Marijuana use as pictorialized in various issues of Life magazine.
A teenage girl smokes a marijuana ‘reefer’ in New York in June 1953.
A woman buys joints from a dealer at her door in 1955.
Marijuana seeds and other paraphernalia are found in the car of suspect in the front seat in 1952.
More photos after the jump…
A couple of months ago Damon Albarn premiered his new work Dr Dee: An English Opera as part of the Manchester International Festival. As the name would suggest, Dr Dee concerns the life of the Elizabethan mathematician, cartographer and magician John Dee, with original music composed by Albarn (singing and conducting a chamber group live on stage throughout the show). Well, maybe it was because I was so blown away by Bjork’s magical Biophilia show a few days earlier at the festival, but I found the opera to be a massive let down. You can read more of my thoughts on Dr Dee An English Opera here.
One of the main complaints levelled at Albarn’s production was that its oblique nature did nothing to explain the fascinating story of John Dee to an audience unfamiliar with the man. I was lucky enough to have some knowledge in advance and was able to spot some of the key moments in Dee’s life - but even then the narrative felt scrambled and made little use of some incredible source material (namely the man’s incredible life story). That’s despite this promising write up in the MIF’s program:
There was once an Englishman so influential that he defined how we measure years, so quintessential that he lives on in Shakespeare’s words; yet so shrouded in mystery that he’s fallen from the very pages of history itself.
That man was Dr Dee – astrologer, courtier, alchemist, and spy.
Queen Elizabeth’s Magician - John Dee is a 2002 television show produced by the UK’s Channel 4 for their Masters of Darkness series, and tells the man’s incredible story in a much more accessible way. While perhaps not revealing anything that the more avid Dee student wouldn’t already know, the show is informative and entertaining (if slightly cheesy) and serves as a good introduction to the man and his legacy. It’s also a good watch for fans of Alan Moore, who appears throughout the show and talks of Dee’s magical practices and their influence - and the three-note “spooky” sax motif is more memorable than anything in Albarn’s opera:
Previously on DM:
Dr. Dee: sneak preview of new Damon Albarn opera about 16th Century Alchemist
Probably the best documentary ever made about The Clash - Don Letts’ Westway To The World.
Joe Strummer, Mick Jones, Paul Simonon and Nicholas ‘Topper’ Headon give their personal account of The Clash. The interviews are simply shot by Letts, who has mixed the interviews with live footage and rare film, which plays out against the individual memories of triumphs and frustrations. Listen to the emotion in Strummer’s voice when he talks about the band’s demise, or Headon’s humble (and moving) apology for his drug abuse. This is a classic piece of documentary film-making - catch it while you can.
Previously on Dangerous Minds
In 1959, a Polish journalist, Zdzislaw Ornatowski paid a visit to the Russian film studio Mosfilms. He wanted to meet the next generation of film-makers and hear their plans for the forthcoming decade. Amongst those Ornatowski met was a young and ambitious man, who discussed his forthcoming graduate film The Steamtoller and the Violin. Ornatowski was so impressed by this youngster that he made him the focus of his article, “Films of the Young”. In it he interviewed the young film-maker about his intentions for making his diploma film, The Steamroller and the Violin:
“It will be a short-feature film. My original idea was not to use this screenplay for a full-length feature - that would ruin the entire composition. The story in the film is very simple. The action takes place within one day, the dramaturgy is without sharp conflicts, it is non-traditional. Its main characters are a young worker driving a steamroller at a road construction and a young sensitive boy who is learning to play the violin. They become friends. Those two people, so different in every respect, complement and need one another.
“Although it’s dangerous to admit - because one doesn’t know whether the film will be successful - the intent is to make a poetic film. We are basing practically everything on mood, on atmosphere. In my film there has to be the dramaturgy of image, not of literature. I offered the role of the worker to Vladimir Zamyansky, an actor from the youngest and perhaps most interesting theater “Sovremennik.” The little Sasha is played by a seven-year old music school student, Igor Fomchenko. I am very happy with them.”
The young film-maker was Andrei Tarkovsky, and The Steamroller and the Violin was his first film.
Ingmar Bergman once said of Tarkovsky:
“Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”
The Steamroller and the Violin is the first annunciation of Tarkovsky’s “new language”, from its poetic use of mood and atmosphere, to its dreamlike imagery and ending. Co-written with Andrei Konchalovsky, the pair spent 6 months on the script before committing a frame of film. It is a beautiful and memorable film, which tells the story of the unlikely friendship between Sasha, a little boy, and Sergey, the operator of a steamroller.
final part of ‘The Steamroller and the Violin, after the jump…
With thanks to Svetlana Volkova
This is what happens when you hire a tattoo artist with mommy issues.
In psychiatric terms, I think the tattooist is “projecting.”
While mother has taken a turn toward the demonic, dad ends up looking like a lovable drag king.
Via Ugliest Tattoos
The Internet is up in arms over George Lucas tweaking the Star Wars films for the Star Wars: The Complete Saga (Episodes I-VI) Blu-ray box set. Lucas has managed to make Return of the Jedi quite silly with the addition of Darth Vader yelling “Noooooooooooooo!” at the Emperor. Like… why???
So, here’s some comedic relief of Vader’s “Nooooooooooooo!” mixed in with Liam Lynch’s “United States of Whatever.”
(via Nerdcore and Boing Boing )
Yesterday when I posted about the great new France Gall DVD compilation put out by Mod Cinema, I was frustrated because I couldn’t find an embeddable clip of her notorious TV performance of “Les Sucettes.” (“The Lollipops”). Dante at Mod Cinema was kind enough to upload a higher quality version than any that were previously on-line so that I can share it with you here. It’s a doozy.
“Les Sucettes” was written for the virginal, 18-year-old Gall by that arch-lecher himself, Serge Gainsbourg, who wanted to market her as the ultimate French “Lolita” pop star. The song’s lyrics depict a young girl, Annie, who likes aniseed-flavored lollipops:
When the barley sugar
Flavored with anise
Sinks in Annie’s throat,
She is in heaven.
Annie’s aniseed. Think about that for a minute.
Christ, he’s good…
But here’s the thing: France Gall apparently had no idea that she was singing a song about oral sex and swallowing… seed.
When she performed the number on the television program seen in the clip below, she did so oblivious to what every other person present was thinking! It wasn’t until she was on tour in Tokyo that someone let the cat out of the bag. Gall was infuriated and greatly embarrassed by what she’d unwittingly taken part in. She felt betrayed by the adults around her and mocked like a naive fool. She refused to leave her home for weeks afterwards and ultimately stopped singing Gainsbourg’s songs that had made her so famous. For years afterwards her career suffered from her association with this scandal, even if “Les Sucettes” had been a big hit.
Tonight and tomorrw in Los Angeles at Cinefamily: Gainsbourg and His Girls
Previously on Dangerous Minds:
Bongwater: The Power of Pussy
After the jump, a video story about “Les Sucettes” with a rare public comment from France Gall about the scandal.
Evil Mad Science Laboratories has step-by-step instructions (and video) for a DIY Kraftwerk-inspired LED necktie.
The good news is that it’s actually easy to make one. And the starting point? A circuit with nine red LEDs and just the right spacing: our open-source Larson Scanner kit. With minor modifications—a software change and dumping the heavy 2xAA battery pack—it makes a pretty awesome tie. In what follows, we’ll show you how to build your own, complete with video.
(via Nerdcore)
Fantastic portrait series titled “Saints and Sinners” from New York City-based artist—and founder of Dr. Sketchy’s Anti Art School—Molly Crabapple. Each print is available for $80 over at Molly’s website.
More after the jump…
Virginia Woolf put stones in her pocket, left home, and walked out into the River Ouse. It was March 28th 1941.
Drowning isn’t the easiest of deaths, it can take up to 7 minutes. We can pretend and romanticize it as much as we want, but it was not an easy death.
In January 1941, Woolf had dropped into depression, she wrote in her diary:
January 26th 1941
“A battle against depression…I think, of memoir writing. This trough of despair shall not, I swear, engulf me.”
Then 3 weeks before she took her own life:
Sunday March 8th 1941
“I intend no introspection. I mark Henry James’ sentence: observe perpetually. Observe the oncome of age. Observe greed. Observe my own despondency. By that means it becomes serviceable. Or so I hope. I insist upon spending this time to the best advantage. I will go down with my colours flying.”
Woolf fought. Woolf struggled. Woolf lost. Or, rather we lost. In a note to her husband Leonard, she wrote:
Dearest, I feel certain that I am going mad again. I feel we can’t go through another of those terrible times. And I shan’t recover this time. I begin to hear voices, and I can’t concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don’t think two people could have been happier ‘til this terrible disease came. I can’t fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can’t even write this properly. I can’t read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that – everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can’t go on spoiling your life any longer. I don’t think two people could have been happier than we have been. V.
The fear of madness had always been there, and once described her nervous breakdown:
“My own brain -
“Here is the whole nervous breakdown in miniature. We came on Tuesday. Sank into a chair, could scarcely rise; everything insipid; tasteless, colorless. Enormous desire for rest.
“Wednesday - only wish to be alone in the open air. Air delicious - avoided speech; could not read. Thought of my own power of writing with veneration, as of something incredible, belonging to someone else; never again to be enjoyed by me. Mind a blank. Slept in my chair.
“Thursday. No pleasure in life whatsoever; but felt perhaps more attuned to existence. Character and idiosyncrasy as Virginia Woolf completely sunk out. Humble and modest. Difficulty in thinking what to say. Read automatically, like a cow chewing cud. Slept in chair.
“Friday : sense of physical tiredness; but slight activity of the brain. Beginning to take notice. Making one or two plans. No power of phrase-making. Difficulty in writing to Lady Colefax. Saturday (today) much clearer and lighter. Thought I could write, but resisted and found it impossible.
“A desire to read poetry set in on Friday. This brings back a sense of my own individuality. Read some dante and Bridges, without troubling to understand, but got pleasure from them. Now I begin to wish to write notes, but not yet a novel. But today scenes quickening. No ‘making up’ power yet: no desire to cast scenes in my book. Curiosity about literature returning; want to read Dante, Havelock Ellis and Berlioz autobiography; also to make a looking glass with shell frame. These processses have sometimes been spread over weeks.”
Even at its worst, Woolf’s desire for creativity, to create, to write, to survive, never weakened.
Monday October 25th (First day of winter time)
“Why is life so tragic; so like a little strip of pavement over an abyss. I look down; I feel giddy; I wonder how I am ever to walk to the end. But why do I feel this: Now that I say it I don’t feel it. The fire burns; we are going to hear the Beggar’s Opera. Only it lies about me; I can’t keep my eyes shut. It’s a feeling of impotence; of cutting no ice.
Here I sit at Richmond, and like a lantern stood in the middle of a field my light goes up in the darkness. Melancholy diminishes as I write. Why then don’t I write down oftener? Well, one’s vanity forbids. I want to appear a success even to myself. Yet I don’t get to the bottom of it. It’s having no children, living away from friends, failing to write well, spending too much on food, growing old. I think too much of whys and wherefores; too much of myself. I don’t like time to flap around me.
Well, then, work. Yes, but I so soon tire of work - can’t read more than a little, an hour’s writing is enough for me. Out here no one comes in to waste time pleasantly. If they do, I’m cross. The labour of going to London is too great. Nessa’s children grow up, and I can’t have them to tea, or go to the Zoo. Pocket money doesn’t allow of much. Yet I’m persuaded that these are trivial things; it’s life itself, I think sometimes, for us in our generation so tragic - no newspaper placard without its shriek of agony from someone. McSwiney this afternoon and violence in Ireland; or it’ll be the strike.
Unhappiness is everywhere; just beyond the door; or stupidity, which is worse. Still I don’t pluck the nettle out of me. To write Jacob’s Room again will revive my fibres, I feel. Evelyn is due; but I don’t like what I write now. And with it all how happy I am - if it weren’t for my feeling that it’s a strip of pavement over an abyss.
On March 28 2008, Patti Smith read a selection of interpretations from Virginia Woolf’s The Waves, creating an abstract impression of the writer. As Patti explained in an interview with Sean O’Hagan:
‘Virginia wrote The Waves for her brother, Toby. I think that’s part of the reason I chose to read from it. I feel very comfortable in those areas. I feel comfortable with her clawing her insides out to express her grief about her brother. I feel very comfortable when she writes about looking in the mirror and seeing the gaunt, greying face of her dying mother and also feeling strong and OK about that. Maybe that’s why I didn’t come to her work until late in life. I hadn’t gone though enough before to understand what she had to offer as a person and as an artist.’
Patti Smith is “waving to Virginia”, with accompaniment from her daughter, Jesse Smith on piano.
These iconic images of Marilyn Monroe were taken in June 1962, six weeks before her death.
(via Ronny)
John Lennon made three appearances on Not Only… But Also, the mid-1960s BBC sketch comedy show starring Peter Cook and Dudley Moore.
Also seen here is British actor Norman Rossington, who was in A Hard Day’s Night and the first British “New Wave” film Saturday Night and Sunday Morning with Albert Finney. You’ll also catch a glimpse of a young Diahann Carroll at the end.
Our friends at the mighty Mod Cinema have released another of their high quality 2 DVD-set anthologies of French singers. You may recall me posting about their fantastic Françoise Hardy DVD compilation a few months ago, now gorgeous France Gall gets the Mod Cinema treatment:
Although she’s best-known as the pretty, perky teenager who won the 1965 Eurovision Song Contest, French pop singer France Gall has had a much longer and more varied career than that. Although only a cult figure in most of the rest of the world, Gall is a major star and beloved figure in her native country. The psychedelic-era found Gall, under the guidance of Serge Gainsbourg, singing increasingly strange songs, like “Teenie Weenie Boppie” (a bizarre tune about a deadly LSD trip that somehow involves Mick Jagger) set to some of Gainsbourg’s most out-there arrangements. This DVD compiles rare footage of France Gall performing on French & German TV. 79 songs spanning 2-discs including “Teenie Weenie Boppie”, “Bebe requin”, “Les sucettes”, “Avant la bagarre”, “Toi que je veux”, “La vieille fille”, “Computer No.3”, “Baci, Baci, Baci”, “Dancing disco”, as wells as duets with Serge Gainsbourg, Jacques Dutronc, Michel Fugain, Jean-Claude Brialy, Claude Francois, and more!
It’s interesting to note that Walt Disney himself wanted France Gall for a musical adaptation of Alice in Wonderland, but the project was shelved with Uncle Walt’s death in 1966. Bernardo Bertolucci reportedly wanted her for the leading female role in his X-rated Last Tango in Paris opposite Marlon Brando. Can you imagine? No offense to the late Maria Schneider, but it’s too damned bad that didn’t happen!
Order a copy of The France Gall Collection (1964-1979) at Mod Cinema
Also, if you live in Los Angeles, there are still three more screenings of the new Gainsbourg and His Girls documentary at Cinefamily.
Below, France Gall sings Gainsbourg’s “Baci, Baci, Baci” on Musicolor in 1969.
No, not here, in the video…
Cor blimey! David Bowie with a bleedin’ moustache? Even if it’s a fake one, he’s the LAST guy in the world I would have expected to sport facial hair (at least until that regrettable “Tin Machine” era goatee).
Is there a never-ending supply of previously rare David Bowie material out there? Sure seems like it. Here’s the video for “Rubber Band,” the third single from his David Bowie album on Deram Records, 1966. This is, of course, when Bowie was heavily into his twee Anthony Newley phase. Some people don’t like this material. Not me, I find Bowie’s early work absolutely charming and play it often. How I wish there was a video for “The Laughing Gnome.”
Via Bedazzled/Thank you Tony Dicola!
