These clips are hard to find on the Internet and who knows how long they’ll last out there before the dark corporate forces wipe them from view. The teachings of the SubGenius are under relentless assault!
Devo’s appearance on Saturday Night Live on October 14, 1978 was a visitation from a rock and roll galaxy far far away and yet so near. It was as if aliens from another planet had created a concept of Earthlings based on old television transmissions they’d hijacked of industrial training films, Triumph Of The Will, episodes of Hullabaloo and Saturday morning cartoons and then spewed it all back at us in a digitized replication missing a few ones and zeros. It was an attempt at communication, not unlike Klaatu’s failed efforts in 1951.
I have a fear of flying. When I travel, I do it by car. One of the many joys of driving across the States is checking out local restaurants, junk shops and record stores. So having a GPS-based record store locator in my cell phone is an utterly cool app that I can get behind. The Vinyl District has created software for the iPhone and Android that will lead you to indie record stores throughout the United States and United Kingdom. And it’s free.
All you need to know about downloading the record store locator is at The Vinyl District’s website.
This is a great tool, not only for music freaks, but for the surviving record stores out there. Technology doin’ the right thing. Put some good karma in that irritating plastic rectangle in your pocket.
Swords, Sandals And Sex mixes international grooves, punk and psyche with ultra-groovy dance sequences from vintage sword and sandal (pepblum) flicks.
01. “That’s Where It’s At” - Van Morrison and The Holmes Brothers
02. “Mabala” - Fathili and The Yahoos
03. “Saman Doye” - The Black Brothers
04. “Negre Africa Dub” - Sly and Robbie
05. “Daughter Whole Lotta Suger Down Deh” - Jah Berry
06. “She Moved Through The Fair” - Jam Nation
07. “Teen Tonic” - Pierre Henry and Michel Colombier
08. “World Destruction” - Afrika Babaata and John Lydon
09. “Fever” - Jingo
10. “El Pescador” - Toto La Momposina and Sus Tambores
11. “Swinger” - The Third Rail
12. “Venetian Glass” - Infinity
13. “Jocko Homo” - Devo
14. “Human Fly” - The Cramps
Noel Fielding and Julian Barratt of The Mighty Boosh bookend some weirdo who wandered into a Boing Boing photo shoot.
As a hardcore Mighty Boosh fan, I am ashamed to say that I only just discovered this wonderful Pogo mashup of bits and pieces from the late great BBC comedy show, which may have been the funniest and most surreal thing to ever appear on the airwaves.
The title of the piece is “Zoo Zoo” and features Pogo’s trademark tight edits/cuts in which shards of dialog and soundtrack are transformed into seamless musical collages filled with quirky charm.
I am patiently awaiting a Mighty Boosh feature length film. Pleeeeeease.
”...and he said nobody cared…”: Ice Cube as Doughboy in Boyz N The Hood
What’s the best way to capture in video the spirit of a song like Lupe Fiasco’s late-20th-century-black-street-reality-cinema-surveying “Double Burger With Cheese” from his Friend of the People mixtape [download]?
Somebody figured it out over at beat cartel Dolobeats (and if it was proprietor/prolific beatmaker Dolo himself, I’m pretty fucking impressed): synch the song up to every goddamn movie clip that Lu casually references in the song.
This thing juxtaposes clips from such iconic films as Juice, Menace II Society, Boyz N The Hood, New Jersey Drive, Poetic Justice, Dead Presidents, South Central, Sugar Hill, New Jack City, Paid In Full and Colors.
“These are just a illustration / Of a few scenes that helped raise a generation…”
Although she’s celebrated as “the mother of punk,” the musical fruits of Nina Hagen’s early career sounded much closer to the tuba-led Bavarian oompah music of Heino than the scratchy, three chord thrash of The Slits. Which is not to say that the young Nina Hagen wasn’t the very embodiment of punk rock rebellion in Communist East Germany before anyone had ever heard of the Sex Pistols, because that is exactly what she was…
Raised by her mother, well-known film and TV actress Eva-Maria Hagen and her stepfather, dissident singer-songwriter Wolf Biermann (who was a big influence on her political views and a big nuisance to the GDR), Hagen began singing professionally at a young age. Backed by her group, Automobil, her 1974 single, “Du Hast den Farbfilm Vergessen” (“You forgot the color film”) became a huge hit in the GDR and made Hagen a big star. The seemingly innocent-sounding lyrics (a girlfriend berating her boyfriend for not bringing color film on their vacation) were a subtle dig mocking the sterile, gray, Communist state. The fluffy-sounding ditty became one the most popular songs of 1974 and the double meaning of the comical lyrics was apparently well-understood by both the general population and the Politbüro elites.
In 1976, Wolf Biermann was stripped of his citizenship and refused re-admittance into the GDR after he’d played a TV concert in Cologne. When her mother left to join her husband, Nina claimed to be Biermann’s biological daughter. However, the thing that probably got her visa stamped stat was her threat to the authorities that she would become “the next Wolf Biermann.”
Four days later she was living in the West. I wonder how many people were thrown OUT of East Germany? That’s punk!
Below, 18-year-old Nina Hagen (and Automobil) singing “Du Hast den Farbfilm Vergessen” (“You forgot the color film”). There is a version with subtitles here.
This Dutch TV documentary from 1977 captures some brilliant performances by The Stranglers, Blondie and The Sex Pistols. The bands are firing on all cylinders as they perform in Amsterdam.
In 1977, this is what was moving my world. I had just arrived in New York City and I felt like a sail in a hurricane. Slept all day and hit the clubs at night to see a rock revolution in the making.
The Stranglers at the Second Avenue Theater were particularly awe-inspiring. Unsung heroes of rock and roll, which is probably as it should be - no more heroes. Though, I have my share.
The Stranglers - No More Heroes, Something Better Change
Blondie - Detroit 442, Love at the Pier
Sex Pistols - E.M.I., Pretty Vacant, Anarchy in the UK
The video quality is pretty rough, which seems appropriate - like an underground transmission from the distant past. It’s also in Dutch without English substitles, but it hardly matters. The music speaks for itself.
Yes, ‘The Can” is the ‘Can’ we all know and love - Holger, Jaki, Michael, Irmin and, in this early 70s incarnation, the iconic Damo Suzuki. Here is a clip of the band performing the title track of the Roland Klick film ‘Deadlock’ in 1970 on Germany’s Westdeutscher Rundfunk television station.
When I first stumbled upon this clip, I assumed the TV producers had made an amusing mistake by adding an unwanted definitive article to the start of the band’s name. However, after checking the Can wiki page, it turns out that the additional “The” may not have been a mistake after all:
[By 1968] the band used the names “Inner Space” and “The Can” before finally settling on “CAN”. Liebezeit subsequently suggested the backronym “communism, anarchism, nihilism” for the band’s name. [Wow, what an amazing backronym!]
However, by the time this footage was recorded in 1970 the band had already released two records as ‘Can’ - Monster Movies and Soundtracks, which mostly featured Malcolm Mooney on vocals rather than Suzuki. So I think a little chortle can be had without feeling too foolish, but who knows, maybe it was a genuine mistake or maybe the bad flirted with a new name for a new singer? Either way, if it’s ‘The Can’ or just plain old ‘Can’ this is some great early footage of true musical pioneers:
The Can “Deadlock” live 1970
After the jump, the awesome ‘Mother Sky’ from the same session…