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Chinese Popeye makes spinach look like a drug I want to try!
11:25 am



Here’s a lil’ scene from the 1977 Bruceploitation film The Dragon Lives Again where Popeye fights a gang of mummies!

A brief synopsis of the film:

The Dragon Lives Again is a martial arts fantasy comedy in which the soul of Bruce Lee goes to the Underworld. The deceased Lee meets a number of pop-culture icons, including Dracula, James Bond, Zatoichi, Clint Eastwood, The Godfather, Laurel and Hardy, The Exorcist, and even 1970s soft-porn character Emmanuelle. Lee befriends The One-Armed Swordsman, Caine from TV’s Kung Fu, and Popeye.

As on person writes in the YouTube comments:

This guy is more convincing than the Robin Williams version.


The World’s Best Ever

Posted by Tara McGinley | Leave a comment
‘Zardoz’: Stills of Sean Connery and Charlotte Rampling from John Boorman’s neglected masterpiece
09:11 am



A fine selection of stills from John Boorman’s neglected masterpiece Zardoz, which starred Sean Connery as Zed, an Exterminator, who escapes to the land of his rulers, the jaded Eternals (Charlotte Rampling, Sara Kestelman, John Alderton) bringing them sex and death.

I am great fan of this film, and particularly its novelization, written by Boorman and Bill Stair, which brought a small epiphany to my childhood. It would be good to see Zardoz rightfully reclaimed as a classic of the 1970’s cinema, one that reflected many of the ideas and politics of that decade, leading to a re-mastered version of Zardoz having a re-release on the film festival circuit. 

Previously on Dangerous Minds

Photospread on John Boorman’s ‘Zardoz’ from 1974

‘Zardoz’ re-imagined as an 8-bit game

H/T Retronaut, via Tout Cine

Posted by Paul Gallagher | Leave a comment
How much does it cost for Malcolm McDowell to go to the toilet?: A rare interview from 1976
06:48 pm

Pop Culture


Malcolm McDowell contemplates how much it costs for him to sit on the toilet when making a movie, in this interview with Denis Tuohy from 1976.

The desk-to-desk style of this interview makes Mr. McDowell look like he is visiting his bank manager for a loan. Indeed, money prays on McDowell’s mind, as he reveals his next film Caligula was already budgeted at $7million, which is a lot of weight to have “riding on his neck.” (It ended-up costing $22m.)

McDowell is one of the finest actors in the world, who has made more than a handful of cinema’s greatest and most important films. But overall, he seems to have been often let down by his choice of roles. He talks positively about his intuition when deciding whether a script is worth doing, just by reading its first few pages. Yet, this hardly explains why he made Jezebel’s Kiss or Where Truth Lies, Disturbed or some of the other straight-to-video fodder he has appeared in since 1990.

That said, it’s probably not McDowell’s fault, rather the terrifying lack of intelligence and imagination that runs Hollywood film studios. Personally, I’d watch McDowell in anything, even The Mentalist (where, let’s be clear, his character Bret Stiles would piss on Patrick Jane from a great height, as Jane was caught by the Police, while millionaire Stiles wasn’t). Compare McDowell’s American TV work with his British TV performances: he may thrill in CSI: Miami, but he is brilliant in the BBC’s Our Friends in the North.

For years, McDowell has tried to make Monster Butler, the true story of infamous killer butler, Archibald Hall. As of November this year, this film was once again put on hold (canceled) due to lack of funds. I sincerely hope that in 2013, the year of McDowell’s 70th birthday, some producer out there has the intelligence to finance what is sure to be one of McDowell’st greater films.

With many thanks to NellyM

Posted by Paul Gallagher | Leave a comment
Morals Amongst Mercenaries: Andrew V. McLagen’s ‘The Wild Geese’
03:36 pm



Wild Geese Cover Art
Looking at the glorious cover art for Severin’s recent release of the 1978 action film, The Wild Geese, one can just feel the epic sturm und drang emanate from it. We’re talking macho splashes of earth tones, weathered faces and a sense of complete, virulent action, all telling you that this is not your average uber-masculine, gun-toting, white-knuckling film. No, because while The Wild Geese has all the key elements to make your garden variety violence loving film fan happy, it also has more on the ball than that. This is a film that you can love for more than just its body.

The Wild Geese stars Richard Burton as Col. Allen Faulkner, a highly seasoned mercenary who is hired by the impossibly rich industrialist, Sir Edward Matherson (Stewart Granger), to put together a team of the best mercs in the business. The reason? To pull off a rescue mission for President Limbani (Winston Ntshona). Limbani has been imprisoned in his own African nation after being overthrown by a rabid dictator. The goal is to get him to safety and set off the domino effect to get the dictator out and to get their fair, if sickly, President back in his original position.

The real fun begins as Faulkner starts to put together his dream of mercenaries, including the dashing Sean Flynn (Roger Moore), single dad and the Colonel’s best friend Captain Rafer Janders (Richard Harris), retiree and gardening enthusiast Sandy Young (Jack Watson) and the wild card from South Africa, Pieter Coatzee (Hardy Kruger), among others. After one fantastic hard-boiled training sequence, the men are ready. The mission is pulled off with all the finesse and fine honed technique of a Russian ballet, but the worm turns and their employer pulls a double cross. It is then up to the titular Wild Geese to get out of Africa alive.

The Wild Geese is a quality film with an interesting and initially, controversial history. The film was protested for being (falsely) assumed to have sympathetic leanings towards Apartheid. Naturally, the protestors had not seen the film and in fact, pointedly refused to even read anything informative about it. In fact, while the film was partially filmed in South Africa, the integrated cast were kept together and left alone by the government. The stench of Apartheid is one that still haunts modern history and with The Wild Geese, there is a crystal clear message of unity at its core. This is especially true with the interactions between the initially hostile Pieter and the infinitely more patient Limbani. Both of them Africans, with the President at one point telling Pieter that for the greater good of their homeland, they must work together, race be damned. Given how much the action genre gets criticized for being anti-intellectual, this is some sweetly refreshing stuff. Don’t get me wrong, there are still enough explosions and bullets to satisfy your inner Old Testament blood lust, but it has something for the ole noggin as well.

Of course, the most standout feature of The Wild Geese is undoubtedly, the cast. Richard Burton shines the brightest as the adroit, tough but with a heart leader Faulkner. Burton, in his early 50’s here, has the perfect blend of talent and manly gravitas that seals the deal. Richard Harris is sweet, in a rough and tumble, whiskey drinking, I’ll-kick-your-ass sort of way. The real revelation though is Roger Moore, who is not only more suave but also more virile here than he was in any of his Bond films. He’s wooing the ladies (well, like the one out of two women in the whole film), when he isn’t flying planes, dodging the mob or giving drug pushers their just desserts. Veteran character actor Frank Finlay, whose resume ranges from I’ll Never Forget What’s’isname to Polanski’s The Pianist, stands out in his brief role as a hot tempered priest. He gets one of the best lines with, “Good luck to you, you Godless murderers!”

The Wild Geese
is a piece of cinema rich with blood, 80-proof sweat and tears. While the film was a massive success overseas, it never soared past cult status in the States, namely due to Allied Artists, which had backed the film, folding right before the release. Now thanks to the fine folks at Severin Films, The Wild Geese has a chance for the US Market again, with this loving and thorough DVD/Blu Ray release. In addition to being remastered, there are also some choice extras, including interviews with Roger Moore, Director McLagen, audio commentary, trailers and more.

The only real misstep here is the film’s over-dramatic theme song, courtesy of Joan Armatrading. Nothing against her body of work, but it does not fit the film at all. The Wild Geese may have some heart but it’s still covered by a calloused, hard bitten exterior. If the film was more purely a political creature, maybe, but its action roots are too strong for extra-reaching folk music.

If you’re wanting to ring in 2013 with one fine, cult-action film with a cast that would make any repertory theater with a well stocked liquor cabinet happy, then check out Andrew McLagen’s The Wild Geese


Posted by Heather Drain | Leave a comment
From Opera and the Avant-Garde to Pop: The Musical World of Mikael Karlsson
11:26 am



There are those who are late developers. Paul Gauguin was in his mid-thirties before he quit his job as a stock-broker and gave up his middle class life to paint pictures; Augustus John was twenty-eight when one summer, he dived into the sea, hit his head and emerged from the waters a genius; Mikael Karlsson was twenty-one when he decided to quit his job at the liquor store and become a composer.

Mikael Karlsson: ‘It was very late, it wasn’t until twenty-one when I dropped out of Law School. I’d always been playing piano and drawing, but I didn’t have much to say.

‘Three years into Law School, I realized I really hated it. I wasn’t performing well. So, I dropped out of Law School and found a piano teacher. I didn’t tell my parents that I had dropped out. For a year, I worked in a liquor store to pay for piano lessons, and then I started to bang things out on the piano and record them.

‘Two years later, I realized finally that here was a medium with which I had something to say with. Before then, I had pretty much succumbed to the idea that I wasn’t going to do anything artistic. It wasn’t in the cards for me, even though I had an urge. But I didn’t feel the confidence to do it until I was twenty-one and I was grown-up.’

Mikael Karlsson was born in Sweden in 1975. When he started playing the piano in the mid-1990s, it was more than apparent he had an incredible affinity with music. But without any academic grounding in music, Mikael was unable to enter any of Sweden’s music schools. He, therefore, decided to move to New York

Mikael Karlsson: ‘I’ve lived in New York since January 8th, 2000. I moved here to study. In Sweden admission to music school is centralized and as I was very much outside of that system, I would have not been admitted because I had no background in music.

‘On the other hand here in New York, you kind of pay-your-way into it. So I went to the cheapest possible stage school that would allow me to enter. I went to Queen’s College. What I loved about it was that it was easy to get in, and you could get a lot out of it. I spent 5 years doing that, getting my Masters here.’

Karlsson earned a masters degree in composition from the Aaron Copland School of Music and graduated Summa Cum Laude with departmental honors in June of 2005.

Mikael Karlsson: ‘When I graduated, I realized that the musicians I kept collaborating with lived here. So, I needed to stay.’

Since graduating, Mikael has produced an incredible array of work: writing and releasing albums; contributing tracks to the films of Bruce LaBruce; composing music for the Cedars Lake Dance Company; collaborating with designer and film-maker Anna Österlund; scoring and producing for Black Sun productions; writing music for video games; working with Lydia Lunch;  and composing an opera.

Karlsson wears his success lightly. He delights more in other’s good fortune, rather than his own achievements. He makes his life seem like a series of happy accidents, rather than the product of his incredible talent and dedicated hard work, which make him so productive, so successful and such a brilliant composer.

If this weren’t enough, Mikael has the looks of pop star and a wicked sense of humor, which sparkled throughout our interview.

Paul Gallagher: How did you first start composing?

Mikael Karlsson: ‘My friend Niklas showed me how to sequence things on a computer, and I had been writing these little musical sketches, and now I was finally able to hear them.

‘I remember spending an evening programming pieces I had written but never heard performed on his computer, and when I played it back, it was one of the most gratifying experiences I have ever had. I was just sitting in my apartment on the floor listening to it over-and-over-and-over again.

‘Finally hearing that there was something there mattered to me. It was a very different feeling. I finally felt content pouring out of me, and it made me curious. It made me wonder what the hell I was saying?

‘I was just exploring where music can go, and in a non-experimental way at first, because I wanted to figure out what the language was. I didn’t know any music theory, but it was now possible for me to replicate something that I heard. So, like any artist at the start, I learnt through copying. Eventually I accumulated a palette of what music I seemed to prefer, and my own language started growing out of that.’

Paul Gallagher: What was your early music like?

Mikael Karlsson: ‘My early pieces were very romantic, and there’s something of that even now, and there’s also that Scandinavian darkness that doesn’t seem to want to leave.

‘None of my pieces are about me. It’s not like I’m expressing something that’s just about me, I’m watching where the music want to go, and that’s what keeps it fresh, that’s how I keep wanting to do more.

‘I’m interested in seeing where elements of Classical music can fit into Pop music, and where Experimental music can fit into more conventional classical music. Such combinations became more interesting as I went along and I became able to do things.

‘Because I was very insecure about what I had made, I hardly allowed anyone to listen to it. But when I did, they seemed to be affected by it, and that was a fantastic kick for someone who had spent twenty-years refusing to go there.’
Mikael Karlsson has made a special sampler of his music for Dangerous Minds readers, which you can download here or click on the image below.
Find out more about Mikael Karlsson here.
Previously on Dangerous Minds

‘Danach’: A film by Anna Österlund featuring music by Mikael Karlsson and Black Sun Productions

More from Mikael Karlsson, after the jump…

Posted by Paul Gallagher | Leave a comment
‘I’ve never compromised. But then I’ve always been lucky’: Federico Fellini talks about ‘Casanova’
07:59 pm



Federico Fellini had been working on his 12th feature film Casanova. It had been a difficult experience. Filming had taken over a year to complete, and Fellini had spent in excess of $10m, using up 3 producers. He claimed he hated his leading star, Donald Sutherland. There had been union disputes, and the negative had been “kidnapped” and returned. Then the Vatican declared one of Fellini’s previous films “obscene”. But the great master was unfazed by all of this.

‘I’m sorry if I disappoint you by not describing the tears in my eyes, my role as the victim, the artist forced to sacrifice his own integrity and purity,’ Fellini explained in an interview with the BBC in 1976.

‘I’ve never compromised. But then I’ve always been lucky.

‘On the occasions that I could be reproached for compromising, was directly attributable to my own laziness, because I was in love, or I wanted to finish the film. Or, simply because I was fed-up by it.

‘I don’t think absolute liberty is necessarily a good thing for people creatively. As far as I, or people like me are concerned.

‘Being Italian, I have a particular type of psychology: I am an artist who is conditioned to the idea of delivering his work to All.

‘The Popes in the 14th and the 15th century, or the great Lords of days gone by, they always used to commission painters or writers to create a madrigal or a crucifixion for them. It’s this necessity of an obligation - a contract - it’s an authority that forces you to work.’

For Casanova that authority was the American film company. Fellini may have had control over the designs, the sets, the costumes, the cast, the script, and the direction, but ultimately Fellini was answerable to his producers. This was partly why he had chosen to work with Donald Sutherland.

‘Well, in Casanova,’ said Fellini, ‘There was a precise plan for a certain type of character. Because the film is an American film - made by an Italian crew for a major American company. My contractual position is that the producer made me make the film in English.’

Fellini made Sutherland have his head partially shaved, his eyebrows removed and his teeth “cut” by 2mm. A false nose, chin and eyebrows were then added. Sutherland had to rethink how best to interpret Casanova’s experience in terms of 18th century expression.

Fellini wanted authenticity, and he knew his film would cause outrage from the prudes and hypocrites of his homeland, who had already burnt copies of The Last Tango in Paris on the streets of Rome.

‘You’ve got a real moralistic tyranny in Italy,’ Fellini said. ‘It is fast coming to the point where people are being told how to make love, how to dress, how to shave, how to look at a woman. I feel completely bewildered and confused. Clearly what’s going on in our country is a real mess. I cannot honestly see how we are going to extricate ourselves.

‘The Italians are like confused children. They’ve had a thousand years of Catholic up-bringing which has left us uncertain in our context of life. We are incapable, apparently, of making personal judgments because we have always asked other people. We ask our fathers, the teacher, police, the ministry, priests, the Pope. We have always asked others to give their opinion for us, without ever having to judge for ourselves individually.’

Previously on Dangerous Minds

Pier Paolo Pasolini: A rare interview on the set of ‘Salò, or 120 Days of Sodom’

With thanks to NellyM

Posted by Paul Gallagher | Leave a comment
Andy Warhol’s ‘Chelsea Girls’: Watch the entire 3-hour film online
03:21 pm

Pop Culture


The wild movie poster by famed illustrator Alan Aldridge

From the Dangerous Minds archive:

Chelsea Girls was Andy Warhol’s first “commercial” success as a filmmaker. Co-directed by Warhol and Paul Morrissey, the film consists of twelve improvised vignettes (two were semi-scripted by playwright Ronald Tavel) featuring the druggy, draggy, seemingly morally-bankrupt freaks who constituted Warhol’s entourage and inner circle.

The film was shot in summer and fall of 1966 in the Hotel Chelsea, at Warhol’s “Factory” studio and in the apartment where the Velvet Underground lived on 3rd Street. Brigid Berlin (“The Duchess”), Nico, Mario Montez, Ondine (“The Pope”), Ingrid Superstar, International Velvet, Rene Richard, Eric Emerson, Gerard Malanga, filmmaker Marie Menken, Ari Boulogne (Nico’s son) a gorgeous young Mary Woronov—who danced with the Velvet Underground as part of “The Exploding Plastic Inevitable”—and others are seen in the film’s three and a quarter-hour running time (the film un-spooled on 12 separate reels). Most cast members are listed by their own names as they were essentially playing themselves.

Chelsea Girls was booked into a prestigious 600 seat uptown theater in New York and actually distributed to theaters across the country. In 1966, it’s unlikely that middle America had any idea that people like this even existed. Cinema-goers in Los Angeles, Dallas, Washington, San Diego and yes, even, Kansas City probably got their first exposure to actual drug addicts, yammering speed-freak narcissists, homosexuals, drag queens and a dominatrix when they watched Chelsea Girls. To Warhol’s delight, the film was even raided by the vice squad in Boston. The theater manager was arrested and later fined $2000 when a judge found him guilty of four charges of obscenity.

Movie critic Rex Reed said “Chelsea Girls is a three and a half hour cesspool of vulgarity and talentless confusion which is about as interesting as the inside of a toilet bowl.”

Tell us how you really feel, Rex!

The film was presented as a split screen, running simultaneously on two projectors with alternating soundtracks. It was a mixture of B&W and color footage. Edie Sedgwick’s vignette was removed from Chelsea Girls at her insistence, but was later known as “The Apartment.” A section originally screened with Chelsea Girls called “The Closet” (about two “children” who lived in one, with Nico and Randy Bourscheidt) was cut and later shown as a separate film.

A young Roger Ebert reviewed it for The Chicago Sun-Times:

For what we have here is 3 1/2 hours of split-screen improvisation poorly photographed, hardly edited at all, employing perversion and sensation like chili sauce to disguise the aroma of the meal. Warhol has nothing to say and no technique to say it with. He simply wants to make movies, and he does: hours and hours of them. If “Chelsea Girls” had been the work of Joe Schultz of Chicago, even Warhol might have found it merely pathetic.

The key to understanding “Chelsea Girls,” and so many other products of the New York underground, is to realize that it depends upon a cult for its initial acceptance, and upon a great many provincial cult-aspirers for its commercial appeal. Because Warhol has become a social lion and the darling of the fashionable magazines, there are a great many otherwise sensible people in New York who are hesitant to bring their critical taste to bear upon his work. They make allowances for Andy that they wouldn’t make for just anybody, because Andy has his own bag and they don’t understand it but they think they should


Ebert hits the nail squarely on the head. Chelsea Girls is actually a fucking terrible “movie.” If you view it as “art” or even as an important cultural artifact of the Sixties (it’s both) then you can give it a pass, and should, but if you’re expecting to be “entertained,” you need to re-calibrate your expectations. Only a few parts of the film are actually engaging (Ondine’s speed-freak monologues; Brigid Berlin poking herself with speed; the “Hanoi Hannah” section with Mary Woronov) the rest of it is… boring.

It looks good and parts of it are “interesting” because you can only hear what’s happening on one side of the split screen and so the silent side becomes somehow more intriguing, but, oh yeah, this is a boring thing to watch. It’s still cool, but yeah it’s boring, if that makes any sense.

Chelsea Girls has been next to impossible to see since its original releaseat least until it got uploaded to YouTube—usually screening just a few times a year around the globe. I caught it myself in the (appropriately) sleazy surroundings of London’s legendary Scala Cinema in 1984. There were probably six people there, including me. I admit to falling asleep for a bit of it, but I think everyone probably does.

This video comes from an Italian DVD that was given a very limited released in 2003. Probably the best way to watch this is to hook your computer to your flatscreen and do something else, sort of half paying attention, while Chelsea Girls is on in the background.

Posted by Richard Metzger | Leave a comment
Gerry Anderson: Creator of ‘Thunderbirds’, ‘Captain Scarlet’ and ‘UFO’ has died
02:34 pm



Gerry Anderson the creator of Thunderbirds, Captain Scarlet and The Mysterons, Stingray and Joe 90 has died at the age of 83.

The announcement of his death was made by Jamie Anderson, on his blog site:

I’m very sad to announce the death of my father, Thunderbirds creator, Gerry Anderson. He died peacefully in his sleep at midday today (26th December 2012), having suffered with mixed dementia for the past few years. He was 83.

Please make donations in his memory to the Alzheimer’s Society via this just giving link

Gerry Anderson was a major influence on generations of youngsters growing-up in Britain during the late 1950s to mid-1970s. His programs shaped play activities, games, toys and inspired imaginations. Anderson was as influential as Walt Disney, if not more so to young Brits.

Anderson was born Gerald Alexander Abrahams in Bloomsbury, London on April 14th, 1929. Anderson’s family were refugees from Eastern Europe, and his mother changed the family name by deed poll from Abrahms to Anderson in 1939.

His older brother Lionel joined the Royal Air Force at the start of the Second World War. He was transfered to the United States for training and wrote back of his training at Thunderbird Field - a name that was to prove highly significant to the Lionel’s younger brother.

Anderson began his career at the young age of 14 as a film trainee for the Ministry of Information, working for the British Colonial Film Unit as photographer and editor. After National Service, he returned to work at Gainsborough Pictures in 1947, slowly beginning his career as writer and director.

In the mid-1950s, Anderson set up a series of companies with his cameraman Arthur Provis, leading to the eventual formation AP Films, which produced the successful children’s puppet series The Adventures of Twizzle - about a boy who could stretch his limbs to any size. Anderson met and worked with puppeteer Christine Glanville, special FX technician Derek Meddings, composer Barry Gray and Sylvia Tham, a secretary who became his wife. Together this talented group would make Fireball XL5, Stingray, and Thunderbirds, amongst many others.

After the success of Twizzle, Anderson produced Torchy the Battery Boy, which though successful left Anderson frustrated by the problems of working with puppets. This changed in 1960, when Anderson devised Supercar with Reg Hill, which used an electronic system that made the puppets or marionettes respond in a more realistic fashion. This process was called Supermarionation and became one of the defining characteristics of Anderson’s best work.

R.I.P. Gerry Anderson 1929-2012

Read more on Gerry Anderson, plus remainder of ‘Mr Thunderbird’, after the jump…

Posted by Paul Gallagher | Leave a comment
Public Image Ltd., live on Boxing Day, 1978
01:03 pm



On Christmas Day, 1978, and on the following day (what Brits call “Boxing Day”) Public Image Ltd. played two legendary gigs at the Rainbow Theater in London. Their live debut had occurred just five days prior, in Brussels, Belgium.

Here’s a run-down of what happened by someone who was there at the Christmas show, as published on the PiL fansite, Fodderstompf:

When PiL announced the Christmas 1978 concerts I couldn’t get tickets fast enough. This was what it was all supposed to be about. The Pistols were over, punk was over, long live the new flesh. Who wanted to be associated with people with mohicans and ‘The Clash’ written on their biker jackets? Not me, strictly pegs and shirts, the new way…

A band playing a gig on Xmas day (and Boxing Day) was a big thing back then, no one ever played gigs at Xmas, there was never anything to do, I knew it was going to be special, the fact that it was PiL’s first UK gig and that Lydon hadn’t played London for so long added to the event as well. PiL, along with punk chancer (and later Pistols cash-in merchant) Jock McDonald, decided to promote the gig themselves which was another unusual step at the time. One thing was for sure, PiL were going to be different, this was the new way…

The Rainbow in Finsbury Park was normally seated, but if I remember rightly there had been trouble at a Clash gig a few weeks before so they decided to take the seats out and also brought in loads of extra security, in all I reckon it held about 1,000 people that night. There was no public transport , but me and my mate G-Man had sorted transport out. We loaded up with lager and copious amounts of illegal substances and off we went, leaving South London to travel to the wilds of Finsbury Park. By the time we got there we were half pissed. We polished the other half off, chatting to the various faces outside, then it was in…

Don Letts had a DJ box towards the back of the stalls and was belting out some earth moving Dub, so far so good… We sorted out a vantage point and waited. An early incarnation of Basement 5 without Dennis Morris were supporting, and I thought I remembered The Slits playing too, but apparently it was another all girl group called The Lous, I can’t remember them at all. Linton Johnstone also did some poetry, and all in all it was a good package, though I think it was lost on most of the senile animals who had turned up to see Johnny Rotten…

Eventually the place went black, Wobble’s bass shook the earth and the band launched into ‘Theme’ . They were on, and that’s when the shit really happened! Out strode Rotten/Lydon lagered up, fights started almost on cue. One side of the stage were Arsenal Skins, the other side West Ham, and in the middle the punks. Football chants were heard, the skins kicked fuck out of the punks, then each other. There were waves of people just steaming into each other. Rotten got involved verbally, then people started gobbing and canning stage.

All I can really remember was that the whole stage was decked out in green and black and that PiL looked fucking great. Wobble sitting on a chair throughout, dressed all in black with his bandit hat. Levene wired(?) for sound. Rotten in his checked suit strutting about the stage, slagging the punks off, but at the same time handing out beer. The band had to stop several times while all the mayhem erupted over and over again; it was getting scary.

They played fucking brilliant, I thought it was better than the album, which I loved anyway (and still do). They played the whole album, minus ‘Fodderstompf’. I remember that they never played any Sex Pistols songs, but that said, I know they played ‘Belsen’ the next night, so I could be wrong. I think not playing Pistols songs helped all the trouble erupt, lots of punks kept asking for them. Rotten slagged them for it, then they got battered by the thugs (Merry Xmas!).

One quote from Lydon I definitely remember while all the rucks were going off was, “You always use your fists in the wrong direction, you should take them down to Parliament”. I’m not sure if he meant the group or the place (only joking). We didn’t go back for the Boxing Day show, but I’ve heard the bootleg and I reckon it was basically the same set, though it certainly seemed a lot less eventful. Rotten eventually left the stage but the band still played on, he came back on and they encored with ‘Public Image’, then it was all over…

The fights continued on the way out and outside. I bumped into a mate who’d had his nose broken and was covered in blood. He wanted revenge, I just wanted to go home, he got his pals together and went off looking for vengeance. Me and my mate got a lift home from his big brother…

It was the best fucking Christmas I ever had!

George X

Another fan has a somewhat different memory than George X, but having seen PiL live myself back in the day, I’m inclined to go with George’s account: it was one of the most violent (and utterly mind-blowing) shows that I have ever witnessed (When they played “Attack,” my nearly brand new shoes were destroyed, even as they were on my feet. It was at this same concert that I decided to to go to college).

Here’s the audio of the entire 1978 Boxing Day gig.

1 Theme
2 Low Life
3 Belsen Was A Gas
4 Annalisa
5 Public Image
6 Religion
7 Attack
8 Public Image II

A clip of the group doing “Careering” on the Old Grey Whistle Test about a year later:

Posted by Richard Metzger | Leave a comment
Happy birthday Jean-Michel Basquiat: ‘Radiant Child’ documentary in full
03:18 pm



Jean-Michel mohawk!
Feverishly prolific New York graf-based expressionist painter Jean-Michel Basquiat would have turned 52 today. That fact jars us because of the inevitable Peter Pan myth that accompanies the premature death of any young artist in any discipline.

Though I hate to pursue it, does it depress us to imagine a middle-aged JMB? Would he be still cocooned and slickly dressed, and now entrenched and heavily sponsored downtown, or maybe bugged-out HR-from-Bad-Brains style, redolent in gray dreads, pursued often and obtained for the occasional commission in order to keep up his paranoid existence in who-knows-where?

Of course, Basquiat’s influence dwarfs the downtown New York art scene in the way that he embodied the New York mix of hip-hop, post-punk, and fashion. But our culture also tends to rely on him in an unspoken way as a kind of purified representation of redundant cliches like doomed youth, avant-garde blackness, and the price of fame. We do best to remember each of those features as part of him—and separately, we do best to remember Basquiat as Basquiat.

In that spirit, we draw your attention to Tamra Davis’s excellent documentary, Jean-Michel Basquiat: Radiant Child, kindly uploaded to YouTube for the budget-minded…

Thanks to the excellent musician Aybee Deepblak...

Posted by Ron Nachmann | Leave a comment
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