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Big Bollocks & Rude Kids: The hilarious vulgarity of UK comic magazine Viz
07.25.2018
07:51 am
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David Bowie kicking back while having a laugh at UK comic Viz.
 
For nearly 40 years British comic Viz—sometimes referred to as Britain’s “funniest” magazine—has been putting out pages full of satire poking fun at various UK institutions and celebrities by a cast of offensive fictional characters. Illustrated ingrates such as Buster Gonad, Sid the Sexist, Terry Fuckwitt, Sweary Mary and the Rude Kid would all make regular appearances in the comic along with ridiculous profanity-laced dialog mixed with the region’s colorful slang. A few of the comic’s vulgar characters, like Sid the Sexist, The Fat Slags and Roger Mellie also made their way to television in the UK as adult-oriented cartoons. 

One of Viz’s calling cards was their craftsmanship of fake ads. Fictional (sadly) products for chastity pants for altar boys, and its companion product, “Father Begone,” a priest-repellant spray, delighted its readers. Viz was very much inspired by MAD Magazine and the images of legendary MAD illustrator and contributor, Sergio Aragonés. What made Viz stand apart from MAD was the belief you could never go low enough for a laugh. In fact, one could say Viz lowered the bar for low-brow humor lower than anyone else in the adult comic game. If you are fond of the word fuck and appreciate the art of toilet humor, then Viz is for you. If you still have any doubts regarding Viz’s wide appeal, David Bowie was apparently a big fan of the comic magazine.

If you’re already a fan of Viz, or a new one after reading this post, there are a few books which may interest you, such as Viz: Sid the Sexist—The Joy of Sexism, and one based on Viz’s Big Fat Slags. As I mentioned at the top of this post, the magazine is still publishing issues today, and back issues can also be obtained over at their official site, as well as other merchandise. I’ve posted images from Viz’s comics below—some are slightly NSFW.
 

A funny fake ad from UK magazine, Viz comics.
 

 

 
More Viz after the jump…

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Posted by Cherrybomb
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07.25.2018
07:51 am
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John Mellencamp was once a glam rocker, covered Bowie and the Stooges in the 1970s
07.12.2018
09:32 am
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1976
 
To learn that John Mellencamp was not only in a glam rock band in the early 1970s, but also covered David Bowie’s “The Man Who Sold the World,” as well as the Iggy and the Stooges’ number, “I Need Somebody”—and did so long before those songs were revered—is one of those, “Wait, what?!?” moments. It goes against everything we think we know about a conventional performer with an established image.

At the tail end of 1972, Mellencamp formed the Bowie-inspired glam group, Trash. Around this time, he wrote his first two songs: “Loser,” purportedly a tribute to Lou Reed (despite its title), and “One Way Driver,” which Mellencamp says was influenced by the Stooges. Trash never went anywhere, and a year later Mellencamp recorded a solo demo. He subsequently took the tape to New York, where he shopped it around to various record companies. Rejected by them all, he figured he’d next try Bowie’s management, so he could get turned down by his hero’s handler. Instead, Tony Defries, the man behind MainMan—an organization that had also represented Iggy and the Stooges—signed him.

Mellencamp’s first record, Chestnut Street Incident, came out in 1976 on MCA Records. He didn’t realize his name had been changed to “Johnny Cougar” until he saw a mock-up of the album cover. When Mellencamp objected, Defries told him the LP would be released that way or not at all.
 
Chestnut
 
His 1977 follow-up , The Kid Inside, was rejected by MCA, and Mellencamp was dropped. He would soon part ways with MainMan, but after he became successful in the early 1980s, Defries released The Kid Inside.
 
The Kid Inside
 
It’s unclear when “I Need Somebody” and “The Man Who Sold the World” were recorded, exactly. Neither were on the original LPs. The Stooges cover is often included as a bonus track on CD reissues of Chestnut Street Incident, while the Bowie song is usually paired with The Kid Inside (though this edition of the first album has the two). It’s very possible Mick Ronson is the guitarist on one or both of the tracks, as Bowie’s former right-hand man played on Chestnut.

When I first heard these covers, I was surprised to find that Mellencamp’s versions ain’t half bad. I was so tickled by them that I checked out his first two LPs, hoping to find other unusual, pre-fame gems, though I soon realized that I was probably wasting my time (and indeed I was).

Anyway, it’s fascinating to hear a guy we think of as a heartland rocker seriously take on Bowie and the Stooges. It’s like finding out Robert Palmer covered Hüsker Dü.

Wait, what?!?!?
 
Listen to the Cougar cover versions, after the jump…

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Posted by Bart Bealmear
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07.12.2018
09:32 am
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Kate Moss models David Bowie’s outfits
05.22.2018
01:15 pm
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Style homages to David Bowie tend to be a dicey affair, if only because Bowie himself was such a master at adopting new visual looks for himself. Bowie always seemed to follow his own radar on such matters, and his particular genius lay in concealing the effort to such a considerable extent. Attempts to mimic the same vibe necessarily come off looking labored. Having said that, when you’ve got a top model and a man who photographed one of Bowie’s own album covers involved, your chances of success are better, but even then, not assured.

Obviously, 1973 was a huge year for Bowie as an authentic groundbreaker in fashion. He spent the first half of the year touring the Ziggy Stardust material, he released Aladdin Sane—in the same stroke introducing his lightning bolt face to the world, probably his most enduring stylistic element—as well as Pinups. It was also the year he reached out to Kansai Yamamoto, who crafted some of Bowie’s most bizarre and memorable outfits, most notably the “‘Tokyo Pop’ vinyl bodysuit” and the “Asymmetric knitted bodysuit.”
 

David Bowie and Kansai Yamamoto, 1973
 
In 2003 the fashion magazine Vogue got ahold of some of Bowie’s most iconic outfits and—with Bowie’s blessing—enlisted photographer Nick Knight, the man responsible for the cover shot on Bowie’s 1993 album Black Tie White Noise, and noted supermodel Kate Moss for the assignment.

In 2016 Knight reminisced about the gig:
 

I was delighted to do it. [Moss] was the exact same size as he was, she fitted his clothes really well—more than just in terms of size. Some models would just not look right in them, you can’t imagine putting some of the clothes on Linda Evangelista or Nadja Auermann or whoever would have been on the scene at the time. So Kate had both the attitude and the physical side of it which made her perfect for it and she loved it, she was incredibly good. Her talent is bringing out the narrative that’s in the piece of clothing—that’s why she’s such a good model. She can put on that pale blue suit and suddenly bring out the same narrative that Bowie would have brought out when he wore it.

 
After the jump, Moss-as-Bowie….......
 

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Posted by Martin Schneider
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05.22.2018
01:15 pm
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When Bowie got busted: Local news reports from his & Iggy’s 1976 arrest for nearly a pound of weed
04.03.2018
09:30 am
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On March 21, 1976, David Bowie was on his “Isolar” trek around America (aka “The Thin White Duke tour”) and “Golden Years” was high on the US pop singles charts. But when the tour pulled into Rochester, NY for a concert at the War Memorial Arena his golden years could have been derailed when the singer and Iggy Pop were arrested on marijuana charges for an impressive amount of herb, about half a pound. Under the harsh Rockefeller drug laws, that could have resulted in fifteen years in prison, but ultimately resulted in nothing other than a minor inconvenience for Bowie, and one of the very best celeb mug shots of all time.

John Stewart reporting in the Rochester Democrat and Chronicle of March 26 1976:

After silently walking through a crush of fans, police and reporters, English rock star David Bowie pleaded innocent to a felony drug charge yesterday in Rochester City Court. Bowie, 28, entered the Public Safety Building through the Plymouth Avenue doorway at 9:25 a.m., just five minutes before court convened, with an entourage of about seven persons, including his attorneys and the three other persons charged with him.

He was ushered into a side corridor by police and was arraigned within 10 minutes, as a crowd of about 200 police, fans and reporters looked on. Bowie and his group ignored reporters’ shouted questions and fans’ yells as he walked in — except for one teenager who got his autograph as he stepped off the escalator.

His biggest greeting was the screams of about a half-dozen suspected prostitutes awaiting arraignment in the rear of the corridor outside the courtroom.

Asked for a plea by City Court Judge Alphonse Cassetti to the charge of fifth-degree criminal possession of a controlled substance, Bowie said, “not guilty, sir.” The court used his real name — David Jones. He stood demurely in front of the bench with his attorneys. He wore a gray three-piece leisure suit and a pale brown shirt. He was holding a matching hat. His two companions were arraigned on the same charge. Bowie was represented by Rochester lawyer Anthony F. Leonardo, who also represented his companions, James J. Osterberg, 28 of Ypsilanti, Mich., and Dwain A. Vaughs, 22, of Brooklyn. Osterberg, described as a friend and Vaughs, described as a bodyguard, also pleaded innocent to the drug charge.

Osterberg also is a rock musician and performs under the name of Iggy Stooge. Bowie has produced at least one of Osterberg’s album in the past. Judge Cassetti set April 20 for he preliminary hearing for the three men. He also agreed to set the same date for the Rochester woman charged with the same offence, Chiwah Soo, 20, of 9 Owen St., who was also in the courtroom. Cassetti allowed Bowie to remain free on $2,000 bail, as well as continuing the $2,000 bond on the other three persons charged. Bowie and the other three were arrested by city vice squad detectives and state police Sunday in the Americana Rochester hotel, charged with possession of 182 grams, about half a pound, of marijuana in his room there. Bowie was in Rochester of a concert Saturday night.

 

 

Bowie’s arrangement was witnessed by his fans, some of whom had waited two hours to catch a glimpse of him. All remained quiet in the courtroom and scrambled after his arraignment to watch his exit from the building. But fans and reporters were disappointed as city uniformed and plain-clothes police slipped him out unnoticed. Using a maze of elevators and stairwells, police took Bowie and his entourage out a side exit, across the Civic Center Plaza and into Leonardo’s office on the Times Square building’s seventh floor.

Only about 30 fans were on had to yell goodbye as Bowe and his friends left from Leonardo’s office at 12.30pm. Bowie, for the first time, waved to the crowd as his limousine pulled out from a parking space on West Broad Street, made a U-turn and headed for the expressway and the drive back to New York City. The blue-and-black Lincoln Continental limousine had been ticketed for overtime parking, but a plainclothes policeman took the ticket, and put it in his pocket.

Bowie had remained silent throughout the morning but granted a five-minute interview to newspaper reporters in Leonardo’s office. Leonardo, however, wouldn’t allow any questions directly concerning the arrest, saying it was the first criminal charge he’d ever faced. He complimented city police, though, for the protection they provided him yesterday.

“They (city police) were very courteous and very gentle,” Bowie said. “They’ve been just super.” Quiet and reserved, Bowie answered most of the reporters’ questions with short answers, shaking hands with them when they entered and left. Asked if the arrest would sour him on returning to Rochester, Bowie said “certainly not, absolutely not.” He also said he was “very flattered” by the fans who turned out for this arraignment. “I felt very honored,” he said.

Bowie and his entourage arrived in Rochester about 4am after performing a concert in the Nassau Coliseum on Long Island Wednesday night, Leonardo said, he will appear tonight at Madison Square Garden, his final concert of his America tour, Pat Gibbons, said.

More after the jump…

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Posted by Richard Metzger
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04.03.2018
09:30 am
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The Goblin King LIVES!: Impressive life-sized bust of David Bowie as Jareth from ‘Labyrinth’
03.27.2018
09:26 am
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A bust of David Bowie in character as Jareth the Goblin King from the 1986 film ‘Labyrinth.’
 
The artist responsible for this remarkable life-like bust of David Bowie in character for his role as Jareth, the baby-stealing Goblin King who rules Goblin City in Labyrinth, is Alejandra Montiel—a talented young special effects artist and sculptor based in Vigo, Spain. I mean, even on my best day, no way does my lip gloss look as good as it does on his bust of Jareth and I am a real person. However, since this is a realistic bust of David Bowie as Jareth, I never had a chance to win this lip gloss game—because nobody beats Bowie when it comes to giving good (or in the case of Bowie, great) face.

To achieve the “is that thing alive?” glow, Montiel used an airbrush to paint the bust and resin for Bowie’s famous eyes—one blue and one black. If you’ve never heard the story about his eyes, here’s the gist: In 1962 Bowie’s buddy George Underwood (a one-time member of the King Bees, who did the drawings for the Space Oddity/Man of Words/Man of Music back cover, and the cover art for Hunky Dory and Ziggy Stardust, too) popped the Thin White Duke in the eye after finding out he was lusting for a girl he had set his sights set on. The fistfight led to Bowie’s post-punch diagnosis of anisocoria—a condition that causes one pupil to be larger than the other. In Bowie’s case, he was left with a permanently expanded left pupil which made it appear black in color.

Montiel’s excellent sculpture of Jareth will set you back $1,083.77 (USD), plus $104.55 shipping. It should be noted that it does not come with Jareth’s crystal ball and the white shirt pictured in the photo from Montiel’s Etsy shop may be slightly different than the one wrapped around the armless bust. If the bust’s pricetag is a bit out of your range, Montiel also makes a sweet sculpture of The Worm from Labyrinth that is nicely priced at $70.59. I’ve posted images of the Jareth sculpture and The Worm below.
 

 

 
More after the jump…

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Posted by Cherrybomb
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03.27.2018
09:26 am
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David Bowie talks Burroughs, Iggy and Ziggy, 1982-83
03.16.2018
08:15 am
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David Bowie
 
What we have for you here are two early ‘80s interviews with David Bowie for the New Zealand TV show, Radio with Pictures. Though the conversations occurred only twelve or so months apart, oh, what a difference a year makes.

The music program Radio with Pictures premiered in 1976 and was a Sunday night TV staple in New Zealand for over a decade. Bowie was interviewed for both segments by Brent Hansen, the producer/director of Radio with Pictures. Hansen was later hired by MTV and went on to be the president of the network’s European division.

In 1982, Bowie was in New Zealand acting in Merry Christmas, Mr. Lawrence, and the interview was conducted at the Auckland Railway Station during a break in filming. A number of topics are addressed, including the prospect of re-recording some of the tunes he and Iggy Pop wrote for Iggy’s solo albums, The Idiot and Lust For Life. Bowie would subsequently do just that, the first of those being “China Girl”. He also reveals that his iconic “Ashes to Ashes” video was influenced by master of film surrealism, Luis Buñuel, and that the cut-up technique, a method he would occasionally employ when writing lyrics, was introduced to him by William Burroughs. Bowie appears relaxed throughout, but there is one question he takes very seriously—it concerns the first record he ever bought.
 


If the play button isn’t visible, hover your cursor over the image.

Bowie’s 1983 Radio with Pictures interview transpired under significantly different circumstances. In the 1982 piece, he had talked about how he was looking forward to recording his next LP, which would turn out to be Let’s Dance. Bowie had been very famous for some time, but the worldwide success of the album turned him into a global superstar. The November 1983 chat took place during the tail end of his Serious Moonlight Tour, which began the previous May. On the Oceanian leg of the world trek, Bowie played two big shows in New Zealand. The first was held on November 24th at Athletic Park in Wellington, which drew over 40,000 fans. Two days later, the turnout at Western Springs stadium was double that, with approximately 80,000 people in attendance. It was not only the biggest single show of the entire tour, but was cited by the 1984 Guinness Book of Records as “the largest crowd gathering per head of population anywhere in the world.”
 
Ticket
 
For an article that appeared in the March 1997 issue of Live! magazine, Bowie gave a glimpse into what his mindset was like during the Serious Moonlight Tour.

I remember looking out over these waves of people and thinking, ‘I wonder how many Velvet Underground albums these people have in their record collections?’ I suddenly felt very apart from my audience. And it was depressing, because I didn’t know what they wanted.

 
Bowie and Alomar
Bowie and Carlos Alomar, 1983.

The 1983 discussion was taped on November 26th, before the Auckland gig. Though Bowie is largely cordial, he gets a bit testy at one point, and his overall demeanor is noticeably different when compared with the 1982 exchange. He looks tired, which is totally understandable. He answers the first question by declaring that he’s “never enjoyed a tour as much as this one.” Other subjects covered include the impending release of the Ziggy Stardust motion picture, a film he says is “very funny,” and his desire to make another record with Iggy (Bowie would co-produce Pop’s next record, Blah- Blah-Blah, co-writing six of its songs with Iggy).

More after the jump…

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Posted by Bart Bealmear
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03.16.2018
08:15 am
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David Bowie, Dion Fortune, and the occult history of soymilk
03.01.2018
09:52 am
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During the mid-Seventies, when David Bowie subsisted on a diet of cow’s milk and cocaine, one of his favorite books was Dion Fortune’s Psychic Self-Defense. It’s an instruction manual by a major-league Golden Dawn magician for diagnosing and guarding against attacks by other sorcerers.

Marc Spitz’s biography points out how one part of Bowie’s coke-and-milk diet violated a basic tenet of Dion Fortune’s program (“Keep away from drugs”), but the magician probably would have nixed the other staple, too. She didn’t invent soymilk, but she played an important role in its history as an advocate and experimenter. During World War I, while working in a laboratory for the Food Production Department of the Ministry of Agriculture, Fortune apparently discovered a means of making soymilk, as well as a method of turning it into soy cheese. In 1925, writing under her birth name, Violet Mary Firth, she published a book on the subject, The Soya Bean: An Appeal to Humanitarians.
 

David Bowie, 1969 (Photo by Brian Ward)
 
While I haven’t gotten my hands on a copy yet, a volume called History of Soymilk and Other-Non Dairy Milks (1226-2013) reproduces the table of contents and some of the foreword. Part I considers the ethical reasons to avoid animal products (chapter three: “Milk Is Not A Humane Food”), and Part II describes the wondrous properties of the soybean. She argues that commercial solutions to the problem of animal exploitation are more effective than “individual abstention from flesh-food.” The foreword begins:

The manufacture of a vegetable milk from the soya bean is a matter in which I was much interested during the war, and I think I may claim to be the first person, in this country at any rate, who succeeded in making a cheese from vegetable casein.

In Sane Occultism, however, Dion Fortune cautions against making “a religion” out of vegetarianism and says the practice is not for everyone, so maybe she would have just advised Bowie to lay off the yayo and put a few more sandwiches in his diet. Below, the Thin White Duke guzzles lowfat milk from the carton in a scene from Cracked Actor. (Maybe someday John Oswald will get around to making a Plunderphonics version called Lactose Cracker.)
 

Posted by Oliver Hall
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03.01.2018
09:52 am
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Provocative portraits of Syd Barrett, Johnny Cash, David Bowie & more by comic book hero Lee Bermejo
01.25.2018
09:28 am
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A portrait of the late Amy Winehouse by Lee Bermejo. The illustration was done for Italian magazine XL and their column called ‘Dark Side.’
 
If you are a fan of comic books, artist Lee Bermejo‘s name is probably familiar to you. His work has been widely featured in modern adaptations of classic superhero comics such as Superman and Batman published during the 2000s and beyond for DC. Bermejo has many respectable accomplishments in his pencil box including an IGN Comics Award for his 2008 graphic novel Joker which also spent some time on the New York Times best-sellers list.

In 2013 the mostly self-taught artist was recruited by Italian magazine XL to do some illustration work for them. The concept, according to Bermejo, was to create images of famous musicians with superhero attributes. The column written by Ezio Guaitamacchi was called Dark Side in which Guaitamacci would detail the too-soon deaths of famous musicians, including many members of the so-called “27 Club” such as Jimi Hendrix, Janis Joplin, and Amy Winehouse (pictured at the top of this post). Bermejo’s images are profound as they often depict his famous subjects in physical states not unlike the circumstances of their actual deaths. In addition to his poignant portraits for XL, Bermejo also did imaginative portraits of other music legends still with us such as Black Sabbath and Axl Rose of Guns N’ Roses. I find it morbidly amusing Bermejo chose to illustrate Axl lying in a coffin wide awake with two pistols, adjacent to a skull with a top hat which presumably once belonged to his pal Slash—who, by the way, is still very much alive.

I’ve posted Bermejo’s illustrations for XL as well as a few others below. Some are slightly NSFW.
 

John Lennon for XL.
 

Johnny Cash for XL.
 

Syd Barrett for XL.
 
More after the jump…

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Posted by Cherrybomb
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01.25.2018
09:28 am
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Outsider Art: Stunning pics of Bowie & Eno visiting mental patients in Austria, 1994
01.19.2018
09:41 am
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In 1994 the well-known artistic impresario André Heller invited his chums David Bowie and Brian Eno to his native Austria in order to spend a day in the town of Klosterneuburg, on the northern edge of Vienna, to visit the Maria Gugging Psychiatric Clinic (universally known as “Gugging”). The visit to the clinic formed one of the primary inspirations for one of Bowie’s longest and most challenging albums, Outside.

Fortunately for us, Heller also invited his friend, Austrian photographer Christine de Grancy, along. De Grancy took plentiful photos of the encounter but quite astonishingly, she desisted from even developing the negatives until about a year ago, on the occasion of Heller’s 70th birthday. Forty-four splendid photographs of that intriguing day are currently on display in the Crone Galerie in Vienna.

The story of Gugging as an enlightened place of artistic healing has dark roots. During World War II, Gugging was the site of the Nazi-sanctioned murder of hundreds of mentally deficient patients. In the late 1950s, a psychiatrist named Leo Navratil chose Gugging to be the site of his project involving the exposure of the artistic process to mental patients as a form of therapy. Rather than hide the patients or shut them down with medication, Navratil felt that the artistic process might yield beneficial effects on even schizophrenic patients. Over time, he did discover that some of his patients had authentic artistic talent, and Gugging became linked with the artistic movement started by Jean Dubuffet known as Art Brut, which in the U.S. we would be more likely to call “outsider art.”

It is likely an oversimplification to say that David Bowie’s interest in the treatment of schizophrenics derived from the fact that his stepbrother, Terry Burns, suffered from schizophrenia; sadly, Burns committed suicide in early 1985 by permitting himself to be run over by a train at the Coulsdon South train station near London. Many have concluded that Bowie’s early song “The Bewlay Brothers” is a meditation on his half-brother. Eight years after Burns’ death, on Black Tie White Noise, Bowie released “Jump They Say,” which was an even more explicit treatment of the subject: Bowie told the NME that the song was “semi-based on my impression of my stepbrother.” (It’s interesting, isn’t it, that with the term “stepbrother,” Bowie semi-consciously places Burns in the category of “not a blood relation.”) “Jump They Say” was Bowie’s last top 10 single in the UK until 2010, when he scored with “Where Are We Now?

One of the motives Heller had in inviting Bowie to Gugging was to remind him that the treatment of schizophrenics can employ different methods—and yield different outcomes. It’s beyond plausible that Bowie may have felt an exceptional connection to the goings-on at the Gugging clinic.
 

 
The date of the visit was September 8, 1994. I was actually a resident of Vienna at the time. He wasn’t on tour, so there wasn’t a concert for me to attend. Pech gehabt. Bowie and Eno interacted with the patients—and some sort of Jause, the Austrian term for a convivial afternoon snack, was served.

Bowie and Eno spent three hours at Gugging, and de Grancy didn’t even take out her camera until an hour had passed, preferring instead to take the temperature of the moment. De Grancy’s hesitancy in this regard demonstrates something that is quite unusual, which is that these pictures show a Bowie that is about as private as you are likely to find anywhere. Bowie was present not as a rock star but in his role as a working artist and a private individual—an individual who nine years earlier had lost a close relative to schizophrenia. Bowie was consumed with observing the inmates, none of whom, recall, had the slightest notion of who David Bowie was. (We are permitted the fleeting thought that Bowie found this odd anonymity refreshing.)

The 1994 visit was not the first time that Bowie and Eno had been to the clinic. In 1995, the Independent on Sunday ran an interview with the two musicians conducted by Tim de Lisle, in which the two men discussed a visit to Gugging that had taken place while they were cavorting about in Berlin in the late 1970s:
 

“Didn’t we go originally way back in the late Seventies?” Bowie says. “To see l’art brut while we were mixing albums?”

“Yes, well, we probably did,” says Eno.

Needing an ashtray, Bowie slips the cellophane off one of the waiting packets and taps his ash into it. Eno, silently, finds the ashtray.

I ask what the outsider pictures were like. Bowie sighs, as if the question is unanswerable.

-snip-

“What I derived from Gugging the first time,” Bowie goes on, “was the sense that none of them knew they were artists. It’s compelling and sometimes quite frightening to see this honesty. There’s no awareness of embarrassment.”

Eno, who has been murmuring assent, says: “It’s very interesting to see people who are not taking part in any of the ideological arguments. Who are neither for nor against Cubism, or anything. It’s like you could suddenly meet people who didn’t care whether there was a God.”

 
At any rate, a year after that lovely afternoon in Klosterneuburg, Bowie released Outside, which is technically titled 1. Outside. The album represented Bowie’s reunion with Eno, who had been so instrumental in the creation of Bowie’s Berlin masterpieces. The album takes the form of a fractured narrative, which the unwieldy subtitle of the album refers to as “The Diary of Nathan Adler or the Art-Ritual Murder of Baby Grace Blue—A Non-Linear Gothic Drama Hyper-Cycle.” (Exhale.) The album deals with “art crimes” and “concept muggings” investigated by the “Arts Protectorate of London,” and features characters named Leon Blank, Algeria Touchshriek, and the notorious art terrorist Ramona A. Stone.

At the press conference to introduce the album (see below), Bowie credited his visit to Gugging as forming “one of the atmospheres for the album.” Here’s the full quote:
 

Gugging was an incredible experience. ... A mututal friend of Brian Eno’s and myself, André Heller, who’s an artist and something of an entrepreneur, suggested we might like to do some work there or with the inmates or—somehow, he wanted us to go and see Gugging and see what’s going on. And what it is, it’s a hospital where 100 percent of the inmates are involved in the visual arts. ... So many inmates in hospitals in and around Austria showed a proclivity for the visual arts that they thought it might be a good idea to give them their own wing where they could sort of examine and create things, and this is the, this is really the foudnation of what’s subsequently become called ‘outsider art.’ And we went and talked to the patients there and looked at what they were doing. It reminded me a lot, of course, of a museum in Switzerland called L’art Brut, which is in Lausanne, that was started by Dubuffet, a similar source of ideas, I think. And I just like the sense of exploration and the lack of self-judgment about what the artists were doing, and it became one of the atmospheres for the album. I enjoyed it very much.

 
Much more after the jump…

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Posted by Martin Schneider
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01.19.2018
09:41 am
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Mark Mothersbaugh says that tapes of DEVO jamming with David Bowie and Brian Eno have surfaced
12.06.2017
09:45 am
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Note: There has been some confusion about what happened at Sonos this week. After running this story, we were given reason to doubt that Mothersbaugh ever made these remarks. It turns out that he did say them—at a press preview of the Sonos event that took place one night earlier than the public event. Apologies to Daniel Maurer of Bedford and Bowery for casting his reportage in a negative light. The good news is that Mothersbaugh’s tapes appear to exist! Yay!

Yesterday, at an event hosted by Sonos at its Soho location in Manhattan, Mark Mothersbaugh divulged some news that has some fans of David Bowie positively salivating.

The “Song Stories” event was a tribute to Bowie, in which the lead singer of DEVO was joined by Meredith Graves of Perfect Pussy, photographer Mick Rock, Motley Crüe‘s Nikki Sixx, and moderator Rob Sheffield. The idea was that each of the four guests would tell a story about Bowie and each story would be paired with a Bowie track.

According to Daniel Maurer of the Bedford and Bowery blog, Mothersbaugh let it be known that he had recently come across some tapes of a remarkable jam session that featured members of DEVO jamming with David Bowie, Brian Eno, and Holger Czukay of Can (!). “I haven’t listened to it yet because I just found this tape,” Mothersbaugh said to the startled attendees.

The recording stems from the sessions for DEVO’s first album, Q: Are We Not Men? A: We Are Devo!, which was recorded at the studio of renowned Krautrock producer and musician Conny Plank near Cologne, Germany. Brian Eno produced the album with occasional assistance from Bowie, who was filming the David Hemmings movie Just a Gigolo nearby. Bowie also remixed most of the album’s tracks. Apparently all the members of DEVO participated in the jam session, except for the band’s “bassist,” who had “missed his connecting flight because he was fighting with his girlfriend on an airport pay phone.” Presumably this refers to Gerald Casale?
 

 
In 1977, the wife of Michael Aylward, the guitarist in another noted Akron band, Tin Huey, sent Bowie and Iggy Pop a tape of DEVO’s demo songs; both musicians immediately became fans of the band and expressed an interest in producing DEVO’s first album. DEVO’s first gigs in New York took place on July 8 and 9, 1977, when the band played two sets per night at Max’s Kansas City. According to Mothersbaugh at Sonos last night, Bowie “came out on stage when we played our second show at Max’s” on the first night.
 

He came out on stage and goes, “This is the band of the future, I’m going to produce them this Christmas in Tokyo!” And we’re all like, “Sounds great to us. We’re sleeping in an Econoline van out in front on Bowery tonight, on top of our equipment.”

 
As Maurer writes, “Bowie ended up taking the band out on the town, putting Mothersbaugh up in his hotel room, and introducing the Akron, Ohio innocent to sushi.”

Mothersbaugh apparently found the tape after bringing his DEVO archive back to his studio. The jam session featuring DEVO, Bowie, Eno, and Czukay isn’t the only interesting tape he found, however. Mothersbaugh also found the 24-track master tapes used for the album, accompanied by Eno’s documentation of each song’s instruments, effects, and audio settings: “There’s these tracks down below that say things like: ‘David’s vocals’ and ‘Brian’s extra synths.’ And I’m like, ‘I remember turning that stuff off when we were doing our final mixes.’”

The band’s lead singer explained the band’s reluctance to use the vocal of a pop star as massive as Bowie by reference to DEVO’s paranoia of having their distinct sound messed with after so many negative experiences with hinky industry people and unauthorized releases.

Mothersbaugh indicated that he’ll have a listen to the tapes. “I’m thinking we should see what’s on those tapes. ... I’m really curious to see what the heck they did.” He joked by saying that DEVO “might have been more successful” if they had used Bowie’s vocal tracks.

Interestingly, Bryan Rolli’s account at Billboard of the Sonos event makes no mention of Mothersbaugh’s revelations, so we’ll see what shakes out.

Here’s footage of DEVO playing Max’s Kansas City that first night, July 8, 1977:

 

Previously on Dangerous Minds:
DEVO, Blondie, Talking Heads, Klaus Nomi on ‘20/20’ segment on New Wave, 1979
John Lydon almost joined Devo in 1978? Well, I’ll be.

Posted by Martin Schneider
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12.06.2017
09:45 am
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That time David Bowie met Roger Moore & then met him again & again & again & again & again & again
10.06.2017
09:56 am
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As someone who discovered James Bond films and David Bowie right around the same time, I found the following anecdote, supplied by Dylan Jones during the press launch of his new Bowie bio, David Bowie: A Life, mighty amusing.

Jones told a reporter for the Telegraph:

“[Screenwriter and novelist Hanif] Kureishi told me this story, that when David Bowie moved to Switzerland at the end of the Seventies to escape tax and drug dealers, he didn’t know anybody there. He was in this huge house on the outskirts of Geneva - he knew nobody.

“One day, about half-past five in the afternoon, there’s a knock on the door, and there he was: ‘Hello, David.’ Roger Moore comes in, and they had a cup of tea. He stays for drinks, and then dinner, and tells lots of stories about the James Bond films. They had a fantastic time - a brilliant night.”

“But then, the next day, at 5.30… Knock, knock, it’s Roger Moore. He invites himself in again, and sits down: ‘Yeah, I’ll have a gin and tonic, David.’ He tells the same stories - but they’re slightly less entertaining the second time around.

“After two weeks [of Moore turning up] at 5.25pm - literally every day - David Bowie could be found underneath the kitchen table pretending not to be in.”

Bowie turned down the role of the villainous Max Zorin in Moore’s final outing as 007 in A View to a Kill.

Now we know why!

It was announced this week that from March 2 through July 15, 2018, the Brooklyn Museum will mark the final stop of the Bowie exhibit that was organized by the Victoria and Albert Museum in London. More than 300 objects from the singer’s life, including 60 stage costumes and set designs from his 1974 “Diamond Dogs” tour will be on display.

Order David Bowie: A Life from Amazon.

HT to Steven Daly of Brooklyn, NY

Posted by Richard Metzger
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10.06.2017
09:56 am
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That time David Bowie & John Cale got fucked up and jammed, 1978
09.29.2017
10:12 am
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The bootleg’s rudimentary cover art

The year varies—it was either 1978 or 1979 (or even earlier)—but by John Cale’s own admission, both he and David Bowie were pretty blasted when these two numbers were recorded during a druggy jam session in New York City whenever it was that the pair first met. Bowie, of course, was a massive Velvet Underground fan, having recorded what is historically probably the very first Velvet Underground cover version with a band called the Riot Squad in 1966. Bowie’s then manager Ken Pitt had visited Andy Warhol’s Factory studio and returned to London with an acetate of The Velvet Underground & Nico and his young client was immediately infatuated with the album.

The description on the back cover of the 45 rpm 7” bootleg vinyl single read:

On October 5, 1979, David Bowie and John Cale went into the Ciarbis studio, which is located on top of a house or apartment complex in the city of New York. They recorded some songs there. Here are some results of these uniQue rehearsals!!

Cale had this to say about meeting Bowie:

“David and I didn’t actually meet until I first went back to New York, after I’d done Patti [Smith]. When we did that bootleg, it was like the good old bad old days. We were partying very hard. It was exciting working with him, as there were a lot of possibilities and everything, but we were our own worst enemies at that point.”

“We also played that show for Steve Reich and Philip Glass. That was a lot of fun. That was when we were hanging out, so I asked David if he’d like to come and play Sabotage with me. I ended up teaching him the viola part, which he had a whack at and then ended up playing on stage for the first time.”

“Did I ever want to produce Bowie? After spending time with him, I realised the answer was no. The way we were then would have made it too dangerous. Nowadays it would be different, though. He could improvise songs very well, which was what that bootleg was all about. The great thing about when we met and then started hanging out in the ’70s was that he would say [puts on thick Welsh accent] “That’s Dai Jones from Wales, isn’t it?” He loved all that. That set us off. We got along really well, but most of what we were doing was just partying.”

Have a listen, after the jump…

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Posted by Richard Metzger
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09.29.2017
10:12 am
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Get your very own David Bowie life mask
09.20.2017
12:52 pm
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David Bowie and Catherine Deneuve in ‘The Hunger’
 
Before the advent of photography as a widespread practice available to common citizens, it was not unusual to take casts of the faces of prominent personages in the moments after death. For those who had logged noteworthy accomplishments, it was a way to fix the memory of that person, to remind one of his (seldom her) reality. A quick round of Googling reveals the existence of death masks of such well-known folks as Abraham Lincoln, Johann Wolfgang von Goethe, Napoleon, Ludwig van Beethoven, Benjamin Franklin, Ulysses S. Grant, Vladimir Ilyich Ulyanov (Lenin), Martin Luther, Richard Wagner, and Isaac Newton.

Once you hit the mature years of the 20th century, death masks become far rarer. For some reason there is one for James Dean, and Nazis are statistically overrepresented in the group, there being death masks for Reinhard Heydrich, Heinrich Himmler, and Erwin Rommel. It’s not a thing we do anymore. In the age of Facebook, even un-famous people are often photographed incessantly, so the need is not as pressing to fix our memory of a person’s visual appearance. There’s always plenty of pictures out there!

To the best of my knowledge, there never was a death mask taken of the distinctive visage of David Bowie, but a “life mask” was taken, during the making of Tony Scott’s moody vampire flick The Hunger. In one point in The Hunger, the vampire John Blaylock rapidly ages several decades, so it was necessary to depict Bowie as an old man. Rather than subject Bowie to extra makeup sessions, the life mask was taken to make life easier for Dick Smith, in charge of makeup effects for the movie.
 

 
The process of making “old Bowie” is documented in Anthony Timpone’s Men, Makeup, and Monsters: Hollywood’s Masters of Illusion and FX, of which a relevant page is shown above.

At the risk of being called morbid, it would certainly be an apt sign of devotion to have a casting of Bowie’s life mask in your living room, and just such a possibility is currently being provided by Kirstie Hewer of Classic Castings, located in Warwickshire, England. They are made from plaster of Paris and come in white, silver, and copper as well as an iconic Aladdin Sane face paint version. The price for the single-color version is £40; the Aladdin Sane one is £60 (shipping in the U.K. is £6.50; international £30).
 

 

 
More looks at the Bowie masks after the jump…....
 

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Posted by Martin Schneider
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09.20.2017
12:52 pm
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Stuck in the Mudd! Four decades later, the doorman of the wildest nightclub in NYC lets you in!

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Here’s a drink ticket—enjoy the post!

“If you’ve been standing here for more than ten minutes you’re not coming in” announces Richard Boch in a stern but cute, almost teenaged stoner way. Don’t get me wrong, he means it. This was how “normal people” were greeted much of the time at the door of the Mudd Club (and many other ultra hip clubs in New York City at the time). This made getting in a huge badge of honor and being turned away a major disgrace. Imagine riding on THAT possibility just to pay to go into a nightclub? An anonymous “sniper” refused entrance once even hit Boch with a dead pigeon from a few yards away and sped off in a taxi cab!

Back then these normal people showing up at Manhattan nightclubs were mostly referred to as the “bridge and tunnel” crowd (Queens, Jersey, Brooklyn) a term not heard much these days, but once heard hundreds of times every night in NYC clubs. Some were 9-5ers, some wealthy disco-types expecting to stroll in on the doorman’s view of their Rolex or hot girlfriend. These regular folks were basically told to cool their heels or fuck off while an 18-year-old kid like me dressed to the hilt in what may have looked to them like idiotic rags, parted the seas and strolled in like I was Mick Jagger. This was not Studio 54 as they would find out soon enough. What it was, though, was a trip into known and unknown galaxies of hip culture throughout history, like a living, breathing museum/funhouse/drug den/concert hall/discotheque, mixed with nitroglycerine and LSD and thrown into a blender to create the unknown. The future. THE NOW!

The Mudd Club was almost literally unbelievable. Inmates running the asylum on an outer space pirate ship. This vessel was founded, funded and schemed by Steve Mass, who was on every side of the street all at once. When I first met Steve, he was roommates with Brian Eno and got that input, but he STILL drove me out to my parents’ apartment in Queens to help pull my record collection from under my bed, my parents shrugging their shoulders until reading about us a year later in the New York Times, thereby making it “Okay.” But really he was always very curious, constantly grilling me, getting inside my head. I once told him I thought he should round off the corners and ceiling of the Mudd Club like a giant cave and have live bats flying around the club. He actually considered it! He did this with certain other kids, rock stars, Warhol superstars, models, designers, Hollywood royalty, junkies, freaks and lord knows who else. We all had a bit of our heart and soul in that place.
 
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Mudd Club owner Steve Mass. Photo by Kate Simon

The above mentioned Richard Boch is the author of a incredibly well-written new book from Feral House titled The Mudd Club. Boch was the main doorman there and the book is his autobiography or a coming of age story told in pretty much the aftermath of the glorious Sixties during the truly, in retrospect, harsh, dark, real version of what was hoped for, but lost in that previous decade. Richard’s story is all of our stories, those of us lucky (or unlucky) enough to have grown up or wound up in New York City’s grimy punk/art/drugged musical and historical mish-mosh. It was the Velvet Underground’s songs come to life after waiting a decade for the world to catch up to it, or crumble to its level.
 
To quote Richard:

I’ve always referred to the Mudd Club as the scene of the crime, always meant as a term of endearment. It was the night that never ended: the day before never happened and the day after, a long way off. There was nothing else like it and I wound up right in the middle. I thought I could handle it and for a while, I did.

 
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Author Richard Boch. Photo by Alan Kleinberg
 
Boch was given marching orders orders early on to avoid bloated seventies superstars and the limo crowd. On one of his first nights of work he was faced with a huge, loud, and very sweaty Meatloaf. “Definitely not something I wanted to get close to, physically or musically,” Boch says, and ignored him. My first ever DJ gig was early on at the Mudd Club and I was told told by Steve Mass to do things like play Alvin and The Chipmunks records when it got a bit crowded, to “make everyone uncomfortable,” including myself. Of course I had the record. I also gouged a 45 with scissors insuring the record would skip horribly and then pretend that it wasn’t happening. Just long enough to get the asylum to freak out a little bit.

Later this stuff went out the window but it was quite a formative experience. Humor filtered through even to the most deadly serious moments there. The Mudd Club was a place where twenty people could literally have had twenty different experiences on the same night during the same hour as there was just so much happening on different mental/pharmaceutical levels and different floor levels. Everywhere you turned there was someone amazing. From the way I had grown up, seeing Andy Warhol, John Waters, David Bowie and the Ramones within a twenty minute span was “my” Studio 54. Watching Screamin’ Jay Hawkins while standing next to Jean-Michel Basquiat, seeing the Soft Boys, girl groups like the Angels and the Crystals, Frank Zappa, Bauhaus, Nico, the Dead Boys, Captain Beefheart, John Cale, a Radley Metzger film presented by Sleazoid Express or an impromptu freakout by Warhol Superstar Jackie Curtis, well this was my dream come to life!

My dream hasn’t changed in 40 years. I’m still in awe that it happened. And in the middle of all that I was allowed to put on my own demented conceptual events with friends (“The Puberty Ball,” etc.) and be a regular DJ. The people I came to know in the punk world who wanted more found it at the Mudd Club. Our mad obsession with the Sixties, especially the Warhol/New York sixties, informed much of what we did, and at the same time the Warhol Factory itself became more corporate. The Superstars were by then getting older and pushed out, but they were looking for more themselves, and they were looking to us to inform them, making for some extremely insane morality and immorality plays coming to life before our eyes. Mudd had the pull of what the press called “downtown,” and for the downtown types, well our voices were about to be heard loud and clear.
 
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David Bowie and Dee Dee Ramone. Photo by Bobby Grossman
 
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Howie Pyro deejaying at Mudd

Richard Boch understood all this, and was also an artist himself so he knew who everyone in the art world was, as well as all the new punk stars and celebutantes, no wavers, new wavers, culture vulture gods and the ones who would become gods themselves in a year or so. In the book he talks about being nervous about starting working there but man, he was the one for the job. In the pages of The Mudd Club, Boch’s quite candid about everything you’d want to know (gossip but not mean gossip: sex, drugs, more drugs, and getting home at ten AM, having done every drug and a half dozen people along the way—normal stuff like that). It reads in one, two, or three page sections, my favorite kind of book. You can put it down in ten-minute intervals or read it in any order you want, IF you can put it down at all. I have literally read certain sections backwards for 40-50 pages while looking for something and didn’t really notice. It made me laugh out loud, and it brought tears to my eyes. It’s kind of like “Please Kill Me, the Day After,” though it’s not an oral history as such, as it is written from Richard Boch’s point of view, but it has the same immediate anecdotal feel.
 
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‘TV Party’ at Mudd. Photo by Bob Gruen
 
The club’s benevolent benefactor, Steve Mass, was responsible for making this incredible witches brew keep bubbling and kept the happenings happening. He was willing to do anything, just for the sake of doing it. Steve originally owned an ambulance service. For my 19th birthday they had a huge party for me on the second floor of the Mudd Club. Since Steve had medical connections, and since we were ALL junkies (well, a good 85% of us were), he furnished a massive cake with dozens of syringes with the plungers & needles removed so they could put the candles in the open syringes. This of course turned into a massive cake fight with the participants looking like the Little Rascals (with pinned eyes). Steve was always down for this sorta stuff. As for the main floor, the bands, writers and performers that I saw in a single month’s time was staggering! More than some people see in a lifetime.
 
From the book:

January 1979. The Cramps freaked out The Mudd Club with a loud Psychobilly grind that included such hits as “Human Fly” and “Surfin’ Bird.” A few months later, the “big names” started to appear…

He goes on to say:

The legendary Sam and Dave got onstage a few weekends later, and it was the first time on my watch that I got to see the real deal. By late summer, Talking Heads took the stage while Marianne Faithful, X, Lene Lovich, and the Brides of Funkenstein waited in the wings.

There were so many great performances: Scheduled, impromptu, logical and out of left field. The locals and the regulars were the staple and the stable and performed as part of the White Street experience. They included everyone you could imagine and some you never could. John Cale, Chris Spedding, Judy Nylon and Nico, John Lurie and Philip Glass were just a few. Writers and poets such as William S. Burroughs, Max Blagg, Cookie Mueller, and “Teenage Jesus” Lydia Lunch all wound up on the Mudd Club stage. The talent pool was so deep and occasionally dark that even Hollywood Babylon‘s Luciferian auteur Kenneth Anger got Involved.

Steve’s willingness and generosity along with his guarded enthusiasm offered support to a local community of artists, musicians, and filmmakers. Together with Diego (Cortez)’ and Anya (Phillip’s) short-lived but “dominating” spirit, the Mudd Club became an instant happening, a free-for-all with No Wave orchestration and very few rules.

Diego described the Mudd Club as “a container, a vessel, but certainly not the only one in town.” What made the place unique was its blank-canvas emptiness. When the space filled up, IT happened and everyone wanted to be a part. A living, breathing work of art, it was beautiful and way off center, a slice of golden time.

I was lucky, and soaked it all in.

 
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Nico playing her wheezing harmonium. Photo by Ebet Roberts

All of us who got to be there were lucky. This was a timeless world of it’s own. A world that could be compared to any and all magical artistic movements, scenes or spaces. Dada. Warhol’s Factory, the Beats in NY and SF, Surrealism, etc.—times, places, people all endlessly written about as there’s just so much to say. Everyone involved had a unique experience, true to themselves. This wasn’t just a nightclub, it was so much more. It almost seemed like a private place where, on the best nights, people’s lives and fantasies were put on display and the public was allowed to watch. The public who just came to do coke and dance (as we all did) but who accidentally got touched by a bizarre and wonderful world that lived in the shadows of the city then, usually just brushing against them like a ghost in the night. Whether they even noticed or not, well, who cares?

This first book on the subject (I guarantee it will not be the last) is Richard Boch’s own experience, peppered with those of us who he interviewed for the reminders. This book is about his eyes opening, his chain-wielding power stance, his blowjobs, his drinks, his drugs, all of which are plentiful. It includes a little of most of us, the people we loved, the ones we lost, the games we played, and the love we shared of each other and our mutual history. Still though, there are a million stories in the Mudd’s microcosm of the naked city, this is just one of them.

And what a glorious place to start: right at the front door.
 
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The trailer for the book
 
More Mudd Club after the jump…

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Posted by Howie Pyro
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09.19.2017
02:47 pm
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Running Gun Blues: Arms dealer uses David Bowie’s image to sell bullets?
09.18.2017
11:24 am
Topics:
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The Defence and Security Equipment International (DSEI) conference took place last week in the Docklands in eastern London, and the event featured a creepy, unauthorized cameo by an unexpected star from the world of music. The event draws roughly 1,500 exhibitors from the world representing the world of, ahem, “global defence and security”—in other words, it’s the world’s biggest arms fair, and military delegations from Saudi Arabia, Bahrain, and Pakistan showed up to do a little window-shopping for rocket launchers and the like. While the DSEI tries to keep a low profile in the media, it did not succeed in that goal, as more than 100 people were arrested for protesting the event.

An artist named Darren Cullen spotted the jarring visage of Aladdin Sane-era David Bowie peeking out from one of the displays and posted a picture to Twitter:
 

 
It’s a little bit hard to make out; here’s a blown-up version of the image:
 

 
The company that decided to incorporate Aladdin Sane into its display is the Cheshire-based firm Edgar Brothers, which has been in business for 70 years (note the 70th anniversary logo in the stand, at upper left). It touts itself as “one of the oldest, most well established importers and wholesalers of firearms, ammunition and associated products in the UK and Northern Ireland.” The photographer of the original image was Brian Duffy, who passed away in 2010. According to the Newham Recorder, “A spokeswoman for the Duffy Archive confirmed the photo had not been approved and that the stand had been removed on their request.”

Cullen has artwork on display at an art exhibition protesting the arms convention. Here’s Cullen’s account of spotting the image:
 

I was checking Instagram to see if any of the DSEI contractors were posting about being behind schedule due to the Stop the Arms Fair blockades and I saw this photo of the UK arms trade pavilion with a giant picture of David Bowie. It really stuck out to have someone like Bowie featured among this festival of violence, and just in really bad taste considering his own recent death.

[...]

I got in touch with the rights-holder of the photograph, the estate of the photographer Duffy, and just hoped to hell they hadn’t given permission for these bastards to use his image. They got back to me the next morning thanking me for bringing it to their attention and saying they had definitely not given permission and they’d been frantically trying to have the photo removed. The Duffy Archive were really on top of it, full credit to them. They finally got hold of a director at Edgar Brothers and the display was taken down straight away due to their complaint. As far as I know, they’re still in discussions as to what the next steps are. I hope the Duffy Archive hammer them for it.

 
One endeavors to imagine the conversation that preceded the construction of the stand:
 

Arms Dealer A: This display is a little bleak. We should make it more about “hope” somehow.
Arms Dealer B: I know! Let’s put in John Lennon! Everybody loves him.
Arms Dealer A: Eeesh, I don’t know. The “Imagine” guy? That might be a little much with him getting shot and all…
Arms Dealer B: How about ... David Bowie then? He died… normal.
Arms Dealer A: I like it. Let’s dance!

 
Andrew Smith of Campaign Against Arms Trade amusingly reminded Bowie fans that the rock star would not have endorsed the activities of Edgar Brothers:
 

DSEI and the UK government may be experts at pushing arms exports, but when it comes to David Bowie they are absolute beginners. The real heroes were protesting outside DSEI, while the scary monsters and super creeps were inside. We need to do all we can to keep the arms fair under pressure.

 
More after the jump…

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Posted by Martin Schneider
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09.18.2017
11:24 am
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