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‘Christopher Walken in the air’... What MORE could you want?
11.24.2014
10:18 am

Topics:
Amusing

Tags:
Christopher Walken


 
Why this exists… I simply do not know. But it does and I think I’m a better person for having watched it. Whatever drugs the person was on who made this must’ve been pretty spectacular because well, they came up with this.

And just in time for the holiday season to spread some Walken cheer. I’ll be walken in a winter wonderland… and so will you!

PS - It’s a damned earworm to boot! You’ve been warned.

 
Via WFMU

Previously on Dangerous Minds:
12-year-old Christopher Walken in clown makeup will make you hate clowns a little less (or will it?)
Little rascal: Christopher Walken, child actor
‘Three Little Pigs’ read by Christopher Walken

Posted by Tara McGinley | Leave a comment
16mm print of Wes Craven’s banned cut of ‘Last House On The Left’ up for auction on eBay
11.24.2014
09:34 am

Topics:
Movies

Tags:
The Last House on the Left
Wes Craven
David Hess


 
Horror fans may be interested putting in a bid for an original 16mm print of Wes Craven’s “banned” exploitation shocker The Last House on the Left which is currently up for grabs on eBay.

The print was owned by actor David Hess who starred in the film and is now being sold by his son. The print is in “perfect condition and was stored in a sealed container for years protecting it from any damage.”

Need I say more it’s a one of a kind and will come with one of very few signed pictures still in my families possession. And a copy of the sound track on cd or vinyl.

The Last House on the Left was banned in the UK by the British Board of Film Classification (BBFC) which refused to give the movie a certificate on grounds of sadism and violence. The film was later released uncut on video in 1982 but was again banned under the Video Recordings Act of 1984 by the Department of Public Prosecutions as a “Video Nasty.” The film remained banned throughout the eighties and nineties until it was eventually released (with 31 seconds cut) in the UK on DVD in 2002.

If you fancy putting in a bid you will have to be quick as bidding finishes in just about eight hours, details here.
 

 
H/T Tim Lucas
 

Posted by Paul Gallagher | Leave a comment
Google Street View f*ck fingers
11.24.2014
09:20 am

Topics:
Amusing

Tags:
Google Street View


 
Back in 2011 artist Michael Wolf started to collect images from Google Street View of folks flippin’ the bird at the Google Maps Camera Cars as they passed by them. Wolf has amassed quite a collection by this point as you can imagine. The exhibition is called “A Series of Unfortunate Events” which is dedicated to Google Street View mishaps and its subset of the series is simply titled “Fuck You.”

I’ve only known one person to be captured by the Google Maps Camera Car. Unfortunately, my friend was hipped to his appearance on Google Street View by someone who recognized him while looking for apartments on Craigslist. The person said to my friend, “Hey man, I saw you on Google Street View. You’re on a little girl’s pink bike.” My friend immediately looked up the coordinates and lo and behold, there he was, riding a Huffy pink bike—which he borrowed from his youngest sister ‘cause his bike had a flat tire—while holding a bag of take-out tacos.

I’m sure if he could do it all over again, he’d flip Google the bird, too.


 

 

 
More after the jump…
 

Posted by Tara McGinley | Leave a comment
William S. Burroughs buys a parrot, 1963


 
Today’s adventure in obscure video centers around an innocuous 85-second film shot by Antony Balch called William Buys a Parrot. In the movie, the “William” is William S. Burroughs and the parrot is actually a cockatoo. It’s in color and has no audio track—it resembles a home movie to some extent but it’s just a shade more orchestrated than that, although it might just have been something shot to test a new camera. In William Buys a Parrot we see Burroughs, wearing a white suit and a dark brown fedora, approach a door in some exotic desert setting—either Gibraltar or Tangier, it seems. He raps on the door knocker, a man from inside comes out and they chat for a moment or two. Cut to a some kind of a coastal veranda, where Burroughs confronts the bird. Then the fellow comes out and the two men sit at the table and enjoy an adult beverage. The last third of the movie is the bird jumping around in his cage with Burroughs in the background. End of movie.
 

Burroughs and Balch in ‘Tony and Bill
 
In Wising Up the Marks: The Amodern William Burroughs, Timothy S. Murphy has this to say about the movie:
 

William Buys a Parrot demonstrates that even when silence eliminates the specific word—the external word of mundane narrative interaction that is susceptible to technical reproduction and animal mimicry—it leaves intact the general, generic, internal Word—the structural Word of addictive subjectivity that allows the viewer to provide her own narration for this film.

 
Well… sure... Why not? To me, though, it just looks like a famous writer buying a bird and enjoying some daytime spirits with a chum…

William Buys a Parrot was probably shot in 1963, but edited in 1982 by Genesis P-Orridge who is said to have rescued it and many other films from a trash dumpster after Antony Balch’s death (including Balch’s other collaborations with Burroughs and painter Brion Gysin and some prints of Kenneth Anger’s films).
 

Posted by Martin Schneider | Leave a comment
The Count goes hardcore in ‘Dracula Sucks’
11.24.2014
07:54 am

Topics:
Movies
Sex

Tags:
vampires
Jamie Gillis


 
If one had to name one literary character from the past 200 years that has influenced numerous films, short stories, books, pieces of music, commercials and even video games, there is one strikingly demonic figure that should immediately pop into mind. That’s right. The man himself—Count Dracula.

Bram Stoker’s character—who was not, apparently, based on the historical Romanian warlord Vlad the Impaler—has appeared in nearly every cinematic genre, ranging from horror (natch) to westerns and even comedies. Another genre that the most epochal vampire has graced is adult film, which also might be the least examined. The big standout on that small but notable list is 1978’s Lust at First Bite aka Dracula’s Bride aka Dracula Sucks.

Combining explicit sex and Dracula is the veritable chocolate with the peanut butter. The real shocker isn’t that there is a hardcore version of Stoker’s tale but that there are not more adult films based on his character. The very nature of Dracula, a charismatic monster riddled with polluted sexuality, makes him the perfect seductive villain for erotica of any stripe.
 
Extra from a Ratt Video? No. It's one of Dracula's Brides.
 
The title alone of Dracula Sucks might bring to mind something heavy in the groin but light in the brains department, but there is actual substance to this version, albeit in a deliriously strange way. Directed by Philip Marshak and with industry notable William Margold chipping in on writing duties, Dracula Sucks begins with Richard (Richard Bulik), the nephew of Irene Renfield (Pat Manning) and, you guessed it, the son of the Renfield. His aunt has taken him to a castle retreat in rural California to be in the care of the brother and sister team of the Sewards, Arthur (John Leslie) and Sybil (Kay Parker). He’s arrived to receive treatment for his night terrors, which will soon grow exponentially as the voice of his dead father starts to call to him.

This ghastly force leads him to the body of Dracula (Jamie Gillis). Richard follows his daddy’s instructions and removes the stake out of the corpse, only to quickly find out that the voice pulling him the whole time was not his father’s but Dracula himself! This puts him over the edge and faster than you can say “Ballad of Dwight Frye,” Richard is all bug-eyed, emitting noises of the insane and making the insect world his own personal buffet.
 
The Son of Renfield
 
Meanwhile, Dracula is introduced as a new neighbor to not only the Sewards, but to their non-patient residents, including dear friends Lucy (Serena, looking like the living embodiment of a Vargas girl) and Mina (Annette Haven), as well as their respective suitors, Dr. Bradley (Mike Ranger) and Jonathan Harker (Paul Thomas.) Things go from strange to stranger to strangest as a wave of infected sexuality and blood starts to sweep through the asylum as Dracula hones in on Mina, with whom he has fallen in love.

Dracula Sucks has to be one of the stranger approximations of Stoker’s classic tale that I have ever seen. There’s a strain of goony humor that is undercut by a genuinely eerie ambiance. It is an unwell universe where the dysfunctional out-rules the healthy and that includes a large part of the medical staff.  From the incest between the Sewards, the character of Henry (Margold) who, when not assisting the doctors, has a fixation on apples and ends up raping Irene and the fact that Van Helsing (played by character actor heavy Reggie Nalder) manages to out-creep Dracula, there are no real character safety zones here. On top of that, there is the striking image of the Count’s handmaidens, who look like glamorous ghouls who just escaped Hell’s war zone, creeping across the asylum grounds at night. Speaking of startling visuals, there’s also a doozy of an image where Dracula has a vision upon meeting Lucy. The vision in question is a solarized shot of him urinating on her while fire is chroma-keyed into the shot. It is completely infernal, messed up and striking in a witchy-psychedelic piss type way.
 
Jamie Gillis is Dracula
 
While there are some obvious liberties taken with the story, which makes the film about on par with 99% of the rest of the Dracula-centric titles, there is one key element that it nails from Stoker’s source material better than most. Keeping in mind that the novel was written in the Victorian era by a man who was very much an upstanding byproduct of it, the sexuality in the book is tame. It’s highly doubtful that any eroticism in Stoker’s text was ever intentional, since vampirism plays out more like a metaphor for venereal disease than anything else. So amping of the sexuality factor to include a communicable disease is perfect for the material. The fake vampire teeth used here is pretty jarring. Not because they look authentic, in fact, far from it. But it’s that line where something looks so artificial that it takes on an even more alien and bent look. (Anyone who has seen the Count Yorga films will know exactly what I am talking about here.)

The cast is good and features a veritable who’s who of adult film in the 1970’s. John Holmes even appears in a small supporting role as “Dr. John Stoker,” who ends up having his equally famous member get bitten by a female vampire. (Surely a scene that will have 8 out of 10 guys running to the hills!) The acting, as a whole, is really good, with the usually frosty Haven making a likable Mina. Richard Bulik makes an interesting Renfield, with his performance going from decent Dwight Frye cosplay into something more genuinely unhinged. However, like other vampire films before it, the real stars of the show are the hunter and the hunted.
 
Johnny Wadd: Vampire
 
Nader, whose career spanned from working with Hitchcock in The Man Who Knew Too Much to playing vampire Kurt Barlow in the first adaptation of Stephen King’s book, Salem’s Lot, is typically remarkable here. One has to wonder what was going through his mind while making Dracula Sucks, since established “straight” actors typically didn’t usually appear in adult films, then or now. (One exception from that time period was Aldo Ray acting in the 1976 adult title, Sweet Savage. Also, neither gentleman dropped trow, though that would have been potentially spooky on a whole other level!) Then there’s Jamie Gillis as Dracula. Given that one of Gillis’ nicknames has been “the dark prince of porn,” it was only natural to have him here as the Count. His good looks and natural intense energy plays into the role perfectly. He’s more animalistic than say Lugosi or Lee, but retains the charisma that is typically associated with the role. Given that Gillis was a really terrific actor in general, it does make one wish he had more to do, but given that the literary Dracula only appears in a fraction of the text, it only makes sense to have him more as a shadow figure.
 
Reggie Nalder as Van Helsing
 
For the hardcore vampire film lovers, Vinegar Syndrome have released this on a sweet two-disc set that also includes the Lust at First Bite version, which is more traditionally edited and features more sex than blood. Interestingly, both Dracula Sucks and Lust at First Bite have two different endings, making it the sex-vampire equivalent of King Kong Vs Godzilla. (Ignore the fact that the dual-ending for the latter is a myth.) Naturally, Dracula Sucks is not going to be for everyone but for those who like their vampire tales weird, lurid, occasionally silly and ultimately memorable, then do check it out.
 

Posted by Heather Drain | Leave a comment
Watch a ten-year-old Gore Vidal pilot an airplane, 1936
11.24.2014
06:04 am

Topics:
Books
History

Tags:
Gore Vidal
aviation
kid
child


 
The late Gore Vidal was so many things during his life. Groundbreaking author! Master of belles-lettres!  Committed progressive! Gay (but-sort-of-not-really because he conceived of sexuality as inherently genderless, but whatever)! Kind of a sexist, rape-apologist piece of shit! But hey, remember that one time he pissed off William F. Buckley so bad that Buckley called him a “queer,” and threatened to punch him? That was pretty cool, right? And that other time when Norman Mailer head-butted him? That was good times!

Well, you can add “junior aviator” to Vidal’s long list of accomplishments! The video below shows both Eugene Vidals—Junior and Senior, the latter who was an Olympic Decathlete, Professor of aeronautics at West Point, one of the first pilots in the US Air Corps, and he was an original captain of industry who broke the ground for commercial airlines (it’s also widely believed—and reported by Gore—that he had an affair with Amelia Earhart). The short is a bit of a stunt to alleviate public fears about flying, produced in partnership with the federal government—-notice the “Department of Commerce” logo on the side of the plane. Little Gene’s role is just to show us that flight is safe and simple—why even a future-literary-genius-child could do it!
 

 
h/t Connor Kilpatrick

Posted by Amber Frost | Leave a comment
Homophobic hate preacher tweets cartoon mash-up admitting he’s a ‘homosexual sodomite’

manninsemencoffee.jpg
 
Anti-gay self-ordained fruitcake “pastor” Dr. James David Manning accidentally tweeted a satirical cartoon mash-up—in which he confesses to being a “homosexual sodomite”—to his 4,215 Twitter followers.
 

 
“Pastor” Manning—a guest of Sean Hannity’s from time to time—was last seen propagating claims that Starbucks allegedly was using “sodomite semen” to flavor their lattes (This is hardly a secret: they had to get it somewhere and as everyone knows semen farmers tend to turn a blind eye as to the sexual orientation of their “studs.”) Manning has urged his followers to boycott the coffee franchise for putting jizz in their drinks.

In Adam Reake’s video, “Pastor” Manning of the ATLAH World Missionary Church in Harlem, is seen as a cartoon figure discussing the “semen” coffee story:
 

 
Reake continues his “interview” with Manning in a follow-up animation:
 

 
Via the Independent.
 

Posted by Paul Gallagher | Leave a comment
‘The Complete Zap Comix’ box set is the greatest thing in the history of the world, ever


 
Over the Halloween weekend I was visiting my family in Wheeling, WV (it was my parents’ 50th wedding anniversary) and I needed to buy a cheap one-hitter to help get me through it. There’s only one place to buy that sort of thing in my hometown and this would be Wheeling’s sole smut emporium, the very downmarket Market Street News.

Thirty-five years ago, in better economic times for that town, Market Street News was still a dirty book store, but back then it also sold bongs, rolling papers, fake drugs like “Lettuce Opium” or “Coke Snuff,” British rock mags, National Lampoon, biker rags like Easy Rider and Iron Horse, High Times and a small handful of underground comics. A bead curtain separated the front of the shop from the over 21 area and the place smelled heavily of incense, cigarettes and Pine-Sol. It was here, age 11, where I bought my first issue of High Times, the October 1977 issue with Johnny Rotten on the cover and the now infamous “Ted Nugent shits his pants to get out of the draft” interview. What kind of degenerate sold a little kid High Times?

Let me assure you that I was not an innocent child. By that age, I’d already read Ladies and Gentlemen, Lenny Bruce!!, I owned a copy of Naked Lunch and had already tried getting high (unsuccessfully) by eating fresh ground nutmeg and morning glory seeds, something I’d read about in that book’s infamous index section. I wanted to do drugs, I just didn’t know where to get ‘em (aside from “Lettuce Opium,” which yes, I admit that I tried.“Coke Snuff,” too!)

I couldn’t “score” real drugs, but at the age of 11, in a low level smut shop in a podunk West Virginia town, I was able to get my mitts on something equally mind-expanding (and only slightly less illicit): Zap Comix. Lewd, crude, incendiary, mind-blowing in the extreme and incredibly smart, I embraced Zap Comix wholeheartedly, even if I, a sixth grader, was considerably younger than the audience of “adult intellectuals” it was ostensibly intended for.
 

 
Although Zap founder Robert Crumb himself was already a very well-known and widely respected artist and counterculture hero by the time I discovered Zap in 1977, I can’t image that it was too much earlier than 1973 or ‘74 that something like Zap Comix would have had the kind of distribution that would have allowed it filter down to small town America. The first (#0) issue of Zap came out in 1968. Not every small town had a head shop at that time, of course, and even when they did, carrying Zap Comix—which presented some completely insane stuff, images WAY more perverse than anything that was being cooked up in Denmark or Sweden at the time—was probably not worth the heat it would bring, especially in that line of work. If they can bust you for selling bongs, why carry filthy and obscene comic books to further tempt fate?

Most people probably found out about Zap generally around the same time I did, no matter what age they were. Unless you were living in a big city or in a college town, it would have been highly unlikely to have encountered it otherwise. This is why I associate Zap with the punk era. At least that’s when a copy first made it into my young hands.

Crumb did the first two issues on his own before ultimately assembling a “Magnificent Seven” of the best underground artists around—San Francisco poster artists Rick Griffin and Victor Moscoso, Marxist biker cartoonist Spain Rodriguez, Gilbert Shelton (the creator of “The Fabulous Furry Freak Brothers”), painter Robert Williams, the demented S. Clay Wilson and later, after Griffin’s death, Paul Mavrides, known for his Church of the Subgenius graphics. The Zapatistas were a sort of “supergroup”—the dharma warriors of comics. Inkslingers. Revolutionaries. The best of the best. Their only yardsticks for comparison were each other and that sort of fraternal competition raised the bar and kept their art constantly evolving and their social satire razor sharp.
 

 
Like punk (and Burroughs, Lenny Bruce, Firesign Theatre and John Waters) Zap Comix kind of helped to deprogram me at a young age during my rustbelt Christian upbringing. My deeply religious parents never looked twice at my “funnie books” but if they had they’d have been utterly appalled, finding between the covers of Zap Comix characters like S. Clay Wilson’s gay pirate “Captain Pissgums” who liked to have his crew of perverts, um, piss in his mouth or the “Checkered Demon,” a randy devil cheerfully doing the most obscene things that I’d ever seen depicted on the printed page. It was shocking then and it’s equally shocking today.

Take a look at this short piece from S. Clay Wilson titled “Head First”—IF YOU DARE.

See what I mean? Remind yourself that this strip is now nearly half a century old. The reason I linked to it is because embedding it would probably have made our advertisers very nervous about what kind of people we are! Crumb’s Zap contributions were never as out and out repulsive as Wilson’s, yet he was still utterly fearless in portraying his own infantile sexual fantasies and neuroses (and finding willing groupies to help him act them out along the way. Which he then wrote about in subsequent issues of Zap. Heavy meta…).

The goalposts have moved quite a bit over the decades as “obscenity” has been redefined by culture, AND YET that vile, hilariously fucked up strip has lost virtually none of its power to offend. This is only one of the reasons to love S. Clay Wilson—whose work ultimately sets the tone of Zap because his is the wildest, most feral and least compromising—his willingness to basically puke on his reader’s sensibilities, no matter how “far out” they think they are. The sole purpose is to be brutally offensive, no more no less. You can look for something deeper, go ahead, but I’m not sure you’re going to find it in a piece like “Come Fix” (click for pdf) in which a lesbian biker chick injects semen intravenously with an interesting result.
 

The front and back cover of Zap #14 by S. Clay Wilson
 
In the context of the late 1960s that was something both sickening and ENLIGHTENING. And it had nothing whatsoever to do with flower power or hippie. Zap Comix was cynical and dark, twisted and perverted, full of “gags, jokes, kozmic trooths.” Zap wasn’t interested in persuading you of anything, it wanted to beat its epiphanies into you.

This is another reason I see Zap Comix as being aligned with punk, because philosophically-speaking it was. Indeed in its crudeness, lewdness and desire to shake its readers out of their complacency, Zap anticipates punk (and a lot of other things!) and surely would have influenced many of punk’s prime movers who undoubtedly were exposed to it.

Anyway, when I bought my one-hitter, I got into a conversation with the guy behind the counter and I mentioned that I used to buy Zap Comix there when I was a kid. Then the very next morning in the hotel I read an article in the New York Times about how Fantagraphics were publishing the complete run of Zap, along with a sixteenth and final issue, in a deluxe slipcase box set weighing over 20 lbs, complete with sixteen high quality giclée prints of each Zap Comix cover.
 

The front and back cover of Zap #13 by Victor Moscoso
 
I immediately wrote to Fantagraphics fab director of publicity Jacq Cohen and requested a review copy of The Complete Zap Comix. It was sent Fedex two-day shipping, which seemed to me to be the longest two days of my entire fucking life. An eternity. In fact, it ended up being a day late, and by that time, I was truly salivating over the prospect of its arrival. I was not disappointed. I’m a man with a lot of toys and The Complete Zap Comix went immediately into my “prized possessions” category. If you’re reading this thinking “Yep, I need that” trust me, you do need it. However, as far as pricey Christmas presents to yourself go, you might not want to wait for Santa to lay this one under your tree because it’s probably going to sell out. Only 2500 have been printed and from what I can tell anecdotally from how many friends of mine are buying it, it won’t last long.

The irony of turning something that was once sold in dirty bookstores into a $500 collectible is delicious, but I can’t think of a more deserving title than Zap. The production quality of The Complete Zap Comix is first rate and the pages are clearer than they’ve ever been, blown up to 9.75” x 13.25” and painstakingly cleaned up digitally. Everything comes in a sturdy, gold-embossed slipcase and there’s a separate book dedicated to “The Zap Story,” an oral history/scrapbook that also reprints some Zap rarities and “jams” where each of the artists would complete a frame or two—upping the ante in the process—and then pass it on to the next guy.

In the title here, I declare that The Complete Zap Comix box set “is the greatest thing in the history of the world, ever” and I’m only semi-exaggerating. Seeing the whole of the Zap run laid out like this, it seems obvious—so very, very obvious—what a profound and truly American cultural treasure this is. This is great art of historical and cultural importance that changed people, blew their minds and inspired them. I know that it changed ME. Zap Comix deserves to be reappraised and valued for what it’s truly worth and Fantagraphics has done an amazing job with this stunning box set.

Now the Smithsonian Institute needs to step up to the plate while the remaining Zap artists are still alive and kicking against the pricks and give them their due. It could happen. It should happen. Let’s hope it does happen.

Below, one of the greatest—and most eerily prophetic—comics EVER by Gilbert Shelton, “Wonder Wart-Hog’s Believe It or LEAVE It!”...Um… he could be talking about TODAY’s America, here, couldn’t he???
 

 
More classics from Zap Comix after the jump…

Posted by Richard Metzger | Leave a comment
Patti Smith interviews David Lynch
11.22.2014
07:30 am

Topics:
Movies
Punk
Television

Tags:
Patti Smith
David Lynch

psdl123.jpg
 
Though I’m sure your thoughts are probably on higher things than mine, I couldn’t help but consider the benefits of hair dye while watching this interview between Patti Smith and David Lynch. Is there a point when life can be enhanced by a teeny drop of Nice ‘n’ Easy? I was a tad surprised this question wasn’t raised during the interview, however, Ms. Smith and Mr. Lynch did share their thoughts about singer Bobby Vinton and the film Blue Velvet, the series Twin Peaks (which Smith claims “reconnected [her] to the world and art”) and the feminist band Pussy Riot, of which Ms. Smith says:

These girls did something absolutely original. As even a mother or a grandmother, they are in my prayers.

The interview is taken from the “Encounters” strand of BBC’s “flagship” news and current affairs program Newsnight,  in which two notable people interview each other about issues relating to their work. If you’re a fan of either Ms. Smith or Mr. Lynch, you will surely enjoy this.
 

 
H/T NME

Posted by Paul Gallagher | Leave a comment
Kubrick didn’t fake the moon landing, but Led Zeppelin DID fake playing Madison Square Garden, 1973
11.21.2014
05:36 pm

Topics:
Movies
Music

Tags:
Led Zeppelin



Japanese poster for ‘The Song Remains the Same,’ 1976
 
True or false: The performances from The Song Remains the Same, the concert film that supposedly documents Led Zeppelin’s 1973 Madison Square Garden shows weren’t actually filmed at Madison Square Garden?

Mostly true!

It’s not exactly a secret but it’s neither something that seems to be widely known by the general public, or even most Led Zeppelin fans for that matter. Now I’m not trying to imply here that Led Zeppelin didn’t even play Madison Square Garden for three nights in late July of 1973, because of course they did and The Song Remains the Same‘s original director, Joe Massot (Wonderwall) was there with a camera crew trained on them when they did. This much is not being disputed.

The problem was, as the group and their manager Peter Grant found out only after they’d fired Massot from the project, is that he’d gotten inadequate—practically unusable—coverage that wouldn’t sync properly or cut. Some great shots but nothing that could be used to create an edited sequence.

Grant brought in Aussie director Peter Clifton, the guy they probably should have hired in the first place, to see what could made from this mess, but the initial prognosis looked pretty grim until Clifton suggested reshooting the entire running order of the Madison Square Garden show on Madison Square Garden’s stage… recreated at Shepperton Studios in England!

Everyone assumes they’re watching the group at MSG, but in reality what we are watching (for the most part) is Led Zeppelin rocking out on a soundstage in Surrey, southeast of London. Without an audience.
 

 
On a playback screen, the band could watch themselves in the earlier footage—keeping their movements and positions in roughly the same general areas—and play along to the MSG soundtrack. So what we mostly see in the finished film are Clifton’s close-ups and medium distance footage of the band members shot at Shepperton, but intercut with Massot’s footage of the trappings of MSG, wide shots, shots framed from behind the band towards the audience and so forth.

Once you know all this, it’s screamingly obvious what was shot where.

Complicating matters for Clifton, John Paul Jones had recently cut his hair short (he’s wearing a wig in the Shepperton footage) and Robert Plant’s teeth had been fixed since the New York City shows the year before.

Jimmy Page spilled the beans in the May 2008 issue of Uncut Magazine,

“I’m sort of miming at Shepperton to what I’d played at Madison Square Garden, but of course, although I’ve got a rough approximation of what I was playing from night to night, it’s not exact. So the film that came out in the ‘70s is a bit warts-and-all.”

This little known behind-the-scenes story of the making of The Song Remains the Same is barely touched upon in some of the major books about Led Zeppelin—but in Chris Welch’s 2001 biography Peter Grant: The Man who Led Zeppelin, the story is told in greater detail, finishing thusly:

As far as Grant and Zeppelin were concerned, the movie song had ended. But they left behind smouldering resentments among the filmmakers and a few puzzles for movie buffs. Says Peter Clifton: “If you look at the credits they wrote something very interesting. ‘Musical performances were presented live at Madison Square Garden.’ It was somewhat ambiguous because the film was obviously done somewhere else!”

When he was asked about the provenance of the ‘live’ shots of Led Zeppelin at Madison Square Garden, Peter Grant did admit that they had indeed shot some material at Shepperton studios, recreating the same stage set while the band donned the same clothes they wore at the actual gig. “Yes, we did,” he said. “But we didn’t shout about the fact.”

See for yourself:
 

Posted by Richard Metzger | Leave a comment
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