Lemmy being Lemmy back in the day with a few of his close, personal friends.
In this brief clip from an interview Lemmy did in the late 90s on the short-lived British TV program, The Girlie Show (which you can see it its entirety, here), Lem got asked about the number of women he had slept with in his lifetime, to which the mighty Motörhead bassist replied “thousands” (though the man himself has usually put the number somewhere in the neighborhood of one thousand). I’m not going to get all hung up on numbers (I hate them), or even attempt to dispute either claim because despite the moles and his unconventional looks, Lemmy was one charming and intelligent son-of-a-bitch. Note to all you aspiring wannabe ass-wranglers—watch Lemmy and learn.
Lemmy on the set of the ‘The Girlie Show’ back in the late 90s.
Lemmy and Kelly Johnson of Girlschool.
Then one of the show’s hosts, Sarah Cawood, throws a curveball at the always affable Lemmy when she ambushes him with a visit from three of his ex-girlfriends including Girlschool guitarist Kelly Johnson (during the segment Cawood refers to her as the “love of Lemmy’s life”). Johnson and Girlschool collaborated with Lemmy back in 1980 calling themselves “Headgirl” and recorded a cover of “Please Don’t Touch” (originally recorded in 1959 by one of Lemmy’s favorite bands, UK group Johnny Kidd & the Pirates) as an A-side to the St. Valentine’s Day Massacre EP. The B-side featured Girlschool’s cover of Motörhead’s 1979 track, “Bomber” and Motörhead’s recording of the Girlschool single “Emergency” from 1980.
Henry Miller was always looking for something though he never seemed to find it. Throughout his life the author of cult favorites Tropic of Capricorn and The Tropic of Cancer signed-up for various philosophies and crackpot ideas but inevitably canceled his subscription. He was always willing to believe any kook who claimed to have a knowledge of god, the afterlife, the cosmos or some esoteric wisdom. Miller was willing to give anything a go. At least for a little while.
He tried Madame Blavatsky and her Theosophical Society. He half-believed Blavatsky’s “Secret Doctrine” of the seven planes of existence and the seven cycles through which everything moves—which she claimed came via a secret brotherhood of Mahatmas in Tibet—until Miller “discovered” Blavatsky had invented the whole thing and forged the correspondence with her spiritual guides Koot Hoomi and Mahatma Morya.
In his youth, Miller latched onto the teachings of the former Evangelist preacher Benjamin Fay Mills like “a drowning man.” Miller later explained the preacher’s teachings offered him was a brief respite from his “battle” with his own libidinous sexual desire.
In the 1950s, Miller was convinced “flying saucers” were about to invade Earth. He thought the US government was covering up their knowledge of UFOs and extraterrestrials. Miller corresponded with ufologists ‘fessin’ up his own experience of seeing flying saucers (two objects twinkling in the sky) and witnessing them “far out on the horizon, at dawn, and without aid of glasses.”
Miller was a “cosmic tourist.” He visited “...the Scientology of L. Ron Hubbard, the apocalyptic studies of the Essenes, Christian Science, Kahlil Gibran, White Witchcraft and the modern hinduism of Sri Ramakrishna.” He dabbled with astrology and Buddhism, and was suckered by the conman guru “Lobsang Rampa” who wrote a book titled The Third Eye describing his spiritual life and upbringing in Tibet—but Rampa turned out to be a plumber from Devon called Cyril Hoskin who had never once set foot outside England.
Yet Miller never felt cheated by these cranks. He was open-minded about everything and was never dispirited, disappointed or angered when he found out he’d been conned by yet another New Age charlatan. Miller’s view was simple:
Any theory, any idea, any speculation can augment the zest for life so long as one dies not make the mistake of thinking that he is getting somewhere.
Those of you that are of (ahem) a certain age will certainly remember faux-50’s band Sha Na Na not only for their music but also for their syndicated television show that ran from 1977 to 1981. I was absolutely obsessed with that show, and adored the band’s goofy antics and faithful fashion homages to the 1950s from the top of their greased back hair, to the seams on the famous gold lamé pants worn by Frederick “Dennis” Greene, Johnny “Kid” Contardo, and Scott “Tony Santini” on the show—one of the most popular in TV syndication at the time.
In addition to appearances in the film 1978 Grease (where the band was depicted as a fictional 1950s band called Johnny Casino and the Gamblers), Sha Na Na was also featured on the films wildly popular soundtrack, and the tearjerker “Sandy” (sung by John Travolta) was co-written by Sha Na Na’s Screamin’ Scott Simon, who got his start with the band playing piano back in 1970, and still performs with them to this day. In this footage (which I’m pretty sure is gonna blow your mind), the band performs nineteen songs for the enthusiastic studio audience in attendance for a taping of German music television show Musikladen in 1973.
From the minute they hit the stage, it’s clear that we are all in for some high-octane doo-wop, class-act choreography, and the visual treat that is the gangly, rock-and-roll Frankenstein known as “Bowzer” (Jon Bauman)—he’s probably the most recognizable member of the group, too. Since departing Sha Na Na, Bauman continues to tour as his alter-ego “Bowzer” with his group The Stingrays and was also instrumental in helping the passage of the Truth in Music Act—a law that protects musicians and bands from identity theft. Now that’s fucking rock and roll.
The gold lamé suits worn by Sha Na Na that drove my young libido into overdrive back in the late 70s
And what about those skin-tight gold lamé suits (pictured above)? While conducting my very important “research” for this post, I discovered that all three of them are currently up for sale (along with the matching gold lamé boots and belts, thank you very much) for the tidy sum of $2,500. A small price to pay for a piece of rock and roll history that I’d do almost anything to squeeze myself into (those boys were tight back in the day, to say the least). I’ve probably watched this footage at least five times since stumbling on it and every time I do, it gets better. As one commenter on the Youtube page said, “this deserves a million likes.” To which I say AMEN, brother. If you dig it as much as I do, you can get your very own DVD of the show, here. Enjoy!
Sha Na Na on German music television show, Musikladen in 1973.
Pauline Boty was an artist, activist, actress and model. She was one of the leading figures of the British Pop art movement during the late 1950s and early 1960s. Her contemporaries were Peter Blake, Derek Boshier and David Hockney. But when Boty tragically died at the height of her fame in 1966, her work mysteriously disappeared. Not one of her paintings was exhibited again until 1993.
Boty was all but forgotten by the time a cache of her paintings was rediscovered on a farm in the English countryside in the early 1990s. The paintings had been stored in an old barn for safe-keeping by her brother. Their rediscovery placed Boty firmly back into the center of the Pop art boy’s club.
Throughout her life, Boty kicked against the men who tried to hold her back. Born into a Catholic family in 1938, her father (a by-the-book accountant) wanted his daughter to marry someone respectable and raise a family. Instead she chose to study art to her father’s great displeasure. In 1954, Boty won a scholarship to Wimbledon School of Art.
At college, Boty was dubbed the “Wimbledon Bridget Bardot” because of her blonde hair and film star looks. She went onto study lithography and stained glass design. However, her desire was to study painting. When she applied to the Royal College of Art in 1958, it was suggested by the male tutors that she would be more suited studying stained glass design as there were so few women painters. Though Boty enrolled in the design course she continued with her ambitions to paint.
Encouraged by the original Pop artist Eduardo Paolozzi, Boty began painting at her apartment. Her makeshift studio soon became a meeting point for her friends (Derek Marlowe, Celia Birtwell) and contemporaries (Blake, Boshier, Hockney and co) to meet, talk and work. Boty started exhibiting her collages and paintings alongside these artists and her career as a painter commenced.
In 1962, Boty was featured in a documentary about young British pop artists Pop Goes the Easel alongside Peter Blake, Derek Boshier and Peter Phillips. The film was directed by Ken Russell who created an incredibly imaginative and memorable portrait of the four artists. Each was given the opportunity to discuss their work—only Boty did not. Instead she collaborated with Russell on a very prescient dream sequence.
It opens with Boty laying out her paintings and drawings on the floor of a long circular corridor—actually the old BBC TV Center. As she examines her work a group of young women appear behind her. These women walk all over her artwork. Then from out of an office door, a nightmarish figure in a wheelchair appears and chases Boty along the seemingly endless twisting corridors. Boty eventually escapes into an elevator—only to find the ominous figure waiting inside.
Her performance in Russell’s film led to further acting roles—in Alfie with Michael Caine, with James Fox on the stage, Stanley Baxter on television and again with Russell in a small role opposite Oliver Reed in Dante’s Inferno. Boty was photographed by David Bailey, modeled for Vogue, regularly appeared as an audience dancer on Ready, Steady, Go!, and held legendary parties at her studio to which everyone who was anyone attended—from the Stones to Bob Dylan. Boty was the bright flame to whom everyone was attracted.
She was a feminist icon—living her life, doing what she wanted to do, and not letting men from hold her back. But the sixties were not always the liberated decade many Boomers would have us believe. Boty’s critics nastily dismissed her as the Pop art pin-up girl. The left-wing party girl. A dumb blonde. Of course, they were wrong—but shit unfortunately sticks.
Boty’s work became more politically nuanced. She criticised America’s foreign policy in Vietnam; dissected the unacknowledged sexism of everyday life; and celebrated female sexuality. She had a long affair with the director Philip Saville—which allegedly inspired Joseph Losey’s film Darling with Dirk Bogarde and Julie Christie. Then after a ten day “whirlwind romance” Boty married Clive Goodwin—a literary agent and activist. She claimed he was the only man who was interested in her mind.
In 1965, Boty was nearing the top of her field when she found she was pregnant. During a routine prenatal examination, doctors discovered a malignant tumor. Boty refused an abortion. She also refused chemotherapy as she did not want to damage the fetus. In February 1966, Boty gave birth to a daughter—Boty Goodwin. Five months later in July 1966, Pauline Boty died. Her last painting was a commission for Kenneth Tynan’s nude revue Oh! Calcutta! called “BUM.”
Pauline Boty in her studio holding the painting ‘Scandal’ in 1963.
‘A Big Hand’ (1960).
More of Pauline Boty’s paintings plus Ken Russell’s ‘Pop Goes the Easel,’ after the jump…
The list of movies Ken Russell didn’t make is nearly as impressive as the ones he did.
Russell had plans for a movie version of Hamlet starring David Bowie. He developed a film about Maria Callas which was to star Sophia Loren. He had plans for a film version of Bram Stoker’s Dracula with Peter O’Toole as the Count, Peter Ustinov as Van Helsing and Oliver Reed as Renfield. Other book adaptations included Graham Greene’s A Burnt Out Case, Virginia Woolf’s Mrs Dalloway, Evelyn Waugh’s A Handful of Dust, Edith Wharton’s House of Mirth and D. H. Lawrence’s St. Mawr.
He also wanted to make a film based on Leopold von Sacher-Masoch’s Venus in Furs and one of Rabelais’ Gargantua—“the man with the biggest prick in the world.” He had a thriller All-American Murder lined up with Christopher Walken, and tried for years to make a film version of Charlie Mingus’ autobiography Beneath the Underdog. He turned down The Rose (to make Valentino with Rudolf Nureyev) and had been a favorite to direct A Clockwork Orange before Stanley Kubrick with Mick Jagger in the lead.
Russell always had a film project on the go—it is only a shame that so few of them made it to the screen.
In 1997, I met Russell for the first time—interviewing him for a documentary I directed about the legendary dancer Nijinsky. I knew he had tried to make a film about Nijinsky but had somehow never managed to find the financial backing. We talked about films and he told me about two scripts he had just written. One was a full-length feature about young vampires—a rollicking romp through youth culture, gangs and the lives of traveling people. The second was a short called Ein Kitten für Hitler—A Kitten for Hitler.
Russell told me A Kitten for Hitler was inspired by a discussion about censorship with his friend and one-time collaborator (The Music Lovers, The Debussy Film) Melvyn Bragg—the author, broadcaster and editor of legendary arts series The South Bank Show. Russell had suggested there were some films that shouldn’t be made—as he later explained in the Times newspaper in 2007:
Ten years ago, Melvyn Bragg and I had a heated discussion on the pros and cons of film censorship. Broadly speaking, Melvyn was against it, while I, much to his surprise, was absolutely for it. He then dared me to write a script that I thought should be banned. I accepted the challenge and a month or so later sent him a short subject entitled A Kitten for Hitler.
‘Ken,’ he said, ‘if ever you make this film and it is shown, you will be lynched’.
I read both of Ken’s scripts and liked them. Russell gave me his blessing to see if I could raise funding or find a suitable production company who would be interested in making his films.
I pitched the scripts to producers, production company execs and a whole host of bland minions who were all at first excited by the name “Ken Russell” but scared of making any form of commitment. While these bods liked the vampire movie—they balked at A Kitten for Hitler. It was “sick,” “twisted,” “not suitable for viewing” and something they were “not interested in pursuing at this time.” Having already experienced years of smug, barely pubescent TV execs shitting on good ideas, I found the rejection of Russell’s scripts galling. This wasn’t some unknown film director or some hip young punk whose only claim to fame was working in a Blockbuster—this was Ken Russell. One of the greatest film directors of the second half of the twentieth century. The man who had made The Billion Dollar Brain, Women in Love, The Music Lovers, The Boyfriend, The Devils, Savage Messiah, Tommy, Altered States, Lair of the White Worm, Salome’s Last Danceand so on and so on.
While I didn’t get anywhere with these projects, Russell thankfully did. He did manage to make A Kitten for Hitler through the auspices of Comedy Box in 2007. It varies ever so slightly from the script I’d read—but the story’s the same and still as uncompromisingly offensive. Unable to cast a child actor as the boy Lenny, Russell cast Rusty Goffe. Ken’s wife Lisi Tribble plays Lenny’s Mom, Rufus Graham plays Harry S. Truman, Rosey Thewlis plays Eva Braun, and Paul Pritchard is Hitler. Ken Russell himself appears as Santa Claus.
Watch Ken Russell’s ‘A Kitten for Hitler’ after the jump…
Lemmy Kilmister latex mask with black “rocker” hair by Ireland-based company, Rubber Johnnies.
The masks featured in this post are made by an Ireland-based company called “Rubber Johnnies.” The first one I came across was the one of a rather surprised looking David Bowie as his glam-rock alter-ego Aladdin Sane (which you can see below) complete with Bowie’s distinctive eyes as well as some false eyelashes. Of course, after finding the Bowie mask, I was hoping that a quick look through Rubber Johnnies’ online store would produce more latex oddities (here is probably as good a place as any to inform you that “Rubber Johnny” is British slang for condoms)—and I wasn’t disappointed. They’ve got Obama, the Queen, a mean hillbilly mask and of course, Donald Trump (no Hillary mask, though).
Prince latex mask.
In addition to the slightly insane looking Aladdin Sane mask, there is also a mask in the image of Lemmy Kilmister (pictured at the top of this post) that is adorned with Lem’s ever-present moles and long black hair for that “realistic rocker effect.” But neither one of these fantastically strange creations can compare with Rubber Johnnies’ latex homage to the late, great king of all things purple, Prince (above). The face of the Prince mask (that has realistic looking black hair that I’d say is modeled after Prince’s 1996 “Emancipation” era do), is frozen in a smirky half-smile with a shot of come hither side-eye—a look that Prince perfected. In addition to the Lemmy, Bowie and Prince masks, there is also one of Michael Jackson where he looks like he’s wearing Marilyn Manson’s make-up (It’s very “The Child Catcher” from Chitty Chitty Bang Bang. And that’s all I’m going to say about that. See for yourself, below.)
The masks retail for about $30 - $40 bucks plus shipping and Rubber Johnnies also appears to do custom orders. More images follow. Happy nightmares!
The forever ‘surprised’ looking Aladdin Sane latex mask.
More, including that frightening Michael Jackson mask, after the jump…
Klaus Kinski had the look of man of a man possessed—a cross between Iggy Pop and a comic book psychopath. It was a look that could convince the unwary he had just escaped from Arkham asylum and was now out for bloody revenge. It was a look earned by painful experience which hid the deeply troubled and sensitive artist underneath.
In truth, Kinski’s mental health was an issue. In the 1950s, he spent three days in a psychiatric hospital where the preliminary diagnosis was schizophrenia—the “conclusion psychopathy.”
He attempted suicide first with an overdose of morphine tablets and then a few days later with an overdose of sleeping pills. One doctor wrote that Kinski was “a danger to the public”:
His speech is violent. In this, his self-centred and incorrigible personality is evident as one that can’t blend in civil circumstances. He remains consistent to his egocentric world view and declares all others prejudiced [...] The patient hasn’t had a job in one year, but still speaks confidently of the new film in which he will star.
Another doctor concluded the young actor showed “signs of severe mental illness.” After a series of insulin treatments, Kinski was released. He believed he was being persecuted which made him all the more determined to make a success of his life.
A few years later, Kinski established himself as an up-and-coming actor in Vienna. But his volatile personality—the anger, the passion that fueled his performances—caused him to be labeled as too difficult. To compensate, and keep a roof over his head, he performed one-man shows reciting Shakespeare, Oscar Wilde and Francois Villon.
He found some financial security as a bit player in movies—most notably the spaghetti western For a Few Dollars More and war films such as A Time to Love and a Time to Die and The Counterfeit Traitor. But Kinski had a talent and an ego that inspired him to hold bolder, greater, more personal ambitions.
In 1971, Kinski hired the Deutschlandhalle to perform his own 30-page interpretation of the life of Jesus Christ—Jesus Christus Erlöser (“Jesus Christ Saviour”). It was no ordinary show. It attracted an audience of diametrically opposed fans—radical students, religious followers and those intrigued to just see the “madman Kinski” did next.
A production about Jesus Christ by one of Germany’s most notorious actors was bound to cause confusion and controversy. Some of the audience seemed to think Kinski was evangelizing, rather than interpreting a role. This led to constant heckling from the spectators. The Christians thought he was blaspheming. Those on the Left thought he was a snake oil salesman for Christianity. Kinski was doing none of this. His Christ was part Kinski, part revolutionary, and part troubled soul. As the audience heckled, Kinski responded to the abuse, as Twitch Film notes:
[A]fter someone stated that shouting down people who disagreed with him was unlike Christ, Kinski responded with a different take on how Christ might respond: “No, he didn’t say ‘shut your mouths’, he took a whip and beat them. That’s what he did, you stupid sow!”
He challenged the audience: “can’t you see that when someone lectures thirty typewritten pages of text in this way, that you must shut your mouths? If you can’t see that, please let someone bang it into your brain with a hammer!” The evening’s festivities also turned physical as an audience member is shown getting bounced from the stage by a bodyguard. Someone responds that “Kinski just let his bodyguard push a peaceful guy, who only wanted to have a discussion, down the stairs! That is a fascist statement, Kinski is a fascist, a psychopath!”
Kinski was unbowed:
I’m not the official Church-Christ, who is accepted by policemen, bankers, judges, executioners, officers, church-heads, politicians and other representatives of the powers that be. - I’m not your super-star!
In a filmed interview, Kinski was asked whether in light of the popularity of such shows as Jesus Christ Superstar and Godspell if he was merely riding a fashionable wave to win popularity. Kinski replied he’d had the idea of making a play out of Christ’s life for some time.
I originally had this idea twenty years ago. When I was six years old I received my only praise…usually I got punished in school…I got praised because I learnt the New Testament by heart, I didn’t really understand it but I was just good at learning texts by heart. But accusing me of riding a popular wave is just plain stupid—it was already in the papers twelve years ago that I’m going to interpret the New Testament and already twelve years ago people were annoyed with me because of that. And what do you mean by “riding the popular wave”? I’m a good rider, but on a horse.
Kinski thought the church distorted the New Testament “with murderous intent—because the church, as everyone knows, did interpret it to fit their intentions.”
Van Halen during their ‘house band’ era at the Sunset Strip club, Gazzarri’s (mid-1970s).
“One day, we’re going to be the the Kings of Gazzarri’s.”
—A teenage David Lee Roth accurately predicting Van Halen’s future
The person who uploaded the audio of Van Halen performing as a “cover band” places the year at 1975—not long after VH had transitioned from the name Mammoth, and were in the process of blowing the fuck up after Sunset Strip club Gazzarri’s (RIP) gave the band their first big break.
David Lee Roth and Eddie Van Halen on stage at Gazzarri’s, mid-70s.
An early shot of Van Halen and the band’s first logo design created by original VH bassist, Mark Stone (Stone is pictured to the far left).
And when I say big break, I mean that before Gazzarri’s, DLR and the boys were literally playing house parties and high schools. After getting the green-light to play Gazzarri’s by the club’s owner, Bill Gazzarri (who initially didn’t like the band, he later maintained that Van Halen was the best band to every play there), the band became Gazzarri’s house band playing the club several nights a week and would often run the dance contests held at Sunset Strip club. VH vocalist David Lee Roth recalls that in addition to getting paid $75-$125 bucks a night, another perk was getting to watch Gazzarri’s famous “Go-Go” dancers who also performed at the club regularly. It was a huge upgrade from their usual gigs. 1975 sounds like it was a pretty sweet time if your name was (or was associated with), “Van Halen.”
VH drummer Alex Van Halen remembers that the “crowd” at the band’s first gig at Gazzarri’s consisted of about four fans. Van Halen would go on to play approximately 90 gigs at Gazzarri’s to ever-growing crowds before Eddie Van Halen told Bill Gazzarri that they were “never going to get anywhere” by honing their ability to kick out disco jams like the 1975 hit by KC and the Sunshine band, “Get Down Tonight.” And as much as I love that song (I don’t judge and neither should you), he wasn’t wrong. Sometime in 1976 KROQ DJ Rodney Bingenheimer met up with KISS loudmouth Gene Simmons to see one of VH’s gigs at Gazzarri’s. Simmons dug what he heard and got the band to record a demo, but things didn’t pan out. Luckily, Warner Brothers Records producer Ted Templeman (the famous voice behind the line “Come on Dave, give me a break” from the Van Halen’s 1981 classic “Unchained”) caught a live gig of the still under-the-radar band, and ushered the boys into the studio to record what would become VH’s seminal debut record, 1978’s Van Halen.
As I’m a huge fan of digging up interesting historical rock and roll artifacts, I have to say I was super entertained listening to 32 minutes of the then-emerging young Van Halen covering songs by David Bowie (specifically “The Jean Genie” during which Roth amusingly confesses to forgetting the lyrics), Led Zeppelin, ZZ Top, and “Twist and Shout”—all while emceeing one of Gazzarri’s many dance contests. While the audio isn’t good (and the band doesn’t really sound that great either), it truly has its priceless moments. Mostly due the antics of the then just 21-year-old “Mr. Entertainment” David Lee Roth. I’ve included a number of photos of Van Halen’s days at Gazzarri’s as well as a few cool other artifacts from that mythical time when it seemed that most people in LA didn’t know who Van Halen was. Yet.
The cover of Charles Bukowski’s short story, ‘Bring Me Your Love’ illustrated by R. Crumb.
The seemingly logical collaboration of the great R. Crumb and transgressive writer and poet Charles Bukowski finally became a reality in the early part of the 80s when Crumb created illustrations for two of Bukowski’s short stories, Bring Me Your Love (1983) and There’s No Business (1984).
An illustration from ‘There’s No Business’ by R. Crumb.
Crumb’s illustrations give the already gritty storylines of both stories visual context—such as a man who looks much like Buk wrestling on the floor with his “wife” after a dispute involving answering the phone or various barroom skirmishes depicting a Bukowski-looking character running amok. The pair would collaborate once again in 1998 (four years after Bukowski’s passing in 1994) with Crumb illustrating a collection of excerpts from Bukowski’s diary, specifically passages from the year prior to his death, The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship. Many of Crumb’s illustrations from all three publications, as well as a few other cartoons images of Charles Bukowski drawn by Crumb follow.
The question came from Brenda in Barnwood, Gloucester, who asked:
What make-up does Eno use on and off stage and does he sing on any tracks of “Roxy Music”?
Brenda was one of three readers who sent in questions for Brian Eno to Melody Maker, April 21st 1973. Eno was more than happy to share his favorite makeup tips:
My make up is the same both on and off stage to a greater or lesser degree. It consists of a large selection of things including Quant, Revlon, Schwarzkopps and Yardley. I just choose whatever colour appeals to me at the time.
On my eyes I use six different colours by three different makers. I’m using Quant crayons quite a lot at present
His favorite crayons by Mary Quant.
Quant crayons came out sometime around the late 1960s—dates vary between 1966 to 1969. These make-up accessories were de rigueur for many a young girl and ambitious glam rocker. According to those who used and liked Quant’s crayons—they were “really high quality, the colors were great and they blended incredibly well.”
Alas, these exotic crayons are no longer available, but questioner Brenda Merrett is still a fan of Eno.
As for singing with Roxy Music Eno replied:
I don’t sing lead vocals at any time—only backing vocals. These are nearly always done by Andy MacKay and myself. Examples are “Would You Believe,” “If There Is Something” and “Bitter’s [sic] End.”
As a result of going into a subway station and meeting saxophonist Andy Mackay, I joined Roxy Music, and, as a result of that, I have a career in music. If I’d walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now.
After the jump, Brian Eno singing his debut single “Seven Deadly Finns” on Dutch television…