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The single greatest Public Image Ltd. bootleg, ever: The original band, live in New York, 1980


 
In the 80s and 90s heyday of the “VHS tape trading underground”—from whence oozed choice fare like Jeff Krulik and John Heyn’s “Heavy Metal Parking Lot,” Todd Haynes‘ unorthodox Karen Carpenter bio Superstar and Apocalypse Pooh—the territory was covered in every major city and college town by a small cast of characters—often marginally employed losers who gained a certain amount of notoriety and geek pecking order prestige by the scarcity of their video treasure chests.

These social outcasts and otaku misfits usually kept tight reins on what they had. The less uptight of these guys would trade a full two hour tape for another full two hour tape, whereas others would demand two tapes for every one they traded you. Many were real pricks and would only trade for something they wanted, not something that you wanted. (The sort who might say “Sorry man, but rules are rules.” You know the type.) In this way, back then bootleggers and tape traders were the clutch point between collectors and what they coveted most. It wasn’t unusual for bootleg VHS tapes to sell for $50. “Deals” would be brokered between two assholes, one with a pristine 2nd generation of the demented TV movie Bad Ronald, the other frantically bargaining with him because, of course, acquiring a copy of a shitty movie like Bad Ronald was a matter of extreme importance. With Bittorrent, and before that eBay, this vibrant—albeit somewhat stunted and idiotic—fanboy culture eventually evaporated.

I cannot tell you how many of these dumb “negotiations” I was involved in myself, often with some pretty petty Gollum-like characters. Luckily I had several good “trading cards” in my hand to play, so I always got what I wanted. Three “top traders” that I will admit to back then were Robert Frank’s rarely seen Rolling Stones documentary Cocksucker Blues that I got via a guy I worked with who had himself transferred the film to tape under Robert Frank’s personal supervision; another was the oddball black and white latenight TV commercial for Captain Beefheart’s Lick My Decals Off, Baby album (dubbed by me from an ancient 2” videotape master possessed by an MTV producer who told me to make a copy for myself) and a sharp, first generation dub of an off air recording of Public Image Limited on American Bandstand.

I bring up the PiL clip in particular just to mention that the version that was used on a well-circulated bootleg PiL DVD anthology—one which Amazon used to sell like it was a legit release—that came out about 15 years ago was a grandchild (at least) of my Bandstand clip. I could tell this—definitively—because of the split-second of what preceded it, an outtake of the same Cramps set that was shot for Urgh! A Music War. The clip had been trading around for maybe fifteen years at that point and now it had come full circle. (As for Cocksucker Blues, if you see a brief videotape warble just as the title card fades out...)
 

 
But that’s how those things used to get around. They were quite literally copied one at a time and spread from hand to hand. Which brings me to the topic of this post, another PiL performance—unquestionably the greatest live PiL performance on video—director/editor Paul Dougherty‘s short document of PiL performing at the Great Gildersleeves, a low rent heavy metal bar in NYC, on April 22, 1980 that was bootlegged on this very same DVD. When I bought my copy—at the Pasadena Flea Market—as I scanned the contents and saw that this was on it, I thought I’d hit bootleg PiL paydirt. Sadly it was poor quality.

Now I know Paul. I actually met him at a screening of the PiL Tape, his video for Suicide’s “Frankie Teardrop” and his classic clip for Pulsallama’s “The Devil Lives in My Husband’s Body” when he was showing them at the ICA in London. Many times over the years I’ve asked him for a copy of the PiL Tape—he knows that I’m a complete PiL freak—and every time he just firmly said “No.”

He gave an interview to the The Filth and the Fury fanzine about the so-called PiL Tape in 1999:

Have you any idea how the bootleg videos of your film surfaced? The amazing thing is that until a couple of years ago no one even knew PiL had played the gig, let alone knew that it was filmed!

Paul Dougherty: I have a strong hunch how it leaked but I’m not certain. Because I know all too well how easy it is to copy videos, I was able to keep it bottled up for over 15 years.

Keep reading after the jump…

Posted by Richard Metzger | Leave a comment
Watch DEVO’s first-ever live performance at Kent State University, 1973
04.29.2016
09:10 am

Topics:
Music
Punk

Tags:
DEVO


 
This clip of DEVO’s very first performance—so early in their career it predates the demo recordings that make up the Hardcore DEVO collections—surfaced on the laserdisc of The Complete Truth about De-Evolution 23 years ago. I assume it’s on the DVD, too, but I’ve only seen the laserdisc.
 

 
While the sleeve of The Complete Truth says this show happened in 1972, I’m convinced by the detailed notes at DEVO Live Guide, which date it to the Kent State University Creative Arts Festival on April 18, 1973. Billed as “Sextet DEVO,” founders Mark Mothersbaugh, Gerald Casale, Bob Casale (RIP) and Bob Lewis were joined by short-term spuds Rod Reisman and Chas. Frederick Weber III. Jerry says the group performed at the invitation of poet Robert Bertholf:

It was not really a band. We just called it Sextet DEVO because I had been doing de-evolutionary art… Bob Lewis’ connection to Bertholf sealed our position in the lineup, and then he demanded that Fred [Weber] sing because Fred was a beautiful singer and none of us could sing right.

Without further ado, here’s D-E-V-O from O-H-I-O playing “Private Secretary.”
 

Posted by Oliver Hall | Leave a comment
‘F*cked Up Donald’: Punk legends, D.O.A. eviscerate Trump
04.29.2016
08:05 am

Topics:
Music
Punk

Tags:
Donald Trump
Joey Shithead
D.O.A.


 
Active since 1978, Vancouver’s punk stalwarts D.O.A. are still as pissed off as ever. The group, led by Joey “Shithead” Keithley, remain quite active both musically and politically and are set to release a new single, an ode to one Donald J Trump, titled “Fucked Up Donald.”

The song is a reworking of their 1981 indictment of Ronald Reagan, “Fucked Up Ronnie,” which appeared on their Positively EP and on the Bloodied But Unbowed singles compilation album. Even THAT song was a re-working of a song called “Fucked Up Baby” that Keithly wrote in 1977 for his earlier band The Skulls. The original “Fucked Up Ronnie” is one of D.O.A.‘s most classic songs and this new updated version is just as ripping as the original—like so much so that it actually took me aback a bit.

The 85 second hardcore admonition takes the Donald to task for his anti-Mexican and anti-woman stances as well as his disastrous ideas on foreign policy, and is just an all-around killer slab of meaty punk.

According to the band, they “slammed this frantic piece of ‘Let’s fight this bullshit!’ down in 15 minutes flat” with producer Cecil English (No Means No, D.O.A., Jello Biafra, The Smalls). Cut the shit and start the pit, eh?

The B-side of the single is slated to be D.O.A.‘s cover of Barry McGuire’s immortal and still quite timely, “Eve of Destruction.”

Check out this Dangerous Minds exclusive premier of “Fucked Up Donald”:
 

 

And after the jump, for old-time’s-sake, the original, “Fucked Up Ronnie”...

Posted by Christopher Bickel | Leave a comment
When Joy Division met William S. Burroughs


 
When you consider all of the famous and infamous people who William Burroughs met in his lifetime, maybe the “Six Degrees of Kevin Bacon” game should be adapted for the late Beat author. I’d have a “Burroughs” of one, as I met him (briefly) in Los Angeles in 1996 at his big art opening at LACMA.

At the Reality Studio blog, there’s a fascinating tale, told in great detail, about the time Joy Division shared the same stage with Burroughs, Brion Gysin and Cabaret Voltaire in Belgium. Ian Curtis was an avid reader and favored counterculture fare like J.G. Ballard, Michael Moorcock, Nietzsche, Jean-Paul Sartre and Hermann Hesse. William Burroughs was one of his biggest heroes.

Joy Division was given its first opportunity to play outside the United Kingdom on 16 October 1979. That alone would have distinguished the gig for the band, but of special interest to Curtis and his mates was the fact that they would be opening for Burroughs. The avant-garde theater troupe Plan K, which had made a specialty of interpreting Burroughs’ work, were founding a performance space in a former sugar refinery in Brussels, Belgium. The opening was conceived as a multimedia spectacle. Films were to be screened — among others, Nicholas Roeg’s Performance (starring Mick Jagger) and Burroughs’ own experiments with Antony Balch. The Plan K theater troupe were to perform “23 Skidoo.” Joy Division and Cabaret Voltaire were to give “rock” concerts. And Burroughs and Brion Gysin were to read from their recently published book, The Third Mind.

Before the evening’s events, Burroughs and Joy Division gave separate interviews to the culture magazine En Attendant. Graciously provided to RealityStudio by the interviewer and the organizer of the Plan K opening, Michel Duval, these have been translated from the French and are reproduced here for the first time since their publication in November 1979. You can read the French original or the English translation of Duval’s interview with Joy Division, as well as the French original or the English translation of Duval’s interview with William Burroughs.

After Burroughs’ reading brought the opening of Plan K to its climax, Curtis attempted to introduce himself to his literary idol. This meeting, like so many things about both Curtis and Burroughs, has already become legend — which is another way of saying that its factual basis may have receded into darkness. If you search around the internet, you’ll see sites describing the encounter in terms like this: “Unfortunately when Ian went up to talk to him the author told Ian to get lost.” And this: “Burroughs probably was tired and bored with the concerts and when Ian went up to talk with him the author told Ian to get lost. Ian got lost immediately, not a little hurt by the rebuff.” Chris Ott’s book Joy Division’s Unknown Pleasures repeats the story, and Mark Johnson’s book An Ideal for Living asserts that Burroughs refused to speak to Curtis.

More after the jump…

Posted by Richard Metzger | Leave a comment
‘Anarchy!’ Malcolm McLaren, punk rock’s Molotov cocktail


 
Phil Strongman’s new documentary Anarchy! McLaren Westwood Gang is a politically-fueled, fashion-conscious deeper look at how the English punk explosion was ignited—how the bomb was built and under what circumstances, in other words.

Coming in at almost two and a half hours with an incredible cast of characters, Anarchy! McLaren Westwood Gang traces Malcolm McClaren back to his birth with loads of never before seen films and photos, personal information and interviews with family members, friends and others, taking us into the all important mid-sixties where the real nucleus of the Sex Pistols concept begins to form within the Situationist movement, King Mob (the UK equivilent), art school and observing the tribal customs and costumes of rock ‘n roll fanaticism.

The 1968 the French student riots had a huge influence on McLaren, who travelled to Paris at the time, and there were key players from that era who played recurring roles in his life. Much of the concepts and ideas—art, slogans, everything really—originated there and then. The interviews with the people from this period were what I wanted to see most and there was no disappointment. The interviews with Malcolm himself indicate that he still was speaking in slogans right up to the very end.
 

 
If you’re looking for yet another love letter to punk rock (yawn) with the same old crap stories, then keep on pogoing as this is a very interesting (for the most part) tale of politics, sex, drugs, bombs, rock ‘n roll, and the all important fashion accessories to wear whilst bombing and rocking and rolling and fucking on drugs. If punk never really happened and this was just a wild tale of a bunch of crazed young people that tried to accomplish what punk wrought and failed, it would still be just as interesting. The fact that first an entire country and then the entire world sat up, noticed, listened and actually feared this tiny group of absurd-looking lunatics (some leading, most following) on their search and destroy mission is incredible to contemplate. Today they’d just be given their own reality TV show.

It’s a bit of a revelation for those who think a few drunk idiots formed a band and yelled and jumped around a lot while desperately trying to learn how to play their instruments. (Even at this late date it is still being said that these guys could not play or sing, which is ridiculous as is easily proven by any Sex Pistols live performance video from any period.) However, someone could have done enough homework to know to leave out Ben Westwood’s totally wrong assumption (stated as fact, of course) that Sid’s mom and girlfriend gave him heroin that he overdosed on (I personally was there that night and I and enough other people have done countless interviews stating what really happened). He even calls Methadone, Methadrone (good name for a band actually). Other than these two minor problems, and the rather large objection that for a film titled Anarchy! McLaren Westwood Gang it’s quite light on the Westwood side of things, this very long film goes by very quickly, and is really well made. Director Strongman was good friends with McLaren, having worked in the Glitterbest offices (the Sex Pistols management company) and was an actual eyewitness to much of what he is discussing here.
 

 
There lots of great interviews with everyone from Adam Ant to Don Letts to Tracey Emin to Boy George (who tells a great story about when he sang for Bow Wow Wow) to Sex Pistol Paul Cook (with amazing black and white footage of the Pistols hanging around at the Berlin wall). The music is honestly the least of the subjects focused on. In fact much of the film is framed with scenes of girls modeling Dame Westwood’s fashions (partially topless) to a modern soundtrack with an operatic vocal sung onscreen. (And thank god for that. I’m sick of these formulaic punk rock docs, aren’t you?)

There’s a lot to get out of this film, historically speaking. It’s intelligent and everything a documentary should be. It just may not be about what you thought it was going to be about. This is the history of European Anarchism as it helps beget the birth of the Sex Pistols. It’s also the story of a man who broke all the rules before that was fashionable, who ran blindly into the fire more than once and always came out the other side… many times with the prize. Or at least some money. I’ve already watched Anarchy! McLaren Westwood Gang three times and I’m not the type to really ever watch anything even twice, certainly not in the same day.

All Malcolm McLaren ever wanted was to be something akin to the “next Andy Warhol.” It’s an idiosyncratic aspiration to be sure, but one category that he (and perhaps he alone) truly belonged in.
 
More after the jump…

Posted by Howie Pyro | Leave a comment
‘Green Room’ is the most badass movie of 2016: Exclusive clip and free tickets
04.20.2016
01:41 pm

Topics:
Movies
Music
Punk

Tags:
Green Room


 
Seeing a movie for the first time at a film festival can be a dicey proposition when it comes to objectivity. Particularly genre festivals like Fantastic Fest when you’ve got a theater crammed with fanboys craving to have a collective cinematic orgasm when a movie delivers a never before seen over-the-top money shot. The roar of the mouthbreathers and the smell of the crowd can fog even the sharpest of minds. Last year the Turkish film Baskin wowed Fantastic Fest attendees with a gore-slathered climax that was intended to shock, but at its best was merely repellent with its tired torture porn tropes. Worse, it was boring. And Tom Six’s odious ode to analingus The Human Centipede 3 (Final Sequence) was a group grope that proved that enough of a bad thing is truly enough. Thank god it wasn’t in Odorama.

Overall, Fantastic Fest is reliably consistent in its excellent programming and there were plenty of films to revive your faith in cutting-edge cinema. High Rise by Ben Wheatley, Lobster by Yorgos Lanthimos, Anders Thomas Jensen’s Men And Chicken and Matteo Garrone’s A Tale Of Tales are all being released in the next few weeks and I recommend them highly. But the movie that really knocked my socks off, Green Room, is being released on Friday in 18 cities and Dangerous Minds is giving away tickets. The movie opened last Friday in three cities and had the highest per screen gross of any film currently in theaters. This could be one of the rare authentically rock and roll movies to actually be a hit. And we want you to see it.


As I wrote in my original review of Green Room last year:

Green Room‘s plot is crazily clever: Ain’t Rights, a young punk band from the Washington D.C. area, proudly channeling their Dischord Records’ influences, land a last minute gig during a tour of the Pacific Northwest (somewhere near Portland). Booked into a rural music venue that turns out to be a gathering place for white supremacist headbangers, Ain’t Rights find themselves confronting the mosh pit from Hell. Far from the security of the suburbs where Hot Topics sell Doc Martens to fifth generation punks, Ain’t Rights are hurled into a dark reality where Ed Gein has traded in his plaid cap for a pair of red bootlaces and suspenders. Performing Dead Kennedys’ “Nazi Punks Fuck Off” before a mob of Hitler-worshiping fuckwads is a heroically dumb move for our band of young anarchists, but it’s just the beginning in an ever-escalating nightmare involving murder, thrash metal, heroin and a violent gang of skinheads led by the epically skin-headed Patrick Stewart.

Green Room succeeds in its mission to pin your ass to the theater seat. It combines the tightly crafted action chops of John Carpenter’s Assault On Precinct 13 with some of the psychotic mayhem of The Texas Chainsaw Massacre and The Hills Have Eyes.  But instead of mutant cave dwellers and Leatherface, we’ve got goose-stepping skins with boxcutters and shotguns: The Rocking Dead.

For those viewers who know more than a little bit about punk culture, Green Room works so well, despite its off-the-wallness, because it feels authentic. It gets the details right. Director Jeremy Saulnier (Blue Ruin) knows the punk scene and the vibe of his subjects because he was one of them, as evidenced by a savvy soundtrack that perfectly weds music to action. Napalm Death, Bad Brains, Misfits, Minor Threat and Slayer create the background thump and grind to a movie that is disturbing, funny and supremely badass.


So kids if you wanna see a movie that will undoubtedly be in my top ten of 2016, we’ve got tickets for you and an exclusive clip… after the jump…

Posted by Marc Campbell | Leave a comment
Never before seen live footage of the Pop Group in 1980
04.20.2016
08:57 am

Topics:
Music
Punk

Tags:
Don Letts
The Pop Group


 
In the wake of significantly renewed activity from the politically-charged post-punk funk agitators The Pop Group, it seems like recordings of their early years, many once considered “lost,” are finding their way out of the woodwork with increasing frequency. Only a few months ago, DM shared the video for the band’s signature single, “We Are All Prostitutes,” which had been missing for decades, and which turned up in an amazingly timely manner—just before the song was released as an add-on to the reissued LP For How Much Longer do we Tolerate Mass Murder? (We expressed some cynicism about the timing of that coincidence when we posted the video, but we’ve been assured that its discovery at that time was a genuine fortuity.)

Given the increased interest in the reactivated band, the worthy material culled from all those basement tapes has naturally been compiled for releases—in 2014, Cabinet of Curiosities assembled unreleased live tracks, Peel sessions and alternate takes. This year, The Boys Whose Head Exploded will feature live tracks, mostly from 1980, recorded in Cologne, Milan, Sheffield, and Helsinki, with a video adjunct—footage shot by no less a notable punk archivist than filmmaker Don Letts of The Punk Rock Movie and Big Audio Dynamite fame. Letts shot segments of the band in performance at the Beat the Blues Festival, held on June 15, 1980 at London’s Alexandra Palace. A sound recording of that performance was released as part of the Japan-only live 2xCD comp Idealists In Distress From Bristol, but the video has never been seen before.
 
Keep reading after the jump…

Posted by Ron Kretsch | Leave a comment
GET ‘EM WHILE THEY LAST: Free tickets to see the brilliantly demented ‘Green Room’
04.14.2016
01:02 pm

Topics:
Movies
Punk

Tags:
Green Room


 
My upbeat feelings (see below) about Green Room seem to be supported by the rest of the movie-reviewing establishment now that the film is about to be released. Raves all around. When I saw Jeremy Saulnier’s hard-rocking action film at last year’s Fantastic Fest I knew I was experiencing something that would resonate with audiences. And now we’re going to find out. Dangerous Minds is giving away 30 pairs of tickets in each of the following cities to Green Room:

Atlanta
Austin
Boston
Chicago
Dallas
Denver
Detroit
Houston
Miami
Minneapolis
Philadelphia
Phoenix
Portland
Sacramento
San Diego
San Francisco
Seattle
Washington, DC

Click on this: gofobo and get yours while they last. Once you’ve gotten your ticket, it is recommended to arrive early to guarantee that you get seated.


 
Here’s my review of Green Room, one of my top ten films of 2016.:

Green Room is to cinema what hardcore is to rock and roll: brutal, blunt and exhilarating. With its explosive mix of anarchic punks, neo-Nazi skinheads, pitbulls, machetes and shotguns, director Jeremy Saulnier (Blue Ruin) has made a gory thriller that has the impact of a jack boot kick to the face. Artfully constructed and highly entertaining, Green Room was one of the most exciting features screened at this year’s Fantastic Fest. It’s got A-list actors, including a sinister turn by Patrick Stewart, and enough Hollywood sheen that it may be that rare “cult” flick that forces its way into your local cineplex, where it will be about as welcome as a Skrewdriver cover band at a Bar Mitzvah.

Green Room‘s plot is crazily clever: Ain’t Rights, a young punk band from the Washington D.C. area who proudly channel their Dischord Records’ influences, land a last minute gig during a tour of the Pacific Northwest (somewhere near Portland). Booked into a rural music venue that turns out to be a gathering place for white supremacist headbangers, Ain’t Rights find themselves confronting the mosh pit from Hell. Far from the security of the suburbs where Hot Topics sell Doc Martens to fifth generation punks, Ain’t Rights are hurled into a dark reality where Ed Gein has traded in his plaid cap for a pair of red bootlaces and suspenders. Performing Dead Kennedys’ “Nazi Punks Fuck Off” before a mob of Hitler-worshiping fuckwads is a heroically dumb move for our band of young anarchists, but it’s just the beginning in an ever-escalating nightmare involving murder, thrash metal, heroin and a violent gang of skinheads led by the epically skin-headed Patrick Stewart.
 

 
While the movie avoids getting too deep into the sociopolitical aspects of its story, the similarities between the Aryan Youth Movement and Patrick Stewart look-a-like Tom Metzger can’t be an accident. I’m rather certain director Saulnier’s choice of location, Portland, wasn’t arbitrary. The hipster capitol was at one time a headquarters for the Ku Klux Klan and until recently the home of Volksfront , a particularly nasty group of numbskull Nazis. The Green Room doesn’t shove any of this down the viewer’s throat, it doesn’t preach. It makes its points by bringing us into its world without having to describe it.

Whether or not you give a shit about its cultural resonance, Green Room succeeds in its mission to pin your ass to the theater seat. It combines the tightly crafted action chops of John Carpenter’s Assault On Precinct 13 with some of the psychotic mayhem of The Texas Chainsaw Massacre and The Hill’s Have Eyes.  But instead of mutant cave dwellers and Leatherface, we’ve got goose-stepping skins with boxcutters and shotguns: The Rocking Dead.

For those viewers who know more than a little bit about punk culture, Green Room works so well, despite its off-the-wallness, because it feels authentic. It gets the details right. Jeremy Saulnier knows the punk scene and the vibe of his subjects because he was one of them, as evidenced by a savvy soundtrack that perfectly weds music to action. Napalm Death, Bad Brains, Misfits, Minor Threat and Slayer create the background roar to a movie that is disturbing, funny and supremely badass. I only wish that Saulnier had thrown The Damned’s “Smash It Up” into the mix.

After the jump, video of a ‘Green Room’ post-screening Q&A at Fantastic Fest with Todd Brown and Jeremy Saulnier…

Posted by Richard Metzger | Leave a comment
Ian Curtis’ favorite reggae song, ‘Turn The Heater On’
04.07.2016
07:17 am

Topics:
Music
Punk
Reggae

Tags:
Joy Division
Ian Curtis
Keith Hudson


 
One of Keith Hudson’s nicknames was “the Ghetto Dentist,” because—unlike, let’s say, Suge Knight—he funded his Inbidimts label and shop (a/k/a Imbidimts) by filling teeth. Hudson died in 1984, but an impression of his basic decency remains. Dennis Alcapone, who made his first recordings with Hudson and remembers him as “a nice bredda who try ‘im bes’ to point you in a right direction,” says Hudson didn’t just give him a break in the record business, but set the DJ up with his first bank account and “a wicked tuxedo outfit” to wear on stage, too.

Caps and crowns also paid for Hudson-produced singles by Ken Boothe, Delroy Wilson, U-Roy, Big Youth, Alton Ellis, and Augustus Pablo, and, before Virgin signed him, much of Hudson’s own formidable solo discography. His Pick A Dub is Jon Savage’s choice for “the greatest dub album ever.” The first track on side two of Hudson’s 1975 LP Torch of Freedom was reportedly the favorite song of Joy Division singer Ian Curtis, whose bereaved bandmates recorded their own chilly version of “Turn The Heater On” during a Peel session two years after Curtis’ suicide.
 

 
In her memoir Touching From a Distance, Curtis’ widow Deborah writes that the singer immersed himself in reggae in 1975, after the newlyweds moved in with Curtis’ grandparents in Hulme:

Ian always had an interest in reggae music; Bob Marley and Toots and the Maytals already figured in his diverse record collection. Moving into that area of Manchester gave Ian the opportunity to throw himself into the local culture. He began to spend much of his time in a record shop in Moss Side shopping centre, listening to different reggae bands - although, as our cheap record player was packed away ready to move to the new house, he spent very little money there. Once again Ian became obsessed with a lifestyle different from his own. He began to infiltrate the places where white people didn’t usually go. He took me to the Mayflower in Belle Vue, which at best was a seedy version of the Cotton Club and at worst a place where they held tawdry wrestling matches.

But when the Curtises got their own place in Chadderton, actually turning the heater on was something you could count on Ian Curtis never to do:

It didn’t take long to realize that married life was not going to be as comfortable as we had expected. We had very little spare cash for socializing and trying to keep the heating bills to a minimum meant that only the living room was warm. There were storage heaters in the house, but Ian refused to use them; in fact he disconnected one of them and lugged it into the back yard. The only thing he didn’t economize on were cigarettes.

After the jump, hear Hudson’s upful original and New Order’s somewhat more dour take on “Turn The Heater On”...

Posted by Oliver Hall | Leave a comment
The Beastie Boys designed an egg gun for kids
04.01.2016
08:58 am

Topics:
Crime
Hip-hop
Punk

Tags:
Beastie Boys
egg gun


MCA in costume as a deviled egg
 
The Beastie Boys had a thing for eggs. Their first release, 1982’s Polly Wog Stew EP, concluded with “Egg Raid on Mojo,” a hardcore blast about getting revenge on the doorman at a NYC club by unloading a few cartons of eggs on his person. But as the Reagan/Bush years wore on and anomie set in, the Beasties’ use of eggs became less judicious. During the sessions for Paul’s Boutique, the trio egged hapless pedestrians from windows: those of Ad-Rock’s Manhattan apartment, their rooms at LA’s Mondrian Hotel, and MCA’s “macked-out” car. They also infamously egged the heavily-hyped British “supergroup” Sigue Sigue Sputnik during their big US debut on Halloween night of 1986. (Mike D: “We threw eggs at them when they were at the New York Palladium, it was the least we could do.”)

If you think the Beasties’ random eggings were bad, they were nothing compared to the doomsday device of mischief the band was sitting on which, had they unleashed it, would have made childhood and adolescence a lot more interesting for me and a number of DM’s readers. The line “Put him in check correct with my egg gun,” from “Egg Man,” described a Beastie Boys business venture that could have turned the world’s major cities into slimy, shell-specked hellscapes. From Dan LeRoy’s excellent 33⅓ book on Paul’s Boutique, which just reached its tenth anniversary (and spawned a worthy sequel):

[T]he egg gun mentioned in the song was more than just a rhetorical device. [Dust Brother] Mike Simpson recalls the band “actually employed some toy designers—maybe they were from Hasbro?—to come up with a Beastie Boys egg gun. And I believe there were a couple of prototypes, which Yauch probably still has.”

[Mike D], however, says the prototypes came tantalizingly close to being developed, yet were never completed. “But imagine if we had,” he muses. “The egg business would have blown up. Chicken farmers would be like oilmen today.”

 

 
But Simpson, who mentioned the egg gun in an interview about Paul’s Boutique with Seattle’s KEXP recorded last July, maintains the designers did make some kind of visual representation of the finished product:

Yauch took it so far as to hire toy designers from Mattel to come up with prototypes for the Beastie Boys Egg Gun. Somewhere in the world, there are these amazing renderings of these potential egg guns with the Beastie Boys brand on it, which is hilarious.

Can we get the Beastie Boys Egg Gun in stores, please, or at least in my hands? Isn’t this what crowdfunding was invented for?

Keep reading after the jump…

Posted by Oliver Hall | Leave a comment
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