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Grace Slick says ‘f*ck’ on American TV for the very first time, 1969

Watch below as Jefferson Airplane’s Grace Slick becomes the very first person in history to say “fuck” on American television on August 19th, 1969—the day after Woodstock—on The Dick Cavett Show. Technically the whole band pretty much sings “fuck” if you want to split hairs. Someone had to do it first, I’m glad it was the Airplane.

“We Can Be Together” was the lead-off number on the band’s politically radical Volunteers album and the B-side for the “Volunteers” single. Due to the group’s unique contract for the times—they had complete artistic control—RCA had to go along with whatever the Jefferson Airplane wanted, including “shit” and “motherfucker” appearing in their lyrics. For the single, the “motherfucker” was mixed low, but not actually bleeped.

The song’s music and lyrics are credited to Paul Kantner, who claimed to be inspired by the Black Panther Party’s use of the “Up against the wall, motherfucker” battle cry, itself a phrase 60s activists often heard coming from police and national guardsmen during that tumultuous era.

Kantner also cribbed some (nearly all) of the lyrics from something called “The Outlaw Page” that appeared apparently first as a leaflet and then in the East Village Other underground newspaper. “The Outlaw Page” was a polemic written by a guy called John Sundstrom, who was a member of an anarchist/Situationist-inspired Lower East Side-based “street gang with analysis” called the Up Against the Wall Motherfuckers [UAW/MF] whose name came from a poem titled “Black People!” by Amiri Baraka. The Motherfuckers, whose unprintable name made them virtually press-proof, were involved with storming the Pentagon, setting up crash pads in New York City for counter culture types and the occupation of Columbia University. Marxist philosopher Herbert Marcuse’s stepson, Tom Neumann was an early member.

Sweet young Joni Mitchell had just finished singing her lovely, lilting “Chelsea Morning,” when big bad Grace belted these words out to an unsuspecting America:

We are all outlaws in the eyes of America
In order to survive we steal cheat lie forge fuck hide and deal
We are obscene lawless hideous dangerous dirty violent and young
But we should be together

Come on all you people standing around
Our life’s too fine to let it die and
We can be together

All your private property is
Target for your enemy
And your enemy is We

We are forces of chaos and anarchy
Everything they say we are we are
And we are very
Proud of ourselves
Up against the wall
Up against the wall motherfucker…

More after the jump…

Posted by Richard Metzger | Leave a comment
A treasure trove of rare Monty Python memorabilia is up for grabs!

Canned Dead Parrot. Created in 1994 by Bear, Bear & Bear LTD. Prior to obtaining an official licence from the Python’s, the company did their best to rip off the “Dead Parrot” Sketch” from 1969. Although the can does not contain any direct mention of Monty Python, it’s very clearly a reference to their famous skit. Inside the can is a plastic bird cage with a toy parrot hanging upside down. 
If your dream has been to one day be the proud owner of a loo roll (that’s toilet paper for our non-UK readers) officially sanctioned by Monty Python’s Flying Circus, then today my silly-walking friend is your lucky day. According to the website Monty Python’s Daily Llama there are allegedly 1,500 different items currently up for auction, such as the promotional foot that was created in conjunction with the Spamalot musical at New York’s Shubert Theatre in 2005, and an actual container of “Canned Dead Parrot” which is a clever nod to one of the most memorable moments from the Flying Circus television series (the Dead Parrot Sketch performed by John Cleese and Michael Palin). Many of the items were produced in small quantities like the 1072 bottles of “Spamalot” steak sauce that were released in 2007 in honor of the musical’s run at London’s Palace Theatre, making them incredibly rare collectibles in many cases.

If you’re a Python super-fan like I am I’m sure you’re going to strongly consider picking up something from the auction, which includes a wide array of vintage posters from the U.S. and Germany and a even copy of the 1990 Monty Python’s Flying Circus computer game from 1990. Say WHAT? More information on the items up for auction can be found on Monty Python’s Daily Llama. I’ve posted a number of my favorite items from the auction below along with some background information pertaining to their creation, rarity and history. As great as some of this stuff is I would have liked to have seen a piece of “Venezuelan Beaver Cheese,” a “hovercraft full of eels” or even an action figure based on Michael Palin’s bicycling enthusiast “Mr. Pither.” But you can’t always get what you want, can you?

This computer game was the very first officially licensed product by Monty Python’s Flying Circus. Made by Core Design, the same company that put out ‘Tomb Raider,’ the 2D shooter had the players help “D.P. Gumby” find four missing pieces of his brain.

“Gumby” plush figures. Ranging in size from nine, twelve and fourteen inches tall these plush figures were the first toys officially licensed by the Pythons.

Another cheeky creation from Bear, Bear & Bear LTD. Incredibly this roll of toilet paper contains famous images and quotes from the ‘Monty Python’s Flying Circus’ TV series such as the “Ministry of Silly Walks”; “Nudge, Nudge”; everyone’s favorite gender-bending sing-along “The Lumberjack Song” and others. Comes with faux fingerprints in accordance with the box’s claim that this TP is in “slightly used” condition.

This promotional “coconut” was sent to members of the press and Python VIPs as a part of the “Special Edition” release of ‘Monty Python and the Holy Grail’ by Columbia/Tristar Home Entertainment. An actual coconut it was outfitted with a zipper in the middle that when opened revealed a promotional t-shirt.
More Monty Python memorabilia for you to spend your money on, after the jump…

Posted by Cherrybomb | Leave a comment
Japanese noise musicians take over Italian TV to spread disease and confusion, 1997
09:02 am



Hijokaidan live (via Pinterest)
This would have been unthinkable on American TV in the nineties, and it was probably unthinkable on Italian TV, too. One day in 1997, Hiroshi Hasegawa and Mayuko Hino of C.C.C.C. and Junko and Jojo Hiroshige of Hijokaidan appeared on Italy’s TMC2 network to spread disease and confusion with scabrous noise alone. (I see no flying bags of urine on this tape, but I assume that’s because they each left one in the Trevi Fountain, come si deve.)

I don’t know the name of the show, but I read that it’s hosted by Italian TV presenter and punk/industrial fan Red Ronnie. Fortunately, this is not a video about which very much needs to be said; in the wise words of Aerosmith, “just push play.”

Unless you are an italophone, I would recommend skipping to the beginning of the punishment at 2:50. They stop playing for several minutes in the middle of the clip so the host can read comments off an ancient 1997 computer screen and members of the audience can express their worthless opinions of the performance. As tends to be the case with noise sets, the real shit comes at the very end, from about 14:18 on.

Posted by Oliver Hall | Leave a comment
Before ‘Atlanta’ there was Donald Glover’s ‘Clapping for the Wrong Reasons’
06:00 pm


Donald Glover
Hiro Murai

Last night Donald Glover and Atlanta won well-deserved Golden Globes for “Best Television Series – Musical or Comedy” and “Best Actor in a Television Series - Musical or Comedy” for the show’s creator, writer and star. Despite these awards—and a slew of others Atlanta and Glover have won or been nominated for—I’d wager that much of America has still to catch up with the FX network’s breakout new hit. If you fall into that category, you need to change that status, stat, jack.

Several friends of mine were raving about Atlanta after it premiered in September, but I was too preoccupied with hate-watching a reality show called “Election 2016” to take much notice at first. By the time I finally sat down to watch Atlanta, five episodes had already piled up and I greedily watched all five one right after the other. Had there been more I’d have watched the entire series then and there. I loved Atlanta. My wife loved it as much as I did. There is so much great television on today that to designate just one show as the very “best” is a difficult task, but even still, Atlanta is what comes immediately to mind when I ponder what that one best current TV show would be. With Rotten Tomatoes giving Atlanta a 100% approval rating and Metacritic bestowing upon it a 90 out of 100 score, clearly many other people feel the same.

It was a few episodes in—the one where Earn wants to sell his sword to raise some quick money—when I put my finger on exactly what I believe makes Atlanta feel so fresh and special—and just that much of a cut above anything else—in a sea of admittedly ultra great competitors. Dig the shot where they walk into the pawn shop. Watch the choreography of how the camera moves, watch what the actors do, notice the color palate going on. “Clearly the director [Hiro Murai] has watched every single Godard film” I remarked to my wife, but that’s what it was: Atlanta is shot like a European arthouse film that is bogged down by exactly zero of the standard tropes of American sitcoms. It’s one of the most cinematic things ever produced for TV that is, essentially still a situation comedy. Compare and contrast it with, say, Seinfeld. There are a lot of things you could find that the two shows had in common, but stylistically speaking, there are just about none.

With the sharpest writing around, a cast of some of the most charismatic young actors working today and the insanely brilliant comedic timing of Ivy League-trained thespian Brian Tyree Henry as “Paper Boi” there’s already a level of excellence afoot here, but again, it’s the attention to detail that gives the impression that we’re looking at a finely cut diamond. Another key element of Atlanta‘s success is the incorporation of casually oddball events that call attention to themselves just for a moment before the characters move on. Who doesn’t have quirky encounters on a daily basis? Atlanta is great at capturing how mundanely surreal life can be—not something that’s easy to accomplish—and does so better than anything else currently on television

Which brings me to Clapping for the Wrong Reasons, a short film that Glover wrote and starred in (playing himself to a certain extent) and Murai directed. Clapping for the Wrong Reasons was produced to promote Glover’s second Childish Gambino album Because the Internet in 2013. Filled with the same sort of attention to small details as Atlanta, Clapping for the Wrong Reasons—which takes place high in the Hollywood Hills under much different socio-economic circumstances—plays slower but has some wonderful (and wonderfully strange) moments. I don’t want to imply that it was a dry run for Atlanta—because I do not think that was the case—but if you’re hankering for something more produced by the same creative team, it’s the next best thing.

More after the jump…

Posted by Richard Metzger | Leave a comment
That time Elvira & ‘Ralph Malph’ (dressed up like Gene Simmons) were on ‘CHiPs’

Erik Estrada as ‘Officer Frank Poncherello’ (AKA “Ponch”) and Donnie Most in character as ‘Moloch’ from the ‘CHiPs’ episode ‘Rock Devil Rock’ that aired on October 31st, 1982. 
Like many of you, I spent much of my youth just like the character of “Mike Teavee” from the 1971 film Willy Wonka and the Chocolate Factory did—watching a ridiculous amount of prime time televison programming. What’s especially fun about reflecting back on many of those shows are the occasional appearances of rock and roll luminaries like Suzi Quatro jamming with her fictional band on Happy Days as the awesome “Leather Tuscadero,” Debbie Harry canoodling with Kermit on The Muppet Show, or Plasmatics powerhouse Wendy O. Williams and her Emmy-worthy performance as the ass-kicking “Big Mama” on an episode of MacGyver (“Harry’s Will”). Today I’ve got something that transcends all that as it involves actor Donnie Most who played “Ralph Malph” on the aforementioned Happy Days and his appearance on the goofy TV cop drama based on the California Highway Patrol CHiPs playing “Moloch.” Moloch was a satanic mashup of Gene Simmons and King Diamond in full makeup, clad in red spandex and a fucking cape. And he was played by Ralph Malph of all people!

If you’ve never seen this episode of CHiPs (which is completely understandable) you are in for a treat as it also features Cassandra Peterson all dolled up like her gothy alter-ego Elvira and get this—current Metallica bassist Robert Trujillo (who was only eighteen at the time) playing a character called “Flippy.” Flippy! I’ve included a few images of Mr. Most getting into character as well as some faux concert footage and an amusing Moloch “video shoot” that must be seen to be believed. If you need another reason to watch then here it is—Donnie “I still got it!” Most provided his own vocals for the song “Devil Take Me.” Fuck yes. You can watch the entire episode on iTunes for three bucks and it’s worth every goddamned penny.


More ‘Moloch’ after the jump…

Posted by Cherrybomb | Leave a comment
‘Listen to Me Now’: John Belushi’s high school garage band was actually not half bad!
11:26 am


John Belushi

Last summer DM told you all about the time that the late, great sketch comic/actor John Belushi sat in on drums with The Dead Boys at CBGB in the ‘70s. We noted in that post that Belushi’s best known connections to the music world were his creation of that most transcendent of all wish-fulfillment projects The Blues Brothers, and his championing of the notorious punk band Fear as musical guests on Saturday Night Live. A commenter on that post helpfully pointed out that Belushi’s interest in music didn’t just strike him when he became known, he had a history in the ‘60s garage rock scene, and there’s a collectible artifact to prove it.

In 1965, Belushi was the drummer for a band called the Ravens, who made the 40-minute trek east from Wheaton, IL to Chicago to record a single. The A side was an original called “Listen to Me Now,” and the flip was a Kingsmen cover, “Jolly Green Giant.” Online sources vary in this estimate, but as few as 40 and as many as 200 copies may have been pressed. It’s unclear how popular the band was—they’re mentioned in Dean Milano’s The Chicago Music Scene: 1960s and 1970s, but judging by the brief and modest description, that noteworthiness is clearly a product of Belushi’s later fame moreso than the band’s contemporary following:

Before he became known and loved by the world through his comedy, John Belushi played drums in a rock band called the Ravens in his hometown of Wheaton. The band played the local youth center and area high school dances. Members included Belushi, Phil Special, and Dick and Mike Blasucci. Eventually Belushi’s drums were sold to a local music store where they were used to give drum lessons to aspiring rock and rollers.

If you’re interested in that detail about the afterlife of Belushi’s drum set, it’s related in more depth here.

In 2011, the Chicago-based garage/psych/punk label Alona’s Dream reissued that lone Ravens single, which had the amusing unintended effect of making John Belushi posthumous labelmates with Rights of the Accused and The Necros. The reissued 7” was pressed in an edition of only 200, so it’s still a scarce item. YouTube was unaccomodating of our wish to share “Jolly Green Giant” with you, but thanks to the reissue, “Listen to Me Now” is easy enough to hear. It’s a first-person account of a guy with a new girlfriend who’s nonetheless still pining for his ex.

Guys can be dicks like that, sometimes.

Posted by Ron Kretsch | Leave a comment
Groucho Marx and William F. Buckley debate the nature of comedy on ‘Firing Line,’ 1967
11:51 am


William F. Buckley
Groucho Marx

On July 7, 1967, Groucho Marx appeared as a guest on William F. Buckley’s current affairs show Firing Line to debate the topic “Is the World Funny?” Firing Line had been in existence only for about a year at that point, broadcasting on WOR channel 9 in New York City; four years later, the show would move to PBS.

Groucho was there to promote his new book The Groucho Letters: Letters From and To Groucho Marx, in which he reproduced selected correspondence with figures like Jerry Lewis, Irving Berlin, E.B. White, Peter Lorre, Edward R. Murrow, David Susskind, Booth Tarkington, Harry Truman, and James Thurber. The book is still in print today. Contrasting himself with Bob Hope, whom Groucho regards as possessing a quasi-pathological need to perform in front of audiences, Groucho asserts at one point that if he weren’t promoting a book, he’d never appear on a show like Firing Line.

Presiding as a kind of arbiter was C. Dickerman Williams, an attorney who had once been director of the American Civil Liberties Union and had defended Buckley’s National Review in a number of free speech cases.

Groucho discusses an appearance he made two years earlier, at a memorial service for T.S. Eliot that was organized by Laurence Olivier and Kenneth Tynan and held at the Globe Theatre in London on June 13, 1965. It turns out that T.S. and Groucho had a prickly frenemy relationship for a few years. On Firing Line, Groucho asserts that Eliot was probably jealous of William Shakespeare.

Groucho’s freeform and scattershot mentality isn’t well suited for a true debate on the nature of comedy and he actually upbraids Buckley whenever he tries to stay on point. During a discussion of ethnic humor, he states that “I don’t regard myself as a Jew when I’m publicly performing,” which is interesting because it’s mainly true, Groucho’s humor might have been generally Jewish as a matter of lineage but not particularly Jew-ish as such.

Groucho also says that he would have voted for Buckley when he ran for mayor in 1965 (he got 13.4% of the vote, not bad at all).

This episode of Firing Line is actually available on DVD too.


Posted by Martin Schneider | Leave a comment
Couch potato special: Feast on these classic TV movies now!

Looking for something decent to watch while you wait for those ‘I Survived 2016’ t-shirts to arrive? Something suitably entertaining and thrilling to see out a bad year on a high? Then try these….

The much maligned TV Movie turned out a number of classics during its 70s/80s prime. Now Headpress has recently given the phenomena the attention it so richly deserves in a cracking new book Are You in the House Alone? A TV Movie Compendium 1964-1999 edited by Amanda Reyes.

Here, exclusively for Dangerous Minds, Reyes has selected six standout classic examples of the genre—and has provided a little introductory commentary too. The list include credits from the likes of none other than a young Steven Spielberg, Dennis Weaver, Valerie Harper and Charles Durning. And they’re all classics.

But best of all—you can view most of them right here right now. So without further ado, here’s Amanda to tell you about our first little feature…
1. Duel (1971)
Amanda Reyes: Duel is the ultimate Movie of the Week. It was an early directing job for Steven Spielberg and he shows off some amazing directing skills in this tale about a man being chased by a creepy semi across a desert highway.

Everything is simple, pure and absolutely petrifying. Dennis Weaver plays the man on the run, and turns in an excellent performance. The script was written by the great Richard Matheson, and there’s not much I can say about this one except it’s very near perfect on every level.

Watch more classic TV movies, after the jump…

Posted by Paul Gallagher | Leave a comment
Spend New Year’s Eve 1968 with The Who, Small Faces, Françoise Hardy & Pink Floyd

New Years Eve, Paris, 1968. Amidst a volatile political climate of civil unrest that nearly brought the entire country to a virtual halt, rock ‘n’ roll music was still prevailed as “teenage entertainment” before being overthrown by the hippie culture of Woodstock the following year. The 3 1/2 hour New Years Eve Surprise Partie broadcast from the ORTF Studios (the only French TV channel at the time) is a beautiful, ultra-mod, time capsule that features rare performances by Jacques Dutronc, The Troggs, Françoise Hardy, Aphrodite’s Child, Johnny Hallyday, Fleetwood Mac, The Who, The Small Faces, P.P. Arnold, Booker T & The MGs, The Pink Floyd, Marie Laforet, The Equals, and many others. The invitation-only guest list included hundreds of fashionably dressed Parisian partygoers wearing the latest styles, and casually lounging about every inch of a cool, modern, space-age set.
Many of the artists here are documented during a very specific transition period in their careers. The Who lip-sync to “I Can See for Miles,” “Magic Bus,” and the rare Jigsaw Puzzle version of “I’m a Boy” with high energy despite the fact they had just suffered a year long dry spell devoid of commercial hits. Just a few months later they would switch gears with the musical Tommy and go on to become one of greatest stadium rock bands of the ‘70s. Later, during the Small Faces performance Keith Moon and Pete Townshend can be seen sitting behind Kenney Jones’ drum riser grooving to the music and having a good time without drawing attention to themselves. The Small Faces didn’t even bother to plug their gear in—they were only weeks away from breaking up—and performed tracks from their final album Ogden’s Nut Gone Flake.
The Pink Floyd can be seen still finding their way after the loss of vocalist and songwriter Syd Barrett just one year prior. In 1969 they would get back on track becoming the premiere live space rock band, incorporating their success into their fourth album Ummagumma, recorded five months later. The Equals (notable for being one of England’s first racially integrated bands) perform their million-selling chart-topper, “Baby, Come Back,” with guitarist Eddy Grant looking as if he had just time traveled from the 1981 punk scene, sporting bleached blonde hair and an orange vinyl suit. Eddy Grant‘s futuristic vision would serve him years later with a very successful solo career that included the platinum single “Electric Avenue.” Fleetwood Mac is also in wonderful form here with Jeremy Spencer taking the lead on two of the three songs, he would abruptly leave the band just two years later to join a religious group called the Children of God.
In an impressive television debut, English singing, French-based rock band Les Variations belt out some classic ‘60s garage tunes in front of a wildly enthusiastic home crowd. In his memoirs, guitarist Marc Tobaly remembers everyone getting a little bit drunk at the canteen down the street from ORTF Studios, insisting that the viewers at home were indeed watching a “real” party on television. American soul singer P.P. Arnold sang her interpretation of the Bee Gees song, “To Love Somebody.” Sadly, her performance here suffers from a poor sound mix, and she is not joined by The Small Faces for “If You Think You’re Groovy” despite the fact that they played on the recording and were present at the TV studio during the taping. While YouTube videos of Surprise Partie are constantly being removed because of content-ID matching, the fine folks over at Modcinema are selling a fantastic looking transfer on DVD as a 2-disc set. Dig it!

More after the jump…

Posted by Doug Jones | Leave a comment
George Michael and Morrissey discuss Joy Division (and breakdancing) in 1984

In May 1984, George Michael and Morrissey appeared alongside the unhip, uncool and utterly square antique DJ Tony Blackburn on BBC youth programme Eight Days A Week. The show was a weekly round-up of the latest music, film and book releases as pecked over by a trio of celebrities. It was aimed at a young happening audience with the intention of fulfilling the ye olde BBC charter obligations to “educate, inform and entertain” (perhaps not necessarily in that order).

The week George appeared on the show he was storming up the UK charts alongside Andrew Ridgeley as Wham! with their hit single “Wake Me Up Before You Go-Go,” while Morrissey with bandmates The Smiths were just about to release their song “Heaven Knows I’m Miserable Now.” And Blackburn—well, he was still unutterably anodyne, nauseating and the very establishment edifice these two young artistes were (in their own ways) rebelling against—no matter how much Blackburn sought credibility by pronouncing his deep love of soul music.

At the time of its broadcast, the fey, young aesthete Morrissey would have been seen as the “cool” one. But in truth it’s George Michael who steals the show with his honesty, sensibility and utter lack of pretension. He says it as it is and plays to no gallery as both Morrissey and Blackburn were wont to do.

The topics up for review the week this trio appeared were Everything But The Girl‘s debut album Eden, the crap movie that film producers Golan & Globus called Breakdance (aka Breakin’) and a book about Joy Division called An Ideal for Living: A History of Joy Division by Mark Johnson. While Morrissey does Morrissey whilst talking about another Mancunian band, it is George Michael who delights with his (low) opinion of pompous English rock scribe Paul Morley and surprises by revealing his love of the brooding quartet.  While the show’s host Robin Denselow (probably an apt surname) asked, “George, I wouldn’t imagine you as a Joy Division fan, maybe I’m wrong?”

George: Ah, you might be wrong! This book, just became incredibly suspect for me, the minute I saw…

Denselow: You do like them?

George: I do like them, yeah. It became very suspect when I saw that it was partially, a lot of the contributions were from a gentleman called Paul Morley.

Denselow: You don’t approve of Paul Morley?

George: You’d need a book a lot thicker than that to list that man’s ideas or hangups, whatever you’d like to call it. It became very, very pretentious, in so many areas, I actually didn’t finish it, I did not get anywhere near finishing it.  And I actually really liked Joy Division, or particular their second album Closer. I thought Closer, the second side of Closer…it’s one of my favorite albums, It’s just beautiful.

Watch George Michael & Morrissey talk pop, film and books, after the jump….

Posted by Paul Gallagher | Leave a comment
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