Via Occupy Wall Street.
Via Occupy Wall Street.
M83’s “Midnight City” (one of my top ten tunes of 2011) and Creedence Clearwater Revival’s formidable “Bad Moon Rising” fuse with chilling beauty, both sonically and in their shared dark vision, in this exceptionally cool mash-up from LeeDM101 and Thriftshop XL
This took a couple of listens before I came to appreciate just how inspired it is. At first, I resisted. But when it all comes together, I surrender. “On the rise, on the rise, on the rise….”
I remixed this from a video uploaded to YouTube by mjlttown. I added some light show loops and a new soundtrack by The Cramps.
I’m easily amused.
Graffiti legend Stay High 149 (Wayne Roberts) died on Monday at the age of 63.
Stay High was a pioneer in the world of graffiti, starting in the early 70s and returning in 2000 after a 25 year hiatus. His trademark was a pot smoking version of the stick figure icon from the British TV show The Saint. High’s name reflected his habit of smoking an ounce of marijuana a week and his brief gig as a messenger on Wall Street where he made extra scratch selling loose joints on his lunch break.
I was the first to take a logo and adapt it into something of my own. I remember doing it at the time, just because I thought it was cool. I made my stick figure with a joint in his hand because I stayed high, and I made mine crouching because he is getting ready to jump up and take off! After me I remember LSD3 added the “OM” symbol to his tag (example), and from there on I think other writers would try to add various symbols to their tags. But yeah as far as I can remember I don’t think anyone was doing any kind of symbol with their tags before me, at least not anyone that influenced me.” Stay High 149.
According to Stay High’s biographers Sky Farrell & Chris Pape...
[...]Stay High 149 was the first to adopt an icon rather than a typographic tag as a nom de guerre; his “Smoker” was a subversive spin-off of the logo developed for the 1960s classic spy thriller television show “The Saint.” His “Voice of the Ghetto” tag began as an anonymous declaration of existence on behalf the city’s dispossessed and downtrodden.
Stay High, Mr. Roberts. You’ll be missed.
R. Raccoon, down but not out.
As far as crimes against rock go (and specifically the Beatles), this one’s just a misdemeanor. While the arrangement of “Rocky Raccoon” sounds like it belongs in Tobe Hooper’s The Best Little Whorehouse In Texas, Lena Horne’s campy theatrics saves the tune from utter disaster.
This performance is from an episode of the Flip Wilson Show aired in 1973.
Manifesting The Mind is a terrific, thorough and insightful documentary that explores the benefits, suppression, shamanic uses and philosophy of psychedelics. It mostly consists of talking heads, but ah what heads they are.
Interviews include - Robert Bussinger, Mike Crowley, Timothy Freke, Peter Gandy, Alex Grey, Clark Heinrich, Nick Herbert, John Major Jenkins, Dennis McKenna, Terence McKenna, Daniel Pinchbeck, and Dr. Rick Strassman.
Here’s Gene Wilder’s polite constructive criticism to Willy Wonka & the Chocolate Factory‘s directer Mel Stuart, after viewing early sketches of the costume.
I’ve just received the costume sketches. I’ll tell you everything I think, without censoring, and you take from my opinion what you like.
I assume that the designer took his impressions from the book and didn’t know, naturally, who would be playing Willy. And I think, for a character in general, they’re lovely sketches.
I love the main thing — the velvet jacket — and I mean to show by my sketch the exact same color. But I’ve added two large pockets to take away from the svelt, feminine line. (Also in case of a few props.)
I also think the vest is both appropriate and lovely.
And I love the same white, flowing shirt and the white gloves. Also the lighter colored inner silk lining of the jacket.
What I don’t like is the precise pin pointing in place and time as this costume does.
I don’t think of Willy as an eccentric who holds on to his 1912 Dandy’s Sunday suit and wears it in 1970, but rather as just an eccentric — where there’s no telling what he’ll do or where he ever found his get-up — except that it strangely fits him: Part of this world, part of another. A vain man who knows colors that suit him, yet, with all the oddity, has strangely good taste. Something mysterious, yet undefined.
I’m not a ballet master who skips along with little mincy steps. So, as you see, I’ve suggested ditching the Robert Helpmann trousers. Jodhpurs to me belong more to the dancing master. But once elegant now almost baggy trousers — baggy through preoccupation with more important things — is character.
Slime green trousers are icky. But sand colored trousers are just as unobtrusive for your camera, but tasteful.
The hat is terrific, but making it 2 inches shorter would make it more special.
Also a light blue felt hat-band to match with the same light blue fluffy bow tie shows a man who knows how to compliment his blue eyes.
To match the shoes with the jacket is fey. To match the shoes with the hat is taste.
Hope all is well. Talk to you soon.
All my best,
Via Letters of Note
Holy-motherfucking shit, our friends at Cinefamily (here in sunny Los Angeles) have outdone themselves (yet again) for what looks like an incredibly fun time this coming Saturday night:
An Evening With Paul Williams
Why are there so few songs about rainbows? Because Paul Williams wrote the absolute definitive one for all-time with “The Rainbow Connection”, and no one else since has dared to go near the rainbow zone. This one feat alone doesn’t make a career—but the theme song to “The Love Boat” and huge chart hits for The Carpenters, Barbra Streisand, Helen Reddy and Three Dog Night sure do, as well as the smash soundtracks for Phantom of the Paradise, Bugsy Malone, Emmet Otter’s Jug-Band Christmas and A Star Is Born, all in conjunction with an incredible acting career in which he’s played boy geniuses (The Loved One), sleazy businessmen (Smokey And The Bandit) and monkey dudes (Battle For The Planet of the Apes). WHEW!
Short in stature but towering in talent and charisma, Paul Williams was one of the faces of 1970s American pop culture—you couldn’t tune into late-night TV without seeing his joyful, bespectacled grin. Deserving of every accolade every bestowed to him, Paul is a national treasure, one fully deserving of rediscovery. Join us as we sit down with this living legend for a juicy career-spanning convo, moderated by Steven Kessler (director of the brand-new doc Paul Williams: Still Alive) and peppered with rare archival footage of Paul at his best!
Phantom of the Paradise Tribute Concert
One of the most intense, baroque and satirical films of Brian De Palma’s filmography deserved an equally shimmering, catchy and reference-laden rock score—and that’s exactly what Paul Williams bestowed upon De Palma’s 1974 movie musical masterpiece Phantom of the Paradise. Starring in the film as well as singing several of its cult-hit earworms, Paul cemented an unforgettable legacy as “Swan,” the Svengali-like evil spirit chairman of Death Records—in addition to penning other soulful, memorable numbers for his co-stars, tunes that giddily run the gamut from glam rock sleaze to doo-wop parody, singer-songwriter sensitivity and beyond. The Phantom songbook is instantly hummable and forever meaningful to lovers of pop pastiche—and after our live Q&A session with Paui, it’s time for a full-on live tribute show to this epic showstopping soundtrack! The evening’s vocalists include Eryn Young, Django and Sam Stewart, Sierra Swan, Tim Young and Heather Porcaro—and the band is manned by Tim Young, Kaveh, Aaron Sterling and Steve Porcaro. Thrill to this ace team’s renditions of “Faust,” “Old Souls,” “The Hell of It” and more!
An Evening With Paul Williams begins at 6:00pm and the Phantom of the Paradise Tribute Concert begins at 8:30pm, Saturday June 16th. Get tickets here.
(The evening prior, Cinefamily will be screening a Paul Williams double bill of The Muppet Movie and Phantom of the Paradise. Info here.)
Previously on Dangerous Minds:
Paul Williams sings in his ‘Planet of the Apes’ make-up
Below, Paul Williams sings “Just an Old-Fashioned Love Song” on The Muppet Show:
No, that’s not a post-modernist assemblage sculpture made of ground beef and celery stalks: An electron microscope captured this image of “partially dried red blood cells clotted on the cotton fibres of a gauze wound dressing.”
Brilliant design—and nice tailoring—by Chadwick John Dillon of this fashionable suit of armor hoodie.
Whether or not this puppy is for sale (or if there are others like it) is unclear. The only link I have is to Chadwick’s Facebook page. I want one of these to wear when I watch Game of Thrones!
Via Super Punch