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The Dangerous Minds last-minute shopping guide for rock snobs, audiophiles & culture vultures
12.19.2014
10:03 am

Topics:
Pop Culture

Tags:
Christmas


 
Every year I try to compile a list of the stuff that I’d be happy to get if I didn’t already have it. I’m a difficult person to buy for—I edit a popular blog, so people send me free stuff every single day. Truly I want for nothing when it comes to pop culture products, so I think this list might actually be useful if you’ve got someone infuriatingly difficult to buy for on your Christmas list…

Books

My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles (edited by Peter Biskind) One of the best books I’ve read all year, one of the best books I’ve read period, My Lunches with Orson is a delight from cover to cover. Bitchy, gossipy, profound, funny, wise, egotistical, self-doubting—this book—culled from transcripts of dozens of hours of tapes—probably represents the final great trove of undiscovered Wellesiana. I pray for a sequel and an audiobook version!

The Graphic Art of the Underground: A Countercultural History (Bloomsbury) Ian Lowey and Suzy Prince’s book takes an ambitious survey through the decades of the underground press, psychedelic poster art, punk graphics, album covers, “lowbrow” pop surrealism, the work of Jamie Reid, R. Crumb, Linder Sterling, Winston Smith, Gee Vaucher and more, legitimizing rebel visions and putting them in their proper historical context.
 
 

Conspiracy theories 101: Two great books from Feral House that I could not put down this year were The Essential Mae Brussell: Investigations of Fascism in America, a reader of the written work of the mother of all conspiracy theorists, Mae Brussell (she was normally a radio broadcaster in the 70s and 80s, do a search for her on YouTube and it’ll send you down a rabbit hole from which you will take months to return from) and Caught in the Crossfire: Kerry Thornley, Oswald and the Garrison Investigation by Adam Gorightly about the man who was Lee Harvey Oswald’s one time army buddy as well as being the co-founder of the joke religion of Discordianism popularized by Robert Anton Wilson. I was already a huge fan of Gorightly’s earlier Thornley bio, The Prankster and the Conspiracy and this expanded book really sucked me in with its twisted plot. Wait, plot? This is a biography!

Original Art

Cal Schenkel’s amazingly cheap art sale: Long associated with Frank Zappa and Captain Beefheart, American artist Cal Schenkel has created some of the most striking, freaky and enduringly classic images ever seen on album covers. I’m a big admirer of his work and I was floored to find out how inexpensive his prints—and even his paintings—are going for on his site. Any Zappa or Beefheart nuts in your life? They will love you long time for a piece of art from the great Cal Schenkel!

Music

Speaking of Beefheart, there’s also Sun, Zoom, Spark: 1970 to 1972—this excellent new box set collects the Magic Band’s classic early 70s albums Lick My Decals Off, Baby, The Spotlight Kid and Clear Spot along with a fourth CD of primo, never before heard out-takes. The sound quality of this is exquisite and at long last there’s a version of Clear Spot on CD that doesn’t cut off the last part of the “long lunar note” at the end of “Big Eyed Beans from Venus.” Sacrilege!

If you haven’t noticed—and it would be easy not to, because the format isn’t showing up in many retail outlets yet, mostly just Amazon—over the course of the past two years UMe, the catalog division of Universal Music Group that puts out all of those “super deluxe” sets of classic albums, has started releasing high definition Blu-ray “Pure Audio” discs. These BD discs should be considered as close to the master tape, as heard in the recording studio, as is possible to recreate and experience in your own home. In terms of their HD-DTS Master Audio or Dolby TrueHD tracks, it’s probably not possible to give any more definition to a digital audio signal and expect the human ear to be able to detect it.

So far UMe’s roster of “High Fidelity Blu-ray Pure Audio” discs includes stalwart titles like Nirvana’s Nevermind and In Utero, Supertramp’s Breakfast in America, Miles Davis’ soundtrack album for Louis Malle’s L’Ascenseur Pour L’Echafaud, White Light/White Heat and The Velvet Underground & Nico, Stevie Wonder’s Songs In The Key of Life, Derek & The Dominos’ Layla & Other Assorted Love Songs, Marvin Gaye’s What’s Going On, the fifty song Rolling Stones GRRR! comp, Let It Bleed, and Exile On Main St., Ella & Louis, I Put A Spell On You by Nina Simone, Selling England By The Pound by Genesis, John Lennon’s Imagine, Queen’s A Night At The Opera, Grace Jones’ Nightclubbing, Serge Gainsbourg’s Histoire De Melody Nelson and a handful of jazz and classical offerings, about fifty in all. 5.1 surround mixes of The Who’s Quadrophenia and an expanded version of the Legend collection of Bob Marley’s greatest hits came out this summer via UMe and the label also released a three BD set of three complete 1970 Allman Brothers concerts at the Fillmore East.

The UMe BD releases, especially the ones with 5.1 surround mixes (which sadly ain’t all of ‘em) are nothing short of stunning. The two best that I’ve heard, in terms of their audiophile ability to knock your socks off are Elton John’s Goodbye Yellow Brick Road (you can actually hear the sound of his foot on the pedal of his grand piano) and Beck’s Sea Change (I normally don’t care about Beck, but this album is the first thing I grab to demonstrate the possibilities of high resolution surround sound.)

Another audiophile Blu-ray release of 2014 that was in the “speed rack” next to the stereo for most of the year is Rhino’s CSNY 1974 box set of Crosby, Stills, Nash and Young’s mid-70s stadium tour. Graham Nash personally supervised the mix and it sounds phenomenal. The performances are great, too. It’s so good that the first time I put it on, I listened to the entire thing in one sitting (it’s three hours long) and then when it was done, started it over again and played it all the way through a second time.

It’s a late entry, but the third installment of UME’s stellar Velvet Underground sets The Velvet Underground - 45th Anniversary Super Deluxe Edition is another winner, in fact, as great as the first two have been, I rate this one the highest due to the inclusion of the sparkling live material from the Matrix (which was even recorded in multitrack making it arguably the very best sounding live VU set we have.) The 64-track, six-CD package is housed in a hardback book and features several 1969 recordings that were supposed to be for the band’s fourth album, but that ended up rerecorded on Loaded and Lou Reed’s first two solo albums. Those same numbers came out in the 1980s on VU and Another View, but they sounded weak and this release greatly improves upon them.

William S. Burroughs-related

This year, the centennial of his birth, saw continuing fascination with the life and work of William S. Burroughs. I recently finished reading Barry Miles’ exhaustive Call Me Burroughs: A Life, which is, and is likely to remain, the single best WSB biography. It’s 635 pages with extensive endnotes. Another Burroughs biography of a decidedly more narrow scope than Miles’ 635 page book that I also enjoyed reading in 2014 is Scientologist!: William S. Burroughs and the ‘Weird Cult’ by David S. Willis. This book covers—in scholarly detail—Burroughs fascination with Scientology. Although it is widely known that the author was at one time Scientology’s #1 enemy, writing scathing criticisms in the underground press and men’s magazines, what is less known and understood is how deeply into the ideas of L. Ron Hubbard he really was. And for quite a while, too. Sets the record straight. Burroughs was a “Clear”!

Additionally, one of the most exciting developments in Burroughs scholarship in recent years is represented by the two books by Malcolm McNeil, his close collaborator on Ah Pook is Here, an ambitious graphic novel project from the early 70s that would never see the light of day. McNeil’s Observed While Falling: Bill Burroughs, Ah Pook, and Me is the memoir part of what amounts to a two volume set, while The Lost Art of Ah Pook Is Here is a large, glossy coffee table book collecting the gorgeous finished art and sketches of the project. No fan of WSB, unusual art or a compelling narrative (McNeil is a very good writer) will be unhappy with getting these books from you, but you should gift them both as they really go together.

Give the gift of binge watching: “Mary Hartman, Mary Hartman!”


Mary Hartman, Mary Hartman: The Complete Series (Shout Factory) I received this last year and I am now about 2/3 of the way through it. If I only got the MH, MH box set (38 DVDs, 325 episodes, plus ten episodes of Fernwood 2Night with Martin Mull and Fred Willard) in 2013, it would still would have been my best Christmas ever. It is astonishing how well this show has aged, and just how far ahead of its time the humor was, too. In a longer post about Mary Hartman, Mary Hartman, I said that this long lost, fondly-recalled series was arriving just in time for the binge watching generation and I am still enjoying it immensely over a year later. In a category of its own.

$$$$ (These next items are “big gifts” and would only be appropriate for someone who you really, really like)

The Complete Zap Comix box set. There is no way, none, that this hefty (23 lbs!) box set of the classic underground comic would fail to impress your loved one. Showcased in five sturdy volumes housed in an oversized box, the classic work of Robert Crumb, S. Clay Wilson, Robert Williams, “Spain” Rodriguez, Gilbert Shelton, Victor Moscoso, Rick Griffin and Paul Mavrides has never looked better and has been cleaned up nicely for this high quality publication. It even comes with beautiful lithographs of every Zap cover in a special portfolio. I’ve reviewed this beauty at length here, so I will send you there for more information. My favorite thing of the year, hands down.
 



 
This one is pricey, but it’s worth it: the OPPO BDP-105D Universal Audiophile 3D Blu-ray Player Darbee Edition, the Swiss army knife of fine sound and vision. Forget about how amazing it sounds (and looks—it does 4k upscaling on the video) and the quality of the build—like an Apple product—I find this player especially useful for music on USB drives. If you’ve got a lot of high quality digital music, this player will change your life. It’s got all sorts of bells and whistles that make getting something like this on Christmas day comparable to getting an entirely new record collection, because every single thing you own is going to sound better played on it. Even some vinyl die-hards are coming around to digital when it sounds as good as it does coming out of the OPPO BDP-105D Universal Audiophile 3D Blu-ray Player Darbee Edition. (Read the top reviewer, you’ll be salivating over this thing. It’s what convinced me to pull the trigger.)
 

 
Pioneer put out a line of low cost speakers designed by their chief speaker engineer Andrew Jones, a man known for making speakers that sell for $70k and now audiophile who can afford speakers that expensive find themselves preferring these popular boxes. Jones set himself the challenge to make the best possible speaker for the lowest possible price utilizing Pioneer’s vast resources, bulk purchasing power and production chain. The result is that the various models in the line of Andrew Jones Designed speakers have absolutely mind-blowing sound for a fraction of what it normally costs to buy sound gear this crazy good. A pair of Jones’ bookshelf speakers—perhaps the best smaller speakers I have ever heard—cost just $125. Two of the towers will set you back $260, but the sound is pretty priceless if you ask me.

And finally, another item from last year that’s returning to this year’s: Dangerous Minds pal Alexander Rosson is the CEO and chief scientist/inventor behind the high end Audeze headphone line. The brand has been given every audiophile award under the sun in 2014. I describe them as being a bit like having tiny Magneplanars strapped to your head.. While Audeze headphones are certainly not cheap, it could be argued that for someone who aspires to own a $20,000 dollar stereo, but will never be able to afford it, these puppies are actually quite a bargain and built for a lifetime of use. The Audeze cans are featherlight and covered in supersoft leather. If Audeze are the Bentley of headphones, then Beats would be like… the Pinto.

Posted by Richard Metzger | Discussion
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‘Lost in Space’: Dr. Zachary Smith screams!

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Whoever suggested that “in space no one can hear you scream” had obviously never watched or more accurately heard Dr. Zachary Smith shriek in terror at the many alien lifeforms he encountered in sixties’ sci-fi series Lost in Space. Anyone who ever watched this particular show will remember two things: the Robot—apparently a “Class M-3 Model B9, General Utility Non-Theorizing Environmental Control Robot,” and the cowardly, interfering, cunning and comic Dr. Zachary Smith unforgettably played by Jonathan Harris—an actor whose mere appearance on screen could enliven the dullest fair. Though neither of these characters were included in the original unaired pilot, both quickly became central to the show’s success.

Lost in Space (1965-68) followed the (mis)adventures of the “Space Family Robinson,” a clan of astronauts, astrophysicists, biologists and their incredibly smart offspring, whose expedition into space was sabotaged by Dr. Smith, sending them altogether with their rocket (Jupiter Two) into the furthest reaches of the universe.

Jonathan Harris was a damned fine actor who, with his clipped mid-Atlantic accent and refined features, once considered the possibility of becoming another Cary Grant, but sense thankfully prevailed,and Harris knew he was best suited to being a character actor. Harris was originally just a guest star on Lost in Space, but as the series developed, and budgets were cut, he was encouraged to rewrite his dialog (“Never fear, Smith is here!” “Oh the pain, the pain…”) and add mannerisms to his character, as co-star Billy Mumy, who played Smith’s young side-kick the child prodigy William, said in 2002:

“...we’d start working on a scene together, and he’d have a line, and then in the script I’d have my reply, and he’d say, ‘No, no, no, dear boy. No, no, no. Before you say that, The Robot will say this, this, this, this, this, this, and this, and then, you’ll deliver your line.’

“He truly, truly singlehandedly created the character of Dr. Zachary Smith that we know — this man, we love-to-hate, coward who would cower behind the little boy, ‘Oh, the pain! Save me, William!’ That’s all him!”

For those who fondly remember Lost in Space, or just fans of the great Jonathan Harris, this three minutes of Dr. Zachary’s screams are utter bliss.
 

 
With thanks to Tim Lucas!

Posted by Paul Gallagher | Discussion
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Just a week after Pirate Bay raid, Tribler makes shutting down BitTorrent impossible


 
When police in Sweden carried out a raid on a server farm in Stockholm on December 9th, seizing servers, computers and other equipment and simultaneously knocking The Pirate Bay and several other prominent torrent trackers (including EZTV, Istole, Zoink and Torrage) offline, it was assumed that they’d struck a crippling blow to the BitTorrent ecosystem.

But before Hollywood and the music industry could celebrate comes the news that a team of Dutch researchers at Delft University of Technology have figured out how to make BitTorrent completely anonymous and remove the necessity of central servers, producing a new client—called “Tribler”—that will keep things alive, even after all torrent search engines, indexes and trackers have been pulled offline.

Tribler’s lead researcher Dr. Johan Pouwelse told Torrent Freak: “Tribler makes BitTorrent anonymous and impossible to shut down.”

“Recent events show that governments do not hesitate to block Twitter, raid websites, confiscate servers and steal domain names. The Tribler team has been working for 10 years to prepare for the age of server-less solutions and aggressive suppressors.”

After last week’s Pirate Bay raid Tribler saw a 30% increase in downloads. The tax-supported team at Delft are confident that their encrypted torrent client can make the Internet safer for downloaders:

“The Internet is turning into a privacy nightmare. There are very few initiatives that use strong encryption and onion routing to offer real privacy. Even fewer teams have the resources, the energy, technical skills and scientific know-how to take on the Big and Powerful for a few years,” Pouwelse says.

You can download Tribler here. There are versions for Windows, Mac and Linux and Tribler is completely Open Source.

Posted by Richard Metzger | Discussion
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The women of ‘Twin Peaks’ re-imagined as Sailor Jerry style pin-ups
12.18.2014
06:49 am

Topics:
Amusing
Art
Pop Culture
Television

Tags:


 
San Francisco based illustrator Emma Munger is a recent MICA grad who’s working in a comix shop while producing fun portfolios inspired by the famed tattoo artist Norman “Sailor Jerry” Collins. Though she’s done pin-ups and flash pages of characters from Orange is the New Black, Ferris Bueller’s Day Off, Parks and Recreation, and Thelma and Louise, her largest collection is the women of Twin Peaks. You may never look at the Log Lady the same way again, and before you even ask, yes, Agent Bryson is indeed one of the ladies. Prints of Munger’s work are available from søciety6.
 

Laura Palmer
 

Nadine Hurley
 

Audrey Horne
 

Denise Bryson
 
Log Lady and much more (some slightly NSFWish) after the jump…

Posted by Ron Kretsch | Discussion
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Riot Squad toys: Train your tots to quash rebellion for their capitalist overlords


“Police Force Role Play Set for kids with Combat Vest, Riot Shield, Badge, Handcuffs, Machine Gun Toy, Grenade, Club & Knife”
 
I’m not actually particularly against “war toys.” Kids have violent little imaginations, and I don’t think there’s any causal correlation between acting them out and actual shootings—lots of kids have toy swords, but it’s not like we’re dealing with a rash of impalements. That being said, there is something about riot squad dress-up sets and riot squad vehicle LEGO sets that’s particularly gross, probably because it’s a much more literal representation of a visible violent institution. I mean, when kids play soldier, there’s the antagonist of a foreign “enemy” that keeps it a distant fantasy. Even when kids play “policeman,” it’s a kind of generic take on justice, like being a “sheriff,” but come on, a riot squad? What are they supposed to be doing, playing Ferguson?

I would expect this from a dress-up kit (costume companies are run by insane people, for insane people), but I feel so sad about LEGO stooping to this level! Look at those little minifig pigs! You have to wonder who among the children who will receive these toys will grow up to be dissidents, and who among them will join the other side, right? This is probably about as insidious as war toys are, of course, but can’t we at least agree there’s something creepy about tiny little running dogs of capitalism with itty-bitty riot shields?

EDIT: The “LEGO”-looking toys are not LEGO-brand, but a counterfeit block set, much to our relief. Apologies to readers for the misunderstanding, and apologies to LEGO for besmirching their noble name.
 

Riot Police Car, 325 piece set
 

Minifigs from above LEGO set

Posted by Amber Frost | Discussion
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The marvelous cover art of the early ‘Star Trek’ comic books


 
Poor Gold Key Comics. Despite their stewardship of tons of familiar titles, they always ranked a tier (or three) below the A-list. While Marvel and DC had all the high-octane superhero star power, Gold Key largely got by on licensing properties from other media. They did comic book tie-ins with Hanna-Barbera, Warner Brothers, and Disney cartoons, and brought TV shows like The Man from U.N.C.L.E., The Twilight Zone, H.R. Pufnstuf (!!!), Dark Shadows and Star Trek to the comics racks. Amusingly, some of their tie-in comics outlived by years the original TV series’ upon which they were based, but the company’s fortunes waned throughout the 1970s, and after they lost the lucrative Trek license to Marvel in 1979—just months before that franchise’s cinema revival—their days were numbered. Gold Key was done for by the mid 1980s.

But though they were never the heaviest hitters, Gold Key weren’t wanting for talent. A young Frank Miller’s first pro gig was illustrating a story in The Twilight Zone, and ‘60s-‘80s sitcom deity Garry Marshall wrote scripts for some of their titles. And they had cover painter George Wilson. It’s is beyond frustrating how difficult biographical data on Wilson is to come by. Despite being as prolific as he was accomplished, he has no Wikipedia entry, and searches for his work are complicated by the existence of a pulp novel cover illustrator by the same extremely common name. But his obscurity—and I get that he was basically a jobber, but still—does nothing to diminish his gifts, and it’s just all kindsa wrong that as yet there’s been no big, lavish, coffee-table book collecting his work. He produced incredible numbers of vivid, exciting, superbly designed, impeccably rendered, ridiculously fun cover paintings for Gold Key’s sci-fi, adventure, and horror titles, including many for Star Trek. A lot of the covers that weren’t by Wilson were thrown-together photo illustrations. We suspect you’ll agree that these are far preferable.
 

 

 

 
More after the jump…

Posted by Ron Kretsch | Discussion
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Double-O-Heaven: Behind the scenes of 25 James Bond films

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When it all began: ‘Cubby’ Broccoli, Sean Connery, Ian Fleming and Harry Saltzman discuss filming ‘Dr. No,’ 1962.
 
Noël Coward told his friend Ian Fleming to get on and “write his bloody book,” as he had been talking about it for too bloody long. Fleming had a good idea of what he wanted to write and why he wanted to do it, but he did not get round to writing his first James Bond novel Casino Royale until 1952. His reasons for writing were complex—he wanted to prove he could do it as his brother was a highly acclaimed travel writer, while his future wife and their close friends were part of a glittering and dreadfully snobbish literary set; and Fleming liked the money being a successful writer might bring, though he did claim he wrote for pleasure and only published for money.

Fleming later rather disingenuously described his books as “the pillow fantasies of an adolescent mind,” which belied the truth that his fictions were well written, stylish and contained the structure most thriller writers would imitate over the succeeding decades. He was an assiduous worker writing 2,000 words a day—a hard discipline he had learned from his time as a journalist, which had also taught him the importance of economy in descriptive writing:

“If you interrupt the writing of fast narrative with too much introspection and self-criticism, you will be lucky to write five hundred words a day.”

When Casino Royale was first published in 1953, it was rightly praised by readers and critics alike, with the poet John Betjeman astutely pointing out that Fleming had “discovered the secret of narrative art.” The following year saw the publication of Live and Let Die, then Moonraker in 1955 and Diamonds Are Forever in 1956. After the overwhelming critical success of his first Bond novel, the literati were quick to turn on Fleming and damn his books as pornographic, unhealthy and obsessed with sadomasochism. However, he did have his supporters, key among which were Raymond Chandler, who considered Fleming as a “most forceful and driving” thriller writer, while Noël Coward correctly stated that Fleming’s books would outlive the literary critics and their weighty tomes.

Fleming was never of robust health, and after being mauled by the snobbish reviewers, he decided to put his all into his next book, 1957’s From Russia With Love, setting Bond up with a fateful and near fatal confrontation with SMERSH Colonel Rosa Klebb and her hired assassin the psychopathic serial killer Red Grant. It was a winning roll of the dice especially once President John F. Kennedy said From Russia With Love was one of his favorite novels, which quickly established Fleming as major writer on both sides of the Atlantic.

With greater success in America, Fleming’s books were soon the source of much consideration from Hollywood—but this proved to be false bonhomie and an excess of hot air. Eventually, film producer Albert “Cubby” Broccoli formed a company with a former circus performer and intelligence agent, Harry Saltzman, who had bought the rights to all of Fleming’s books (except Casino Royale) called EON—“Everything or Nothing.” The pair decided to film Dr. No and began considering potential actors for the role of Bond. Fleming wanted the likes of Cary Grant or David Niven, but Broccoli and Saltzman held out for a little known Scottish actor called Sean Connery. At first, Fleming was none too happy, but after being told by a close female friend that Connery had “it” he decided to agree on having the former milkman, body builder and coffin polisher star as James Bond.

The success of the Bond films was far greater than either Fleming, Broccoli or Saltzman had considered, spanning six decades and six different actors in the title role—from the first film Dr. No in 1962, to the recent announcement of next year’s release of the 24th official Bond movie Spectre, it is difficult to imagine a time when there won’t be a new James Bond movie on the horizon.

While everyone has their own favorite James Bond—usually the actor they first saw in the role—this selection of stills shows the diverse nature of Bond from 25 different official and unofficial (the comic Casino Royale (1967) and Connery’s reprise in Never Say Never Again) 007 movies and the incredibly durability of Ian Fleming’s creation.
 
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‘Dr. No’ (1962)
 
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‘From Russia With Love’ (1963)
 
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‘Goldfinger’ (1964)
 
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‘Thunderball’ (1965)
 
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‘You Only Live Twice’ (1967)
 
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‘Casino Royale’ (1967)
 
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‘On Her Majesty’s Setvice Service’ (1969)
 
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‘Diamonds Are Forever’ (1971)
 
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‘Live and Let Die’ (1973)
 
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‘The Man With The Golden Gun’ (1974)
 
More after the jump…

Posted by Paul Gallagher | Discussion
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They’re creepy and they’re kooky: Audition photos for ‘The Addams Family,’ 1964
12.04.2014
11:44 am

Topics:
Pop Culture
Television

Tags:
The Addams Family


 
I had a good time looking through these audition photos for The Addams Family dated 1964. It’s just plain weird (and fascinating) to see other actors and actresses trying out for these iconic roles because I simply can’t imagine anyone else playing them. 

Clearly John Astin who played Gomez Addams was cast first. You can see in the photos that they’re testing the Morticia wannabes’ onscreen chemistry with him. Cara mia!


An actress who looks like Julie Newmar (but isn’t) trying out for the role of Morticia
 

John Astin with actress auditioning for the role of Morticia
 

John Astin with a Morticia wannabe
 

John Astin and another hopeful Morticia
 

A would-be Morticia Addams
 

John Astin with yet another actress auditioning for the role of Morticia
 
More Addams audition photos after the jump…
 

Posted by Tara McGinley | Discussion
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Visible Girls: London’s lost female subcultures

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Lynne and Penny at home in Kingston, March 1981.
 
In the early 1980s, photographer Anita Corbin documented the “informal uniforms” of young women’s subcultures across London. Corbin photographed rude girls, rockabillies, mods, skinheads, and some “less defined” female groups including soul, rasta, punk and futurist, as well as those involved “in and around the women’s liberation movement.”  Her photographs were exhibited in a traveling exhibition organized by the Cockpit Gallery Project called Visible Girls in 1981.

In her introduction to the Visible Girls exhibition, Corbin wrote:

In this project I turned my attention to more personal visual details and I became increasingly interested in the effect appearences have on everybody’s lives.

The way we use dress as a means of communication/identification and how it can both inform and misinform us.

I have chosen to focus on girls, not the boys (where present) were any less stylish, but because girls in “subcultures” have been largely ignored or when referred to, only as male appendages.

Corbin discovered that for these young women belonging to a subculture was not just a weekend hobby but a whole way of life.

More than thirty years later, Anita Corbin has reconnected with some of the women in her photographs, but would like to contact them all, if possible. If you recognize yourself or any of these women, then you can contact Anita here.
 
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Kath and Em, at home in Putney, October 1980.
 
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Simeon and Simeon, at the Orchard Youth Club, Slough, March 1981.
 
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Charmine and Janice, at the Orchard Youth Club, Slough, March 1981.
 
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Rockabilly girls, at Shades, Manor House, February 1981.
 
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Titch and Sylvia at home in Sudbury, March 1981.
 
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At the Marquee club, December 1980.
 
With thanks to Elizabeth Veldon, via Buzzfeed.
 
More of Anita Corbin’s ‘Visible Girls,’ after the jump….
 

Posted by Paul Gallagher | Discussion
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‘How To Blow Your Mind And Have A Freak Out Party’: The stupidest record of the 1960s?
11.25.2014
12:01 pm

Topics:
Drugs
Music
Pop Culture

Tags:
psychsploitation

kjtggytft
 
I have been avidly buying records since I was eight. By that age, I had a pretty full grasp of rock and roll and its furthest reaches (the second record I ever bought was Mothermania by The Mothers of Invention). I “got” what oddball records were and looked for them specifically. The Audio Fidelity label was for the most part the home of sound effects records, newfangled stereo experiment records with bongos going back & forth from speaker to speaker, calliope music, Nazi marching orchestras and all other kinds of similar cheapo ephemera. It was a budget label like the ones pre-VU Lou Reed worked for, but it rarely delved into rock and roll. There was a three-volume set called Jet Set Discotheque with a few truly remarkable garage tunes from god knows where and a little later, this psychedelic abomination, How to Blow Your Mind and Have a Freakout Party.
 
ddyjyvk
 
Had this come out on the ESP Disk label (and it certainly could have) it would have found fans who “dug” the Fugs and other off-kilter freaks, but because it was on this un-hip “bow-tie-daddy” label it aroused suspicion and was relegated to stay where these records were placed anyway, even when they were brand new—in the 99 cent cut-out bin.

Don’t get me wrong, this is most definitely an exploitation record (or a “psychsploitation record” as they are known in deep record collector lingo). Most exploitation records are recorded by older hack musicians with no clue of the subject matter (which is what gives them their charm, especially when they’re trying to be psychedelic). This record was most definitely recorded by young people. On acid. It’s crude, young, and innocently dumb, which is what saves it from being just another boring psych record. The art also resembles a kids school book drawing version of the great Cal Schenkel art on the Mothers of Invention LP covers.

I found this in a used record store in 1972 and knew immediately from the cover that I would love it. And I was right. The record is experimental beyond its time, has incredibly bizarre effects I’ve never heard on any other record from this time period, plus catchy songs (at least on side one). Around the same time I bought a Grateful Dead record and expected it to sound just like this due to their extreme hype, not the boring country record I wound up being disappointed with.
 
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The band credited is called The Unfolding. There is one name I recognize, David Dalton. There is a David Dalton won the Columbia School of Journalism Award for his Rolling Stone interview with Charles Manson, wrote bios on Andy Warhol, Sid Vicious, The Stones, Janis Joplin, Jim Morrison, etc., and he co-wrote Marianne Faithfull’s autobiography. I have no idea if this is the same person but it very well may be as this was a New York label and Mr. Dalton was a New Yorker (the CD reissue liner notes are no help in this department).

This record was most certainly made for a kid like me. It comes with hysterical instructions on “how to freak out,” plus an insert where you can send for psychedelic “stuff” for your very own freakout party! The TV trick is my favorite and the first thing I ran to try, messing up my parents TV in the process!
 
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You can really turn your guests on with a mind-blowing light show with two things you probably have in your house right now: a TV set and a see-through kaleidoscope (not the kind with colored glass in the bottom). First put a rock and roll record on the phonograph. Turn on your TV and make the image jump in time to the music by turning the vertical knob all the way to the left or right. Now point the kaleidoscope at the TV screen. This is a guaranteed TRIP. Now play the same record at another speed. YOU ARE NOW FREAKING OUT. Enjoy it.

 
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To set the scene for the party, spray pop bottles or an old chair with DAY-GLOW PAINT in bright colors, then light the whole room with DAY-GLOW light (you can buy these in any hardware or art-supply stores). This will make everything glow with weird luminous psychedelic colors. Guaranteed to blow their minds right away.

There’s even instructions on how to dress:

Wear bright really out-of-sight combinations, things that look strange together. GIRLS! This is a chance to wear something exotic and fantastic that you wouldn’t get a chance to put on. Perhaps spray an old pair of shoes with DAY-GLOW and wear DAY-GLOW tights to match. Bright oranges and greens, goofy jewelry, peacock feathers as earrings and a super mini-skirt.  GUYS! The idea is to look cool and mysterious, so wear moccasins, prayer beads, or Indian bells, psychedelic buttons, and groovy mod clothes. If you really want to blow your guests’ minds, paint your face in wild colors. It’s a chance to use some way-out make-up effects. Paint flowers on your arms and wear a mystical PSYCHEDISK on your forehead. Hypnotize your friends with its hallucinating effect.

In case you don’t have it memorized, they clue you into the (hysterical) “Psychedelic Top Ten”!
 
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A few more instructions with a green and purple gleam in their winking third eye and we’re on our way:

Invite your grooviest friends, people who really swing, and enjoy exploring new and exciting experiences. BLOW YOUR MIND, FREAK OUT, etc. on pieces of colored paper, then glue them on to a piece of tinfoil and fold. This will let them know what kind of scene it’s going to be. Ask everyone to bring things they really dig: records, candy, people, flowers, books on flying saucers, kooky things. Tell them it’s a costume party and to come in their most out-of-sight clothes. Tell them it’s going to be a happening; they’ll get the message.

 
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By now your guests should be really grooving with your head. Get everyone involved in way-out conversations. Read your horoscopes. Compare the personalities of people born under different signs.

Oddly they leave almost nothing to your imagination, truly the antithesis of a psychedelic experience, but they must have known the plastic people they were aiming this at.
 
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The record is broken into two parts in more than just the physical sense. The great side A (Acid Rock)  is the where all the actual songs are: “I’ve Got a Zebra—She Can Fly,” “Play Your Game,” “Girl from Nowhere,” “Flora’s Holiday” and “Love Supreme Deal.” Then the heavy comedown of the slow moving side B: “(Meditations) featuring Prama,” “Electric Buddha,” “Hare Krishna” and “Parable.” It is is a heady mix of weirdness, chanting and sound effects (from the Audio-Fidelity library no doubt) and is meant for the coming down period (of course the record is only 35 minutes long so good luck. Good luck on even turning a record over while tripping your ass off… how did we DO that? Haha and truly, good luck on even listening to side two with its babbling nonsense surrounded by slide whistles, bells, and backwards thingamajigs). You can hear the whole record in this YouTube clip Listen Seriously Dudes!
 

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