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The Muppets in a hostage situation
03.18.2014
01:58 pm
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Poor Beaker being brutalized by balcony-sitting curmudgeons Statler and Waldorf on TV for all to see. I wonder what message they were trying to get out to the general public? I guess we’ll never know… 

“The Hostage Situation” also titled “The Art of Heckling - Part 2” is by Matthias Weinberger.

Posted by Tara McGinley
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03.18.2014
01:58 pm
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‘Inside Out’: Ol’ Dirty Bastard’s wildly entertaining life on parole
03.17.2014
04:14 pm
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It’s safe to say that for virtually every moment from the time that Wu-Tang Clan became prominent around 1993 until his sad death in 2004, Ol’ Dirty Bastard—“Russell Jones” to the law enforcement community—was in some kind of legal trouble. He was convicted of second degree assault in 1993 and was arrested for failure to pay child support in 1997. A year later, he pleaded guilty to attempted assault on his wife and was also arrested for shoplifting. It goes on from there. In 2000 he was assigned to a court-mandated drug treatment facility but escaped—as a fugitive he met up with RZA and spent some time in the studio. In Philadelphia he was eventually captured. (DM previously reported on his endlessly interesting FBI file, released in 2012.)

After spending the next two and a half years in prison in New York, he was released on parole on May 1, 2003. Sensing an opportunity, ODB’s manager, Jarred Weisfeld, arranged for VH1 to have a crew follow ODB around for his release and the first few weeks out of jail. The end result was “Inside Out,” which can be viewed below. Actually, it’s a little unclear what this video is—IMDb.com lists the running time as 60 minutes over two episodes. This video isn’t that long, however. What I think this is is episode 1 of “Inside Out”—not sure there was an episode 2—followed by a brief remembrance section that likely doesn’t have anything to do with VH1. In any case, it’s wildly entertaining.
 
Ol' Dirty Bastard
 
The life of a mentally troubled rap star is as crazy as anything you’re likely to find. A stretch limo filled with family, friends, and business associates (of course these lines overlap) is there to meet him upon his release. He is immediately presented with a gift of 500 condoms. As the father of 13 children by multiple women, ODB sniffs out the subtext: “They don’t want me makin’ no more babies!” At his press conference the same day as his release, who shows up to take part? Of course, Mariah Carey.

Eventually ODB’s interest in the ladies alienates his sort-of ladyfriend Raquel, who promptly flees back to LA. Within days he’s photographing a silicone-enhanced Playboy model and hitting on women in the street. Meanwhile his new relationship with Roc-A-Fella records is proceeding with the usual complications. We see a few cordial encounters with RZA as well.

The special presents a glimpse of actual parole life that’s not often available on TV. We see ODB successfully pass a drug test and we’re told that, as messy as his life was, he was able to adhere to the 9pm curfew imposed on him. When he signs the paperwork before his release, he’s told that he’s agreeing that parole officers can visit his home more or less anytime, and sure enough, we get to see such a visit. All goes well, except for ODB’s lingering paranoia after the fact.

ODB never really got the psychological help he needed, but nobody could say that he lived an unfulfilled life. “Inside Out” is excellent evidence of both parts of that equation.
 

 

Posted by Martin Schneider
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03.17.2014
04:14 pm
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New ‘Twilight Zone’ action figures announced
03.14.2014
11:57 pm
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The Twilight Zone Henry Bemis 3 3/4-inch Action Figure
 
Wow! Boing Boing just hipped me to these marvelous Twilight Zone action figures by Bif Bang Pow! Apparently they have a new series of action figures they’re going to release this August and you can pre-order them now.

I feel a wee bit embarrassed I’ve never seen these before?! This is something I should’ve known about! Anyway, there are other amazing Twilight Zone action figures you can still get your hands on from an existing line. My choice selections are below.


Bif Bang Pow! Twilight Zone Series 6 Action Figure Nurse
 

Bif Bang Pow! Twilight Zone Series 6 Action Figure Alien
 

Bif Bang Pow! Twilight Zone Series 6 Action Figure Alicia
 
More after the jump…
 

READ ON
Posted by Tara McGinley
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03.14.2014
11:57 pm
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Martin Mull on ‘Fernwood 2Night,’ the original ‘Anchorman’ and ‘Between Two Ferns’
03.13.2014
11:31 am
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Martin Mull
 
This week has brought us the remarkable phenomenon of the President of the United States appearing on Zach Galifianakis’ brilliant Funny or Die interview series “Between Two Ferns,” a delicious bit of anti-comedy that one would have thought would be too “out there” for the likes of Barack Obama (Refreshing to be proven wrong on that point.) The concept behind “Between Two Ferns” is that Galifianakis, trading on his new status as a bona fide movie star, interviews a big celebrity but without having the slightest notion of what he’s doing and, most often, revealing, eventually, some obscure animus towards his guest. (The Bradley Cooper episode, referenced by Obama, is a classic in this regard.) It’s the state-of-the-art of awkward “cringe” humor, wherein the mirth arises out of the show’s refusal to successfully ape the conventions of a properly run talk show, of which there are plenty if you like that sort of thing. The cringeworthiness of the proceedings seems pointless, but it’s inherently subversive, as it takes a functioning thing and breaks it to investigate the underlying premises. (The Eric Andre Show on Adult Swim, which is brilliant, is a high-energy, “mayhem” version of the same concept.)

I’ve been watching Galifianakis do his marvelously fractured and “aggressive” standup since 2006 or so, and his career trajectory from the basement of the UCB Theater to the Oval Office has been a gratifying one to see, for me at least. The concept of the “broken” talk show doesn’t start with him, of course, as he’d be the first to admit. It goes back at least as far as the demented antics of Monty Python’s Flying Circus, if not earlier. On this continent, we have SCTV and Saturday Night Live, of course—both produced countless fantastic talk show satires—but the most sustained precursor is certainly Norman Lear’s Fernwood 2Night, starring the unforgettable duo of Martin Mull as the egocentric host Barth Gimble and Fred Willard in the Ed McMahon slot as the winningly obtuse Jerry Hubbard.

Fernwood 2Night was a spinoff of Lear’s groundbreaking “anti-soap opera” Mary Hartman, Mary Hartman, a soap opera set in the ineffably American town of Fernwood, Ohio which ambitiously generated a whopping 325 episodes in its short run. (Richard has rhapsodized about the recently issued box set on DM before; you can buy the DVD set here.) Essentially, the idea behind Fernwood 2Night was of what we would today call a local cable-access talk show—except the host doesn’t seem to realize that he’s a penny-ante local idiot. As with Mary Hartman, Mary Hartman, the humorous condescension towards small-town America was built in, but showed a lot of affection for it at the same time.

In addition to “Between Two Ferns,” another clear heir to Fernwood 2Night is Will Ferrell’s sleeper 2004 hit Anchorman. In Anchorman, Ferrell’s clueless and egotistical Ron Burgundy is the Barth Gimble figure, and instead of a single partner, is surrounded by a passel of sycophantic, over-confident idiots. However, it’s clear that the Jerry Hubbard slot is occupied by the impossibly stupid Brick Tamland, played by Steve Carell. And don’t forget: the acknowledgment of a debt to Fernwood 2Night is clear in the casting of Fred Willard to play station director Ed Harken. (Similarly, Galifianakis’s choice to do his show between two FERNS seems like an obvious shout-out, as well. Maybe not.)

The recent newsworthiness of “Between Two Ferns” reminded me of an appearance Martin Mull made on The Kevin Pollak Chat Show (itself a take on Charlie Rose) in 2010 in which he discussed the origins and concept of Fernwood 2Night (which in its second season became America 2Night to enable to allow Barth Gimble to make less contrived use of LA celebrity culture).

I’ve linked the video below: the relevant portion starts around the 42nd minute and lasts about 12 minutes. I’ve taken the trouble to transcribe a healthy portion of it for posterity’s sake. I’ve cleaned up the inevitably awkward nature of spoken communication slightly, as well as editing out most of host Pollak’s questions and comments. A few corners are cut in the name of readability, but nobody listening along could rightfully say I’ve misrepresented Mull anywhere. It’s very long but there’s actually quite a bit more in the video, so keep listening.
 

Well, first of all, acting with Fred Willard, it’s like following someone who refuses to use their turn signals. You have no idea where he’s going, ever, and that was fabulous. Was it heavily scripted? Yes. … There was one show, we were … two minutes short, and Norman Lear said, “Can you guys improvise something?” And Fred and I had just met on the set. This was after about the first two weeks, and he said “Can you improvise something?” and we said, “Sure.” And we said [conferring], “Why don’t you say that and I’ll say that—Okay.” And we ended up about 18 to 20 minutes over. And they liked it enough so that they cut back on some of the other stuff. So from then on, it was more, bullet points. That what I would know is, “Your guest today is Kevin Pollak, Kevin claims to have been abducted by people from Mars, he and his girlfriend. Apparently all they wanted to do was talk to the girlfriend, but not about her but about Kevin. That’s all you need to know.” … So we’d have that much information and then we could just go with that.

The chemistry was an absolute tangible commodity, too. We did a thing, it’s been 30 years, and [in the winter of 2008-09] we were asked to go to San Francisco to this comedy fest, to recreate [Fernwood 2Night] in a club, they said, “We’re just going to do 25 minutes of clips, and then you guys come out, and if you could do 10-15 minutes in character”—and I was like, Oh my god, I mean that was 30 years ago—“and then we’ll do Q&A.” … It took 90 seconds—tops—to fall right back into it. Fred and I were right there and we brought people up from the audience as our guests, etc., and then left the stage and came back five minutes later for Q&A, and I realized why we fell back right into it, is that there was no difference between the characters between who we really are and those characters. There was no acting involved! I am a pompous ass, and he’s an idiot! It’s a palpable thing.

I had never acted in anything, unless you want to count my draft physical, and I had been reading for things, when I decided that the road giveth and the road taketh away, I’m gonna try to be an actor or something. … and had been excused from most readings before even finishing the paragraph. And meanwhile I had gone to see Norman Lear about possibly writing on Mary Hartman, and we had a lovely meeting, I liked him a lot, and he said, “We don’t need any writers but it’s been nice meeting you.”

Six months later I’m in the middle of a mix on an album—and a bottle of Courvoisier—about halfway through both, and I get a call, “You’re gonna read for Mary Hartman tomorrow,” and I thought, well, I might as well finish the Courvoisier, because I’m not going to get it anyway—that’s my history, and lo and behold I got it. I was under development to NBC at the time, and they loaned me out to Mary Hartman for four months, so I worked on that show for four months. Playing the “hilarious” wife abuser! I was killed at the end of my four months with an aluminum sectional Christmas tree goes right through me, and so now I’m off that show. The next day NBC said, “You know, we’re really not going to do anything, you can go on and continue on”—but now I’m dead. So I said to Norman, “Has anybody ever asked to come back as their twin brother?” And Norman said, “Everyone asks to come back as their twin brother.” And so he said, “But I do have an idea, the only problem is I want to do it in front of a live audience,” and Mary Hartman was done as a studio shoot, no audience, and he said, “I just don’t know if you’re the one.” And I thought, well, talk about Br’er Rabbit in the Briar Patch, I’ve been doing live concerts for the last 15 years, so I put together a special evening at the Roxy on Sunset, with my band, a one-shot evening, and they were nice enough to give me the booking, and invited Norman, so he could see me in front of an audience.

Pollak: You set it up just for him.

Yeah. And it went surprisingly well. About half an hour into it, there was a really big laugh or something, at which point I completely broke everything [broke character], stood up and said, “Norman, do I have the fucking job or not?” Norman says, “You have the job, keep going!” And that is how the show came to be made.

Pollak: You’re going to do a nightly, half-hour talk show that, if I may, as others have described it, will be “purposely lame.”

Intuitively you don’t think, comedically lame, what you do is you say, I’d like to keep it very, very low-budget, I’d like to keep it extremely local, and we had been having success with Mary Hartman, which was basically sequestered in a very small town in Ohio. And we said, this show should come from there, and the host should be a guy who thinks he’s the Johnny Carson of Fernwood, Ohio. What would that be? “My first guest tonight’s the water commissioner, wonderful man, bring him on out. Lot of water out there.” And you bring him out. It’s the water commissioner! It’s nothing, it’s nobody. And that thought I just loved.

And occasionally, the writers later on would come up with guests, I’m not saying we did this without writers, we had writers… Alan Thicke was one of the writers, and he would come up and say, “We got this grandmother, who wears a mini-skirt, and tap dances, and yodels at the same time.” And I would say, “Okay, let’s get rid of the mini-skirt, the tap dancing, and the yodeling, but if you’ve got a grandmother, that sounds great.” That’s what we tried to do, was to try to bring it down to that small-town thing. Like one of our most successful things was, we had an episode where the segment was called “Talk to a Jew.” And what happened was, Mr. Rothschild from New York City was pulled over by the state trooper doing 65 in a 60 zone outside of Fernwood. Noticed the name on the license, we don’t get too many people like that here, and we thought, rather than pay the ticket, why not do something for you folks here at home, we can bring him on, open our mics up, anybody out there who’d like to actually talk to a real Jew, we actually have one here in Fernwood, Ohio. And he just sat there, just sat there. … Fred and I looked at each other and looked at him and we’d smile, and there was a live phone right there, never rang until finally just before commercial break, the phone did ring, and it was somebody trying to find out when Barbra Streisand’s new movie was coming out. And that was the extent of that. But it was such fun to take lowball things like that and expand them.

 

 
Here’s the inaugural episode of Fernwood 2Night, complete with that “Talk to a Jew” segment, which starts at the 18:28 mark:
 

Posted by Martin Schneider
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03.13.2014
11:31 am
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James Brown co-hosts ‘The Mike Douglas Show,’ cooks ham hocks & cabbage, sings, 1971
03.12.2014
03:32 pm
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Mike Douglas and James Brown
Mike Douglas and James Brown sing “You’re Nobody Till Somebody Loves You”

I missed the heyday of Mike Douglas, but watching this video, it’s easy to see how he was able to concoct such an enjoyable mid-afternoon chat brew every weekday. Douglas’ adoption of a groovy ‘70s-style six-petaled flower was an inspired touch, as it stamped him as the older, tie-wearing white dude who was down with the hippies and “Black is Beautiful” and funky music and all that. Douglas never seemed to mind much of anything, and his charmingly shambolic, super-easy going style helped create a talk show that’s waaaaay looser than anything you’d see today (outside of podcasts, of course).

The date on this video, very recently uploaded to YouTube and with just a smattering of views, is May 11, 1971. James Brown is introduced as co-host, and indeed Brown does hang around for the whole episode—he does three songs in all, and it must be said that he’s makes for a rather distracted co-host; he’s no Andy Richter up there. But who the hell cares, he wasn’t there for his ability to be subservient to Mike—he’s James Brown!!

His musical numbers bookend the program, starting with “I Cried” followed by, remarkably, a full-fledged duet of the old Dean Martin ditty “You’re Nobody Till Somebody Loves You”—Brown seems mildly poleaxed at the idea, and plays along only intermittently, but Douglas is seriously into it. It’s genuinely funny when Douglas tells him to “try to find the beat, James.” Also, who’d've guessed that Douglas does way more dancing than Brown?

In the interview portion we get an actress named Betsy Palmer, who later teaches Douglas and Brown how to make ham hocks and cabbage, although, as she admits, “it’s Czech more than anything,” certainly not super similar to the authentic soul food Brown is used to. Then, hilariously, Douglas tells the home viewer not to consult the Internet for the recipe but rather to write this address:
 
Ham Hocks and Cabbage
 
Brown caps off the hijinks with a terrific rendition of “Your Cheatin’ Heart”. (By the bye, the album he was promoting was Sho’ Is Funky Down Here.)

 
via Classic Television Showbiz

Posted by Martin Schneider
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03.12.2014
03:32 pm
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‘The New People’: Was this obscure 60s TV series the original ‘Lost’?
03.10.2014
06:41 pm
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The New People ran for seventeen episodes in 1969-70 on ABC. An Aaron Spelling production, the series focuses on a group of rebellious lefty college students who have been causing problems for the State Department during a cultural exchange trip to Southeast Asia. They’ve been ordered home, but their plane crash lands on a deserted South Pacific island.

The island had been the site of clandestine testing by the Atomic Energy Commission so there are already buildings and food there (sounding familiar yet?). Thought dead by their families and the government, these made-for-TV hippies decide to create their own world, free from the societal problems and the older generation’s corrupt authority figures back home. But will they succeed or will it get all Lord of the Flies meets Wild in the Streets???

You might be tempted to write this off as goofy-sounding, but the first episode of The New People was written by none other than Rod Serling not long after he turned out his classic script for Planet of The Apes. Although the idea for the series was created by Larry Gordon and Aaron Spelling, Serling—a bleeding heart liberal if ever there was one—had an influential hand in its development.

The New People was one of television’s first real attempts—and a sincere one at that—to appeal to the countercultural zeitgeist of the day. The series aired opposite Rowan and Martin’s Laugh-In and Here’s Lucy and so was almost guaranteed a swift cancellation. Tyne Daly, Richard Dreyfuss and Billy Dee Williams made appearances on The New People before they became famous and the theme music was recorded by Kenny Rogers and The First Edition.

An ABC promo for The New People:

 
The Rod Serling penned debut episode:

Posted by Richard Metzger
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03.10.2014
06:41 pm
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Mel Brooks is probably the funniest man who has ever lived (and he proves it in this 1975 interview)
03.10.2014
12:43 pm
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lemskoorb11.jpg
 
Mel Brooks is unstoppable in this interview about his films Blazing Saddles and Young Frankenstein from 1975.

Made by Imperial College’s TV station Stoic, the interview begins with presenter Mark Caldwell asking Brooks why he made his cowboy movie spoof ?

Brooks explains that Westerns were a considerable part of his childhood, part of his “subliminal beginnings,” and he wanted to tell the truth about the wild west. Although he told the truth about cowboys eating beans, the one thing Brooks would not show was the little known fact that cowboys “do not make love to women in Westerns.”

“People say I am in questionable taste, you know what I mean? Well, I must tell you that I used the utmost discretion [and] I did not tell the whole truth about the Western, because they do not make love to women, you know that. They are very straight, very Christian and very with it, you know. They do make love to their horses. They do, they do. They don’t marry them, there is no formal ceremony, but they go off somewhere in the night with their horses.”

Brooks then goes on to talk about making Young Frankenstein with Gene Wilder and Marty Feldman.

Mel Brooks is possibly the funniest man that ever lived. Just take a look at the comic characters and comedies he has been involved in creating, from The 2,000 Year Old Man, the TV series Get Smart, Bialystock and Bloom in The Producers, Sheriff Bart and Hedley Lamarr in Blazing Saddles, Mel Funn and Marty Eggs in Silent Movie, or Dr Thorndyke in High Anxiety, and you’ll see a wealth of fictions that would make most scriptwriters, screenwriters, and even novelists green with envy.

And apart from probably being the funniest man alive, you know an evening with Mel Brooks would be the best, funniest, most entertaining night you could have with another person that didn’t involve sex. And even if it did involve sex you know you both could laugh about it in the morning.
 

Posted by Paul Gallagher
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03.10.2014
12:43 pm
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R.E.M.’s Mike Mills on ‘Live! with Regis and Kathie Lee’
03.07.2014
10:53 am
Topics:
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Mike Mills
 
This happened: while the pioneering band R.E.M. were transitioning from weird-people fame to normal-people fame, their bass player Mike Mills was booked to appear on Live! with Regis and Kathie Lee. Hosted by former Joey Bishop second-banana Regis Philbin before he morphed into his final form as the launching pad of a billion “Is that your final answer?” jokes and sidekicked by Kathie Lee Gifford, a woman so oppressively chipper she became a national punchline in her own right, Live! was a daytime talk show geared toward the dwindling sedentary-housewives-at-home-all-day demographic.

R.E.M., at the time, had leveled up from college-radio darlings to for-real arena rock stars, thanks to the albums Green and Out of Time and the improbable global success of the single “Losing My Religion.” (I worked at a record store at the time, and I once retrieved a copy of R.E.M.’s full-length debut Murmur for a yuppie who asked if we had “their first album.” He was baffled—he wanted Green, and had no idea the band had been releasing music for ten years. Among normals, he was far from alone.) But their newfound popularity aside, even in the wake of the Nevermind deluge, there was a real frisson to a band known for moody music and challenging, cerebral lyrics (snobs: feel free to nerdfight about “Shiny Happy People”) to make inroads to the gleeful wide-eyed vapidity of daytime talk.
 

 
This is messed up: I actually saw this when it was broadcast. I have no idea what I was doing at home during the day in February of 1992. I have no idea what class I was blowing off. I have no idea why the TV was even on at all, let alone why it was on the channel that broadcast Live! of all things, but there it was. Odds are good I was baked. And I when I caught the words “R.E.M.” and “Mike Mills” coming out of the mouth of Regis fucking Philbin, I was transfixed. Mills has always seemed a good-natured guy, so he responded with aw-shucks aplomb to the banal interview questions—seriously, high school newspapers ask bands how they got their names, so it’s a shame Mills couldn’t inform them that the band had previously been called “Cans of Piss.” But then, surely in defiance of some publicist’s grave warning of certain doom, Mills does a marvelous acoustic rendition of “(Don’t Go Back To) Rockville,” a song from their second LP Reckoning, which was eight years old at the time. Surely a small army of American homemakers dropped their cheesecake and drove straight to the mall to buy it. Right?
 

 
Previously on Dangerous Minds:
The Ramones on ‘Regis and Kathie Lee’

Posted by Ron Kretsch
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03.07.2014
10:53 am
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All That Jazz: Echo and the Bunnymen tear it up, live on Spanish TV, 1984
03.06.2014
10:38 am
Topics:
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This took a little digging. Echo & the Bunnymen’s appearance on the Spanish music TV program La Edad de Oro is one of the great documents of the band at its height, the 1984 tour supporting their breathtaking and majestic masterpiece Ocean Rain. However, and maddeningly, every complete copy of it I’ve found online has a horrible and persistent sound glitch starting at about the 35-minute mark. It’s really bad, like deal-breakingly so, see for yourself if you like, but don’t say you weren’t warned.
 

 
The videos in this playlist from YouTube user kigonjiro aren’t the prettiest available, but those sound problems are FAR less present. Also, it’s broken down into a playlist that eliminates the interview segment (it’s at 11:30 in the above link if you want to watch it), which can be grating to sit through if you don’t speak Spanish. Which is fine, nobody in 1984 ever expected English-speaking audiences to see this. But the playlist format neatly segments everything and cuts out the dross.

One last thing before we get to the music—one of the reasons I so adore this show is that the stage setup gives the cameras better shots of the drummer then are usually seen in live videos, and the Bunnymen’s Pete de Freitas (RIP 1989) is just on fire here. But the whole band’s performance is great too, their energy is up, and singer Ian McCulloch is spot-on throughout.

1. The Cutter
2. The Killing Moon
3. All That Jazz
4. Do It Clean
5. Villiers Terrace
6. My Kingdom
7. Silver
8. All My Colours
9. Heads Will Roll
10. Thorn Of Crowns
11. Never Stop
12. Crocodiles
13. Rescue

 

 
More Echo & The Bunnymen after the jump…

READ ON
Posted by Ron Kretsch
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03.06.2014
10:38 am
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Pete Shelley, Howard Devoto, Buzzcocks and Magazine in vintage punk doc ‘B’dum B’dum’ from 1978
03.06.2014
09:50 am
Topics:
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buzzspirscra.jpg
 
Punk history on the installment plan…part one

The Buzzcocks had to be quick because they didn’t know how long they would last. That’s what Pete Shelley told Tony Wilson over tea and cigarettes in this documentary B’dum B’dum from 1978.

Made as part of Granada TV’s What’s On series, B’dum B’dum follows the tale of the band Buzzcocks from formation to first split and the creation of splinter group Howard Devoto’s Magazine.

Shelley met Devoto at Bolton Institute of Technology in 1975. Shelley responded to an ad Devoto had placed on the student notice board looking for musicians to form a band. The pair clicked and started writing songs together. Then they wanted to perform their songs, so they sought out other musicians to play them (Steve Diggle, bass, and John Maher, drums), and hey presto, Buzzcocks.
 

 
Part two…

The influence had been punk and The Sex Pistols, but Devoto found punk “very limiting” as “in terms of music there was a whole gamut of other stuff”:

“...Leonard Cohen, Dylan, David Bowie. With the Pistols and Iggy Pop, it was the anger and poetry which hooked me in really…

“I think that punk rock was a new version of trouble-shooting modern forms of unhappiness, and I think that a lot of our cultural activity is concerned with the process, particularly in our more privileged world, with time on our hands—in a world, most probably after religion.

“My life changed at the point I saw the Sex Pistols, and became involved in trying to set up those concerts for them. Suddenly I was drawn into something which really engaged me. Punk was nihilistic anger, not overtly political anger. Political anger could have been the radical Sixties.”

 
buzwilsheldevoson.jpg
Pete Shelley, Tony Wilson, Howard Devoto during the making of ‘B’dum B’dum’ 1978.
 
The Buzzcocks recorded and released the “massively influential” Spiral Scratch a four track EP, which contained the Shelley/Devoto songs “Breakdown,” “Time’s Up,” “Boredom,” and “Friends of Mine.”
 
Parts three to five with Shelley and Devoto, plus full Buzzcocks concert, after the jump…

READ ON
Posted by Paul Gallagher
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03.06.2014
09:50 am
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