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‘Boots Sex Dread’: hardcore gay reggae from 1980 (NSFW)


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This has to be heard to be believed.

Boots Sex Dread is the name of an anonymous reggae act (is it a band or just and MC? or two MCs?) who brought out a one-off single in 1980 that became instantly notorious. Both sides of the release feature heavy dub riddims coupled with explicitly gay toasting. Like, REALLY explicit.

One side is titled “Rinka” and features an MC coming out: “Mi black and mi proud and mi a Rastafari/And mi a ‘omo-sek-shual”. There then follows an hilarious list of anal sex euphemisms. The flip is titled “Prenton Pressure” and features a different, coarse voiced MC regaling us with the story of how he met his Asian boyfriend, and how their sexual relations in a cornership store room (involving lots of bizarre condiments - Brillo Pads?!) were interrupted by the boyfriend’s mother.

Information on this record is scarce, but rumors about who the authors/vocalists may be have been rife since it was first written about in the NME on its 1980 release. The theory that has gained most credibility is that Boots Sex Dread is the work of the British comedian and actor Keith (father of Lily) Allen. An anonymous source close to Dangerous Minds can semi-confirm this:

It was rumored to be Keith Allen. And Rinka was supposed to be named after Norman Scott’s dog who was shot by the hit man hired by Jeremy Thorpe. [Background: Jeremy Thorpe was the leader of the British Liberal party from ‘67-‘76. Norman Scott claimed to be his gay lover, and Thorpe was aquitted on charges of conspiring to murder Scott in 1979.]

But this was the story running the rounds when Julie Burchill banged on about it as being gay Reggae. Not convinced, but it sounds like it could be him. He is an accomplished pianist, as I found out when I spent 3 nights on the batter with him, whilst he was filming Shallow Grave.

Keith had a character he played on Channel 4 late night back in the early 80s, where he played a gay miner, who’s dad was gay and his father before him, etc. Led to religious people saying he shouldn’t be allowed on TV etc, as they thought Keith was genuinely gay.

There a bit more info on this story over at the Uncarved blog. Here are sides A and B of Boots Sex Dread (even the names have been confused over time):

Boots Sex Dread “Rinka” NSFW
 

 
Boots Sex Dread “Penton Pressure” NSFW
 

 
Boots Sex Dread is rare as hens’ teeth, but it was re-issued not too long ago, so keep an eye out and you might find it.
 

Posted by Niall O'Conghaile | Discussion
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Spiritualized ‘Hey Jane’: is this video art or exploitation?


 
I still don’t really know what to make of this - it’s a 10 minute music video-cum-short film for the British band Spiritualized, trailing their upcoming album Sweet Heart Sweet Light which is released on Fat Possum Records next week. Directed by AG Rojas, who has also worked with Jack White, Gil Scott-Heron and Earl Sweatshirt, the video follows a day in the life of a drag queen prostitute raising two young children. It doesn’t end very well.

The violent and sexual clip has already caused a bit of a stir since it was released last month. Stereogum seem all in favour of “Hey Jane”:

[It’s about] a transwoman who attempts to raise kids while turning tricks, stripping, and — in one unforgettable long tracking shot — getting into an absolutely brutal fight. There’s probably a term paper to be written about the video’s treatment of race, class, gender, sexuality, and violence. This is a good one, folks.

While on Collapse Board, Lucy Cage writes a scathing review of the Sweet Heart, Sweet Light album (definitely worth a read in its own right) and points out that:

‘Hey Jane’ wears its NSFW like a smug little badge … I don’t like what it appears to be saying about people. I don’t like that said whiney, white, self-pitying, copyist, imagination-free, privilege-flaunting cisman from England [Jason Pierce of Spiritualized] has used this story and these characters from waaaaaaaaaaay outside his experience, knowledge or culture as entertainment, however much Art has given him a hall pass to do so.

To be fair on Pierce, some of this heat needs to be taken by the director Rojas. The video is definitely slick and very well made but does it tell us anything we already didn’t know, or even desperately need to? Is it shock or titillation?

Hats off to the main actors though, who do a great job. The prostitute is played by Tyra Sanchez, winner of the second season of RuPaul’s Drag Race—easily one of the best reality tv shows ever and I’m totally serious, if you have not seen this you are missing out—she does a great job.

Musically the song is pretty much what you’d expect from Spiritualized, who have been doing this kind of laidback-but-overwrought white-psych-soul thing for over 20 years now. I have to admit a bit of a soft spot for these guys though, who I used to love back in the mid-Ninteties before I delved further into their pool of influences while also gravitating towards more electronic music. The Spiritualized sound, which has barely changed in all these years, is like big, warm, fuzzy blanket. You know where it is coming from and you know where it’s going; it is inherently safe.

And that’s something this video tries very hard not to be:

Spiritualized “Hey Jane” (NSFW)
 

 

Posted by Niall O'Conghaile | Discussion
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Ralph Bakshi’s animated assault on racism in America


 
A subversive and satirical re-imagining of Disney’s Song Of The South with an urban spin, Ralph Bakshi’s incendiary masterpiece Coonskin exploits and eviscerates grotesque American racial stereotypes with a politically incorrect, profane and vicious sense of humor.

A flamethrower of confrontational cartooning Ralph Bakshi intensifies the minstrelsy where Disney coats it with honey, his “Zip-a-Dee-Doo-Dah” is a “Fuck you” hurled right at audiences. “Ah’m a N****r Man” (“I’ve been red, white, and blue’d on”) is the overture, sung magnificently by Scatman Crothers in profile over the credits, the choleric preacher (Charles Gordone) sets the stage with a sermon in a church empty but for a pair of kids. Gordone crams into a car with Barry White and off they go to bust their bud (Philip Michael Thomas) out of prison; the wait is long so fellow con Crothers spins a tale, and jive-talking furries, slags, junkies, and other unholy toons are drawn on William A. Fraker’s cinematography. Brother Rabbit, Brother Bear, and Preacher Fox ditch the South for Harlem, where racial stereotypes can be amplified until humor boils away and submerged hate splatters the screen. Rabbit follows the Black Caesar trajectory, Bear steps into the boxing ring to evoke Sonny Liston and Muhammad Ali, Fox meets his snake-oil match in Black Jesus, the rotund charlatan who breathes fire out of his neon-lit cross while bilking the congregation (“Segregate! Integrate! Masturbate!”). A crooked cop is dipped in blackface and left to shoot it out with the NYPD, the “Godfather” is a swollen subway pig with a brood of sodomites; Miss America has the stars and stripes painted on her buxom body, the noose falls on a serenading black suitor when she sweetly cries “rape.” Pungent ideas and grenade-images are penciled in throughout, often Bakshi lets one become a self-enclosed film of its own—a melancholy sister recounts the tale of the straying cockroach she grew to love, a rat floats into the monologue and is blasted after flashing the evil Mickey grin. Bold racial vaudeville and jolting session of cultural exorcism, Bakshi’s picture is its own tar-baby, making itself open to ignorant punches only to entangle them with the implicating, toxic stickiness of the ugly assumptions that have been swept under our collective rug.”—- Fernando F. Croce

Released in 1975 to a firestorm of controversy, it took Coonskin several years before the film found an audience that could appreciate it as an edgy aesthetic experiment and a powerful social statement. Wu Tang Clan had plans to re-make it and Spike Lee’s Bamboozeled , released 25 years after Coonskin, echoes Bakshi’s brutal take on the pervasive, ages-old, racism in American popular culture.

Sometimes art needs to go over-the-top in order to roil up the dark side of our collective consciousness…to shove into the light the shit we’re too afraid to talk about and too ashamed to acknowledge. Sometimes the only way to make that reality check bearable is to find the ridiculous, the absurd and the insanity within the demons trapped in the briar patch of our shared mythologies.
 

Posted by Marc Campbell | Discussion
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Miami athletes express solidarity with Trayvon Martin in this powerful photo
03.24.2012
12:42 am

Topics:
Current Events
Race

Tags:
Trayvon Martin
Miami Heat


 
A little after 1:30 p.m. yesterday, the Miami Heat basketball team released a photo of the entire team wearing hoodies in honor of Trayvon Martin. Trayvon was wearing a hoodie when the 17-year-old unarmed kid was gunned down in cold blood in what appears to be a racially-motivated murder by vigilante George Zimmerman in a suburban Florida neighborhood. The hoodie has since become a symbol of solidarity and outrage within the Black Community.

The photo was released on LeBron James’ Twitter account with the hashtag, #WeAreTrayvonMartin.

 

Posted by Marc Campbell | Discussion
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‘Love Saves The Day’ by Tim Lawrence: The Disco Bible


 
Many, many books have been written about disco, and I have read a whole bunch of them (including more well known works like Turn The Beat Around: The Secret History of Disco by Peter Shapiro, Everybody Dance: Chic and the Politics of Disco by Daryl Easlea and The Last Party: Studio 54, Disco and the Culture of the Night by Anthony Haden Guest) but still nothing comes close to matching Tim Lawrence’s exhaustive yet entertaining Love Saves The Day: A History of American Dance Music Culture 1970-79.

For those of you who still believe that disco was nothing more than an music-industry creation dreamt up in a backroom by a bunch of coked-up suits and sold to passive, gullible consumers too high to know it was an empty fad (here’s looking’ at you, Em!) then you need to get your hands on this book. That goes for anyone else with an interest in the disco genre, particularly those who know the basics of the story but crave more. Because, believe me, it’s all here.

Lawrence is a lecturer at the University of East London and a renowned writer on dance music and culture. He has in the past published books on the avant garde/disco composer and performer Arthur Russell (Hold On To Your Dreams; Arthur Russell and the Downtown Music Scene 1973-1992) and most recently added the introductory foreword to Voguing And The House Ballroom Scene of New York City, 1989-92. But to me, at least, Love Saves The Day is still his best work. From his website:

Opening with David Mancuso’s seminal “Love Saves the Day” Valentine’s party, Tim Lawrence tells the definitive story of American dance music culture in the 1970s - from its subterranean roots in NoHo and Hell’s Kitchen to its gaudy blossoming in midtown Manhattan to its wildfire transmission through America’s suburbs and urban hotspots such as Chicago, Boston, San Francisco, Los Angeles, Newark, and Miami.

Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow through the arteries of Love Saves the Day like hot liquid vinyl. They are interspersed with a detailed examination of the era’s most powerful DJs, the venues in which they played, and the records they loved to spin - as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fuelled dance music’s tireless engine.

TIm Lawrence may not have lived through this era, but his book is phenomenally well-researched and features interviews with all of the remaining key players, sketching the very earliest days of the movement: from David Mancuso’s Loft parties to Francis Grasso mixing records at the Sanctuary as far back as 1970 (the first dj ever to do so), from Nicky Siano opening The Gallery while still a teenager in 1972 to Steve Ostrow’s gay/mixed Continental Baths (home not just to performances by Bette Midler and Barry Manilow, but also the venue where future legendary djs Larry Levan and Frankie Knuckles cut their teeth.) all the way up through the decade to the opening of both Studio 54 and the Paradise Garage.

Love Saves The Day IS exhaustive (perhaps too exhaustive for disco newcomers) and while it can act as a great reference for fact-checkers, it’s also an entertaining read that spares little detail of the complicated drug-and-sex lives of these people. This was an era of radical social change and these folks (and this music) were right at the forefront of those changes. The first chapter of Love Saves The Day is available to read in full on Lawrence’s website, and it focuses on David Mancuso, the man whose Loft apartment-cum-dance-space gave birth to disco culture and who, to this day, remains the beating heart of “real” disco. It also makes clear the connection between hippie culture of the 60s and the emerging gay/black/female-centeric dance culture of the 70s:

When it came to public venues Mancuso’s preferred to go to the Electric Circus, which opened in June 1967, and the Fillmore East, which opened in the spring of 1968. Both of these psychedelic haunts were situated in the East Village — the Electric Circus was located in an old Polish workingman’s club on St. Mark’s Place, the Fillmore East, in the words of the New York Times, on “freaky Second Avenue” — and both hosted live entertainment 1. “I went to the Electric Circus at least once a month,” says Mancuso. “Everybody was having fun and they had good sound in there. It was very mixed, very integrated, very intense, very free, very positive.” The Fillmore East showcased some of his favourite artists. “I heard Nina Simone perform there. I went with my friend Larry Patterson. The Fillmore East would often be noisy but that night everybody was very focused. She was wonderful.”

Mancuso didn’t just go to the Fillmore East to listen to music. “That’s where I also first heard Timothy Leary. He gave a series of lectures backed by the Joshua Light Show.” The ex-Harvard academic was already an important figure for Mancuso, who had first taken Sandoz when he was twenty and the drug was still legal. An early trip coincided with a snowstorm (“each flake was like a universe”) and ten tabs later he came across Leary’s The Psychedelic Experience Based on the Tibetan Book of the Dead, which argues that psychedelics can provide a shortcut to enlightenment. “The book blew me away. It became my bible and I started getting involved with him.” The young acolyte met the acid guru at his LSD (“League for Spiritual Discovery”) headquarters in the West Village, went to his Technicolor lectures and became a regular at his private parties. “People were tripping but the parties were more social than serious. There was food and music. I knew we were on a journey.”
Mancuso’s personal voyage took a vital turn in 1965 when he purchased the key to 647 Broadway, just north of Houston, for two hundred dollars.

Like Soho, NoHo (as the north of Houston area was nicknamed) had historically functioned as a manufacturing district, drawing on New York’s immigrant population as its low-wage workforce, and when industry relocated to the cheaper terrain of New Jersey and beyond New York’s artists moved in, delighted to exchange their cramped Upper East Side apartments for a range of stunningly expansive lofts. The influx triggered off a sophisticated experiment into the relationship between art, space and living that apparently excluded the likes of Utica-born Mancuso, but he quickly established himself as a key player within this creative population, intent as he was on reintroducing art back into the party. “Everyone loved my space,” he says. “There might have been a hundred people living like this so it was very new. A lot of people would just come and hang out there. There were all sorts of activities going on.”

Some of these activities were influenced by Leary. “I would organise these intimate gatherings where we would experiment with acid,” says Mancuso. “There were never more than five of us when we did this. One person would take nothing, another would take half a tab and the rest would take a whole tab. It was all very new and we took it very seriously. We used The Psychedelic Experience as our guide.” Leary also had a bearing on the decoration of the loft space. “I built a yoga shrine, which I used for yoga and tripping. In the beginning it was three feet by five feet and it eventually grew to fifteen feet by thirty feet. As you walked into the loft you were immediately drawn to this area. It was gorgeous.”

Music — which was similar to LSD inasmuch as it could function as a therapeutic potion that “de-programmes” the mind before opening up a mystical trail that culminates in spiritual transcendence — was also introduced into the equation. “Leary played music at his lectures and parties and I went in the same direction. I bought a Tandberg tape recorder so that I could play tapes. The Buddha was always positioned between my two speakers.” That was the perfect position from which to hear the homemade compilations, which drew on a diverse range of sources and were structured to complement the hallucinogenic experience. “I made these journey tapes that would last for five hours. They drew on everything from classical music to the moody blues. They would start off very peacefully and the reentry would be more about movement, more jazz-oriented. Somebody might get up and start dancing around the room at some point, although they weren’t dance sessions.”

...and that’s just the tip of the iceberg!

I can’t stress enough how good this book is, and how anyone with an interest in disco, underground culture or the 70s should try and track down a copy. It features some invaluable dj playlists from specific spots and times, which act as a checklist for a whole world of great, under-valued music, but besides that, it’s just a great read. I dip in and out of it all the time, and still find amazement and amusement after many readings, so I guess it would be pretty fair to say that Love Saves The Day is my bible. 

You can find a copy of Love Saves The Day on Amazon.

Posted by Niall O'Conghaile | Discussion
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Excellent documentary on the life of Sylvester


 
If there’s any one artist who represents everything that was revolutionary about disco music, it was Sylvester. It doesn’t matter how many Bee Gees, Ethel Mermans, Rod Stewarts, Boney Ms et al you can throw at the genre as a reason to hate it, the fact is that if it wasn’t for disco there is no way that a linebacker-sized, black, openly gay, outrageous, gender-bending performer like him could have reached the top of the world’s charts.

Sylvester broke every taboo going. In fact he didn’t just break them: he tore them up, threw them on the floor and stamped on them with uproarious glee, all while dragging you out to dance with his irresistable energy. He didn’t have to shout about any of his social or political inclinations because he was already living them, out in the open, for everyone to see.

Sylvester didn’t make “political music” because he didn’t have to: Sylvester’s very existence was inherently political.

That to me is the rub when it comes down to “disco” versus “punk”, and all that bullshit snobbery and scorn rock fans heaped on disco. Contrast Sylvester with any one of the gangs of middle class, straight, angry-at-whatever white boys that were supposedly turning the world upside down in the name of “punk” and it becomes clear who was really pushing social boundaries.

The fact that the music was instantaneous and accessible only deepens the subversive effect. It’s unfortunate that “disco” has become an easy way to dismiss that which genuinely does not fit the rock cannon’s hardened mould, be it for reasons of race, gender or sexuality, but the music itself never died away. It reverberates still with an incredible, universal power. Sylvester was a supremely talented vocalist and performer, and I just couldn’t take seriously any music aficionado who claimed not to be moved by “(You Make Me Feel) Mighty Real” (not to mention “I Who Have Nothing,” “I Need You,” “Do You Wanna Funk,” “I Need Somebody To Love Tonight,” etc, etc.)

And besides, if I had a choice between a bunch of white punk boys or black drag queens, I know who I’d rather party with.

Unsung is a series produced by TV One profiling some of the more over-looked, yet supremely talented, names in black music from the 70s and 80s. There’s much to enjoy here if soul, funk and R&B are your thing. Other artists covered include Teddy Pendergrass, Zapp, Rose Royce, the Spinners and many more.

But for now let’s just enjoy the uplifting, touching and ultimately tragic story of the real queen of disco music:
 

 
Thanks to Paul Gallagher!

Posted by Niall O'Conghaile | Discussion
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Legends of comedy: Interview with Dick Gregory and Paul Mooney

Gregory and Mooney
 
San Francisco Bay Area hip-hop media/political activist Davey D recently brought together veteran comedians Dick Gregory and Paul Mooney for an interview on his OLMNews show. The result is a rare treat of an hour with two of the fucking funniest septugenarians ever.

Most of us recognize Mooney from his “Ask a Black Dude” and “Negrodamus” skits from Chapelle’s Show, but the man’s work goes way back. Before those appearances, he was best known as Richard Pryor’s writer for albums like Live on the Sunset Strip and Bicentennial N****r, and Pryor’s two TV shows in the ‘70s and ‘80s. Mooney also wrote for Good Times, Sanford and Son and In Living Color, for which he created the character of Homey D. Clown.

By intertwining his political activism with his comedy, Gregory became the pre-eminent black comedian that boomers could call their own. After sweating it out through the ‘50s on the black club circuit, Gregory got his first break appearing at Hugh Hefner’s Playboy Club in Chicago in 1961. He released a dozen albums and a clutch of books throughout the decade before putting his career on hold to dive into advocacy for a ton of causes and eventually a Presidential run for the Freedom and Peace Party. He’s recently made a welcome comeback onto the stand-up scene.

Watching these two conspiratorially minded cats is a pure joy, especially with Mooney’s infectious laugh in the air. Topics include: Obama and change; King Kong and In the Heat of the Night; stereotypes & minstrelsy; Bruce Lee and Sarah Lee; the Oscars and Denzell Washington; Herman Cain and the Federal Reserve; Snow White & child labor; Men in Black, Uncle Tom’s Cabin and shape-shifting; Jimmy the Greek; Christians, guilt & the Eucharist in the black church; black spending power; and “white folks are nervy.”
 

Thanks, Doug Pagan!

Posted by Ron Nachmann | Discussion
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Italian documentary exposes the Afro-American tradition of eating dirt


 
This informative and mouth-watering video is from the Italian mondo movie America Exposed (aka This Is America 3), which has never been released on video or DVD in the United States. Directed with rare insight and sensitivity by Romano Vanderbes, the movie takes an unvarnished look at the weird habits of Americans and our exotic culture. 

Among the many strange rites that exist on our mysterious continent is the age-old tradition among our Black inhabitants of eating dirt. Along with more common place dishes like ham, chicken and potatoes, apparently Black people consider dirt a delicacy that rivals the highly sought after epicurean delight the truffle. But unlike the truffle, dirt is dirt cheap.

This particular clip is from a Japanese bootleg of America Exposed. Imagine the shock among our Asian friends when encountering American’s dirt eating proclivities. Is it no wonder they approach us with awe and suspicion? But are we really so different? After all, both dirt and sushi are eaten raw.
 

Posted by Marc Campbell | Discussion
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Malcolm X: The truth is eternal
02.21.2012
02:35 am

Topics:
Activism
Class War
Heroes
History
R.I.P.
Race

Tags:
Malcolm X


 
Malcolm X was assassinated 47 years ago today.

In this two hour compilation of speeches, the brilliance of Malcolm reaches through time and space to touch us and remind us of the harsh truth that almost a half century after the man was killed America is still struggling with most of the same problems we were struggling with back then. Technology, drugs and the silhouettes of cars may have changed, but the reptilian brain still keeps us anchored in the murk of class war, racism and injustice.
 

Posted by Marc Campbell | Discussion
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RIP Don Cornelius of Soul Train


 
Don Cornelius, creator and star of Soul Tain, has been found dead at his home in Sherman Oaks, California. From TMZ:

Law enforcement sources tell us ... Cornelius died from a gunshot wound to the head and officials believe the wound was self-inflicted.

Sad news indeed - I had only posted on Soul Train here on DM a few weeks ago. Thanks for all the awesomeness, Don! In memory here’s the man himself introducing the legendary Soul Train line dancers to Earth Wind and Fire’s “Mighty Mighty” in 1974:
 

 
Previously on Dangerous Minds:
Have Yourself A Soul Train Sunday

Posted by Niall O'Conghaile | Discussion
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