follow us in feedly
I got thisclose to David Bowie’s coke spoon, but I didn’t get to use it
03.04.2015
12:44 pm

Topics:
Art
History
Music
Pop Culture

Tags:
David Bowie


 
Shade Rupe’s post mortem on the “David Bowie Is” exhibit in Chicago:

A cause célèbre for art, film and design institutions everywhere, with breaking attendance records, the Victoria & Albert—curated “Davie Bowie Is” exhibition is a marvel of closeness that zillions of fans through the decades never believed they’d be able to experience. In 1983 when D.A. Pennebaker’s Ziggy Stardust and the Spiders from Mars was finally released we could squint through the reddish grain while our alien lord pranced and rocked the stage through multiple costume changes, mime, sucking off Mick Ronson’s… guitar, and admonishing his wife Angie’s makeup suggestions with “What do you know about makeup? You’re just a girl.” But this is different.

Debuting in Paris this month at the Philharmonie de Paris/ Cité de la Musique before then continuing to the Australian Centre for the Moving Image and the Groninger Museum in the Netherlands later in the year, the collection of costumes, outfits, memorabilia, and detritus, is vast as this is only a sampling of what the curators chose after Bowie opened his closets. Bowie’s self-application of color and cream is apparent with even a tissue that once blotted his lipstick is carefully displayed.
 

 
For Brits the ‘big moment’ was the “Starman” reveal on Top of the Pops, a moment given further clarity with a crew member shot backup film. While many English teenagers first got gobsmacked by that moment, even younger Americans were similarly blown away after over a decade of Bowie’s starring bursts when he premiered his devastatingly electric art moments during his December 15, 1979, Saturday Night Live performances with Joey Arias and Klaus Nomi on backup for scorching renditions of “The Man Who Sold the World” (in a Hugo Ball—inspired hourglass-shaped tuxedo), “TVC15” (in a school marm’s green dress with Arias and Nomi fending off a pink poodle with a TV in its mouth), and “Boys Keep Swinging,” with a Silly Putty—bodied Bowie unfurling a plastic penis, twice (though only shown on the first broadcast). Both programs make up significant parts of the exhibit.

Scary Monsters unleashed the final throes of Bowie’s magnificent more-than-a-decade of blowing Earth’s minds before settling down with that album that can’t be named (and thankfully is left out of the exhibition entirely). The next decade is skipped until we encounter Floria Sigismondi’s music videos (she’s created four for the Master in total) for “Little Wonder” and “Dead Man Walking.”

Other highlights of the exhibit, beyond getting to get ::this close:: to the Starman’s magic clothing include a gift of a test pressing of the first Velvet Underground album, bequeathed to Bowie’s manager Kenneth Pitt by Andy Warhol then to Bowie who exclaimed “By the time ‘European Son’ was done I was so excited I couldn’t move,” the keys to the underground bunker Bowie shared with Iggy Pop in Berlin which resulted in this writer’s own desert island disc The Idiot, and the Thin White Duke’s trusty cocaine spoon giving the man who fell to earth’s Diamond Dogs tour that extra bit of futuristic oomph.
 

 

Posted by Richard Metzger | Discussion
follow us in feedly
‘80s ‘sicko, freako’ goth band hilariously hardtrolls this kooky conservative TV host
03.04.2015
11:30 am

Topics:
Music
Occult
Television

Tags:
Radio Werewolf
Wally George


 
Submitted for your approval are two priceless videos from the cusp of the late ‘80s “Satanic Panic” era which, despite the outrageously ridiculous performances, are an insight into just how seriously some folks took the threat of creeping occultism at the time. Placed in historical context, this was the start of a cycle of hysteria so real that many high-profile arrests were made based on groundless allegations of “Satanic ritual abuse,” most notably the McMartin Preschool and West Memphis Three cases. It was a heavy time for followers of the left-hand path, but these clips remain utterly hilarious.
 

Wally George, host of ‘Hot Seat’

Hot Seat was a syndicated talk show, running from 1983 to 1992, hosted by over-the-top reactionary conservative commentator (and estranged father of actress Rebecca De Mornay), Wally George, who termed his delivery “combat TV.” The show’s format was a precursor to the popular “shock talk” shows hosted by the likes of Morton Downey, Jr. and Jerry Springer, with a profoundly right-wing posture. Hot Seat‘s studio audience was generally comprised of aggressively out-of-control meatheads, as you will see in these clips.

In the segments, Wally brings ‘80s uproarious cult goth band, Radio Werewolf - led by Nikolas Schreck, onto the program, and is given the treatment.

Since the mid 80’s Schreck has been a major figure in occult circles, having been a public spokesman at times for the Church of Satan, the Temple of Set, and his own Werewolf Order.

Schreck married Zeena, daughter of Church of Satan founder, Anton LaVey, and the two of them together have published several acclaimed books on occult and esoteric subjects such as The Manson File: Myth and Reality of an Outlaw Shaman and Demons of the Flesh: The Complete Guide to Left-Hand Path Sex Magic.

 

Schreck, pictured here with wife Zeena, who co-directed Radio Werewolf from 1988-93. Both renounced Satanism and occultism in the late ‘90s and today are artists and Buddhist teachers.
 
I had the opportunity to discuss Radio Werewolf’s Hot Seat appearances with Nikolas, in this exclusive Dangerous Minds interview:

I was initially aware of one appearance Radio Werewolf made on Hot Seat, but your webmaster informed me that you actually appeared on the show twice.

Nikolas Schreck: Well, thank God you turned to me to correct your appalling ignorance on these matters of earth-shaking importance! Now future historians can use your article to confirm that in fact, Radio Werewolf battled Wally George an unholy three times. Our first titanic Hot Seat struggle took place on April 25, 1987. That went over so well that he then invited us on his radio program, where Wally started things off with a bang with a little flattery, introducing me as more dangerous than Hitler, Jim Jones and Manson. The other guest that night was a Baptist minister who officially declared me possessed. Our final Armageddon of the airwaves occurred in the Fall of ‘87, when Radio Werewolf returned to Hot Seat to declare our triumphant return to the stage after the little obstacle of my ear getting cut off during that eventful summer. And that event led to a kind of “Brides of Radio Werewolf” spinoff, since Wally, admirer of the ladies that he was, was so taken with two of my stripper girlfriends who accompanied me to the show that he later had them on as guests so that he could pretend moral outrage at our sinful ménage à trois. If I’d paid Wally to be Radio Werewolf’s publicist, he couldn’t have done a better job.

Wally George’s presentation is so exaggerated that at times he comes off as, what would be known in the world of professional wrestling, a “heel.” Did you ever get the impression that there was any insincerity or fakery to George’s act?

NS: Wally was a consummate showman, no more or less insincere or fake than his showbiz idol Ronald Reagan, who both cunningly played exaggerated roles for their niche Neanderthal audience in the grand old tradition of American populist demagoguery. Offstage, Wally was unfailingly courteous to me, and was actually genuinely supportive of my career, despite his on-the-air hostility. Hard to say which one of us was “the heel” or “the face”. Our encounters were definitely “kayfabe” professional wrestling at its finest though. The difference being that what we did when the cameras rolled was completely improvised. We served each others needs. I understood that Radio Werewolf couldn’t be “The Most Evil Band in the World” without a worthy Van Helsing adversary such as Wally to oppose us. And he needed me to be the “Man You Love To Hate” so that he could be the “Good Guy” for his fans. Really, the supposedly more legitimate network news journalists who interviewed me were all just as contrived and two-faced as Wally.  At least he was honest about it.
 

 
In the OC Weekly article on Wally George you are quoted “the audience was whipped into a genuine frenzy. They did not take it as a joke, and it felt very dangerous to be there.” Do you feel there was a closed loop between exploitative infotainers such as Wally George and Geraldo Rivera, and a fearful Cold War era public that created the Satanic Panic of the 80’s? Did you personally experience repercussions as a result of your appearances on Hot Seat?

NS: The live audiences watching the Radio Werewolf appearances on Hot Seat could easily have turned into lynch mobs, but I was as recklessly irresponsible as Wally in feeding fuel to the fire. It’s astute that you place all this in its Cold War context, because looking at these and other wacky ‘80s clips today without understanding the panicky fear of imminent nuclear Armageddon permeating the USA under the Reagan regime, it’s hard to understand the hysterical theological intensity driving the Satanic Panic. Wally and Geraldo were both simply fear-mongering entertainers making a living by giving the terrified audience exactly what they wanted. And I was part of the same closed loop, in that I collaborated with them by consciously embodying their worst fears, since that early phase of Radio Werewolf was designed as a self-parodying, mirroring manifestation of that society’s deepest nightmares about “occult music”. As for repercussions, Wally first invited us on Hot Seat after the horrified reaction in Los Angeles to my public announcement of Radio Werewolf’s “Free Manson” benefit concert at a Friday the 13th performance in March of ‘87. That was immediately followed by many months of death threats, LAPD surveillance and harassment of me and my friends, blacklisting and banning from certain clubs, the need to have security guards patrol our concerts, so I can’t determine how much of these shenanigans were inspired by the Wally vs. Werewolf broadcasts specifically.
 
More interview and those amazing clips after the jump.

Posted by Christopher Bickel | Discussion
follow us in feedly
Hysterically funny, deeply sad song about shitty YouTube comments (NSFW)
03.04.2015
10:15 am

Topics:
Amusing
Music

Tags:
YouTube
Trevor Moore
comments


 
Comedian and actor Trevor Moore—known as the founding member of The Whitest Kids U’ Know—wrote and performs this brilliant song called “The Ballad of Billy John.”

The song is about YouTube comments, but I don’t want to give too much away about this clever piece. It really speaks for itself. The “The Ballad of Billy John” starts out slow, but give it a minute, and then… BOOM.

The ending kind of gets you, too. You’ll laugh until you cry for two very different reasons. The human race is fucked.

 
Via reddit

Posted by Tara McGinley | Discussion
follow us in feedly
Cheap Trick’s Rick Nielsen is selling off his guitar collection


 
Cheap Trick’s two teen idols/two dorks visual presentation schtick probably struck a lot of people as a mere gimmick in the ‘70s, but I will always be grateful to guitarist Rick Nielsen for showing the nerdy kids that one of us could be a for real, high visibility rock star. Cheap Trick were contemporary with punk, but apart from a highly disco-fied Blondie, punk bands weren’t featured in the kind of late ‘70s mass media to which kids interested in music had access pre-MTV, so that you-can-do-it-too ethos had to come from elsewhere, and for me, Nielsen was as close as I found to such a model. When I was a kid, Dream Police was my go-to, but as I got older and started back-tracking through their catalog, I found much to love about the back-to-basics Midwestern RAWK in earlier releases like In Color and the absolutely essential At Budokan.
 

 
But while he was an outlier, Nielsen was still always way more arena-rock than punk, and he boasted plenty of unapproachable showbiz flash—namely, his celebrated guitar collection/hoard, which surely cost a small fortune even then and is definitely worth a large fortune now. From agonizingly envy-inducing vintage pieces, to very cool custom finishes and custom builds, to his famous and utterly ridiculous five-necked guitars, Nielsen possesses an arsenal that can make gear-fetishists drool oceans, and as it happens, he’s currently divesting some choice pieces of it. He opened an online shop on reverb.com in January, and he’s selling off GORGEOUS instruments almost as quickly as he can post them. There’s a great video of him going through the process of thinning the herd here if you want a glimpse into his stash. As I type this, all that remains is a 1956 Les Paul Junior, a stylin’ little Bronson lap steel, and an astonishingly pristine 1959 Gibson ES-330T. And by the time you read this, who knows what’ll be left from that? Reverb lets users set up alerts, so when Nielsen posts more instruments, you can be the first to know via email if he decides to let go of his self-portrait double-neck. But in the meantime, though most of this stuff is sold already, we can still enjoy some gear-porn.
 

Bronson B35 Lap Steel, ‘50s
 

Gibson ES-330T, 1959 and not a single goddamn scratch!
 

Framus Strato Deluxe 1960s Sunburst—SOLD
 

National Glenwood, early ‘60s—SOLD
 

Dean Psychobilly Cabbie, 2000s—SOLD
 

Fender Maverick, ‘60s—SOLD
 

Fender Floral Telecaster, ‘90s reissue—SOLD
 

Burny H, ‘90s—SOLD
 
Enjoy this backstage footage from 1985 of Nielsen explaining his guitar collection to a reporter.
 

 
Previously on Dangerous Minds
Germs drummer Don Bolles is selling off his old punk flyers
X marks the garage sale: buy Exene Cervenka’s stuff!

Posted by Ron Kretsch | Discussion
follow us in feedly
Tension: Killing Joke live on German TV, 1985
03.04.2015
06:01 am

Topics:
Music
Punk
Television

Tags:
Killing Joke


 
30 years ago, in March of 1985, Killing Joke released their fifth album, Night Time, an impressive creative leap and commercial success. The band basically jettisoned the tribal drumming and shouted vocals that had made their name in favor of a more accessible sound, though their music retained its anthemic loftiness and inflammatory lyrics. The album spawned the indelible “Eighties,” which somehow still packs a huge punch despite its long-passed expiration date, and the single “Love Like Blood” owed a significant debt to the poppier side of the gothic scene, and sported some mighty radio-friendly production. Their prior album Fire Dances had hinted at the more accessible direction, and Night Time‘s successor, the self-consciously grandiose Brighter Than a Thousand Suns, though quite good, sounds at times like an effort to make an entire album out of “Love Like Blood.”
 

 
Also in March of 1985, KJ appeared on the improbably named German TV program Live aus dem Alabama. The show was named for its shooting location, the Alabama Depot in Munich, a long-time military storage installation that received its conspicuously non-Teutonic name when the USA took the facility over after World War II. The program’s musical performances are listed here. Killing Joke’s performance, unsurprisingly, includes half of Night Time.

00:00 – Night Time
04:55 – Sun Goes Down
09:19 – Tabazan
13:42 – The Wait
17:29 – Love Like Blood
22:01 – Tension
25:16 – Change
28:50 – Pssyche
33:31 – Eighties
36:59 – Wardance
 

Posted by Ron Kretsch | Discussion
follow us in feedly
The artist formerly known as ‘Jock!’ Check out Prince’s Junior high basketball picture!
03.04.2015
05:49 am

Topics:
Music
Sports

Tags:
Prince
basketball


 
Ladies and gentlemen, Prince the jock.

Remember that sketch from Chapelle Show where they reenacted Charlie Murphy’s story about meeting Prince with his brother in the 80s? The one where The Purple One and his crew beat everyone from Eddie Murphy’s crew in basketball, and then served them all pancakes? I remember thinking the show had taken some artistic license, not because of the pancakes (I’m absolutely sure Prince is a very hospitable host), because of the basketball detail; Prince is a massive personality, but he’s physically really tiny.

But apparently, he’s got game! Who knew?

Not only was that story, in fact, true, Prince’s athletic prowess has been well-documented since junior high school, as you can see from the Afro-tastic photo above. Yes, young Prince Rogers Nelson was quite the baller despite his diminutive stature, and a recently recovered article from The Minneapolis Star Tribune archives has the quote from his coach to prove it.
 

 
I understand the disappointment of not making the starting lineup—especially when you’ve managed to work around that kind of height disadvantage, but I’m gonna go out on a limb here and say I’d rather have made Purple Rain.
 
Via UPROXX

Posted by Amber Frost | Discussion
follow us in feedly
Zenned-out dragon lizard plays leaf guitar
03.03.2015
11:29 am

Topics:
Amusing
Animals
Music

Tags:
guitar
dragon lizard


 
Just a dragon lizard chillaxin’ while gently strumming his leaf guitar.

According to Indonesian photographer Aditya Permana, he didn’t manipulate the lizard in order to capture this shot. It was a once-in-a-lifetime photograph and he captured the lizard doing its thing just at the right moment.

“I did not directly photograph the lizard at first, until the lizard felt calm and comfortable around me. I noticed it looked like it was playing a guitar – and it didn’t move at all,“ said Permana.

Now all this lizard needs is a tiny hat set out for donations and tips for his leaf strummin’ capabilities.

via Daily Mail

Posted by Tara McGinley | Discussion
follow us in feedly
ONO: Vintage footage of the freaked-out ‘anti-music’ Chicago avant garde legends
03.03.2015
10:11 am

Topics:
Music

Tags:
ONO


 
This is a guest post from Galactic Zoo Dossier’s overlord, Plastic Crimewave on an unfairly obscure group from Chicago:

Unless one caught them on their first-ever tour last year, non-Chicagoans might not know of the legendary avant-performance “anti-music” group ONO, who have been at it since January 5, 1980. The original line-up of sound-svengali P. Michael Grego, the dynamic “front man” known only as Travis (once Travis Dobbs, until he had it legally changed) and multi-instrumentalist Ric Graham packed it in at the end of the 80s, but Grego and Travis reformed the group in 2007 with new members after interest in their two obscure 80s LPs on Thermidor Records (home to Flipper, SPK, The Birthday Party, etc) exploded.
 

Photo by David Magdziarz

While recording excellent new material on Moniker Records, the Priority Male and Galactic Archive imprints jointly reissued ONO’s first LP, Machines that Kill People (which features contributions from a young Al Jourgensen of Ministry) thirty years later in 2013. Now their second LP Ennui from 1986 (which was mixed and recorded in a single night!) is available again to their masses of young fans, who pack house shows, club gigs and other happenings to see the contented freaks of ONO perform their utterly unique yet ever-changing sonic vision utilizing damaged electronics, fuzzed-out bass, multiple drummers, and theatrical vocal ruminations.
 

Photo by David Magdziarz

In the weeks before Ennui was released, the band was similarly prolific and unpredictable—practicing three times a week, doing performances at city-funded spots like the Chicago Cultural Center, and art space concerts that were meant to be performed on NASA’s Space Shuttle (!)—-but best of all, ONO was actually videotaping some of their events. Original member Ric Graham operated a camera which captured the band at their high-weirdest at Harper College in Palatine, IL in April 1985, a few months before they recorded Ennui.

This 1985 music video for “Ennui” from their 1985 album of the same title, was only screened one time at a local club a month later, until this “world premiere.”
 

 
More ONO after the jump…

Posted by Richard Metzger | Discussion
follow us in feedly
Fuck obscenity!: Live footage of The Fugs performing at Cleveland free speech benefit,1967
03.03.2015
06:48 am

Topics:
Books
Literature
Music

Tags:
The Fugs
d.a. levy


 
I thought I’d seen every frame of Fugs’ film footage that exists on the worldwide web…but I guess not. Here’s something totally new to me: The Fugs performing in 1967 at a Cleveland, Ohio benefit for poet D.A. Levy and Jim Lowell.
 
Lowell and Levy had been busted for distributing obscene literature to minors. Lowell owned a Cleveland beatnik hang, The Asphodel Book Store, where one could buy books that, in 1967, were deemed profane, including some of Levy’s self-published books of poetry. They both endured a year of protracted legal hassles before the charges were dropped in 1968. But despite being not guilty of anything, Levy had to pay a $200 fine and was told by the judge to “no longer associate with juveniles or give them his poetry.” That’s a rather harsh sentence for someone whose biggest crime was writing some poems. It was particularly rough on Levy whose art was intended to inspire a new generation of young people to question authority and expand their consciousness. Levy was a mystic, a Buddhist, a bard on a mission to change the world through a process of opening up minds. Later that year Levy opened his mind once and for all when he blew out his brains with a shotgun. A sad end for a brilliant young poet. He was 26.
 
From D.A. Levy’s Suburban Monastery Death Poem:

the poets will be kept in line
like they are in cleveland
its so easy to convince poets
what poetry is
and what it isnt
& everyone knows
sleeping with the muse
is only for young poets
after you’ve been kept impotent
by style & form & words like “art”
after being published by the RIGHT publishers
and having all the right answers
after youve earned the right to call yrself
a poet     yr dead
& lying on yr back
drinking ceremonial wine, while
the muse, who is always a young girl
with old eyes into the universe
suddenly remembers necrophilia
is an experience shes had before
& shes not interested
in straddling corpses anymore

.

Beatniks were scary! Children were hidden behind suburban mother’s skirts. Fathers oiled their rifles as teenagers shimmied to a wild bongo beat.
 

 
The Fugs came to the rescue. This footage is 16mm film shot by Dennis Goulden. The audio is rough but the visuals are fine indeed. The benefit took place at the Case Institute of Technology campus. Cleveland was scarred forever. Poetry had left its festering tattoo upon the buttocks of civility.
 

 
More after the jump…

Posted by Marc Campbell | Discussion
follow us in feedly
MTV and Danny Fields visit New York City’s punk rock landmarks
03.03.2015
06:01 am

Topics:
Music
Pop Culture
Punk

Tags:
MTV
Danny Fields


Iggy Pop and Danny Fields by Brigid Berlin

Danny Fields has been a driving force in rock and roll as a band manager (The Stooges and The Ramones), journalist, disc jockey, A&R man, author and champion of New York’s punk rock scene from the beginning in the mid-seventies onward. A documentary about Fields, Danny Says, will premier at this year’s SXSW festival in Austin.

In this video from 1994, Fields takes MTV’s Tabitha Soren on a tour of some of New York City’s seminal punk rock clubs, including CBGB and Max’s, and some historic musical landmarks like Electric Lady studios and The Ed Sullivan Theater.

As someone who practically lived at CBGB and Max’s in their heydays, Danny Fields was an omnipresent source of rock and roll energy and enthusiasm, as essential to the scene as the musicians, club owners and booking agents who helped make the scene happen. 
 

Posted by Marc Campbell | Discussion
follow us in feedly
Page 1 of 585  1 2 3 >  Last ›