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  • Angelyne’s pink Corvette is up for auction
    09:30 am

    Pop Culture

    Los Angeles

    A vintage shot of LA icon Angelyne and her life-sized Barbie car, a pink Chevrolet Corvette.
    According a listing on eBay platinum-haired goddess of self-promotion Angelyne (the real star of Brian De Palma’s Phantom of the Paradise in her role as the uncredited “auditioning singer”) has put her pink Corvette (one of at least ten Corvette’s that Angelyne has owned throughout her reign as the undisputed billboard queen of Los Angeles) up for auction.

    The sweet ride comes with a removable top (because, of course it does) and Angelyne herself will even sign this hot pink rocket for the winning bidder. Here’s Angelyne talking about her love of all things pink and the aquisition of her ninth Corvette back in 2014:

    I got my first one in the mid-eighties. This is my ninth one, and I’m going to get my tenth next year. I had a special paint made for me. It has a formula that is very hard to get because it uses a toner that they don’t make anymore.

    Right now the bidding for the ultimate adult-sized Barbie mobile is at $12,111.00 and according to the listing the reserve has still not been met.

    More images of the infamous LA blonde and one of her equally famous pink cars follow after the jump…

    Posted by Cherrybomb | Leave a comment
    When Can met Japan: David Sylvian and Holger Czukay’s wonderful ambient collaborations
    09:18 am


    Holger Czukay
    David Sylvian

    The UK glam band Japan had a singularly interesting career—though influenced by the usual glam touchstones Bowie, Dolls, et al, their visual presentation directly predicted the New Romantic movement, and to this day the band is still somewhat incorrectly associated with that flamboyant scene, largely on the basis of similar haircuts. But Japan were more directly from the art-rock mold, experimenting with funk, electronics, and (surprise surprise) Asian musics. By 1982, as new-ro peaked, and the band was starting to climb from cult success to chart success, personal tensions broke them up. But the band’s singer, David Sylvian, continued as a solo artist in the avant-rock mold, collaborating with Yellow Magic Orchestra’s Ryuichi Sakamoto, and releasing adventurous sophisto-pop albums inspired by jazz, prog, and contemporary classical.

    On his 1984 solo debut Brilliant Trees, Sylvian was the beneficiary of vocal, brass and guitar contributions from Czukay, bassist of the long-running and influential Krautrock band Can. Though Czukay was a hired backup player on those sessions with no songwriting credits on the LP, the pair evidently found common creative ground. They’d record together in 1986, 1987, and 1988, those sessions ultimately becoming two wonderfully lush but little-known ambient LPs. Plight and Premonition, released in 1988, is a spooky and beautiful suite of two side-length songs (no points awarded for guessing that their titles are “Plight” and “Premonition”) in the Klaus Schultze vein, made with a combination of traditional instruments and manipulated radio sounds. Additionally, Czukay’s Can co-conspirator Jaki Liebezeit is credited with “Infra-sound,” which is science for “shit you can’t actually hear.”
    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    Dub visionary Adrian Sherwood talks about his legendary career in music
    08:54 am


    Adrian Sherwood
    On-U Sound

    The ongoing series of Sherwood at the Controls releases surveys the recording career of Adrian Sherwood, the visionary dub producer and founder of On-U Sound. Volume One, released last year, covers 1979 to 1984, while the brand-new Volume Two takes us from 1985 to 1990.

    As these discs demonstrate, Sherwood’s talents were too great to be contained by any genre. During the decade-long period under examination, his work connects everyone from Prince Far I, Lee “Scratch” Perry, and the Slits to Depeche Mode, Nine Inch Nails, and Ministry. (“Al [Jourgensen] would go to the toilet and copy down the studio settings Adrian used for his effects on toilet paper and put them in his trousers,” Revolting Cock Luc Van Acker remembers from the Twitch sessions.) As I mention below, I think On-U must be the only point at which the discographies of Sugar Hill and Crass Records intersect. These comps also contain a sampling of the pathbreaking records Sherwood made with On-U outfits African Head Charge, Tackhead, and Dub Syndicate, which redefined what dub was and could be.

    I spoke to Sherwood on June 24, the day after the United Kingdom voted to leave the European Union.

    Dangerous Minds: I spent yesterday listening to Don’t Call Us Immigrants as I was watching the Brexit votes come in

    Adrian Sherwood: [laughs]

    —I feel I have to ask you about that. What are your thoughts?

    Well, we would like to have stayed. There’s lots of reasons I would stay in Europe, and I’m sad, really. Europe’s done a lot, really, for each other. Apart from keeping a lot of peace and stability, the farming lobby in France and the farming lobby in Italy’s very strong, Germany’s got the biggest Green Party membership in Europe, they’re very advanced in renewable energy, and the farming lobby makes sure that we’re not victim of any of the terrible things that happen in the States with the poisoning of the food chain. So they’re very, very good; they ensure the standard of organic food, et cetera et cetera, and they also fight for workers’ rights. So I could go on and on about it, but I firmly would have liked to have seen a strong EU that we were part of.

    You know, if they’re worried about immigration, they could have a united policy, but it was all panic, panic, panic, and to be honest with you, it was more like the ignorant masses that wanted to get out, thinking “Oh, let’s stop immigration,” but there’s no such thing as an indigenous English person. Every last person in this country is of an immigrant extraction. Everybody.

    Lee Perry and Adrian Sherwood, photographed by Kishi Yamamoto
    I wonder if I could go back to the beginning of your career. What was the relationship like between the Jamaican roots artists and the UK scene? It seems like you were in a special position to observe their interaction. Was that a competitive relationship?

    No, not in the least. It was very hard for the English artists to get credibility, because everybody was looking to Jamaica, as though there’s the great thing, like the British bands always looking to the great American bands. The situation was always the exciting new star coming from Jamaica, and everybody really wanted to see him or her—mainly males, but a lot of female artists as well—and people didn’t think they could get the sound. So it took quite a long time for the English… you know, that album Don’t Call Us Immigrants, it’s interesting that you mention that, ‘cause I’m proud of that album. But that reflected the development of the English reggae sound.

    We developed a sound of our own in England, with bands like Steel Pulse and Aswad and Creation Rebel, et cetera, and, you know, Black Slate, Dennis Bovell, obviously, and then eventually the lovers rock scene and our own dub scene. But Jamaica led the way, so everybody in England was like “Oh wow, here’s the new hip hero coming from Jamaica.” It wasn’t really like competing as such, it was more “Bring on the new star,” really, and everyone in England was keen to see the new star. And a few of the really good bands in England got to back the stars, like Aswad did one of the most famous ever gigs backing a young Burning Spear in ‘76 or ‘77 or something.

    Since you mentioned Creation Rebel, can you tell me a bit about Prince Far I? I’ve listened to a lot of Prince Far I but I have almost no sense of what he was like as a person.

    Far I was a bit of a joker. He would stand on the table and do Elvis Presley impersonations. He had a very mad sense of humor. But his background was quite serious. He was friends with Claudie Massop who was a political gunman, and he himself had been like a security man at Joe Gibbs’ studio, the doorman. He’d worked on a bauxite factory, producing aluminum, where Claudie Massop was the foreman, and because of the politics, he was like a “big friend,” as Joe Higgs said, like a big friend to Far I. But Far I was a character, quite a complex character as well. He looked much older and seemed much older than he actually was.

    Did he seem like a wise person? Was that part of it?

    Yeah, he definitely had a lot of depth to him, was interested in things and read quite a bit. But he was a joker and a character, and I remember him being full of jokes and fun and stuff. Although he had a darker side as well, which was more one of feeling that people were working voodoo on him, y’know, things like that. So there was kind of a strange underbelly there as well.

    From the little I know, it seems like the reality was pretty heavy for a lot of those guys. Tapper Zukie was involved in some violence… it seems like that was just part of life for a lot of those guys.

    Well, I knew Tapper Zukie from that period. My friend, Clem Bushay, he lives about 200 meters from me; he actually produced the Man Ah Warrior album.

    No way.

    Yeah, the producer lives on the same road as I’m speaking to you from now. I knew Tapper Zukie for a long time.

    They were all affiliated with politics, that was the thing. And in the seventies, in Jamaica, obviously, the CIA were moving in, trying to destabilize the country, because they didn’t want them to slip towards the Cuban model and affiliate with Russia, and have another Russian ally so close to the United States. So a lot of arms were put in to Seaga, who was affiliated with the Americans, where Manley wanted to stay with the Cubans and work more to a socialist state. That’s why there’s so many arms and, to this day, so much trouble for Jamaica.

    It was a crazy election—I think it was ‘76—and I was eighteen at the time, and Far I was with us in England. It was mad. Phoning home and, you know, ten, 20 people shot a day in the political violence. And Far I obviously was close with Claudie Massop, who was one of the main enforcers, like his father Jack Massop had been. But we met a lot of those gunmen: Take Life[?], Bucky Marshall, Tapper Zukie, Horsie—not Horsemouth Wallace, another one called Horsie. Were some quite dark characters, really, but if you met them, you’d have thought they were really charming. But then what they actually got up to was a whole different thing.
    Continues after the jump…

    Posted by Oliver Hall | Leave a comment
    The Secret Confessions of an Addict
    06:11 pm



    In the latest episode of VICE’s outrageous Confessions of A… series (brought to you by Rebtel) a self-admitted boozehound and drug addict gives the unedited lowdown on his unbridled consumption of legal and illegal substances. Not everyone can handle their dope and liquor and this guy doesn’t even bother trying. Why should he? His poor suffering girlfriend can pay for his lowlife lifestyle. That’s the ticket: find a meal ticket! He even steals her legit pain medication and is okay with watching her suffer so he can get high! “Boyfriend of the Year” material, he’s not.

    Wearing a mask, hoodie, and with a robotically disguised voice, this articulate loser shares the details of his extreme form of self-medication. Thus cloaked, our dedicated devotee of druggy oblivion doesn’t hold back, saying things that no one would (or should) admit to on camera otherwise. You’ll almost feel sorry for this selfish POS, but you’ll probably feel more sorry for those who have to put up with him.

    This video was brought to you by Rebtel. Speak freely.

    Posted by Sponsored Post | Leave a comment
    Eartha Kitt puts the durdy into Hurdy Gurdy
    03:38 pm


    Eartha Kitt

    Eartha Kitt purrs through two Donovan songs like a kitten drunk on catnip. Her post-orgasmic take on “Hurdy Gurdy Man” gives new meaning to organ grinding. And with her sultry rendition of “Catch The Wind” she curls her tongue around each syllable and then launches them into the air like opiated butterflies.

    Goddess stuff from German TV circa 1970.

    Posted by Marc Campbell | Leave a comment
    Legendary ‘lost’ Betty Davis recording sessions from 1969 (with Miles Davis) have been found!

    Nope, not Bette Davis, an ass-kicking woman in her own right. This is about Betty Davis, born Betty Mabry, who married and divorced none other than Miles Davis in 1968/69, during which time she introduced the trumpet master to the music of Hendrix and Sly Stone; in his memoir Miles credited Betty with sparking the direction his music would take in the 1970s. It’s not an exaggeration to say that Miles’ legendary 1970 album Bitches Brew is unimaginable without the contributions of Betty Davis.

    Betty Davis released three incredibly vital funk albums in the mid-1970s: Betty Davis, They Say I’m Different, and Nasty Gal—all three albums have been rescued from unjust obscurity by Light in the Attic Records. In 2009 Light in the Attic also put out Is It Love or Desire, a full album Betty Davis recorded in 1976 that had never been released.

    Now Light in the Attic is back with more Betty Davis treasures—the centerpiece being previously unreleased music from sessions at Columbia’s 52nd Street Studios on May 14 and 20, 1969, sessions at which Miles Davis and Teo Macero served as the producers. The impressive lineup of musicians who participated included Herbie Hancock, Wayne Shorter, John McLaughlin, and Mitch Mitchell from the Jimi Hendrix Experience. During the session the musicians covered Cream and Creedence Clearwater Revival and recorded originals by Betty. However, the songs have never been released—until now.

    Remastered from the original analog master tapes, the album—released this week—is called Betty Davis: The Columbia Years 1968-1969. True to its title, the album also includes a Los Angeles session from 1968 that featured the great Hugh Masekela and members of the Crusaders.

    More after the jump…

    Posted by Martin Schneider | Leave a comment
    Did Charlie Chaplin really lose a Charlie Chaplin lookalike contest?
    01:10 pm


    Charlie Chaplin

    There are some ideas that are so irresistible that mind gravitates towards them whether they’re true or not. For instance, you’ve probably heard it said more than once that you can boil a frog by increasing the temperature slowly over a period of time, and the frog will not notice and neglect to jump out in time. It isn’t true, but that will do nothing to prevent you from hearing it several more times, I’ll wager. Similarly, the idea that Eskimos have some preposterous number of terms to describe snow is, at best, a highly contested one, but something that comes up a lot as well.

    Another such idea is that Charlie Chaplin failed to win a Charlie Chaplin lookalike contest. I’ve been hearing this one for many years—I think it was actually featured on a Trivial Pursuit card back in the ‘80s—but I’ve always wondered what the truth was.

    What’s for certain is that the necessary ingredients for such a tale did exist. In other words, Chaplin’s first movie successes around 1914 sparked a worldwide phenomenon called “Chaplinitis,” in which audiences simply could not get enough of his winsome Little Tramp character. For later generations the obvious comparison is the Beatlemania that hit in 1963 and 1964. It seems incontestable that Chaplin was the first authentic mass media phenomenon, quite possibly the one against which all others must be judged.

    The power of Chaplin rested in part on the ability of the newish technology of motion pictures to resonate instantly among mass audiences—there was no barrier to entry whatsoever. As Charles Silver writes in his MoMA monograph Charles Chaplin: An Appreciation, “No particular level of sophistication or even literacy was necessary ... to see that he was special; you only had to see.”
    Much more after the jump…....

    Posted by Martin Schneider | Leave a comment
    King Crimson ‘In the Court of the Crimson King’ album cover reimagined in LEGO bricks
    01:05 pm


    King Crimson

    Okay, so I found this extra special neato LEGO rendition of King Crimson’s iconic In the Court of the Crimson King by Deviant Art artist James O’Connell. Sadly there’s zero information on the site about how he created this fun piece. I wish there was a step-by-step guide or something on how to make it yourself. One of these would definitely tie the front rooms in my house together nicely.

    Since I can’t own this LEGO masterpiece, I did find some other perhaps unexpected King Crimson items. Why they exist? I don’t know. But here they are, anyway. I put the links of where to purchase under each item.

    A King Crimson shower curtain for $37.99 found here.

    King Crimson pillowcases found here.

    King Crimson umbrella found here.

    Posted by Tara McGinley | Leave a comment
    Wonderful portraits of 16th century subway riders
    10:17 am


    London Underground
    Matt Crabtree

    How to pass that time on that dreary journey to-and-from work? Read a book? Check your emails? Browse the Internet? People watch? Or maybe read a newspaper?

    Photographer Matt Crabtree has been spending his travel time secretly taking pictures of his fellow commuters with his smart phone. He then retouches these images to make them look like figures from 16th century paintings—and the results are quite beautiful.

    Crabtree is a self-taught photographer based in London who “looks for the quietly observed, minimal story.” Such stories can be found in his series of photographs 16th Century Tube Passengers. These photos take a moment out of time and make us see something we often take for granted.

    More of Matt Crabtree‘s work can be seen here.
    More of Matt Crabtree’s stunning subway portraits, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Grand Theft Auto vs COSMOS: Carl Sagan’s narration over GTA scenes is actually pretty amazing

    An Irish YouTube user by the name of Duggy uses the Editor function in Grand Theft Auto V to create his own short video works, or as he puts it, “I attempt to put scenes from my head onto GTA’s world.” His most successful pieces are three shorts, created over the course of the last year, that drop GTA scenes under Carl Sagan’s narration from the original 1980 mini-series Cosmos.

    These work surprisingly well, and probably not in the way you might be thinking—rather than relying on a collision of Sagan’s optimistic, wonder-filled exposition against the game’s notorious violence to achieve a cheap, ironic laugh, Duggy plays these straight, and the results are actually quite poignant! So yes, some of their effectiveness derives from a holy-shit-this-is-from-GTA frisson, there’s a bit more more going on than that.

    I’d love to see some of these with voice-overs from the 2014 series hosted by Neil deGrasse Tyson.

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
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