FOLLOW US ON: follow us in feedly
GET THE NEWSLETTER
CONTACT US
Mike Patton performs in his pajamas with Faith No More on MTV’s ‘Da Show’
11.02.2017
07:52 am
Topics:
Tags:


Faith No More, early 1990s.
 
Da Show was a blink-and-you-missed-it program on MTV hosted by Doctor Dré (not to be confused with Dr. Dre of N.W.A) and Ed Lover of Yo! MTV Raps fame. It was best described as a kind of variety show that would welcome timely guests and musical acts including a rather epic appearance by Faith No More on December 26th, 1990. 

It’s been said that Faith No More was the only metal band to ever appear on the short-lived show and man, did they ever fucking bring it and then some to the studio’s tiny stage and live audience. After the band spits out a blistering version of “Epic,” Dré and Ed Lover crash the stage so Ed can do his famous(?) “Ed Lover Dance.” Following that Dré and Ed stick around on stage while Faith performs “Edge of the World,” a downtempo number from their 1989 album The Real Thing. This is yet another bizarro time capsule from the 90s that I had no idea even existed until today and the nine-plus minute video is well worth watching as the then 22-year-old Patton delivers a more than solid performance on this long-forgotten show. Patton in pajamas for the WIN!
 

Faith No More performing “Epic” and “Edge of the World” on the ‘Da Show.’
 
More after the jump…

READ ON
Posted by Cherrybomb
|
11.02.2017
07:52 am
|
Raymond Chandler’s guide to prison, street, and Hollywood slang
11.01.2017
10:30 am
Topics:
Tags:

02raycslan.jpg
Elliott Gould as Philip Marlowe in Robert Altman’s film version of Raymond Chandler’s ‘The Long Goodbye.’
 
Raymond Chandler wanted to call his second Philip Marlowe novel The Second Murderer. His publisher Blanche Knopf nixed the idea. So, Chandler suggested Zounds, He Dies, a line spoken by the Second Murderer in Shakespeare’s King Richard III.

Knopf was deeply unimpressed. Eventually, the pair agreed on Farewell, My Lovely which is one hell of a killer title.

This is one of those little sidebars of information contained in Raymond Chandler’s Notebooks which were published long after the great man’s death in 1977. Chandler kept a variety of notebooks during his life. Usually small leather pocketbooks or large writing pads filled with daily events, observations, private thoughts, and details of work in progress. Unfortunately, the bulk of these notebooks was destroyed by Chandler when he was preparing to move to England after his wife Cissy’s death in 1954. Only two notebooks survived. Extracts from these two volumes supplied the content for The Notebooks of Raymond Chandler.

On occasion, Chandler has been unfairly given the rap that he was never as good as his rival Dashiell Hammett, as he made crime writing more about imagination than real hard-bitten, hard-earned experience. Hammett had been a Pinkerton detective. Chandler was a drunk oil exec down on his luck. He was a “gasbag,” according to the Demon Dog James Ellroy. His fictional hero Philip Marlowe was paraded through a series of hoops and jumps which were sometimes incoherent. It’s not a view I would ever agree with. I prefer Chandler to Hammett but think both writers took their writing very seriously.

This can be seen from what’s left of Chandler’s notebooks. He was a very serious writer, who worked damned hard at getting things just exactly right. In his notebooks, he practiced his writing and tried out his ideas. He also used them as a source book for research. From lists of street slang to working out titles, similes, and even writing parodies of other authors like Ernest Hemingway.

Among the many book titles listed in the two remaining notebooks are such unlikely gems:

The Man with the Shredded Ear

All Guns are Loaded

The Corpse Came in Person

They Only Murdered Him Once

The Diary of a Loud Check Suit

Quick, Hide the Body

Stop Screaming—It’s Me

The Black-Eyed Blonde

Thunder-Bug

Everyone Says Good-bye Too Soon

You get the idea Chandler was a fun guy if just a little too shy to get the party swinging.

What interested me about Chandler’s notebooks (well, apart from his notes on writing crime fiction) were the long lists of slang he compiled from the streets and from newspapers, a few of which I’ve shared below.

Pickpocket Lingo

(Maybe New York only)

Saturday Evening Post, October 21, 1950

Cannon—General term for pickpocket (Dip is unused, obsolete)

Live cannon—A thief who works on normally situated people, as opposed to a roller (a lushworker) who frisks drunks. Both men knock their victims. Rousters walk with the victim pretending to help; sneak workers don’t touch him unless he is passed out or near to it.

Pit worker—Inside-breast-pocket expert.

Moll buzzer—Operator on women’s handbags.

Sneeze—Arrest.

Short—Bus, street car, any public conveyance.

Stride—Walking (“On the stride.”)

Shed—Railroad station.

Tip—Crowd.

Bridge—Pocket.

Button—Police badge.

Kiss the dog—Work face to face with the victim.

Tail pits—Right and left side pockets of jacket.

Pratt—Rear trouser pocket.

Stall—Accomplice who creates confusion to fix the victim’s attention.

Right fall—Grand larceny conviction. To obtain there must be testimony that the accused had his hand in the victim’s pocket and was caught with the goods still on him. Most arrests are for “jostling,” which is a misdemeanor good for no more than six bits (months). A shove is enough when the shover is a known operator.

Hanger binging—Opening women’s handbags without stealing the bag.

Tweezer—Change purse.

Stiff—A newspaper or other shield to hide operations.

Wire or hook—The actual live cannon, as opposed to the stall.

Shot—A young pickpocket just starting to work (Harlem cant).

Fan the scratch—To locate money in a pocket without putting the hand in, i.e., by touch.

Dunnigan worker—Thieves who hang around comfort stations hoping for a coat left on a hook.

Note: A cannon never takes your money. He forks his fingers over it and moves away from it with a shove.

 
04raycslan.jpeg
The great Raymond Chandler.
 
More slang from Chandler’s notebooks, after the jump…
 

READ ON
Posted by Paul Gallagher
|
11.01.2017
10:30 am
|
‘Fear and Loathing in Las Vegas’: The gonzo graphic novel
10.24.2017
09:41 am
Topics:
Tags:


 
I must admit that reading Hunter S. Thompson’s 1971 book Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream changed my life. A friend gave me a copy during our first year of college saying that it was his favorite book. I was already a big fan of Jack Kerouac—who Thompson hated and referred to as “empty-headed”—so I was a little skeptical at first. That all changed after I read the first few pages of the book, especially the memorable passage below, one of many in the book that leads one to believe that Fear and Loathing might be as far away from a work of fiction as you can get.

“The sporting editors had also given me $300 in cash, most of which was already spent on extremely dangerous drugs. The trunk of the car looked like a mobile police narcotics lab. We had two bags of grass, seventy-five pellets of mescaline, five sheets of high-powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls. All this had been rounded up the night before, in a frenzy of highspeed driving all over Los Angeles County – from Topanga to Watts, we picked up everything we could get our hands on. Not that we needed all that for the trip, but once you get locked into a serious drug-collection, the tendency is to push it as far as you can.”

At the time I was a journalism major but dropped that shortly after reading Fear and Loathing and subsequently learning that there weren’t really any other “journalists” who wrote like Thompson, making the idea of pursuing a career in the field uninspiring to me. I did continue to write and eventually, my years of dedication to the craft paid off. Am I in any way comparing myself to the diabolically druggy writer? Not by a long shot of whiskey and a handful of amyl nitrate, but thanks to both Thompson and my friend who hipped me to him in my youth, I knew what I wanted to be when I grew up. Anyway, let’s get to the point of this post which is the nothing-short-of-brilliant graphic adaptation of Thompson’s book by Canadian author and artist Troy Little. Little discovered Thompson in the late 90s and could barely contain himself when he was granted permission by the HST Estate along with his publisher Top Shelf Productions to take on an illustrated version of Fear and Loathing. Staying true to Thompson’s original tale of his evil twin “Raoul Duke” and his debauchery in the desert with his attorney “Dr. Gonzo,” Little decided to include all of the original text from the book in his graphic novel.

When it came out in 2015, the book was an instant hit leading to a second print run in 2016. Better yet, Little’s version of Fear and Loathing is hardcover bound, which just makes it seem even cooler, and it’s pretty fucking cool, to begin with. Copies of the book will run you $16.95 here. I’ve posted images from the book below—check ‘em out!
 

The cover of Troy Little’s graphic novel adaptation of ‘Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream.’
 

 

 
More after the jump…

READ ON
Posted by Cherrybomb
|
10.24.2017
09:41 am
|
At home with Salvador Dali
10.18.2017
10:56 am
Topics:
Tags:

01ilads.jpg
 
Salvador Dali once appeared as the mystery guest on a long-time-ago TV show called What’s My Line? in the 1950s. You know the show, the one that featured a panel of well-known celebrities guessing the occupations of various members of the public by asking them a series of yes/no questions like “Do you work with your hands?” or “Do you tell jokes for a living?” and so on, until the occupation was revealed.

Every week, the show also featured a mystery guest. The same yes/no rules applied but this time the panel wore a selection of dainty blindfolds to make it more fun.

When Dali appeared he insisted on answering “Yes” to nearly every question he was asked, like “Are you a performer?” “Yes.” “Are you a leading man?” “Yes.” (The show’s host John Daly disagreed with that one and marked it as a “No.”) “Are you a writer?” “Yes.” “Do you draw comic books?” “Yes.” (Again, Daly struggled to agree with this answer but Dali was having none of it.)

I am sure if one the panel had asked, “Do you paint pictures on rockfaces while juggling elephants with your knees and wearing sea otters on your hands?” Dali would have said “Yes.”

But the thing is, despite the anchor’s wearying cavils, Dali was absolutely right—he could do everything because he never lived within other people’s expectations. He was boss of what he did and how he did it and this is why he could do anything.

Though I guess I should add the caveat that there was one thing the great artist could not do—Salvador Dali could never be boring. A bit repetitive yes, but never boring.

Take for example, a simple project like that time Picture Post magazine sent over photographer Charles Hewitt to take some snaps of Dali and his wife Gala, at their home in Portlligat, Spain. The resulting pictures were imaginative works of art worthy of inclusion in the Dalit’s ouevre. The finished spread was published in Picture Post on January 8th, 1955, and it’s still utterly impressive.
 
02ilads.jpg
 
05ilads.jpg
 
011ilads.jpg
 
Marvel at the wonder of Dali at home, after the jump…
 

READ ON
Posted by Paul Gallagher
|
10.18.2017
10:56 am
|
Brain Salad Surgery: The H. R. Giger artwork that inspired ‘Alien’
10.17.2017
08:53 am
Topics:
Tags:


One of the images from H.R. Giger’s ‘Necronomicon.’

H.R. Giger’s 1977 book Necronomicon showcased his chilling, futuristic images of a world beyond our own would become the basis and inspiration for director Ridley Scott’s 1979 film Alien.

Giger’s profile was raised in 1973 when his sci-fi art was showcased by prog-rockers Emerson Lake & Palmer on the elaborate cover of their 1973 album Brain Salad Surgery. Swiss publishing house Sphinx-Verlag would publish a German-language portfolio full of Giger’s work about the mythical “Necronomicon” in 1977, as well as a French edition that same year. As you may be aware, Giger’s Necronomicon was inspired by the make-believe textbook of magic nightmared up by H.P. Lovecraft which the author first referenced in his 1924 short story, The Hound. When it comes to Giger’s dangerous, dark, and often somewhat R-rated take on the evil grimoire, the author and artist put his own unique spin on the book, undeniably his most vital and influential piece of work. In 1985 Giger would put out another edition of the material, Necronomicon 2 expanded to include 184 more images of his terrifying biomechanical creations and grim futuristic visions. 

Tracking down a copy of Giger’s Necronomicon isn’t difficult as long as you’re not coveting an original which can run you a few thousand bucks, while reprints usually sell for $200-$250. I’ve posted some of Giger’s work from the Necronomicon below—most which are emphatically NSFW.
 

 

 
More Giger after the jump…

READ ON
Posted by Cherrybomb
|
10.17.2017
08:53 am
|
Nick Cave’s life & work come alive in a stunning new 328-page graphic novel ‘Nick Cave: Mercy on Me’
10.17.2017
07:48 am
Topics:
Tags:


An illustration by Reinhard Kleist from his new graphic novel, ‘Nick Cave: Mercy on Me.’
 

“Floods, fire, and frogs leapt out of my throat,” he explained. “Though I had no notion of that then, God was talking not just to me but through me, and His breath stank. I was a conduit for a God that spoke in a language written in bile and puke. And for a while, that suited me fine.”

—Nick Cave ruminates on God during a broadcast by BBC Radio 3 Religious Services in 1996. Read/listen to it here.

From his origins growing up in Australia glued to The Johnny Cash Show, to his days with The Birthday Party and later The Bad Seeds—author and illustrator Reinhard Kleist has left no stone unturned when it comes to his exploration of Nick Cave’s life in his new graphic novel, Nick Cave: Mercy on Me.

Kleist uses his dark and striking illustrations to help bring out emotions such as dread, desperation, persistence, and revelation as they witness Cave’s life and long career, from his huge-hair and heroin days with The Birthday Party to his more polished yet still antagonistic times with The Bad Seeds. The book even incorporates things from 2014’s documentary, 20,000 Days On Earth. Like life in general, the book is often a grim ride—especially when it concerns Cave’s early days in and out of addiction clinics and his time in Berlin—which, according to Cave, was a moment in his life where he felt “quite lost.” There he met Christoph Dreher, founder of the post-rock band Die Haut whom Cave credits with “basically keeping him alive” for a few years (you can see a blistering performance by Cave with Die Haut back in 1992, which is depicted in Kleist’s book, here). If you’re wondering how the legendarily cantankerous Mr. Cave feels about Kleist’s book, here’s more on that directly from the man himself:

“Reinhard Kleist, master graphic novelist, and myth-maker has - yet again - blown apart the conventions of the graphic novel by concocting a terrifying conflation of Cave songs, biographical half-truths and complete fabulations and creating a complex, chilling and completely bizarre journey into Cave World. Closer to the truth than any biography, that’s for sure! But for the record, I never killed Elisa Day.”

Stop me if I’m wrong, but I do believe that Cave just gave Kleist two goth-thumbs up for his efforts. I agree with Cave’s assessment of Kleist’s work, and if you are at all of a fan of Nick Cave, I recommend picking this book up right away. An English version of the graphic novel (which was initially published in German), can be found here. In case there is still any doubt that you need this book, I’ve posted a large collection of Kleist’s starkly beautiful illustrations from Nick Cave: Mercy on Me, below.
 

An illustration from ‘Nick Cave: Mercy on Me,’ Reinhard Kleist.
 

 

 
More after the jump…

READ ON
Posted by Cherrybomb
|
10.17.2017
07:48 am
|
Fish heads & the feminine form: The dazzling candy-colored art of Hannah Yata
10.12.2017
08:24 am
Topics:
Tags:


A painting by Hannah Yata.
 
I was flipping through the most recent issue of High Fructose magazine and came across the beyond enchanting artwork of Hannah Yata and was instantly drawn to her intriguing human/animal hybrids which she expertly drenches in vibrant colors. Much of her work includes images of elegant female forms with animal heads (or “masks” as Yata calls them), such as tropical-looking fish—or in one masterful mashup a woman emerging from the water with the head of a hairless Sphynx cat with a set of curved horns. Themes concerning the animal kingdom and the natural world predominate in Yata’s work and with good reason. Raised in a small rural country town in Atlanta, Georgia, Yata was surrounded by the gorgeous environment that runs deep through the lush Kudzu-covered landscape of that state and her love of animals and mother earth became ingrained in her.

When she enrolled in the University of Georgia, she studied several disciplines in addition to art including feminism and psychology. As I mentioned, Yata’s extensive use of the feminine form in her work speaks volumes about her core values, which the artist spoke about in depth in an interview with WOWxWOW back in 2014. As the topic of female objectification and rape culture is once again burning up our social media feeds, here’s Yata on the moment she realized she was a feminist and how she channeled the power of that revelation into her artwork:

“For me, it started in a class in college that studied the history of bodies in art, which basically focused on women. I was floored. I didn’t know I was a feminist before this class. The only things I’d heard about feminists was talk about some girls not shaving their armpits, hating on men, etc. I had never looked into it myself before. When the class began talking about how women are portrayed not only throughout the history of art but especially in the present day, I realized how much it had affected not only me but pretty much every female around me. Yes, I’ve had a lot of men argue that art and advertising does the same thing to men now, fetishizing and sexualizing them in very compromising ways, but the reality is that it isn’t as ridiculous and far-reaching as what women deal with, nor are the consequences as serious. You hear about women getting beaten up, raped, murdered and dismembered daily and I believe this problem is propagated by images and videos that see women as sexual objects and not human beings with agency.”

Her incorporation of animals are also symbolic for the same reasons Yata’s women convey a sense of struggle associated with just trying to exist, specifically, how our behavior and our insatiable consumption for all things as humans continue to decimate the animal kingdom, our natural surroundings, and even our bodies all so our lives can be somehow made “better” because of the abundance of triple bacon cheeseburgers and 72-ounce steaks. Right now Yata’s work is a part of a dual exhibition called “ORIGINS” along with her husband and fellow artist Jean Pierre Arboleda at the Parlor Art Gallery in Asbury Park, New Jersey. The show runs through October 30th. Much of Yata’s exquisite work that follows is NSFW.
 

 

 
More after the jump…

READ ON
Posted by Cherrybomb
|
10.12.2017
08:24 am
|
Deep Red: Blood-drenched movie posters & artwork used for the films of Dario Argento
10.12.2017
08:15 am
Topics:
Tags:


An Italian poster for Dario Argento’s 1975 film ‘Profondo Rosso’ aka ‘Deep Red.’
 
This October two versions of Dario Argento’s Suspiria have been making the rounds at independent movie theaters across the country following the discovery of an Italian-language 35MM cut in an abandoned theater in Italy. In addition to that Synapse films finally finished their 4K restoration of Suspira (which took nearly four years) and released it as a gorgeously packaged Blu-ray which is also screening in selected theaters through the end of 2017. So, in light of it being a very Argento October this year—to say nothing of his courageous daughter’s stand against Harvey Weinstein—let’s take a look at some of the artwork that has been used on movie posters, DVD releases, a few lobby cards, and even a vintage VHS tape for Argento’s goretastic films.

Some of the artwork and photography that follows is graphic especially when it comes to the covers created for various re-releases of Argento’s films put out by Arrow Video. But since we’re talking about a director who has been affectionately referred to as the “The Italian Hitchcock,” you should know to expect lots of blood, gore, and massive head trauma by way of sharp objects. YAY!
 

A Dutch VHS cover for ‘Suspiria.’
 

A Spanish lobby card for 1982’s ‘Tenebre.’
 

An Italian poster for ‘Tenebre.’
 
More after the jump…

READ ON
Posted by Cherrybomb
|
10.12.2017
08:15 am
|
That time when Ozzy Osbourne licked peanut butter off of Annette Funicello’s finger, 1989
10.09.2017
09:54 am
Topics:
Tags:


One of the most famous Mouseketeers ever, Annette Funicello offering Ozzy Osbourne some Skippy peanut butter.
 
As documented in the 1992 book by super-groovy groupie Pamela Des Barres Take Another Little Piece of My Heart: A Groupie Grows Up, Des Barres brought the unlikely coupling of Ozzy Osbourne and Annette Funicello together for an interview and photoshoot in 1989. The wild concept for the bizarre meeting was the idea of publisher and entrepreneur Quay Hayes—a friend of Des Barres who was getting ready to launch Twist Magazine. Sadly, the magazine never saw the light of day, though the images from the photo session did as well as a few juicy tidbits from the interview between Ozz and Annette.

According to Des Barres, the two traded questions during which Funicello drilled Ozzy on his drug use and issues with addiction—something most rock journalists steered clear of back in the day. In what was perhaps a way to throw Funicello off of her game, Ozzy countered by asking the then 47-year-old former Mouseketeer if her beloved Walt Disney had really been frozen which made Funicello cry. Interestingly, a year later Funicello would defend Ozzy’s misunderstood 1980 classic “Suicide Solution” in an interview with her beach-blanket buddy, Frankie Avalon saying that the song didn’t advocate suicide but was instead trying to convey situations or “conditions” under which a teenager might take their own lives.

The other weird thing I dug up about Ozzy and Annette’s get-together are the claims of a man who says he’s Funicello’s son. J.P. Moss (also known as Jason Paul Moss) wrote the 2105 book Beyond Magic Gates: An Unauthorized Biography of Annette Funicello which details his allegation that he was abducted in 1970 from the hospital after Funicello gave birth to him, and it’s a typo-riddled read, I’ll just say that much. As it relates to this post, Moss uploaded a video on YouTube where he tries to debunk Funicello and Ozzy’s meeting calling it a “conspiracy.” The “conspiracy” in question involved the Mafia and Sharon Osbourne’s father, the infamous Don Arden. Moss says that Funicello deliberately lied about the timeframe about meeting Ozzy in her own 1995 autobiography, A Dream Is a Wish Your Heart Makes: My Story because Don Arden told her to. I’ve posted Moss’ video below as well as a few photos that support the fact that Ozzy and Annette were in the same room together at the same time and that Annette’s favorite peanut butter, Skippy, was involved.
 

Funicello and a shirtless Ozzy Osbourne.
 

 
More after the jump…

READ ON
Posted by Cherrybomb
|
10.09.2017
09:54 am
|
Fred Schneider of the B-52s sings Harry Nilsson’s ‘Coconut’ with two different Nineties supergroups
10.05.2017
07:38 am
Topics:
Tags:


 
People usually look at me skeptically when I put a copy of Fred Schneider’s second Reprise album in their hands and command them to buy it. The reaction used to puzzle me, but now I think I understand: the retail price of a used CD of Just…Fred hovers around $1. While this price point makes us old folks of slender means rise from our Rascal electric scooters and dance in the Kmart aisles, fanning the air with fistfuls of coupons, today’s jaded shoppers read such a heavily discounted sticker as a guarantee of worthlessness. So I am taking a different tack. I hereby command you to purchase the rare white vinyl pressing of Just…Fred, which starts at $49.99 and goes for up to $199.98, so you can truly appreciate its quality.

I’m not kidding. Those who know, know. In a sane world, the Steve Albini-produced masterpiece would have a place on every American mantel, and there would be compulsory shining of its cover once a week. Backing Fred on the momentous solo joint were Shadowy Men On A Shadowy Planet, Six Finger Satellite, and an ad hoc supergroup called Deadly Cupcake, comprising the Didjits’ Rick Sims on guitar, Tar’s Tom Zaluckyj on bass, and the Jon Spencer Blues Explosion’s Russell Simins on drums. This last band propelled the album’s four-minute cover of Harry Nilsson’s “Coconut,” which reimagined the laid-back novelty hit as a punk complaint.
 

 
Schneider had already recorded “Coconut” for the previous year’s Nilsson tribute album with a completely different supergroup, this one featuring Ivan Julian from Richard Hell & the Voidoids and Tracy Wormworth of the Waitresses. Owing, perhaps, to its relative familiarity in 1995 as the song from the end credits of Reservoir Dogs, “Coconut” was chosen as the tribute album’s single, and Schneider went on Late Night with Conan O’Brien to sing it.

More after the jump…

READ ON
Posted by Oliver Hall
|
10.05.2017
07:38 am
|
Page 2 of 155  < 1 2 3 4 >  Last ›