This demented 1992 clip from the German “Peter Alexander Show” features Johnny Cash getting down with Austrian jams while some crazd Austrian stuff happens behind him. White horse behind him says HURRR I’M A HOERS.
Also, check out this file of Mr. Cash singing hits from his back catalog in German.
I think even as a kid, I was able to identify Reed’s onscreen appeal. It’s the same element missing from so many of today’s career-focused actors: joy. Reed loved performing, loved having an audience. As might be expected from the man who once famously said, “My only regret is that I didn’t drink every pub dry and sleep with every woman on the planet,” Reed loved life, loved living it, and he clearly planned to squeeze from it every possible drop of pleasure, pinball wizards and haunted houses be damned.
Even “King of Cool” Steve McQueen proved no match for the Oliver Reed lifeforce. The story goes that McQueen flew to London to discuss a project. Putting business aside for a bit, the pair went on a marathon pub crawl which resulted in Reed vomiting on McQueen. The project was never consummated.
Fortunately, we have all those many great films to remember Reed by. But now, thanks to YouTube, we can revisit some of his more memorable small-screen performances. Reed was a frequent, frequently drunk, guest on television both here and in the UK.
In a testament to the saccharine and stage-managed nature of our current talk show landscape, witness below as Reed gropes feminist writer Kate Millett on British TV’s After Dark. Thanks to After Dark’s supplying of Reed with a “booze buffet” before and during taping, what starts out as a sober-minded discussion on militarism, masculine stereotypes, and violence to women, soon devolves into something else:
And that’s just the mesmerizing endpoint to an escalating, tour de force Reed workout you can watch in its entirety here: I, II, III. But even on the dog-and-pony circuit this side of the Atlantic, Reed was no more willing to dilute his behavior. His face-off with David Letterman follows below:
I was listening to NPR the other day, and heard this story about an ultra-orthodox 99-year-old rabbi living in Israel who had, no shit, an estimated 1,500 living descendants! Not everyone in his family knew each other of course, but the rabbi shrugged off the difficulty of raising that large a horde, “It’s much easier having ten children than having two. Because once you have five or six children, they can help each other and take care of each other.” Well, Rabbi, if you’re reading Dangerous Minds, have I got a gift for you! The same goes for you, Pam Anderson!
LEGEND HAS IT that a young L. Ron Hubbard once bragged to his friends that he was going to start a religion and make a million dollars. We all know how that went. Less known is a far smaller rogue offshoot of Scientology that exerted disproportionate influence on late-1960s and early-?
Dangerous Minds pal Michael Simmons got a listen to the new Bob Dylan album, Christmas In the Heart and reviewed it over at MOJO. Here’s his verdict:
Overall, it’s without a doubt the most minor and oddest record in Bob’s canon. The 15 selections are all straightforward Christmas standards and there’s a cognitive dissonance on hearing He Who Gargles With Battery Acid backed by what sound like the Anita Kerr Singers. That Dylan’s voice is shot (albeit poignantly so) isn’t as glaring when he sings If You Ever Go To Houston; it’s when he attempts Winter Wonderland. And throughout Christmas In The Heart Dylan makes Tom Waits sound like Antony Hegarty.
Moreover, the mixture of kitsch and reverence is surreal, referencing both his jokey Theme Time Radio Hour persona and the Born-Again Bob’s true believer trip, reinforced by graphics that include the Three Wise Men as well as Bettie Page in a scanty Santa get-up.
I think Michael’s being way too kind. If I had a job in a retail environment and I was forced to listen to this over and over again, I’d gouge my ears out: