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Absinthe candies
01.24.2013
02:07 am

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Food

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These are worth buying just to own the tin they come in. Sadly, the “absinthe” candies contain no absinthe. Why not? The prohibition against absinthe has been lifted worldwide. Perhaps, the company that makes these will include some of the real deal in future batches. I can’t imagine anyone eating enough of them to see the Green Fairy. But the taste of actual absinthe is wonderful.

Available from the weirdos at Archie McPhee.

Posted by Marc Campbell | Leave a comment
Moreish: Dale Grimshaw’s powerful and visceral Art
01.23.2013
08:48 pm

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Art
Politics

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There wasn’t anyone artistic in Dale Grimshaw’s family, it was just something to do, and learn along the way. That he had a natural talent was obvious, but he developed it through a difficult and potentially violent childhood – the experience of which informs many of his paintings.

Indeed, it was this kind of emotional power in one of his paintings (a self-portrait) that brought me to his brilliant, visceral and original work. His portrait may have seemed imperious, but his eyes revealed a vulnerability, a tremendous humanity and soul.

Originally a street artist, Dale Grimshaw is now one of Britain’s most exciting and talented young artists, and last year, his one-man show Moreish was a hit with both public and critics. I contacted Dale to ask him more about his life, his work and how he started out.

Paul Gallagher: What was the first turning point in your career as an artist?

Dale Grimshaw: Probably getting in at Middlesex University, formerly Hornsey College of Art. It meant I had to really consider the moves I was making in life. I had no support from anywhere else; just my rented flat, my belongings and myself. It meant I’d have to sell it all and move from Lancashire. It was a springboard to other things and places.

Paul Gallagher: Tell me about your childhood and first artistic ambitions?

Dale Grimshaw: There wasn’t anyone artistic, in the literal sense, in my family. I just naturally continued drawing and painting long after other kids had normally given up all that creative nonsense outside of school.

At secondary school, there wasn’t anyone that took any notice of my abilities. Little did my art teacher know that I was practicing to paint with oil paints I’d nicked from shops at home. Ironically, she was called Mrs. Oil but she would rather hit you than take any real interest. My mom saw I had talent and did her best to encourage me.

I first saw ‘The Stranglers’ written in huge letters on a bus stop wall in the late 70s. I was hooked and fascinated by the idea and mystery of graffiti. I wrote on walls, playgrounds, bus seats, textbook covers, and my own body even. Sadly at the age of 15 I tattooed my own arm with my ‘tag,’ which is still there today, as bold as ever. I hated it for decades… bad karma, anyone?’
 
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See more of Dale Grimshaw’s work here.

All artworks copyright to Dale Grimshaw
 


 
Full interview with Dale Grimshaw, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Robots play The Ramones’ ‘Blitzkrieg Bop’
01.23.2013
08:06 pm

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Music
Pop Culture
Punk

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Fingers.
 
Here’s a new video from one Dangerous Minds’ favorite robot bands (after Lana Del Ray).

Compressorhead perform The Ramones’ “Blitzkrieg Bop.”

Stickboy, Fingers and Bones may play with the dispassion of the robots they are, but you can still dance to them. Into the cyber-moshpit.

Check out the band’s website for more mechanical mayhem.
 

 
Thanks Leg McNeil.

Posted by Marc Campbell | Leave a comment
Black Keys sue casino in Louisiana for stealing their music
01.23.2013
06:25 pm

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Music

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The Black Keys when they were still touring by van.
 
We’ve discussed this here on DM in the past—corporations, big and small, ripping off rock and roll bands’ music without asking for or paying the groups for the rights to said music. The companies doing the thievery figure they can glom onto the band’s hip factor without having to pay for it… and this is how it’s done:

Take a song, slightly alter it and hope no one notices, particularly the band. In this case, the band did notice. The Black Keys are suing L’Auberge Casino & Hotel in Baton Rouge for using the riff from “Howlin’ for You” in their TV commercial without the band’s permission. The Keys claim the music in the ad is “substantially similar” to their tune. A spokesperson for the casino says they purchased “a licensed track inspired by “Howlin’ For You” by the Black Keys.”

“Inspired”? Ain’t that inspiration worth something? The casino clearly wanted people to associate their product with a very popular and fashionably cool band.

News sources say the casino’s ad was pulled from YouTube, but I found this. If ain’t the exact one, it must be close.

I’ve said it before kids, hold onto your publishing rights and don’t let anybody steal your music.

And for those who would argue that music isn’t identical, keep in mind that the casino wanted something that sounded like The Black Keys. That is what they paid for. But it’s not just about copping the riffage from The Black Keys’ music, their intent is to ride the band’s fame. They want to be associated with something cool and contemporary. Is that against the law? Probably not. But I do think the Keys have a strong argument based on what the casino claims they were paying for - they wanted to buy The Black Keys without having to pay Black Key prices.

Update 1/24: After reading more reports on the Keys’ suit, serious doubt has been raised in my mind as to whether the YouTube video that I had linked to is the same one that provoked the suit. While the riff in the commercial is similar to the Keys’ “Howlin’ For You,” the fact that new sources are claiming the video was removed from YouTube makes me believe I may have the wrong one. I’ve fired off a message to the Keys for more info. I’ll let you know if I hear back and will update regarding the video.

Posted by Marc Campbell | Leave a comment
The Man Who Sold the World: When Bowie met Lulu
01.23.2013
06:25 pm

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Music

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By the time she was just 25, irrepressible Scottish songstress Lulu was already a firmly established member of the British “light entertainment” pantheon, having come to fame in the early 60s with her cover of “Shout!” and presenting many a “family friendly” TV variety series.

A 1974 chance meeting with David Bowie—then the most “far out” rock star the world had ever seen—at a party in Paris saw her take the (for her) unusual step of recording two of his songs for a single, the tunes being “The Man Who Sold The World” and for the flip-side, “Watch That Man.” The idea was to sort of update her cozy image for a new decade, and who better to employ for this task than David Bowie, who told her he wanted to record a “motherfucker” of a song for her (They also had a brief fling, as recounted in her book).

The numbers were produced by Bowie and Mick Ronson, and Bowie played guitar and sax as well as doing backing vocals. “The Man Who Sold The World” was re-imagined as a cold, sleazy cabaret vamp. Bowie had Lulu smoke cigarette after cigarette to get her voice sounding as scratchy as possible. Bolstered by several Top of the Pops appearances, the single went top 10 hit in Britain—her first in five years—and was a hit in several other European countries in 1974.
 
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Posted by Richard Metzger | Leave a comment
Paul McCartney spoofs Ron Mael of Sparks, 1980
01.23.2013
06:05 pm

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Music

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I never knew this existed until now, and I wonder what Ron Mael thinks of it?

I assume McCartney is a Sparks fan if he is willing to spoof Mael in his own video, or maybe it was just an easy impression, even if he does it well. He also does Hank Marvin, but not so well, and I assume some of the other “band” members—they’re called The Plastic Macs, geddit?—are spoofs of other musicians from the period, too.

I’m not a McCartney fan really, but this IS a cracking tune:

Paul McCartney “Coming Up” (1980)
 

 
H/t too Wallace Wylie.

Posted by Niall O'Conghaile | Leave a comment
‘Bury me with my boots on’: Sid Vicious’s death wish
01.23.2013
05:55 pm

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Punk
R.I.P.

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A few days before he fatally overdosed on some particularly strong heroin, Sid Vicious wrote what appears to be a suicide note. Sid’s mother, Anne Beverley, found it in the pocket of his jeans after his death. The note makes one wonder whether or not Vicious knew exactly what he was doing when he injected that smack into his arm.

We had a death pact. Please bury me next to my baby. Bury me in my black leather jacket, jeans and motorcycle boots.

 

Posted by Marc Campbell | Leave a comment
The Revolution will be Glamorized: Sharon Tate models Mao Tse-tung, 1967
01.23.2013
05:39 pm

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Advertising
Amusing
Class War
Politics
Pop Culture

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What exactly glamor-modeling has to do with revolutionary consciousness isn’t explained - other than making it fashionably chic to the bourgeoisie. Which is ironic, for it was the perceived, pernicious influence of the bourgeoisie (and its revisionist view of capitalism) that led Chairman Mao to instigate his Cultural Revolution in May 1966. While the ad men, magazine stylists and Beatles co-opted Mao’s revolutionary sentiments, the reality for millions of Chinese was a brutal and murderous oppression.
 

A Beginner’s Guide to Mao Tse-tung

The little red book which contains hightlights from The thought of Mao Tse-tung is the most influential volume in the world today. It is also extremely dull and entirely unmemorable. To resolve this paradox, we, a handful of editors in authority who follow the capitalist road, thought useful to illustrate certain key passages in such a way that they are more likely to stick in the mind. The visual aid is Sharon Tate and, to give credit where credit, God knows, is due, she will soon be seen in the Twentieth Century-Fox motion picture, Valley of the Dolls.

 
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6.
‘Whoever wants to know a thing has no way of doing so except coming into contact with it, that is, by living (practicing) in its environment

...If you want knowledge, you must take part in the practice of reality. If you want to know the taste of a pear by eating it yourself.’
“On Practice” (July, 1937)

 
More retro revolutionary chic, after the jump…
 
Via WFMU
 

Posted by Paul Gallagher | Leave a comment
Clip art: Barber transforms hair into amazing portraits
01.23.2013
05:22 pm

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Art
Fashion

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Ray Charles
 
Joe Barber of San Antonio, Texas is a regular Leonardo da Vinci when it comes to creating art with a pair of Wahl clippers, some dye and eye liner. Unlike da Vinci though, Joe uses no paint.

Check out some of his work on his YouTube channel. Better than velvet paintings.
 

Posted by Marc Campbell | Leave a comment
A surrealistic video for ‘Brain Police’ directed by Zappa collaborator Ed Seeman
01.23.2013
04:23 pm

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Movies
Music

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Animator and experimental film maker Ed Seeman worked closely with Frank Zappa in the late ‘60s on a film called Uncle Meat. Over 14 hours of footage was shot for the project but it never came to completion. Zappa purchased Seeman’s share of the film and basically shelved it. A documentary about the making of Uncle Meat was released by Zappa on VHS in 1987 and is highly collectible. It has never been released on DVD.

Zappa once described the film thusly:

It deals with the conflicts that face an average middle-class sort of person who works for the government and does a bunch of things for the government that he’s not proud of and can’t tell his family what he’s doing. See. Because he’s doing a top secret project for the government. See. It gets quite complicated.

Seeman has taken parts of Uncle Meat and edited them into a 40 minute impressionistic collage. Here’s an excerpt set to The Mothers Of Invention’s “Who Are The Brain Police.” If you’re interested in seeing more, you can purchase a DVD at Seeman’s website.

Of all of Zappa’s songs this may be my favorite. It melds Zappa’s cynical world view (perhaps prophetic) with a spookily psychedelic sound that creates a perfect paranoid whole.
 

Posted by Marc Campbell | Leave a comment
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