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‘Raquel!’: Kooky, camp, and kitsch TV special starring Raquel Welch and friends
10.04.2017
09:33 am
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Raquel Welch by Terry O’Neill.
 
In 1970, movie star Raquel Welch starred in her very own TV variety extravaganza Raquel! which was intended to showcase her talents as a singer. Raquel! featured Welch performing a selection of classic pop songs in different locales and hamming it up alongside the old-school talents of Bob Hope and John Wayne, and young buck Tom Jones.

In just over a decade, Welch had gone from cocktail waitress to A-list movie star. She first made her mark as a scientist in The Fantastic Voyage then knocked teenage boys (and dads) for six as a cavewoman dressed in a fur bikini in One Million Years B.C. The media made her name synonymous with the term “sex symbol.” But she was more than just a celluloid beauty, she could act. Welch co-starred with Frank Sinatra in Lady in Cement, proved her mettle by refusing to go nude in 100 Rifles , and confounded critics by starring in Gore Vidal’s tale of a transsexual Myra Breckenridge. Despite all this, Welch was still hailed by Playboy (who else?) as the “world’s most desirable woman.”

Billed as a “multi-million dollar” extravaganza Raquel! seemingly spared no expense (though it reputedly cost nearer the $350,000 mark).  There was a luxurious wardrobe by Bob Mackie with spacesuits by Paco Rabanne, some pop art and space-age set designs and a variety of exotic locations. Welch clocked-up her air miles performing songs to camera in London, Paris (where she sang “California Dreamin’” in view of the Eiffel Tower), Acapulco, Mexico City, Los Angeles, Yucatan, and Big Sur. Though Welch has a passable singing voice—one perhaps better suited to being heard in an elevator—Raquel! was a major success pulling in 58% in the Nielsen ratings. It’s a fine camp confection that has some strange and memorable moments—Welch and Hope (in Davy Crockett hat) singing the Beatles’ “Rocky Raccoon” being just one. 
 
Take a look after the jump…

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Posted by Paul Gallagher
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10.04.2017
09:33 am
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Porn-optical illusion: Suggestive collages of sex and architecture (probably NSFW)
10.04.2017
09:24 am
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The question is often asked by our dear readers as to why some images are pixelated on social media? “We all got nipples,” they might comment on a post or “I’ve seen nudies before” they might add. Well, yes, of course. But social media is not really that open or user-friendly and never has been. We all might be grown-up about things that may shock or trigger others, but it only takes one turd in the pool for swimming to be canceled or one Mrs. Carmody for an account to get shut down.

Artist provocateur Giulia aka @scientwehst knows this only too well as she has had her artworks pulled and her accounts shut down after some busybody was offended by her erotic collage. I believe being offended is good for the soul. If you are offended then you’re learning something new and increasing your intellectual scope rather than narrowing it down to a rather grotty clogged artery that is on the verge of causing fatal cardiac arrest.

Giulia thinks “Social-media society is not a public, democratic space,” and we should stop treating it as such.

These white-tech bros dictate in their swivel chairs what we can share and how we can manage our platforms. They create a facade of openness, while exploiting us and profiting from our data and content. We are not protected because social-media has been privatized. Social media companies serve as an arm to our government’s agendas… Our government is also inherently sexist… Sexism still thrives in social media society… Let’s all connect the dots.

Giulia is a 27-year-old artist from Florida, who currently resides in Brooklyn. Growing up she felt uncomfortable about her body image. She wanted to be tall and skinny coz that’s what magazines and TV and movies and adverts sold as the perfect female form. This anxiety carried on into her twenties until one day, “about 2–3 years ago, [..] I started to say, ‘fuck this shit! I will never have this type of body, and I’m going to embrace the softness that is me’.” Her view now is “fuck a beauty standard: just be you.”

Out of this rethinking, Giulia started making collages in which she placed architectural pictures of various buildings, churches, and interiors over images lifted from porn and glamour mags. The results were provocative, some might say shocking yet certainly powerful and erotically charged. Sex it seems is everywhere but especially in our minds.

Follow Giulia on @scientwehst.
 
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More of artist provocateur Giulia’s pin-ups, after the jump…
 

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Posted by Paul Gallagher
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10.04.2017
09:24 am
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Scary Monsters (And Super Creeps): The ghoulish artwork of Gōjin Ishihara
10.03.2017
08:46 am
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An illustration by Gōjin Ishihara published in the 1972 children’s book, ‘Illustrated Book of Japanese Monsters.’
 
Japanese artist Gōjin Ishihara had a very long and impressive career during which he was often affectionately referred to as “Japan’s Norman Rockwell.” His preferred medium was India Ink—which is commonly used in comic book art though Ishihara would thin it before he used it, making it more difficult to manipulate.

Born in the Shimane region of Honshu Island in 1923, Ishihara was getting paid for his illustrations while he was still quite young, perhaps as young as ten (though it is difficult to pinpoint more precisely). After completing school, he traveled to Mongolia where he held several jobs including a gig painting movie cards for silent films. At the age of 21, Ishihara was drafted into the Japanese Imperial Army during which time he was nearly killed by friendly fire. The experience led Ishihara to develop a disdain for authority after being drilled in the army to believe he and his peers should be prepared to die while serving the divine figure that was Emperor Hirohito. Following his horrific time in the service, Ishihara returned to Japan where he enrolled at Nihon University where he was exposed to the artwork of Norman Rockwell which would strongly influence his artistic style. His career as an artist soon took flight and Ishihara’s illustrations would be widely published on the covers of pulp novels and magazines. In 1972 a large number of his drawings appeared in the book Illustrated Book of Japanese Monsters which was marketed to children. The terrifying illustrations featured depictions of cannibalism, torture and other mayhemic situations involving netherworld ghouls and giant murderous cats.

Later on, Ishihara would create erotic illustrations under the name “Hayashi Gekkō” for gay publications and novels which are as hardcore as his illustrations from his children’s book. I can’t show you any of them here on DM, but you can see them in all their highly NSFW glory here. Ishihara continued to work throughout the 1990s including the creation of various mind-boggling illustrations for the first issue of adult magazine series The Seikimatsu Club in 1996. For their debut issue, the magazine took on the Manson family murders with the help of Ishihara’s immense talents. The transfixing and outré illustrations he created for the magazine at the age of 73 include a disturbing black and white collage, featuring, among others, Charles Manson, Rev. Jim Jones, Uriel from the Unarius Academy of Science (who was known in Japan due to her appearance on the cover a popular underground music CD comp of the early 90s), Aleister Crowley, “King of the Witches” Alex Sanders, Anton LaVey in a fucked up threesome with two women wearing goat and pig heads, Father Yod the leader of the Source Family cult, some hooded Klan members being crucified, Shoko Asahara the blind founder of the Japanese doomsday cult group Aum Shinrikyo.

Following that triumph, Ishihara would pass away in 1997 leaving a large legacy of fantasy/horror artwork. Books containing Isihara’s artwork are hard to come by and when and if you do they will put a large dent in your wallet as I’ve seen them listed for several hundred dollars each. If you’re looking for a more modest investment, Ishihara’s artwork is featured in the 2015 book Illustrations of The Strange, Mysterious And Bizarre For Kids of The Showa Era along with other masters of the realm of Japanese illustration such as the eye-popping sci-fi work of Shigeru Komatsuzaki.

Most of the images that I’ve posted below are pretty NSFW.
 

Another one of Ishihara’s illustrations from the ‘Illustrated Book of Japanese Monsters.’ More follow.
 

 

 
More after the jump…

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Posted by Cherrybomb
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10.03.2017
08:46 am
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Parallel Universe: Incredible pencil drawings of re-imagined cities and buildings
10.03.2017
08:31 am
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‘Stairs Prague.’
 
The artist Shinji Ogawa draws incredibly detailed and accurate representations of cities, buildings, landscapes, and people. His drawings may look like old photographs, they may even look like photo-shopped images, but they are in fact illustrations rendered in pencil and ink.

Ogawa’s intention is not to show how technically brilliant he is an artist but to create an alternate reality where well-known landmarks are often duplicated, replaced, or substituted with other buildings to create “a parallel universe.”

“In these works, identical objects are repeated many times, which never happens in reality,” he says. “It’s like a young person who will never meet himself when he’s older and that’s a paradox. It is forbidden for identical objects to exist and if they do the world of singularities that God created for his own game will be finished. I call this series Perfect World because such perfection duality is a paradox.”

Ogawa’s work suggests the idea that what we see is only one small aspect of reality, one “layer” of what is visible.

“One day I visited Shinshu district in Japan’s Nagano prefecture and the reality of the landscape overwhelmed me,” says Ogawa. “When I stood in a place surrounded by two mountains, I lost myself because there was too much information. The landscape consists of many layers and our perception of the landscape changes in unpredictable ways all the time. The landscape has no limit.”

Ogawa was born in Yamaguchi, Japan, in 1959. He studied art at the Mie University, graduating in 1983. Since then, he has exhibited his distinctive drawings in galleries and museums across Japan and Europe. He describes his work as “meta aesthetic” by which he hopes the viewer will “recognize that there are many tiny, mysterious matters in ordinary life and people can make themselves sublime by paying attention to them.”

See more Ogawa’s work here.
 
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‘Rue Eau-de-Robec.’
 
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‘Colisseum.’
 
See more of Ogawa’s incredible work, after the jump…

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Posted by Paul Gallagher
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10.03.2017
08:31 am
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Jean-Luc Godard and the catchiest song ever written about a brutal dictator
10.03.2017
08:02 am
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A few weeks ago I signed up for a new membership at the Cinematheque in Cleveland, and I’ve been attending movies there at a far higher rate than I was before. One of the previews I ended up seeing several times was the utterly infectious trailer for Jean-Luc Godard‘s La Chinoise, which was until very recently unavailable on DVD and a new digital restoration of which has been making the rounds of the art-house circuit this year.

A bizarre adaptation of Dostoevsky’s novel The Demons, La Chinoise puts five French-speaking radicals in a tidy Paris apartment decked out in appealing primary colors and festooned with slogans, as they push forward their Maoist agenda. This movie came out a year before the widespread unrest in Paris 1968, and not unusually Godard had his finger on the pulse of something. Godard’s wife, Anne Wiazemsky, plays the most radical (i.e. most bomb-throwing) character, and the final act of the movie centers around a lengthy debate on a moving train about the utility of political violence with an actual professor named Francis Jeanson who had been tried for treason for his radical activities in connection with the Algerian War. Jeanson argues against political violence in La Chinoise, while Godard piped in his own retorts into Wiazemsky’s earpiece during the take.
 

 
The movie La Chinoise is diverting, but in all honesty it tested my ability to stay out of REM state. The movie poses the as-yet-unasked question of what would happen if Wes Anderson directed a script by Yvonne Rainer, whose movies (I find them compulsively watchable) sometimes include characters reading political tracts aloud as dialogue. (To be fair, it’s a testament to Godard’s prodigious gifts that he could plausibly anticipate both Anderson and Rainer.)

I saw that preview probably five times and as a result, the featured song, “Mao Mao,” sung by Claude Channes and written by Channes, Gérard Guégan, and Gérard Hugé, would always get relentlessly lodged in my head for days afterward. Part of the song’s charm is the French pronunciation of “Mao”—at least in this song—with two strong syllables, “Ma-Oh,” whereas in English it’s a one-syllable word. The decision to end every line in the verse with “MA OH MA OH” and the infectious chorus apparently sung by children (or at least recorded to give that effect) makes this one hell of a song.
 

 
Not surprisingly, the song is about .... uh, Chairman Mao, supreme leader of China for a generation, known then in English as Mao Tse-Tung and today universally as Mao Zedong. It’s tempting to try to figure out whether the song is pro- or anti-Mao….. it’s a fool’s errand. The lyrics make references to both “renouncing” and “following” Mao and the song should most clearly be seen as the taking up of Mao as a pop subject. One might say that it’s postmodern in the sense that the status of Mao’s pluses and minuses take a back seat to his incomparable there-ness—as the leader of Communist China during the Vietnam War and having recently overseen the Cultural Revolution, Mao was there to be discussed, debated, apprehended no matter what.

La Chinoise is worth a look but what remains is the song (which does appear in the movie). I’ve seldom found a ditty about a brutal dictator as engaging as Channes’ masterpiece, and I had to pass it on to the faithful Dangerous Minds readership. Here are the lyrics in French and an English translation, followed by the trailer, which is a must-see for those who like odd, catchy songs.
 

Le Vietnam brûle et moi je hurle Mao Mao
Johnson rigole et moi je vole Mao Mao
Le napalm coule et moi je roule Mao Mao
Les villes crèvent et moi je rêve Mao Mao
Les putains crient et moi je ris Mao Mao
Le riz est fou et moi je joue Mao Mao

C’est le petit livre rouge
Qui fait que tout enfin bouge

L’impérialisme dicte partout sa loi
La révolution n’est pas un dîner
La bombe A est un tigre en papier
Les masses sont les véritables héros
Les Ricains tuent et moi je mue Mao Mao
Les fous sont rois et moi je bois Mao Mao
Les bombes tonnent et moi je sonne Mao Mao
Les bébés fuient et moi je fuis Mao Mao
Les Russes mangent et moi je danse Mao Mao
Giap dénonce, je renonce Mao Mao

C’est le petit livre rouge
Qui fait que tout enfin bouge

La base de l’armée, c’est le soldat
Le vrai pouvoir est au bout du fusil
Les monstres seront tous anéantis
L’ennemi ne périt pas de lui-même
Mao Mao
Mao Mao
Mao Mao

========

Vietnam burns and me I spurn Mao Mao
Johnson giggles and me I wiggle Mao Mao
Napalm runs and me I gun Mao Mao
Cities die and me I cry Mao Mao
Whores cry and me I sigh Mao Mao
The rice is mad and me a cad

It’s the Little Red Book
That makes it all move

Imperialism lays down the law
Revolution is not a party
The A-bomb is a paper tiger
The masses are the real heroes
The Yanks kill and me I read Mao Mao
The jester is king and me I sing Mao Mao
The bombs go off and me I scoff Mao Mao
Girls run and me I follow Mao Mao
The Russians eat and me I dance Mao Mao
I denounce and I renounce Mao Mao

It’s the Little Red Book
That makes it all move

 

 

Posted by Martin Schneider
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10.03.2017
08:02 am
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Provocative erotic paintings by the ‘Father of the Art Deco Movement’ George Barbier
10.02.2017
12:53 pm
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A risqué painting by George Barbier depicting the inside of an opulent opium den.
 
George Barbier was one of the most celebrated and in-demand artists of post-WWI France. He was part of a group of elite and rebellious artists who hailed from the prestigious École des Beaux-Arts in Paris where he had been a student for two years. Barbier would produce works of art ranging from elegant and often erotic Art Deco-style paintings, jewelry designs for Cartier, and even costumes that were used in Parisian theater, ballet, and films. He dressed Rudolph Valentino in the 1924 film Monsieur Beaucaire and Josephine Baker during her time performing at the Casino de Paris, which would sadly turn out to be one of Barbier’s last collaborations. The multi-talented Frenchman would pass away at the rather young age of 50 in 1932, and his huge body of work was quickly forgotten.

Born into affluence, Barbier’s parents were import/export merchants that resided in Nantes, France. As a youth, Barbier demonstrated his artistic proficiency and would often pass the time in the town’s museum replicating the artwork that hung on the walls. Before he became a student at École des Beaux-Arts, it is said that Barbier spent a few years hanging around London where he became intimately acquainted with the work of influential British artists such as William Blake, illustrator Gustave Doré, and Aubrey Beardsley. Beardsley’s early contributions to the world of Art Deco made a deep impact on Barbier who owned some of Beardsley’s hand-written letters as well as illustrations done by the Brighton-born artist for various works by Edgar Allan Poe.

After breaking out at the age of 29 following his first exhibition of his work in 1911 in Paris, he would not only contribute prolifically to the Art Deco movement but would also become one of the most highly respected costume designers in Paris thanks to his extensive work with the Ballets Russes. When I use the word prolific to describe Barbier’s work, it’s almost an understatement. In his relatively short life as an artist, Barbier illustrated over 1000 books. In a rather sad twist to Barbier’s remarkable existence, the artist’s personal effects such as correspondence or photographs virtually disappeared after he died. You see, after arriving in Paris Barbier spent much of his time socializing in gay-friendly circles and his well-to-do family didn’t approve of his lifestyle or his work which often reflected his open-minded approach to sexuality.

As you might imagine, there are many books about George Barbier containing examples of his exquisite artwork such as George Barbier: The Birth of Art Deco and George Barbier: Master of Art Deco, which he most certainly was. A large selection of Barbier’s NSFW erotically inclined Art Deco illustrations and paintings follow. 
 

 

 
More after the jump…

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Posted by Cherrybomb
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10.02.2017
12:53 pm
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Tiny doll heads in little jars become completely creepy pieces of jewelry
10.02.2017
12:53 pm
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A collection of tiny hand-made doll heads in jars by artist Polina Verbitskaya.
 
Ukrainian Artist Polina Verbitskaya is a self-described illustrator, dollmaker and “body artist” who lives and works in Kiev. Of all the oddities I found in Verbitskaya Etsy shop, I was instantly drawn to her macabre pendants made from little glass jars, each with a tiny hand-made doll head inside. Verbitskaya fills the jars with clear resin to make it appear as if the disembodied doll heads are floating in formaldehyde. Fantastic.

If these creepy charms don’t bring out your inner ghoul—I don’t know what will. Each single doll-head-in-a-jar necklace will run you $30 plus shipping from the Ukraine. I’ve posted images of Verbitskaya’s sinister doll-head jewelry below.
 

 

 
More after the jump…

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Posted by Cherrybomb
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10.02.2017
12:53 pm
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That time Francis Ford Coppola wrote John Lennon about ‘Apocalypse Now’
10.02.2017
11:43 am
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The writer and director Cameron Crowe recently tweeted an impressive piece of pop culture history. It was a photograph of the correspondence between Francis Coppola and John Lennon, in regard of the former-Beatle hanging out with the famed director in the Philippines and maybe writing/contributing some music for Coppola’s movie Apocalypse Now.

The pair had obviously met at some point and an idea had been suggested. What exactly this idea was, and how far or how seriously it was taken, well, we just don’t know. What seems apparent is that Coppola was feeling a tad lonely working and living 24/7 on location and the “rarified air” of the Philippines was having its own effect.

The letter starts off like a typical fan letter but Coppola probably lost Lennon at the line where he says he is living inside a volcano.

March 24, 1977

Mr. John Lennon
Lennon Music
1307 Avenue of the Americas
New York, New York 10019

Dear John:

We’ve never met but, of course, I’ve always enjoyed your work.

I am presently in the Philippines making “APOCALYPSE NOW”. I’ve been here eight months, expect to be here another several months. I live inside a volcano, which is a jungle paradise, where there are beautiful mineral springs; and thought of ever you were in the Far East or if ever you would enjoy spending a little time talking about things in general and some distant future projects that I have in mind, please, I would love to cook dinner for you and just talk, listen to music and talk about movies.

If coming to the Far East is difficult, then someday in the future, either in Los Angeles, San Francisco or New York, I would like to meet you.

Sincerely,

Francis Coppola

 
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Coppola feeling the pressure during ‘Apocalypse Now.’ After the jump Lennon’s letter of reply ...

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Posted by Paul Gallagher
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10.02.2017
11:43 am
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Nirvana’s first & only (?) fan newsletter, written just before ‘Nevermind’ changed the world
10.02.2017
09:43 am
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In 1989 Nirvana released its debut album Bleach, famously recorded at Seattle’s Reciprocal Recording for six hundred bucks (this information was cheekily included in the album art). It was difficult to conceive of an album as sludgy and heavy as that becoming an authentic indieland sensation, but that’s exactly what happened. Bleach was one of those albums that, all through 1990 and the first half of 1991, got passed around endlessly on homemade cassette (it wasn’t shared on CDR because CD ripping technology had not yet reached the home consumer). I know, because I probably made a half-dozen dubs for friends.

Point being, when Nevermind came out that September, there was plenty of built-up demand, but even so, nobody was expecting a cleanly produced grunge masterpiece whose infectious hooks and palpably felt angst would power the album to #1 on the Billboard charts. Even after “Smells Like Teen Spirit” became the earworm of the autumn, none of my circle of friends knew which one of the trio blurrily pictured in the CD art was “Kurdt Kobain,” as he sometimes styled it. Indeed, I can remember one chum asserting that he fervently hoped it wasn’t the jerky-looking blond dude in the middle.
 

One of these dudes is the genius who wrote ‘Smells Like Teen Spirit’......
 
Those few months to close out 1991, while we all grooved to “Come As You Are” and “Polly” and “Territorial Pissings,” the band members, whose latest album was not a product of Seattle’s Sub Pop but was their first release on Geffen, were looking to reach out to the weird freaks who had gotten on board the Nirvana express in a timely fashion (they didn’t know it, but never again would they be able to distinguish for certain their “true” fans from meatheads who banged their heads to the big dumb riffs). In October of 1991 they sent out a witty, playful newsletter to their “fan club” (well, actually not, as you’ll read) that I believe is the only such missive the band ever sent out (the Internet doesn’t seem to have any others, anyway).

To read that “form letter” is to enter a pre-Internet realm in which access to an Apple IIe and a copy shop provided the chance for countless struggling musicians to forge connections with their peers and fans—and generally crack wise. The double-sided sheet is festooned with some vague precursor to clip art—consider it was less a badge of honor than a positive survival requirement for any self-respecting DIY visual artist (Kurdt definitely had strong leanings in this direction) to hoard any curious or odd-looking printed matter for collage/inspiration purposes later on.

I don’t think I’d sent my name and address to Seattle, but a good friend of mine had. I can vividly remember poring over this exact newsletter at a pizza place in the West Village…. the only thing I actually remember was the funny reference to Dinah Shore Jr.—the light bulb on that pun went on as we consumed our slices. When I saw the images of the newsletter on the Internet recently, the first thing I did was to seek out that reference, and sure enough, there it was, just as I had remembered. Similar is the silly business about the band’s first drummer, Chad Channing, being the son of actress Stockard (not true).

People may have forgotten, but Nevermind‘s ascent to the very peaks of pop acceptance did not happen quickly. It hit #1 in January of 1992, five months after it had come out—during the same month, the band appeared on SNL and Kurdt and Krist (still going by “Chris” at this point) made out during the closing credits to goose the intolerant dumbasses in the home audience. So this newsletter is basically the last moment before Cobain and Co. hit the big time, became disillusioned with success, and all that jazz. Those tragic later circumstances make this a poignant read indeed, esp. when the band shrugs off a request for more precise lyric sheet with the tip to insert “gun” or “I don’t care” whenever one isn’t sure what Cobain is yammering on about.
 

 
Read the rest of the newsletter after the jump…....
 

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Posted by Martin Schneider
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10.02.2017
09:43 am
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STOP what you’re doing! We found more bad-ass live footage of John Lee Hooker that you MUST see
10.02.2017
09:22 am
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John Lee Hooker
 
In 2015, we strongly urged you, the reader, to drop whatever you were doing and watch this amazing live footage of John Lee Hooker. Many of you rightly heeded our advice, resulting in one of the most popular Dangerous Minds posts of the last few years. The video clips in that post are from a 1970 TV broadcast of Detroit Tubeworks, which was shot on the campus of Wayne State University in Detroit. Hooker moved to the Motor City in the late 1930s, and, beginning in the late 1940s, recorded all of his initial classic tunes (including his debut, “Boogie Chillin’”) at United Sound, which is a stone’s throw from Wayne’s campus.

This year marks the 100-year anniversary of John Lee Hooker’s birth (he was born on August 22, 1917). With an event held on the day of the centennial, the Detroit Sound Conservancy celebrated by making JLH their first Hall of Fame inductee. It was the only happening in the city supported by the Hooker estate (I’m on the Board of Directors at the DSC).
 
Fantasy photo
 
Another estate-sanctioned undertaking that’s been in the works is a new John Lee Hooker boxed set. Due on October 6th, King of the Boogie is a 100 track, 5 CD set spanning his entire career, with rare tracks and a disc of live recordings, plus a 56 page book. Various bundles are available to pre-order in the store on the official John Lee Hooker site. The standard edition of the box is on Amazon.
 
King Of The Boogie
 
One of John Lee’s most famous numbers is “Boom Boom,” a #1 R&B hit from 1961. It was written in Detroit and inspired by a phrase regularly directed at him before gigs at a local venue. This place, like United Sound, is a Detroit music landmark.

“I come in the club that night – they called it Apex Bar. I was playing there every weekend. And every night there’d be a girl in there. Her name was Willa. She was a bartender. I never would be on time; I always would be late comin’ in. And she kept saying, ‘Boom, boom – you late again.’ Every night: ‘Boom, boom – you late again.’ I said, ‘Hmm, that’s a song!’ I put it together and I was playin’ it there in the club before I recorded it. People would really get up and go wild when I played that song. They would get on their feets and holler, ‘That’s a great song, man.’ I recorded it, and it just took off like wildfire.” (from the King of the Boogie liner notes, written by Jas Obrecht)

 
More after the jump…

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Posted by Bart Bealmear
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10.02.2017
09:22 am
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