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Mindf*cker: Actual footage of Rev. Jim Jones preaching at The People’s Temple
10:52 am



Here’s something you don’t see everyday, footage of Rev. Jim Jones and a few hundred members of his People’s Temple. One of their actual services. It’s astonishing. Thirty fly-on-the-wall minutes of an expert brain-washer in action.

This was shot sometime in the 1970s and is presumed to have been recorded during a service at the People’s Temple’s Redwood Valley “home church” (there were several dozen satellites churches in California and about 3000 People’s Temple members).

At first you hear some testimony and praise from some members of the congregation about how great Jim Jones is and then some gospel singing. When the crowd is all good and worked up, the good Reverend steps up to the pulpit to harangue them with a sermon about socialism. Then more gospel music, then more preaching about Marxism.

Jones’ idol was Mao Zedong and the reason he got into the religion racket in the first place—which he was quite open about—was to infiltrate it. Religion was the vehicle for Jones to demonstrate his Marxism in the 1950s and initially he did so by organizing things like soup kitchens for the homeless and other charitable works. By the 1970s, the Peoples Temple was running nine residential care homes for the elderly, six organizations for orphaned children and a state-licensed 40-acre ranch for the mentally disabled.

Jesus was a Communist, he taught. Jones himself was the “ultimate socialist” and often hinted that he was a prophesied revolutionary messiah, a reincarnation of Jesus, Gandhi, Father Divine and Lenin!

Jones carefully studied Mao’s moves during the Cultural Revolution and used the same propaganda/mind control techniques that the Chinese Communist Party had perfected, in particular the “we’re the vanguard of a new age” and “us vs. them” aspects of “outcast” group think. Since he was so paranoid himself, this talent came easily to Jim Jones.

When you look at the composition of the followers in the videotape, at first it looks like all of the People’s Temple members were black, but then the camera finds an entire contingent of young white people sitting together who are dressed conservatively. Whenever Jones starts hitting the high notes about socialism, these folks stand up and cheer like Pentecostal apparatchiks.

Nearly 80% of the People’s Temple congregation was comprised of working class blacks. If you examine the format of the service, Jones kept the trappings of “old style religion” that his African-American followers would have felt at home with at the same time they were being politically re-indoctrinated. One of Jones’ standard dramatic tropes was to throw the Bible on the ground and stomp on it, telling his African-American followers that the white man’s version of Christianity was a boot on their necks.

“This black book has held down you people for 2000 years. It has no power.”


The young white people were the inner circle and had law degrees and other skills that would be useful to a barely disguised flim-flam man like Jones. Some knew how to work the public relations levers or deal with politicians or were good at keeping Jones’ various mail order scams going. Most were Communist “true believers” and felt that they were a part of an exciting social movement. Many of them also acted as de facto social workers, interacting with the State of California on behalf of the poorer members. The praise being heaped on Jones at the beginning of the tape should be seen in that context. By helping the less fortunate deal with the state’s often cruel bureaucracy or by getting them much-needed medical care, housing, food and so forth, Jones became a beloved and trusted father figure, gaining their loyal attendance at his church even though he often openly admitted to being an atheist!

It was ingenious. And it was utterly insane.

Part of the online collection of the Media Resources Center, Moffitt Library, University of California, Berkeley at Digitized by the California Audiovisual Preservation Project (CAVPP).

Posted by Richard Metzger | Discussion
Field Commander Cohen: Leonard Cohen on War
08:41 am



Whenever listening to Leonard Cohen’s “The Story of Isaac”—a song in which war is conceived of as the semi-ritual sacrifice of a younger generation by an older one a la the Biblical myth— I have always savored its mysterious last line.

“Have mercy on our uniform,
Man of peace or man of war,
The peacock spreads his fan.”

In 1968, when Leonard Cohen came to record it for Songs from a Room, he had already seen an impressive amount of action for someone whose name remains a byword for tremulous introspection. Not only had Cohen made a point of visiting Cuba during the fall of Batista (purportedly as a kind of freelance revolutionary), but he had also made a beeline for Israel during the Six-Day War, where he hooked up with an “air force entertainment group” and performed for soldiers going into battle! Cohen’s experience on (or relatively near) the front line was apparently a very rewarding one:

“War is wonderful. They’ll never stamp it out. It’s one of the few times people can act their best. It’s so economical in terms of gesture and motion, every single gesture is precise, every effort is at its maximum. Nobody goofs off. Everybody is responsible for his brother.”

The kind of conflict alluded to in the “The Story of Isaac,” though, sounds closer in type to the Vietnam War, which pitched, to an arguably unique degree, the old—who waged it—against the young—who fought in and against it. In 1974, Cohen expanded on the concept behind the song:

“One of the reasons we do have wars periodically is so the older men can have the women. Also, to completely remove the competition in terms of their own institutional positions.”

It’s an especially dark idea, this, that behind the draft and the domino effect and the military industrial complex, lurked (and forever lurks) an aging establishment’s instinct to safeguard its tribal, reproductive privileges—shipping off the emergent generation to distant killing fields.

That Cohen was apparently thinking in the above quasi-Darwinian terms inclines me to think that (as I’ve long suspected) the song’s last line—“The peacock spreads its fan”—is intended to evoke or echo Darwin’s famous misgiving: “The sight of a feather in a peacock’s tail, whenever I gaze at it, makes me sick!”

Darwin’s point is widely taken to refer to the egregious impracticality of a peacock’s fan, as being inhospitable to the notion of natural selection. The paradox of the peacock’s fan can be applied to the paradox of war—surely both should by now have condemned their native species to extinction. Or inevitably will,

Posted by Thomas McGrath | Discussion
Carol Kaye is Paul McCartney’s favorite bass player, he just doesn’t know it was her
12:30 pm

A girl's best friend is her guitar


You’ve definitely heard her play guitar and bass. Statistically, you’re likely to own albums she played on. Your parents almost certainly did. According to her, she is responsible for many of the famous Motown bass lines usually attributed to James Jamerson, including “Bernadette,” “Reach Out,” “I Can’t Help Myself” and “I Was Made to Love Her.” She influenced The Beatles’ musical direction from Revolver onward. And it’s quite probable that you’ve never even heard her name.

Carol Kaye was one of the most prolific session musicians in American music in the ‘60s and ‘70s. In the male-dominated world of Los Angeles session players (sneered at in The Kinks’ song “Session Man”), Kaye was a rarity and a powerhouse. She began playing music professionally at 14 in 1949, playing guitar in big bands and bebop jazz groups, playing in clubs and giving lessons around Los Angeles. Her first recording sessions, beginning in 1957, were on guitar for Sam Cooke, Richie Valens, and the Righteous Brothers. From 1964-1973 she primarily played bass and appeared on over 10,000 recordings of pop songs, jazz standards, television show themes, and movie scores. She was one of the few female members of “The Wrecking Crew,” the name given by drummer Hal Blaine to the mostly anonymous first-call L.A. session players in the ‘60s.

Some of the best known songs featuring Carol Kaye’s work are Richie Valens’ “La Bamba” (on guitar), Simon and Garfunkel’s “Scarborough Fair,” Lalo Shifrin’s themes to Mission: Impossible and Mannix, The Monkees’ “I’m A Believer,” Ike and Tina Turner’s “River Deep, Mountain High,” The Lettermen’s “Going Out of My Head/Can’t Take My Eyes Off of You,” Tennessee Ernie Ford’s “Sixteen Tons,” Nancy Sinatra’s “These Boots Are Made for Walkin’,” the Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’,” Sonny and Cher’s “The Beat Goes On,” and The Beach Boys’ “California Girls,” “Sloop John B,” “Help Me, Rhonda,” and “Heroes and Villains.” She also played on Frank Zappa and The Mothers of Invention’s Freak Out and Absolutely Free albums. All this while raising a family.

Carol Kaye was confident, reliable, and able to keep up a rough studio schedule that sometimes stretched into 12-hour days. She was also very opinionated and known for refusing to take any shit from her male colleagues. When session guitarist Tommy Tedesco once insulted her in the studio, she verbally ripped him a new orifice. 

Note Carol Kaye in background during this mid-Sixties Beach Boys session

Even today, there are those who simply refuse to believe some of Carol’s assertions, such as her claim to have played on Motown songs credited to James Jamerson and on Beach Boys songs like “Good Vibrations,” where a different bassist’s work may have been used on the final version. Detractors claim that she is either a bitter, jealous liar or a senile old lady with a failing memory. Whether that is misogyny/sexism or a blinkered refusal to admit that the sun did not always shine out of Jamerson’s ass alone is an ongoing matter for debate. 

David Dadju wrote of Kaye in The New Republic:

Smile was originally conceived as an extension of the experimentation of the Beach Boys’ Pet Sounds, the album that Paul McCartney acknowledges as having transformed his approach to the bass, in addition to prodding The Beatles to employ the studio more adventurously. McCartney has repeatedly cited Wilson’s bass playing in the era of Pet Sounds and Smile as the inspiration for the lyrical, contrapuntal bass style that he developed around the time of Revolver and Sgt. Pepper’s Lonely Hearts Club Band. The problem is, the bass player on nearly all of both Pet Sounds and Smile was not Brian Wilson. It was a jazz musician and studio pro in Los Angeles named Carol Kaye.”

And so Paul McCartney once said of Carol Kaye’s bass technique (without, apparently, knowing that it was her talents he was admiring):

“It was Pet Sounds that blew me out of the water. I love the album so much. I’ve just bought my kids each a copy of it for their education in life ... I figure no one is educated musically ‘til they’ve heard that album ... I love the orchestra, the arrangements ... it may be going overboard to say it’s the classic of the century ... but to me, it certainly is a total, classic record that is unbeatable in many ways ... I’ve often played Pet Sounds and cried. I played it to John so much that it would be difficult for him to escape the influence ... it was the record of the time. The thing that really made me sit up and take notice was the bass lines ... and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines. ‘God Only Knows’ is a big favorite of mine ... very emotional, always a bit of a choker for me, that one. On ‘You Still Believe in Me,’ I love that melody - that kills me ... that’s my favorite, I think ... it’s so beautiful right at the end ... comes surging back in these multi-colored harmonies ... sends shivers up my spine.”

Outside of her years in the studio Carol worked as a music teacher, including a seven-year stint as on-staff Bass and Jazz Educator at the Henry Mancini Institute at UCLA and teaching courses at other universities as well. She’s written over thirty bass education books (Sting told talk show host Arsenio Hall that he had learned how to play bass from one of her books), made instructional DVDs, wrote a column for Bassics magazine and given hundreds of bass seminars. Carol continues to teach and offers bass lessons via Skype.

Carol Kaye on being a female session player
More after the jump…

Posted by Kimberly J. Bright | Discussion
‘Rockshow’: The absolute zenith of Paul McCartney’s post-Beatles career
12:04 pm



Next week marks the first release on DVD and Blu-ray of Rockshow , the two-hour plus 35mm concert documention of Paul McCartney and Wings’ 1976 American tour.

It’s a corker.

The “Wings Over America” tour (or “Wing Over The World” if you saw them elsewhere) was the largest tour that McCartney had mounted to that point (there were two small scale UK college tours in 1972) and based on the evidence of Rockshow (filmed in front of 67,000 fans at the gigantic Kingdome in Seattle and at smaller shows at The Forum in Los Angeles and New York’s Madison Square Garden), it must’ve been the very, very best time to have seen him perform other than during his Beatles days. (In any case, it was the first time North American fans had a chance to see McCartney perform since the final Beatles show at San Francisco’s Candlestick Park in 1966.)

The set list is a motherfucker (song for song, the same as on the Wings Over America album) incorporating Macca’s very best solo material (“Band on the Run,” “Live and Let Die,” “Venus and Mars/Rockshow,” “Jet,” a magnificent “Bluebird”), five well-chosen Beatles numbers (“Blackbird,” “Lady Madonna,” “The Long and Winding Road,” “Yesterday” and “I’ve Just Seen A Face”) along with an excellent cover of Simon and Garfunkel’s “Richard Cory.” (I kept waiting for Denny to sing “Wish that I could be… John Denver” but that never occurs in this version, sadly.)

The incarnation of Wings seen and heard in Rockshow are Paul and Linda McCartney, drummer Joe English, and guitarists Denny Laine and Jimmy McCulloch. Brass and woodwind players Howie Casey, Steve Howard, Thaddeus Richard and Tony Dorsey were also along for the tour and again, other than the Fab Four, this was the very best band McCartney ever worked with. Rockshow captures him at a time when he was on a creative, personal and commercial peak and he’s obviously having a grand fucking time, grinning from ear to ear. (Not to damn the great man with faint praise, but this WAS his post-Beatles career peak. The indifferent London Town came next and it was all quickly downhill from there…)

If you owned the triple LP Wings Over America set, you probably recall its distinctively murky, hissy sound quality. Here, the restored audio has been expertly realized and the super-clean 5.1 HD DTS surround mix can rattle the walls (I’ve been playing it a lot these past few days, I sure hope my neighbors like Paul McCartney!)

The camera work in Rockshow is solid enough (no allowances were made for the movie crew, so it’s often shot from the side or through mic-stands)) and since this was pre-MTV, the editing isn’t hyper-kinetic and you actually have a chance to see the musicians playing their instruments for at least several seconds at a time. Picture quality is kinda “eh” for 35mm on Blu-Ray (to my eye it appears to be 16mm blown up to 35mm and it’s more than a little grainy in the darker parts). Frankly, although I’d put this on and play it all the way through, it’s not like I’m ever going to sit there and watch it all anyway. Like most people, I just dip in and out of concert DVDs, so the picture quality (which isn’t bad, mind you, not in the least, it’s just not great either) doesn’t really bother me. It’s all about the audio quality in my book, and this sucker is the tits in the high fidelity department (I would never listen to Wings Over America again owning this one)

Occasionally there are continuity problems, as the group wasn’t all wearing the same clothes for each concert that was filmed, and at one point Denny Laine’s bass magically changes from a black Precision Bass into a blonde Telecaster. Something else that I found slightly amusing was during “Magneto and Titanium Man” when a huge Jack Kirby-drawn mural drops (after a little coaxing) then sits there, unmoving for the length of the song. Today that would be an animated 3-D CGI HD video spectacular, but I suppose that stadium rock was still in its infancy then. Another smile comes during “Live and Let Die” where it looks like the smoke bombs and pyrotechnics weren’t all that much fun for the band to experience from the stage.

For its minor faults, Rockshow is a delight, even the cutaways to the young audience members are charming. In his liner notes, BBC radio’s Paul Gambaccini describes them as “not baby boomers overcome by emotion as they recall the music of their childhood, these are young people hearing the music when it was still fresh”:

“When the camera focuses on individual faces during “Blackbird,” we see persons who are alive in the moment, completely engaged by the experience. They do not realize that, in 2013, they will be tearful with joy to have such beautiful memories.”


But don’t think this can only be enjoyed as a nostalgia trip, it rocks like a motherfucker.

Frankly, I get sent a lot of DVDs, but after I watch something once, I usually just toss it, give it to a friend or trade it in. Most DVDs are disposable to me, but I’m keeping this one. Rockshow is actually worth buying and making a part of your collection. Had a free review copy not arrived in the post last week, I’d have bought my own copy anyway. I’d rate Rockshow five stars out of five. If it sounds like something you think you might like, you probably will like it. A lot.

Rockshow came out on Betamax and laserdisc in the early 1980s, but it has not been available (legally) for over 30 years. EagleRock’s DVD and Blu-ray release makes the full concert available for the very first time ever. The excerpt below, from The McCartney Years DVD should whet your appetite for the full thing.

Posted by Richard Metzger | Discussion
A Word in Your Era: William Burroughs explains Brion Gysin’s ‘Cut-Up Method’
04:08 pm



I have always thought William Burroughs was a terribly superstitious man. His life was tinged by the strange, the paranormal and the occult. Whether this was his interest in the number “23”; or his hours spent gazing into mirrors in search of visions; or his belief that he could negate curses by repeating his own (“Go back, go back…” etc); or that he could, somehow, divine the future from Brion Gysin’s “Cut-Up” techniques.

Of course, he couldn’t. But he was always smart enough to suggest he could (for what it’s worth), while at the same time creating distance through the wry aside, the knowing wink, to escape any suggestion he was deluded.

Put it this way, if some acquaintance buttonholed you at a party, with a relentless, monotone whine of how they closed down a Scientology office by repeatedly playing recorded tapes outside the premises, you would make your excuses and head for the canapes.

Burroughs claims as much here, in his explanation of Brion Gysin’s “Cut-Up Method.”

When you experiment with Cut-Ups over a period of time you find that some of the Cut-Ups in re-arranged texts seemed to refer to future events. I cut-up an article written by John-Paul Getty and got, “It’s a bad thing to sue your own father.” This was a re-arrangement and wasn’t in the original text, and a year later, one of his sons did sue him.

Then comes the knowing aside…

Purely extraneous information, it meant nothing to me. Nothing to gain on either side.

Before he goes on to confirm his acceptance of some mysterious powers of divination.

We had no explanation for this at the time, it just suggesting that when you cut into the Present the Future leaks out. Well, we certainly accepted it, and continued our experiments.


Previously on Dangerous Minds

A Complete Disorientation of the Senses: William Burroughs’ and Anthony Balch’s ‘Cut-Ups’

More on the Burroughs, Gysin and ‘The Cut-Up Method,’ after the jump…

Posted by Paul Gallagher | Discussion
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