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The ultimate granny panties: Yep, there’s a 4 pack of ‘Golden Girls’ underwear
09:19 am


The Golden Girls

I love this. I mean really, really love this! A 4 pack of Golden Girls “panties” by Etsy shop Bullet and Bees. If you take a closer look, you’ll notice the Blanche Devereaux panty is crotchless! Perfect, right?

The Golden Girls underwear set sells for $160.00 (which is a bit steep, in my opinion). If you can’t afford the set—or only want the naughty Blanche lingerie—you can buy them separately anywhere from $38.00 - $52.00.

Blanche crotchless panties $52.00.

Dorothy Zbornak low-rise panties $40.00.

Sophia high-waisted granny panty. $48.00.

Rose sheer panty $38.00.

Posted by Tara McGinley | Leave a comment
The Plasmatics wreck shit on ‘Solid Gold,’ 1981, plus Wendy O. interviewed by a ventriloquist dummy!
09:29 am


Solid Gold

Solid Gold was an acutely ‘80s syndicated pop music variety show that set itself apart from similar offerings with the utterly baffling Solid Gold Dancers. The show was conceived at the tail end of the disco era, and so along with the usual hodgepodge of mimed and live music performances, the show featured disco-inspired dance accompaniments—no matter what kind of music was being featured. It was silly and often wildly inappropriate, but sufficiently distinctive that the phrase “Solid Gold Dancers” still conjures images of vapid glitz even to people who never saw the show.

It’s hard to say whether it’s a relief or a cryin’ goddamn shame that those dancers didn’t accompany the Plasmatics, but either way, the very fact that that appearance even happened is amazing. This was in 1981, the year that multiple arrests for indecency made the band’s singer Wendy O. Williams notorious outside of underground music circles, and Solid Gold was a broad appeal, all-smiles show that usually aired during the family hour. (I myself was an avid watcher at age nine, the age at which Solid Gold turned me on to a little band called Blondie. That and my discovery of DEVO that same year set the stage for a great deal of weirdness to come.) But despite the general family-friendliness of the program, nothing particularly set this performance of the Metal Priestess track “Black Leather Monster” apart from any given Plasmatics show except for a lack of breast exposure. Williams shrieked, danced suggestively, and chainsawed an innocent Les Paul while the band made a spastic punk spectacle of itself. And the segment is followed by a preposterous and wonderful interview—Williams chats (or rather, haltingly reads cue cards) with ventriloquist Waylon Flowers’ famously raunchy dummy Madame.

Billboard Dec 19, 1981, page 8

Lastly, it’s worth mentioning that the band is here introduced by the show’s co-host at the time, the Bee Gees’ youngest brother Andy Gibb (the other co-host was 5th Dimension singer Marilyn McCoo). This may seem as odd a juxtaposition of punk filth with squeaky-clean pop as their booking on the show itself, but Gibb’s spotless image was a pop pretense. He would soon be fired from the show on the grounds that his apparently monstrous cocaine binges made him a frequent and unpredictable absentee from shooting.

Posted by Ron Kretsch | Leave a comment
Roommates: Potheads from two different generations navigate life in NY’s East Village

My pal Greg Barris, a New York City-based stand-up comic and actor, has a new web series that he’s doing with Bridey Elliott, former SNL castmate, daughter of funnyman Chris Elliott, and granddaughter of the great Bob Elliott of “Bob and Ray” fame. (I am a huge Bob and Ray fan. That there are three generations of Elliots performing comedy, to my mind is a very, very good thing)

The premise for the show, titled Roommates, is somewhat autobiographical, based on Greg’s real-life roommate Fiona who was just 18 when she moved into his place:

Greg and Fiona are unlikely roommates who, despite their generational differences, work together to navigate the ins and outs of life in an East Village apartment.


Barris told AV Club that he and Elliott “smoked mostly real marijuana every day throughout the taping of each episode. And during the down time. And usually right after we woke up, even though this made shooting sometimes very difficult.”

Here’s episode 3, “Baptism”:

So far each episode of Roommates has been shot and set inside Greg’s East Village walk-up apartment. Amusing to me—and probably to me alone, admittedly—is that I’ve actually stayed in this very apartment myself. (It looks like Greg has cleaned up a bit since then. He had lots of different gourmet coffees and a stash of excellent kief that I smoked a shit ton of while I stayed with him back in 2010). If you pay attention to what’s on the walls you’ll see the work of one of my favorite artists, Dima Drjuchin, who we’ve blogged about a few times here on Dangerous Minds. It was via staying with Greg that I was first exposed to Dima’s work and now I’ve got three amazing paintings by him in my home in places of prominence.

Roommates was written by by Greg Barris, Michael Pomranz & Bridey Elliott. Filmed and edited by Jeremy Morris-Burke. Titles by Dima Drjuchin.

Below, Greg and Fiona turn their couch into an annoying “full-service” hotel to raise some cash…

Posted by Richard Metzger | Leave a comment
‘Logic, inspiration and luck’: How The Human League became one of the biggest groups of the 80s
09:15 am


The Human League
Phil Oakey

I was working as a porter in hospital doesn’t have quite the same ring as “I was working as a waitress in a cocktail bar…” but that’s exactly what Phil Oakey was doing when he was asked by ex-schoolmate Iain Craig Marsh to join him and Martyn Ware as singer with their band—The Human League.

Logic: Marsh was in his early twenties and beginning to make good money working when he decided to put his extra moolah towards buying one of the cheap commercial synthesizers that were coming onto the market. Inspired by Kraftwerk, science fiction (J. G. Ballard) and the industrial landscape of their hometown Sheffield, Ware and Marsh began creating an ambient soundtrack. It quickly became apparent to the pair they needed a lead singer to make the music work. That’s when Marsh remembered his classmate Oakey—as he looked like a pop star.

Inspiration: With the arrival of hospital porter Oakey, The Human League were now ready for phase one of their career—as an influential, semi-avant garde, electronic band.

In 1977, they issued a group (slightly tongue-in-cheek) manifesto:

SCENARIO: In the summer of 1977 The Human League was formed due to the members finding no conventional channels for their immense talents.

BACKGROUND: None of The Human League have any orthodox musical training, but prefer to regard compositions as an extension of logic, inspiration and luck. Therefore, unlike conventional musicians their influences are not so obvious.

CONCLUSION/MANIFESTO: Interested in combining the best of all worlds, The League would like to positively affect the future by close attention to the present, allying technology with humanity and humour.

Gradually building up a young predominantly male fan base at college campuses and small venues, the band were signed to Virgin Records where they released two critically acclaimed albums Reproduction (1979) and Travelogue (1980). But the success the group hoped for did not follow. The band split with Marsh and Ware going off to form Heaven 17, leaving Oakey and Adrian Wright to carry on as The Human League.

Luck: With a European concert tour imminent, and the reality of Oakey and Wright being sued for failing to fulfil their tour commitments, Oakey decided to bring in two random girls he had seen one night dancing in a club—Joanne Catherall and Susan Ann Sulley. Both girls knew Oakey and The Human League, and had planned to see the band at their forthcoming gig in Doncaster. Oakey’s bright idea of bringing in Joanne and Susan changed The Human League from a nerdy boy’s favorite to everyone’s favorite.

With the arrival of ex-Rezillos guitarist Jo Callis in 1981 and the release of their generation defining album Dare the same year, the greatest phase of The Human League had begun.
Young Guns Go For It was an godawful title for a rather good series about eighties pop bands—from Culture Club to The Smiths, Bananarama and Soft Cell. The 30 minutes on The Human League was arguably the best of the series as it brought together all the band members and took them on a literal journey through their hometown of Sheffield and their classic pop history.

Posted by Paul Gallagher | Leave a comment
‘Supersonic’: Mid-70s footage of The Damned, Thin Lizzy & T.Rex performing on UK kids TV show

Marc Bolan of T-Rex performing on UK kid music TV show, Supersonic, 1975
A shot of Marc Bolan of T-Rex performing on UK kids music TV show, Supersonic

There are days I really, really love my job. Lucky for you, this is one of them, because I can’t wait to share this super intimate (as well as sort of strange) footage of T.Rex, The Damned, and Thin Lizzy performing on the short-lived kids Britpop-music television show awesomely titled, Supersonic.
Supersonic annual from 1977 featuring Bay City Rollers, David Essex and the star of the show Mike Mansfield
Supersonic annual from 1977 featuring Bay City Rollers, David Essex and the star of the show Mike Mansfield
The show was hosted by producer Mike Mansfield, and was targeted to kids and teens as well as filmed in front of a screaming audience full of them - hence its afternoon time slot.

Supersonic only ran for a couple of years and would feature musical performances from all kinds of groups. Some that would distinctly appeal to the shows targeted demographic like the Bay City Rollers, but there were also appearances by legendary rock musicians and glam bands like The Sweet, Slade, Ginger Baker, and The Kinks. I gotta say that the footage of Thin Lizzy doing “Wild One” from their 1975 record, Fighting on Supersonic is really something special. And after you watch it, you can’t help but hope that it made a lasting impression on the lucky kids in that studio.
Phil Lynot of Thin Lizzy performing on Supersonic
Phil Lynott on Supersonic
A strange aside - Gary Glitter also made several appearances on the show. Which of course in retrospect sounds like a terrible fucking idea as Glitter’s activities that earned him the title of “pedophile” date back to 1975. Yikes. Anyway, I can’t think of any better way to cleanse your mind of my previous statement than watching a certain Marc Bolan getting doused by a giant bubble machine while lip-synching (and gyrating) his glittery heart out to his 1975 single, “Dreamy Lady.”

T.Rex performing “Dreamy Lady” on the UK kids show, Supersonic
More after the jump…

Posted by Cherrybomb | Leave a comment
That time when David Bowie’s ex-wife tried to become a TV superhero

Angie Bowie as Wonder Woman
Angie Bowie as “Wonder Woman”
Back in the mid-70s when David and Angie Bowie were pretty much the hottest couple around, Angie auditioned for the lead role in the ABC TV series based on the DC comic book character, Wonder Woman. The part would go to former Miss USA Lynda Carter who would star in the much loved ABC Wonder Woman television series during its nearly four-year run after its debut in 1975.

Not only did Bowie audition for Wonder Woman (using her modeling name “Jipp Jones”), she also managed to acquire the rights to create a TV series or perhaps a film based on the comic book characters Daredevil and Black Widow from none other than Stan Lee. Armed with some pretty cool photographs taken by Terry O’Neill (with actor Ben Carruthers in the Daredevil costume), Bowie was sadly unsuccessful in getting anybody interested in producing the project and, outside of O’Neill’s photos, it never saw the light of day.
Angie Bowie as Black Widow
Angie Bowie as “Black Widow”
Angie Bowie (as Black Widow) and actor Ben Carruthers (as Daredevil)
Angie Bowie (as Black Widow) and actor Ben Carruthers (as Daredevil)
In Bowie’s autobiography from 1993, Backstage Passes: Life on the Wild Side with David Bowie, the model, actress and mother to one of The Thin White Duke’s two children, director Duncan Jones, wrote about her experience auditioning for the part of Wonder Woman back in 1974. A role she might have lost because she wasn’t wearing a bra when she arrived for her screen test:

First I showed them the photographs, which totally flabbergasted the director- things were going well so far- but then, before I went to my dressing room to don the stipulated turtleneck, some woman from the studio came up to me. “I see you’re not wearing a bra,” she said. “You have to wear one for the screen test. It’s mandatory.” I couldn’t believe it. I hadn’t worn a bra for years. “Well, if that’s what you want, okay,” I said. “But I think you’re going to have a problem finding one small enough

Angie Bowie as Wonder Woman
Bowie also writes that after shooting down a “casting couch” come-on during the audition process, she came to the realization that she was never really being considered for the role. Apparently the whole thing was a bit of a PR stunt to help promote David Bowie’s “1980 Floor Show” edition of The Midnight Special, which Bowie also detials in her autobiography. 

More photos of Angie Bowie looking hot as hell as Wonder Woman, after the jump…

Posted by Cherrybomb | Leave a comment
The Beastie Boys punk ‘Soul Train’
08:02 am


Beastie Boys
Soul Train

“Shadrach,” from the Beastie Boys’ psychedelic collage masterpiece Paul’s Boutique, should have been a hit. The band made a gorgeous rotoscope video for the song and featured the tune prominently on the EP An Exciting Evening at Home with Shadrach, Meshach and Abednego, but “Shadrach,” with its sample from Sly and the Family Stone’s “Loose Booty,” its mystical wisdom, and its defiant tone, proved just too stupid fresh for the suits at Capitol to get behind.

When the Beasties paid their second and last visit to Soul Train (see their first appearance here), they wanted to perform “Shadrach” live, but host Don Cornelius said no. From Dan LeRoy’s book on Paul’s Boutique (my favorite number in the 33 1/3 series, which last year spawned a sequel co-authored by the excellent Peter Relic):

The Beasties got revenge, says [their friend] Max Perlich, by preparing a special version of “Shadrach,” which included the soundbite, “Do the Don Cornelius.” “He freaked on the spot, because he thought it was live,” remembers Perlich. “And he stopped the taping. But they said, ‘No, this is on the record.’ So they got away with it.”


In other words, forced to mime their mighty jam on TV, these world-class practical jokers modified “Shadrach” (doesn’t it almost rhyme with “Ad-Rock”?) to at once sound live and to poke fun at Cornelius, who was left believing that the Beastie Boys’ latest single paid him tribute. At least, I think he was; he seems a little confused during the interview that follows the song, which departs a little more from the recorded version than LeRoy suggests. You’ll see. It’s nuts.

Incidentally, if you’re wondering why the Beasties are rapping about three characters from the Book of Daniel, LeRoy says that their split with Def Jam is not so neatly identifiable with Shadrach, Meshach and Abednego’s righteous refusal to bow down before the image of Nebuchadnezzar as you, or they, might be tempted to think; he also reports that Adam Yauch “was then spending lots of time ‘taking acid and reading the Bible,’ according to his girlfriend, Lisa Ann Cabasa.” I wish he was still around.

Posted by Oliver Hall | Leave a comment
Insane footage of The Plasmatics annihilating the stage on German TV show, ‘Musikladen’ in 1981

The Plasmatics, 1981

I don’t like fashion. I don’t like art. I do like smashing up expensive things.
Wendy O. Williams

Over the years here in at Dangerous Minds many of the excellent punk rock-loving contributors have dug up fantastic vintage footage of bands performing on various music television shows around the world like Beat-Club (Germany), and UK shows such as Top of the Pops, The Old Grey Whistle Test and The Tube.

That said, I find it hard to conceive of any band ever out-cooling this mind-melting performance by The Plasmatics on German music television show, Musikladen (formerly known as the Beat-Club) from 1981. In twelve short minutes, Wendy Orlean Williams has no less than three “wardrobe” changes, destroys a guitar with a chainsaw, and a television and a car with a sledgehammer before blowing up said car.

In addition to the top-notch chaos that the band was known for bringing to their live performances, The Plasmatics also rip through three songs from their 1980 debut record, New Hope for the Wretched—“Living Dead,” “Butcher Baby,” and their psychotic cover of Bobby Darin’s 1959 hit, “Dream Lover.”  That same year, talk show host Tom Snyder called The Plasmatics “the greatest punk rock band in the entire world.” And guess what? He was fucking right.

A word of caution before you hit the play button for the video below - it’s NSFW. And that’s exactly why you must watch it.

Posted by Cherrybomb | Leave a comment
Behind the scenes with James Bond in ‘You Only Live Twice’

The revolution of the sixties kicked off on October 5th, 1962. This was the day The Beatles released their first single “Love Me Do” and Sean Connery was launched on to the big screen as James Bond in Dr. No. Between these twin poles of movies and music the decade began. By 1967, The Beatles were the most influential band on the planet while Connery was the world’s best known actor, and iconic star of the most successful movie franchise of all time.

During the filming of the fifth James Bond movie You Only LIve Twice journalist and presenter Alan Whicker—best known for his rather snide, tabloid and often condescending reporting—made a documentary examining the success and cultural obsession with Ian Fleming’s super spy, or as he termed it “Bondomania.” Whicker bangs on about sex, sadism, amorality and violence, quizzing Connery, producers Cubby Broccoli and Harry Saltzman, and screenwriter Roald Dahl—who disagrees with Whicker’s insinuation, describing Bond as a “tough, rather insensitive fellow who’s very good at his job.”
The Bond format of gadgets, girls and guns was set by the previous two movies Goldfinger and Thunderball. This time Dahl’s screenplay pushed the form to the limit—dumping most of Ian Fleming’s original novel and inventing his own comic book narrative—an action scene on average every five minutes—throwing Bond into unrelenting danger until the final climactic moments.

Dahl considered You Only Live Twice to be “Fleming’s worst book, with no plot in it,” and he therefore filled the movie with his own quirky inventions—rocket gobbling spacecraft, a volcanic island disguised as a mini Cape Canaveral, and so on. I think Dahl’s criticism harsh, as I am on the side who think Fleming’s books are actually superior to the films, as they reveal a conflicted Bond, insecure, violent, remorseful, smoking, drinking and popping pills to keep himself functioning. Fleming gave Bond an emotional narrative—from strong, confident agent to broken, haunted spy obsessing over his own mortality—which the films have generally ignored.

You Only Live Twice was the last Bond novel published in Fleming’s lifetime—he died of a heart attack, aged 56, two months after its appearance—the last novel The Man with the Golden Gun and the story collection Octopussy and The Living Daylights were published posthumously. The film was to be Connery’s last Bond until Diamonds Are Forever in 1971. The title comes from a haiku Bond writes when he is “reborn” as “Taro Todoroki,” a mute Japanese coal miner, to gain access to Dr. Guntram Shatterhand or rather Ernst Stavros Blofeld’s Garden of Death.

You only live twice:
Once when you are born
And once when you look death in the face.

More behind the scenes of ‘You Only Live Twice,’ after the jump…

Posted by Paul Gallagher | Leave a comment
‘I am the f*cking greatest of all time!’: Iggy Pop live on ‘The Tube’ in 1983
10:13 am


Iggy Pop
Jools Holland
The Tube

Iggy Pop performing on the UK TV music show, The Tube in 1983
Iggy Pop on the UK TV music show, The Tube, 1983
About four months before UK music TV show The Tube went off the air, one of its hosts, the excellent Jools Holland uttered the phrase, “be there or be ungroovy fuckers” while doing a live trailer for the show. It’s also a fairly accurate way to ease into this equally excellent footage of Iggy Pop performing on the show back in 1983.

During its five-year run, The Tube played host to a wide range of musical guests like The Cramps, PiL, and Motörhead. The Jam even played their last live televised gig on The Tube before calling it quits in 1982. This clip from The Tube features a live set from punk king, Iggy Pop performing with what appears to be his Zombie Birdhouse Tour lineup of Larry Mysilewicz (drums), Frank Infante (formerly of Blondie on guitar), Michael Page (bass) and Rob Duprey (former Mumps member also on guitar). The always shirtless Iggy rips through three songs, “Run Like a Villain”, “Eat or be Eaten” (from 1982’s Zombie Birdhouse which was produced by Blondie guitarist Chris Stein), and the sweet throwback “Sixteen” from 1977’s Lust for Life.

According to legend, The Tube was sort of infamous for screwing up the sound for their live acts from time to time, and while the sound isn’t great in this video, the performance is fucking great and true to form, Iggy kicks out the jams like a punk rock version of The Rockettes. I’m also pretty sure Iggy’s eyes were on the verge of shooting lasers at the audience because he looks, let’s just say, enlightened (according to the book Open Up and Bleed, during the soundcheck Iggy fell backwards into the drum kit so there’s that).

Iggy had a really good run in the 80s due much in part to his pal David Bowie who not only gave Iggy a fat paycheck thanks to his cover of “China Girl” (which was originally recorded by Pop on 1977’s The Idiot and co-written by the pair), but who helped convince Iggy to kick his drug habit to the curb. Is there anything The Thin White Duke can’t do? Probably not. But I digress. Here’s Iggy Pop, his crazy abs, and some sweet punk jams, courtesy of 1983.

Posted by Cherrybomb | Leave a comment
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