of grunge is?

Bruce Pavitt: Grunge was very welcoming and inclusive. For a not-so-brief moment in time, anyone with a flannel shirt and a pawn shop guitar could feel that they had a chance to change the world. I welcome a resurgence of that attitude.

Posted by Amber Frost
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01.06.2014
07:18 pm
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David Lynch student film, ‘Six Men Getting Sick (Six Times)’ (1967)
01.06.2014
04:58 pm
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“Six Men Getting Sick (Six Times)” (otherwise known as “Six Figures Getting Sick”) is a student film that David Lynch made in 1967 when he was attending the Pennsylvania Academy of the Fine Arts in Philadelphia. With a soundtrack of a blaring siren, “Six Men Getting Sick (Six Times)” is basically an animated painting/sculpture of six male figures with visible internal organs vomiting, a one-minute-long animation that was looped four times.

The film was shot in an unused room in a downtown hotel owned by the school. Lynch made a sort of 6 ft by 10ft canvas/sculpture that included plaster molds of his own face to give it extra dimensionality. He then painted over this as collaborator Jack Fisk shot the stop motion on Lynch’s 16mm camera. When the film was originally screened, I believe it was screened onto the canvas itself.

The film was created on a budget of $200, a sum Lynch called “completely unreasonable.”
 

 

Posted by Richard Metzger
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01.06.2014
04:58 pm
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Scraping Foetus Off The Wheel: Nailing a whole lot of ‘Hole’ and ‘Nail,’ an exegesis
01.06.2014
04:00 pm
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JG Thirlwell in 1987, portrait courtesy Richard Kern

This is a guest post written by Graham Rae.

“This isn’t the melody that lingers on/it’s the malady that malingers on.” – Foetus.

Flashbacktrack: for reasons that I am not going to discuss, I was in a great deal of mental and emotional pain in August of 2010. I often found myself listening constantly to the albums Hole (celebrating the 30th anniversary of its release this year) and Nail (30th anniversary next year) by Scraping Foetus Off The Wheel, which I have now been listening to for a quarter of a century. At that time, and others preceding it, these two therapeutic sonic works helped eat my pain and keep me sane. The reasons why they did, and why they will no doubt continue to do so in the skull-suture future, are what I intend to discuss here.

James George Thirlwell, the one-manic band behind Scraping Foetus, was born in Melbourne in Australia in 1960. He spent the first 18 years of his life being down in Down Under, saying that he hated every minute in the country. He attended an all-boy’s Baptist School for twelve years, singing in a choir and playing cello, the school experience a life-scarring one that resonates through a lot of his work to a greater or lesser degree. “I’ve put myself through a deprogramming process so I’ve blocked out most of my childhood, but I remember as I grew up I felt like I didn’t want to be where I was,”(1) he noted later. “I remember getting a bad report card that said my studies were okay but ‘James needs to have more faith’. I was pro-evolution and I’m an atheist to this day.”(2)

Thirlwell flirted with and dropped out of art school, but his disaffection for his art-content-informative (de)formative years soon led him across the ocean to London, where his Scottish mother had studied music. He told his parents he was going on there holiday and quite simply did not return to Australia, which had been his plan all along. He’s rarely been back to the land of his birth since; there are no Antipodean (or Scottish) melodies in his music that I have ever heard. Scorched earth policy from lifestart to teen angst finish.

Finding himself in the post-punk-blitzkrieg soundruins of England’s capital, the displaced Australian got himself a job at Virgin on Oxford Walk, which meant he could keep an ear and eye on the latest musical releases as they came out. After some sonic noodling in a couple of undergroundsound outfits (pragVEC, Nurse With Wound, Come), Thirlwell put out his first Foetus-themed release in January 1981, Foetus Under Glass doing OKFM/Spite Your Face.

Before we go any further, I have to explain something to the Foetus virgins in the audience. In order, apparently, to let the music speak in tongue twisters for itself, Thirlwell has recorded using more Foetus-themed pseudonyms and bandwagons than I would care to remember for three decades, but since 1995 has used Foetus as his main moniker. And what is the significance of that six-letter babybrand? Well, Thirlwell has been known to say with a shy sly wry grin it’s just an embryonic human, and that he likes the connotations of potential. But one thing’s for sure: with this mercurial never-miss-a-beat pimp of the perverse, you can never be quite be sure.

There have only ever been three Scraping Foetus Off The Wheel releases. Of the bizarre and slightly disturbing name, Thirlwell says: “My mental image of that is a foetus being tied to a railway track and being run over by a train and the engineer going, ‘Oh shit, not another!’. It’s a strong image and I like it. The word foetus is great, you know. I love f-o-e-t-u-s. I love the fact the oe is ee. I see it more in an abstract sense. It’s like a vague, abstract term.” (3)

Eventually-just-Foetus’s first few releases were cheaply recorded in London, with tiny numbers pressed for lack of cash, making small raindrop-in-puddle splashes in the British music press. Although he met his several-years-long girlfriend, firespitter No Wave punk provocateur Lydia ‘Lunch’ Koch during this time (more on which later), hanging out with her in a Brixton high rise flat, Thirlwell still wasn’t happy. He had no money, but fortuitously met Stevo of Some Bizzare, records through his Virgin job. This sonic-malefactor benefactor offered him unlimited 24-track studio time free, which Thirlwell jumped on, pulling mad 24-to-36-hour shifts to produce a full album and two 12” tracks.
 

 
The end result was the album Hole, recorded in May-October 1983 in London. The name shows its composer’s penchant for four-letter one-syllable titles. “You know, each (record title) has triple entendres. Like, say Hole, for example. It can mean hole in a sexual sense, hole as in a hole in the wall, or hole as in the hole that you descend into Hell with.”(4) The recording was originally conceived as a six-song album, with a three-minute rendition of “Clothes Hoist” for the whole of Hole’s first side. “The trouble is that as I worked on the song it started growing into a monster and the others just came from nowhere.”(5)
 
Read more after the jump…
 

READ ON
Posted by Richard Metzger
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01.06.2014
04:00 pm
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‘Holy cosplay, Batman!’ Exact replica of the 1966 mask Adam West wore
01.06.2014
12:56 pm
Topics:
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Cool as fuck—but bloody expensive at a whopping $1500—replica Batman mask modeled after the one Adam West wore on the 1966 TV show.

It is the only available cowl still being made from the original fabric which has been custom dyed to match a color sample from the dye house used on the show. The pattern was created by a professional pattern maker using a original cowl (from the Hardeman collection) The lightweight fiberglass shell was created using a plaster cast taken from an original as a base. Even the eyebrow paint color has been Pantone matched to the original.

Adam West refers to our Cowl as a “work of art” and is a proud owner of one of our replicas.

It’s available to purchase on Etsy by WilliamsStudio2. According to the write-up, you need to “act now as fabric is in limited supply.”

Via Nerdcore

Posted by Tara McGinley
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01.06.2014
12:56 pm
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