In this fantastic excerpt from the legendary Dutch TV documentary about old school hip hop, Big Fun In The Big Town, a young Grandmaster Flash displays his “turntabilism” techniques—“backspin” “punch phrasing” and “scratching”—for the camera.
From the left: Chrissie Hynde, Deborah Harry, Viv Albertine, Siouxsie Sioux, front: Poly Styrene, Pauline Black
Here’s an excellent mix consisting of female fronted punk and post punk bands via Suicide Watch:
01. The Avengers- I Believe In Me
02. Destroy All Monsters- You’re Gonna Die
03. X Ray Spex- I Am A Poseur
04. Siouxise & The Banshees- Jigsaw Feeling
05. Judy Nylon- Jailhouse Rock
06. Bush Tetras- Cowboys In Africa
07. Au Pairs- We’re So Cool
08. Delta 5- Now That You’ve Gone
09. Girls At Our Best- Warm Girls
10. Pylon- Cool
11. Suburban Lawns- Janitor
12. The Pretenders- Precious
13. Patti Smith Band- Ask the Angels
14. The Maps- I’m Talking To You
15. The Bags- Survive
16. 45 Grave- Evil
17. The Plasmatics- Butcher Baby
18. X- I’m Coming Over
19. The Mo Dettes- White Mice
20. Bow Wow Wow- c30 c60 c90 Go
21. ESG- You’re No Good
22. Shonen Knife- A Day of the Factory
23. Essential Logic- Aerosol Burns
24. Lora Logic- Brute Fury
25. Young Marble Giants- Brand New Life
26. Liliput- Die Matrosen
27. The Raincoats- No Side To Fall In
28. Lizzy Mercier Descloux- Wawa
29. Teenage Jesus & The Jerks- Orphans
30. Sonic Youth- Making The Nature Scene
31. The Slits- I Heard It Through the Grapevine
32. Blondie- Out In The Streets
Although I was told by the guy who actually shot it himself that there was, in fact, a videotape of the legendary Public Image Ltd. “riot” show at New York’s Ritz nightclub in 1981, I’ve never seen it bootlegged anywhere. However there were at least a couple of different audio bootlegs of the show. The one I have is like the one pictured above, a 45 rpm record that came inside of a clear plastic sleeve. It’s chaotic, noisy and difficult to tell what’s going on, yet still really interesting.
The set up was simply that PiL were brought in to hastily replace Bow Wow Wow, who’d screwed over the concert promoters at the last minute. PiL, having no time to rehearse, offered to do a “video performance” using the club’s state of the art video projector, standing behind a screen mixing video, DJing with some live playing.
The following is a description of what actually happened that night, May 15, 1981, as told by Ed Carabello, who arranged the gig. The full article is at Perfect Sound Forever.
“So now it was PIL’s turn to go on. The crowd was really cranky and pissed by then, chanting ‘PIL, PIL, PIL!’ I was in the control booth with my headphones, nice and snug in there in the back of the club with a beautiful view of the audience and the stage: I felt like I was manning the Starship Enterprise. We felt that it would be appropriate to have a video of Lisa Yipp interviewing Keith and John in the trashcan she used for the show. Lisa gets on the headphones and says ‘I’m not going out there- they’re rowdy, they’re screaming!’ I told her ‘you’re a professional, go out there and do it.’ So one of the stage crew drags out the trash can she used for her show with her inside and with the lid on top. The audience looked at it like ‘what the hell’ and she pops out like Oscar the Grouch and says ‘HI, I’M LISA YAPP! I’M HERE TO TALK ABOUT PUBLIC IMAGE LIMITED!’ So now the crowd’s really pissed and they start chanting louder. She starts to give an introduction about the band and we play this interview she did with Keith. In the interview, he’s saying ‘Rock and roll is dead. This is a new age of performance.’ The crowd had it by then. They turned on Lisa for everything that happened. They pelted her with beer bottles but Lisa was such a trooper that she kept going with her introduction. She fended off the bottles with the lid of the trash can like a gladiator shield. Then she says ‘AND HERE’S PUBLIC IMAGE LIMITED!’
The whole band’s behind the screen and Keith starts playing and the drummer’s playing this celtic rhythm to start the show. Then Keith starts playing the record ‘Flowers of Romance.’ He cranked it up and took all the equalization out of it- it sounded so cacaphonous. I started pulsating the parcan lights. It was really eerie and screechy. The crowd just loved it- they fell silent. You just saw the glow and the lights flashing. Keith’s guitar was feeding back, playing off the record that was on and John was just silent throughout this whole thing. He just stood next to Keith. You could only see the silhouettes of them and the projections of them on the screen. The crowd is just loving this, thinking ‘what a great introduction.’
The first song ends and John starts to talk to the audience for the first time. He says ‘sil-ly fuck-ing aud-ience, sil-ly fuck-ing aud-i-ence…’ He’s slowly taunting the audience. Now the crowd’s not quiet anymore. They start chanting ‘raise the screen, raise the screen, raise the screen!’ John’s never been one who likes to be told what to do so he’s chiding the audience. He says what fuckers they were to pay 12 dollars to see this, just taunting the audience. The more they say ‘raise the screen,’ he says ‘we’re not going to raise the fucking screen!’
So the band goes into another song that was this kind of improvisational kind of thing. It seemed to be directed by the drummer! John and Keith were just doing their thing. John made those sounds with his voice, almost like a yodelling type of thing. Keith is doing this screechy, primal sounding thing with his guitar, almost like a jazz number. They go through this and it’s a ten minute number. The crowd is kind of liking it but you could hear them add their two cents by syncopating the rhythm with ‘raise the screen! raise the screen!’ At the end of this, John is really being abusive. So the audience starts pelting the screen with beer bottles. Even in the balconies, they were throwing bottles and some of it was hitting the audience down below. The more that they threw bottles, the more that John would chide them.
The manager of the Ritz comes to me then as I’m the only member of the band that was accessible- everyone else is behind the screen. Jerry says ‘you gotta raise the screen! There’s a riot happening right before our eyes!’ I felt like Nero watching Rome burn, seeing these bottles all over and I never realized how abusive John was to his audience. So I tell Jerry ‘No, I’m not raising it. You should have advertised and said that this wasn’t a concert. It’s a performance art show. That is what it is, that’s what they paid for and that’s what we’re putting on.’ I was guarding the remote control switch, not letting anyone touch it. Jerry kept yelling at me to raise it and I’d yell at him that I wasn’t going to do it.
Then Jerry turns to the crowd and sees something going on as they let out a collective ‘aaah.’ The front of the crowd started pulling on the tarp and I start getting scared because the instruments and amplifier were moving forward like they were going to go into the audience. So Jerry says ‘Are you crazy? Look at that!’ I said ‘you’re probably right.’ So I raised the screen just a little bit, enough to put on the parcans full blast so that we’re blinding the audience with light. For a minute, they shrink back from this huge flash of light. It looked like the screen from ‘Wizard of Oz’ where everyone sees the magical workings of the Wizard, like ‘pay no attention to the PIL behind the screen!’
After the jump, listen to audio recordings of what happened during this infamous performance…
Robertson Davies’ itinerant childhood in Canada meant he never felt he belonged. It gave him a certain ruthlessness and a watchful quality, which made him more agreeable towards the solitary toil of writing.
His father was a newspaperman, a publisher and editor, who became a politician. To escape from under his father’s strong and domineering personality, Roberston decided to focus on his own strengths and ambitions. At first he decided to be an actor, and then moved to England to study at Oxford University. He returned to Canada and worked for twenty years as a newspaperman. At nights he started writing the plays and books that made him one of the twentieth century’s most respected writers.
At the time of this interview in 1973, Davies had completed Fifth Business and The Manticore, the first 2 volumes of his brilliant Deptford Trilogy, and was working on the third World of Wonders. The trilogy hangs on one incident that has dramatic and far-reaching consequences on a group of townspeople at the turn of the 20th century.
Davies was a genuinely learned man and his novels are filled with jokes, allusions, references and themes, that give bountiful pleasure to reading his books.
In this interview, you will find him gently poking fun at himself and other scribes with this description of his trade:
‘Writers are curious people, in that they tend to be withdrawn, they tend to be rather grumpy and unhappy, they tend to take offense very readily, and they tend to harbor grievances more than a great many people do, and they tend to be hypochondriacs.’
Davies had a great interest in psychology. He was influenced by Jung, but thought Freud had a dreadful reductive quality. Still he felt neither gave a full or satisfactory answer to what is experienced in life.
This interview wanders around its subject, encompassing his acting, his father, his childhood, his writing, his journalism, and his academic life. It is a rare look at one of fiction’s most intelligent writers.
Like I mentioned in the article, Egyptian Lover is a bona fide legend, a pioneer of both Hip-hop culture on America’s West Coast, and the TR-808 drum machine (the foundation stone of rap, electro and house music - in fact, it’s an integral part of all electronic music.) If you are in anyway interested in dance music culture and it’s history, then Egyptian Lover, or Greg Broussard to his friends, should loom very large on your radar.
Which is why I am absolutely BLOWN AWAY to announce that Egyptian Lover has produced a remix for my next single. That release is an acid-vogue version of Missy Elliot’s “Work It” that I have performed in my live sets for a long time, and included on my AKA album earlier this year (available to hear and as a free download here).
I still need to pinch myself form time to time to prove that no, I am not dreaming, I really do have a remix from Egyptian Lover. This guy has been a huge influence on my own music and djing, so to actually have him creating a beat and rapping on my track is… hard to describe.
As we say over here, I’m chuffed.
I sent Greg a few quick questions to answer, via email:
Do you still have the first 808 you bought? If so, does it still work?
Yes I still have the first one I ever bought and 5 more. I absolutely love the sound of it. I even bring one on the road with me to play at all my shows.
Are there any good 808 substitutes (for people who can’t afford the real thing)?
What are your top 3 808-based tracks of all time?
The 808 is still going strong to this very day. Who are your favorite modern producers, or djs?
Not too many, I’m old school 100% but I like AUX88, Jimmy Edgar, Jamie Jones, Dam Funk, just to name a few.
You seem to be touring non-stop. How is that going?
It’s a great life when you can see the world, DJ, and get paid for it!!!
What are your favorite places to play?
Paris, London, all of Germany and Barcelona are my favorites
What’s coming up in the near future for the Egyyptian Lover?
A new album 1984 and a big surprise with Stones Throw Records.
Have you ever been to Egypt?
Never been to Egypt but I plan on it very very soon!!!
Now THAT would be a gig to see - Egyptian Lover rocking the pyramids of Giza with his trusty 808. Or maybe on a boat down the Nile on the way to his house. I’ll do a fuller interview with Greg when 1984 is ready to drop, but in the meantime, here is the Egyptian Lover’s remix of “Work It”:
The full download release of Work It is coming on the 17th of September through Juno, and I will be uploading more of the remixes (from Hard Ton, Electrosexual, Ynfynyt Scroll and Cunt Traxxx) to my Soundcloud page over the coming weeks.
There’s always music and news updates available at www.niallism.com, and if you’re on Facebook, you can find me here.
As he mentioned, Egyptian Lover’s album 1984 will be coming out later this year on Stones Throw Records. You can keep up to date with Egyptian Lover, and his tour schedule, via Twitter and MySpace.
Rambaldi created octopus face years before the Alien chest burster.
One of cinema’s great special effects masters Carlo Rambaldi has died at the age of 86.
Rambaldi will be remembered by most moviegoers as the guy who created the loveable E.T. and the freaky chest-bursting baby monster in Alien. While I have a soft spot in my heart for both of those creatures, my favorite Rambaldi creations appear in films like Mario Bava’s Twitch Of The Death Nerve, Deep Red, Flesh For Frankenstein and Planet Of The Vampires.
With Twitch Of The Death Nerve ( aka Bay Of Blood), Rambaldi designed and orchestrated ultra-violent gore effects that influenced an entire genre of film known as splatter movies. He wasn’t the first, but he was the craftiest. In films like Blood Feast and 2000 Maniacs, Herschell Gordon Lewis brought the butcher shop aesthetic into the cinema, but it was Rambaldi who took the hamburger and refined it into steak tartare. Later, Tom Savini and Rob Bottin would bring the fine china.
When it came to the art of dismemberment and disembowelment, Bava and Rambaldi set the standard for films like Suspiria, Friday The Thirteenth and and Dawn Of The Dead. Just watch Twitch Of The Death Nerve and you will see what I mean. It’s a grand gorefest, beautifully shot and full of eye-popping effects. And even if the movie didn’t have anything going for it other than the title, that alone would be enough.
Twitch Of The Death Nerve is, according to film historian Tim Lucas, “probably known by more titles than any other movie ever released.” You know which one I like.
What’s more, the study’s authors say that this applies to people of all income levels and all political leanings: The poor and the rich, Democrats and Republicans are all equally likely to choose the Swedish model.
But the study also found that respondents preferred Sweden’s model over a model of perfect income equality for everyone, “suggesting that Americans prefer some inequality to perfect equality, but not to the degree currently present in the United States,” the authors state.
Recent analyses have shown that income inequality in the US has grown steadily for the past three decades and reached its highest level on record, exceeding even the large disparities seen in the 1920s, before the Great Depression. Norton and Ariely estimate that the one percent wealthiest Americans hold nearly 50 percent of the country’s wealth, while the richest 20 percent hold 84 percent of the wealth.
But in their study, the authors found Americans generally underestimate the income disparity. When asked to estimate, respondents on average estimated that the top 20 percent have 59 percent of the wealth (as opposed to the real number, 84 percent). And when asked to choose how much the top 20 percent should have, on average respondents said 32 percent — a number similar to the wealth distribution seen in Sweden.
“What is most striking” about the results, argue the authors, is that they show “more consensus than disagreement among … different demographic groups. All groups – even the wealthiest respondents – desired a more equal distribution of wealth than what they estimated the current United States level to be, while all groups also desired some inequality – even the poorest respondents.”
The authors suggest the reason that American voters have not made more of an issue of the growing income gap is that they may simply not be aware of it. “Second, just as people have erroneous beliefs about the actual level of wealth inequality, they may also hold overly optimistic beliefs about opportunities for social mobility in the United States, beliefs which in turn may drive support for unequal distributions of wealth,” they write.
92% is practically unanimous in American political terms, don’t cha think? It’s a strong majority that clearly cuts across all demographic lines. Still, the study’s authors believe that apathetic Americans will probably remain unlikely to actually do anything that would close this income disparity gap!