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This Bud’s for you, headbangers: Ronnie James Dio’s 1983 Budweiser ad
05.11.2015
07:20 am

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Advertising
Heroes

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Ronnie James Dio
 
I don’t like beer. It’s not that I didn’t like it “back in the day.” Budweiser was truly the king of all party beverages when I was in high school. Which is also probably the reason I don’t drink beer anymore. Nostalgic thoughts only meaningful to me aside, after I heard this audio clip from a vintage 1983 radio ad that Ronnie James Dio did for Budweiser, I immediately felt the need to raise a tall boy to my lips in honor of the late, great king of metal. When toothing through the comments on YouTube (generally an ill-advised practice at best) someone actually made the observation that there was seemingly nothing Ronnie James Dio could do wrong. Not even when he’s shilling for a beer that tastes like someone took a warm fizzy piss in a can.
 
Usually when an artist you admire “sells-out,” it’s an utter disappointment. An exception to that rule (and there are a few) would be the super-snappy jingle written by Brian Jones that the Rolling Stones recorded for a 1964 Rice Krispies television commercial. Here’s a line: “You wake up in the morning and there’s a crackle in your face.” Brilliant. The jingle matches the perky cereal’s personality perfectly. As with the Stones, hearing Dio singing the praises of Budweiser to the tune of one of his best-known anthems, “Rainbow in the Dark” is absolutely one of the greatest things I’ve ever heard. The trademark slogan “this Bud’s for you” even gets the heavy metal treatment at the end. Will it make me drink Budweiser again? No. It did however bring me back to days, now long past, when listening to Dio and drinking beer out of cans on a Friday night was all you needed.
 

 
Via Metal Injection

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A teargas of a time: Sublime pop from 10cc ‘In Concert’ 1974
05.05.2015
06:20 am

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Heroes
Music

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Hands up if you like 10cc.
 
In 1974, Lol Creme and Kevin Godley of 10cc invented a nifty little musical device that should have revolutionized the guitar world. The Gizmotron® was an attachable device that had the ability to create “authentic sounds of such stringed instruments as violins, violas and cellos,” and maintain “infinite sustain.” It was a remarkable invention by any standards and should have achieved what it said on the can and made much moolah for its inventors. Sadly, it hasn’t yet. However, it was (unfortunately) part of the reason why 10cc split-up in 1976.

As Godley and Creme spent more and more time recording with the Gizmotron® working on the triple album Consequences, which they hoped would promote the device, they had less time to dedicate to 10cc. Their fellow bandmates, Graham Gouldman and Eric Stewart wanted to carry on recording and touring, that’s what they loved, but Godley and Creme didn’t. So they quit to finish Consequences, while Gouldman and Stewart carried on with 10cc. In that reliable trope hindsight, this decision was a mistake—as Godley and Gouldman have since (separately) said the band were successful enough to have been able to take a year off and allow the maverick inventors time to concentrate on their product. That they didn’t was a sad day for quality pop—though this is not to take away from Stewart and Gouldman, who continued to make music to high order as 10cc—but was a bit like, say, The Beatles without a Lennon or a McCartney.
 
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10cc—the way they were.
 
Indeed, 10cc followed on from where The Beatles’ Abbey Road left off, via a twist of Frank Zappa and a flavoring of the Beach Boys. Godley and Creme gave the band its irresistible art rock, while Gouldman and Stewart supplied songs of sublime pop. Their pedigree was strong: Stewart had been in Wayne Fontana and The Mindbenders, and Gouldman had written a jukebox of chart hits for The Hollies (“Bus Stop,” “Look Through Any Window”), The Yardbirds (“For Your Love”) and one of the most perfect pop songs ever written—Herman Hermits’ “No Milk Today.” Godley and Creme first met in the late 1950s and were in a variety bands including The Mockingbirds with Gouldman. Together the quartet complimented each other beautifully. Their first incarnation as a group was Hotlegs—releasing the single “Neanderthal Man,” and the album Thinks: School Stinks—before they evolved into 10cc.

Their advantage was that they had four singers, four songwriters and four highly competent producers. As a group they created four distinct classic albums—10cc, Sheet Music, The Original Soundtrack and How Dare You!—that offered a level of quality songs, songwriting and production that had not been heard since The Beatles. Not only were they superb on vinyl, they were equally impressive live, managing to deliver complex songs with considerable aplomb.
 
More on 10cc plus their classic ‘In Concert’ from 1974, after the jump…

Posted by Paul Gallagher | Leave a comment
Own a piece of music history: Siouxsie and the Banshees’ Steven Severin is selling his amp
04.27.2015
11:10 am

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Current Events
Heroes
Music

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For sale one amp, slightly used. Previous owner Steven Severin.

If you fancy owning a piece equipment once used by Siouxsie and the Banshees, then you may be interested in bidding for Steven Severin’s Fender Super Six Reverb Amplifier, which is currently up for grabs on eBay.

This is a vintage amplifier from 1974. It has a small tear on the upper left grill and a bigger one at the base. It has been repaired and buyers can be “assured that it works and sounds great, having been recently tested and repaired.”

The repairs carried out include:

Replace 13A plug
Replace speaker leads
Replace 5x resistors in output stage
Repair reverb tray lead connector
Test and bias output valves
Replace 3 speakers
Clean inside amp and all controls
Test amp
Labour: 3 hours
Parts: 5 x resistors, 1 x RA jack for reverb tray. 3 x eminence 10” speakers
Test Amp

This amp is loud and has 6 x 10” speakers, sounding like the fender twin silver face but with and additional 4 speakers.

It has the serial number: A77617, which dates it to 1974

 
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Mr. Severin adds:

Hi,

I’m finally parting ways with my trusty guitar amp. She’s been in my possession since late 1979 and made her first appearance on the track TENANT from 1980’s KALEIDOSCOPE album. She has spent most of her life in my home studio but on the odd occasion when I’ve felt the desire to thrash 6 strings as opposed to four - she’s been my weapon of choice. She got an outing on THROW THEM TO THE LIONS & I PROMISE, for example. I’m now in Edinburgh surrounded by banks of computers so it’s time to relieve the caretaker, my friend Demian of a few items that have outgrown my use and give him back some valuable space. It’s a real beauty. Happy bidding!

p.s. It’s a bit of a beast so collection only I’m afraid.

S.Severin

Asking price is £1,000 (around $1500) and you have a week in which to make your bid.
 

 
See photos of Severin’s amp, after the jump…
 

Posted by Paul Gallagher | Leave a comment
John Lennon becomes the first Beatle to admit to taking drugs, in 1965: A DM exclusive
04.24.2015
07:20 am

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Amusing
Books
Drugs
Heroes

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It was fifty years ago today…well, almost…

While it has been long believed that Paul McCartney was the first Beatle to ever admit taking drugs during an interview with Independent Television News (ITN) in June 1967, it can now be revealed that John Lennon was in fact the first Beatle who owned up to the band being “stoned” two years before this in an interview with an American journalist.

Writer Simon Wells discovered Lennon’s comment in a rarely heard interview while researching his book Eight Arms To Hold You—a definitive history on the making of The Beatles’ second movie Help!. Wells is the best-selling author of Coming Down Fast (a biography of Charles Manson), Butterfly on a Wheel: The Rolling Stones Great Drugs Bust, Quadrophenia: A Way of Life and the drugs, sex and paganism novel The Tripping Horse.
 
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February 1965, The Beatles had just arrived on location at New Providence Island in the Bahamas to film Help!.  On being asked what The Beatles had been up to on their flight over, Lennon replied “We got stoned.” There is a stunned silence before the interviewer says: “Alright. I know you’re only kidding.”

Of course, Lennon wasn’t kidding, as The Beatles had been popping pills since at least 1960 and smoking weed since being “turned-on” by Bob Dylan in 1964. Simon Wells exclusively explains for Dangerous Minds:

The Beatles took a chartered jet to the Bahamas for the start of filming of Help! on Monday 22nd February 1965. Perversely as it may seem, the Beatles’ manager Brian Epstein had become intoxicated with the idea of tax shelters and havens—and after his dismal performance of selling off the Beatles rights to A Hard Day’s Night for little more than the average house price in Britain, he sensed an idea to set up an offshore interest in the Bahamas, hoping that the money from the film would escape the extortionate financial red tape and punitive taxes that would attract to the film’s future successes.

To defer suspicions, Epstein cooked up the idea of filming part of Help! in the Bahamas and so eager was he to establish a presence there, filming for what would be the finale of the movie was shot first. Temperatures at a constant high for the area, the group would have to shield themselves from the likelihood of considerable tanning – an issue that would have colored (excuse pun) the earlier shots in the film, all set in London. Nonetheless, The Beatles knew little about this, and happily trundled onto the caravan of filming—the shores of Nassau were far more attractive than a gloomy British February. Equally, it meant a break from the rigours of touring, something they had grown to hate.

The group’s plane continued the majority of the film’s attendant circus, plus a few liggers and reporters to help things along. The nine-hour flight requiring more than just alcoholic sustenance, the band happily tugged on a succession of marijuana joints to elevate the time between touching down in the Bahamas. Since August the previous year when Bob Dylan famously turned the band onto the magical herb, the group had indulged heavily in the newly found pursuit. The effects were immediate on their dress and music, heavy shades and dissonant chords were now pitting their senses; introspection tossing “boy meets girl” out of the window.

While the media were well aware that The Beatles (and most of the other groups of the period) took drugs, there was no need for them to spill the beans and spoil the party. By 1965 standards, The Beatles were still good cheeky copy—guaranteed to bring a smile to the nation’s breakfast tables, and still with the consent of Britain’s parents, the girls and boys could shower them with unbridled adoration. Behind closed doors in Buckingham Palace and at (the Prime Minister’s home) Number 10 Downing Street, plans were already afoot to adorn the band with the M.B.E. If an admission of naughty chemical use had surfaced prior to the award announcement, it would have clearly stymied the whole pantomime. The press knew this too—so all was on course to preserve the Fab’s innocence—for the time being.

For those who chart such things, this is the first admission from a Beatle that drugs were now a part of their lives. The evident shock from the reporter is testament to the disbelief that these sweet boys could ever do such a thing. Predictably, the comment was not used in print, and it remained buried on the reporter’s tape – until now!

Simon Wells new book on The Beatles Eight Arms To Hold You is available from Pledge Music, details here.
 
After the jump, hear the recording…

Posted by Paul Gallagher | Leave a comment
Everything ever recorded of Bill Hicks—EVER—to be released in 2015
04.24.2015
06:05 am

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Amusing
Heroes

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The premature death of Bill Hicks was one of the greatest tragedies to ever befall American comedy. His hilarious and unabashedly angry attacks on conservatism, complacency, and stupidity made him a cult figure in his lifetime, but cancer claimed him in early 1994, just as he was poised to achieve real fame, so we never got to see him continue maturing into the gifted comedic truth-seeker he seemed bound to become, a legitimate heir to Lenny Bruce and George Carlin. Like any tortured genius type worth discussing, Hicks was full of contradictions—he criticized the alcohol industry for peddling poison, but he took a perverse and boastful pride in his own cigarette consumption. He embraced a deeply moral we-are-all-as-one-in-the-cosmos philosophy, yet he sometimes took a sadistic glee in dehumanizing the rural underclass (as a conservative-raised southerner himself, he gets a pass on that). And though he constantly torpedoed commercial opportunists, he himself was seeking career visibility, and paradoxically, purity, in a milieu that necessitated rather a lot of commercial engagement. His career wasn’t helped, either, by his willingness to derail a performance to attack his audience, or even just a single member thereof, though that shit was every bit as golden as his prepared material. Behold:
 

 
If you’re skeptical of Hicks’ counterculture bona fides, consider that one of his most infamous bits was a call-to-action for the entire advertising industry to commit suicide.
 

 
A 1997 drop of CD releases on the Rykodisc label kept Hicks’ memory and work alive while introducing him to those who missed out. Four were issued in the first batch, the excellent Dangerous and Relentless, which were reissues of albums released during Hicks’ lifetime, and Arizona Bay and Rant in E Minor, which Hicks completed and mixed, but were only released posthumously. Those latter two feature Hicks’ guitar playing layered in with his standup, to deeply mixed effect—there are significant portions of Arizona Bay where Hicks’ words are rendered maddeningly inaudible by his psych guitar efforts, while Rant is the Hicks album to get if you can only get one. It was recorded after his cancer diagnosis, and is unparalleled in its bitterness and audacity—as though cancer were vitriol and he was trying to purge himself— and good GOD, it is funny as hell. The bit about Rush Limbaugh in the bathtub alone could have made Hicks a legend.

Continues after the jump…

Posted by Ron Kretsch | Leave a comment
Hitchcock 101: Alfred Hitchcock on how to make movies
04.13.2015
08:58 am

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Amusing
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Movies

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Alfred Hitchcock thought the invention of “talkies” was unfortunate as movies assumed a theatrical form overnight. Films, he told Francois Truffaut, stopped being cinematic and became “photographs of people talking.”

When we tell a story in cinema, we should resort to dialogue only when it’s impossible to do otherwise. I always try to tell a story in a cinematic way, through a succession of shots and bits of film in between.

In writing a screenplay, it is essential to separate clearly the dialogue from the visual elements and, whenever possible, to rely more on the visual than on the dialogue. Whichever way you choose to stage the action, your main concern is to hold the audience’s fullest attention.

Summing it up, one might say that the screen rectangle must be charged with emotion.

Hitchcock developed this theme in an interview with director Bryan Forbes at London’s National Film Theatre in 1969, where he explained how work on a movie “starts” for him:

Well, for me, it all starts with the basic material first. Now, the question of when you have the basic material… you may have a novel, a play, an original idea, a couple of sentences and from that the film begins. I work very closely with the writer and begin to construct the film on paper, from the very beginning. We roughly sketch in the whole shape of the film and then begin from the beginning. You end up with around 100 pages, or perhaps even more, of narrative, which is very bad reading for a litterateur. There are no descriptions of any kind—no ‘he wondered’, because you can’t photograph ‘he wondered.’

No ‘camera pans right’, for example

Not at that stage, no. It’s as though you were looking at the film on the screen and the sound was turned off. And therefore, to me, this is the first stage. The reason for it is this—it is to urge one to, to drive one, to make one work purely in the visual and not rely upon words at all. I am still a purist and I do believe that film is a series of images projected on a screen. This succession of images create ideas, which in turn create emotion, just as much as in literature words put together form sentences.

This is is what Hitchcock called “pure film”

The point is that pure film is montage, which is the assembly of pieces of film, which in their turn must create an emotion in the audience. That is the whole art of the cinema—the montage of the pieces. It is merely a matter of design, subject matter and so forth. You can’t generalise about it. You can only hope to produce ideas, expressed in montage terms that create an emotion in an audience.

Hitchcock was a cinematic purist—which ultimately made him a control freak. Everything was planned and worked out long before the actors rehearsed their lines or the first shot was taken. “Actors,” Hitchcock once said in his famously quoted line, “should be treated like cattle.” They were there to collaborate and serve his vision. That’s why he preferred working with actors like James Stewart or Cary Grant rather than “method” actors like Montgomery Clift or Paul Newman. Indeed, during the making of Torn Curtain, Hitchcock became so fed up with Newman continually asking about his motivation that he eventually told him, “Your motivation is your salary.”

Continues after the jump…

Posted by Paul Gallagher | Leave a comment
Jimmy Cagney’s poetry: From bad to verse
04.03.2015
07:43 am

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Amusing
Heroes
Movies

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When I was a child, summer holidays meant Jimmy Cagney movies on TV: White Heat, The Public Enemy, G-Men, Each Dawn I Die, Angels With Dirty Faces and so on. Cagney never looked like he was acting, he became whatever character he played, which explains why he was once asked, “Well, did you turn yella that time you went to da electric chair?”

Orson Welles once told chat show host Michael Parkinson that he thought Cagney was “maybe the greatest actor who ever appeared in front of a camera.” I tend to agree with this—as no doubt did Marlon Brando and Stanley Kubrick who were both major fans of the brilliant, diminutive Irish-American.

Like many of the characters he played, Cagney was tough. He was born into a poor working class family in New York’s Lower East Side in 1899. He worked hard, held down several jobs, and was always ready with his fists should the need arise. His fighting skills were such that family, friends and neighbors came to Jimmy to knock out any troublemaker. But Cagney was also disciplined and assiduous. He was a vaudevillian, a song and dance man first and foremost, who learnt his trade working up through chorus lines and repertory companies before being spotted by Al Jolson in a play with Joan Blondell and cast in a movie Sinners’ Holiday. Cagney went to Hollywood for three weeks’ work, but ended with a legendary career that lasted over 31 years.
 
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I’ve been reading his autobiography Cagney By Cagney (which I recommend) and in amongst his tales of career, family, early left wing politics—he was considered a communist because of his support of the unions, and was the target of a planned Mafia hit until actor and friend George Raft put a stop to it, though he switched allegiances to Reagan in the 1980s—his deep love of the country and concern for the environment and his fine talent for anecdote, Cagney revealed his liking for writing poetry. To be fair, some of it is okay—funny, amusing, enjoyable—but then there are those poems—like the one on the passing of friend Clark Gable—that maybe should have stayed in the bottom drawer:

The King, long bled, is newly dead.
Uneasily wore his crown, ‘tis said;
Quite naturally, since it was made of lead;
On those who gathered about his throne,
Y-clept Mayer, Mannix, Katz, and Cohn
He spat contempt in generous doses,
But whatever he gave, they made their own.

Unhappy man, he chose seclusion,
To the unremitting crass intrusion
Of John and Jane whose names meant dough
To Louie, Eddie, Sam, and Joe.

This is a small slap to the Hollywood producers “who controlled his destinies.” Cagney hated the exploitative nature of the Hollywood system.
 
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Cagney began writing in his Broadway days in the 1920s—“a habit triggered by reading Stephen Vincent Benet’s magnificent John Brown’s Body.” He was also influenced by William Blake and Robert Burns, who gave “food for thought” for when he tired of Hollywood and Hugh Kingsmill’s Anthology of Invective and Abuse, which inspired his putdown of a Tinsel Town ass-kisser:

Where once were vertebrae is now a tangle,
From constant kissing at an awkward angle.

Throughout his autobiography, Cagney dipped into one of poems whenever he felt like it. Though he claimed few of his verses were ever written down, he had “quite a number stored in [his] memory.” These ranged from:

A pheasant called in a distant thicket,
And lovingly my old friend said,
“I hear you, I hear you.”
And he loved that bird, till he gunned him dead.

To:

A lady spider met a fella
And made all haste to date him;
She loved him with a love sublime,
Up to and including—
The time, when in ecstasy,
She ate him.

Of course Cagney was just enjoying himself—relishing the pleasure of words. But his poetry often dealt with serious issues, like the poem he sent to the Irish Times under the pseudonym Harley Quinn on the damage industry was doing to the environment:

You want to see the Shannon like the Hudson
Or the Liffey just as filthy as the Seine?
Bring in the arrogant asses
And their garbage and their gasses—
The pollutants plunging poison down each drain:
Killing everything that’s living
For which nature’s unforgiving,
And the punishment will certainly fit the crime.
Where man, the creeping cancer,
Will have to make the final answer
As he smothers ‘neath his self-created slime.

 
More on Jimmy Cagney and his poetry, after the jump…

Posted by Paul Gallagher | Leave a comment
Fan photos of John Lennon in London and New York
03.31.2015
06:30 am

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Heroes
Music
Pop Culture

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Being one of The Beatles meant being mobbed, followed and even stalked everywhere you went. They quit Liverpool for London for its mix of anonymity and excitement—and because everything happened there. Eventually, John, George and Ringo moved on to the stockbroker belt to find peace, quiet and happy isolation. But even there, Lennon had unwelcome visitors who wanted a photo or to say that they understood what his songs were about, and touch the hem of his clothes.

Eventually, Lennon moved again, this time to New York where he said he could walk the streets without anyone bothering him. Going by these fan photographs of Lennon in London and New York, it’s obvious he was just as mobbed by devoted fans in the Big Apple as he had been back in the Big Smoke.

These fan snaps capture Lennon from the late 1960s, through his relationship with Yoko Ono, to just before his untimely death in 1980.
 
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John Lennon signing an autograph outside the Abbey Road Studios, 1968.

More fan snaps of John Lennon, after the jump…
 

Posted by Paul Gallagher | Leave a comment
In bed with Andy: David Bailey’s banned ‘Warhol’ documentary
03.23.2015
03:06 pm

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Art
Heroes
Television

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Among the reasons given for the banning of David Bailey’s documentary on Andy Warhol were: its possibly breach of the Vagrancy Act and a suggested sex act that was not “conducive to road safety.” These were the stated opinions of lawyer and judge Lord Justice Lawton and the sports journalist and broadcaster Ross McWhirter.

McWhirter was one-half of the famous twin brothers Ross and Norris McWhirter who compiled, wrote and edited the Guinness Book of Records. It was McWhirter who initiated the bizarre events that led to Bailey’s film being pulled from broadcast in January 1973, and temporarily banned until March of the same year. McWhirter was responding to the press previews for Bailey’s film that appeared in the Sunday papers on January 14th that described the film as “shocking,” “revolting,” and “offensive,” with the worst scene (erroneously) described by the Daily Mail as showing:

...a fat female artist [who] dyes her breasts and then rolls about on canvas ‘painting’...

This was Brigid Berlin making one of her famous “Tit Prints,” which was cited by Lord Lawton as a possible source of offense.
 
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Director and subject.
 
David Bailey had spent about a year working on his documentary about Andy Warhol—it was the last of three films Bailey made for Lew Grade’s television company ATV, the other two were profiles of photographer Cecil Beaton and director Luchino Visconti—and he had spent considerable time with the often monosyllabic and elusive artist, and had interviewed many of Warhol’s Factory entourage including Candy Darling, Paul Morrissey, Fred Hughes, Jane Holzer and art dealer Leo Castelli. Bailey had given over directing duties to William Verity, while he spent his time asking questions and getting close to the film’s subject.

When ATV gave a press screening for Bailey’s Warhol, little did they consider that the negative response of the press would lead to the film being banned. When Ross McWhirter read the press previews, he was sufficiently disgusted that he saw an opportunity to strike a blow for the silent majority—for whom he believed himself to be the obvious spokesman. In fact, he was over-reacting to some hearsay about a film he had not seen.
 
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On Monday 15th, McWhirter prepared to take out an injunction against the Independent Broadcasting Authority—the TV watchdog—for allowing Bailey’s film to be screened. On Tuesday January 16th, he issued a writ against the documentary to stop it being broadcast. However, McWhirter’s writ was dismissed during a one-minute High Court hearing. Like all zealots, McWhirter was not one to have the law stop him, and he appealed the High Court’s decision.

McWhirter’s actions gained support from an unlikely quarter: one of the ITV broadcast regions Anglia decided, after is chairman Lord Townshend and two members of the channel’s planning committee had watched the documentary, not to screen the documentary as Bailey’s film was:

...not of sufficient interest or quality.

McWhirter’s appeal was heard at 17:00hours on Tuesday January 16th, the day Warhol was set for broadcast. The Appeal Court consisted of Lord Justice Cairns, Lord Justice Lawton, and was presided over by Lord Denning. Although he had not seen the programme, McWhirter claimed in his writ that the press previews were sufficient to suggest the show would cause considerable offense. Any programme that was considered to be offensive to “good taste and decency” was to be banned under the guidelines of the Television Act of 1964.

Causing offense to the viewing public was not McWhirter’s only concern over Bailey’s film as his writ went on to describe some of its possible dangers:

At one point there is a conversation between a man dressed as a Hell’s Angel and a girl. In that piece, the girl discusses sex with the man and says she would like to have sex with him on the back of a motorcycle doing 60 miles an hour. Apart from anything else, that does not sound as though it is conducive to road safety.

Like McWhirter, none of the Lords had seen Bailey’s film, however this didn’t stop them pontificating about its possible criminal intent. According to the Guardian newspaper, Lord Justice Lawton was deeply concerned over Brigid Berlin’s breast painting:

...the viewers of Britain were to be shown pictures of a fat lady doing something that sounded to him very much like a breach of the Vagrancy act, apart from anything else…

 
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The offending “tit printing” scene.
 
However, it was the IBA who received the greatest criticism from Lord Denning for their perceived failure to view the documentary before transmission. This, as it later turned out, was a major oversight by Denning and co. as they had failed to ascertain whether anyone from the IBA had actually watched the film—which in fact they had. IBA General Director Brian Young, Head of Programmes Joe Wellman, together with their deputies, had all watched Bailey’s film and suggested cuts and had even insisted on the addition of an introductory voice-over.

Still this did not stop the appeal judges voting 2-1 in favor of an interim injunction that temporarily banned the film from being screened on television—a documentary on craftwork was broadcast instead.

Watch David Bailey’s ‘Warhol’ after the jump…

Posted by Paul Gallagher | Leave a comment
Vincent Price has some thoughts on racial prejudice and religious hatred
03.20.2015
07:09 am

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Heroes
Race

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As if anyone needed any further proof of the ultimate badassery of Vincent Price…

In this crucial speech from the conclusion of the “Author Of Murder” episode of The Saint, which aired on NBC Radio on July 30, 1950,  Price lays out his feelings on prejudice being antithetical to a free society. Price denounces racial and religious intolerance as a “poison” which fuels support for the nation’s enemies. These are powerful words for 1950, but just as important, necessary, and applicable today.

And, of course, Price’s delivery always guarantees chills.

Ladies and gentlemen, poison doesn’t always come in bottles. And it isn’t always marked with the skull and crossbones of danger. Poison can take the form of words and phrases and acts: the venom of racial and religious hatred. Here in the United States, perhaps more than ever before, we must learn to recognize the poison of prejudice and to discover the antidote to its dangerous effects. Evidences of racial and religious hatred in our country place a potent weapon in the hands of our enemies, providing them with the ammunition of criticism. Moreover, group hatred menaces the entire fabric of democratic life. As for the antidote: you can fight prejudice, first by recognizing it for what it is, and second by actively accepting or rejecting people on their individual worth, and by speaking up against prejudice and for understanding. Remember, freedom and prejudice can’t exist side by side. If you choose freedom, fight prejudice.

From the original broadcast:
 

 
From: The Vortex of Our Minds

Posted by Christopher Bickel | Leave a comment
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