Honey Badger don’t give a shit, it just takes what it wants. Honey Badger doesn’t care. 

(via Cynical-C)

 
Last year, Tim Heidecker and Eric Wareheim co-hosted a special screening of director James “The Master of the Romantic Thriller”™ Nguyen’s “so bad it’s good” feature film, Birdemic: Shock and Terror at Los Angeles’s beloved art house, Cinefamily. After a positively mind-melting 90-minutes had elapsed, Heidecker stood before the audience, microphone in hand, silently surveying the psychic damage the film had caused before asking: “Don’t you all just feel like total assholes for sitting through that?”

Cue 200 people laughing and nodding in vigorous agreement.

But, hey, you can’t exactly get this kind of entertainment just anywhere, all right? How many Plan Nine from Outer Space-type winners should the human race be allowed?

Birdemic: Shock and Terror “tackles topical issues of global warming, avian flu, world peace, organic living, sexual promiscuity and lavatory access.” You, know, all the big issues. Director James Nguyen, a 42-year-old Vietnamese refugee, wrote, cast and shot the film over four years, diverting money saved from his career as a software salesperson in Silicon Valley toward making his Hollywood dream come true. Nguyen’s dream might be Roger Ebert’s worst nightmare, of course, but I don’t think that the director was really thinking much about how the critics would react to his film (It’s hard to tell what he was really thinking).

In a recent interview about the film, co-star Whitney Moore had this to say when asked about people who assume Birdemic was “faked”:

I have spoken with people who believe that Birdemic was faked, and I always ask those people if they have met James Nguyen. If they have, and they still believe that he is some mastermind of irony and comic timing who can make a movie like Birdemic intentionally, then there is nothing I can say to change their mind. Nor would I.

In any case, it’s out today on DVD and Blu-ray from our friends at Severin Films and now you can see for yourself the film that’s seen “midnight movie” fans across the county get very… well, very perplexed, let’s just say… WARNING: Do not try to watch Birdemic: Shock and Terror alone. Not because it’s too scary or anything, but because it must be seen with others, others who, like you, yourself, should be stoned into complete oblivion for this dubious cinematic treat.  I think anyone who watches Birdemic: Shock and Terror by their lonesome would just be too pathetic. So don’t do it.

UPDATE: There will be a special midnight screening of Birdemic: Shock And Terror at Cinefamily, here in Los Angeles this Friday (1st anniv. screening, director & cast in person!)

Here’s one of my, er, um, “favorite” scenes from Birdemic: Shock and Terror... “Where’s Becky?”
 

 
We’ve posted before about both South African artist Spoek Mathambo and amazing photographer Pieter Hugo (his book Nollywood is sitting on a coffeetable 10 feet away from me as I type this) and wow, their new collobaoration on this video for Spoek’s fucking brilliant cover of Joy Division’s “She’s Lost Control” is nothing short of simply astonishing.

You think there’s nothing new under the sun, jaded reader? That every good idea has already been used up by music video directors? Guess again because this will knock your socks off!

Via Dazed Digital:

‘Control’, the fourth single from Spoek Mathambo‘s debut album Mshini Wam, is a ‘darkwave township house’ cover of the Joy Division classic ‘She’s Lost Control’. In collaboration with one of South Africa’s most influential photographers Pieter Hugo, and cinematographer Michael Cleary, the new video explores township cults and teen gangs. Shot on location in a squatted train boarding house in Langa, Cape Town, the video features a cast mostly made up of local neighborhood kids who run their own dance troop, Happy Feet. Spoek Mathambo has been pioneering a progressive take on African music for the last few years via his DJing (as HIVIP), solo and live band projects, having featured on Boysnoize Records and Top Billin.

Directed and shot by Pieter Hugo & Michael Cleary. Edited by Richard Starkey

 
Previously on Dangerous Minds:
Voodoo Dubstep: Cape Town, South Africa’s rising star, Spoek Mathambo

 
The Beatles “perform” “Smack My Bitch Up” at Shea Stadium, 1965.

Initially, I thought this video was going to be terrible, but the editing by YouTuber pleaseunhelpme is so damn clever I ended up enjoying the hell out it.

 
(via KFMW)

 
Please spread this message far and wide. Everyone in the country should watch this, especially people who watch Fox News...

 
Hey, dumb people gotta be ministered to, too, you know. Praise Jeebus!

For the life of me, I can’t even figure out what these people think they are doing or how they are benefitting from doing it in any way. What would one gain by engaging in this sort of behavior? Someone with even 3/4 of a brain would feel like an idiot acting like this publicly. If you want even more Todd Bentley madness—and who doesn’t—click here.
 

 
Previously on Dangerous Minds:
Rocker chick preacher dreams of Oral Roberts and dancing elephants, then has freak out onstage

Via Christian Nightmares

 
Volume One (1978 - 1983)

01 [00:00]  Laurie Anderson – “Example #22″ (‘Big Science,’ 1982)
02 [02:48]  Delta 5 – “Innocenti” (‘See the Whirl,’ 1981)
03 [04:54]  The Go-Go’s – “Automatic” (‘Beauty & The Beat,’ 1981)
04 [07:40]  Raincoats – “Red Shoes” (‘Odyshape,’ 1981)
05 [10:28]  X – “The Once Over Twice” (‘Wild Gift,’ 1981)
06 [13:01]  Flying Lizards – “Her Story” (‘Flying Lizards,’ 1979)
07 [17:17]  Jane Hudson – “Mystery Chant” (‘Flesh,’ 1983)
08 [21:00]  Crass – “Smother Love” (‘Penis Envy,’ 1981)
09 [22:46]  Blondie – “Heart of Glass” (‘Parallel Lines,’ 1978)
10 [27:17]  Sonic Youth – “I Dreamed I Dream” (‘Sonic Youth’ EP, 1982)
11 [31:55]  Selecter – “On My Radio” (‘Too Much Pressure,’ 1980)
12 [34:54]  Marine Girls – “A Place in the Sun” (‘Lazy Ways,’ 1983)
13 [37:26]  Lizzy Mercier-Descloux – “Funky Stuff” (‘Mambo Nassau,’ 1981)
14 [41:34]  Weekend – “Nostalgia” (‘La Varieté,’ 1982)

[Total Time: 45:18] Download here. 

 
Volume Two (1979 - 1983)

01 [00:00]  Family Fodder – “Savoir Faire” (Monkey Banana Kitchen, 1980)
02 [02:23]  Au Pairs – “It’s Obvious” (Playing With a Different Sex, 1981)
03 [08:43]  Chris & Cosey – “This Is Me” (Heartbeat, 1981)
04 [11:42]  Plastics – “Back to Wigtown” (Origato Plastico, 1980)
05 [14:20]  Pylon – “Cool” (Cool/Dub 7″, 1979)
06 [17:18]  The Slits – “Love und Romance” (Cut, 1979)
07 [19:46]  Siouxsie & The Banshees – “Lunar Camel” (Kaleidoscope, 1980)
08 [22:43]  The B-52′s – “52 Girls” (The B-52′s, 1979)
09 [26:19]  Swamp Children – “Boy” (Little Voices EP, 1981)
10 [29:36]  Y Pants – “That’s The Way Boys Are” (Beat It Down, 1982)
11 [32:30]  Antena – “Camino Del Sol” (Camino Del Sol, 1982)
12 [36:15]  Vivien Goldman – “Launderette” (Launderette 7″, 1981)
13 [39:14]  Cocteau Twins – “But I’m Not” (Garlands, 1982)
14 [41:55]  Thick Pigeon – “Jess + Bart (Mix)” (Unreleased [Miranda Dali bonus], 1983)

[Total Time: 45:10] Download here.

 
Volume 3 (1980 - 1983)

01 [00:00]  Creatures – “Miss The Girl” (Feast, 1983)
02 [02:27]  Eurythmics – “Sing-Sing” (In the Garden, 1981)
03 [06:30]  Phew – “Doze” (Phew, 1981)
04 [09:57]  E.S.G. – “Moody” (ESG EP, 1981)
05 [12:47]  Maximum Joy – “Searching for a Feeling” (Station M.X.J.Y., 1982)
06 [17:01]  Los Microwaves – “La Voix Humane” (Life After Breakfast, 1982)
07 [19:44]  Ludus – “My Cherry is in Sherry” (The Seduction, 1981)
08 [22:24]  Crash Course in Science – “Cardboard Lamb” (Signals from Pier Thirteen EP, 1981)
09 [24:57]  Grace Jones – “Nightclubbing” (Nightclubbing, 1981)
10 [29:57]  Lydia Lunch – “Gloomy Sunday” (Queen of Siam, 1980)
11 [32:46]  Marilyn & The Movie Stars – “So Disgraceful” (So Disgraceful EP, 1982)
12 [36:16]  Young Marble Giants – “Music for Evenings” (Colossal Youth, 1980)
13 [39:19]  The Pretenders – “Lovers of Today” (Pretenders, 1980)

[Total Time: 45:14] Download here.

A set of 3 female-centric, post-punk mixes from the Musicophilia blog. To quote:

In a way, it seems slightly odd to explore “the role of women in post-punk” because I don’t want to ghettoise or marginalise it–women were so central that there is none of the feeling of searching for exceptions to the rule here: many of the artists featured are Big Names, who’d make any top-40 list of Most Important Post-Punk Bands.  However, singling women out only illustrates their centrality: you could play these mixes for a post-punk neophyte, and they would come away with a good sense of the breadth and depth of the fertile era/ethos; but they might not even notice, if you didn’t point it out, that the mix focuses on women.

Full article here.

Thanks to Sian Williams.

 
The good people at See Of Sound continue to offer stellar rock documentaries over on their Youtube channel and I’m pleased to be able to showcase them here at Dangerous Minds for your viewing pleasure.

Wesley Willis: The Daddy Of Rock ‘n’ Roll directed by Daniel Bitton is a sweet, non-exploitive documentary about the weirdly wonderful, tormented, talented and irascible Wesley Willis who died at the age of 40 in 2003.

God gave me this rock career to keep me busy. Back in 1991 I used to hit old people with folding chairs. Suddenly, I moved to the north side of Chicago, Illinois in 1992. It made a rock star out of me at last. I’m the daddy of rock n roll! I’m Wesley Willis, I’m 36 years old. I play music and do art. I have schizophrenia. I have chronic schizophrenia. Roger Lee Carpenter asked me for $600. He told me that if I dont give him $600, he was going to blow my brains out. Thats when I started hearing demons. I have three demons: Nervewrecker, Heartbreaker, and Meansucker….I yell, I scream, I holler at people on buses.”

Willis recorded several hundred songs that were like mini-explosions in a pop culture fireworks factory. Obscene, hilarious, poignant, surreal and angry, Willis had a unique take on the modern world and there will never be another like him.
 

 
Via See Of Sound

 
The folks over at Exophrine put together this compendium of 150 famous catchphrases from popular movies dating back to 1932.

The entire list of 150 phrases can be found at the Exophrine website.

“Gooble gobble, gooble gobble. We accept her! We accept her!
Gooble gobble, gooble gobble. One of us! One of us!”
Freaks
 

 
On February 21, 1965 Malcolm X was assassinated by three members of the Newark chapter of the Nation of Islam led by Elijah Muhammed.

The New York Post published this eye witness account by reporter Thomas Skinner on February 22, 1965:

I Saw Malcolm X Die.

They came early to the Audubon Ballroom, perhaps drawn by the expectation that Malcolm X would name the men who firebombed his home last Sunday, streaming from the bright afternoon sunlight into the darkness of the hall. The crowd was larger than usual for Malcolm’s recent meetings, the 400 filling three-quarters of the wooden folding seats, feet scuffling the worn floor as they waited impatiently, docilely obeying the orders of Malcolm’s guards as they were directed to their seats.

I sat at the left in the 12th row and, as we waited, the man next to me spoke of Malcolm and his followers: “Malcolm is our only hope,” he said. “You can depend on him to tell it like it is and to give Whitey hell.” Then a man was on the stage, saying: “. . . I now give you Brother Malcolm. I hope you will listen, hear, and understand.”

There was a prolonged ovation as Malcolm walked to the rostrum past a piano and a set of drums waiting for an evening dance and stood in front of a mural of a landscape as dingy as the rest of the ballroom. When, after more than a minute the crowd quieted, Malcolm looked up and said, “A salaam aleikum (Peace be unto you)” and the audience replied “Wa aleikum salaam (And unto you, peace).”

Bespectacled and dapper in a dark suit, his sandy hair glinting in the light, Malcolm said: “Brothers and sisters . . .” He was interrupted by two men in the center of the ballroom, about four rows in front and to the right of me, who rose and, arguing with each other, moved forward. Then there was a scuffle in the back of the room and, as I turned my head to see what was happening, I heard Malcolm X say his last words: “Now, now brothers, break it up,” he said softly. “Be cool, be calm.” Then all hell broke loose. There was a muffled sound of shots and Malcolm, blood on his face and chest, fell limply back over the chairs behind him. The two men who had approached him ran to the exit on my side of the room shooting wildly behind them as they ran. I fell to the floor, got up, tried to find a way out of the bedlam. Malcolm’s wife, Betty, was near the stage, screaming in a frenzy. “They’re killing my husband,” she cried. “They’re killing my husband.” Groping my way through the first frightened, then enraged crowd, I heard people screaming, “Don’t let them kill him.” “Kill those bastards.” “Don’t let him get away.” “Get him.”

At an exit I saw some of Malcolm’s men beating with all their strength on two men. Police were trying to fight their way toward the two. The press of the crowd forced me back inside. I saw a half-dozen of Malcolm’s followers bending over his inert body on the stage, their clothes stained with their leader’s blood. Then they put him on a litter while guards kept everyone off the platform. A woman bending over him said: “He’s still alive. His heart’s beating.” Four policemen took the stretcher and carried Malcolm through the crowd and some of the women came out of their shock long enough to moan and one said: “I don’t think he’s going to make it. I hope he doesn’t die, but I don’t think he’s going to make it.”

I spotted a phone booth in the rear of the hall, fumbled for a dime, and called a photographer. Then I sat there, the surprise wearing off a bit, and tried desperately to remember what had happened. One of my first thoughts was that this was the first day of National Brotherhood Week.”

Gil Noble, producer and host of the public affairs program Like It Is, directs and narrates this heartfelt documentary on Malcolm X.