In my book, Debbie Harry can do no wrong. Whether with Blondie or as a solo artiste, Ms. Harry has made this little planet of ours a much better place—even if it is for just for 3 minutes of pop heaven at a time. Here the talented and iconic singer gives an excellent interview to Annie Nightingale—who is no slouch herself, and was the British first female DJ on BBC radio 1. Interviewed for the series One to One while promoting her album Def, Dumb & Blonde, Ms. Harry allows access to all areas of her career, and gives Nightingale some very honest and revealing answers.
Ingenious commercial for BBC Radio 2 is pretty damn convincing down to Elvis’s bemused smile when Keith Moon misses his cue.
The commercial is composed of clips from:
Elvis – 1973 concert, Aloha from Hawaii.
Marvin Gaye – Live in Montreux, 1980
Jimmy Page - Atlantic Records 40th Anniversary Concert , 1988
Noel Gallagher – The Who and Friends at the Royal Albert Hall, 2003
Keith Moon – The Who Charlton BBC Concert, 1974
Sheryl Crow – The Grammy Awards, 2003
Stevie Wonder – Sesame Street 1973
Donald Sutherland’s big break came in Robert Aldrich’s The Dirty Dozen, when co-star Clint Walker refused to play a scene—as Sutherland explained to the Daily Telegraph:
‘...Clint Walker sticks up his hand and says, ‘Mr Aldrich, as a representative of the Native American people, I don’t think it’s appropriate to do this stupid scene where I have to pretend to be a general.’ Aldrich turns and points to me and says, ‘You — with the big ears. You do it’....It changed my life.’
“Big Ears” was born Donald McNichol Sutherland in Saint John, New Brunswick, Canada, in July 1935. He moved to England in the late 1950s, where he briefly studied at the London Academy of Music and Dramatic Arts, leaving after 9 months to start his professional career as an actor. Sutherland was soon acting in various BBC plays, and guest starring in episodes of such cult TV series as The Saint and The Avengers. Sutherland also co-starred with Peter Cushing, Christopher Lee and Michael Gough in the classic Dr. Terror’s House of Horrors, where he played a newly-wed doctor who suspects his wife is a vampire. After a stint in repertory theater, including 2 disastrous productions, Sutherland’s career seemed stalled. The Dirty Dozen changed that.
During the 1970s, Sutherland made some of the most iconic and seminal films of the decade, including M*A*S*H (a film he originally hated), Kelly’s Heroes (which nearly cost him his life), Klute, Little Murders (a cameo), the unforgettable Don’t Look Now, The Day of the Locust (as the original Homer Simpson), 1900, Casanova, The Eagle Has Landed and National Lampoon’s Animal House.
When asked on the set of Bear Island, in 1979, if he considered himself a star, Sutherland replied that Peter O’Toole is a star, as he has that certain something, while he just makes a lot of movies. Personally, I’d beg to differ. Sutherland gives a brief history of his career, discussing the highlights M*A*S*H, working with Fellini on Casanova and the remake of Invasion of the Body Snatchers.
That’s right, Giorgio is BACK! Back for a one-off dj set, that is, at Fracois Kevorkian’s very highly rated Deep Space party at New York’s Cielo nightclub on the 20th of May this year.
That’s the good news. The bad news is it has already sold out. Not so much of a surprise, really, considering how legendary Giorgio is, and the fact that the club only has a 350 person capacity. Here’s what the Resident Advisor event page tells us:
A historic night of space disco comes as a gift from the heavens thanks to Red Bull Music Academy.
In his first dj appearance ever in New York, disco inventor and cultural icon Giorgio Moroder plays a set of classics. We’ve seen his set list already, and the music he’s selected represents some of the best of his legendary career.
There’s been a bit of anticipation as to what a Giorgio Moroder DJ set might sound like, but my guess is it will consist entirely of his own music, tweaked a bit via a program like Ableton or Serrato. Why? Well, that’s what he did when asked to soundtrack the Fall/Winter show for Louis Vuitton last year. Interestingly, in a short interview on the LV site, Giorgio says he doesn’t gig more often because no-one is asking him. What?! COME ON PROMOTERS! Hussle a few grand together and get Giorgio Moroder into a club or venue near you NOW!
And please Red Bull Music Academy, do a live webscast of this event!
Below, Louis Vuitton Fall/Winter 2012/2013 menswear show, music by Giorgio Moroder:
The Who give one of the best live performances of Tommy at Tanglewood, Lenox, Massachusetts, July 7th, 1970.
If anyone wants to know what The Who were like at their best, then they need only take a look at the talent, passion and energy of these 4 exceptional, young musicians, who together make this an incredible and unforgettable concert.
01.“Heaven and Hell”
02. “I Can’t Explain”
04. “I Don’t Even Know Myself”
05. “Young Man Blues”
07. “It’s a Boy”
09. “Amazing Journey”
11. “Eyesight to the Blind”
13. “The Acid Queen”
14. “Pinball Wizard”
15. “Do You Think It’s Alright?”
16. “Fiddle About”
17. “Tommy Can You Hear Me?”
18. “There’s a Doctor”
19. “Go to the Mirror!”
20. “Smash the Mirror”
21. “Miracle Cure”
22. “I’m Free”
23. “Tommy’s Holiday Camp”
24. “We’re Not Gonna Take It”
25. “See Me, Feel Me”
26. “My Generation”
Oliver Reed would have been 75-years-young today. Probably still making movies, entertaining audiences and no doubt fulfilling the needs of unimaginative TV commissioners by appearing, or pretending to be drunk on their tacky chat shows.
I think boredom inspired much of Reed’s bad behavior—it usually took less than 10 minutes of dumb questioning before Reed was playing-up as the resident drunk. It is still refreshing to find an olde interview with the great Hell Raiser, when he was having a night-off and talking (mainly) sense to his interrogator—here Michael Parkinson.
In interviews, Reed could still play the idiot savant (here making daft and knowingly offensive comments about intelligent women—who probably terrified him—Reed was dsylexic, and his own education had been piecemeal), if he had lost interest in the subject matter. Then reveal himself as someone who thought about what he was doing—notably here he discussed making The Devils with Ken Russell, which he tied directly into the “Troubles” in Northern Ireland, where Religion had once again divided a country and set its people murderously against each other.
‘I’m still getting paid for that film. Neither Ken Russell or I got any money for that film [The Devils]. We got our expenses—but we made that film because we thought it was the proper time, and in light, maybe, of the Troubles in Ulster now, it was the proper time for that film to be made. We weren’t trying to afford anybody proper niceties, any proper little entertainments, little asides before tea, we were showing them the bigotry that goes on, or that humanity is capable of, and that was all we were doing….
....How many times have armies fought under the banner of Christianity, and how many lives have been destroyed? Let’s not have it again, please.’
The interview is from the Parkinson chat show in 1973, and amongst the guests are novelist Mickey Spillane and TV personality (famed for being on What’s My Line? in the 1950s, who sadly committed suicide after a shop-lifting charge in the 1980s). Throughout, Reed’s self-deprecating humor is evident and he did couple of funny impressions of Michael Winner and James Stewart. However, it’s still sad to think that such a naturally talented actor is no longer with us.
Happy Birthday Oliver Reed!
Bonus: the full interview with Oliver Reed, after the jump…
Two interviews with the iconic Faye Dunaway: the first in bed from 1987, just after she had made Barfly; while the second comes from 1994, when the work was mainly coming from TV series and films.
If Ms. Dunaway had been a man or, had the title “Dame” before her name, I’m sure she would be better appreciated for her talents, rather than put-down as a “ball buster”, or one of those other sexist terms men with small dicks, or people with no talent, use to describe strong women.
Good for her if she is a ball buster, for Faye Dunaway is one of Cinema’s true greats, who rightly deserves to be cherished.
Terence Stamp and Michael Caine once shared an apartment in the early 1960s. Stamp was the star, with Billy Budd, Term of Trial and The Collector to his CV, while Caine was still on his way up. The turning point came when Stamp knock-backed the title role of Alfie, a role he had made his own on Broadway, but didn’t want to reprise on film. Caine spent a long night trying to change Stamp’s mind. He failed and the role was given to Caine.
Years later, Michael Caine wrote how he sometimes dreamt of that long night trying to convince Stamp to take the role, and “still wakes up sweating as I see Terence agreeing to accept my advice to take the role in Alfie.”
Stamp made Modesty Blasie instead, which on paper sounded fabulous - directed by Joseph Losey; starring Monica Vitti and Dirk Bogarde; adapted by poet and writer Evan Jones from the best-selling Peter O’Donell comic strip. Sadly, it flopped, and the blue-eyed, angelic Stamp was slowly eclipsed by his former room-mate, Caine.
Yet, Stamp was no longer interested in making films for the sake of making films. He was beginning to choose roles because he wanted to make them. He turned down an incredible amount of work, as he later explained in an interview with Valerie Singelton in 1978:
‘I didn’t accept a lot of work because I was of the opinion, if one wanted the long career, one should do good, interesting things. One shouldn’t do anything.
‘So, that was a kind of a political decision really, apart from the fact I enjoyed to do things that interested me. It didn’t interest me to play Tate and Lyle lorry drivers, you understand? I did that already. I didn’t want to do that in a movie. I wanted to play princes and counts, and intellectuals and things that I wasn’t, rather than something I was.’
After Modesty Blaise, Stamp opted to work with radical film-maker Ken Loach, on his first movie Poor Cow, which co-starred Carol White. The film was a surprise hit in America, largely down to Stamp’s casting. He then appeared in John Schlesinger’s Far From the Madding Crowd with Julie Christie, Alan Bates and Peter Finch. Yet, for all his success, there was something missing.
‘And this thing which came later was a feeling of an inner emptiness success didn’t fill. I had assumed that this inner poverty would be transformed when I became rich and famous. And it took me a few years of being rich and famous to understand that the inner void was very much there.
‘And, you know, if I couldn’t fill it with one Rolls-Royce, I couldn’t fill it with three.
‘I started traveling and looking at myself. Looking, thinking the answer was outside still in a form of, you know, I transfered from beautiful female companion, to highly, holy, spiritualized person. So I was kind of looking for that in truth - it was an inner odyssey that was going on.’
Stamp moved to Italy and then onto an ashram in India, where he found he could get ‘Groovy Kashmiri hash or groovy golden guru - you get what you’re looking for.’ Here he was “transformed from Terence Henry Stamp to swami Deva Veeten.”
The years passed and the roles had dried-up, until (as in all good tales) one day in 1977:
‘On this particular morning, as we enter, I am hailed by the concierge who showed me to my original room. Apparently he remembers me. “Mr. Terence”, he says in an accent worthy of Peter Sellers. “We have a cable for you”. He extricates the telegram from the depths of his nightstand and presents it to me. Dog-eared, with tickertape strips glued onto the square envelope and smeared with dust, I have no idea how long the urgent missive has been waiting. However, as it is dropped into my palm it has the psychic weight of the English breakfast I am about to order. I read the typed front piece and realize why. It is addressed to: Clarence Stamp, The Rough Diamond Hotel, Dune, India. It is a miracle that it is even in my hand. Goose pimples spread up my arm and I have a sense that my life is about to change. The telegram is from my long-suffering agent James Fraser, who came across me playing Iago at the Webber-Douglas Drama Academy in 1958 and, bless his heart, has represented me ever since. The telegram reads: ‘Would you be prepared to travel back to London to meet Richard Donner regarding a role in the Superman films 1 & 2. You have scenes with Marlon Brando. Could you stop over in Paris to talk to Peter Brook who is going to make a film of George Gurujieff’s Meetings With Remarkable Men. I read it again. Can hardly believe it, but yes, it’s there, in the palm of my hand. And yes, my life is about to change.’
After Superman, Stamp was cast as the Count in a London production of Dracula, (one of several productions about the great undead vampire that had appeared on both sides of the Atlantic). It was during this production that the following interview with the BBC took place, where Terence Stamp explained, to interviewer Valerie Singleton the attraction of Count Dracula.
‘I always think of evil and the Devil being terribly groovy - not unattractive at all, they have to be really interesting and really seductive because that’s the magnetism of evil, you know, it has to be outwardly beautiful and fetching.’
Freddie Mercury is of course best known as the lead vocalist and lyricist of the rock band “Queen” , and one of the most flamboyant performers in rock history. As a performer, he was legendary for his flamboyant stage persona and powerful vocals over a four-octave range. As a songwriter, Mercury composed many hits for Queen, including the legendary “Bohemian Rhapsody”, “Killer Queen”, “Somebody to Love”, “Don’t Stop Me Now”, “Crazy Little Thing Called Love” and “We Are the Champions”.
In addition to his work with Queen, he had a massively successful solo career, and also occasionally served as a producer and guest musician (piano or vocals) for other artists.
Mercury was noted for his live performances, which were often delivered to stadium audiences around the world. He displayed a highly theatrical style that often evoked a great deal of participation from the crowd. A writer for The Spectator described him as “a performer out to tease, shock and ultimately charm his audience with various extravagant versions of himself”.....