follow us in feedly
The single greatest Public Image Ltd. bootleg, ever: The original band, live in New York, 1980

In the 80s and 90s heyday of the “VHS tape trading underground”—from whence oozed choice fare like Jeff Krulik and John Heyn’s “Heavy Metal Parking Lot,” Todd Haynes‘ unorthodox Karen Carpenter bio Superstar and Apocalypse Pooh—the territory was covered in every major city and college town by a small cast of characters—often marginally employed losers who gained a certain amount of notoriety and geek pecking order prestige by the scarcity of their video treasure chests.

These social outcasts and otaku misfits usually kept tight reins on what they had. The less uptight of these guys would trade a full two hour tape for another full two hour tape, whereas others would demand two tapes for every one they traded you. Many were real pricks and would only trade for something they wanted, not something that you wanted. (The sort who might say “Sorry man, but rules are rules.” You know the type.) In this way, back then bootleggers and tape traders were the clutch point between collectors and what they coveted most. It wasn’t unusual for bootleg VHS tapes to sell for $50. “Deals” would be brokered between two assholes, one with a pristine 2nd generation of the demented TV movie Bad Ronald, the other frantically bargaining with him because, of course, acquiring a copy of a shitty movie like Bad Ronald was a matter of extreme importance. With Bittorrent, and before that eBay, this vibrant—albeit somewhat stunted and idiotic—fanboy culture eventually evaporated.

I cannot tell you how many of these dumb “negotiations” I was involved in myself, often with some pretty petty Gollum-like characters. Luckily I had several good “trading cards” in my hand to play, so I always got what I wanted. Three “top traders” that I will admit to back then were Robert Frank’s rarely seen Rolling Stones documentary Cocksucker Blues that I got via a guy I worked with who had himself transferred the film to tape under Robert Frank’s personal supervision; another was the oddball black and white latenight TV commercial for Captain Beefheart’s Lick My Decals Off, Baby album (dubbed by me from an ancient 2” videotape master possessed by an MTV producer who told me to make a copy for myself) and a sharp, first generation dub of an off air recording of Public Image Limited on American Bandstand.

I bring up the PiL clip in particular just to mention that the version that was used on a well-circulated bootleg PiL DVD anthology—one which Amazon used to sell like it was a legit release—that came out about 15 years ago was a grandchild (at least) of my Bandstand clip. I could tell this—definitively—because of the split-second of what preceded it, an outtake of the same Cramps set that was shot for Urgh! A Music War. The clip had been trading around for maybe fifteen years at that point and now it had come full circle. (As for Cocksucker Blues, if you see a brief videotape warble just as the title card fades out...)

But that’s how those things used to get around. They were quite literally copied one at a time and spread from hand to hand. Which brings me to the topic of this post, another PiL performance—unquestionably the greatest live PiL performance on video—director/editor Paul Dougherty‘s short document of PiL performing at the Great Gildersleeves, a low rent heavy metal bar in NYC, on April 22, 1980 that was bootlegged on this very same DVD. When I bought my copy—at the Pasadena Flea Market—as I scanned the contents and saw that this was on it, I thought I’d hit bootleg PiL paydirt. Sadly it was poor quality.

Now I know Paul. I actually met him at a screening of the PiL Tape, his video for Suicide’s “Frankie Teardrop” and his classic clip for Pulsallama’s “The Devil Lives in My Husband’s Body” when he was showing them at the ICA in London. Many times over the years I’ve asked him for a copy of the PiL Tape—he knows that I’m a complete PiL freak—and every time he just firmly said “No.”

He gave an interview to the The Filth and the Fury fanzine about the so-called PiL Tape in 1999:

Have you any idea how the bootleg videos of your film surfaced? The amazing thing is that until a couple of years ago no one even knew PiL had played the gig, let alone knew that it was filmed!

Paul Dougherty: I have a strong hunch how it leaked but I’m not certain. Because I know all too well how easy it is to copy videos, I was able to keep it bottled up for over 15 years.

Keep reading after the jump…

Posted by Richard Metzger | Leave a comment
Burly fireman stars in his own ‘sexy’ cheesecake calendar
05:57 pm



Any woman (or man, for that matter) who has ever walked into an auto garage and rolled their eyes at the ridiculous pinups on the wall featuring scantily clad woman draped on top of Ford Torinos or holding Valvoline motor oil, will probably appreciate these bawdy pics.

This fantastic photo shoot was done to help a nonprofit called Books To The Rescue Yavapai County, which seeks “to help first responders limit the emotional impact of adverse childhood experiences” by providing comfort packages with books and toys.

The nonprofit was founded by Jasmine Castigliano, who had the idea of enlisting her photographer husband Chad for an, erm, “provocative” photo shoot that, in addition to being hilarious, also does achieves something important by lampooning some outdated gender images.

All we know about the hirsute firefighter in the pics is that his name is Tim—although he now goes by the moniker “the whimsical woodsman.”

You can buy your “Whimsical Woodman” calendar here—a portion of the proceeds does go to Books To The Rescue Yavapai County.


More hilarious and sexxxy pics after the jump…...

Posted by Martin Schneider | Leave a comment
Enraged Krautrock manager destroys table with a hatchet on live TV, 1971

You don’t need to know German to appreciate this clip. It happened on the WDR program “Ende Offen” on December 3, 1971, during a discussion about commerce and music.

The one doing most of the talking, the one who pulls out a hatchet and starts banging on the table, is Nikel Pallat, manager of a politically oriented West Berlin band called Ton Steine Scherben. The other guy is named Rolf-Ulrich Kaiser, an influential producer who co-founded Ohr Records and later would run a label called Pilz.

Pallat was pissed off that Kaiser had signed a deal with BASF that would give Ohr Records wider distribution—Kaiser might have been a sellout, but as it happens, Ohr released a ton of great music by Witthüser & Westrupp, Amon Düül, Tangerine Dream, Ash Ra Tempel, Klaus Schulze, and many others.

In this melee, Pallat shouts, “You are working for the oppressors, not against the oppressors.” (“That’s your opinion,” goes Kaiser’s bland retort.) Then Pallat cries, “You have to work against the oppressors, you have to stay partisan, so that’s why I’m going to destroy this table here”—and proceeds to do just that.

Funnily enough, the table is made of sturdier stuff than Pallat was expecting, and hardly seems much different after a dozen or so blows; with his initial burst of rage now spent, Pallat starts unscrewing the microphones and stuffing them into his pockets so that he can give them to “youths in prisons.” Priceless.

Many thanks to Corinna Berghahn of the Osnabrücker Zeitung, whose 2011 article on this fracas was very helpful.

Posted by Martin Schneider | Leave a comment
Someone made an ‘Eraserhead’ baby cake
12:13 pm


David Lynch

I wish there were more images of this Eraserhead baby cake by Debbie Does Cakes, but sadly I only have this one shot. It’s pretty great, though. I’m assuming some diehard David Lynch fan asked for this custom design.

I wonder what it tasted like? And what exactly was the (presumably foul) occasion this cake was made for? Don’t you want to know? No?

Below, a short scene of the Eraserhead baby to refresh your memory (although, how could anyone one forget this?!)


Previously on Dangerous Minds:
‘I Don’t Know Jack’: Fascinating documentary about ‘Eraserhead’ star Jack Nance

Posted by Tara McGinley | Leave a comment
Feed your fictional cosmic entity fetish with these leather ‘Cthulhu’ masks
10:24 am



Leather Cthulhu mask
Handmade, leather Cthulhu mask.
I recently stumbled on these fantastic looking leather “Cthulhu” masks while hard at “work” and man, they really are something to behold.

Although the various masks in this post are not specifically heralded as being the latest in far out “fetish” attire, I’d hedge a bet that a fair number of them have been purchased for just that very purpose. Created by Wasteland Artisan in Montreal, Canada, the description for these handmade, steampunk-style masks does note that you should not get your Cthulhu mask wet, but that “a little sweat” is okay (although of course may cause you to stink with the “stench as of a thousand opened graves.”) As far as I can tell, there are unsurprisingly no Cthulhu masks available at the moment (so I have no idea how much they cost), but Wasteland Artisan does do custom orders so I’m guessing if you just gotta have one of these things, it’s at least an option. I also found a “Hello Kitty” version of a Cthulhu mask that you can have custom made if that’s the way you like to play, because I don’t judge and neither should you.

Is “fhtagn victim” a pun?

Red leather Cthulhu mask
Blue leather Cthulhu mask
More images of these cosmic and creepy Cthulhu masks follow after the jump…

Posted by Cherrybomb | Leave a comment
Watch DEVO’s first-ever live performance at Kent State University, 1973
09:10 am



This clip of DEVO’s very first performance—so early in their career it predates the demo recordings that make up the Hardcore DEVO collections—surfaced on the laserdisc of The Complete Truth about De-Evolution 23 years ago. I assume it’s on the DVD, too, but I’ve only seen the laserdisc.

While the sleeve of The Complete Truth says this show happened in 1972, I’m convinced by the detailed notes at DEVO Live Guide, which date it to the Kent State University Creative Arts Festival on April 18, 1973. Billed as “Sextet DEVO,” founders Mark Mothersbaugh, Gerald Casale, Bob Casale (RIP) and Bob Lewis were joined by short-term spuds Rod Reisman and Chas. Frederick Weber III. Jerry says the group performed at the invitation of poet Robert Bertholf:

It was not really a band. We just called it Sextet DEVO because I had been doing de-evolutionary art… Bob Lewis’ connection to Bertholf sealed our position in the lineup, and then he demanded that Fred [Weber] sing because Fred was a beautiful singer and none of us could sing right.

Without further ado, here’s D-E-V-O from O-H-I-O playing “Private Secretary.”

Previously on Dangerous Minds:
‘Oh Mummy! Oh Daddy!’ The Residents’ first show as The Residents, 1976

Posted by Oliver Hall | Leave a comment
Long live the New Flesh: The making of David Cronenberg’s ‘Videodrome’
09:09 am


Debbie Harry
David Cronenberg

Videodrome, which came out in 1982, probably freaked me out as much as any movie ever has, when I caught it on cable TV a year or two after its release at the age of 13. In fact, I turned it off halfway through—it was just too much—but I ventured back a week later and watched the whole thing in morbid fascination.

It was the last of the films David Cronenberg made in his concentrated early “body horror” period, that stretch when he was establishing himself as an absolute master of intellectual schlock. Not that he ever abandoned that terrain at all—Dead Ringers, Naked Lunch, and Crash were still to come—but his next project was a comparatively commercial Stephen King adaptation, The Dead Zone, and it wasn’t too long before he’s adapting David Henry Hwang plays and making movies about Jung.

After the thrilling, entropic run of serious mindfucks between 1975 and 1982, consisting of Shivers, Rabid, The Brood, Scanners, and Videodrome—leaving out the racecar drama Fast Company to make a tidier chronology—there was a period in which Cronenberg’s actual personality and his public persona were quite out of sync.

Just a normal day in the Cronenberg universe…..
In real life, Cronenberg was a thoughtful, mild-mannered dork, but he was perceived as an insane freak, since cinephiles hadn’t had much access to seeing Cronenberg himself yet. The 1980s would bring The Fly and Dead Ringers, which would cement Cronenberg’s reputation as a filmmaker with a rare power to unsettle.

Today we think of him as this genial old guy who makes striking but somewhat conventional dramas like Eastern Promises or Maps to the Stars, but there was a time when even Martin Scorsese, a filmmaker quite accustomed to a bit of the ol’ ultraviolence, was actually frightened to meet his Canadian colleague!

In an interview that appeared in David Breskin’s wonderful collection Inner Views, Cronenberg commented:

I’m aware there are apparent contradictions, like the well-known Marty Scorsese thing: after I met him, he said in an interview that he had been terrified to meet me, though he had wanted to meet me. This is the guy who made Taxi Driver and he’s afraid to meet me! This is a guy who knows from the inside out that there’s a complex relationship between someone who makes films and his films. But he still was taking the films at face value and equating me with them, and the craziness he saw in the films, and the disturbing things he saw in the films, he felt would be the essence of me as a person. And so he was amazed to meet a guy who, as he later said, “looked like a Beverly Hills gynecologist.” And I was not anything like he thought I was going to be.

So that’s the context in which James Woods says, in Mick Garris’ look at the making of Videodrome, that Cronenberg’s was “one of the strangest minds I’ve ever encountered.” The fact is, Cronenberg’s sensibility has been tremendously normalized over the last generation, and it takes a mental effort to recall a time when Cronenberg was fucking dangerous and ultra weird.

To be fair, Woods was in the middle of making a movie in which his character, Max Renn, develops a kind of vagina into which he can insert a videotape and basically acts out the narrative laid out in David Bowie’s “TVC15” when he crawls into the cold glass of his cathode-ray tube…..

More after the jump…

Posted by Martin Schneider | Leave a comment
‘F*cked Up Donald’: Punk legends, D.O.A. eviscerate Trump
08:05 am


Donald Trump
Joey Shithead

Active since 1978, Vancouver’s punk stalwarts D.O.A. are still as pissed off as ever. The group, led by Joey “Shithead” Keithley, remain quite active both musically and politically and are set to release a new single, an ode to one Donald J Trump, titled “Fucked Up Donald.”

The song is a reworking of their 1981 indictment of Ronald Reagan, “Fucked Up Ronnie,” which appeared on their Positively EP and on the Bloodied But Unbowed singles compilation album. Even THAT song was a re-working of a song called “Fucked Up Baby” that Keithly wrote in 1977 for his earlier band The Skulls. The original “Fucked Up Ronnie” is one of D.O.A.‘s most classic songs and this new updated version is just as ripping as the original—like so much so that it actually took me aback a bit.

The 85 second hardcore admonition takes the Donald to task for his anti-Mexican and anti-woman stances as well as his disastrous ideas on foreign policy, and is just an all-around killer slab of meaty punk.

According to the band, they “slammed this frantic piece of ‘Let’s fight this bullshit!’ down in 15 minutes flat” with producer Cecil English (No Means No, D.O.A., Jello Biafra, The Smalls). Cut the shit and start the pit, eh?

The B-side of the single is slated to be D.O.A.‘s cover of Barry McGuire’s immortal and still quite timely, “Eve of Destruction.”

Check out this Dangerous Minds exclusive premier of “Fucked Up Donald”:


And after the jump, for old-time’s-sake, the original, “Fucked Up Ronnie”...

Posted by Christopher Bickel | Leave a comment
‘Sexy’ wolf’s head crotch underwear for men
03:43 pm



Apparently it’s my job here at Dangerous Minds to inform our dear readers about the latest trends in men’s underwear. A few weeks ago I directed your eyes towards “sexy” knitted elephant and snake underwear for men and this week it’s wolf’s head underwear. I mean, I totally thought I couldn’t top my last underwear post. But here I am. Blogging about wolf’s head underwear.

You can get these “mens fashion wolf underwear 3D print boxers shorts” from China through Amazon. Here’s the description on Amazon:

  • 3D wolf pattern print underwear make man looks sexy and wild
  • the wide waist design make man comfortable no tight feeling
  • U convex design, large space and breathable
  • High quality material and great handwork, perfect gift to boyfriend or husband

If you’re dying to get a pair, they’re only $20.99 for a set of three.

via Geekologie

Posted by Tara McGinley | Leave a comment
When Joy Division met William S. Burroughs

When you consider all of the famous and infamous people who William Burroughs met in his lifetime, maybe the “Six Degrees of Kevin Bacon” game should be adapted for the late Beat author. I’d have a “Burroughs” of one, as I met him (briefly) in Los Angeles in 1996 at his big art opening at LACMA.

At the Reality Studio blog, there’s a fascinating tale, told in great detail, about the time Joy Division shared the same stage with Burroughs, Brion Gysin and Cabaret Voltaire in Belgium. Ian Curtis was an avid reader and favored counterculture fare like J.G. Ballard, Michael Moorcock, Nietzsche, Jean-Paul Sartre and Hermann Hesse. William Burroughs was one of his biggest heroes.

Joy Division was given its first opportunity to play outside the United Kingdom on 16 October 1979. That alone would have distinguished the gig for the band, but of special interest to Curtis and his mates was the fact that they would be opening for Burroughs. The avant-garde theater troupe Plan K, which had made a specialty of interpreting Burroughs’ work, were founding a performance space in a former sugar refinery in Brussels, Belgium. The opening was conceived as a multimedia spectacle. Films were to be screened — among others, Nicholas Roeg’s Performance (starring Mick Jagger) and Burroughs’ own experiments with Antony Balch. The Plan K theater troupe were to perform “23 Skidoo.” Joy Division and Cabaret Voltaire were to give “rock” concerts. And Burroughs and Brion Gysin were to read from their recently published book, The Third Mind.

Before the evening’s events, Burroughs and Joy Division gave separate interviews to the culture magazine En Attendant. Graciously provided to RealityStudio by the interviewer and the organizer of the Plan K opening, Michel Duval, these have been translated from the French and are reproduced here for the first time since their publication in November 1979. You can read the French original or the English translation of Duval’s interview with Joy Division, as well as the French original or the English translation of Duval’s interview with William Burroughs.

After Burroughs’ reading brought the opening of Plan K to its climax, Curtis attempted to introduce himself to his literary idol. This meeting, like so many things about both Curtis and Burroughs, has already become legend — which is another way of saying that its factual basis may have receded into darkness. If you search around the internet, you’ll see sites describing the encounter in terms like this: “Unfortunately when Ian went up to talk to him the author told Ian to get lost.” And this: “Burroughs probably was tired and bored with the concerts and when Ian went up to talk with him the author told Ian to get lost. Ian got lost immediately, not a little hurt by the rebuff.” Chris Ott’s book Joy Division’s Unknown Pleasures repeats the story, and Mark Johnson’s book An Ideal for Living asserts that Burroughs refused to speak to Curtis.

More after the jump…

Posted by Richard Metzger | Leave a comment
Page 1 of 1962  1 2 3 >  Last ›