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Gavin Evans’ magnificent portraits of Bowie, Björk, Iggy, and Nick Cave

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David Bowie.
 
The Monday morning mailbag arrived with its usual gifts of bills, party invites, ransom demands (which I really must get around to paying), and “Dear John” letters. I was about to tip all this largesse into the bin when I noticed a postcard from a dear friend Christopher. It was the usual greetings of “Having a lovely time” and “Wish you were here” kind of thing but what saved it from the trash was the front photograph of David Bowie by Gavin Evans.

Now we all have favorite photographers and one of mine is certainly Mr. Evans who has taken some of the most magnificent, gorgeous, and iconic images of the past two decades. The photograph of Bowie shushing with a finger to his lips like he did in the promo for “China Girl” has been used on numerous magazine covers, photospreads, TV documentaries, and pirated for Internet memes, urban graffiti, and even tattoos. Its ubiquity one would hope should have made Mr. Evans a very rich man—but somehow (sadly) I very much doubt that.

Another of Evans’ Bowie photographs—a color portrait in which he wore blue contact lenses—captured a vulnerability that I’d never seen before (see picture above). It was as if Bowie allowed his guard down for just a moment and had unknowingly (or perhaps willingly) revealed a more vulnerable and intimate side. The picture was taken in 1995 for a Time Out cover. A couple of years later, Bowie contacted Evans and asked for a print of this picture to hang in his office. Bowie explained to Evans that this was his favorite portrait.

That’s the thing I like about Evans’ work—he has an uncanny talent for capturing the very essence of his subject matter. His photographs make the gods flesh. Look at his portraits of Nick Cave which reveal something of the man behind the public persona or his series of photographs of Björk which capture a tender and humorous side sometimes lacking from more traditional photo shoots. Or just look at his portrait of John Hurt where you can see the pores of the actor’s skin and peer right into his soul.

Christopher’s Bowie postcard is now pinned to the wall. I browsed for more of Evans work and was happily surprised to find a selection of his most powerful and iconic work is currently on tour. Then something even better, a selection of Evans’ beautiful prints are availble to buy. Now every home can have a Gavin Evans on their wall.
 
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David Bowie.
 
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See more of Gavin Evans majestic photographs, after the jump…

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Posted by Paul Gallagher
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07.10.2017
11:18 am
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Finally, you can watch David Bowie and Iggy Pop’s daytime TV appearance on ‘Dinah!’ in full
05.03.2017
11:07 am
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The August 1990 issue of SPIN—which came out closer to the Beatles’ appearance on The Ed Sullivan Show than to Lorde’s appearance on SNL a few weeks back—was dedicated to “35 Years of Rock ‘n’ Roll.” The issue contained a feature that purported to list “35 Greatest Moments in Rock ‘n’ Roll Television.” Here is a sample entry from the list:
 

April 15, 1977: Iggy Pop and David Bowie were guests on Dinah’s Place. Promoting Lust for Life, Iggy and David, along with Tony Sales on bass and Hunt Sales on drums, performed “Sister Midnight” and “Fun Time.” During the interview segment, Bowie was shown in tears from trying to stifle his laughter when Dinah Shore asked Iggy what it felt like to crawl around on broken glass.

 
This was Iggy‘s first appearance on television—if you don’t count Midsummer Rock a television program based on the infamous Cincinnati Pop Festival of 1970—as he says during the lead-in to “Sister Midnight.” As is well known (and as Iggy mentions), the father of the Sales brothers was none other the children’s TV personality Soupy Sales. Ricky Gardiner played guitar that day, Bowie was on the keyboards.

In the pre-Wikipedia days of 1990, it would have been hard to know that Dinah’s Place ended in 1974 and that the show Iggy and Bowie appeared on was called Dinah! Also, Iggy was promoting The Idiot—both of the songs he played are on The Idiot. Lust for Life didn’t come out until August (it was a good year for Iggy, indubitably).

Seated on the panel alongside Dinah is Rosemary Clooney, aunt to George and a successful singer in her own right. It’s hard not to notice that the interface of Dinah/Rosemary on the one side and Bowie/Iggy on the other is a very unusual transmission of the punk/glam ethos to a mostly unsuspecting audience. Iggy is super likeable here, but then again he is usually very likeable.

Dinah asks if Iggy has ever influenced anybody, and he retorts that he “helped wipe out the ‘60s.” This gets a huge laugh, most notably from Bowie himself. Later on Bowie beats himself up for adopting an “American accent.”

SPIN’s account notwithstanding, the moment when Bowie really loses it is during the standing interview segment before “Sister Midnight” when Iggy describes losing his teeth because of “getting too violent onstage” (Iggy’s parents helped pay for the replacements). Dinah wonders whether Iggy’s parents mind that he performs without a shirt—he says they’re OK with it.

More after the jump…

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Posted by Martin Schneider
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05.03.2017
11:07 am
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Many years later, Iggy Pop explains his bonkers 1979 appearance on Australian TV
04.27.2017
04:05 pm
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Iggy GIF
 
The fabulous Iggy Pop recently turned 70 years old. Quite a milestone, really, when you think about how often he flirted with his own mortality back in the day. On his birthday last year, we told you about Mr. Pop’s loopy 1979 appearance on the Australian TV program, Countdown. If you haven’t seen it, do yourself a favor and read/watch that first here.
 
I'm Bored
 
In March 2013, the Stooges were about to tour Australia, and Iggy was interviewed on 7.30 Report, a news program brought to you by the Australian Broadcasting Corporation, the country’s government-funded network. ABC is the same network that aired Countdown, which, in case you didn’t know, was a very popular Australian music show that ran from 1974 to 1987.
 
Countdown
 
For the 7.30 Report segment, Iggy is asked about being labeled “The Godfather of Punk,” what he was like as a kid, and his legendary reputation as a live performer, before the reporter says she has a video she wants to show him. Iggy guesses correctly what he’s in store for: “Oh, no, let me guess: Would it be Countdown?” But Ig is amused and game to watch footage of himself from decades past.
 
Watching
 
Pop cracks up as he views the interview segment, and once the video gets to the part where he’s miming “I’m Bored,” he begins watching intently, seeming to have forgotten all about it. At one point, the clip makes him giggle! That’s right, we get to watch Iggy Pop giggle.
 
Giggling
 
Here’s what he had to say about his demeanor, as well as his attire:

Pretty tight pants…It was the first time in my life that I’d been thrown out on a promotional tour. I had a pretty successful attempt to allude to the fact that I thought I was on a silly show and without being a grump about it. And I could’ve gone on there and spat at the guy or whatever. I didn’t do that.

 
I'm Bored
 
On “I’m Bored” and the studio audience:

That’s a pretty rocking song and it’s hard to deliver a rock song solo like that. Harder when it’s an audience that doesn’t know what planet you landed in from, and wishes you’d go away, and wants their daddy to get rid of you or whatever. (laughs)

 
Watch Iggy react to the infamous ‘Countdown’ clip after the jump…

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Posted by Bart Bealmear
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04.27.2017
04:05 pm
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Iggy Bop? New music from the godfather of punk on his 70th birthday—with a jazz trio!
04.21.2017
07:39 am
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James “Iggy Pop” Osterberg is one of a handful of figures who need zero introduction to Dangerous Minds’ readers. Not just a godfather of punk rock in his capacity as vocalist for the Stooges, but a far greater champion and exponent of its aesthetic and ethos than fellow proto-punk figures like Reed, Tyner, and Bowie. His influence was and remains incalculable—TRY to imagine David Johansen, Nick Cave, Johnny Rotten, or Stiv Bators without elements of Iggy’s bratty, combative, and entirely unhinged stage persona to draw from. He’s settled into a marvelous and once-improbable-seeming afterlife as one of music’s great coolest-guy-ever figures, holding a similar status in rock ’n’ roll as Bill Murray does in the film world. But sorry not sorry, Iggy’s cooler.

The date of this posting is Pop’s 70th birthday (happy birthday, sir, and thanks for all the awesome shit), and even at this age, he continues to explore new territory. Today, it’s Dangerous Minds’ pleasure to premiere a new track featuring Pop singing with Jamie Saft, Steve Swallow, and Bobby Previte, the jazz trio behind 2014’s acclaimed album The New Standard, a title they used as a band name for a spell, but it didn’t stick. A traditional piano/bass/drums trio, Saft, Swallow and Previte have earned justified praise for straddling trad and transformative, jumping genres and modalities effortlessly while preserving the ineffably cool feeling of mid-century instrumental jazz, never becoming precious or NPRishly slick—Swallow’s bass playing is brawny and fiercely eclectic, and pianist Saft and drummer Previte are both former Zorn collaborators, so preciousness is likely not part of their vocabularies. Their forthcoming album Loneliness Road features Iggy Pop’s vocal contributions on three tracks, the title track, “Don’t Lose Yourself,” and “Everyday.” It’s the title track we’re sharing today.

Listen after the jump…

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Posted by Ron Kretsch
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04.21.2017
07:39 am
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Of broken teeth & David ‘Boo-wie’: Iggy Pop’s endearing first Letterman appearance, 1982
03.31.2017
11:09 am
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I’m very terrified of this country, the USA…some of the values are so foul and so wicked… It’s very wicked the way people are restrained, and I’m in favor of something else.

—Iggy Pop predicting our current reality in his 1982 book I Need More: The Stooges and Other Stories

I make no apologies for looking for any opportunity to write about Iggy Pop. He is as close to a god walking among us and the only deity I’d be likely to bow down to if the situation ever presented itself. Today’s deep-dive into Iggy’s illustrious past involves his very first appearance on Late Night with David Letterman in December of 1982.

Iggy had just penned his book I Need More: The Stooges and Other Stories and was on the show to promote the book as well as his latest album, Zombie Birdhouse. After being introduced by Dave, Iggy jangles out onto the stage wearing bright red boots, turquoise blue eyeshadow, fierce black cat eyeliner, and blush. He spazzes brilliantly through the frenetic single “Eat or be Eaten” and then heads to the couch for the interview segment with Dave. And that’s when we get to the really good stuff.

More after the jump…

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Posted by Cherrybomb
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03.31.2017
11:09 am
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Perpetually shirtless Iggy Pop annihilates an acoustic version of ‘I Wanna Be Your Dog’ on UK TV
03.06.2017
10:34 am
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About a month ago I posted about a sweet grouping of appearances by Jane’s Addiction, Sonic Youth, Screaming Trees and a few other notable 90s bands performing live sets on the BBC television show, The Late Show. While that was all good fun I’ve got something even better for you today from the same source—Iggy Pop’s shirtless, acoustic performance of The Stooges 1969 anthemic sucker punch, “I Wanna Be Your Dog.”

Before Igg and his insane abs launch into the song, he talks a little bit about its conception and Stooges’ guitarist Ron Asheton. Referring to the band’s early days in Ann Arbor Michigan, Iggy reminisces about the group calling them a “far-fetched group of dreamers” who liked to “get stoked on hash and grass.” Which sounds about right. While I usually like to say as many words about Iggy as possible whenever I get the opportunity, I’m going to leave this one to him and let this performance speak for itself.

Watch after the jump…

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Posted by Cherrybomb
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03.06.2017
10:34 am
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Iggy Pop and Kraftwerk’s Florian Schneider go shopping for asparagus in the 1970s
03.01.2017
12:18 pm
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Kraftwerk was the most important and influential German musical act of the 1970s, and David Bowie and Iggy Pop spent a few years in Berlin in the late 1970s in one of their most productive phases. The two camps never actually worked together, and there’s been no shortage of speculation about that.

For his part, Bowie insisted that Kraftwerk was not a significant influence on his Berlin output. In an interview for Uncut in 1999, Bowie did credit Kraftwerk for directing his attention to Europe, but felt that their methods and aims were sharply different:
 

My attention had been swung back to Europe with the release of Kraftwerk’s Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Much has been made of Kraftwerk’s influence on our Berlin albums. Most of it lazy analyses, I believe. Kraftwerk’s approach to music had in itself little place in my scheme. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralf were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio. My work tended to expressionist mood pieces, the protagonist (myself) abandoning himself to the zeitgeist (a popular word at the time), with little or no control over his life. The music was spontaneous for the most part and created in the studio.

 
As David Buckley put it in Publikation, his book on Kraftwerk, “What is known is that the Bowie camp and the Kraftwerk camp were on friendly terms.”

Further evidence of that claim popped up in the well-regarded 2009 documentary on German prog music from the ‘70s, Krautrock: The Rebirth of Germany. Iggy Pop is featured telling a story of going shopping with Florian Schneider and one other member of Kraftwerk. According to Pop, Schneider indicated that it was “asparagus season,” and so he would be visiting the market to “select some asparagus.” Pop responded that he would be happy to join Schneider and told the interviewer that they ended up “having a very nice time.”
 
More after the jump…

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Posted by Martin Schneider
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03.01.2017
12:18 pm
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Iggy Pop’s ‘Raw Power’ jacket: The rock-n-roll Shroud of Turin
02.24.2017
09:52 am
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One of the most striking and iconic pieces of rock and roll clothing has to be the leopard head jacket worn by Iggy Pop on the back cover of 1973’s Raw Power, in the classic shot taken by photographer Mick Rock (above). The jacket was made by John Dove and Molly White in 1971 and appeared in L’Uomo Vogue. They only ever made five of them. Iggy bought one. Zoot Money bought another. One was a gift to their agent in Paris, Dove kept one and an unknown guy bought the other.

From their Wonder Workshop website:

The saga of IGGY POP’S JACKET returns 18 years later when Iggy’s Jacket turns up on the back of Stan Lee, lead guitarist of the Dickies in the pages of Rolling Stone. Ruby Ray’s picture shows Stan half-heartedly assuming the Raw Power stance. The interview starts with Vale’s recognition, “The jacket looks like the one Iggy wore on Raw Power!”

“It IS Iggy’s jacket - I got it in a dope deal a few years ago. He didn’t have the bucks so I took that for collateral. For a while, he couldn’t afford it back, and now he’s a rich bitchin’ Iggy, he tried to buy it back and I said NO!...”

The same story is recounted in We Got the Neutron Bomb: The Untold Story of L.A. Punk by Marc Spitz and Brendan Mullen.

Andy Seven: “I remember seeing Iggy at Rodney Bingenheimer’s English Disco after the Stooges broke up when he still had the platinum rinse, with Michael Des Barres, the singer for Silverhead. Stan Lee, who later started the Dickies, used to go there. He was this short, pushy little puffed-out guy with a Marc Bolan poodle shag, and he claimed he had the leopard jacket that Iggy wore on the back cover of Raw Power, he told me he got it from Iggy for dope collateral.”

Ron Asheton: “Oh, yeah, Iggy would trade his possessions all the time for drugs. That’s how he lost some of those great clothes, like that plastic jacket on the back of Raw Power with the Leopard’s head ... that got traded to somebody for drugs or whatever.”

Stan Lee: “When I was sixteen I used to hang out with Iggy. I got his Raw Power jacket in a drug deal that went down in The Whisky parking lot. It was used as collateral, and thankfully I
kept it.”

 

 
A few years later, art, record and toy collector extraordinaire, Long Gone John, boss of the mighty Sympathy for the Record Industry label (where the White Stripes, Hole and many others got their start) bought the jacket from Stan Lee. He picks up the story now in an email sent to John Dove and Molly White:

John and Molly

I wrote this for you while flying home from no. California… let me know if you need anything else ... want an updated photo of the jacket ?? all the best as ever…like that, john xx

“I remember Stan Lee from the Dickies wearing the Iggy jacket every time I saw him and remember thinking he’s gonna wear it till it falls apart…he was obviously really really proud of owning it…when you see photos of him wearing it you can see it was still in very good condition at the time…about 5 years before I bought it from Stan, a friend of mine, Tim Warren who ran the label Crypt Records who was living in Germany came to LA. and apart from whatever else he had to do he had intentions of buying the jacket from Stan for his cute french girlfriend ...Tim offered Stan $5000.00 which seemed an enormous amount of money…seems Stan was pretty flush at the time or at least he didn’t currently have a severe drug habit which he often did have throughout the years…anyway, Tim’s offer was turned down and his girlfriend was considerably heartbroken, but still very cute…

I didn’t think about the jacket for a long time until one day a friend called and said Stan wanted to sell the jacket and asked if I was interested…he said he thought Stan wanted $3000.00…I thought that the jacket was so important and would one day belong in a museum and figured it was well worth the money…I drove out to the Valley to meet him at the converted garage he lived in…the jacket was pretty worn, but it was also obvious it was made out of really cheap fake leather material to begin with…the cheetah head on the back was a bit rubbed off, but to me that was inevitable with age and gave it an air of authenticity considering it was at least 25 years old at the time…best as I can remember this was about 1998…being the bargaining fool that I am I offered Stan $2000.00 and after considerable haggling he finally agreed to accept it…the jacket was tiny Iggy is 5’ 1” as documented in the song with the same name Stan was also short, but not that short…i’m 5’ 11” so of course it didn’t fit me, but my interest in it wasn’t to wear it anyway…to me that jacket was so iconic I thought of it as The Shroud of Turin of Rock ‘n’ Roll…

I was about 21 yrs old when Raw Power came out and very impressionable…it was one of my favorite albums and I was completely mesmerized by both the front and back cover photos…that record was amazing and I never got tired of listening to it and never got the image of the jacket out of my mind…I have always felt extremely honored to own the jacket and will protect it’s legacy until the next caretaker happens along…”

Last year Lewis Leathers in London, working with John Dove and Molly White, recreated the classic jacket.

The soundtrack to Gimme Danger, the new feature-length Stooges documentary from director Jim Jarmusch is already out on CD and digital with a vinyl version hitting stores on April 7th.
 

 

Iggy Pop and Jim Jarmusch discuss their new documentary film ‘Gimme Danger’ with VICE’s Kim Taylor Bennett.

Posted by Sponsored Post
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02.24.2017
09:52 am
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Like the ‘Wicker Man’ on heroin: Nico and a young Iggy Pop in ‘Evening of Light,’ 1969
01.20.2017
01:29 pm
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Promo video for Nico’s “Evening of Light” directed by François De Menil in 1969, but probably finished much later. There was a tantalizingly brief clip of this in the Nico: Icon documentary. Not the album version of the song appearing on The Marble Index, this alternate take was released as part of The Frozen Borderline: 1968–1970 compilation in 2007.

The story is told in Richard Witts’ (fantastic) Nico biography, Nico: The Life and Lies of an Icon, that De Menil, heir to the Schlumberger Limited oil-equipment fortune via his mother’s family, who knew Nico via Warhol associate Fred Hughes, had become besotted by the Teutonic ice queen and proposed making a film with her.

At this time Nico was having a brief affair with a 21-year-old Iggy Pop, who she had met through John Cale, then producing the first Stooges album in New York. (Iggy once revealed to a French interviewer that Nico taught him how to “eat pussy.”) Nico told De Menil that he had to follow them to Ann Arbor, Michigan if he wanted to do it. De Menil obliged, shooting the film behind the house where the band lived.

The way Witts tells the tale is that De Menil seemed to want to get revenge on Iggy because he was Nico’s boyfriend, directing the Stooge to wear white mime makeup and frolic around in a doll-strewn field to embarrass him, but to my mind, this film—and Iggy’s participation in it—is absolutely stunning.
 

 
In an Australian interview Iggy told his version of how the film came to be:

“There were no videos and I didn’t know why she wanted to do this. She had a friend from a very, very wealthy dynasty called the de Menil family who are patrons of the arts in the USA. They have a couple of collections in Houston, they’re very powerful there, it’s oil money. They also contribute to the arts and the major museums in New York City.

“One of the sons, François, was a Nico fan. There was a nexus in New York between the disaffected and super rich kids and the Warhol group, where the art was interested in the money and the money was interested in being arty. She was supposed to do a film with this guy for a song called “Evening Of Light.” She told the guy at the last minute “actually, I’m going to Ann Arbor to live with The Stooges.”

“So he had to drive out with all of his stuff, which was very, very scarce at the time, there were no local rentals for this sort of stuff, and we did this video in a potato field for this beautiful song “Evening Of Light” that she sings accompanied and produced by John Cale, who throws all his art school tricks at this song and very effectively.”

“To me it evokes the old Europe, the feeling around twilight when the church clock is ringing six and the kids are playing in the square and there’s a kind of a peace at hand and a kind of a crack between the worlds and a kind of a feeling that you’re part of this ongoing generation of Euro culture. That’s how I heard it. John was astute enough to make sure this all musically collapses into some pretty scary violence.”

That it does…

Turn it up loud for the full effect!
 

Posted by Richard Metzger
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01.20.2017
01:29 pm
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Iggy Pop fronts a Stooges-MC5 supergroup, 1978
12.22.2016
02:20 pm
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After the demise of the MC5, guitarist Fred “Sonic” Smith assembled a new band with members of three other Detroit bands of the period: the Stooges (drummer Scott Asheton), the Rationals (guitarist and singer Scott Morgan), and the UP (bassist Gary Rasmussen). The resulting combo, Sonic’s Rendezvous Band, recorded what is for me the great American single of the 70s, “City Slang.”

Iggy spent 1977 touring with different configurations of the players on The Idiot and Lust for Life; the only constant was Tin Machine’s future rhythm section, comprising Soupy Sales’ sons Hunt and Tony. In an interview with I-94 Bar, Gary Rasmussen explains how Iggy came to recruit SRB for his ‘78 tour of Europe, on which former Stooge Scott Thurston replaced Scott Morgan:

I think at that time, [Iggy] was having trouble with his record company. He’d been a mess, screwin’ up, and he pretty much needed to prove to the record company that he could do a good tour with a good band - it had to be somethin’ special - and that he wasn’t just a total junkie and all that stuff. He called up and was talking to Scott Asheton to start with, and then to Fred. We knew Iggy because he’d come through with his band and we’d go see ‘em, and we’d be playing some awful place down in Detroit, in Cass Corridor or somewhere, and Iggy would be playing at the Masonic Temple; he’d come to our gig after, y’know, and come up onstage. We were all friends.

So at that point, I think he needed something like that, and asked if we would do that - come and do a tour with him and be his band. Scott Thurston was in that band… Scott was already with Iggy, so he knew all of the songs that Iggy was doing, he knew kinda what was going on, so I think Iggy wanted to keep Scott Thurston in on it, so he didn’t need Morgan, basically. You don’t need another singer… if you ever tried to harmonize with Iggy, you’d realize it’s a pretty hard thing to do. But we didn’t need another singer, we didn’t need another guitar player, so Scott was kinda left out of that one.

 

Iggy Pop onstage with Sonic’s Rendezvous Band, Detroit, 1979 (photo by Robert Matheu, via robertmatheu.com)
 
In the same interview, Morgan says that the tour with Iggy contributed to SRB’s premature dissolution. I’m sure that’s true, and it’s a shame; on the other hand, this is surely one of the best bands Iggy ever had. The Copenhagen bootleg embedded after the jump, which popped up on YouTube earlier this month, is the shit. (For comparison, check out the quality of this boot from the tour’s Stockholm date, and while you’re there, listen to that night’s “Kill City.”)

Keep reading after the jump…

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Posted by Oliver Hall
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12.22.2016
02:20 pm
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Iggy Pop’s tour of Alphabet City, 1993
12.15.2016
04:08 pm
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In 1993 Dutch music journalist Bram Van Splunteren shot this footage of Iggy Pop wandering around his old stomping grounds of Alphabet City, when it was about halfway through its transition from bohemian junkie hellhole of the 1970s to the bougie center of hipster/student life it is today. Depending on your age and attitude, your reaction to the footage might range anywhere from “whoa, it was gnarly back then!” to “Hmm. Looks pretty tame to me.”

Iggy—who used to live in the Christodora building on Avenue B, along with fellow tenants Winona Ryder and author Douglas Rushkoff—starts the tour outside of the Church of St. Brigid across from Tompkins Square Park. Pop starts things off with a bang when he says that “I used to come down here to score drugs all the time.” But the drug action has moved a neighborhood or two south, he indicates, gesturing towards Avenues C and D. By that time the dealers had long ago scooted off his nicey-nice block. (The Christodora building was famously spray painted with “Die yuppie scum” during the Tompkins Square riots, which must have amused the godfather of punk to no end.)

Pop and Van Splunteren stroll down 8th Street towards Avenue C, where they visit Pedro Bakery. Pop gets a bag full of yeasty treats and then (claiming that he never carries his wallet around) makes Van Splunteren pay for it! He also says that whenever his wife at that time, Suchi Asano, was out of town, he gets all of his “sandwiches and cakes and strong coffee” at Pedro Bakery. (He also vastly prefers NYC to LA, which makes him crazy.)

More after the jump…

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Posted by Martin Schneider
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12.15.2016
04:08 pm
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Iggy Pop singing ‘Surfin’ Bird’ to his cockatoo is exactly what the world needs now
12.05.2016
12:22 pm
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So OK, if you’re not following “Biggy Pop,” the eponymous Instagram Iggy Pop made for his pet bird Biggy earlier this year, you’re missing out. Go do that now. We’ll wait.

OK, then, having done that, you’ve seen that Pop’s Instagram is a series of home movies of the proto-punk godfather with his feathered companion (who looks to be a salmon-crested cockatoo, if you’re interested in that sort of thing). And it’s pretty wonderful. Biggy is the same bird who appeared in Pop’s Christmas video a couple of years ago…

More after the jump…

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Posted by Ron Kretsch
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12.05.2016
12:22 pm
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A treasure trove of awesome bands covering Iggy Pop’s ‘Funtime’
10.31.2016
09:49 am
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The other day I was listening to an old Mark Mothersbaugh interview from the ‘80s (well, technically it was a “Booji Boy” interview, but anyway) and at one point, in talking about the Krautrock band Neu!, he threw a bit of shade at David Bowie, saying Bowie had ripped off Neu! for a song he produced for Iggy Pop. This peaked my interest so I quickly googled “Bowie, Iggy, Neu!” and the first search result was the wikipedia page for Iggy’s “Funtime.”  According to that wikipedia post, “Funtime” bears marked similarities to “Lila Engel” by Neu! An A/B comparison of the two didn’t really raise any eyebrows on my end. I found “Funtime” to possibly be “in the spirit of” “Lila Engel,” but not an out-and-out bite.

Anyway, that doesn’t really have much to do with today’s Dangerous Minds post other than setting up the fact that I was reading this wikipedia page on “Funtime” and the thing I found most interesting about that entry was how often the song had been covered by other artists.

I was previously unaware of any other versions of the track, and very quickly I found several. And really, they’re all pretty great in their own way—definitely worth sharing.

All aboard for some ‘Funtime’ covers, after the jump…

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Posted by Christopher Bickel
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10.31.2016
09:49 am
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‘TOTAL CHAOS’: An exclusive look at must-have Iggy Pop book that goes way in-depth on the Stooges
10.25.2016
09:29 am
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Total Chaos
 
It’s a great time to be alive for fans of the immortal proto-punk wizards, the Stooges. Jim Jarmusch’s documentary on the band, Gimme Danger, hits theaters this week, and TOTAL CHAOS: The Story of the Stooges comes out in mid-November on Third Man Books. I can tell you, based on my preview, TOTAL CHAOS is phenomenal—a must-have for all fans of the group. The book is constructed around in-depth interviews with frontman Iggy Pop, and a slew of of rarely seen memorabilia, which together tell the story of the Stooges. Those praising the band via their own contributing essays include Johnny Marr, Joan Jett, and Jack White, as well as noted scribes Johan Kugelberg and Jon Savage.

We have exclusive excerpts for you from TOTAL CHAOS. The text and images revolve around the seminal Stooges LP Fun House, one of the greatest albums of the entire rock era. In the first interview excerpt, Iggy talks about the stage name he has used since the time of Fun House. The moniker appeared for first time within the album’s credits, the inspiration coming from a friend of Stooges bandmates Ron Asheton and Dave Alexander.

Jim P-o-p-p was one of the delinquent friends of Ron and Dave and one of the people that hung out with that group. He had sniffed too much glue and lost a lot of his hair early. And he just had such a great last name that one day I was in the Student Union [at the University of Michigan] sneaking some coffee and I thought about what a great name he had. He was laying there sleeping in one of the booths. Townies would go over there to get cheap food. Sneak into the Student Union and just hang. And later I thought, “Well, I don’t know. I wanna be…” It was really even before the first album came out I started calling myself Iggy Pop, and then they [the record company] just said Iggy Stooge. So yeah, I nicked it from Jim Popp.

 
Fun House poster
‘Fun House’ promo poster (Johan Kugelberg collection)
 
Writing the material for Fun House:

The groups we liked were starting to do really sophisticated things. At the same time, whether it was my personality or the fact that he was now getting laid regularly, or a little bit of the fact that everybody has their own rate of production and their own event horizon and Ron’s was slow; somehow from my point of view, Ron went into a tunnel at that point and I could not break him out. He came up with a few ideas that I thought sounded like our first album but not quite as good, and the one of them that was the best was “TV Eye.” So I got him to try an arrangement. He just had it as sort of a chord thing. I said, “How about if we get to that point, but start it out single string like a Booker T thing.” He knew that reference and he tried it, but to do that, I had to camp outside his door day and night. Hassle him.

So most of the rest of the record, I wrote on a Mosrite guitar with a fifty watt Marshall amp up in my room and only Ron could have played it so wonderfully, but most of that, I wrote. Now Ron tells me later, he said that Dave did the riffs to “Dirt” and “Fun House.” I would say I hope so, but I don’t remember it that way. But without that one “T.V. Eye” riff and without hearing how great it sounded when he played it, the single string with the resonance and then build up, I would have had nothing to build on, so he was the bedrock of that album.

Gay Power
Iggy on the cover of ‘Gay Power: New York’s First Homosexual Newspaper,’ 1970 (Jeff Gold collection)

When asked if it was his idea to record Fun House live in the studio:

I believe so. We came out and we were gonna do this our way and Don [Gallucci, the producer,] went along with it but we compromised in that they, for my vocal I believe they ran a double feed. To the board and to the other and mixed it. The engineer was a charming, cultured British individual. I’d never met anybody like this and I was instantly charmed and reassured and I trusted him and I believed in him. His name was Brian Ross-Myring and I didn’t know he did Barbra Streisand apparently, but he had an unflappable quality.

 
New Old Fillmore
The Stooges perform in San Francisco for the first time, 1970 (Jeff Gold Collection)

I just remember that in San Francisco some of the Cockettes
were in the front row and I was psychedelicized that night. More than several of the Cockettes were dressed up like Carmen Miranda gone wild and I was like, “what the hell is this”—and I loved it—“this is so cool and bananas and oranges and you know calico scarves and the whole thing.” The other big thing I remember about it was, when we were—it was either during sound check or maybe somewhere during the gig when weren’t playing—this strange kind of cocky hippie with granny glasses approaches me and he said, “Hi, I’m Owsley Stanley,” and he was real pleased, he was already pleased with himself, and he made some sort of comments, I can’t remember what, but I did meet [LSD kingpin] Owsley and talked with him a little bit. I mean that’s what you do if you go to San Francisco in 1970, you meet the Cockettes and at least one member of the Psychedelic Set.

 
Fun House master tape box
The ‘Fun House’ master tape box, with the track sequence the band wanted, which was altered slightly by Elektra (Jeff Gold Collection)

On audiences:

It was always better when you had some activity in front, always. It’s really hard without that, and sometimes we’d get, it ranged from violent activity to people thinking like “hey we get the joke” and come in with peanut butter or sometimes we’d have a lot of just female rock action—it just would depend really where we were. The one thing that always gave me heart was I was very aware that we were the only group I knew of, or entity, that had absolute—I never saw any audience movement while we played for the first, I’d say ’68, ’69 and ’70, nobody said, “Oh I’m gonna go check out the t-shirt stand,” or “I’m gonna walk around and see if I can pick up some chicks or go get a whatever.” No, uh-uh, everybody stayed in one place. So I knew we were onto something, you know?

 
Uganos
Iggy in the audience during a gig at Uganos, New York City, August 1970
(Photo: Dustin Pittman; Jeff Gold Collection)

TOTAL CHAOS author Jeff Gold first saw the Stooges in the ‘70s, and has been a fan ever since. He provided much of the memorabilia pictured in the book, and conducted the Iggy interviews that appear in it, along with Johan Kugelberg. He’s worked at various record labels, including A&M when Iggy was signed with the company in the mid-to-late ‘80’s. I asked Jeff a few questions via email.

I’ve only met a few people who can say they saw the Stooges back in the day. You saw them in 1973. What was that like?

Jeff Gold: It was the strangest “show” I’d ever seen. I’d heard of them, but didn’t really know who they were. I was a huge David Bowie fan and the fact that he’d gotten his management to sign them, and mixed the album was enough to get me to spend $2.50 to see them at the Whisky in Los Angeles. The whole show lasted maybe half an hour. I’d heard Iggy was a wild man who cut himself with glass, so I was prepared for something unusual. He was wearing only blue metallic bikini underwear—nothing else—which at some point he threaded through the microphone stand, humping it. He was definitely under the influence of something, and spent part of the show wailing about butt-fuckers in Hollywood, and after about 30 minutes, he started falling down and Ron Asheton, I think, had to help him off stage. It was total chaos, which is the title of the book, but completely compelling chaos, and unforgettable.

Being such a fan, I imagine it was a strange experience when you found yourself working with Iggy at A&M.

Jeff Gold: By that time I’d worked with many famous musicians, but Iggy was someone I was a big fan of personally, which wasn’t always the case. I’d seen him on the 1977 tour for The Idiot, with Bowie on keyboards, which was a much more “professional” affair. But still you never know what someone will be like offstage, so I was both excited and a bit wary. But Iggy was and is the greatest. He was friendly, had lots of good ideas about album covers, videos, and marketing, and was a real pleasure to deal with. I remember taking him out to lunch early on, and being sort of blown away—I’m having lunch with Iggy Pop!
 
Iggy, 1970
Iggy, 1970 (Photo: Robert Matheu)

How long have you been collecting Stooges memorabilia? What do you consider to be some of the more interesting items in your collection?

Jeff Gold: I began collecting records and memorabilia in the early ‘70’s and when I saw interesting Stooges stuff, I’d buy it. I left Warner Bros. in 1998, and got back into buying and selling music stuff full time, and that coincided with the dawn of eBay, so there was much more of it on the market, and I took advantage of that. As for the Stooges things I find most interesting, I bought copies of all of their original contracts from Danny Fields, who signed and later managed them. After my years working for record companies, it was wild to see what a late ‘60’s record contract looked like, and that they were signed for only a $5,000 advance. Iggy didn’t have these, and was very appreciative when I gave copies to his lawyer. Hidden amongst them was a letter from Elektra to Danny Fields attempting to pick up their option on Iggy as a solo artist, after they’d dropped the Stooges. Iggy never knew they wanted to sign him as a solo act, and it blew his mind to find out about it all those years later.

Continues after the jump…

READ ON
Posted by Bart Bealmear
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10.25.2016
09:29 am
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Raw Power: Rare 1973 footage of Iggy and the Stooges escapes right into your living room!
10.17.2016
12:41 pm
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Much has been said about musical miracle man Ivan Kral here on Dangerous Minds. Born in Czechoslovakia where rock ‘n’ roll was heavily frowned upon, Kral came to the United States with his diplomat parents in 1966. After the Warsaw Pact Invasion in 1968 he decided to stay here as a refugee.

Young Ivan bought a Super 8 film camera to keep a visual diary & filmed loads of rock n roll starting with Murray The K shows in the mid 60s. As time progressed this all around talented musician played with Blondie, Shaun Cassidy’s teen glam band Longfellow, a long and fabled stint with the Patti Smith Group, Iggy Pop and many many more. During the early years of the dawning of punk he was filming everything, much of which was edited into two underground films Night Lunch and Blank Generation which were shown all the time at Max’s Kansas City, and were the first glimpses my generation got of the early days of our favorite bands that we had just missed due to our age.
 
kdtghity
Ivan Kral and friends
 
Watching people in his films like the Dolls, Wayne County, Ramones, Television, Blondie, Talking Heads all before they made records (except the Dolls) and watching these films in the clubs they were filmed in while the same bands were still playing there was strange to say the least. I can’t imagine what seeing them now for the first time would feel like. These very primitive silent films were shot on crude black and white film stock that made the participants look like they could be from some decadent 1920’s Dada club, or from any time besides NOW. It’s wild to think that these films were just about two years old when I first saw them!

Of his most infamous short films that never made it to these two compilations is the footage Kral shot of Iggy and the Stooges in 1973 at the Academy Of Music on 14th Street in New York, where I spent much of my teenage life seeing middle-sized touring bands on their way up (or down). The infamous yearly Frank Zappa Halloween shows were held there before and after the name was changed to The Palladium, outside of which I can be seen as a kid making a fool of myself in the Zappa film Baby Snakes. Whenever The Stooges films have showed up they have been in black and white and very short, like under a minute.

My old friend, rock superfan and writer Madeline Bochario alerted me to this wild color footage with sound that just appeared on YouTube. A way better and quite lengthy version of the Ivan Kral footage.

Search and destroy, while you can, after the jump…

READ ON
Posted by Howie Pyro
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10.17.2016
12:41 pm
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