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‘Bowie, Bolan, dressing up & going out’: Boy George takes a personal trip through the 1970s

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September 1982: Hit rock ‘n’ roll singer Shakin’ Stevens can’t make his scheduled appearance on BBC chart show Top of the Pops. Panicked producers make the life-changing decision to fill the gap left by Shaky with an unknown pop group by the name of Culture Club. Minutes after the band’s debut television appearance on the show, phones start ringing at the BBC switchboard asking What the hell did we just watch?. Next day, newspapers run similar stories filled with offensive mock outrage questions: “Who is Boy George?” “Is he a boy or a girl?” Within weeks, Culture Club was number one and Boy George was the nation’s sweetheart.

But how did it come to this? Where did Boy George come from? What shaped the life of this brilliant, iconic “gender-bending” singer?

Well, these are some of the many questions answered by the lad himself as Boy George aka George O’Dowd takes the viewer on a very personal pop culture trip through the decade that shaped him—the 1970s.

The seventies are all too often dismissed by the more, shall we say, snobbish cultural critic as “the decade that fashion forgot,” ridiculed for its supposedly bad taste in fashion, politics, sex, music and hair. Yet for Boy George, the seventies was a “glorious decade…all about Bowie, Bolan, dressing up and going out.” The “last bonkers decade,” when the young teenage George discovered all these “amazing things… punk rock, electro music, fashion, all of that.”

Of course, there was the downside to all of this heady excitement: the political crisis, the three-day working weeks, the strikes, power cuts, mass unemployment, grim poverty, and racism. But George was too young to know much about any of this. He was too busy finding out about music and glamor and miming to Shirley Bassey in his parent’s front room. He was about to hit puberty. He felt different from the other kids and was looking for a sign that he was not alone in this gray suburban south London landscape.

Then came the sign he’d been hoping for: the day he saw David Bowie performing on Top of the Pops in 1972. That’s when George knew he wasn’t alone. The androgynous Bowie in his fire-red hair, make-up, and jumpsuit with his nail polished hand slung defiantly over Mick Ronson’s shoulder as they sang “Starman.” This was a sign that life could be extraordinary and was just an adventure to be gained.

Save Me from Suburbia is more than just Boy George telling his life story, it is an essential history of the events and pop culture that shaped a nation during ten heady years from skinheads and strikes to punk and Margaret Thatcher. George takes us on an utterly fascinating tour through the decade with a little help from his friends and accomplices like Rusty Egan, Princess Julia, Martin Degville (Sigue Sigue Sputnik), Andy Polaris (Animal Nightlife), and Caryn Franklin—and most revealingly his mother.
 
Watch Boy George’s revealing pop culture trip through the 1970s, after the jump…

Posted by Paul Gallagher | Leave a comment
David Bowie’s Laura Ashley wallpaper tribute to Lucian Freud (with a Brian Eno assist)
04.10.2017
12:54 pm

Topics:
Art
Music

Tags:
David Bowie
Brian Eno
Lucian Freud
Laura Ashley


 
David Bowie once concocted an intriguing homage to Lucian Freud by combining an artwork of his with a lush Laura Ashley wallpaper pattern. It was exhibited at that year’s “New Afro-Pagan and Work: 1975-1995” show and soon after taken up by Brian Eno for a charity he was involved with.

The fashion event was called “Pagan FunWear,” for which the beneficiary was the charity War Child; it showcased, among other things, “a quirky leather tie” by Lou Reed, some “strange shoes” by Jarvis Cocker, and “a suit of bandages” by Bowie. According to Paul Gorman, Eno also put together a “soundtrack” for the event called Antennae #1, which took the form of a limited edition box that included a CD of Eno’s soundtrack, a photo by Anton Corbijn, a watercolor by Patrick Hughes, and a “scrap” of Bowie’s wallpaper.

Eno helpfully supplied an “instruction manual” for those who ponied up the hundred pounds for a copy of Antennae #1, which today can be purchased on eBay for 275 pounds (about $340), although all you get is the CD, none of the other fun doodads such as the swath of Bowie’s wallpaper.
 

 
Here’s the wallpaper, which as mentioned incorporates an image of Freud’s:
 

 
Gorman discussed an encounter with Bowie in connection as a result of that event:
 

I met David Bowie when I was a member of a small think-tank for the charity War Child, working on the 1994 London art show Little Pieces From Big Stars which exhibited and then auctioned artworks produced by musicians. The exhibition and auction dinner were organised by Brian Eno and his wife Anthea. Bowie was very engaging, evidently super-bright and witty.

 
Gorman noted his impression that the wallpaper represents something like the essence of Bowie’s work and personality: “The fact that this shred depicting the great and serious artist Freud uses as its base a quintessentially English Laura Ashley print makes it funny, and, somehow, for me, very, very Bowie.”

Interestingly, Bowie himself was not entirely effusive about Freud’s work. In 1998 he desisted from signing on to the painter’s greatness, telling the New York Times that “I admire the trickery of his work, the cankerous skin, which is nice and grungy. But I don’t buy into him being the greatest painter that we have,” presumably referring to the United Kingdom there.

According to Reuters, Bowie actually created two Laura Ashley wallpapers for the “New Afro-Pagan” show. The design of the other pattern featured a minotaur, but the Laura Ashley people apparently insisted on censoring the private parts of the creature. This led to Bowie humorously noting of the work process with Laura Ashley, “It’s been a good working relationship, apart from the castration, that is.”

Hey Laura Ashley, when are you going to make a product line of this so that us Bowie nuts can use it for real?
 
via Church of David Bowie
 

Previously on Dangerous Minds:
Francis Bacon’s lost painting of Lucian Freud turns up after 45 years
‘Song portraits’: What does music by Radiohead, Stevie Wonder & David Bowie LOOK like?

Posted by Martin Schneider | Leave a comment
Super rare David Bowie promotional items from the 70s and 80s


An image of David Bowie used for a poster put out by RCA Japan in 1980. Bowie was in Japan filming a television ad for Takara Shochu “Jun” Sake. The image was later recycled for the sleeve for the 1980 Japan exclusive instrumental single “Crystal Japan.”
 
I recently came across some pretty amazing images of David Bowie that were taken for various promotional endeavors in the 70s and 80s. Some were a part of press kits assembled for various films featuring The Thin White Duke, some from his record marketing collateral as well as some incredibly rare posters that were only released in Japan and the UK. Some of the scarce items showcased in this post include promotional “mobile displays.” Here’s the thing about mobile displays, since they were made in super small quantities and most ended up getting carried off or ruined by wear and tear, they are incredibly difficult to come by. Especially if it happens to involve David Bowie. They also tend to be expensive when you do find them/

A few of the photographs and other ephemera I’ve posted below are actually for sale at collectibles site Rock Explosion though some contain the requirement that you inquire as to their cost—and you know what that means. If you have to ask, you probably can’t afford it. So in light of that, I suggest that you kick back and enjoy looking at our dearly departed David below.
 

BBC publicity photo of Bowie from the production of Bertolt Brecht’s ‘Baal’ taken in 1981.

 

An almost unrecognizable Bowie in a promotional poster for the EP release of ‘Baal,’ his last with RCA, 1981.
 

A cardboard standup display of Bowie holding a glass of milk for ‘Young Americans’ 1975.
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Kitchy vintage dishware with images of Prince, David Bowie, Robert Smith, Lemmy, Moz & more!


A vintage plate with an image of Robert Smith of The Cure and a kitty by Miss Scarlett of Dirty Lola. Get it here.
 
Today’s “take my money please” post features beguiling, vintage dishware that has been reworked to include images of David Bowie, Robert Smith of The Cure, Lemmy Kilmister, Morrissey, Prince and a few other famous faces.

Miss Scarlet is a professional illustrator who has also honed her artistic craft in the mediums of watercolor, digital illustration, and graphic design and she has really done a fantastic job of selecting ornate vintage dishes to use as the base of her clever designer “for display only” dishware. Which makes sense as the talented artist has also spent time working as a designer for the fashion houses of John Galliano, Dior, and Christian Lacroix. There are over fifty different designer plates avaliable at Miss Scarlett’s Etsy store, Dirty Lola that come in various sizes and run anywhere between $29.99 to $75 bucks. I’ve posted a few of the most covetable ones below.
 

 

 

 
More after the jump…

Posted by Cherrybomb | Leave a comment
Wild portraits of Dali, Bowie, Jimi, Jagger, Bruce Lee, Basquiat & more made from junk


A portrait of David Bowie made out of junk by Bernard Pas.
 
French painter, photographer, and sculptor Bernard Pras has been creating pictures out of everyday objects such as toys, wood, clothing and whatever else he happened to come across for over two decades. Many of the finished products are remarkable portraits of some of the world’s most famous faces such as David Bowie, Andy Warhol, Bruce Lee and Jack Nicholson as “Jack Torrance” from The Shining.

Pras is very discerning when it comes to the selection process for his individual pieces—and it is that thought process that helps the the dexterous artist create a sense of life in his elaborate portraits and other works comprised of objects that he perhaps collected from Goodwill bargain bins filled with doll parts, bits of clothing and even food. I’ve included a nice selection of Pras’ portraits, one of which is quite NSFW which you can see at the very end of this post.
 

Jack Nicholson as his character “Jack Torrance” from ‘The Shining.’
 

Jimi Hendrix, 2000.
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Remarkable set of ‘data visualization’ 12-inch records of David Bowie’s ‘Space Oddity’
03.10.2017
01:27 pm

Topics:
Music
Science/Tech

Tags:
David Bowie
vinyl
Space Oddity


 
Space Oddity” came out in 1969, and it was David Bowie’s second charting single—”The Laughing Gnome” was the first. For many fans, however, the song represents the true start of Bowie’s career as a world-changing superstar.
 

 
Timed to mark “the first trip around the sun since Bowie’s passing,” Valentina D’Efilippo and Miriam Quick, two data designers working out of London, unveiled their Oddityviz project a few weeks ago—the idea being to release ten 12-inch albums in ten weeks, each one with a visual design featuring a circular data visualization representing some aspect of the song. Each visualization is laser-engraved onto a 12-inch acrylic disc. Even though this isn’t how records actually work, for the purposes of the visualization on its surface, a single rotation of the record equals the duration of the song, which is 317 seconds long.

As they explain:
 

The project visualizes data from Bowie’s 1969 track “Space Oddity” on a series of 10 specially engraved records with accompanying posters, plus a moving image piece. Each 12-inch disc deconstructs the track in a different way: melodies, harmonies, lyrics, structure, story and other aspects of the music are transformed into new visual systems.

 
 
The art of data visualization depends on numbers to function—if you’re curious to see what the statistics that each visualization used, you can check the work yourself at a Google Spreadsheet that was created for the project.

Seven of the records have been released. As D’Efilippo and Quick explain, the final record, “10 Emotions,” is “a bit different. It visualizes the emotional responses people had while listening to ‘Space Oddity.’”

Here’s an example of what the prints look like:

 
This video attempts to explain what’s going on:

 

“1 Narrative illustrates our interpretation of the story of ‘Space Oddity.’ It is a story with two characters: Ground Control and the doomed astronaut, Major Tom.”
 

“2 Recording deconstructs Bowie’s ‘Space Oddity’ into its eight original master tracks.
 
More after the jump…

Posted by Martin Schneider | Leave a comment
Radiohead’s Thom Yorke in 1993: Bowie and Queen’s ‘Under Pressure’ is ‘the perfect pop song’
02.22.2017
12:08 pm

Topics:
Media
Music

Tags:
David Bowie
Radiohead
Queen
Thom Yorke


 
One of the more startling musical transformations in our era was the one that Radiohead pulled off between their 1993 debut album Pablo Honey and their 1995 follow-up The Bends.

It wasn’t just Thom Yorke’s blond locks that cause quite a few critics to liken Pablo Honey to watered-down Nirvana. Pablo Honey got generally lukewarm-to-good reviews at the time—3 stars out of 5 from Rolling Stone, which is the same rating it currently receives at Allmusic.com (it must be admitted that Stephen Thomas Erlewine’s brief review is far more charitable than that rating suggests). And Radiohead’s later successes haven’t shielded the album from vitriol. At Pitchfork, notoriously one of Radiohead’s most unshakable defenders, Scott Plagenhoef gave it a piddling 5.4 out of 10 as late as 2009.

Even that tepid Rolling Stone review ended with the words “Radiohead warrant watching,” but if you had said in 1993 that in less than a decade, Radiohead would be doing arenas with a highly worshipful following and the most ironclad critical reputation in all of rock music, that possibility would have seemed remote indeed. The Bends and OK Computer in 1997 were the astounding one-two punch that few saw coming and set Radiohead up to be the top rock band of the 2000s.

So when I come across a piece of Radiohead press from 1993, I’m inclined to pay attention. I was at the Library and Archives of the Rock and Roll Hall of Fame and Museum in Cleveland recently, thumbing through a stack of old copies of Ray Gun magazine from the 1990s, something you can only do at a place like that. One of the 1993 issues had a little piece on Radiohead that was inexplicably formatted in an actually readable typeface (rare for that magazine). Here it is (if you click on it, the image will get quite large):
 

 
The last bit of the piece reports Yorke’s feelings on whether Radiohead qualifies as “pop” thus:
 

“Yesss,” he says slowly. “My definition of pop is tapping into something…. my ideal pop song is one that says something people want to hear lyrically and that grabs them by the neck musically. And one that has some sort of depth that moves it beyond a happy tune that you whistle at work. Songs like ‘Under Pressure,’ something that makes you want to fall down on your knees. That to me is the perfect pop song.”

 
More after the jump…

Posted by Martin Schneider | Leave a comment
The worst music video of all time, redeemed by a LEGO remake


 
The music video for David Bowie and Mick Jagger’s 1985 cover of Martha and the Vandellas’ Motown classic “Dancing in the Street” is considered one of the worst, if not THE worst, of all time. The clip, originally recorded for the Live Aid benefit, has been called “cringe-worthy” and the “worst music video ever made” HERE, “the worst video ever produced” HERE, and “one of the worst crimes of the ‘80s” HERE. It’s universally thought to be a massive exercise in “what the fuck were they thinking?”

A couple of years ago here at Dangerous Minds we showed you a hilariously-foley’d “musicless” version of the video.

Today we’d like to draw your attention to a wonderful stop-motion LEGO recreation of the video, uploaded a few days ago by stop-motion animator and Vimeo user William Osbourne. This is so good it practically redeems the sheer craptacity of the original.
 

 
After the jump, the original, as if you need a refresher on how truly awful it was…

Posted by Christopher Bickel | Leave a comment
Modern love: Valentines featuring Grace Jones, Robert Smith, David Bowie & other pop-culture icons!


Robert Smith-themed Valentine by Matthew Lineham.
 
We’ve shared the work of New York-based artist Matthew Lineham previously on Dangerous Minds and I can personally vouch for the quality of his work. To say nothing of the reaction I’ve gotten from folks who have received one Lineham’s clever cards featuring images of 80’s horror movie slashers like Jason Voorhees or Re-Animator‘s deranged medical student, Herbert West.

Though I’m not trying shove the faux “holiday” of Valentine’s Day down your throat—it started as a marketing thing, there was nothing traditional about it—I couldn’t resist sharing Lindham’s 2017 cards. These old-school sheet cards contain the images of Robert Smith of The Cure, Joy Division vocalist Ian Curtis and an entire collection featuring the many alter-egos of our dearly departed David Bowie. There are three sheets in each pack for a total of 27 cards that also contain amusing greetings that occasionally reference song titles from the artists’ catalogs, which makes them extra-special. Just like your funny valentine, right? You can order the cards now over at Lindham’s site which will ship them out on January 24th—just in time to send one along to someone who you think is “B-52 Cute!” Awww.
 

 

 
More funny valentines after the jump…

Posted by Cherrybomb | Leave a comment
Extended footage of David Bowie as ‘The Elephant Man’
01.06.2017
01:21 pm

Topics:
Music

Tags:
David Bowie
The Elephant Man


 
This weekend brings the first “would have been” birthday for David Bowie, who would have turned 70 this coming Sunday, January 8. Of course, it’s been almost a full year since Bowie passed away of cancer two days after turning 69.

Bowie’s first and only attempt at an extended run as a stage actor occurred in 1980, when he took on the role of John Merrick in Bernard Pomerance’s play The Elephant Man, which had debuted at the Hampstead Theatre in London in 1977. As with many of the projects Bowie took on, it was a decided challenge and proved to be a striking success. Bowie had just spent a few years hanging out with Iggy Pop and Brian Eno in Berlin producing some of his most interesting albums—the timing of the request to replace the existing actor Philip Anglim, made by Jack Hofsiss, the director of the Broadway production, which had already done very well and which Bowie had already seen, was surely critical, as Bowie was likely seeking a change at the time. There was also a certain resonance in playing a type of Victorian monster since his most recent album bore the name Scary Monsters (And Super Creeps)

Bowie had such a striking physical presence, so ideal for the role of Thomas Jerome Newton in The Man Who Fell to Earth as well as for the physically deformed John Merrick in Pomerance’s play, which makes the interesting choice of eschewing makeup for the actor. The David Lynch movie that came out around the same time has no connection to Pomerance’s play, with its own, separate development. Oddly, both movie and film insist on referring to the historical Joseph Merrick as “John Merrick.”

As Bowie tells it, the producers of the play had Bowie try the role away from the intense media scrutiny of New York, so he did the play for six days (July 29-August 3, 1980) at the Denver Center of Performing Arts, where he could “die a quiet death” if it emerged that he wasn’t up to the challenge. After three weeks in Chicago at the Blackstone Theater, Bowie’s debut as a Broadway actor came on September 23, 1980, at the Booth Theatre for a run of a little longer than three months.
 
More after the jump….....

Posted by Martin Schneider | Leave a comment
Blondie, Lou Reed, David Bowie, Andy Warhol & more rendered in gorgeous knitwear


Blondie ‘Rapture’ sweater by Mary Adams.
 
I think it’s safe to say that for many people Lou Reed’s 1972 album Transformer was a life changing kind of record.Transformer was very much influenced by Reed’s life changing relationship with Andy Warhol. Warhol even directly inspired one of Transformer‘s best numbers, “Vicious.” According to Reed Andy had requested that he pen a tune about a “vicious” kind of person. When Reed asked Warhol to clarify his request, Andy responded by saying “Oh, you know, like I hit you with a flower.” Reed wrote Andy’s response down verbatim and the lyric “You hit me with a flower” would become part of the song.

When it comes to the influence that Transformer had on Mary Adams, the wildly talented clothing designer and sweater maker whose work is featured in this post, we can look to the iconic cover of the album that features an out-of-focus photograph of Reed taken by Mick Rock. One of the first sweaters Adams ever made was based on Rock’s photograph and her obsession with Reed would lead her to create an entire line of high-end knitwear inspired by the pioneering musician. In fact Adams’ company Small Town Girl took its name from lyrics to a song found on Reed’s much vilified collaboration with Metallica, 2011’s Lulu, “Brandenburg Gate.” Adams got her start working as a seamstress and costume designer for The Royal Canadian Ballet and Opera as well was what was likely another influential experience for her—a dreamy souding gig as the “wardrobe mistress” for the original Rocky Horror Show stage production in Australia in 1975. When she wasn’t busy doing that, she was regularly selling her sweaters at the popular outdoor Paddington Market in Sydney.

Many of Adams’ designs feature pop art images, some of which are derived from famous works by Andy Warhol who is also nicely represented on much of Adams’ knitwear. Other notable wooly famous faces include Reed’s wife Laurie Anderson, Transformer‘s producer David Bowie, Liza Minnelli, the recently departed Leonard Cohen, and Patti Smith. I’m not exactly going out on a limb here by describing Adams’ work as exquisite. She and her collaborators hand loom each sweater using pure Australian wool and then each piece is finished by Adams by hand. So it’s not hard to understand why her wearable works of art will run you anywhere from $45 for a head scarf to $470 for a Blondie “Eat to the Beat”-themed sweater which you can see below. If after checking out the images in this post you are filled with a strong desire to have one of your own, more information on how to do that is available on Adams’ Small Town Girl website.
 

‘Lou Reed’ sweater coat.
 

David Bowie ‘Ziggy Stardust’ sweater.
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Beautiful images from David Bowie’s least favorite film role, 1978’s ‘Just a Gigolo’


US 1-sheet poster for the 1978 film ‘Just a Gigolo.’
 

“Everybody who was involved in that film – when they meet each other now, they look away (covers face with hands, laughs)... Listen, you were disappointed, and you weren’t even in it. Imagine how we felt… It was my 32 Elvis Presley movies rolled into one.”

‘‘David Bowie in a 1980 interview with New Music Express about his 1978 film, Just a Gigolo

 

You might think that the trifecta of David Bowie, Marlene Dietrich and one of Alfred Hitchcock’s blonde obsessions, Kim Novak all appearing in the same film would result in one of the greatest movies of all time. And if not that, something interesting? Passable? However, as you can see from his reflection on Just a Gigolo, Bowie felt that the film didn’t exactly meet his expectations despite its clever premise and star power.

Directed by British actor David Hemmings (Blowup) and financed by Germans, Just a Gigolo was an extravagant undertaking and has been rumored to be the most expensive film ever produced in the country at that time. It would also mark the great Marlene Dietrich’s return from retirement as well as her last appearance on the silver screen for which the then 77-year-old actress was allegedly paid 250,000 for two-days work. And though it’s dreamy to imagine Bowie and Dietrich filming scenes together, that never happened as Dietrich was filmed in Paris and all of Bowie’s scenes were shot in Berlin.

Though Bowie knocked film it’s got many memorable moments including a scene of the Thin White Duke taking a bath while being berated by a Prince played by Curd Jürgens; Novak’s character “Helga von Kaiserling” trying to seduce Bowie’s character (“Paul Ambrosius von Przygodski”) in a graveyard, and Dietrich’s unforgettable performance of “Just a Gigolo” at the conclusion of the film. To say nothing of the fact that then-then only 30-year-old Bowie plays a dashing male gigolo who makes money by wooing older rich women. It also has—and I would be remiss in leaving this out—a contribution by the Village People on the soundtrack! If you’ve never seen this wonderfully quirky film it’s actually pretty wild to watch, and I hope that the images in this post convince you that it’s worth your time. I’ve also included the American language trailer for Just a Gigolo accompanied by Dietrich’s haunting vocals for you at the end of the post.
 

David Bowie and Kim Novak in ‘Just a Gigolo.’
 

 
More after the jump…

Posted by Cherrybomb | Leave a comment
You make me wanna SHOUT: The Beatles, Bowie, Bee Gees, Jimi Hendrix, Sinatra and… Lulu

007lulured.jpg
 
Scenes from an imaginary film about Lulu…

Prologue.

Glasgow 1951. Exterior night. A busy city street. Fogbound. Trams and buses gridlocked—their windows steamy, yellow-lit, blurred faces peering out into the darkness.

Inside one of the buses—a mother and daughter. The girl is about three years old. She is happy, singing quietly. The bus halts. People onboard groan frustratedly, complain about getting home. The girl looks at her mother. She wriggles free and stands in the middle of the lower deck of the bus. The girl is Marie McDonald McLaughlin Lawrie. She starts to sing. She has the voice of a “nuclear reactor” with the face of an angel. The passengers on the bus are enthralled. They can’t believe this tiny child has such a powerful voice. Marie belts out one song after another. The traffic starts to move. The passengers applaud and throw coins. This is Lulu’s first experience of fame.

Scene One.

Glasgow 1962: Exterior twilight. W/S of cranes and ships along the River Clyde and docks. The evening sky is bright orange. The buildings sparkle with the light from tenement windows. There’s a sound of distant traffic—blue trains rattling to the suburbs.

Cut to:

Interior Night: The Lindella Nightclub. Blue wisps of cigarette smoke, tables along one side of room, a bar with a scrum of customers, eager to get drunk, happy to be out for the night. Backstage - a band, The Gleneagles, are ready to go on. They can hear the audience getting restless. The bass player asks if everything is okay? Over the sound system, the voice of the compere introduces the band. This is it. A ripple of applause, a rush, then the band is on stage.

At the rear, a young girl, who looks hardly in her teens, her hair bright red, sprayed with lacquer, and rolled in curlers. She has a cold, but smiles, and looks confident. She holds a beret in her hand—wondering of she should wear it or not. The girl goes on stage. A pause. There’s feedback from the speakers. She checks with the band. The audience are getting uneasy. There are mutters, snide comments (“Away back to school, hen”) and sense of menace. Now fourteen years old, Marie Lawrie is about to change her life. The band are ready. Marie starts to sing.

Lulu: Wwwwwwwweeeeeeeelllllllllllllllllllllllllllll!!!!!!!

The voice is incredible. Little Richard, Jerry Lewis and The Isley Brothers all rolled into this tiny redhead at the front of the stage.

At the back of the room—a woman stands slightly away from the crowd. She is mesmerized by the young girl’s performance. The audience that were about to riot are now lapdogs to this girl. The woman is Marion Massey—she is an agent—and she has just found her biggest act.

Lulu: (V/O) When I was fourteen, I was very lucky. I was discovered - to use a terrible term - by a person who was absolutely sincere. Since I was five, people had been coming up to me saying: “Stick with me, baby, and I’ll make you a star.” In fact, nobody ever did anything for me. Then Marion came along.

CU of Marion watching Lulu perform.

Marion Massey: (V/O) She looked so peculiar that first time I saw her. Her hair was in curlers underneath a fur beret. She had a terrible cold, was very pale and wore three jumpers. But I was very intrigued by her. There was something tremendously magnetic about this girl. I knew she had the makings of a great star.

Cut to:

London, 1964. Interior Day: Lulu performs on television.
 

 
Scene Two.

London 1965. Interior Day—a busy press conference. Behind a table covered with microphones sits Lulu with a vigilant Marion Massey. Cameras flash, TV crews jostle for best coverage, journalists talk over each other, shout their questions.

Reporter One: With all this success are you rich?

Lulu: I get £10 a week pocket money. I get through about £5 a week on taxis alone. They’re terribly expensive in London, but I don’t know my way about well enough to take buses and the only time I went on the tube by myself I got lost…

Reporter Two: What do you spend your money on?

Lulu: Shoes are my weakness, I’ve got eight pairs going at the moment plus two that have just about had it.

Reporter Three: Where are you staying?”

Lulu: At Aunt Janey’s.

Marion Massey: My Mother’s.

Lulu: Auntie Janey’s a wonderful cook. She does gefilte fish, boiled or fried.

Reporter One: Do you like it?

Lulu: Yes. I like it fried. (Pause) With ketchup.

Reporter Four: What’s going to be your next hit?

Cut to:
 

 
Interior Night: Lulu comes off-stage having finished singing “The Boat That I Row”. She is approached by writer and film director James Clavell—author of Shōgun.

James Clavell: That was wonderful.

Lulu: Thank you.

(Lulu is surrounded by fans who ask for autograph. The fans disperse happy with their prized signature. Lulu turns to Clavell.)

Lulu: Are you wanting an autograph?

James Clavell: No, no. I just want to tell you…that er…well…You’ve got the part.

Lulu: What are you on about? What part?

James Clavell: I’m doing this feature film and I want you to be in it.

Lulu: Aye, right. Your patter’s pish by the way.

James Clavell: No seriously, you’ve got the part.

Cut to: Footage of Lulu in from To Sir, With Love.
 
More hits and scenes from Lulu’s legendary life, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Christmas ornaments featuring Morrissey, Bowie, Adam Ant, Nick Cave, Siouxsie and more


 
This charming set of Christmas ornaments does a wonderful job of letting everyone in your circle know that you love St. Nick—and that the “Nick” in question is Nick Cave. Matthew Lineham designed them, and he’s done a wonderful job of working in “obscure Christmas memories and puns,” as he put it.

Many of his “obscure” references involve network Christmas programming from many decades ago. Siouxsie Sioux is transformed into Cindy Lou Who, the little girl from Whoville in Dr. Seuss’ classic How the Grinch Stole Christmas, and Morrissey plays the part of “Snow Mozzer” and “Heat Mozzer,” the memorable characters from the 1974 stop-motion animated Christmas TV special from Rankin/Bass, The Year Without a Santa Claus. Former Oingo Boingo frontman and soundtrack maestro Danny Elfman appears as “Elfman on the Shelfman,” a reference to the 2004 children’s book The Elf on the Shelf. Robert Smith is perched atop Rudolph the Red-Nosed Reindeer, and DEVO‘s familiar energy dome is cleverly done up as a Christmas tree.

Lineham calls the set “A Very New Wave Christmas” but he has sensibly gone where the name-puns and name recognition will take him rather than obey strict genre definitions. Bowie and Cave might not be your idea of “new wave” icons but they were active in the early 1980s, at least.

You can buy the rubber die cut bendable ornaments for $10 a pop (“Mozzer” pair $15), or $50 for the entire set, a significant discount. However, due to the unexpectedly high demand, Lineham wants purchasers to be aware that any ornaments ordered today will be shipped “sometime between Dec 21st & 31st,” so don’t bank on them being available for this year’s tree—however, there’s always 2017, 2018, 2019, and beyond to think of. These seem unlikely to go out of style anytime soon.
 

 

 
More after the jump…

Posted by Martin Schneider | Leave a comment
Behind-the-scenes footage of David Bowie & Amanda Lear from ‘The 1980 Floor Show’


 
Soon after David Bowie’s brief “retirement” he was already busy preparing for his first big public appearance since (apparently) leaving showbiz.

The 1980 Floor Show, Bowie’s special episode of The Midnight Special, the uber-popular US TV music program, was shot over the course of three days in October of 1973 with most of the footage being taped at The Marquee Club in London. The choreographed stage extravaganza included dancers, the members of Bowie’s Spiders from Mars band, Marianne Faithfull, The Troggs, glam flamenco group Carmen, and the transsexual muse of Salvador Dali, model and (later) singer Amanda Lear.

When it comes to the rehearsal footage in this post, as one YouTube commenter put it, you could cut the sexual tension between Bowie and Lear “with a knife.” Bowie looks ethereal clad in all in white with his signature bright red mullet and otherworldly good looks while he exchanges lines—I think from Lewis Carroll?—with Lear whose famous “come-hither” raspy voice purrs back at Bowie like a cat about to pounce on her prey. Here’s Bowie musing about why he choose The Marquee for his “happy unretirement party”:

There were a lot of clubs to go to in the Soho scene in the 60’s but The Marquee was top of the list, because musicians did hang out there, pretending to talk business and picking up gigs - but picking up girls mostly. One of my keenest memories of The Marquee in the ‘60’s was having a permanent erection because there were so many fantastic looking girls in there, it was all tourists, especially in summer, all flocking to London to get an R&B star. My final performance of Ziggy Stardust was at The Marquee. I wanted to go back there because I had so many good memories over the years.

The intimate footage shows Bowie and Lear laughing at each other as they each mess up their lines—it’s really quite something to see and feels more like a home movie than a high-powered television production. While the video quality is slightly lacking at times the audio more than makes up for it as does Bowie’s impossibly beautiful face which practically jumps off the screen. It’s yet another nostalgic and heartwarming look back at David Bowie—the indisputable personification of cool in his element. I know I’m not alone when I say that I’ll never, ever stop missing him, a feeling that this video reinforces all the more. 
 

Amanda Lear and David Bowie, 1973.
 

Charmingly intimate footage of David Bowie and Amanda Lear rehearsing for ‘The 1980 Floor Show.’

Previously on Dangerous Minds:
‘She asked for my love and I gave her a dangerous mind’: Goodbye David Bowie from Dangerous Minds
Amanda Lear: 70s disco diva, fashion model, TV star and Salvador Dali’s transsexual muse
Ziggy Stardust’s last stand: David Bowie’s ‘1980 Floor Show’ Midnight Special

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