What the hell happend to Missing Persons lead singer, Dale Bozzio? TMZ posted this horrific mug shot today. TMZ says:
Dale Bozzio, the lead singer from the ‘80s band Missing Persons, has turned herself in to a New Hampshire jail yesterday to serve her time for an animal cruelty conviction.
Last year, Bozzio was charged with the crime after authorities found loads of sick and dead cats inside of her home. After the gruesome discovery, 12 cats were euthanized and Bozzio was forced to pay the $2700 bill.
Bozzio—who was lead vocals on that song “Walking in L.A.”—was also sentenced to 90 days behind bars and 250 hours of community service.
This Saturday night at the Downtown Independent there will be a special anthology screening of the 2009 video and film work by The Masses, a film production collective started by director Matthew Amado, Jon Ramos and the late Heath Ledger. Work featuring artists such as Modest Mouse, Daedalus, Edward Sharpe and the Magnetic Zeroes, the Dodos and many others will screened, along with a new short directed by actress-singer Ann Magnuson, who described her film as being about “a time-traveling hooker who meets up with the spirit of Gram Parsons (played by Grant Leuchtner) in Joshua Tree.”
After the screening Magnuson will perform a new spoken word piece backed by Dublab.
Downtown Independent, 251 S. Main St., Los Angeles.
Saturday, Nov. 14, 8 p.m., $10.
Maxim posted this funny piece titled 11 Awesomely Bad Pieces of Kenny Rogers Art. Maxim says, “He may not have had a hit in over a decade, but you’d be hard-pressed to find someone who doesn’t think Kenny Rogers is a beloved cultural icon, not to mention a flat-out badass. Hell, after Elvis and Tony Montana, Kenny gets the velvet painting treatment the most often. Some of these attempts have turned out better than others, so with that in mind, here are 11 pieces of Gambler tribute art - velvet and beyond - that prove you gotta know when to walk away ... and when to run.”
Having just watched it, I am compelled to comment about the new Lady Gaga video. It is, by the way, incredible. This is my love letter to Ms. Gaga.
Over the last couple of months Lady Gaga has come to embody—for me and, I imagine, for her fans—a kind of posthuman life strategy. She presents a response to the horrors of the 21st century that reeks, strangely, of absolute sanity—to very archly embrace the most grotesque excesses of the materialist culture that is destroying the planet. At once clinging to a very human New York hoodrat identity and also becoming indistinguishable from the inhuman culture machine that promotes her, she is the perfect evolutionary advance, designed to outlive the cockroaches themselves.
Ezra Pound once said: “And round about there is a rabble?—of the filthy, sturdy, unkillable infants of the very poor. They shall inherit the earth.” And so she has.
Lady Gaga is the Devil card of the Tarot: the lie that there is nothing but matter—though the card is inverted, tongue-in-cheek. She is a successful gray alien hybrid, stripped of all human emotion or compassion, a thing made to flourish in this grim, mechanical age. She is the newest model android from the MTV fembot assembly line. She is the latest and greatest Terminator. She is Skynet. She is self-aware.
Lady Gaga is everything that terrifies us about the Coming Race: Absolute destructive materialism and complete lack of identity past a 140-letter Twitter quip. Female sexuality inverted into male sexuality and weaponized. Did they build her in an underground laboratory, like the one featured in this video? They must have, for what other perverse, mutated perfection of the human form could be better equipped to succeed in this most horrible of world climates?
While the rest of the world spirals into economic degradation, environmental pestilence and complete systems failure of ALL of the old world models, Lady Gaga reigns above the flames. Pay attention to the lesson: Lady Gaga is the ONLY person prospering in this cultural climate. Therefore she has done something RIGHT. She is the necessary evolutionary adaptation to our times and THIS is why people are disturbed by her: This is what we must all become.
Once again, time for another guest post from Dangerous Minds pal, main Medicine man, and one of my dear childhood friends, Mr. Brad Laner:
Airway, the “noise orchestra” led by Joe Potts are one of the original mainstay bands of the fabled Los Angeles Free Music Society. Issuing a string of self-released and very homemade-feeling LPs which had a broad effect upon the world of experimental music, the LAFMS emerged out of the suburban haze of California’s San Gabriel Valley in the mid-‘70’s.
Being huge influences on the likes of Nurse With Wound, Keiji Haino (who evidently traveled to L.A. in the early ‘80’s with the sole purpose of finding and playing with Airway) and, most certainly, yours truly (plus, really, anybody who’s made improvisational noise music since the mid-‘70’s), it’s a bit amazing to report that Airway will be making their first ever appearance outside of L.A. this month as part of a nice-sounding hoedown called A FANTASTIC WORLD SUPERIMPOSED ON REALITY: A SELECT HISTORY OF EXPERIMENTAL MUSIC, a “Mini-Festival to Present an Exciting Line-Up of Key Musicians and Artists Who Developed the Dynamic Trajectory of Experimental Noise Music.”
Continuing on from yesterdays’ Lucifer’s Friend post, why it’s, it’s… the greatest folk album of the 1970s! Why has nobody heard of this one? Is it the tremendously unexciting cover art? The lack of any kind of pandering to any audience or demographic? The, um, name of the album? Regardless, there’s no good reason why this album remains buried, lost in the annals of history. It’s like an hour of Johnny Appleseed blowing up your head with the sheer awesomeness of his guitar magic, then planting a tree in your head cavity that immediately grows into a 80 foot tall cedar that unleashes 17 red doves from its branches that fly off to establish 200 years of peace in the world.
Lucifer’s Friend was a seventies prog-metal band that… OK, you stopped reading at “prog-metal.” I know, I know. But hear me out… these guys were one of the best of the whole lot, and are criminally underrated. I heard their album Banquet a couple years ago, and it’s irresistible, like Sammy Davis Jr. fronted Traffic or something.
A German outfit fronted by a British singer, Lucifer’s Friend first gained minor notoriety, and later major cult status, as both early practitioners of heavy metal and progressive rock. Formed in 1970 Hamburg, by former German Bonds members Peter Hesslein (guitar), Peter Hecht (keyboards), Dieter Horns (bass), and Joachim Rietenbach (drums), the group was initially dubbed Asterix and recorded an entire album’s worth of material before connecting with singer John Lawton, whose then band, Stonewall, was playing a residency at the city’s famed Top Ten Club. Lawton’s vocals would grace Asterix’s only, eponymous album later the same year, and all involved were excited enough by the results that they immediately began collaborating on more material with which to relaunch the band under the provocative new moniker of Lucifer’s Friend…
Rokk ?ɬ? Reykjavik is an excellent documentary about the Icelandic post-punk scene in the very early eighties. The film strings together interviews and concert footage from a couple dozen post-punk bands, including ?
We haven’t had a Stones related post in days now, time to remedy that with this fantastic live (not lip-sync) performance of Jumpin’ Jack Flash. Keith Richards describes who inspired the songs cryptic lyrics
Jack Dyer, who was my gardener, an old English yokel. I once said, ‘ave you ever been to town? Town, to an Englishman, means London, right? He says, Oh Yea, I was up there when war finished. That cathedral’s something. He meant Chichester, the local big town, seven miles away…We’d been up all night and it was in the morning. Suddenly this sound of boots went by the window, clump clump clump and woke Mick up, What was that?! I looked out, that’s Jack, that’s jumpin’ Jack. Well he’s leaping about a bit. Yeah, I said, it’s “jumpin’ Jack” and then “flash” came and suddenly we were wide awake and we started to work, you know. You never know when they’re going to come.
Check out this (full-length, linked below) BBC Four documentary about Krautrock. The BBC says:
Documentary which looks at how a radical generation of musicians created a new German musical identity out of the cultural ruins of war. Between 1968 and 1977 bands like Neu!, Can, Faust and Kraftwerk would look beyond western rock and roll to create some of the most original and uncompromising music ever heard. They shared one common goal - a forward-looking desire to transcend Germany’s gruesome past - but that didn’t stop the music press in war-obsessed Britain from calling them Krautrock.
Note the first: You are not into Krautrock unless you have heard Deluxe by Harmonia at least 800 times.
Note the second: You are not into Krautrock unless you have read Krautrocksampler by Julian Cope.
Note the third: You are not into Krautrock unless you ARE Julian Cope.