The Doors perform “Crawling King Snake” in the Elektra Records studios in 1970 as part of a promo for the soon-to-be released album L.A Woman. Morrison would be dead less than a year after this film was shot.
This footage was produced by ABC Australia for TV program “Getting To Know.”
I don’t really care that much about LEGOs, but this “Legolize It!” weed-themed exhibition showing at the Known Gallery in Los Angeles May 26 - June 9, looks like a can’t miss art show.
In the wake of increasing raids on Medical Marijuana dispensaries by local, state and federal drug enforcement agencies, the LAgo brand’s brand-new, flagship storefront is set to open on May 26, 2012 at Known Gallery located at 441 North Fairfax Avenue in Los Angeles. The LAgo brand, as a perpetual “harvest” of healing power, has been especially commodified to meet the addictions of anyone who has ever wanted to experience the transaction of purchasing medical marijuana – or fine art – at a legal business organization. Synthetic starter-plants, seedlings, clones and a totally huge selection of intoxicating, fake plastic buds- all built with LEGO bricks to resemble some of the finest strains of medicinal marijuana ever grown- will be on display and available for limited purchase.
The LEGO grow room is the best. Genius!
441 North Fairfax Avenue
Los Angeles, CA 90036
The film will include exclusive archival photographs, concert footage and interviews with dozens of bands, artists, label owners, zine publishers and others who helped mold and nurture DC’s underground community during this inspired decade of music.
Starring John Stabb, Ian Mackaye, Henry Rollins, Dave Grohl, Alec Mackaye, and many more.
The release date will happen some time in 2013. Watch the trailer below.
We’re all familiar with the concept of the “low information voter” (a term that can be used interchangeably, and with wanton impunity, of course, with “Fox News viewer” and “your average Depends-wearing, scooter-riding old Tea party fart”). Without low information voters, the Republicans would have virtually no chance of winning elections. They rely on them as a stalwart voting bloc every time and they never disappoint.
Lately I’ve been wondering if there should be a brand new term coined to describe a voter with even lesser cognitive abilities?
Take this new advertisement for Joe “the Plumber” Wurzelbacher’s Congressional run in Ohio against popular Democrat Marcy Kaptur. There’s something that is so amazingly… what’s the word I’m looking for… REVEALING, yes, that’s it, revealing about the state of US politics in 2012 captured so perfectly in these succinct 50 seconds.
If this video was made by smart people, it would be brilliant, but since it’s so obviously the work of fucking dolts, it can only be seen and appreciated through that lens, probably. You’d want to believe that people dumb enough to be suckered in by “propaganda” this pitifully stupid wouldn’t even know how to register to vote or even how to acquire a driver’s license, but clearly a sizable amount of the American electorate IS THAT DUMB. So dumb, in fact, that Joe “the Plumber” Wurzelbacher is seen as a freakin’ credible GOP candidate for Congress… I mean… what?
There are so many ridiculous subtexts going on here that anyone with half a brain would just snicker a bit at the tools on their screen who thought this lameness counted as “satire.” BUT, to someone with LESS than half a brain, the obvious Fox News-watching target of this ad, this must be how they see the world around them.
First there is the portly, shiftless, white, middle-aged “hippie” Occupier (who confusingly looks exactly how I picture the average Fox News viewer to look, but never mind that or the even more curious Rod Blagojevich t-shirt he’s wearing!) who mooches off “the system” while biting the hand that writes those sweet, sweet government checks. This lazy leftie bum is juxtaposed against hardworking, conservative “Joe the Plumber,” a man who takes care of business, his family and who pays his taxes, fair and square (despite Wurzelbacher’s own tax troubles, but he’s obviously counting on no one remembering that).
Which one of them is supposed to be Justin Long and which one is John Hodgman???
And what kind of mongoloid would watch this and think “Hey, Joe the Plumber! That’s who I’ll vote for”???
Unsurprisingly, the dumbest man in the Congress, Colonel Allen West, has endorsed “Joe the Plumber.” (“We stupids gotta stick together” his endorsement communicates, doesn’t it?). It makes you wonder, at what point will the balance tip irrevocably in favor of the really stupid people in this country? When they made all of those cuts to education during the Reagan years, THIS is what the result was, ultimately, that clowns like these two can be considered credible candidates for the United States Congress. The idea that West, a man who makes Sarah Palin seem, well, not so bad, has been bandied about as a VP candidate this year is… well, par for the fucking course, isn’t it?
Devo were right! From George Washington to THIS GUY? Unless the educational system gets turned around quickly, America is fucking doomed.
[I’d like to take this opportunity to remind our readers from outside of the United States who feel all smug and superior to us that we’ve got the big guns. That is all.]
How far would you go for love? Would you give up all your possessions? Renounce this world and all its cruelty? Would you die for love? Would you kill for love?
Kill For Love is the new album by Chromatics, a band from Portland, Orgeon led by the producer Johnny Jewel of Italians Do It Better renown. I’ve written about the Italians Do It Better label before, drawing a comparison between the IDIB roster’s sound, and the lo-fi, tripped-out, “haunted retro” aesthetic of acts like Ariel Pink and John Maus.
The Italians Do It Better sound is rooted very firmly in late 70s and early 80s disco music, particularly the more soundtrack-oriented work of Giorgio Moroder, Claudio Simonetti and Patrick Cowley. As those names would also suggest, Johnny Jewel (who produces practically everything on the label) LOVES the sound of analog synthesizers. Jewel was the original choice to compose the soundtrack to last year’s 80s-noir sleeper hit Drive, and with his trademark throbbing, moody sound, it’s not hard to see why.
Chromatics are one of Italians Do It Better’s flagship acts, and one of its most popular, so expectations for this new album are high (particularly as it was originally due for release in 2010.) Thank god then that it doesn’t disappoint. It goes without saying that there’s nothing radically new here, no re-invention of the wheel, but when a form and function are just so perfect, why would you want to reinvent them?
Having said that, there is less of a reliance on arpeggiated synth lines on Kill For Love as there has been on past Chromatics releases. Of all the IDIB acts, Chromatics seem most like a “real” band, in that they aren’t afraid to adopt the “traditional” band roles of bassist, guitarist and drummer. In fact, the addition of live electric guitar on a lot of Kill For Love is perhaps one of the most surprising aspects of the album.
Still, that chilly John Carpenter-vibe is present and correct, like a sliver of ice through a beating heart, as are the hauntingly distant female vocals of singer Ruth Radelet. The opening cover of Neil Young’s “Into The Black” is simply stunning, one of the musical highlights of the year so far for me, and as an opener it sets up the rest of the album perfectly. In a recent interview with Pitchfork, Jewel explained the rationale behind that particular cover version:
It was very, very intentional in terms of rock mythology. You can’t underestimate the power of the guitar for an American audience. It’s a really strong symbol—just everything the guitar and Western culture represent—and Chromatics is part of that fantasy. The Neil Young song was recorded in 2009, and I knew I wanted to open the album with it, for multiple reasons. Part of it was a challenge to us as beatmakers or mood-makers, to see if we could actually write songs that could stand up in a pop sense. Because if you cover a song like that, you’re biting off a lot. You can’t touch Neil Young, but I wanted to challenge us to go beyond the loop and think about songs more.
The rest of that interview is well worth a read.
You can hear (and download) the Chromatics cover of “Into The Black” right here:
Here’s another free download from the album, the single “Kill For Love”:
Moved by the news of Donna Summer’s death, South Bronx-bred aerosol artist and DJ, SERVE (a/k/a SERVE ONE), wasted no time painting the stunning mural pictured above in homage to the late singer. With “Last Dance” – the title of Summer’s 1978 classic – emblazoned by an iconic image from the cover of her Live & More LP of the same year, it’s a beautiful piece of work. “I just had to do it…” SERVE wrote on his Facebook wall to the enthusiastic response of friends. Props, SERVE. RIP, Donna Summer.
Here’s another thing of rare beauty, Donna performing the wonderful “Spring Affair” from the Four Seasons Of Love EP on Soul Train:
Here’s one man band Gull (aka Nathaniel Rappole) performing “Fast Enough” at the WreckRoom music space in Brooklyn.
Gull has been around for awhile but seems to be averse to any kind of self-promotion. He’s a busker, plays occasional festivals and club gigs. His recorded output seems to be pretty much limited to the CDs he sells at shows and on the street. He’s from Richmond, Virginia and currently lives in Philly. I’d like to tell you more, but that’s about the gist of what I could find…without breaking a sweat. His website ain’t exactly informative.
When it’s finished, this documentary might provide a bit more info on the talented Mr. Rappole: later this month, Gull will be traveling to Nairobi, Kenya as part of “The Street Muse Project,” a free short film about worldwide street musicians.
For more on the WreckRoom, check out their website. You can download some Gull music there.
I consider this to be fucking great. And he’s only got half as many members as Lightning Bolt or Death From Above 1979.
Terms like “interactive theater” may give you visions of cheesy plays, bad magic acts and pretentious performance art. However, if you root around to the modern day origins, with such art constructs as the Theatre of Cruelty, there are rewards to be found. Namely, Brian DePalma’s Dionysus in ‘69. “Dionysus” is part filmed documentation of a live theater event and part experimental cinema, complete with being shown mostly in split-screen. (Predating 1973’s dual-vision feature Wicked Wicked, starring Tiffany Bolling and Ed “Kookie” Byrnes, by at least three years.)
The final result feels like Antonin Artaud meets Charlie Manson, with a growing sense of witchiness that lays dormant until a little past the half-hour mark. It snakes out and slowly wraps around you until the shocking and darkly funny ending. Adding to the Helter Skelter vibes, intentionally or not, all of the Dionysus devotees could be siblings of Atkins, Fromme, Watson, Beausoleil, Krenwinkle, Van Houten, et al. The only thing missing is a reference to the Beatles’ White Album. (Though if my had my druthers, I would use a Mort Garson album for the score. Though the live soundtrack, ranging from loose music to chants, is quite fine too.)
The first half hour, while good, comes across as what you would expect from a bunch of college students and actors putting on an alternative version of the famous Greek play, “The Bacchae.” It’s all half nudity, smiles, chanting, with the proceedings taking place in a large garage rather than a traditional stage set-up. It’s not until our lead Dionysus (the late, great William Finley) breaks the fourth wall and speaks to the audience, introducing himself as the former William Finley and is now the “reborn” Dionysus. We then get to witness the surrealistic ceremony of squirming bodies and our lead deity born.
The seemingly sweet hedonism quickly has a menacing flower-child in the form of a slight but strong in presence Pentheus (William Shepherd, whom DePalma fans might recognize as the freak-out concert goer in the finale of “Phantom of the Paradise”). Initially lurking around the pseudo-orgiastic goings-on like a bad penny until he makes himself known, revealing his intentions to murder Dionysus. But, it is only a matter of time before Pentheus is seduced by the lanky, golden-curled god. As the seduction happens, the sexuality and vibe in general goes from hippie-free-love to something in the milk ain’t right. At one point, audience members get involved in the breathing-tomb of flesh, while cult-like humming and chanting can be heard in unison for minutes on end in the background. It’s hypnotic and pregnant with ill-will until the inevitable death of Pentheus, as he is ripped apart by Dionysus’s followers.
But that’s not the real end and thanks to the glory of YouTube, you too are privy to the brilliant and dark as dirt finale. Despite the ancient roots of the play, Dionysus in ‘69 is more en point with the cultural and social atmosphere of the late 1960’s. Which is terribly fitting since no one quite did witchy and disturbing like the ancient Greeks. This is a tradition beautifully and faithfully upheld in DePalma’s infant work here. Now, if only more theater pieces were this good, then or now.