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‘Ant music for sex people’: Adam and the Ants live
07.22.2014
07:40 am

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Music

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Adam and the Ants


 
Like Genesis and Ministry, Adam and the Ants had two distinct phases, each with fan bases that don’t always quite overlap 100%. Pre-1980, they were a raw, spiky post-punk band with sharp, fetishy lyrics. Things changed quickly for them in 1980, when their manager, the infamous Sex Pistols impresario Malcolm McLaren, poached most of the band for a new project called Bow Wow Wow. But eviscerating the group proved not to be such a terrible idea. Singer Stuart “Adam Ant” Goddard continued with an entirely new band, and a major sound and image overhaul. On the presentation end, the band dove headlong into an embrace of the new romanticism, favoring an overwrought leather-pantsed-new-wave-pirate look which unaccountably struck people at the time as just absolutely dead sexy. Well, it actually DID look good on Ant. Most of the rest of the band just kinda looked goofy.

Witness:
 

 
On the musical end, the Ants adopted a distinctive dual-drum attack inspired by the Royal Drummers of Burundi, and, just as critically, enlisted Siouxsie and the Banshees’ founding guitarist Marco Pirroni, who’d become Ant’s co-songwriter and a major influence on the band’s direction just as it started to find wide fame. This version of Adam and the Ants released Kings of the Wild Frontier and Prince Charming, both of which featured more sophisticated song craft than the band’s first iteration, and both of which ate the charts for breakfast. The single “Stand and Deliver,” for example, entered the UK charts at #1, and remained there for weeks.

The band broke up in 1982, and Ant embarked on a solo career, but it was an in-name-only breakup, really, as the creative nexus of Ant and Pirroni remained together. In fact, Pirroni has contributed to every Adam Ant solo album, all the way up to one that came out last year.

Live video of the first incarnation of Adam and the Ants is damnably difficult to find. The most widely available representation of that period is the album Dirk Wears White Sox, released in 1979 in the UK, 1983 in the US (A Jack Sparrow-lookin’ Ant recently reunited with band members of that era to play the album in its entirety), but the best video I could dig up is this delightful miming along with “Plastic Surgery” from Derek Jarman’s Jubilee:
 

 
Here’s one that features their early manager Jordan singing the song “Lou,” and Adam Ant backing her on vocals for “Puerto Rican.”
 

 
When I sought live footage of the far better-known second version of the band, holy shit, motherlode. Search for them on YouTube and you’ll see what I mean. Their visual presentation made them a sought-after act for televised music shows—and of course, the band’s early ‘80s heyday coincided with the launch of MTV, who couldn’t play their videos enough—but among the best footage I’ve found is this late 1981 show taped in Tokyo (setlist). I had always wondered if the distinctive vocal harmonies that featured prominently on their LPs were pulled off well in a live setting. Answer: actually not bad.
 

 
And then there’s this heavy performance of “Dog Eat Dog” in Manchester, 1980:

 
When Kings of the Wild Frontier was released in America, Epic Records, probably sensing that they might have a HUGE new act on their hands—maybe even a teeny-bopper phenomenon—lowered the price of the album to just $3.99 at a time when most albums were in the $6.98 list price range. Between that, Solid Gold and MTV, Adam and the Ants soon became famous in the US as well. Here’s a contemporary documentary about the American Ants invasion that is tons of fun:

Posted by Ron Kretsch | Discussion
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Happy Birthday Kim Fowley: The Lord of Garbage turns 75 today!
07.21.2014
03:10 pm

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Music
Pop Culture

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Kim Fowley

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The most incredible mind in the history of rock n’ roll turns three quarters of a century today! Truly the greatest living treasure/encyclopedia of pop culture, and creator of it is still sharp as a tack! Here’s a run down of who Mr. Fowley is, taken from my liner notes from the new Kim Fowley compilation (Volume Four!) Technicolor Grease: Lost Treasures from the Vaults 1959-1969, Vol. 4 on Norton Records

As impossible as it may seem, the last living Rock N Roll computer is alive, in our midst and featured on this LP. The thought that one man’s every waking hour from the very first days of Rock N Roll to right this minute as you read this have been entrenched & dedicated to the original concept of the Outrageous teenage rampage, a finger in every pie musical & otherwise, is mind numbing. Mr. Fowley has a perfect grasp of every type of music & has produced/instigated/created it all. From rocking’ instrumentals, surf music, soul (real soul, yeah), real greasy rhythm & blues, rockabilly, tuff teen garage, all the stuff we dig including inventing the art of making insane anti-records aimed at failing, for his own amusement.

But wait! He didn’t ever stop. He was the star of the 1st Mothers LP (“Help I’m A Rock”) and on into demented psychedelia, Glitter Rock, Punk & more. He has had his finger in the big gold pies too. And the music we hate, much to his credit. Turn around & there’s Kim writing a Kiss song, or something with Nirvana! Yup. Kim techno music haha yes, even that. The guy never sleeps & has a grasp on it all.

NO ONE has gone all the way except Kim. And he retains unreal factoid minutiae. He will ramble off on any obscure Rock N Roll singer at length and always tell you something you don’t know. Ask him the same question twice? You will get a whole new set of answers. Fact check ‘em (if even possible) and it all checks out. I don’t know if he’s human & i’m not sure if Mr. Fowley was the original alien dumped on this planet to steer us whenever lost back in the WRONG direction. It’s all in that big Frankenstein head of his. And in that big Frankenstein heart that he hid so well for so long. But I have seen it folks! It is real.

Approaching 75, he has slowed down a little but will never stop. As we have spent our lives searching & researching Kim has been inventing & reinventing, always making trouble. It’s all one thing to him, one continuous movement, one mission. Even if we want to stop it at 1966, he will never understand what that means. It stops when Kim stops. When he stops much will halt & NOTHING will ever be the same.  Kim Fowley has all the answers. Here are 16 of them.

 

 
The first three volumes (One Man’s Garbage, Another Man’s Gold and King of the Creeps) are a perfect primer of the inside and WAY outside of rock ‘n’ roll from the very beginning, as I said, the man has done it all. Norton Records book division Kicks Books has put out what is literally, to these eyes, the best rock n’ roll autobiography I’ve ever read in my life! Lord of Garbage (which also comes with its own signature Garbage perfume, as all Kicks books do) is part one of a multi-volume autobiography, and goes from 1939-1969 and is more shocking, more interesting, informative and insane than anything I’ve ever read. And it’s not even into the 1970’s yet! The last volume has been instructed to come out just after his death. If that day ever comes.
 
fgnfkim
 
Though he has been battling cancer recently, he has, as he done before, kicked its ass. He has also been making underground films that you can see on YouTube (including Black Room Doom, Dollboy: The Movie, Satan Of Silverlake, The Golden Road To Nowhere, Frankenstein Goes Surfing, Trailer Park’s On Fire and Jukebox California). Kim was portrayed by actor Michael Shannon in the 2010 film The Runaways. Also check out his radio show on Sirius radio.

Our Animal Man never stops and never will! Please join us in celebrating the man that has more energy than three 25 year olds! Kim Fowley, happy 75th!
 

 

 

 
Below, the author wishes the Animal Man a happy 71st birthday:

 

Posted by Howie Pyro | Discussion
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The next to last waltz: The Band live in Asbury Park, NJ, 1976
07.21.2014
01:45 pm

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Music

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The Band


 
When The Band were taped in concert at Asbury Park’s Casino Arena on July 20, 1976—thirty eight years ago yesterday to be exact—plans were already afoot for their final appearance that fall in San Francisco that would be filmed for Martin Scorsese’s documentary, The Last Waltz. Knowing that this show would be among their final onstage outings together as a band, The Band are in fine form here, the energy is high and, as always, the musicianship is as good as it gets.

Recently, I posted about the full “Last Waltz” concert as it was recorded via Winterlands house video feed which is fascinating on so many levels, but not the least of which is hearing The Band without all of the studio fussing and overdubs that Robbie Robertson is famous (infamous?) for. Here, as with that (truly incredible) “Alternate Last Waltz” video, what we have is The Band, a group fabled for their near-telepathic communication as musicians as they actually sounded in the raw… damned good! (And unlike in The Last Waltz, you get to see the other band members besides Robbie Robertson. At least you can see the top of Garth Hudson’s head from time to time!)

The version of “The W.S. Walcott Medicine Show” at 1:12:00 is a must listen—it might be my top favorite song by The Band—and the final encore of “Life Is A Carnival” that follows it is a thing of great beauty also.

Until or unless a full show from The Band taped after this one turns up, I guess you could call this one the “next to last waltz.”
 

Posted by Richard Metzger | Discussion
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Be a fly on the wall when Bob Dylan and Bette Midler went into the studio together, 1975
07.21.2014
11:06 am

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Music

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Bob Dylan
Bette Midler


 
Bob Dylan and Bette Midler recorded together in October 1975 duetting on a cover of “Buckets of Rain” for her Songs for the New Depression album. Dylan apparently also wanted Midler to be a part of his Rolling Thunder Revue. Six years ago, a 27-minute long fly on the wall recording from this session started making the rounds on bootleg sites as part of Bob Dylan New York Sessions 1974-1975.

The original bootlegger says:

“It opens with some upgrades of the original Blood On The Tracks sessions from September 1974, and progresses chronologically through some early Desire sessions, winding up to the main event: almost half an hour of never-heard October 1975 session outtakes of the recording of Bette Midler’s cover of “Buckets Of Rain” with Dylan, which would show up on her Songs For The New Depression album the following January.”

At one point Midler demures saying, “I can’t sing ‘I ain’t no monkey,’” but Dylan gently coaxes her into it.  Moogy Klingman backs them on piano and at one point Dylan sings a full-throated version of Smokey Robinson & The Miracles “You Really Got A Hold On Me” with and Midler. The Divine Miss M also dishes on Paul Simon, who she says refuses to speak to her.

“This’ll show him!”

Midler cattily refers to Patti Smith as well, saying “At least I can sing in tune!” What exactly she is referring to here is not spelled out, but in an interview with Barry Miles, Smith tells the story of Midler throwing a beer in her face at a Dylan-related private event in New York around this time. Maybe she saw Patti as competition for Dylan’s affections? (Midler later revealed that she got to “first base” with Dylan in his Cadillac, so perhaps that’s what the remark and the beer incident was all about?)
 

Posted by Richard Metzger | Discussion
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Chuck Berry and Little Richard headline the London Rock & Roll Show 1972

rockpos72.jpg
 
The London Rock and Roll Show was the first major pop concert to be held at Wembley Stadium, the sports arena later famed for LiveAid and the Freddie Mercury tribute concert.

Headlining the show that day on August 5, 1972 were the undisputed Kings of Rock ‘n’ Roll Chuck Berry and Little Richard. These gods were ably supported by Bo Diddley, Jerry Lee Lewis, Screaming Lord Sutch and Billy Fury. Some of the booked acts couldn’t make the concert due to visa issues, but those who did turn up delivered a blistering set of rock ‘n’ roll classics. The whole event was filmed by Peter Clifton, who later directed Led Zeppelin’s The Song Remains the Same, and given a brief cinema release. The performances are interspersed by an interview with Mick Jagger who gives his thoughts about the show—something he claims could never have happened a decade before—and watch out for a young Malcolm McLaren selling T-shirts at his Let It Rock stall.
 

 

Posted by Paul Gallagher | Discussion
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‘CSNY 1974’: Listen to exclusive live tracks from Crosby, Still, Nash and Young


Photo: Joel Bernstein

Not only am I one of those people who gets all squirmy if a concert goes on for much longer than an hour, I tend to really hate live albums. So why did I spend six straight hours yesterday listening intently to CSNY 1974, the new 40 song live box set from Crosby, Stills, Nash and Young all the way through twice in back to back playings? Because it’s the best archival rock release of the year…

The coked-out megalomanical circus that saw David Crosby, Graham Nash, Stephen Stills and Neil Young storm across America in the first and most decadent superstar open air stadium tour of the rock era was nicknamed the “Doom Tour” by Crosby because of the feuding, the drugs and the fact that a small army of promoters and hangeroners were sucking at their hyper-megastar corporate rock teets like there was no tomorrow. There had been big rock tours in the past, but CSNY’s extra ginormous 1974 outing—dreamed up by manager Elliot Roberts and put into action by rock promoter Bill Graham—was like plotting an invasion of each new town that the show moved to. The beachheads were 50-70,000 seat football arenas, which saw stages erected and massive PA systems hooked up by a legion of roadies. Other acts on the tour included The Band, Joni Mitchell, Santana and the Beach Boys.

The “Doom Tour” grossed $11 million back when $11 million was still a hell of a lot of money, but the principals only pocketed half a mill each after expenses (and the promoters) were paid. There’s an amusing “oral history” of the trek at Rolling Stone.com. Only Young kept both feet (literally) on the ground, traveling in a bus with his son Zeke and avoiding the insanity, but suffice to say that the debauchery and rockstar egos—at least from the evidence on display here—didn’t interfere with the music, which is insanely good.
 

“Carry Me”

The musicianship on CSNY 1974  is first rate, better even than their earlier live album 4 Way Street as each member had creatively matured since the 1970 tour. In Stephen Stills we have one of the single most remarkable guitarists of the rock era. Don’t get me wrong, Neil Young is no slouch on the six-string himself, but with Stills—as opposed to with Crazy Horse—his ragged, idiosyncratic playing is obliged to conform to, fight against and to parry with Stills’ more structured and almost architectural guitar style. Musically at least, they bring out the best in each other, but it’s Stills who provides the foundation in CSNY that Young reacts to and then he in turn reacts to what Young does, and lemme tell ya, it’s breathtaking. If, like some people, you approach CSNY solely from the POV of Young’s perhaps more “aloof” contributions, these are some canonical performances by him here that I think any Neil Young freak would go absolutely nuts over. (Five of the songs in the set composed by Young—“Traces,” “Goodbye Dick,” “Love Art Blues,” “Hawaiian Sunrise” and “Pushed It Over the End” –appear on CSNY 1974 for the first time on any official release.)

For all the talk of the backstage feuds, there is simply no sign of this in the onstage camaraderie documented here, which is supportive, fraternal and joyously ecstatic. A good example of this comes with Stills’ delicate piano backing of Young on “Only Love Can Break Your Heart.” Other highlights of the set include several “solo” numbers: a simply smouldering take on Young’s “On The Beach,” a gorgeous rendition of Crosby’s confessional “Carry Me” (at that point still un-issued on record), Nash’s “Grave Concern” from his dark, nearly unknown Wild Tales solo LP and Stills’ motherfucker of a rip, spitting his way through a frantic “Word Game.”

There are various configurations of CSNY 1974 on vinyl, CDs, DVD and Blu-ray Pure Audio discs. Unless you have to have vinyl (and are a masochist who loves flipping six records over) I’d highly suggest going with the version that Rhino sent me, the Blu-ray, which has all 40 songs—there were three sets, two rock sets with an acoustic set in between—on one disc so you can just relax and take it all in for three hours. Another reason to opt for the Blu-ray set is that it sounds really, really good. Produced by Graham Nash and the group’s longtime archivist, Joel Bernstein, the set was culled from the tapes of nine shows that were recorded by Elliot Mazer, the tour’s audio engineer and others. The audio quality here is astonishingly good for 40-year-old live recordings to begin with, but it would be remarkable sounding if it was recorded yesterday. The acoustic guitars chime, the electric leads cut through you like a knife, Stills and Young’s duelling guitars complement and argue with each other. You’ve got the heavenly harmonies of Crosby and Nash mic’d so closely that you can hear their breath. The piano has presence and clarity as if it had been recorded in a studio and not at an open air sports arena in front of 50,000 screaming fans. You get the idea. At least when all of that money was flying out the door unaccounted for, they got these great recordings out of it. The mastering was done by Bernie Grundman (an audiophile mark of distinction) after it was mixed down by Nash, Bernstein and Stanley Tajima Johnston in 192-kHz/24-bit resolution. [To anyone who says that stuff doesn’t make a difference, I defy you to listen to the acoustic set on Blu-ray and tell me you’ve heard a more “intimate” sounding live recording, ever. I suspect that Nash and Bernstein presented their work to Stills and the notoriously picky audiophile Young with confidence. What else would there be for Neil Young to say other than “Hey, great job, guys!”?]
 


“Grave Concern”

To my mind CSNY 1974 is the “classic rock” release of the year so far. It’s so damned good that I can’t imagine anything coming along and topping it, either, but if that did occur, then 2014 will be a good year for rock snobs, overflowing with an embarrassment of riches like this and the Led Zeppelin remasters.

Like the majority of Amazon reviewers, Ima gonna give CSNY 1974 five stars. One woman writes that she bought it for her husband and gave it to him before they were going to go out and eat. They opted instead to stay home and listen to it all the way through. That was my reaction to it, too. I expected to like it, but I liked it so much that I spent six hours straight with it. Not listening while surfing on my iPad, but listening to it. Listening intently and digging the shit out of it. In summation: CSNY 1974 is fucking good. You want a box set to feel like a good value and Christmas day simultaneously and this one truly does.

(Did I mention that there’s a separate DVD of video performances shot at Wembley Stadium and at Landover, MD’s Capital Centre? That’s awesome, too.)

Here’s something fascinating, a black and white video recording of an impromptu CSNY set taped at Winterland in 1973. It was originally a Stephen Stills and Manassas concert, then some “very special guests” showed up. At the time Neil Young was on his Tonight’s the Night tour with the Santa Monica Flyers and Crosby & Nash were touring as a duo. It’s sloppy, sure, the four hadn’t played together in over two years at this point, but it’s history, baby! Neil Young, perhaps emphasizing his independence from the other three, doesn’t come onstage until the fifth number:
 

Posted by Richard Metzger | Discussion
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‘I have come to die with you’: Nico performs ‘Genghis Khan’ on French TV, 1979
07.18.2014
09:35 am

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Music

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Nico


 
On June 27, 1979, accompanied only by her harmonium, Nico performed a stunning “Genghis Khan,” a typically atmospheric number that would later appear on her 1981 Drama of Exile album, on French television.

I have come to lie with you
I have come to die with you
On your padded shoulder
And your golden chest
In a wilderness of glass we rest
And all the flowers they are our words
And my chances follow dances Into a storm afraid
A sweet and bitter rest he gets
A sweet and bitter rest he gets
I have come to lie with you
I have come to die with you.

They don’t write ‘em like that anymore, do they?

The golf claps from the audience at the end speak volumes! There are so few professionally “in studio” performances by her. This one is a bleak gem.

Nico, real name Christa Päffgen, died on this day in 1988 at the age of 48. More or less off heroin at that point, but still struggling with it, she was living with her son Ari Boulogne in Ibiza. One very hot day she decided to take her bike into town to buy some marijuana, but had a heart attack along the way, hitting her head as she fell and causing a severe cerebral hemorrhage. A cabdriver found her but she was mistakenly diagnosed as suffering from heat exposure at the hospital and died later that evening.
 

Posted by Richard Metzger | Discussion
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Pizza-themed ‘punk’ albums are stupid, but funny
07.18.2014
09:11 am

Topics:
Amusing
Food
Music

Tags:
Pizza


 
I kinda hate myself for blogging this, but yet, here I am… fucking blogging this! I laughed at a few these, okay?! The Richard Hell and The Voidoids album cover with the Domino’s Pizza character the Noid is sorta genius. Or maybe not. Perhaps I’m just easily amused.

So why do these exist, you ask? Riot Fest is holding an online contest where folks are asked to “pizzafy” any punk album of their choice and a winner will be chosen on July 31, 2014. The winner is picked by Internet voters. 
 

 

 

 

 
More after the jump…

Posted by Tara McGinley | Discussion
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David Bowie in his tighty-whiteys, 1973
07.18.2014
07:49 am

Topics:
Amusing
Fashion
Music
Pop Culture

Tags:
David Bowie


 
Many of you have probably already seen these stills of David Bowie in his “tighty-whiteys” from a 1973 photoshoot. I think they should be resurrected from time-to-time here on Dangerous Minds. Never forget!

Admittedly, I still giggle like a young schoolgirl every damned time I see these.


 

 

 
h/t Britrockaholic

Posted by Tara McGinley | Discussion
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‘The Black Man in the Cosmos’: Sun Ra teaches at UC Berkeley, 1971
07.18.2014
06:48 am

Topics:
Music
Race
Thinkers

Tags:
Sun Ra


 
The first thing I’d do with a time machine is point it to Berkeley, California, 1971. Those are the spacetime coordinates of the Afro-American Studies course Sun Ra taught at UC Berkeley. I’ve never been able to find an image of an original syllabus, but the reading list reportedly included the King James Bible, Blavatsky, Ouspensky, Radix by Bill Looney, the Egyptian Book of the Dead, LeRoi Jones’ Black Fire, The Real History of the Rosicrucians, The Secret Doctrine of the Rosicrucians, The Rosicrucians: Their Rites and Mysteries, OAHSPE, and In the Pronaos of the Temple of Wisdom.

According to John F. Szwed’s scholarly biography Space Is The Place: The Lives And Times Of Sun Ra, when students complained that some of these books were impossible to find, their professor “merely smiled knowingly”—of course the books that disclosed the secret history of the world were hard to come by. Szwed describes the class:

“Every week during the spring quarter of 1971 he met his class, Afro-American Studies 198: ‘The Black Man in the Cosmos,’ in a large room in the music department building. Although a respectable number of students signed up, after a couple of classes it was down to a handful (‘What could you expect with a course named like that,’ Sun Ra once chortled). [...] But it was a proper course—Sun Ra had after all trained to be a teacher in college—with class handouts, assignments, and a reading list which made even the most au courant sixties professors’ courses pale.

[...] In a typical lecture, Sun Ra wrote biblical quotes on the board and then ‘permutated’ them—rewrote and transformed their letters and syntax into new equations of meaning, while members of the Arkestra passed through the room, preventing anyone from taping the class. His lecture subjects included Neoplatonic doctrines; the application of ancient history and religious texts to racial problems; pollution and war; and a radical reinterpretation of the Bible in light of Egyptology.”

Apparently, the Arkestra’s agents failed to prevent the taping of Sun Ra’s May 4 lecture, “The Power of Words,” a recording of which surfaced on the double-CD set The Creator Of The Universe. Though the recording starts and ends abruptly in mid-sentence, it’s actually of higher fidelity than much of the master’s officially sanctioned musical product (just listen to the tapping of the chalk on the board). The whole thing is worth listening to, but for me the climax comes around the 37-minute mark. “If you’re not mad at the world, you don’t have what it takes,” Sun Ra told his musicians, and towards the end of the lecture, the questions of a tardy student seem to touch a nerve. Prof. Ra’s improvised response is an impassioned summary of his militant, gnostic philosophy:

“I’m thinking about the future of black Egypt, which is outside of the realm of history. History has been very unkind to black people, so actually what I’m always talking about is the myth, and nothing that has ever been is part of what I’m talking about, because I’m saying that black folks need a myth-ocracy instead of a de-mocracy. Because they’re not gonna make it in anything else. They’re not gonna make it in history[. . .]

You see, that’s what’s wrong with y’all. Now here you walk in, the last man to get in here, and you gonna ask questions. But honesty is not what I’m talking about. You’re not in a place where truth can do you any good. So you gonna have to come to me privately, and we’ll talk about things that can help the black race. Truth has been abolished, so any truth you say is not permissible in here, because it never done anybody any good. Now, I’m dealing with things that can do you some good. If I come across the biggest lie in the universe, if it can help the black race, then I’m gonna use it. That’s fair warning to anybody, any nation on the face of the earth. I’m gonna use anything I find, and any weapon that I find.

Now I find that the truth is not permissible for me to use. Because I’m not righteous and holy; I’m evil. That’s because I’m black. And I’m not a striver to any righteousness. I never been righteous, I’m never going to be righteous. So now I’m evil. I’m the incarnation of evil. I’m black. I’m following their dictionary. Now I’m dealing with equations. I can’t go around and tell you I’m ‘right’ or ‘good’ when the dictionary is telling everybody in the world everything black is evil and wicked, so then I come and say, ‘Yes. So what? Yes, I’m wicked. Yes, I’m evil.’ I’m not gonna be converted. I’m not gonna strive to righteousness. I don’t wanna go to heaven, because good folks don’t never do nothing but be good, and they always failing, and they always getting killed, and they frustrating. So all I see on this planet is something evil like the white man being successful, and successful, and successful, and successful.

And I see evil killing black men every day, destroying him. Why should I be good? No, it’s better for me to come up to the white race and say, ‘Yes. We evil people should sit down to the table and talk together. You’re evil, I’m evil too. Now, them other folks that you’re dealing with are good black folks. I’m not good, and you’re not good. We understand one another.’”

This is before he gets to explaining that white people are evil and wicked because “they were made evil and wicked in imitation of the evil and wicked black man,” but you should really just listen to the whole thing.

Listen to, or download the entire thing at Sensitive Skin

Posted by Oliver Hall | Discussion
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