follow us in feedly
This isn’t a ‘shred’ video: Hear Courtney Love’s horrible isolated vocal and guitar track
09.09.2014
06:55 am

Topics:
Amusing
Music

Tags:
Courtney Love
Hole


 
Here’s Courtney Love performing “Celebrity Skin” in 2010 live at Don Hill’s in NYC and holy WOW WOW…. this is just truly awful. Love’s vocals aren’t the worst here, but that guitar! Was it not tuned properly before she played? Or does she just not even know how to make a bar chord?

According to YouTube uploader J.M. Ladd:

“I was hired through the venue to record this show (including many others throughout that week) and was then left standing with a hard drive and an invoice no one seemed to want.”

He then goes on to write:

“To address the most obvious, inevitable question that I will be asked… this is not fake. Whether you think she’s the worst or this just makes her all the more “punk rock” is for you to decide. I’m merely presenting the facts as they are. Make of them what you will.”

She’s no Linda McCartney that Courtney, eh?

 
via Noisey

Posted by Tara McGinley | Discussion
follow us in feedly
‘Say hello to my little friend’: Behind-the-scenes of ‘Scarface’
09.09.2014
05:55 am

Topics:
Movies

Tags:
Al Pacino
Oliver Stone
Brian De Palma

AAscarfpac11.jpg
 
Actor Paul Muni so immersed himself in his film roles that he often continued to remain in character long after a scene had been shot. Director Howard Hawks noticed this when Muni played notorious gangster Antonio “Tony” Camonte in the original version of Scarface in 1932. It was said that Muni became possessed by the character and his whole demeanour changed—in particular his eyes seemed utterly deranged. Al Pacino had heard the stories of Muni’s great acting talent and in the early 1980s he attended a screening of Scarface at the Tiffany Theater in Los Angeles. The film and Muni’s performance blew him away, and Pacino contacted his agent, producer Martin Bregman, to suggest they collaborate on a remake of the movie.

Pacino had an idea of keeping the film in period 1930s, but after discussions with first choice director Sidney Lumet it was decided to set the film in the present day and to tell the story of a Cuban exile, Tony Montana, and his rise and fall as a violent drug lord. Lumet wanted to use the film as a political attack on the US government’s involvement in South America, and the reasons for the massive influx of cocaine into the country. Bregman disagreed and Lumet quit the project. Brian De Palma was then chosen to direct the film with Oliver Stone as screenwriter. At that time, Stone was apparently struggling with his own cocaine problems, and chose to write the screenplay in Paris, later explaining:

I don’t think cocaine helps writing. It’s very destructive to the brain cells.

Tell us something we don’t know Oliver Stoned! Solely fixed on writing, Stone delivered a hefty three-hour movie script, which De Palma turned into one of cinema’s greatest gangster movies. When the film was released, not everyone agreed as the majority of movie critics denounced Scarface as being a morally bankrupt, overblown B-movie, and damned the film for its excessive bad language (the word “fuck” was used 226 times) and its gratuitous violence. However, most of this violence, in particular the notorious chainsaw scene, is suggested rather than seen, and while most critics headed for the exits, the likes of Roger Ebert and Vincent Canby praised the film.

The negative reviews had little effect on the audiences and the film made a profit. Over the years, the “ayes” were proven right, as in 2008 Scarface was included by the American Film Institute as one of the ten greatest gangster movies ever made.
 
BBscarpacdep22.jpg
Director Brian De Palma prepares to shoot a scene with Al Pacino as Tony Montana.
 
GGscardep77.jpg
De Palma with cinematographer John A. Alonzo.
 
HHscardeppac88.jpg
De Palma, Alonzo and Pacino setting up shot.
 
FFscardep66.jpg
Though set in Miami most of the movie was filmed in Los Angeles, as the Miami Tourist Board feared the depiction of the underworld of drugs and gangsters would deter tourists from visiting the city.
 
OOscarpacmurr1515.jpg
Pacino as Montana pulls the trigger.
 
More from Tony Montana after the jump…
 

Posted by Paul Gallagher | Discussion
follow us in feedly
The Replacements censored on live awards show (but get the last laugh), 1989
09.09.2014
05:46 am

Topics:
Music

Tags:
The Replacements

The Replacements
 
The collective hearts of Replacements fans everywhere have been aflutter since the announcement that the reunited band would be returning to the small screen, as they are due to appear on The Tonight Show with Jimmy Fallon September 9th. Naturally, there’s been much talk of their infamous Saturday Night Live performance in 1986, when they got drunk, stumbled around, and generally behaved like one would expect the Replacements to have behaved. Singer/guitarist Paul Westerberg even committed the ultimate TV sin, shouting the F-word during “Bastards of Young.” It was awesome. SNL producer Lorne Michaels was, of course, not amused, and reportedly banned the group for life from 30 Rock (The Tonight Show is filmed at the same address and Michaels is the executive producer).

The Replacements only performed in front of television cameras a handful of times, and while there’s no topping the SNL gig, their appearance on a long-forgotten awards show in 1989 is a close second.

ABC aired the International Rock Awards live on May 31st, 1989. Lou Reed, Living Colour (who took home the “Newcomer of the Year” prize), Keith Richards (there to be presented with a “Living Legend” award), and David Bowie’s ill-fated super-group, Tin Machine, all performed at the event. Winners were handed a bronze “Elvis” award.

The reason I was plopped in front of the family television that night was to see my favorite band, the Replacements. I had watched a crappy videotaped copy of the SNL show hundreds of times and was ready for anything. I was excited, to say the least.

The lights lower and an announcer says, “We apologize; here the are: The Replacements.” Wow, a more hilarious (and ultimately fortuitous) opening couldn’t have been imagined. It’s already a classic clip and the band hasn’t played a note! But then “Talent Show” begins and Westerberg walks up to the mic and manages to one up their introduction: “What the hell are we doing here?” And they’re off!

“Talent Show,” from their then most recent album Don’t Tell a Soul, couldn’t have been a better choice for this event. The song—about feeling vulnerable and scared to get up on stage only to be judged by and against your peers—suddenly becomes more literal than intended. The band were booked on a silly awards show with hip young acts and rock royalty, and the Replacements, a group of outsiders and punks at heart, perversely thrived on these sorts of moments. Instead of rising to the occasion and doing their best to “win,” they instead become the little engine that won’t.

But that’s not to say what transpired wasn’t great. Heck, any Replacements fan knows that half the fun is watching the band gleefully launch themselves off the stage ledge, flipping the bird to showbiz protocol. Bassist Tommy Stinson can barely keep from laughing throughout the performance and Westerberg is at least a couple of sheets to the wind—it’s rough and raucous for sure, but isn’t that’s the way its supposed to be?

Before the show, they were told they needed to change the line, “We’re feeling good from the pills we took.” Well, fittingly, Westerberg did no such thing, and the censors were obviously ready for it, as the tape goes silent during that section of the song. What the censors at ABC didn’t anticipate was this: Near the conclusion of “Talent Show” the lyrics address the time when the band hits the stage and there’s no retreating: “It’s too late to turn back, here we go” is repeated twice on the album version, but here Westerberg has changed the line to “It’s too late to take pills, here we go”—ha! The censors missed it and they’ve pissed everyone off again! To add insult, the line is sung three times.

Paul Westerberg
 
The clip ends with a shot of movie star (and big ‘Mats fan) Matt Dillon enthusiastically whistling and clapping in the audience. Perfect.

I imagine the Tonight Show appearance will be a more orderly affair. Heck, it’s been 25 years since the International Rock Awards, the last time they were seen by a national television audience. People mature. Another famous admirer of the group, Keith Richards, will also be on hand (to promote his children’s book!), so the Replacements will surely be on their best behavior. Or not.

Mr. Michaels just might have to institute another lifetime ban. Fingers-crossed!
 

Posted by Bart Bealmear | Discussion
follow us in feedly
Beautiful Colors: Early posters of Duran Duran
09.08.2014
01:55 pm

Topics:
Music

Tags:
Duran Duran


 
Andrew Golub has been collecting Duran Duran memorabilia for a very long time—well over 30 years—and has probably (definitely?) amassed more, well stuff relating to their career than they’ve even got themselves. It’s hard to keep track of posters, lunch boxes and promotional key rings when you’re off gallivanting around the world shooting big budget music videos with supermodels on yachts made of pure cocaine, isn’t it? Careless memories? Thanks to Andy’s archival efforts—the results that can be see in his book, Beautiful Colors: The Posters of Duran Duran, gallery exhibits he’s mounted and his website—Duran Duran can relax, he’s got them covered.

Duran Duran emerged at the height of the New Romantic movement. Inspired by the escapist fantasies of Bowie and Roxy Music, and motivated by the do-it-yourself credo of bands like the Sex Pistols and The Clash, for Duran the scene was a natural fit. As Nick Rhodes would reflect many years later in 1998, talking to Boyz magazine, “Of course [New Romanticism] was camp and over the top, but we felt very comfortable with that. It seemed very natural to put something forward that had a great visual aspect. It grew out of glam and punk, both of which were incredibly stylish movements.”

—Text above and below from Beautiful Colors: The Posters of Duran Duran by Andrew Golub. Here’s a selection of posters from the group’s early years.
 

 

On September 12, 1981, Duran Duran played a show at Amsterdam’s most famous concert venue, Paradiso. The poster below is among Paradiso’s collection of over 1000 silkscreens designed by Martin Kaye. As the concert hall’s in-house designer from 1972 to 1983, Kaye perfected a signature style of bright, attention-grabbing colors and unique lettering that helped define Paradiso’s reputable image for many years.

 

 

This poster advertises a Manchester gig on the band’s first UK tour. The artwork incorporates elements from the ‘Planet Earth’ 7” single sleeve, designed by Malcolm Garrett, who engineered Duran Duran’s graphic work and packaging up until 1985. Garrett’s close attention to detail and the importance he placed on interconnectivity between record sleeves, advertisements, and merchandise would play a huge part in realizing the band’s visual identity: “I was looking to have a kind of consistency, so that everything that might come out with the words ‘Duran Duran’ on it felt like it had come from the same family, the same visual floor.” Helping to usher in postmodernism, Garrett’s use of fonts was a conscious effort to create something new by looking back: “There was a feel in the graphics of the early ‘60s that they were really futuristic. So, if you like, I was looking backwards to move forwards. It felt right and it felt contemporary—but it also felt timeless.”

 

 

In November 1980, an English singer-songwriter and actress named Hazel O’Connor had just starred in a critically acclaimed film called Breaking Glass. She also penned the film’s soundtrack and was about to tour the UK in support of her album. For an opening act, O’Connor enlisted a then-unknown group from Birmingham called Duran Duran. Michael Berrow, one of the band’s managers, sold his flat to purchase the support slot on the tour, taking advantage of the media interest O’Connor had generated from her film. Duran Duran enjoyed valuable exposure on the Megahype tour, earning 10 GBP a week and spending nights sleeping together in the back of a van. On the road, the band got an opportunity to hone its live performance and test a brief catalog of material with large audiences. Requests for encore performances and emphatic approval from females in the audience gave Duran a first glimpse of things to come.

 
More early Duran Duran posters plus some very early videos of the band, after the jump…

Posted by Richard Metzger | Discussion
follow us in feedly
The Beatles play for 18 people in Aldershot, 1961
09.08.2014
01:27 pm

Topics:
Amusing
History
Music

Tags:
The Beatles
Aldershot


 
Photos of the 18 damned lucky buggers who got to see The Beatles play at the Palais Ballroom, Aldershot, on December 9th, 1961. The Beatles’ then agent, Sam Leach, effed-up and didn’t advertise the show properly—hence the lousy turnout of less than two dozen people in attendance. Sam Leach was replaced by Brian Epstein as their manager after the Aldershot disaster.

However, according to Beatles’ Source, Sam Leach didn’t screw up, but, “The local newspaper, Aldershot News, neglected to feature Sam Leach’s advertisement for the show.” If this is to be believed, you really can’t blame Leach.

Truth be told, they all look like they’re having a good time regardless of the poor turnout.


 

 

 

 
More after the jump…
 

Posted by Tara McGinley | Discussion
follow us in feedly
‘2001: A Space Odyssey’ comic in fantastic Howard Johnson’s ‘Children’s Menu’


 
Only the most observant of Kubrick-aholics will even remember the Howard Johnson’s reference in his landmark 1968 movie 2001: A Space Odyssey, but it’s right there, around the 30th minute. Dr. Heywood Floyd, played with purposeful blandness by William Sylvester, finds himself in a veritable barrage of product placement following the legendary Johann Strauss “Blue Danube” slam cut from the apes’ bone to the graceful, silent spacecraft. Dr. Floyd is flying in a Pan Am vehicle, we’re told, and over the next few minutes, at the space station, he walks through a Hilton hotel lobby, places a call to his wife and daughter using a Ma Bell videophone, and yes, walks by a “Howard Johnson’s Earthlight Room.”

As the beneficiary of a truly special promotional opportunity, Howard Johnson’s did their part, releasing a combined comic book/children’s menu depicting a visit to the premiere of the movie by two youngsters—well, the title actually tells it pretty well: “Debbie and Robin Go to a Movie Premiere with Their Parents.” Neat-O! Given that in the movie (SPOILER ALERT) a computer bloodlessly kills off several members of the crew of the U.S.S. Discovery One and that the movie ends in a psychedelic and well-nigh incomprehensible farrago of colorful effects that Mad Magazine insisted was a result of David Bowman (Keir Dullea) crashing into “the brand new 105-story Jupiter Museum of Op Art,” it’s understandable that the comic focuses on the gee-whiz feeling conveyed in the middle chunk of the movie, and glosses over the ending—the two comic panels in which the family emerges from the theater discussing “the way the mystery was solved!” are, given the downbeat goings-on in the movie, perfectly apposite and false in the only way it can be. The synopsis ignores one of the movie’s most noteworthy aspects outright, by which I mean the apes of the opening sequence. But note that the comic’s discussion of the movie—hilariously—does not gloss over Hal’s murders, as evidenced by the above panel.

What we see here is the old Hollywood promotional methods associated with Mary Poppins, perhaps, or Cleopatra attempting to deal with the totally new, technologically sophisticated, and thematically bleak mode of filmmaking. Would you be able to create credibly cute kiddie characters who gush about “The Dawn of Man” and what lies “Beyond the Infinite”? I sure can’t.   
 

 

 

 

 

 

 

 
More great cartoon panels and a video clip, all after the jump…..

Posted by Martin Schneider | Discussion
follow us in feedly
Oh ‘Kitty’ You’re So Fine?: Toni Basil’s 1982 smash first released by UK band in 1979
09.08.2014
10:39 am

Topics:
Music
One-hit wonders

Tags:
Toni Basil

Mickey 45 sleeve (US)
 
It’s all about the beat. It doesn’t take more than a moment after pressing play on one of the most famous songs of the 1980s before just about anyone who has even a toe in the pool of pop culture is able to recognize Toni Basil’s “Mickey.” But relatively few realize it had a former life under another name and that Basil played such a large role in its success.

Smash and Grab cover
 
The British band Racey were discovered by producer Mickie Most in 1978, and their second 45, “Lay Your Love On Me,” was their first hit. Written by Mike Chapman and Nicky Chinn, the Chapman-Chinn partnership had already proved extremely successful, and the duo were known for penning strong and winning material for a number of acts, most notably Sweet (“Ballroom Blitz,” “Blockbuster,” etc.). Racey’s debut LP, Smash and Grab, was released in 1979 and though the hits continued, they failed to crack the coveted U.S. market. Smash and Grab featured a number of Chapman-Chinn songs, including a catchy number called “Kitty,” which, for some reason, wasn’t released as single.
 

 
Toni Basil was a show biz veteran when “Mickey” began scaling the charts in the early 1980s. Her first single came out in 1966 and she appeared in a few movies, including Easy Rider and dancing with Davy Jones in the Monkees’ Head. She also had directed videos, but was primarily known in the industry as a choreographer.
 
Word of Mouth cover
 
“Mickey” appeared on her Word of Mouth LP and was released as a single in 1981. Though it took a while to take off, by late 1982 it was a smash, going all the way to #1 in the states. It was one of the first songs to benefit from having a popular video—which Basil choreographed, produced and directed—on MTV.

Basil changed the title of the track to fit her gender, and chose Mickey as it roughly rhymes with Kitty. She also wrote the “Oh Mickey you’re so fine/You’re so fine you blow my mind” hook—a hook so massive that it can’t be overlooked when considering the song’s popularity.

I was always a cheerleader and I remember the echoing in the basketball court of cheerleaders, of us, stomping, chanting. I said I would do it if I could put the cheerleader chant on it. The record company asked me not to put the chant on because they were concerned it would ruin the rest of the tune.

There has been much speculation over the years as to what “Mickey” is about. Some believe the song is about Micky Dolenz of the Monkees; others think the song alludes to anal sex! Here’s what Basil had to say on the matter:

It’s not about anything dirty. You change the name from boy to girl and they read anything they want into it! When it’s a guy singing about a girl, it’s a sweet line. But when a girl sings it, it must mean butt fucking!

Oh, Mickey
 

No matter what anyone might think regarding the lyrics, one thing is certain: Basil essentially took an already appealing pop song and turned it into a #1. It is now considered one of the most iconic songs (and videos) of the entire 1980s. But she received no writing credit, and after 30+ years she claimed she had only earned about $3,000 in royalties from “Mickey.”
 
Mickey 45
 
Love it or hate it, Toni Basil’s colossal hit was a pop culture moment in 1982 and refuses to leave our collective consciousness. Long live the beat, I say!
 

 

Posted by Bart Bealmear | Discussion
follow us in feedly
‘It’s a virus’: Tom Waits on musicians allowing their work to be used in commercials
09.08.2014
09:39 am

Topics:
Advertising
Music

Tags:
Tom Waits


 
Below, Tom Waits responding to a 2002 article in The Nation by John Densmore of The Doors regarding musicians and artists “allowing their songs to be used in commercials.”

Woodland Hills, Calif.

Thank you for your eloquent “rant” by John Densmore of The Doors on the subject of artists allowing their songs to be used in commercials [“Riders on the Storm,” July 8]. I spoke out whenever possible on the topic even before the Frito Lay case (Waits v. Frito Lay), where they used a sound-alike version of my song “Step Right Up” so convincingly that I thought it was me. Ultimately, after much trial and tribulation, we prevailed and the court determined that my voice is my property.

Songs carry emotional information and some transport us back to a poignant time, place or event in our lives. It’s no wonder a corporation would want to hitch a ride on the spell these songs cast and encourage you to buy soft drinks, underwear or automobiles while you’re in the trance. Artists who take money for ads poison and pervert their songs. It reduces them to the level of a jingle, a word that describes the sound of change in your pocket, which is what your songs become. Remember, when you sell your songs for commercials, you are selling your audience as well.

When I was a kid, if I saw an artist I admired doing a commercial, I’d think, “Too bad, he must really need the money.” But now it’s so pervasive. It’s a virus. Artists are lining up to do ads. The money and exposure are too tantalizing for most artists to decline. Corporations are hoping to hijack a culture’s memories for their product. They want an artist’s audience, credibility, good will and all the energy the songs have gathered as well as given over the years. They suck the life and meaning from the songs and impregnate them with promises of a better life with their product.

Eventually, artists will be going onstage like race-car drivers covered in hundreds of logos. John, stay pure. Your credibility, your integrity and your honor are things no company should be able to buy.

TOM WAITS

Tom Waits successfully sued Frito-Lay, Inc. in 1992 and was awarded $2.6 million in compensatory damages.
 

 
Via Letters of Note

Posted by Tara McGinley | Discussion
follow us in feedly
The Melvins/Love mashup shirt you didn’t know you wanted has arrived
09.08.2014
09:08 am

Topics:
Amusing
Art
Music

Tags:
Love
Melvins
Forever Changes


 
Artist/musician Brian Walsby has been active for a solid 30 years, making art for Maximum Rock ‘N Roll and Flipside, and drumming for bands as varied as SoCal hardcore shit-stirrers Scared Straight and math-rock gurus Polvo. His latest opus is a hilarious Melvins shirt that parodies the famous cover art of Forever Changes, the classic third LP by Love.
 

 
The shirt features six members of the Melvins’ forever-changing (GET IT? GET IT?) lineup, including Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle, Tomahawk), Jared Warren (Big Business, Karp), Coady Willis (Big Business, Murder City Devils) and, obviously, ur-Melvins Buzz Osborne and Dale Crover. These will be limited in quantity to 500, and per the Melvins’ Facebook page, they’re already running low, so pre-ordering soon would seem wise if you’re just dying for one of these.

The Melvins’ new LP, Hold It in, features Jeff Pinkus and Paul Leary of the Butthole Surfers, and is due out in October. While you wait, enjoy the Osborne / Crover / Willis / Warren lineup’s live performance at L.A.‘s Amoeba Records in 2008.
 

Posted by Ron Kretsch | Discussion
follow us in feedly
Devil Tarot Card, Cthulhu, Ouija Board and Critical Hit area rugs
09.08.2014
08:45 am

Topics:
Amusing
Design

Tags:
home decorating


Devil Tarot Card Rug: Order here

Because every home needs a nice, simple accent piece for their living room or family room, right? Why not these lovely Devil Tarot Card, Cthulhu, Ouija Board or Critical Hit area rugs by Middle of Beyond AKA MOB?

The only thing slightly bumming me out about theses rugs is they’re hand-tufted acrylic (wish they were hand-tufted wool).

They’re all pre-order right now and ship in 4-6 weeks. The prices range anywhere from $50-$300 (depending on size).
 

 

Cthulhu Lovecraft Rug: order here
 

 

Ouija Spirit Board Rug: Order here
 

 

Critical Hit Large Rug: Order here
 

 
 
via Boing Boing

Posted by Tara McGinley | Discussion
follow us in feedly
Page 54 of 1678 ‹ First  < 52 53 54 55 56 >  Last ›