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Ho ho ho! Here’s Andy Warhol as Santa and Truman Capote with a lollipop on the cover of High Times


 
It won’t surprise anyone to learn that the December 1978 issue of High Times went with a holiday theme. More surprising might be the identity of the two models masquerading as Santa Claus and one of his elves, those being, respectively, Andy Warhol, the most dominant artist of the postwar period, and Truman Capote, one of greatest literary writers the U.S. produced in the same timeframe.

Especially in 1978, Tru and Andy were more or less synonymous with the fabulous goings-on at Studio 54 and elsewhere. Both men were known to hang with an illustrious and sparkly group of personages, and both were public figures at a moment when TV had deepened its clutches on the middlebrow slice of America—hence, more creative and bizarre media opportunities for everyone.

The cover was supposed to feature Capote wearing a “little girl outfit,” but he was drunk and not in the mood to go drag that day. In The Andy Warhol Diaries, for the date of September 26, 1978, we find this:
 

Truman was coming to the Factory at 3:00 for the High Times Christmas cover photograph of him and me. Truman was early, 2:30.

...

Paul Morrissey was down, and he and Truman talked all afternoon about scripts and things. Then Toni arrived four hours late, she had a Santa costume for me and a little girl outfit for Truman. But Truman wasn’t in the mood to go into drag, he said that he was already dressed like a little boy. Truman was really drunk, hugging around.


 
Toni Brown is the “Toni” mentioned in the diary that day; she was the art director for High Times, whom Warhol had met in the spring of 1978. According to Victor Bockris’ biography of Warhol, Brown and Warhol fell into cahoots for a stretch in 1978:
 

[Warhol] had also become friendly with the art director of High Times magazine, a powerful woman named Toni Brown whose overt, humorous personality fitted his needs. Soon a lot of people at the Factory were throwing up their hands in dismay over the amount of time Andy was spending with Toni.


 
In Warhol’s diary, Brown pops up in just a handful of entries, and her appearances are entirely limited to 1978. The folks at the Factory needn’t have worried so much—Warhol’s diary entry from late September documenting the cover shoot is actually the last time her name appears in the book.

By the way, here is the final cover:
 

 
Warhol shows surprising equanimity after being made to wait for four hours—I’d've been arranging a contract hit, myself—although that may have factored into their not being as close after that; either Brown paid a price for being cavalier about Warhol’s time or else Warhol’s usefulness to Brown evaporated the moment that she had secured the desired cover photo. Or both!

Four years ago the Warhol Museum ran a note about that day on its website, in which the possible identity of the pooch is discussed:
 

An artist as prolific as Andy Warhol was bound to have their share of bizarre media coverage. In December of 1978, he and his good friend and collaborator Truman Capote appeared on the cover of an issue of High Times. Warhol is wearing a Santa suit, and is holding a dog, possibly one of his dachshunds Amos or Archie.

 
More pics from this bizarre and merry photo shoot after the jump…...
 

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Posted by Martin Schneider
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12.14.2017
11:06 am
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William S. Burroughs fronts Yellow Magic Orchestra, reprograms your mind
12.07.2017
09:29 am
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For 1993’s Technodon, Yellow Magic Orchestra acquired vocal tracks from cyberpunk novelist William Gibson, dolphin-dosing scientist John C. Lilly, and Naked Lunch author William S. Burroughs.

Burroughs’ contribution to the album’s first song, “Be A Superman,” is a short vocal sample, structurally integral, information-poor. But on “I Tre Merli” (“The Three Blackbirds,” an image from a Wallace Stevens poem that points directly to Burroughs and Gysin’s “third mind”), Burroughs reads a few lines from The Job. His text comes from the book’s “DON’T HAVE TO THINK” section, which describes an exercise for “becoming oneself” through liberation from mental conditioning. According to this counterintuitive practice, you find your true self by pretending to be other people:

What I am here to learn is a new way of thinking. There are no lessons and no teachers. There are no books and no work to be done. I do almost nothing. The first step is to stop doing everything you “have to do.” Mock up a way of thinking you have to do. This is one exercise derived from Scientology we have all studied at one time or another. Exercise loosens the hold of enforced thinking and extends the range of don’t have to think.

Example: You have to run the things you are going to do today write letters call so-and-so take clothes to laundry see about getting the radiators fixed. You run these items ten times when once is already too much. So mock up a run of imaginary errands. Now mock up some thinking you don’t have to do. Select a person whose way of life is completely different from yours and mock up his thinking.

(Example: You have to mock up interviews or situations in which you play an effective role before imaginary audience. Well, mock some up. Now mock up some enforced thinking you don’t have to do, somebody else’s enforced thinking what Dutch Schultz the numbers racketeer had to think, what a hotel manager has to think what a poor Moroccan farmer has to think.)

 

Genesis P-Orridge models a YMO shirt on the back cover of Throbbing Gristle’s ‘Greatest Hits’
 
A few paragraphs down, Burroughs provides a negative definition of this “new way of thinking”:

The new way of thinking has nothing to do with logical thought. It is no oceanic organismal subconscious body thinking. It is precisely delineated by what it is not. Not knowing what is and is not knowing we know not. Like a moving film the flow of thought seems to be continuous while actually the thoughts flow stop change and flow again. At the point where one flow stops there is a split-second hiatus. The new way of thinking grows in this hiatus between thoughts. I am watching the servants on the floor pointing to the map and not thinking anything about what I see at all. My mind moves in a series of blank factual stops without labels and without questions. The objects around me the bodies and minds of others are just there and I move between them without effort or comment. There is nothing to do here, no letters to answer no bills to pay no goals barriers or penalties. There are no considerations here that would force thinking into certain lines of structural or environmental necessities. The new way of thinking is the thinking you would do if you didn’t have to think about any of the things you ordinarily think about if you had no work to do nothing to be afraid of no plans to make. Any exercises to achieve this must themselves be set aside. It’s a way you would think if you didn’t have to think up a way of thinking you don’t have to do. We learn to stop words to see and touch words to move and use words like objects.

Continues after the jump…

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Posted by Oliver Hall
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12.07.2017
09:29 am
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The sci-fi comic book story that inspired ‘They Live’
12.01.2017
08:52 am
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Ray Nelson’s short story “Eight O’Clock in the Morning,” on which John Carpenter based They Live, was first published in the November 1963 issue of The Magazine of Fantasy & Science Fiction. But Carpenter first encountered the story 23 years later, in its comic book adaptation, “Nada.”

The seven-page story illustrated by Bill Wray ran in Alien Encounters #6. The comic follows Nelson’s story pretty closely, and there are strong resemblances between the stories of They Live and “Nada,” especially the “storming the reality studio” climax (of which Nelson’s acquaintance William S. Burroughs would surely have approved) common to all versions of the story. But there are differences. Only Wray’s includes a Circle Jerks poster.
 

The opening panels of ‘Nada’ (available in its entirety here)
 
More significantly, the famous Hofmann (i.e., LSD) sunglasses do not appear in Nelson’s story or in Wray’s comic. Nelson’s hero, George Nada, goes to the theater to watch a live hypnosis act, and when he hears the command to awake at the show’s end, he suddenly realizes that he’s surrounded by outer-space aliens. The Fascinators, “the rulers of Earth,” are reptilian beings with too many eyes who control human beings through suggestion. In Nelson’s story, Nada doesn’t just see their awful stomach-turning alien monstrosity after waking up from his trance, he hears the terrible croaking alien language they speak to one another, and a constant stream of subliminal commands delivered in “bird-like” voices. The aliens tell him to “obey,” “work,” and—now that he’s on to them—die:

Suddenly the phone rang.

George picked it up. It was one of the Fascinators.

“Hello,” it squawked. “This is your control, Chief of Police Robinson. You are an old man, George Nada. Tomorrow morning at eight o’clock, your heart will stop. Please repeat.”

“I am an old man,” said George. “Tomorrow morning at eight o’clock, my heart will stop.”

 

 
George Nada’s cruelty to his girlfriend (fiancee, in the comic), Lil, makes him an unsympathetic character and suggests that he might be seeing space reptiles everywhere because he is a delusional nutcase, not a possibility Carpenter’s movie entertains. When he sets out to “awaken” others, Nada first tries beating up the woman in his life. After violence doesn’t work, he steals her car, leaving her bound and gagged on the bed, alone in her apartment with a dead body, terrified. There is none of the comradely spirit or cheerful good-fellowship of the fight scene in They Live.

Ray Nelson’s bio is recommended reading. He claims to be the inventor of the propeller beanie and says that, as a young man, “he worked with Michael Moorcock smuggling Henry Miller books out of France.”

And John Carpenter still has some They Live sunglasses left over from his bubblegum-lacking, ass-withering Anthology tour. He forcefully repudiated anti-Semitic interpretations of They Live on Twitter earlier this year:

 
Read all of “Nada” at SAP Comics.
 

Posted by Oliver Hall
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12.01.2017
08:52 am
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Raymond Chandler’s guide to prison, street, and Hollywood slang

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.

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

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Posted by Paul Gallagher
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11.01.2017
10:30 am
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That time Franz Kafka visited Rudolf Steiner to talk about Theosophy


Franz Kafka c. 1911
 
So here is something I learned wallowing in London Review of Books’ digital archive: Franz Kafka had enough of an interest in Theosophy to visit Rudolf Steiner at his hotel and ask whether to devote his life to study of the occult sciences. Kafka wrote about the meeting in his diary. It’s just like one of his short stories.

In March of 1911, Steiner, who had not yet founded the Anthroposophical Society, delivered a series of lectures in Prague, later published as An Occult Physiology. The date of Kafka’s first diary entry on the lectures, March 26, puts him in the audience for the sixth talk, “The Blood as Manifestation and Instrument of the Human Ego.” Two days later, Kafka met Steiner at the Victoria Hotel on Jungmannstrasse:

In his room I try to show my humility, which I cannot feel, by seeking out a ridiculous place for my hat, I lay it down on a small wooden stand for lacing boots. Table in the middle, I sit facing the window, he on the left side of the table. On the table papers with a few drawings which recall those of the lectures dealing with occult physiology. An issue of the Annalen für Naturphilosophie topped a small pile of the books which seemed to be lying about in other places as well. However, you cannot look around because he keeps trying to hold you with his glance. But if for a moment he does not, then you must watch for the return of his glance. He begins with a few disconnected sentences. So you are Dr Kafka? Have you been interested in theosophy long?

But I push on with my prepared address: I feel that a great part of my being is striving toward theosophy, but at the same time I have the greatest fear of it. That is to say, I am afraid it will result in a new confusion which would be very bad for me, because even my present unhappiness consists only of confusion. This confusion is as follows: My happiness, my abilities, and every possibility of being useful in any way have always been in the literary field. And here I have, to be sure, experienced states (not many) which in my opinion correspond very closely to the clairvoyant states described by you, Herr Doktor, in which I completely dwelt in every idea, but also filled every idea, and in which I not only felt myself at my boundary, but at the boundary of the human in general. Only the calm of enthusiasm, which is probably characteristic of the clairvoyant, was still lacking in those states, even if not completely. I conclude this from the fact that I did not write the best of my works in those states. I cannot now devote myself completely to this literary field, as would be necessary and indeed for various reasons. Aside from my family relationships, I could not live by literature if only, to begin with, because of the slow maturing of my work and its special character; besides, I am prevented also by my health and my character from devoting myself to what is, in the most favourable case, an uncertain life. I have therefore become an official in a social insurance agency. Now these two professions can never be reconciled with one another and admit a common fortune. The smallest good fortune in one becomes a great misfortune in the other. If I have written something good one evening, I am afire the next day in the office and can bring nothing to completion. This back and forth continually becomes worse. Outwardly, I fulfil my duties satisfactorily in the office, not my inner duties, however, and every unfulfilled inner duty becomes a misfortune that never leaves. And to these two never-to-be-reconciled endeavours shall I now add theosophy as a third? Will it not disturb both the others and itself be disturbed by both? Will I, at present already so unhappy a person, be able to carry the three to completion? This is what I have come to ask you, Herr Doktor, for I have a presentiment that if you consider me capable of this, than I can really take it upon myself.

He listened very attentively without apparently looking at me at all, entirely devoted to my words. He nodded from time to time, which he seems to consider an aid to strict concentration. At first a quiet head cold disturbed him, his nose ran, he kept working his handkerchief deep into his nose, one finger at each nostril.

More after the jump…

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Posted by Oliver Hall
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08.03.2017
09:05 am
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David Lynch recites Captain Beefheart’s ‘Pena’
07.20.2017
09:09 am
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Don Van Vliet, ‘Crepe and Black Lamps’ (via beefheart.com)
 
Among the treasures stored on Magic Band alumnus Gary Lucas’ Soundcloud is this recording of David Lynch reading “Pena” from Trout Mask Replica.

The director, who also appears in Anton Corbijn’s short movie about Beefheart, Some YoYo Stuff, recorded “Pena” for a Beefheart tribute show Lucas put on at the NYC Knitting Factory in 2008.

“Three little burnt scotch taped windows.” Where Antennae Jimmy Semens shrieks “Pena” like it’s his last words at the gallows, Lynch’s measured recitation lets you picture every image. They could come from one of his own paintings:

Pena
Her little head clinking
Like uh barrel of red velvet balls
Full past noise
Treats filled ‘er eyes
Turning them yellow like enamel coated tacks
Soft like butter hard not t’ pour
Out enjoying the sun while sitting on
Uh turned on waffle iron
Smoke billowing up from between her legs
Made me vomit beautifully
‘n crush uh chandelier
Fall on my stomach ‘n view her
From uh thousand happened facets
Liquid red salt ran over crystals
I later band-aided the area
Sighed
Oh well it was worth it
Pena pleased but sore from sitting
Chose t’ stub ‘er toe
‘n view the white pulps horribly large
In their red pockets
“I’m tired of playing baby,” she explained

Listen after the jump…

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Posted by Oliver Hall
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07.20.2017
09:09 am
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William S. Burroughs’ answer to the Sex Pistols’ ‘God Save the Queen’


The author at home
 
It’s the 40th anniversary of the Sex Pistols’ “God Save the Queen,” and you know what that means: it’s the 40th anniversary of the letter of support William S. Burroughs sent the band, along with his own all-purpose slogan and answer song, “Bugger the Queen.”

Victor Bockris writes that Burroughs’ piece predated the Sex Pistols’ single by three years, but even so, “God Save the Queen” was the occasion for its debut. As far as I can tell, Burroughs never mentioned “Bugger the Queen” without reference to the Sex Pistols. In October ‘77, writing from Naropa, Burroughs sent Brion Gysin a Rolling Stone feature on the Sex Pistols (presumably Charles M. Young’s contemporary cover story) along with the words to “Bugger the Queen,” which he referred to as a new song he might record with Patti Smith. Though the published letters haven’t yet caught up to the punk rock period, Ken Lopez Bookseller has made the typescript of this one available. Punctuation and spelling are WSB’s:

Dear Brion:

Enclose article from the Rolling Stone on the Sex Pistols and punk rock, in case you didnt see it. This explains the action in Paris. I guess we are classified with Mick Jaeger. I am writing some songs and may do a record with Patti Smith. Here’s one
My husband and I
The old school tie
Hyphonated names
Tired old games
It belongs in the bog
With the restofthe sog
Pull the chain onBuckingham
The drain calls you MAM.
BUGGER THE QUEEN
Whole skit goes withit illustratting everything I dont like about England.

“Bugger the Queen” was still on Burroughs’ mind one year later when he told a writer for the San Francisco punk zine Search & Destroy about his letter to the Sex Pistols (as quoted by Victor Bockris):

I am not a punk and I don’t know why anybody would consider me the Godfather of Punk. How do you define punk? The only definition of the word is that it might refer to a young person who is simply called a punk because he is young, or some kind of petty criminal. In this sense some of my characters may be considered punks, but the word simply did not exist in the fifties. I suppose you could say James Dean epitomized it in Rebel Without a Cause, but still, what is it? I think the so-called punk movement is indeed a media creation. I did however send a letter of support to the Sex Pistols when they released “God Save the Queen” in England because I’ve always said that the country doesn’t stand a chance until you have 20,000 people saying BUGGER THE QUEEN! And I support the Sex Pistols because this is constructive, necessary criticism of a country which is bankrupt.

 

The cover (cropped) of ‘Little Caesar’ #9, the first publication of ‘Bugger the Queen’ (via dennis-cooper.net)
 
The “skit” Burroughs mentions in the letter to Gysin, or a later version of it, is one of the entries in the essay collection The Adding Machine. Burroughs read it toward the end of 1978 at the Nova Convention celebrating his work. It was first published in the ninth issue of Dennis Cooper’s zine Little Caesar, whose previous number featured an interview with Johnny Rotten; International Times ran it too. The gist: chants of “Bugger the Queen” lead to a spontaneous uprising that forces Her Maj to abdicate. From the opening, a few words of inspiration, and the annotated lyrics:

I guess you read about the trouble the Sex Pistols had in England over their song “God Save the Queen (It’s a Fascist Regime).” Johnny Rotten got hit with an iron bar wielded by HER Loyal Subjects. It’s almost treason in England to say anything against what they call “OUR Queen.” I don’t think of Reagan as OUR President, do you? He’s just the one we happen to be stuck with at the moment. So in memory of the years I spent in England—and in this connection I am reminded of a silly old Dwight Fisk song: “Thank you a lot, Mrs. Lousberry Goodberry, for an infinite weekend with you . . . (five years that weekend lasted) . . . For your cocktails that were hot and your baths that were not . . .”—so in fond memory of those five years I have composed this lyric which I hope someday someone will sing in England. It’s entitled: Bugger the Queen.

My husband and I (The Queen always starts her spiel that way)
The old school tie
Hyphenated names
Tired old games
It belongs in the bog
(Bog is punk for W.C.)
With the rest of the sog
Pull the chain on Buckingham
The drain calls you, MA’AM
(Have to call the Queen “Ma’am” you know)
BUGGER THE QUEEN!

The audience takes up the refrain as they surge into the streets screaming “BUGGER THE QUEEN!”

Suddenly a retired major sticks his head out a window, showing his great yellow horse-teeth as he clips out: “Buggah the Queen!”

A vast dam has broken.

Alas, no one has stepped up to record “Bugger the Queen” during the intervening decades. I hold out hope Patti Smith and Lenny Kaye will set it to music. Below, for the Queen’s Silver Jubilee in June 1977, the Pistols make themselves heard from a boat on the River Thames in what must surely be Sex Pistols Number 2.
 

Posted by Oliver Hall
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06.02.2017
09:30 am
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DEVO meet William Burroughs: ‘David Bowie would never make an audience shit their pants. We would.’
05.04.2017
02:44 pm
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Marilyn Chambers said no. The star of Behind the Green Door and Insatiable did not consent to participate in one of those two-way interview features with DEVO for Trouser Press in early 1982.

So Trouser Press enlisted William S. Burroughs to do it instead.

According to the magazine’s longtime editor Ira Robbins, the editorial assignment belonged to Scott Isler, “who set this thing up (after failing to get Marilyn Chambers to interview Devo).”

This was back in the days of no-Internet, when the U.K. audience and the U.S. audience could be considered two entirely unrelated entities. Trouser Press had an arrangement with New Musical Express to run the same material Isler had put together. Robbins noted that the encounter “proved to be a lot less entertaining or illuminating than we hoped it would be” and that “it took a lot of editing for Scott to fish out what we published.”

Even though they went about expressing it in entirely different ways, DEVO and Burroughs share an absolutely withering take on the accepted American empire as we know it. Burroughs responded to it with randomness, calculated perversity, and debasement, DEVO with a tongue-in-cheek insistence that the decline of the capitalist system was irreversible and indeed, salutary. Both placed the standard and stupid conformist stance of Middle America squarely in its sights.
 

Beat Meets Blank: A lovely spread from the NME version of the interview
 
According to Isler’s intro, Burroughs was on hand to promote Cities of the Red Night, his first novel in a decade, while DEVO was between albums. Their most recent effort was New Traditionalists, released several months earlier. Oh, No! It’s Devo wouldn’t hit the shelves until the end of 1982.

By the way, “DEVO” is here defined as the two main spokesmen for the group, Jerry Casale and Mark Mothersbaugh, who are both identified as fans of Burroughs in the intro to the piece. Unexpectedly, almost as soon as the interview is underway, Casale goes into a lengthy explication of DEVO’s goals and methods. Casale cites Burroughs’s 1974 conversation with David Bowie in Rolling Stone about “sonic warfare” and then the Casale and Burroughs speculate as to how much abuse it’s proper for an artist to put his or her audience through. Death is too far, surely, but “making them shit their pants”?

Read the whole thing after the jump…........

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Posted by Martin Schneider
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05.04.2017
02:44 pm
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Jean Cocteau’s poem for Orson Welles
04.21.2017
08:16 am
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Orson Welles by Jean Cocteau (from the frontispiece of André Bazin’s book on Welles)
 
Orson Welles and Jean Cocteau first met at a performance of “Voodoo Macbeth,” the all-black Shakespeare production Welles staged in New York in 1936 with funding from a New Deal program. They remained friends and encouraged one another’s rascality, according to Simon Callow’s account of the 1948 Venice Film Festival in One-Man Band, the third volume of his Welles biography:

He and the perenially provocative Jean Cocteau formed a sort of anti-festival clique, clubbing together to commit what Cocteau rather wonderfully called lèse-festival. [...] Together in Venice, the two men behaved like two very naughty boys. Welles shocked his hosts by ostentatiously walking out of the showing of Visconti’s uncompromisingly severe masterpiece, La Terra Trema.

 

Cocteau and Welles in Venice, 1948
 
Welles was a member of the Comité d’Honneur at Cocteau’s 1949 Festival du Film Maudit, at which both The Magnificent Ambersons and The Lady from Shanghai were screened. (Kenneth Anger’s Fireworks made its European debut there, too, and Artaud’s “Sorcery and Cinema” was first published in the festival catalog.) Cocteau contributed this sketch of his friend to the program for Welles’ The Blessed and the Damned, an evening of two one-act plays that opened in Paris in 1950:

Orson Welles is a giant with the face of a child, a tree filled with birds and shadows, a dog who has broken loose and gone to sleep in the flower bed. An active loafer, a wise madman, a solitary surrounded by humanity, a student who sleeps during the lesson. A strategy: pretending to be drunk to be simply left alone. Seemingly better than anyone else, he can use a nonchalant attitude of real strength, apparently drifting but guided by a half-opened eye. This attitude of an abandoned hulk, and that of a sleepy bear, protects him from the cold fever of the motion picture world. An attitude which made him move on, made him leave Hollywood, and carried him to other lands and other horizons.

Quoting some of the increasingly hysterical praise for Welles printed elsewhere in the program and then in the show’s reviews, Callow wonders: “At least Cocteau had the excuse of being an opium addict; what were these chaps on?”

Keep reading, after the jump…

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Posted by Oliver Hall
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04.21.2017
08:16 am
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Mouth-watering trailer for a ‘what if?’ 1970s adaptation of J.G. Ballard’s ‘High-Rise’
04.04.2017
02:12 pm
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Ben Wheatley’s recent adaptation of J.G. Ballard’s masterful 1975 novel High-Rise scratched a profound itch many of us had had for years, but by rights we really should have had an adaptation from its own time, a brutalist B-movie with dissonant stereophonic music that should take its rightful place alongside Death Race 2000 and Logan’s Run.

We never got that movie, but that doesn’t mean we can’t pretend.

Adam Scovell has helpfully put together a marvelous trailer for a make-believe BBC series based on High-Rise using imagery from a really interesting-looking series from the early 1970s called Doomwatch that garnered controversy at the time for several episodes, including one that focused on mutant rats taking over the streets of London. The episode Scovell used is called “The Human Time-Bomb,” and it ran on the BBC on February 22, 1971.

I don’t know much about the plot except that the bland plot synopsis from the time sounds intriguingly Ballardian: “Dr. Fay Chantry performs a biological study of tower block life—and finds far more than she expected.”

On his blog Celluloid Wicker Man, Scovell raises a very interesting point, which is the possibility—one might even say the likelihood—that “The Human Time-Bomb” is actually a direct source for Ballard’s novel:
 

The Human Time-Bomb rather uniquely pre-empts almost all aspects of High-Rise in such detail that it must be considered whether Ballard himself actually saw it when broadcast. I have little doubt that he at least knew about the series, such was the crossover of the series’ goals with his own conflation of science and disaster.

 
He also notes that during this time, it wasn’t hard at all to find Ballard’s themes played out on the telly:
 

British Television of this period is brimming with Ballardian imagery; endless brutalist structures, obsessive emphasis on cars, violence and misogyny.  This is all compacted into a huge variety of drama, only ever really escaping from such aspects when a series or play was set in period.

 
Have a look at the trailer for the 70s ‘High-Rise’ that shoulda been, after the jump…

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Posted by Martin Schneider
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04.04.2017
02:12 pm
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