Brass in Pocket: The Pretenders live in Germany, 1981
04.30.2013
09:12 am

Topics:
Music

Tags:
Chrissie Hynde
The Pretenders


 
Speaking of thee great Chrissie Hynde, here she is with the original line-up of The Pretenders (James Honeyman-Scott on lead guitar and keyboards; Pete Farndon on bass; Martin Chambers on drums) live on Rockpalast in 1981.

Set List:
1.The Wait
2. The Adulteress
3. Message of Love
4. Talk of the Town
5. English Roses
6. Birds of Paradise
7. Kid
8. Stop Your Sobbing
9. Private Life
10. Jealous Dogs
11. Day After Day
12. Up the Neck
13. Tattooed Love Boys
14. Bad Boys Get Spanked
15. Precious
16. Brass in Pocket
17. Mystery Achievement

I saw The Pretenders around this time and this is a pretty good approximation of what that experience was like. PLAY IT LOUD!
 

 
(And just for the hell of it, here’s a set by Pretenders tribute band, Tattooed Love Boys)

Previously on Dangerous Minds:
Chrissie Hynde’s advice to chick rockers

The History of The Pretenders in 19 Videos

Written by Richard Metzger | Discussion
Music for Wanking: Brian Eno discusses his porno collection with Chrissie Hynde, 1974
04.30.2013
08:56 am

Topics:
Music
Sex

Tags:
Brian Eno
pornography
Chrissie Hynde


Photo by Lance Loud, courtesy of Kristian Hoffman
 
Brian Eno’s reputation as an aficionado of rather extreme pornography is by now well-known, but at the time of future Pretender Chrissie Hynde’s 1974 profile in the NME, he was just letting the cat out of the bag. What an extraordinary thing for a pop star, even one with Eno’s avant garde pedigree, to admit to in 1974!

But what’s even stranger is the casual reference to Eno being an “elite” film star. What the hell does that mean? Is he referring to actually being in the films himself?

“It’s a burning shame that most people want to keep pornography under cover when it’s such a highly developed art form - which is one of the reasons that I started collecting pornographic playing cards I’ve got about 50 packs which feature on all my record covers for the astute observer.

“There’s something about pornography which has a similarity to rock music. A pornographic photographer aims his camera absolutely directly, at the centre of sexual attention. He’s not interested in the environment of the room.

“I hate the sort of photography in Penthouse and Playboy which is such a compromise between something to give you a hard-on and something which pretends to be artistic. The straight pornographers aim right there where it’s at.

“Which is analogous to so many other situations where somebody thinks one thing is important, so they focus completely on that and don’t realize they’re unconsciously organizing everything else around it as well. I have such beautiful pornography - I’ll show you my collection sometime.

The last guy invited me up to see his etchings.

“One theory is that black-and-white photography is always more sexy than colour photography. The reason for this is provided by Marshall McLuhan, who points out that if a thing is ‘high definition,’ which colour photography is, it provides more information and doesn’t require participation as much as if it is ‘low definition’.” I.e. a horror play on the radio is always very, very frightening because the imagery is always your own. If youUre choosing your own imagery, you’ll always choose the most frightening, or in the case of pornography, the most sexual.

“The idea of things being low definition has always interested me a lot - of being unspecific - another thing which is a key-point of my lyrics. They must be ‘low definition’ so that they don’t say anything at all direct. I think the masters of that were Lou Reed and Bob Dylan (on “Blonde on BIonde”). The lyrics are so inviting.

“DO YOU KNOW WHAT ‘burning shame’ is by the way? It’s a pornographic term for a deviation involving candles.

“Ouch!”

“Very popular in Japanese pornography. They’re always using lit candles because Japanese pornography is very sadistic, partly because of the Japanese view of women, which is a mixture of resentment and pure animal lust.

“In the traditional view, a woman is still expected to be at the beck and call of her husband, so that manifests itself in that kind of pornography. Of which I have a few examples, of course.

“Mexican pornography is an interesting island of thought because they seem to be heavily into excretory functions. The traditional American view is that anything issued from the body is dirty. It’s incredibly puritanical and it resents bodily fluids, so if one is trying to debase a woman, you cover them with that and hence you get the fabulous term ‘Golden Showers’ - the term for pissing on someone, which some well- known rock musicians are said to be very involved in . .

“Here come the warm jets?”

“That’s certainly a reference.”

That he’s considered to be a film star of sorts in a few very ‘elite’ circles. - Any chance of him making a comeback to the Screen?

“Some of the movies I did were very funny - they had to pretend to have a plot. Ha ha. [Emphasis added]

“Can I show you my pubic area?” (! ! !) He exposes his stomach down to his, ah - about six inches below his Navel. “Absolutely bare! Now I’ve got this beautiful bare belly! I’ve got this new Japanese thing, you see and the Japanese don’t have much hair on their bodies ‘Japanese culture I tip as the next big thing.”

I glance nervously over at the flickering candle on the windowsill. Out of nowhere, Eno produces a very extraordinary looking object which he explains to be the ‘Double Punkt Roller’, a massage device used in Victorian times. I marvel at its aesthetic qualities and he assures me that it can only be fully appreciated when used on the bare buttocks. We conclude that art which demands participation holds the greatest appeal.

I have a friend who swears up and down he once saw Eno in a sleazy mid-70s porno loop, in a big “daisy-chain” orgy scene (“Who else had such a hairstyle back then?” he’d ask). I always dismissed this, but maybe he was right?

Read more:
Everything you’d rather not have known about Brian Eno by Chrissie Hynde

Written by Richard Metzger | Discussion
Chrissie Hynde’s advice to chick rockers
01.29.2013
01:23 am

Topics:
Feminism
Music

Tags:
Chrissie Hynde


 
From Sire Records’ promo for The Pretenders’ album Last of the Independents.

• Don’t moan about being a chick, refer to feminism or complain about sexist discrimination. We’ve all been thrown down stairs and fucked about, but no one wants to hear a whining female. Write a loosely disguised song about it instead and clean up ($).

• Never pretend you know more than you do. If you don’t know chord names, refer to the dots. Don’t go near the desk unless you plan on becoming an engineer.

• Make the other band members look and sound good. Bring out the best in them; that’s your job. Oh, and you better sound good, too.

• Do not insist on working with “females”; that’s just more b.s. Get the best man for the job. If it happens to be a woman, great — you’ll have someone to go to department stores with on tour instead of making one of the road crew go with you.

• Try not to have a sexual relationship within the band. It always ends in tears.

• Don’t think that sticking your boobs out and trying to look fuckable will help. Remember you’re in a rock and roll band. It’s not “fuck me,” it’s “fuck you”!

• Don’t try to compete with the guys; it won’t impress anybody. Remember, one of the reasons they like you is because you don’t offer yet more competition to the already existing male egos.

• If you sing, don’t “belt” or “screech.” No one wants to hear that shit; it sounds “hysterical.”

• Shave your legs, for chrissakes!

• Don’t take advice from people like me. Do your own thing always.
 

Written by Marc Campbell | Discussion
‘The Importance of Being Morrissey’

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From 2003, The Importance of Being Morrissey is the most revealing and quotable documentary made on Steven Patrick Morrissey. 

In it he compares meat eating to child abuse; attacks the Royal Family and Tony Blair; responds to the accusations of racism; and we hear about his depression. There’s also some great concert footage, and a mixed selection of celebrity fans who explain their fervor for the Mozz: J K Rowling identifies with Morrissey in a darkened room, though still won’t give up bacon; former neighbor, playwright Alan Bennett couldn’t say his name, but thinks he has an interesting face with a story to tell; Will Self likes his muscular intellect; Noel Gallagher thinks he is the greatest ever lyricist; Chrissie Hynde thinks people who don’t get him can go fuck themselves; Bono thinks he’s funny; and Nancy Sinatra says he’s a great hugger.
 

 

Written by Paul Gallagher | Discussion
Joan Jett, Chrissie Hynde, Debbie Harry, Patti Smith, Grace Slick and Stevie Nicks skateboard decks


 
Nice homage to iconic female rockers with these cool skateboard decks, “Girls Girls Girls” from Girl’s 2010 Summer collection. Sadly, it appears they are no longer available on Girl’s website, but with a lil’ investigating, you’ll be able to find them. Ebay, perhaps?

Previously on Dangerous Minds:
‘The Last Supper’ Luchador skateboard decks
Alien vs. Predator skateboard deck
‘The Shining’ skateboard deck by Kevin Tong
Miles Davis Quintet Skateboards

Written by Tara McGinley | Discussion
‘Apathy For The Devil’: The subterranean Odyssey of Nick Kent

image
Hynde and Kent wearing Vivienne Westwood.
 
Journalist Nick Kent not only wrote about rock and roll, he lived it. And it almost killed him. In his new memoir Apathy For The Devil: A Seventies Memoir, Kent describes his crash and burn lifestyle among London’s rock royalty and some of punk’s royal assholes during the 1970s. Like Lester Bangs and Hunter S. Thompson, Kent was not content to merely observe the action, he had to become a part of it.

From snorting massive amounts of blow and heroin with Keith Richards and witnessing David Bowie screw a groupie in full view of Bowie’s wife Angie to being revived from a drug overdose by Rod Stewart and almost dying in Iggy Pop’s arms, Kent seemed to have a knack for infiltrating scenes few journalist could get close to and few would have had the guts to.  Perhaps it was his own rock star good looks, mod fashion sense and druggy excess that made him appear as glamorous and dangerous as some of the rockers he wrote about. While Bangs was mastering the slob aesthetic, Kent was wearing threads from boutiques like Sex.

Kent also managed to piss alot of people off. After writing a tell-all piece for NME in which he quoted some less than flattering remarks Page made about film maker Kenneth Anger, Kent was confronted by Anger who lived up to his name by shouting “I just have to crook this little finger and Jimmy Page will automatically be transformed into a toad!”

Even though Kent was an early member of The Sex Pistols and introduced them to American punk, his relationship with Malcolm McClaren and the band took a very nasty turn.

Kent ended up playing guitar for two months in an early line-up of the Sex Pistols, whom he taught the songs of Iggy Pop’s proto-punk band the Stooges. Distrustful of Kent’s growing influence over the Pistols’ main guitarist Steve Jones, McLaren got the group’s bassist Glen Matlock to fire him, a departure Kent didn’t mourn at the time — because “I was a middle-class druggie fop and they were working-class spivs who would steal the gold out of their mothers’ teeth” — but which had murderous consequences. A year later while attending a Sex Pistols gig at the 100 Club, Kent was the victim of an unprovoked bicycle chain attack by Sid Vicious, sustaining a terrible head wound that he was too stoned to feel at the time but that, he later realized, nearly killed him.”

In 1973 Kent fell in love with Chrissie Hynde, who had yet to find her rock and roll muse and was working in a boutique on King’s Road. The relationship ended badly in 1974.

While she was working at Malcolm McLaren and Viviene Westwood’s Sex Shop, Hynde later told Jon Savage - in his essential history of British punk, England’s Dreaming - a jealous Kent came into the shop looking to whip her with his belt, causing her to flee to Paris.

Nick takes some credit for inspiring Hynde to pick up a guitar and form a band. He claims to mentoring Hynde, which sounds arrogant or possibly delusional until you listen to Kent’s musical output.

In 1975 Kent formed a band called The Subterraneans with Rat Scabies and Bryan James, who both later moved on to spearhead The Damned. In 1980, The Subterraneans (with Scabies on drums) recorded “My Flamingo” and “Veiled Women.” It was the same year that Chrissie’s band The Pretenders released their debut album and there’s a remarkable similarity in feel, attitude and sound between Kent and Hynde’s music. Is this the result of two lovers absorbing each other’s style? Or mentoring? Whatever the case, Nick’s tunes are every bit as good as most of the music coming out in the late 70s/early 80s. You can hear both tracks in the video below.

A new edition of Apathy For The Devil: A Seventies Memoir is being released in February. You can snag a copy here.
 

 
Thanks to Exile On Moan Street for the turn on and the photo.
 
Nick Kent talks about Apathy For The Devil after the jump…

Written by Marc Campbell | Discussion