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Nick Cave doesn’t want MTV Awards’ nomination for ‘Best Male Artist’ of 1996
09.17.2013
01:25 pm
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Nick Cave’s polite, yet firm 1996 letter to MTV event organizers following his nomination for “Best Male Artist” for that year’s MTV Music Awards.

21 Oct 96

To all those at MTV,

I would like to start by thanking you all for the support you have given me over recent years and I am both grateful and flattered by the nominations that I have received for Best Male Artist. The air play given to both the Kylie Minogue and P. J. Harvey duets from my latest album Murder Ballads has not gone unnoticed and has been greatly appreciated. So again my sincere thanks.

Having said that, I feel that it’s necessary for me to request that my nomination for best male artist be withdrawn and furthermore any awards or nominations for such awards that may arise in later years be presented to those who feel more comfortable with the competitive nature of these award ceremonies. I myself, do not. I have always been of the opinion that my music is unique and individual and exists beyond the realms inhabited by those who would reduce things to mere measuring. I am in competition with no-one.

My relationship with my muse is a delicate one at the best of times and I feel that it is my duty to protect her from influences that may offend her fragile nature.

She comes to me with the gift of song and in return I treat her with the respect I feel she deserves — in this case this means not subjecting her to the indignities of judgement and competition. My muse is not a horse and I am in no horse race and if indeed she was, still I would not harness her to this tumbrel — this bloody cart of severed heads and glittering prizes. My muse may spook! May bolt! May abandon me completely!

So once again, to the people at MTV, I appreciate the zeal and energy that was put behind my last record, I truly do and say thank you and again I say thank you but no…no thank you.

Yours sincerely,

Nick Cave

Via Letters of Note and Nick Cave Online

Posted by Tara McGinley
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09.17.2013
01:25 pm
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‘The Westboro Baptist Church picketed me?! But I’m the Internet’s leading homophobe!’
09.17.2013
11:36 am
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Bryan Fischer
 
Bryan Fischer has a funny story to tell about Fred Phelps:

They went to a couple of liberal churches to stage their protests as well. The media covered those protests. The media—nobody showed up at our church, because I already had a reputation as somebody who defended natural marriage and would stand against any effort to compromise or redefine marriage. I had that reputation already in the community. So they weren’t about to come to my church and show Fred Phelps picketing me—because that did not fit their narrative, that I was the leading raging homophobe in the Treasure Valley [Idaho]. So I always found that pretty ironic, that I was picketed by Fred Phelps’ church for being too pro-gay. Now if there was ever proof that God has a sense of humor, that would be it. Fred Phelps and his bunch picketed me for being too pro-gay….

The man has a point. He is a raging homophobe. Last year, Fischer, host of the talk radio program Focal Point on American Family Radio (gag), took credit for instigating the ouster of Mitt Romney’s national security spokesman Richard Grenell because of Grenell’s homosexuality—Fischer called it a “big win.” Also last year, Fischer advocated setting up “an underground railroad to protect innocent children from same-sex households.” In other words, he advocated kidnapping children with same-sex parents because an “activist judge” who happens not to subscribe to Fischer’s twisted brand of family values just might rule that such a household is in the child’s best interest.

According to Wikipedia, “Fischer has voiced support for the AIDS denial movement. ... Fischer strongly supported [Peter] Duesberg’s contention that AIDS is not caused by HIV, but by recreational drug use.” Wikipedia continues:

In January 2013, he compared homosexual sodomy to pedophilic sex, incest and bestiality. In January 2013, Fischer compared the Boy Scouts of America’s change in views on gay scouts and scout masters to Jerry Sandusky, saying allowing gay scout masters was inviting pedophiles into the tents of children. In March 2013, Fischer compared homosexuality to bank robbery when Senator Portman announced his views on same-sex marriage had changed due to having a gay son. In April 2013, Fischer commented on the case of Carla Hale, a lesbian teacher fired from the Catholic school she worked for when her partner was named in her mother’s obituary, saying that it was right for the school to fire her based on her “immoral sexual behavior”. He argued that just as shoplifters are discriminated against, society should discriminate against those who engage in other forms of immorality or aberrant sexual behavior. During an interview on the Alan Colmes show, Fischer refused to answer when asked if he had ever had gay impulses, instead changing the subject to adultery.

At the risk of being vulgar, I might paraphrase Fischer’s complaint thus: Whose dick do I have to suck around here to be considered a proper homophobe???

 

via TPM

Previously on Dangerous Minds:
You don’t say or you won’t say: Is anti-gay Christian hater Bryan Fischer just a big closet case?

Posted by Martin Schneider
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09.17.2013
11:36 am
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In epic prank, man’s taps and shower serve up cold, delicious draft beer
09.17.2013
11:22 am
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Epic beer prank
 
This is a must-see.

In New Zealand, they don’t just have the best accents in the world, they also do the awesomest pranks. It seems that in the past this guy Russell Brown has perpetrated his share of pranks on his buddies, so they teamed up to get sweet revenge in a spectacular style. They got in touch with a local brewery called Tui and arranged to plumb beer throughout all of the pipes in Russell’s Auckland home. All the taps—even the showers—ran the pure hoppy elixir for at least that day.

Russell and his mates all had a good laugh, although apparently Russell’s wife was a bit put out.

The first video is the condensed version; find the longer version (only 7 minutes) after the jump. Jimmy Kimmel, thus far at least, hasn’t stepped into frame…
 

 
More after the jump…

READ ON
Posted by Martin Schneider
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09.17.2013
11:22 am
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Do the Mussolini: Il Duce’s son was a damn good jazz pianist!
09.17.2013
10:45 am
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Many fathers cast a long shadow, but surely Romano Mussolini had it especially bad. It would be hard to make your way as a German novelist named Hitler in 1956, but that is roughly the burden that Romano had to deal with, being one of Benito Mussolini’s sons and yet desirous of becoming—which he did—a successful jazz pianist. Romano does not appear to have been an especially great jazz pianist, exactly, but he was certainly good enough to impress a lot of the right people, including Ella Fitzgerald, Chet Baker, Duke Ellington, Dizzy Gillespie, and Lionel Hampton, all of whom he toured with. His skills were very respected.

Romano was born in November 1927, making him twelve in 1940 and seventeen when his father and his father’s mistress, Claretta Petacci, were executed in northern Italy in the final days of World War II. In Mussolini’s Italy, jazz music, associated with the American “Negro,” was banned as “degenerate music,” but apparently Il Duce had a weakness for the music, which his son also loved from an early age. According to Romano’s memoir According to My Father, Il Duce: A Memoir by Mussolini’s Son, “Some will be surprised to learn that my father was also a fan of jazz. I was only four years old when I heard the music for the first time. It was in 1931, at Villa Carpena, when my brother Vittorio brought the first 78 rpm records to our house and later introduced me to the majestic interpretations of Duke Ellington and other jazz greats.”

After World War II, Romano Mussolini played under a stage name for a while (“Romano Full”) before reverting back to his original name. He toured up and down Italy for years with his band, the Romano Mussolini All Stars. His closest associate among the American jazz greats was with Chet Baker, who fretted over how to handle his first meeting with the dictator’s son—much to his chagrin, Baker reportedly ended up sticking out his hand and blurting out, “Sorry to hear about your Dad!”
 
At the Santa Tecla
 
On the 1963 album At the Santa Tecla by Romano Mussolini and his Orchestra, the band essays the Mussolini original “Blues at Santa Tecla” as well as Rodgers and Hart’s “My Funny Valentine,” Fats Waller’s “Honeysuckle Rose,” Dizzy Gillespie’s “Ow,” and Miles Davis’s “Lover Man.”

In a decision apparently undertaken in order to someday make him a more attractive subject for Dangerous Minds, he co-scored the 1968 horror noir Satanik, which if the poster art is any indication is almost certainly amazing.
 

 
Skimming his memoir suggests that Romano clearly respected and admired his father, all while staying staunchly apolitical and condemning “his father’s anti-Semitic policies and much of the Fascist platform,” as Todd S. Jenkins put it. Romano’s love of African-American musical rhythms demonstrate his egalitarian bona fides, but still, there are signs, in what eventually became Berlusconi’s Italy, that the repudiation of Mussolini’s policies is still, well, far from complete. In The English is Coming!: How One Language is Sweeping the World, Leslie Dunton-Downer reports that “jazz and fascism were intertwined at Romano Mussolini’s funeral in 2006. The event reportedly opened with George Gershwin’s ‘Summertime,’ and following ‘fascist slogans and salutes,’ concluded with the American gospel ‘When the Saints Go Marching In.’” Hmmm.

He also painted clowns.

In 1974 the Romano Mussolini Trio released Mirage, which remains much admired to this day. The full album can be heard below; the opening title track features Romano killing it on a Fender Rhodes electric piano.
 

Previously on Dangerous Minds:
Mussolini’s Fascist Party’s headquarters… less than subtle

Posted by Martin Schneider
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09.17.2013
10:45 am
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EXTREME CONDITIONS DEMAND EXTREME RESPONSES: Test Dept’s Industrial-strength Socialism
09.16.2013
10:14 pm
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In 1984, I was fortunate to be present for something called the “Program For Progress,” a large-scale site-specific performance by the influential early industrial group Test Dept at the Cannon Street Railway Station in London. Test Dept were a group that were signed to Some Bizarre at the time and had a real buzz about them and the extravagant post-punk political pageantry of their live events. The band’s mainstay members were Angus Farquhar, Graham Cunnington, Paul Jamrozy, Paul Hines and Toby Burdon. (According to Wikipedia, comedian Vic Reeves also played bass in an early version of the group.)

Walking into this epic event was quite something. I recall there being performers jumping on trampolines and “Socialist Realism” imagery projected via slides and film projectors onto huge sail-like swaths of white cloth hung from the high ceilings of the railway station. If memory serves, there were also a few bekilted bagpipers walking around and tables set up for various organizations, including efforts to aid the striking miners. Although the event had the ostensible veneer of an “outlaw” event, there was obviously no way that a huge “happening” like this one could have taken place without the express consent of British Rail. The centerpiece attraction for all assembled was the pounding, uncompromising, militaristic sound of Test Dept.
 

 
I know this will probably make some people groan, but I experienced Test Dept’s audio-visual assault as something akin to Einstürzende Neubauten meets Laibach (if they were easier to pin down politically) meets “Stomp.” Perhaps that makes what they did that night sound uncool, but that’s not my intention. It was an amazing theatrical spectacle to witness, full of savage, precise teamwork. It was a massive metal—and mental—pounding assault, but frankly the sort of thing I’d rather experience live in a concert setting than listen to at home.

The striking political content of the group’s ethos was summed up in one of their songs, “Voice of Reason,” in a text written by radical English playwright Jonathan Moore:

” ... A government that closes hospitals and opens nuclear air bases, that conspicuously favours its wealthy, its corrupt, its immoral citizens, while denying basic human rights to the majority. Extreme conditions demand extreme responses.”

Those extreme conditions were just beginning in 1984. The influential Test Dept broke up in 1993, but reformed again last year for a show in Belgium.

“Fuckhead” from The Unacceptable Face of Freedom album is a real stunner from their catalog.
 

“Kick to Kill” from 1984’s Beating the Retreat
 

“Shockwork” from 1983.
 
Below, a clip from the very Cannon Street Station performance described above, as seen on the South of Watford television program:
 

Posted by Richard Metzger
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09.16.2013
10:14 pm
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Dangerous Finds: Vagina mind control; Breitbart readers react to shooting; Good time to be the 1%
09.16.2013
07:06 pm
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London museum acquires world’s first 3D-printed gun - CNN

Rallies across Canada ask Canadians to ‘Stand Up for Science’ - Common Dreams

US super-rich hit new wealth record five years after financial crisis - Guardian

Breitbart readers react to DC shooting - Joe.My.God.

One weird trick to control your boyfriend’s mind (the trick is pouring juice in his dickhole) - The Hairpin

AMC developing a Walking Dead spinoff - Vulture

Russian man shot in quarrel over Kant’s philosophy - ABC News

A day in the life of an 11-year-old transgender boy - Towleroad

Video: Cop threatens to break photographer’s jaw during Occupy protest - Gothamist

NASA astronauts will begin growing and eating their own greens on the International Space Station this December - HealthLine

Kinetic Sand - YouTube

Music vet Jerry Sharell attacked by girlfriend’s machete-wielding ex - SPIN

Antibiotic-resistant bugs have become a common cause of death, says first report of its kind - Washington Post

Smaller animals tend to perceive time as if it is passing in slow motion - BBC

Watch Carl Jung: The Wisdom of the Dream: A three-part documentary on the psychologist’s life & ideas - Open Culture

A 23-year-old man died and at least 14 others were suspected to have overdosed on drugs at a dance music festival near Sydney, Australia, over the weekend - Arts Beat

Let Breaking Bad’s Jonathan Banks read you fairy tales (NSFW) - Salon

First grid-scale compressed air battery now operational - Engadget

Facebook makes people more unhappy and lonely - University Herald


Below, Guided By Voices perform “I Am A Scientist” live in Seattle, 1995:

Posted by Tara McGinley
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09.16.2013
07:06 pm
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Pennywise lives!: Stephen King’s evil Clown seen haunting Northampton’s streets
09.16.2013
05:41 pm
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nwolcnotpmahtron11
 
After getting his ass whupped by the Losers’ Club in Derry, it would appear that Pennywise the Dancing Clown (“We all float down here…”) has made a sinister reappearance on the streets of Northampton, England.

Local police are investigating various sightings of clowns seen acting suspiciously on the local streets. Photographs of these Pennywise look-a-likes have been posted on a Facbeook page, Spot Northampton’s Clown.

Police are also trying to track two teenagers, who were similarly dressed as clowns, offering their services as painters and decorators.

Last Thursday, a woman contacted the police after the pair of clowns knocked on her door and offered to paint her window sills. The woman became suspicious after she noted they did not have any painting equipment with them.

The youths are described as having their faces covered with large amounts of white paint, and dressed like the evil clown from Stephen King‘s It!
 
aaa111nwolcton.jpg
 

 
More photos of Northampton’s sinister clown, after the jump…
 
Via Arbroath, with thanks to Tara McGinley!
 

READ ON
Posted by Paul Gallagher
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09.16.2013
05:41 pm
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A Dark Korner in the Blues Room: Another view of the ‘Founding Father of British Blues’ (Part 2)
09.16.2013
05:17 pm
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This is a guest post by Stephen W Parsons. Read part one of A Dark Korner in the Blues Room: A dissenting view of the ‘Founding Father of British Blues.

By 1961 Alexis Korner had created a successful Trojan-horse musical outfit with a floating roster of talented players including Jack Bruce and Charlie Watts. In order to get plenty of work they sometimes masqueraded as a New Orleans jazz band but Korner knew which way the wind was blowing and made sure the band kept one foot in the blues.

When Brian Jones saw them play in his home town he realized that it was actually possible to play blues music and make money while doing so. He made a beeline for the suave and charismatic bandleader at an after-gig drinking session and pestered him with questions. Korner responded by inviting the young man to stay with him in London. The historical narrative is that Korner helped to create a stage character for Jones as a slide player named “Elmo Lewis” who opened shows as a solo performer and then introduced him to a couple of other blues crazy lads named Mick and Keith. He also generously donated his drummer to Brian’s new outfit: The Rolling Stones. This would all have been contemplated and planned during late night jamming sessions fuelled by hashish and vintage wine. Korner considered himself to be a connoisseur of both relaxants.

The older man had clearly seen something of himself in his young apprentice’s cultured manner and slightly shifty sense of mischief. As an amateur psychologist he must also have noticed the swarm of unresolved complexes beneath Jones’s polite veneer. Nevertheless he took the time to instruct his protégé on the subtleties of running a profitable blues band and I suspect he found it an interesting experiment. But there was a profound difference between the two men. Jones had talent, an abundance of it, and a face for the sixties. Despite a disgraceful four decades-long campaign by the remaining Rolling Stones to denigrate his abilities, both the records and surviving footage tell a different story. He also looked the business when the Glimmer Twins were still pimply young wannabees impersonating their American heroes such as Chuck Berry and Bo Diddley. In the live arena he projected a concentrated sexual atmosphere that would set young girls squirming in their seats.

No wonder the others resented him, exploited his personality defects and got rid of him at the earliest opportunity.

We now enter the thick fog of Pygmalion territory, of stewardship and responsibility, accompanied by Henry Higgins, Charles Manson, Svengali, Lermontov from The Red Shoes, and Hannibal Lecter, whose most terrible achievement was the manipulation of his psycho-analytical client roster to create other serial killers. It’s a place where nothing can be verified, only inferred, because the bond between sorcerer and apprentice is unspoken. In my own experience the best musical mentors teach mostly by example, make a few pertinent critical comments and stay well-clear of giving advice on personal matters. To step further is to invite what mind doctors call transference and unless the mentor is of sound and balanced character then this is very dangerous territory indeed. 

Korner’s experiment with Jones and company was an undoubted success, but I suspect that the meteoric rise of his young acolytes actually shook him to the core. Imagine being in the right place at exactly the right time without the talent or the image to really get in the game, never mind profit from it. Condemned to be, at best, a “talismanic figure” to the real stars, sidelined and footnoted by history—always a bridesmaid never the bride.

Korner was intelligent and self-aware enough to see it all coming. The music he had preached and championed as a youthful outsider was suddenly mainstream entertainment. It was confirmed in 1964 when the Stones topped the pop charts for the first time with a slice of raw blues. “Little Red Rooster,” featuring the moaning slide guitar of Elmo Lewis, blared out from every juke box and transistor radio in the land. Overnight Alexis Korner, at 33 years of age, had become a respected veteran.

How that must have hurt.

By 1969 Brian Jones was dead in the swimming pool, but the blues explosion was continuing to reverberate. It had also cast a beneficial spotlight back on the surviving American blues legends who were finding new audiences, and better paydays, in Britain and Europe. Alexis Korner played generous host and “fun guide” to these veteran performers when they came through London. One time the Muddy Waters’ whole band spent the night at his Bayswater flat.

Domestically his reputation as the godfather of the blues scene was now under threat. It was his sole medal from the revolution he had put so much energy into and a new contender, with more musical ability, was emerging. His name was John Mayall and he had assembled a star-studded blues band that actually sold records. Jack Bruce had jumped ship from Korner’s outfit in 1965 putting his considerable talent behind Mayall and his new guitar hero, Eric Clapton, before forming the first ever supergroup: Cream.

Jack, Eric and Ginger Baker, who also had a brief stint with the Korner roadshow, took a pocket storm of dynamic blues back to America and broke every box office record as they did so. The previous arrival of British beat groups such as The Rolling Stones and The Animals had provided an interesting hybrid of pop/rhythm and blues for the US teens but nothing to match the scale and solemn intensity of Cream in full flow.

While his ex-sidemen were busy tearing up the world, Alexis Korner was still playing the same round of pubs and clubs and the hot young players were now looking elsewhere for career platforms. Mick Taylor had gravitated to Mayall’s band before moving on and up to The Rolling Stones. Fleetwood Mac with Peter Green on guitar and vocals were adding a strangely dignified lyricism to the 12 bar cannon and Jimmy Page was envisioning an outfit that would expertly blend hard rock, eastern scales and psychedelic music with the dirty soul of the blues. It would be an outfit that rendered all sterile arguments about “the real thing” totally redundant.

Korner woke up one morning and found a 15-year-old boy of mixed race sleeping on his sofa. Andy Fraser was a musical prodigy, who was already playing bass guitar in John Mayall’s band and dating Korner’s daughter Sappho. In his recent autobiography Fraser writes that Korner was ‘almost a father figure’ to him. I am sure Brian Jones would have said the same if he’d lived long enough to write a book about himself.

Korner took the boy under his wing and, as with Jones, introduced him to other brilliant teenage talents who had come under his tutelage: Paul Rodgers, Simon Kirk and Paul Kossoff. He blessed this outfit with the inspired band name Free. It was the Rolling Stones story all over again. The young band members were bound for glory, but like all aspects of the Korner narrative there was a curse alongside the blessing. His professional advice ladled out between fat hash joints was now tainted with a bitterness: there were “breadheads” everywhere, musicians were selling out, becoming pop stars rather than soulful players and, after Plant left him in the lurch, blaming much of the decline on the all-conquering Led Zeppelin. He was filling the impressionable young man’s head with impossible notions of purity which have troubled him, and dogged his career ever since.  The kid had it all. He could compose hit songs, arrange like a musician twice his age, play piano and was a bass giant with a firm reductive style. Check out Free’s biggest hit “All Right Now,” where he has the steely nerve to lay out of the song’s verses then come thundering in with an irresistible bass line on the chorus. 

Free should have been superstars, but Andy Fraser carried his Korner-nurtured demons into the Free camp. They played magnificently and fought like alley cats–broke up–reformed –broke up again and reformed without Frazer before mutating into Bad Company, which signed with Led Zeppelin’s record company and prospered. Their original guitar player Paul Kossoff didn’t live to see the good times. He died on an aeroplane from a heart attack brought on by hard drug abuse.

I first met Korner in 1973 when I sang in a band formed by Andy Fraser: The Sharks. Fraser was heavy company to say the least. I lived in his country cottage for a few months. The House of Usher must have been a more pleasant abode; long silences, abrupt mood swings and a superior air were the hallmarks of the Fraser experience. He was twenty years old at the time, a year younger than me, and acting out like an embryonic Phil Spector.

Every so often we would swing over to Korner’s London flat to pick up a block of black hash. I loathed that place. It had a fusty quality, with Korner radiantly charming at its center. He monopolized the conversation and what used to be known as “mind games” were the order of the day. Even casual, offhand remarks were loaded traps for the unwary. Kossoff was present a couple of times but in no state to chat. Korner’s two teenage sons Nico and Damien were also usually in attendance. It seemed obvious to me that the father of British Blues was keen surround himself with younger men who were easily impressed by his undoubted intelligence and ability to express himself with a sage-like clarity. I had met a few sophisticated bullshitters before so I was impervious to his cultured performance. Others didn’t seem to be so lucky.

Fraser didn’t last long with The Sharks and, despite my enormous respect for his talent, I wasn’t sorry to see him go and, as far as I was concerned, Alexis Korner went with him.

Five years later Korner reappeared in my life when, by coincidence, we were both signed to the same management company. The financial success of his unmusical activities on radio and television had mellowed him somewhat; he seemed less imposing and a little fragile. A long term combination of drink and dope will do that to a person. His musical ventures from that period to the end of his life consisted mainly of profitable European tours in a series of duos with highly talented younger players such as Peter Thorup and Colin Hogkinson.

When I sang with Ginger Baker in the 1970s, Alexis Korner played at Ginger’s 40th birthday party in a duo with Steve Marriott. Despite Marriott’s spine-tingling voice, they were sloppy and disappointing. I remember asking my own mentor, the Grand Master of Percussion, for his view on Korner and it is the pragmatic Ginger who gets the last word on the matter:

‘Musical tosser who surrounds himself with talent so he can look cool’

This is a guest post by SWP aka Snips/Stephen W Parsons/Steve, the founder of the Scorpionics self-improvement system. He sang for various beat groups until 1982 and then pursued a more successful career as a composer for hire until 2004. Since then he has voyaged into peculiar seas. His latest musical adventure is The Presence LDN which will be releasing product in October 2013. His younger, and more handsome self can be seen singing with Ginger Baker in the video below:
 

Posted by Richard Metzger
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09.16.2013
05:17 pm
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Alex Jones claims ‘globalist conspiracy’ out to discredit… Alex Jones
09.16.2013
04:17 pm
Topics:
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There needs to be a new classification of mental illness to describe whatever it is that paranoid radio conspiracy theorist Alex Jones, and he alone, seems to suffer from. When Glenn Beck thinks you’re nuts, baby, you’re off your fucking rocker.

On his Infowars show today, the unhinged radio ranter gave his own perfectly plausible explanation of what happened during this morning’s massacre:

“You better believe that even if they’re just pure jihadis that did this, even connected to Al-Qaeda groups out of the Middle East being commanded by the leader of Al-Qaeda last Friday to attack the United States… even if that’s the case, you can believe, like the last three or four cases, they’re going to try to connect it to Inforwars.com and yours truly, part of the long-term demonization campaign.”

I like how Jones always makes sure to plug his Infowars.com website. He’s crazy all right, crazy like a fox.

And just plain crazy, too:

“If you want to wonder how big this radio show is, even separate from the website, it’s the fact that they try to pin, I’d say, about half the major crimes, we get brought into it. It’s because we’ve got their number, we know who the globalists are, we know what their program is. And they’re very concerned that we be discredited so that people will not look at what we cover on the radio show, the Infowars nightly news and on the websites.”

Jones believes the Navy Yard shooting was done by a “patsy” as part of a diversionary “false flag” maneuver of some sort.

“This is how you would stage a false flag, and then you go back and enter part of the FBI team,” Jones ranted “They responded minutes after, really, but it took three hours for this to start winding down.”
 

 
Via Media Matters

Posted by Richard Metzger
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09.16.2013
04:17 pm
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Peter Sellers’ talent for vocal mimicry heard in this delightful ‘tour’ of British accents, 1963
09.16.2013
02:52 pm
Topics:
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Peter Sellers as Merkin Muffley
 
While shooting Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb in 1963, Peter Sellers, in full Merkin Muffley makeup, treated an American telephone interviewer to a rapid-fire tour of British accents, including Cockney, two Scots accents (Edinburgh and Glasgow), the accent of “slightly pimply individuals” living outside of London, and so forth. Thank god the cameras were rolling—it’s priceless footage.

Sellers was and is revered for his ability to disappear into roles—obviously he played three wildly different characters in Dr. Strangelove—but this brief demonstration of mimickry is simply a tour de force. Enjoy.
 

Previously on Dangerous Minds:
The Paranormal Peter Sellers
Peter Sellers and Spike Milligan: Their rare and historic interview at Cinema City, 1970

Posted by Martin Schneider
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09.16.2013
02:52 pm
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