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‘Up Against the Wall’: Grace Slick says ‘f*ck’ on American TV for the first time, 1969
05:01 pm



Watch as the Jefferson Airplane’s Grace Slick becomes the very first person in history to say “fuck” on American television on August 19th, 1969, the day after Woodstock, on The Dick Cavett Show. Slick actually sings “motherfucker” if you want to split hairs.

“We Can Be Together” was the lead-off number on the Airplane’s radical Volunteers album and the B-side for the “Volunteers” single. Due to the group’s unique contract for the times—they had complete artistic control—RCA had to go along with whatever the Jefferson Airplane wanted, including “shit” and “motherfucker” appearing in their lyrics. For the single, the “motherfucker” was mixed low, but not actually bleeped.

The song’s music and lyrics were written by Paul Kantner, inspired by the Black Panther Party’s use of the “Up against the wall, motherfucker” battle cry, itself a phrase 60s activists often heard coming from police and national guardsmen during that tumultuous era.

Apparently Kantner also cribbed some of the lyrics from something called “The Outlaw Page” in the East Village Other underground newspaper, a polemic written by a guy called John Sundstrom, a member of an anarchist/Situationist-inspired Lower East Side-based “street gang with analysis” called the Up Against the Wall Motherfuckers [UAW/MF] whose name came from a poem titled “Black People!” by Amiri Baraka. The Motherfuckers, whose unprintable name made them press-proof, were involved with storming the Pentagon, setting up crash pads in New York City for counter culture types and the occupation of Columbia University. Marxist philosopher Herbert Marcuse’s stepson, Tom Neumann was an early member.

We are all outlaws in the eyes of America
In order to survive we steal cheat lie forge fred hide and deal
We are obscene lawless hideous dangerous dirty violent and young
But we should be together

Come on all you people standing around
Our life’s too fine to let it die and
We can be together

All your private property is
Target for your enemy
And your enemy is We

We are forces of chaos and anarchy
Everything they say we are we are
And we are very
Proud of ourselves
Up against the wall
Up against the wall Fred (motherfucker)

I wasn’t able to locate the text of “The Outlaw Page” but some Internet sources claim that the lyrics from “We Can Be Together” are nearly word for word taken from it.


Posted by Richard Metzger | Leave a comment
Fun, Fun, Fun, On The Gramophone: Kraftwerk Release Limited Edition Box Set
03:01 pm



Ah, the joys of the box-set, the artfully designed collectible that allegedly adds value to your music collection. Of course, sometimes it’s a damn fine thing, especially when it includes lots of unreleased goodies. Or when the set is cheaper than buying the individual discs. Other times, it’s little more than a cunning scam to sell you something you already own.

Last year, Elvis Costello warned his fans off purchasing his box of delights, claiming he was “unable to recommend this lovely item to you, as the price appears to be either a misprint or a satire…” The price was $258.70 (£212.99) - ouch. Some bands are undeterred in extracting the cash - how many box sets have U2 released? (Too many?) While others see it as a way of celebrating their oeuvre - last week Blur announced the release of their mega box 21, out on July 31, this year. Yet, often the cost of these box-sets suggests they are really meant for the thirty-plus professional, who can afford to shell out the big bucks on such shiny trinkets.

Which brings me to Kraftwerk, who have announced the release of a limited edition black box set of their 2009 box-set The Catalogue. The main selling point here is it’s a “black box set” and it’s “a limited edition”, limited to “2000 individually numbered copies”. The box includes:

...all 8 remastered and repackaged albums in a 12"x12” box. To celebrate the 35th anniversary of their landmark electronic début, Autobahn, pioneers Kraftwerk re-release the digitally remastered of all of their albums. These include redesigned sleeves and all original titles restored. An absolute must for collectors and anyone with an interest in the electronic music culture. This edition also includes large format booklets and expanded artwork:

Autobahn (1974)
Radio-Activity (1975)
Trans-Europe Express (1977)
The Man Machine (1978)
Computer World (1981)
Techno Pop (1986)
The Mix (1991)
Tour de France (2003)

So, if you’re tempted, then follow the trail here to find out more. Or, maybe you can hang on until the 40th anniversary of Autobahn comes around?


Posted by Paul Gallagher | Leave a comment
Stevie Wonder’s ‘Wonderbus’: Listening party on wheels
11:21 am



In 1976 Stevie Wonder’s record company came up with a pretty hip way to promote his new album Songs In The Key Of Life. They outfitted a bus in Sydney, Australia with a sound system and played the album to the delight (and in some cases, consternation) of the bus passengers. They called it the “Wonderbus.”

Via Voices Of East Anglia

Posted by Marc Campbell | Leave a comment
The Avengers ‘78 ‘movie promo’
11:12 am



Yeah, it’s a silly, fake fan-made “TV promo,” but it’s worth the watch to see Paul Lynde as “Loki” and Gene Simmons as “The Destroyer.”

Via Nerdcore

Posted by Tara McGinley | Leave a comment
‘Night of The Bloody Apes’: Lurid, bloody, Mexploitation wrestling oddity (NSFW)
10:19 am



I saw this trailer for gross-out Mexploitation cinematic “classic” Night of the Bloody Apes at a drive-in movie in the 1970s with my parents and younger sister. I must have been all of 6 or 7 years old. We were watching a Hercules/Hercules Unchained double bill featuring Steve Reeves when between films this incredibly lurid trailer came on…

What an impression it left! Scared the crap out of me and I had vivid nightmares about “bloody apes” for some time afterward. Looking at it now, it just doesn’t seem quite as scary, but it sure is a lot funnier than I remember it being.

Bare breasts, internal organs, GUTS and, natch, female wrestling, this one has it all. You really have to wonder how many future serial killers this gory freakout inspired?!?!

Night of the Bloody Apes was a film directed by famous Mexican director René Cardona in 1968 (it’s a color remake of his pioneering blending of the lucha libre and horror genres.The Wrestling Women vs. the Murderous Doctor AKA Doctor of Doom from 1962) that was recut in the early 70s with extra nudity and insanely over the top gratuitous gore added (in the form of several minutes of footage shot during an actual open heart surgery). Etcetera, etcetera.

The English version of the film sports the most monotone, wooden, voice-over actors the world has ever known and the dialogue is a very literal and direct Spanish to English translation:

“I’ll say that’s absurd, the proofs are circumstantial, it’s more probable that of late more and more you’ve been watching on your television many of those pictures of terror,”

James Joyce himself could not have written that sentence! (And even if he could have, he didn’t.) The editing here is, unavoidably, so bad and amateurishly inept that it borders on the hallucinogenic, but that’s part of the charm and what makes Night of the Bloody Apes feel like it occupies its own sub-genre within a sub-genre within a sub-genre.

I’m not saying it’s good, I’m just saying there it is…

Posted by Richard Metzger | Leave a comment
Autospense: Marijuana vending machine
10:03 am

Current Events


I’m not sure I’m totally sold on Aliso Viejo’s Dispense Labs’ Autospense medical marijuana vending machine. I suppose for convenience it wins, however cutting out the person behind the counter whose job it is to guide you in the right direction with the vast cannabis selections in states with dispensary cultures is like cutting out the pharmacist at your local pharmacy.

Different strains of marijuana have very different effects, and it really helps to have someone with a working (even anecdotal) knowledge of the strains to assist when making your choices. It’s also important to physically see and smell the cannabis before purchasing. With Autospense, you can’t do that and it seems like a gamble.

From Orange County Register:

To use, patients must swipe a registration card, then enter a PIN number. Payment may be made with cash, credit or debit, then a door opens to release the product.


From the Autospense website:

After providing the proper documentation, the patient will be issued a pre-approved registration/membership card and have the opportunity to register in an optional finger print scanner system, which enables around-the-clock access to the Autospense machine. The member is granted access and walks into a well secured and camera monitored showroom.


Via Laughing Squid

Posted by Tara McGinley | Leave a comment
Beyond The Valley of a Day in The Life: The Beatles play the Residents (and vice versa)
08:47 am



Long before there was “Love,” Cirque du Soleil’s Las Vegas spectacular set to a score of Beatles mash-ups, and even before there was Danger Mouse’s illegal Grey Album,—a meeting of the minds between The White Album and Jay-Z’s’s Black Album—an earlier and far more radical deconstruction of the Beatles’ oeuvre was done by the Residents.

This was not The Residents first stab at the skewering the Fab Four—their 1974 debut album, Meet The Residents, featured a demented pastiche of the first Beatles album cover that John Lennon was apparently quite fond of. Knowing of course, that they were foolishly risking an expensive lawsuit for copyright infringement this time out, The Residents released the song on a 7-inch record, in a limited edition of just 500 singles, as “The Beatles Play The Residents & The Residents Play The Beatles,” in 1977.

The A-side, “Beyond The Valley Of A Day In The Life,” contains about twenty Beatles samples, one from John Lennon and a line from one of their fan club only Christmas messages. The B-side was the Residents cover of “Flying” which they chose because it was one of the only Beatles songs (along with “Dig It”) attributed to all four members.

Folklore at the time imagined the Residents as the Beatles reformed undercover, making a mockery of their back catalog. The two songs were available at one point as CD extra tracks, but now it looks like they’ve been withdrawn.

Posted by Richard Metzger | Leave a comment
This Night Has Opened My Eyes: Early Smiths concert, 1983
08:38 am



Jump into a time machine and watch the Smiths performing “Handsome Devil,” “Still Ill,” “This Charming Man,” “Pretty Girls Make Graves,” “Reel Around The Fountain,” “What Difference Does It Make,” “Miserable Lie,” “This Night Has Opened My Eyes,” “Hand In Glove,” “These Things Take Time” and “You’ve Got Everything Now” during a pro-shot show at the Assembly Rooms, Derby, December 6, 1983. This was before their first album was released.

From Passions Just Like Mine:

This concert is usually misdated as having taken place on the 7th of December. Tickets were free, John Peel announced
the ticket giveaway on his show. It was a very wild gig, the crowd was very energetic and constantly shouting requests.
It all ended in chaos (read further). “Back To The Old House” was also on the setlist but it seems like it was not played .

After shushing the audience, “Pretty Girls Make Graves” was introduced by Morrissey with the words “A little quirk…
a little quirk friends… pretty girls make!” During “Reel Around The Fountain” he handed one of the bead necklaces he was
wearing to someone in the crowd. He changed a line in “What Difference Does It Make?” to “I think i can rely on me.”

At some point during “Miserable Lie” Morrissey was hit in the eye by a flower, dropped his microphone to the floor and left
the stage. The band finished the song mostly as an instrumental. Morrissey returned to the stage on time for the ending of
“I need advice, I need advice”, adding at the end “and so do you!” for the rowdy audience. He remained playful following
this, but Johnny Marr later said in an interview that this was his most embarrassing moment. Actually in the 1985 programme
for the Meat Is Murder tour, he said this concert was his ‘greatest embarrassment’.

Following the latter number, song requests were shouted by fans and Morrissey shushed them again and shouted “No! This!”
He changed a few lines in “This Night Has Opened My Eyes” to “this night has opened my eyes and I will never see again”,
“The dream has gone, the crying is real” and “And I’m never happy and I’m never sad”. “Hand In Glove” was introduced by
Morrissey with a high pitched shout of “Hand In Glove!!!” During that song someone made it on stage and hugged Morrissey,
making him miss a few lines. After “These Things Take Time”, Morrissey just shouted “Goodbye! Stay handsome… goodbye…”
and the band left.

The band was soon welcomed back with a big collective cheer. They launched into “You’ve Got Everything Now” but it wasn’t
long before the stage became crowded with fans. Band members disappeared from view and Morrissey could barely sing his lines.
He tried as best he could but made strangling noises as he was pulled left and right and tried not to get drowned in a sea
of dancing people. The stage got filled with as many fans as was physically possible. It was one of the Smiths’ first major
stage invasions (including a small child!).

This concert was recorded for The Old Grey Whistle Test and first broadcast the following Friday and Saturday. Some later
rebroadcasts were shortened to seven songs, leaving out amongst others the near-instrumental “Miserable Lie”.

As one of the YouTubers commented:

“They should make a hologram of THESE guys”

If you want to see The Smiths in their prime, absolutely killing it in front of an adoring audience, press play now. Easy to find in DVD quality via the various torrent trackers.


Posted by Richard Metzger | Leave a comment
Jules Nurrish: Bend It Like Gilbert & George
02:45 pm

Pop Culture


Film-maker Jules Nurrish filmed and edited this homage to Gilbert and George’s dance sculpture Bend It. With Los Angeles-based performance artist and body builder, Heather Cassils and London-based performance artist and musician, Anat Ben David, who together perform their own version of the famous dance. Neat.


Posted by Paul Gallagher | Leave a comment
L7 interviewing Nick Cave, George Clinton, The Beastie Boys & more at Lollapalooza 1994

L7 on MTV interviewing The Breeders, Green Day, The Beastie Boys, George Clinton, Nick Cave, Mick Harvey, A Tribe Called Quest and more at Lollapalooza 1994. Poet Maggie Estep is also featured.

This was when MTV still had a connection to music.

The bit with George Clinton is ridiculously cool.

Part two and some awesome live footage of LZ after the jump…

Posted by Marc Campbell | Leave a comment
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