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Culinary couture: Hyperrealistic fake food jewelry is a thing
01:11 pm



Pasta Bolognese necklace
My husband asked me a few days ago what I wanted for the holidays and I told him I didn’t know. But after seeing these fake food jewelry designs by Japan-based company Hatanaka, I think I just may want a Beef Bowl necklace, dammit!

I hate these and I kind of love them at the same time. Ain’t nothin’ wrong with wearing a bowl of fake beef around your neck, okay? I mean it’s not like they’re selling something weird, like salami necklaces or bacon earrings…

From what I understand, these fake food accessories are selling like hotcakes worldwide. Almost everything on the Hatanaka website is currently sold out. There are still a few items available, but it’s a limited selection. Hopefully they’ll be updating their website in time for the holidays.

Curry necklace

Spaghetti Carbonara necklace

Curry rice with spoon necklace

Sushi earrings

Shark fin necklace
More after the jump…

Posted by Tara McGinley | Discussion
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A face-melting freakout with The Icarus Line
10:45 am


The Icarus Line

Los Angeles’ feral freakout rock saviors The Icarus Line will be melting faces up and down the West Coast for a short December tour with Zig Zags and Zodiac Death Valley as support. The tour started last night in Santa Barbara

12/2 – Fulton 55 – Fresno, CA
12/3 – Elbow Room – San Francisco, CA
12/5 – El Corazon – Seattle, WA
12/6 – The Know – Portland, OR
12/7 – 1078 Gallery – Chico, CA
12/8 – Starlite Lounge – Sacramento, CA
12/9 – Night Lite – Oakland, CA
12/10 – Constellation Room – Costa Mesa, CA
12/11 – Echoplex – Los Angeles, CA
12/12 – Soda Bar – San Diego, CA

A very special (and very legendary) guest guitarist is expected to show up to inject some extra raw power into a few of the shows. Don’t be a stooge and miss that.

Below, here’s an exclusive taster of what you’ll see at the gigs, The Icarus Line performing material from their pulverizing Slave Vows album taped at Valley Recording Company in Burbank on November 22, 2014.

Posted by Richard Metzger | Discussion
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Hawkwind’s ‘Galactic Tarot’ deck, 1971
10:44 am



A couple of weeks ago Arthur’s Jay Babcock tweeted that he had stumbled upon a fascinating two-page Hawkwind spread while “trolling thru the online International Times archive.” It turns out it wasn’t just any Hawkwind spread, it was a full Hawkwind tarot deck! Here’s a look at the spread, rotated 90 degrees. (If you click on the image, you can see a much larger version.)

This spread appeared in Issue 117 of International Times, or IT, which bears a publication date of November 18, 1971, a date that coincides neatly with the release of Hawkwind’s second album, In Search of Space or X In Search of Space, depending on who you ask, which had come out just a few weeks earlier. Linking to Babcock’s tweet a couple of days later, John Coulthart speculated, “Is this an overlooked Barney Bubbles design?”

Bubbles had designed the cover for In Search of Space, which featured a die-cut interlocking foldout. Coulthart himself designed the covers for the 1980s Hawkwind comps Zones and Out & Intake. According to Paul Gorman’s Reasons to Be Cheerful: The Life and Work of Barney Bubbles, Coulthart once credited Bubbles with inventing “cosmic art nouveau” in his early work for Hawkwind.

For any readers of IT wanting to make a deck of their own, the following instructions are provided: “Paste this page down onto a stiff sheet of cardboard. Wait till it’s dry. Then cut out each card until you have a pack of 21. Shuffle and deal into three rows of seven. Read the image / word combinations thus formed. The Galactic Tarot does not speak of the future or the past, for all galactic time is contained in the present.” Yeah, man, faaaar out….. (Cannabis and quaaludes are not mentioned.) If you’d like help deciphering the text, this page is very helpful.

Here are the cards. The text on the cards is a little bit puzzling. If you forgive a transposed word or two, the cards contain the full text of two Hawkwind songs: “Born to Go” and “Infinity.” (If you order the cards Earth-Atlantis-Pluto-Jupiter-Flying Saucer-Sun-Pyramid-Alien-Horus-Machine, you get the verses and chorus for “Born to Go,” and if you order the cards Winged Hero-Icarus-Mercury-Time Card-Aquarian Age-Galaxy-Mars-Saturn-Venus-Infinity, you get the verse and chorus for “Infinity.”) The truly bizarre thing is that neither of those songs appears on In Search of Space—“Born to Go” first appears on the live album Space Ritual, which was released in 1973, while listeners had to wait eight solid years, until 1979’s PXR5, to hear “Infinity.” (Since not everything works out so neatly, the left-over “Space” card has a line from “Black Corridor.”)

Earth: “We Were Born to Go / We’re Never Turning Back”
Pyramid: “We Were Born to Go / As Far As We Can Find”

Atlantis: “We Were Born to Go / And Leave a Running Track”
Flying Saucer: “We Were Born to Blaze / A New Clear Way Through Space”

Space: “Space Is the Absence of Time and of Matter”
Alien: “We Were Born to Blow / To Blow the Human Mind”

Time Card: “Infinity So Beautiful / Has Turned My Soul to Ice”
Machine: “We’re Hatching Our Dreams”

Sun: “A Way Out of the Maze / That Held the Human Race”
Winged Hero: “I Used to Be of Human Kind / I Had a Life to Lead”

Galaxy: “I Met Her in a Forest Glade / Where Starbeams Grew Like Trees”
Horus: “We’re Breaking Out of Our Shell / We’re Breaking Free”

Icarus: “But Now I’m Frozen in a Dream / My Life Is Lost It Seems”
Aquarian Age: “And Crystallized Eternity / For All My Future Time”

Infinity: “In a Dream / Infinity”

Mars 12a: “I Did Not Take Her for a Witch / She Wasn’t What She Seemed”
Jupiter 12b: “We Were Born to Learn / We Were Born to Grow”

Saturn 12c: “She Led Me to a Palace Gate / With Constellation Towers”
Venus 12d: “She Is the Keeper of My Fate / I Sleep Locked in Her Powers”

Pluto 12e: “We Were Born to Go / And Leave No Star Unturned”
Mercury 12f: “She Turned the Key / Of Endlessness and Locked Me”
“Born to Go”:


Posted by Martin Schneider | Discussion
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Guy walks around festival dressed as Steve Aoki; stupidity (and many selfies) ensue
09:41 am


Steve Aoki

I’m not going to assume that you have all heard of Steve Aoki but for brevity’s sake, he’s an American house musician, DJ, record producer, founder of Dim Mak Records and the son of the guy who founded Benihana. He’s also famous for throwing pies at “tank-top-sporting EDM bros” while he performs.

A fellow named Jarrad Seng silently walked around the Stereosonic festival in Perth, Australia dressed up as… Steve Aoki. Because why not, right? This was Seng’s answer to all viral catcalling videos that have been making the rounds on the Internet the past few months. He’s outdone them all.

As someone in the YouTube comments points out:

He’s like the pied piper of shit heads.

The whole video is ridiculously funny and mind-numbingly stupid. Jarrad Seng kind of looks like Steve Aoki if you squint and stand on yer head while taking a huge bong hit. Okay, he looks nothing like him. Both are Asian guys with long hair and beards, but that’s about it. However, NO ONE is the wiser and people just can’t wait to get a selfie with this ersatz “Steve Aoki”!

In the comments on reddit, heroinaddict111 added this, “A guy I know was bragging that he met him and I thought he looked a little weird.” Photo, below:

The worst (or funniest) part of the video is when the real Steve Aoki is performing ON THE STAGE while Seng is in the crowd dressed up as him. And people still apparently have no idea that the guy they’re high-fiving and taking selfies with is not Steve Aoki.

via reddit

Posted by Tara McGinley | Discussion
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‘Devotees’: Beautiful mutants create insane DEVO tribute album, 1979
08:18 am



The cover for the first DEVO album was “inspired” by the logo of golfer Chi Chi Rodriguez

The enduring vogue for tribute compilations can probably be traced back to an origin in the late ‘80s, when the Johnny Cash tribute ‘Til Things Are Brighter and the Neil Young tribute The Bridge both earned critical raves and much college radio spinnage. But though the concept didn’t catch real fire until almost the turn of the ‘90s, it had been around. Witness 1979’s Devotees Album, the DEVO tribute album produced by L.A.‘s legendary radio station KROQ.

The album differs substantially from most tribute comps, which are typically heavily curated affairs, like the popular and long-running “Red Hot and [whatever]” series. The aforementioned Johnny Cash trib was assembled as a labor of love by members of the Fall and the Mekons, years before Cash’s resurgence in popularity. But this DEVO tribute is basically a collection of fan art! KROQ invited listeners to submit DEVO covers, and the selections that made it to the comp were determined in a contest. So instead of marquee names, you have a lot of genuine weirdo shit, crafted by creative obsessives, few of whom were ever heard from again. As such, it’s a mixed bag, ranging from shitty-but-endearing efforts you maybe never need to hear more than once in a blue moon, to totally brilliant mix-tape staples.

Another effect of its mob-sourced curation is that there are repeaters, which is usually a tribute comp no-no: the album contains three versions each of fan favorites “Mongoloid” and “Jocko Homo.” Amusingly, two of the “Jocko Homos” included music played on touch tone telephones. The first was “Jocko Bozo,” a clown-themed sendup by the Firemen. Some YouTube smartass dubbed that cut over some actual DEVO live footage, and I’m not 100% sure how I feel about that, but you can watch it here. The second was by the Touch Tone Tuners, who, true to their name, played ALL their track’s music on a phone. Embeddable media for that one seems nonexistent, but the ever-helpful WFMU has an MP3 of it online.

Another big winner is the Bakersfield Boogie Boys’ version of “Okie from Muskogee,” the presence of which is a bit of a headscratcher—did DEVO ever do that song? I can find no evidence that they did, but that hardly matters, as this track was so well received that Rhino gave that band an EP all their own, which is so ridiculously DEVO-ish in its robotic affect and squared-off synth textures, I’m sure someone out there thought the BBBs were actually just DEVO playing a prank.

Finding the LP in its entirety online is difficult, or I’d have just streamed the whole damn thing for you. It’s never come out on CD, which is amazing, not just because it’s DEVO-related, but because the original LP was released by the reissue-happy Rhino Records. Fortunately, re-sale prices for the LP on Amazon and Discogs are perfectly reasonable. But despite the paucity of sharable tracks, there is an illuminating contrast yet to draw—two versions of “Mongoloid,” one a fairly straight, if silly, take, and the next a disturbingly lysergic “Revolution #9”-ish mishmash, redolent of dorm room delirium tremens.


Posted by Ron Kretsch | Discussion
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Single-sentence movie summary T-shirts
07:23 am



I really like these deadpan shirts with single-sentence summaries of a few popular movies. Not going to mention any movie titles, so you can quiz yourself, but my favorite one reads, “A framed Coney Island street gang must elude police and rival themed gangs on a race back to their home turf.”

It cheers me to learn that these were designed by Mike Joyce of Stereotype Design; he was also responsible for those rigorously 2D Helvetica gig posters that popped up a couple years back. You can get these at Fab. for $28 each.





More awesome synopsis-tees after the jump…..

Posted by Martin Schneider | Discussion
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Putney Swope: Most under-rated cult film of the 1960s?
01:07 pm


Putney Swope
Robert Downey Sr.

Robert Downey Sr.‘s Putney Swope is an unusual film that splits audiences into two camps without breaking a sweat: those who absolutely love it and think it’s an unheralded masterpiece, and those who utterly loathe it (Check out Amazon reviews!) A third and far larger category would be comprised of everyone who’s never even heard of this odd little gem in the first place. Back in the early 80s, when super rare cheap to license cult films would often appear on some schlocky video label long before some mainstream films became available Putney Swope would often show up in the “Midnight Movies” or cult films section of video rental shops. After that it more or less disappeared until it came out on DVD. Every once in a while it’s on TV, too, but it’s still, sadly, Putney Swope is not a widely known film.

The Coen Brothers, Chris Rock, Dave Chapelle and Paul Thomas Anderson are all known to be big fans of the film. Jane Fonda declared it a masterpiece to Johnny Carson on The Tonight Show in 1969 and the Beastie Boys have sampled from it and rapped about it. Anderson even lifted a scene from it for Boogie Nights.
The first three times I saw Putney Swope I thought it was an incredible masterpiece. I was stunned by it. I laughed out loud. I sobbed. It was amazing. It was profound and symbolic of everything! Then again, the first three times I saw the film I was ridiculously high on LSD and I watched it over and over again, by myself, three times in the same night!
When the acid wore off I still thought it was a great and profound film, perhaps just not as great. That didn’t stop me from being an evangelist for this weird little movie, which satirized race, how race was portrayed in advertising, race in the workplace, black militants, white privilege and corporate corruption (there’s even a hint of Orwell’s Animal Farm in it), to all of my friends. Man did I force this film on a lot of (grateful!) people. I’ve easily seen it 30 times.
The plot goes something like this: Arnold Johnson (who later played “Hutch” on Sanford and Son) is Putney Swope, a middled-aged black man who works at a Madison Avenue advertising agency with a bunch of corrupt corporate buffoons. When the founder of the agency dies mid-speech, the board holds a vote to find his successor while his body goes cold on the table. Everyone writes down a name on a piece of paper. They are informed that they cannot vote for themselves and so each man tears up his ballot. They cut deals with each other and then all vote for the one guy who they think no one else will vote for either, Putney Swope, the only black guy.

So Swope becomes the new CEO with a landslide. His motto is “Rockin’ the boat’s a drag. You gotta sink the boat!”  He promptly fires all of the white executives (save for one), renames the agency “Truth & Soul” and hires a young, idealistic and politically militant black staff who want to tell the actual truth in advertising. “Truth & Soul” refuse to take accounts from cigarette manufacturers, liquor companies or the war machine. They become so successful that the government becomes alarmed. Eventually everyone becomes corrupted, even Putney himself, who takes to dressing like Fidel Castro.
That’s about it, plot-wise, but a lot of stuff happens in Putney Swope that would be difficult to try to describe here. The film is mainly in black and white, but the commercial parodies are in color. Antonio Fargas Jr. (“Huggy Bear” on Starsky & Hutch) has a memorable role as “The Arab,” Putney’s Muslim advisor and prankster Alan Abel is also seen in a cameo role. Putney Swope has great lines like “Anything that I have to say would just be redundant”; “A job? Who wants a JOB?”; and “Are you for surreal?!” that have been quoted over and over again (at least in my house). The US president and his wife are played by midgets who engage in a threesome with a photographer. There is a Mark David Chapman-type weirdo hovering around. It’s hard to describe, you really just have to see it. I think Putney Swope is one of the great, great, great American counterculture films of the 1960s. One day. I predict confidently, it will be seen as the equal to Easy Rider or Five Easy Pieces. I’m surprised that French cinemaphiles haven’t discovered it yet… but they will. They will.

This probably isn’t the best way to watch the film (grab the Putney Swope DVD on Amazon)  but DO watch the first scene up to the point where Putney takes over the advertising agency. If that doesn’t make you want to watch the rest, I can’t do much for you…



If you are lucky enough to find yourself in Los Angeles next weekend, there’s going to be a Robert Downey Sr. celebration to end all celebrations with the great man in attendance (this is a true rarity on the west coast as Downey refuses to fly) held from 12/5 - 12/8 at Cinefamily. TRUTH AND SOUL INC. featuring special guests Paul Thomas Anderson, Louis C.K., and an intimate conversation with Robert Downey Sr. and his son, Robert Downey Jr. about his film legacy. This event is a fundraiser for Cinefamily, LA’s premiere cinematheque for first-run arthouse and repertory films and who better to represent all that Cinefamily stands for than this maverick filmmaker?


Posted by Richard Metzger | Discussion
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John Cleese names his favorite show he’s ever done—it’s probably not what you were expecting
10:47 am


John Cleese
Monty Python

A few days ago, the Nerdist released its interview with John Cleese of Monty Python. The host, Chris Hardwick, admits to worshiping Cleese—who can’t relate to that?—and they spend a really easygoing hour or so together. Cleese is promoting his new memoir So Anyway, which Jonathan Yardley in the Washington Post called “smart, thoughtful, provocative and above all funny,” even if Lewis Jones at the Spectator in the UK called it “a dreary compendium of pompous self-congratulation and tetchy sarcasm.” Ouch.

Anyway, about 58 minutes in, Hardwick asks Cleese about the “favorite thing that you’ve ever done.” What would he pick, do you think? Monty Python and the Holy Grail! Or maybe the Dead Parrot sketch? Oh, how, stupid of me, of course he would pick Fawlty Towers, that’s a no-brainer. Although you never know, it could be his psychology books with Robin Skynner or A Fish Called Wanda (which briefly established Cleese as the thinking woman’s sex symbol) or the business training videos he did for the company he founded, Video Arts. Or The Human Face?

Nope, nope, and nope. Turns out all of those guesses are way off.

Here’s his answer to the question: “I made a little documentary about lemurs in Madagascar once, and there was something about that I thought was very warm and mellow, and I liked that, I liked that a lot. And it enabled me to make a few sort of jokes that I hadn’t made before, and it was something really fresh.” After that, Cleese confides that the making of Fawlty Towers was a happy experience, but the filming of Monty Python’s The Meaning of Life was very much the opposite, not a happy experience at all.

The “little documentary” cited by Cleese is called “Operation Lemur: Mission to Madagascar” (although the in-show title, as you can see, is “Lemurs with John Cleese”). It was filmed as part of a series of nature programs that ran for several years called Into the Wild in which they would sent Hollywood celebrities to distant wildlife destinations, such as sending Julia Roberts to Borneo to learn about orangutans or Goldie Hawn to India to witness elephant life.

Cleese has developed a serious affection for lemurs. On Cleese’s Facebook page, his “About” area contains the following text: “John Cleese is a tall person who likes lemurs, coffee and wine. He’s also been known to write and act a bit.” He has also had a lemur named after him—the Bemaraha woolly lemur is also referred to as “Cleese’s woolly lemur.”

The documentary isn’t bad—you’ll definitely learn a thing or two about lemurs, and they are pretty fascinating animals. My favorite bit covers the long tails of the animals as well as the remarkable “stink fights” that lemurs will engage in—nonlethal conflicts in which the band of lemurs that produces the more offensive smell wins.

All in all, though, I wouldn’t trade it for the original 45 episodes of Monty Python’s Flying Circus.....


Posted by Martin Schneider | Discussion
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John Carpenter’s ‘The Thing’: Storyboard vs. finished film
08:45 am


John Carpenter
Anne Billson

As the film writer Anne Billson has pointed out most critics were wrong about John Carpenter’s The Thing when it was first released in 1982. In general they hated it and damned the film as “too phony looking to be disgusting. It qualifies only as instant junk.” While another reviewer squealed:

“The only avenue left to explore would seem to be either concentration camp documentaries or the snuff movie.”

The reviews were sadly all rather disappointing, more so for the fact these hacks had failed to grasp how Carpenter had created an adult, intelligent and highly faithful cinematic version of John W. Campbell’s source story “Who Goes There?”—the basis for Howard Hawks’ original production The Thing from Another World directed by Christian Nyby in 1951. Unlike the Hawks’ production, Carpenter kept snug with Campbell’s tale of paranoia and a shape-shifting alien. More importantly, his version was also a major progression in cinematic story-telling as the expected tropes of character and motivation were made quickly apparent without having to be overly explained or developed through dialog. A younger audience understood this, the older critics did not, and damned the film for what they perceived was its lack of emotional depth. This is maybe explained by the release earlier in the same year of Steven Spielberg’s grossly sentimental E.T.: The Extraterrestrial which received overwhelmingly positive reviews. However, as Billson notes, some of the opprobrium heaped on Carpenter had been previously dumped on Nyby:

Variety wrote: “What the old picture delivered – and what Carpenter has missed – was a sense of intense dread.” Which is funny, because in 1951, the same paper had said of Nyby’s film: “The resourcefulness shown in building the plot groundwork is lacking as the yarn gets into full swing. Cast members ... fail to communicate any real terror.”

The negative reviews had a deleterious affect on Carpenter, who later said:

“I take every failure hard. The one I took the hardest was The Thing. My career would have been different if that had been a big hit…The movie was hated. Even by science-fiction fans. They thought that I had betrayed some kind of trust, and the piling on was insane. Even the original movie’s director, Christian Nyby, was dissing me.”

Which was a shame, for John Carpenter is a true artist, one of American cinema’s greatest offbeat film directors, whose movies have had considerable influence on succeeding generations of filmmakers.

Film editor Vashni Nedomansky is a fan of Carpenter’s The Thing, describing the film as one of his favorites and going so far as to claim:

The story, characters, score, location and practical visual effects are some of the most memorable in film history.

He also writes that certain of film’s scenes “destroyed” him and “left me cinematically scarred as a child.”

As a fan of the film, Nedomansky recently edited together a comparison between the original storyboards by Mike Ploog and Mentor Huebner with Carpenter’s finished movie. It’s an interesting comparison as it reveals how collaborative a process filmmaking can be, as Nedomansky explains on his blog Vashi Visuals:

The visuals of both the desolate Antarctic and the ever-morphing alien creatures in THE THING were envisioned long before the movie was shot. Extensive storyboards were drawn by artist Michael Ploog and Mentor Huebner so that all the departments of the production were on the same page in their preparation for the shoot. This is nothing new…but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering. Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The detail and artistry of Ploog’s work up front, allowed the crew to have clear and defined goals on those frigid shooting days in both Alaska and Canada.

To demonstrate this point…I’ve taken two scenes from THE THING and laid down the storyboards next to the shots in the final edit of the film. The video below examines the discovery of the alien spaceship and the transformation of Norris in the shocking scene that still haunts me today. Just like Hitchcock worked with Saul Bass to create the famous shower scene in Psycho…Ploog crafted beautiful storyboards for Carpenter so that the time on set was best utilized to tell the story.

You will find more storyboards from The Thing here and Anne Billson’s BFI Classic book on John Carpenter’s The Thing can be found here.

With thanks to Scheme Comix.

Posted by Paul Gallagher | Discussion
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Let Charles Mingus help you with your cat poop problems
07:31 am


John Cassavetes
Charles Mingus

Charles Mingus is one of the greatest jazz composers of all time, and he also, it seems, shared some similarities with your typical crazy cat lady. He liked having cats around, and spent a lot of time thinking about the nettlesome issue of feline fecal matter.

On p. 77 of Cassavetes on Cassavetes we find the following anecdote, told by John Cassavetes, about enlisting Mingus to do the soundtrack for his first movie, Shadows. Mingus would only do it if Cassavetes would come over to Mingus’ house and clean up the cat shit—but even that didn’t solve Mingus’ problem:

First we were going to use Miles Davis, but then he signed with Columbia Records and I got so angry I didn’t want to use him. Anyway, someone said there was this great improvisational artist down in the Village who’d cut a few records, so I listened to a couple and oh!—this guy was wonderful! Charlie Mingus. So Charlie said, “Listen, man, would you do me a favor? I’ll do it for you, but you have got to do something for me.” “Sure, sure,” I say. “Listen, I’ve got these cats that are shitting all over the floor. Can you have a couple of your people come up and clean the cat shit? I can’t work; they shit all over my music.” So we went up with scrubbing brushes and cleaned up the thing. Now he says, “I can’t work in this place. It’s so clean. I’ve got to wait for the cats to shit.”

Cassavetes had intended for Mingus to improvise the needed music in a single session, but Mingus demanded to compose it properly. Cassavetes ended up using music composed by Mingus’ saxophonist Shafi Hadi. Meanwhile, two years after the first release of Shadows in 1957, Mingus completed his own soundtrack to the movie. According to Cassavetes, those Mingus compositions are “Nostalgia in Times Square” and “Alice’s Wonderland.” 

At some point Charles Mingus figured out the best method of toilet training a cat, and he felt he had to get the word out. He wrote a short pamphlet called “The Charles Mingus CAT-alog for Toilet Training Your Cat.” You could order the “CAT-alog” directly from Mingus, and it also appeared in a publication called Changes that existed between 1968 and 1975 and was run by Mingus’ wife, Sue Graham. (Interestingly, the officiant at their wedding was Allen Ginsberg.) You can read the entirety of Mingus’ “CAT-alog” at this website, which is administered by Graham. Mingus’ main point is to execute the transfer to the toilet very slowly: “The main thing to remember is not to rush or confuse” the cat. Also, don’t use kitty litter: “Be sure to use torn up newspaper, not kitty litter. Stop using kitty litter. (When the time comes you cannot put sand in a toilet.)”

Recently Studio 360 dedicated a segment to Mingus’ kitty program, even enlisting actor Reg E. Cathey, familiar from such TV shows as The Wire and House of Cards, to read Mingus’ pamphlet in its entirety.

Listen to Mingus’ “Pussy Cat Dues,” after the jump…..

Posted by Martin Schneider | Discussion
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