Here’s 15 seconds of a cat displaying his badass self.
(via KMFW )
Here’s 15 seconds of a cat displaying his badass self.
(via KMFW )
Michael O’Donoghue died 17 years ago today of a cerebral hemorrhage - an appropriate departure for the brainiest of the Saturday Night Live writers. O’Donoghue had a lot on his mind and most of what we came to see of it was grimly hilarious. His dark humor combined with a dadaist sensibility resulted in some of the most bizarre shit to ever be aired on network television.
In 1979, he created the TV special Mr. Mike’s Mondo Video which was so over-the-top that NBC refused to put it on the air. Eventually it ended up in movie theaters where it died a quick death. Not even the hipsters of the time were hip enough to get it.
O’Donoghue’s mondo video was the cinematic equivalent of a really good punk rock song. It was raunchy, politically incorrect and totally spot-on as an indictment of American culture and values. It still packs a punch. And, as an added attraction, it features Sid Vicious, Debbie Harry and Klaus Nomi.
In this excerpt from Mr. Mike’s Mondo Video, we are introduced to the Dayak Indians and see the impact that western pop culture has on their traditional values. In O’Donoghue’s world nothing is sacred and the truth is painfully funny.
Film lovers in Los Angeles will have a rare chance to see four of Michelangelo Antonioni’s films projected in pristene 35mm prints tomorrow and Wednesday night at Cinefamily.
In addition to Janus Films’ brand-new 35mm print of Red Desert—Antonioni’s first experiment with a color film in 1964—you can also catch Blow-Up, Zabriskie Point and The Passenger (Get tickets here). I’m hoping that “new 35mm print” = new Blu-ray DVDs of his films, especially Zabriskie Point.
And speaking of Zabriskie Point, I’ve become obsessed with a Pink Floyd bootleg making the rounds lately and chances are that some of you reading this might enjoy it, too.
Apparently the Floyd were at one point to have been the sole composer/musicians for the Zabriskie Point soundtrack. They completed eight numbers for the film, but only three were used. Antonioni added material by The Youngbloods, Roy Orbison, Jerry Garcia, The Kaleidoscope, Patti Page and the Rolling Stones to round out the film’s score. (Oddly, Antonioni visited the Doors in the studio when they were recording the extraordinary “L’America” for L.A. Woman, but the director inexplicably turned the track, which could have worked spectacularly well in the film).
Under the title 370 Roman Yards, you can hear all of the soundtrack music recorded by Pink Floyd for Antonioni that never made it into the film. 370 Roman Yards purports to be the “lost” Pink Floyd soundtrack to Zabriskie Point with all eight of those tracks recorded for the film in the order of the intended album’s run list, plus the known outtakes.
It’s an extremely satisfying listen: Some of it sounds like Atom Heart Mother, some of it like Meddle and some of it is reminiscent of “Grantchester Meadows,” Roger Waters’ dreamy, pastoral composition from Ummagumma. “Heart Beat, Pig Meat” was Pink Floyd’s first time using a human heartbeat as a musical instrument (but would not be the last). It’s one of their most monstrous numbers, truly a mind-blower. Rick Wright contributed a piano number called “The Violent Sequence” which was unused, but later retooled as “Us and Them” on Dark Side of the Moon. Parts of the score remind me of Erik Satie and it has some of the few Floyd numbers that could be described as “blues rock.” Taken as a whole, it does absolutely sound like a “lost” Pink Floyd album recorded at the end of 1969, because that’s exactly what it is…
In the summer of 1969 Michelangelo Antonioni completed the filming of his visionary and prophetic view of America and our society. All that was left was to complete the movie with a good soundtrack. Antonioni was interested in everything that was new and trendy among young people. Don Hall was on the air during his nocturnal DJ program on KPPC FM Pasadena when he was contacted personally by Antonioni at the end of the summer of 1969. Antonioni really liked Don and invited him to have some screenings of the movie. After that Don provided a list of songs he felt would work, most coming from his program. Antonioni asked MGM to hire Don as Music Advisor for the soundtrack and came back to Roma (Don still has a letter from Antonioni, sent from Rome with the list of the songs he’d like to be in the movie, all songs for the radio-desert sequences).
Still they had to find how to score all the main sequences: Beginning, Violent, Take Off, Love and Explosions sequences (and eventually more). Antonioni wanted original music for those sequences. Many artists and bands were contacted to write original music for the movie, but none of them was asked to write the whole soundtrack of the movie.
In October ‘69 Don was in Rome with Antonioni trying to find a way to score the whole movie in time for Christmas. Near the end of the month it happened that Clare Peploe (co-writer of the movie and Antonioni’s girlfriend at the time) brought to Rome a brand new copy of the new Pink Floyd album, Ummagumma, from London. Antonioni, Don Hall and Clare listened to the new album with a small stereo at Antonioni’s house in Rome. Antonioni REALLY liked Ummagumma and listened several times to the whole album. He liked “Careful With That Axe, Eugene” very much and told Don that he’d like a new version for the final sequence of Zabriskie Point. They decided to try and hire Pink Floyd to record all the original music they needed for the movie. MGM contacted Pink Floyd. After that Steve O’Rourke came to Rome alone during the first days of November ‘69 to check and organize it all. All was done in few days, and Pink Floyd came on the 15th of November with Pete Watts and Alan Stiles, cancelling some shows planned for their present tour. Antonioni and Don showed the movie to them several times with some scenes already scored, highlighting those without. At that point Steve and Roger Waters had a talk and asked Antonioni to try to score the whole movie. He, being enthusiastic about Ummagumma, agreed.
Pink Floyd produced a large quantity of music, especially for the Love Scene but Antonioni was not satisfied and the sessions ran longer than planned. In the end Pink Floyd went back to London with some songs to finish. Out of all the entire production of songs, including themes and variations, Antonioni ended up using only three songs. He kept on searching for “something better” till the last days before the premiere of the movie. In London Pink Floyd completed their final versions of eight songs with the intent of them being their eventual album for the Zabriskie Point soundtrack.
You should not have that much of a problem, armed only with Google, of tracking down your own copy of of the amazing “lost” Pink Floyd soundtrack album, 370 Roman Yards...
“Heart Beat, Pig Meat”
“The Violent Sequence” which later became “Us and Them”:
The version of “Careful With That Axe, Eugene” (re-titled “Come in Number 51, Your Time Is Up” here) that accompanies the big explosion scene at the end of Zabriskie Point is one of the great “primal screams” in all of rock and roll (and cinema) history. With the gorgeous Daria Halprin (briefly Mrs. Dennis Hopper):
Previously on Dangerous Minds:
The Zabriskie Point Fallout (With Mel Brooks)
Thank you Michael Backes!
No love for Danzig at Fun Fun Fun Fest. Photo: Mirgun Akyavas.
Glenn Danzig makes it so easy to dislike Glenn Danzig. It’s almost as though he’s begging to be hated. This past Friday at Austin’s Fun Fun Fun Fest Danzig unsuccessfully attempted to start a riot after his band’s power was cut by fest promoters when his show went beyond the city’s curfew. Danzig tried to pin the blame for the aborted performance on the fest organizers when actually it was his fault for going on stage 45 minutes late. His arrogance is legendary and must be related to the fact that he’s roughly the same height as a fire hydrant. He’s Mini-Me in Jim Morrison drag. Or as Scott Evil might put it a “vicious little Chihuahua thing.”
FFFF Founder Graham Williams of Transmission Entertainment posted the following on the fest’s Facebook page:
Hi. I book the fest. Someone has your money and ripped you off. His name is Glenn. Stop by his house in LA with some kitty litter in trade for your refund, but we still had to pay him and he didn’t deserve it after what he pulled. Here is how it went down…check the timeline:
-glenn flies in this morning and says he has a cold and doesn’t feel like playing the show. he demands french onion soup and vitamins brought to his hotel suite. he wants the soup now and wants it hot. we get it.
-glenn says it’s freezing in austin and he can’t go on. says it’s going to be 28 degrees tonight and he won’t perform (keep in mind, it’s currently 71 and sunny with a night forecast of maybe 50+). he says we have to move the show/festival inside if we want him to play (obviously, that’s not possible).
-we rent stage heaters (no other bands, public enemy, mcd, passion pit, etc need or want heaters on stage…it’s warm up there and not cold out) for glenn per demand, as well as bring in an onsite doctor to make him happy and be there if his cold doesn’t go away.
-agents and managers assure us he’s going to play now.
-glenn’s band/crew arrive before him in the afternoon and load gear. they said it all works, they get up the danzig banner, check lights, are happy.
-glenn arrives at 7:45 (half hour before showtime, they go on at 8:15 exactly and have a 90 min set…park curfew by the city/police is 10pm sharp)...when he arrives, he says he’s not going to play. says he doesn’t like how the banners are hung on stage and doesn’t like the lighting or stage size (all this was advanced in email and phone well in advance and the band/crew loaded in mid day and were happy with it and said it would work…stage wasn’t small at all). he wouldn’t leave his trailer to go look at the stage, though, so the lighting company drew up specs for him to look at of the stage lighting 50 feet from his trailer and brought it to him to look over and prove him wrong.
-in the meantime, glenn’s bodyguard gets pushy (literally) with murder city devils manager and tells them they can’t have their friends watch MCD from stage and wants them to cut their set. kicks them off stage and gets physical with the band and stafff….oh, also danzig says he’s just as big as slayer and slayer is playing a bigger stage on sunday and that’s bullshit and wants to play the same stage slayer is playing…or won’t play. makes him look bad.
-it’s now 8:15 and time for them to go on. the band is ready, corpse make ups done, guitars tunes. glenn says he’s not playing and that it’s too cold outside. he said big stages should have windscreen so wind can’t blow on him from the side. the stage managers then goes and gets tarps and tarp the entire side of the stage so no wind will hit him.
-it’s now 8:40. we explain that it’s cutting into the set and he’s going to have cut the 90 min set if he doesn’t play soon, as park curfew is 10. he says he doesn’t feel like playing. says “i got a deathbug. if i go on stage and get sick, i’ll die. i’m not getting sicker for this show” (NOTE: he totally looks and seems fine…no coughing, no paleness, no vomiting, just some balding and a gut, from what i can tell). we get the Dr and he says he can do a b12 shot or anything he needs if he feels bad…danzig says he only treats illnesses naturally, so won’t do that. we finally get him to agree to play and have already informed his crew that it’s only 60 mins (9pm at this point) and they start cutting some songs from the set list, so they can still do misfits, but obviously didn’t cut enough.
-they went on almost and hour late due to the HANDS DOWN biggest rock star moment we’ve ever dealt with and then he tries to start a riot and blames the fest, the city, the cops and everyone, but himself. goes backstage and tries to fight a few ppl and get in the van and leaves.
Here’s a video from Friday of Danzig ranting and failing to incite a riot. What a miserable prick.
On Saturday, in the true spirit of rock and roll and with a wicked sense of humor (check out the wig), Ted Leo and The Pharmacists covered some Misfits songs that Danzig didn’t get around to the night before. Overnight, Danzig had become the laughing stock of the festival. The Damned made some choice cracks about Glenn’s hissy fit during their set.
Hey Glenn, check Ted out. This is how it’s done.
Ken Kesey died 10 years ago this month, on the 10th November. In memory of the great man who was “too young to be a beatnik, and too old to be a hippie”, here is a brief film interview with the Merry Prankster, where he discusses the characters he met through the Acid Test; the Grateful Dead and The Beatles and the Power of Music; looking for the crack that brings the magic and the Deadheads - what Fame meant and their Legacy.
Previously on Dangerous Minds
Les Avortés - a film to set your hair on fire, made by a group of friends, who shared a love of Artaud, Dreyer, Stroheim, and the Living Theater. Directed by Jorge Amat, with a soundtrack by Captain Beefheart, from 1970.
Comedian Joe Rogan rants with some serious observations on what’s going down.
“Is this fuckin’ Chicago in the sixties? What the fuck is this?”
Audio excerpt from The Joe Rogan Experience podcast put to some appropriate visuals.
Revolutionary chic is back in a big way these days and it just warms my heart..We Are Legion: The Story of the Hacktivists is an upcoming documentary from Luminant Media that will tell the story of today’s online cyber activists “Anonymous” by tracing the origins of the movement from the earliest days of the incipient hacker scene to the present day. “We Are Legion is promised in 2012 so… expect it.
A guest editorial from our super smart pal, Charles Hugh Smith, cross-posted from his essential Of Two Minds blog.
There are really only three ways to cripple Wall Street’s democracy-killing concentration of wealth and power: take our money out of Wall Street and the TBTF banks, eliminate private money from elections and abolish Wall Street’s dealer, the Federal Reserve.
There are only three things—and only these three—that will cripple Wall Street’s democracy-killing concentration of wealth and power:
1. Transfer the 99%‘s money out of Wall Street and the Too Big To Fail Banks
2. Remove campaign contributions from our democracy in a way that the corporate legalist lackeys in the Supreme Court cannot overturn, i.e. entirely publicly financed elections
3. Abolish Wall Street’s dealer, pusher and protector, the Federal Reserve.
My reasoning is very simple:
Everything else people want to see happen cannot happen if:
1) Wall Street and the SDI (systemically dangerous institutions) a.k.a. too big to fail banks, control most Americans’ financial assets and debts
2) The Federal Reserve exists to enable and protect the SDI’s wealth and power via Primary Dealers, the discount window and other pusher/dealer mechanisms
3) Wall Street and the other SDIs can use the billions of dollars they skim from our accounts, IRAs, 401Ks and pensions to buy political influence and protection from regulation and competition.
Therefore these are the necessary foundations of any real change.
As long as Wall Street and the other SDIs control much of the nation’s financial markets, assets and debts, and the Federal Reserve exists to protect and enable their predation and parasitic skimming, they will have the means to reap billions in profits which can then be funneled into our cash-corrupted political system of for-sale toadies and apparatchiks.
The only real leverage we have is our money and our compliance. Leaving our money in Wall Street and the Too Big to fail banks enables their dominance. Leaving our money in checking accounts, money market funds, savings accounts and brokerage accounts, and then using credit and debit cards issued by the SDIs, is to remain deeply complicit in their dominance.
This concept is now entering the cultural dialog, for example this recent entry on Zero Hedge: Want To Defeat The Banks? Stop Participating In The System!
Frequent Of Two Minds contributor Harun I. summed the argument up even more forcefully:
I applaud this movement only if people are coming to the recognition that, collectively, we as a nation have been wrong and now need to move in a different direction. We must now engage in discussing how best to do so.
However, I remain skeptical. Why are the TBTF banks still operating? From fraud to extortion to money laundering for drug cartels, the list of crimes against humanity is quite clear and long. Exactly what does it take before people will stop doing business with demonstrably corrupt entities?
And now there is a General Strike scheduled. I am all for it. But understand that our government will borrow the shortfall and nothing meaningful other than an increase in public debt will occur.
However, if you want to see an instantaneous and dramatic effect, every person close every account they have with all the TBTF banks and their subsidiaries on the same day.
Immediately or almost immediately they would have to be taken into receivership, their assets marked to market and sold off. The End.
Why destroy the TBTF banks? Most of them are Primary Dealers. The Fed then comes under pressure as it becomes the only lender of resort.
Then, once we have gotten their attention we tackle monetary reform, lobbying, and term limit in Congress and the Supreme Court.
It is time for government to “fear the people”. Rest assured that if government does not fear the people, nothing will change.
As for the Supreme Court’s legalist worship of the Corporate State: I believe this court will be remembered by history as the court which veered close enough to Corporate-State fascism to give it a big wet kiss. Corporate “rights” of personhood? No problem, you got it! The “right” to fund unlimited campaign contributions? No problem, you got it!
“Fascism should more properly be called corporatism because it is the merger of state and corporate power.” Benito Mussolini
We might profitably ask how the Founding Fathers would have responded to calls that the U.S. Constitution should contain a clause granting the East India Company the same rights of personhood as U.S. citizens, and then further granting it the unlimited right to buy political favors as a function of “free speech.”
One wonders how any of the Revolutionary War veterans among the Founding Fathers might have responded to such toadying claptrap. Yet this is precisely what the corporate toadies in the flowing black robes claim is “defended” by the U.S. Constitution.
A close reading of the Constitution reveals no amendments or clauses granting private corporations personhood, or granting them the right to inject unlimited sums of money to sway elections. If we turn to the Federalist Papers, we find fear of a “tyranny of the minority”—and what is a private corporation but an extreme minority bent on purchasing a limited but oppressive, exploitative and parasitical tyranny?
The legalist lackeys on the Supreme Court have hidden far too long behind the reputation of the Court—a reputation punctured by history, we might note—as a forum of disinterested legal debate. Rather, the court is nothing but another collection of imperfect human beings who are easily swayed by the tenor of the times and the ideological agendas of the wealthy and powerful. (“These are not the campaign reforms you’re looking for. Move along.”)
Given that we have a court that worships Corporate-State fascism slicked over with a thin veneer of democracy for public relations purposes—every single attempt to limit corporate campaign contributions has been struck down by the court—then our only choice as a people is to ban all private money contributions and institute a system of 100% publicly financed elections. Yes, it’s imperfect, and yes, it’s messy and costly, but nowhere near as corrupting and costly to liberty as the Corporate-State fascism we now endure.
Libertarians may be aghast at this option, but we have been reduced by the legalist lackeys in the Supreme Court to this choice: either we continue to be ruled by the corrupting corporate-State nexis of unlimited corporate/private Elites funding of elections, or we go with public financing. Thanks to the Supreme Court, there is no other choice.
As a lagniappe thought: one of the primary concerns of many “OWS/we are the 99” supporters is rising income disparity. That is a legitimate concern in any nation claiming to be a democracy with a free-market economy. Yet a close examination of the roots of income disparity and rising poverty leads straight to the Federal Reserve.
Winners And Losers: The New Economy (Zero Hedge)
What Mr. Gross and Mr. Frank and many others don’t see is that it is the creation of fiat money that destroys wealth and misdirects the investment of capital into less productive assets. That is, monetary inflation destroys capital (wealth). The reason why the production of goods and services do not bear higher yields than financial assets is that the production of goods and services suffers from a lack of real capital. Remember that real capital comes only from the saved profits of production and from the savings of workers from wages earned in production.
You obviously cannot print wealth, but if you try that fiat money distorts the entire economy by directing investment to things which appear to appreciate but what is really happening is that the dollar is depreciating. As a result, fiat money and real capital are invested in financial assets because they appear to have greater yields than returns from the production of goods. Prices rise (price inflation) and it creates the inevitable boom which always busts. The fall out is that we are stuck with things people don’t want (in the present re/depression it is housing). And we fall for it every time.
Allow me to simplify the argument:
1. The Federal Reserve has financialized the economy as an intrinsic expression of its reason for being.
2. Financialization necessarily creates systemically rising income disparity.
I think that’s all we need to understand to grasp the utmost importance of abolishing the Federal Reserve, a private banking monopoly created and protected by our Congress. Limiting Wall Street and the TBTF banks is structurally impossible as long as the Federal Reserve exists.
Written by Charles Hugh Smith, cross-posted from Of Two Minds.
Infographic courtesy of Accelerated Degree