NY77 The Koolest Year in Hell


by Marc Campbell  in Dangerous Minds

Punk, disco, hip hop, the blackout, Son of Sam, Tony Manero, CBGB, Studio 54, Max’s Kansas City, Show World, Paradise Garage, cocaine, polyester and leather—1977 in New York City was exhilarating, a nightmare, fun, dangerous and never boring. It was the year I arrived in downtown Manhattan with a beautiful woman, no money and a rock and roll band. I hit the streets running and never looked back…unless it was to watch my back.


I was living in the decaying Hotel Earle in the West Village when NYC went black. The power failure of July 13, 1977 knocked the city to its knees. I was sitting on the window sill of my room keeping cool or as cool as one could keep during a sweltering summer night in the city. I was drinking a nice cold beer and listening to the music of the streets when at around 9:30 p.m. everything suddenly went completely dark…and I mean dark, dark as Aleister Crowley’s asshole. It was the strangest fucking thing you could imagine. One moment the city was there, then next it was gone. The only illumination came from automobile headlights lacerating the night like ghostly Ginsu knives. My girlfriend and I clutched hands and felt our way down the stairs and out onto the sidewalk. We walked to Bleecker street in spooky darkness. We weren’t alone. The avenues were teeming with the dazed and confused. Not that unusual for the Village, but the confusion was different. Was the world coming to an end?

By midnight the streets were mobbed with people who had figured out that civilization wasn’t ending, it was on vacation. There was a festive vibe in the air. It was like Mardi Gras for the blind. The bars and pubs that stayed open were candlelit and booze was flowing for free. Refrigerators weren’t working and there was no way to keep perishables from spoiling so instead of facing the prospect of throwing food away some joints were feeding people for free. A few cabbies got into the spirit of things and maneuvered their taxis in such a way as to shine their headlights into the cafes providing diners with surreal mood lighting. It was a prison break theme park. And this wild night was bringing out the best in New Yorkers. But it didn’t last. As the blackout continued through the next day and night, things started to change. The novelty of the crisis wore off and it got ugly. What had started out as a party turned into looting and violence. An unexpected payday for the poor and desperate.

The blackout put the whole gamut of what makes New York marvelous and miserable on display: the “I got your back, brother” slamming into the “fuck you!”

These were times when the city was an unseemly beast, a scabrous, moulting fat rat that was exciting to look at but terrifying. Part of the excitement came from the ever present sense that things could go haywire at any minute. I lived intensely in the moment, acutely aware of everything around me, jacked up in a state of heightened consciousness that was both Zen and manic. Being in the here and now of New York City in 1977 wasn’t a hippie thing, it was survival. And when I got inside the safety zone of Max’s or CBGB, among my tribe, I was ready to get fucked up, to get high, to dance and celebrate.

In the city of night, we went to bed at dawn and rose at dusk. We were vampires before vampires became hip.

NY77: The Coolest Year In Hell is a terrific documentary that captures a pivotal moment in the history of a city and its pop culture. Here’s the whole beautiful mess.








The Brilliant Diary of Mary Rose, Truthteller



authors via Jonathan Marder + Company

By Jessica Willis


What lies at the intersection of the best years of your life, the best writing some of you may ever do, and abject humiliation? Ladies, you already know the answer. Gents, you may only have experience taking a knife to its cheap little lock.

I’m referring, of course, to your diaries.

There is a lot of fun and misery to be had when you crack one open after, say, 30 years of closure, and have a read. That’s some good shit right there.

“I wish I had a dick, so I could tell the world to suck it,” is one of co-editor Legs McNeil’s favorite lines in Dear Nobody: The True Diary of Mary Rose (Sourcebooks), the new book under discussion today with McNeill and co-editor Gillian McCain.

Perhaps the modern batch of teen solipsists will quit the microblogging and go longhand, for a change.

A diary can equal some dollar signs, if you’re so inclined. There’s Lesley Arfin’s Dear Diary from 2007. In it, she looks up the players who starred in her entries during her ‘tweens to twenties and tries to find out what they remember. The original entries and the updates play side by side in her book. Doesn’t that kind of pervert the purity of the diary, though?

Diaries don’t even have to be real in order to sell. They just have to reek of a lurid tell-all. When I was devouring the classic Go Ask Alice back in my wasteoid salad days, I assumed the entries from a nameless good girl gone way bad in the late 1960s were all real. It turns out the author (billed as Anonymous on the book cover) was a novelist named Beatrice Sparks. Knowing this now turns the diary writer’s death by O.D. at the end of the novel into a cheesy cautionary tale: One more “drugs are bad” rant.

Good thing I had my own real diary going, where the drugs were very, very bad indeed. That is, when they weren’t being gooood.

An addict without a diary is sorry indeed. For the junkie and boozer who cheats death every day and gets amnesia almost as soon as anything happens, the diary is a way to remember – or to rewrite history, if the first version didn’t suit you.

It’s also a message to whomever – or whatever – follows in the wake of your certain death.

Which brings us back to Dear Nobody: The True Diary of Mary Rose, a teenage girl’s collection of diary entries written in the late ’90s. Unlike Go Ask Alice, the entries are real; unlike Arfin’s Dear Diary, the entries stand alone without the author’s present-day meddling.

Mary Rose couldn’t meddle even if she wanted to. She died of cystic fibrosis when she was 17. As she journaled, she knew the disease would eventually kill her. And if the cystic fibrosis didn’t get her, her boozing and drugging – including heroin – may have finished the job. According to McNeil, Mary Rose didn’t bother sobering up because she knew she didn’t have long to live. Her illness “makes it kind of moot,” he says. “‘Oh, you should stay sober, you shouldn’t do drugs.’ Why? Why not.”



Mary Rose owes a lot of her style to McNeil, who co-founded Punk, the seminal ’70s magazine dedicated to soft-spoken, marginalized people who make loud music; he was also a founding editor at Spin and currently writes for Vice. She also owes a debt to McCain, the New York-based writer and poet who was at one time the president of The Poetry Project. The duo’s Please Kill Me: The Uncensored Oral History of Punk is unarguably the definitive book about the culture of Punk.

Which turned out to be one of Mary Rose’s favorite books. This isn’t surprising; the spirit of Please Kill Me’s players in the seminal days of punk – by turns sweet and nihilistic – is mirrored in Mary Rose. Her writing has a gleeful “I don’t give a fuck” mentality without any preachy overtones.

“What I found remarkable about Mary Rose was that she knew she was an alcoholic and drug addict at such a young age and she wasn’t in denial about it,” McCain says. “I think that’s pretty rare.”

No, Mary Rose wasn’t in denial, and she was very funny about it. “My life has become a dormant haze of boredom and bad hygiene,” she writes at one point. In that one sentence, she captures all of the squalor of being young and fucked up.

One facet of Dear Nobody‘s inception is that while McNeil has an affinity for much of this material, his partner in crime McCain is coming from a somewhat more prosaic perspective. “Legs has had a much more wild past than me,” she says about the process of co-editing Please Kill Me and, perhaps, of their current project. “And [he has] first-hand experience with addiction. But i think it was beneficial to have someone who hadn’t been ‘there’ at the time to partner in the book. He was the seasoned professional who had lived the life, I was more like the wide-eyed girl who moved to the city in order to meet all of these people. And to write a book like this!”

Dear Nobody could have been consigned to the closet or the couch if McNeil hadn’t asked his postmaster’s daughter what she had been reading lately.

“She listed the popular titles of the day but then she said ‘but the best thing I’ve ever read were these diaries that my best friend’s older sister wrote,’” he says.

McNeil and McCain began reading the diaries and they were enthralled. Working with Mary Rose’s piles of spiral bound notebooks – filled with 600-plus pages of short stories, schoolwork, poetry, and diary entries – they edited the work down to 330 pages of teen joy and misery compressed: abuse, pleasure, fighting with her mother, being wasted, coming to terms with the reality that, in her words: “I will never be the happy, healthy girl with the nice boyfriend and the perfect home. This is my reality … I awake to the bitter veneration of nauseating medicine as the taste of a ‘treatment’ fills my mouth and lungs.”

“You could really see her experimenting and trying to become a better and better writer,” McCain says.

Would Mary Rose have wanted her diary to reach the public? McCain thinks Mary Rose would be tickled by it.

“She was such an extrovert,” McNeil adds. “She liked having all the attention.”

It’s true; at the end, Mary Rose writes that she hopes her death is mourned with honor and respect. She doesn’t want to be forgotten.

Or, as she whiplashed between the poles of love/hate about a boyfriend: “God I love him. It’s just like every once in a while, he’ll say something really brilliant and pretty … [t]hen he’ll say something really stupid and I’ll think he’s fucking retarded.” And her parting salvo to him, shortly before her death: “You’re a loser and a dickhead fag asshole. There is no life after Mary Rose. You’ll be sorry babe. Goodbye.”

And yet this is the same girl who could write “I’ve just got to remember to be nice and warm-hearted in my overall relations to people.” But of course.


Dear Nobody is being marketed to a young adult audience; this is a population that doesn’t get a great deal of non-fiction. Or they get something that looks like a memoir, like Go Ask Alice. It’s a “convoluted” terrain, McCain points out: some readers don’t know the difference between fiction and nonfiction.

So when Dear Nobody drops into a kid’s grimy hands, what will happen? Will this be the book that sends the kid down the vodka and heroin highway? The book that doesn’t glamorize addiction and abuse -but still makes partying in the woods, and being incoherent and angst-ridden, seem like the best solutions to the problems at hand.

“I think for parents who actually talk to their kids, this book is a great conversation starter. For parents who don’t talk to their kids this is going to be a time bomb,” McNeil says.

He didn’t think Dear Nobody would send anyone down a path they hadn’t already chosen.

“If kids are going to get fucked up and get high they’re going to find an excuse,” he says. “It’s like people who went and read Burroughs so they could do heroin. And all the people who read Bukowski who wanted to go drink. I think the kids that are not gonna get high are not gonna get high from reading this book. And the kids that are gonna get high – who have the genetic predisposition for alcoholism and addiction – will get high, sure.”

However, a good drug book may be found, not coincidentally, at the bedside of a dead addict.

“People died from heroin overdoses [while] reading Please Kill Me,” McNeil informs, adding that he believes Smashing Pumpkins keyboardist Jonathan Melvoin was reading the newly released book when he died of a heroin overdose in 1996.

Every generation needs its Go Ask Alice. Hopefully Mary Rose, with her big loopy girly handwriting (“she almost had hearts over the “is” but didn’t,” McCain says) and her sweet spirit in a damaged body will speak to a new generation of addicts, near-misses, or teen addicts-to-be. Perhaps the modern batch of teen solipsists will quit the microblogging and go longhand, for a change.

“Maybe this will spur other kids on to keep old-fashioned journals,” McCain says.

Along with Go Ask Alice, maybe Dear Nobody will be a Naked Lunch or Fear and Loathing for some other unsuspecting slob: It will be the book that sent you on your junkie boozer way. The manifesto for a very different and dirtier way of life. Perhaps it will be like Please Kill Me was for Mary Rose and so many of us.

“You surround yourself with things that make you happy,” McNeil says. “And if heroin makes you happy, then you surround yourself with Please Kill Me, you know?”

Jessica Willis, a former editor at Time Out New York, has written for the New York Press, New York Times and Black Book among others.



17 Awesome Photos That Captured CBGB’s Iconic 1970s Punk Scene

BUZZFEED posted these great pictures by photographer David Godlis who was one of the primary documentarians of CBGB’s punk/new wave music scene throughout the mid to late ’70s. He recently launched a Kickstarter campaign in hopes of publishing a photography book dedicated solely to the iconic people and images he captured from that time period.

17 Awesome Photos That Captured CBGB’s Iconic 1970s Punk Scene

The legendary New York club has been to referred to as the “dank incubator” of some of the most influential bands of all time. 

1. Outside shot of CBGB, which was located near the intersection of Bowery and Bleecker in New York’s East Village.

1. Outside shot of CBGB, which was located near the intersection of Bowery and Bleecker in New York’s East Village.

2. The club’s owner, Hilly Kristal, stands outside among the crowd waiting to get in (1977).

2. The club’s owner, Hilly Kristal, stands outside among the crowd waiting to get in (1977).

3. Patti Smith, one of the first artists booked to play the club when it opened, arriving (1976).

3. Patti Smith, one of the first artists booked to play the club when it opened, arriving (1976).

4. Sylvia Morales (who would go on to marry Lou Reed) and downtown scenester/ Mudd Club co-founder Anya Phillips strike a pose (1977).

4. Sylvia Morales (who would go on to marry Lou Reed) and downtown scenester Mudd Club co-founder Anya Phillips strike a pose (1977).

5. Psychobilly/Garage punk band The Cramps standing outside the club (1977).

5. Garage punk band The Cramps standing outside the club (1977).


6. Music journalist Lester Bangs (1977).

6. Music journalist Lester Bangs (1977).

7. Singer-songwriter Alex Chilton (1977).

7. Singer-songwriter Alex Chilton (1977).

8. Patti Smith performing with the Patti Smith Group (1977).

8. Patti Smith performing with the Patti Smith Group (1977).

9. Punk innovator Richard Hell performing (1978).

9. Punk innovator Richard Hell performing (1978).

10. The infamous bathroom stalls (1976).


10. The infamous bathroom stalls (1976).


11. Punk magazine co-founder Legs McNeil enjoying (?) a drink.



12. The Talking Heads performing (1977).

12. The Talking Heads performing (1977).

13. Blondie performing (1977).

13. Blondie performing (1977).


14. Richard Manitoba, lead singer of the Dictators, and a friend stand beneath the awning of the club.

14. Richard Manitoba, lead singer of the Dictators, and a friend stand beneath the awning of the club.


15. No wavers (which was a short-lived subculture for people who rejected the new wave music/art movement), waiting outside the club (1978).

15. No wavers (which was a short-lived subculture for people who rejected the new wave musicart movement), waiting outside the club (1978).


16. Dee Dee and Joey of the Ramones arriving at the club (1977).

16. Dee Dee and Joey of the Ramones arriving at the club (1977).


17. The Ramones, who are arguably one of the artists most closely associated with the CBGB, performing (1977).

17. The Ramones, who are arguably one of the artists most closely associated with the CBGB, performing (1977).



And a little extra to end it well…Bowery 4 am, 1977

garbage truck



 ALL PHOTOS BY DAVID GODLIS !! ! ViISIT HIS KICKSTARTER PAGE  before October 1st PLZ!  (click on logo!)


REVOLUTION 1968 in San Franscisco


Title: Revolution (1968)
Release Date: 1 July 1968 (USA)
Produced & Directed & written by Jack O’Connell
Co-Written with Norman Martin
Music by Various artists

Primarily filmed in the Hippie Hill and Panhandle areas of Golden Gate Park, this “60s San Francisco Hippie Scene” documentary features interviews with those who call themselves hippies, or identify with hippies. The counter-culture is revealed in discussions about sex, drugs, philosophy and lifestyle. Casual sex and marijuana use is the main activity of one group. A nun who has left the order reveals her decisions to join the counterculture. Others decry the dehumanization of the modern industrial world. Communal living, psychedelic light shows, love-ins and diverse fashion statements accompany the hippies. Discussions about the liberating effects of LSD and being a free spirit.


Although most interviewees are not named some of them have been identified, such as Kurt Hirschhorn, Frank Jordan, Cecil Williams and Herb Caen. Daria Halprin appears nude in the film as herself.

The soundtrack features Ace of Cups, Country Joe and the Fish, Steve Miller Band, Quicksilver Messenger Service, Mother Earth, and Dan Hicks.

Jack O’Connell would go on to direct Swedish Fly Girls (1971)

REVOLUTION (1968) was subsequently revived with added reminiscences filmed in 1986 and released in 1996“The Haight, Yesterday and Today / Ex-hippie recalls starring role in documentary” article by PETER STACK, Chronicle Staff Writer Published Monday, July 1, 1996.  It was a sequel made to check up on Today Malone and see where those hippies are now, it’s called THE HIPPIE REVOLUTION, from 1996. Avoid it! Who wants to see a flower child get old? If you must witness such tragedy, check out my tale of time traveling psychedelic gumshoes and the desire to return to that high water mark when LSD almost changed the entire world overnight for the better — HIPPY IN A HELLBASKET.*

*Taken from Acidemic; Bouncer at the Gates of Love: REVOLUTION (1968) Monday, June 13, 2011


Other Hollywood Uncensored Oral History of the Porn Film Industry

The Other Hollywood Uncensored Oral History of the Porn Film Industry 


by Legs McNeal and Jennifer Osborne with Peter pavia

 This compulsively readable book perfectly captures the pop culture zeitgeist. It doesn’t hurt that the history of American pornography is inextricably intertwined with all the subjects that captivate us: sex, drugs, beauty, fame, money, the Mafia, law enforcement and violence. McNeil (Please Kill Me ) focuses on the industry’s dark underbelly: suicide (Savannah), fratricide (the Mitchell brothers), Mafia hits (John Gotti whacked Robert DiBernardo, the mob’s point man in the porn business) and gangland slayings (John Holmes). But beyond the scintillating subject, it’s McNeil’s skillful technique that elevates this oral history, coauthored by journalists Osborne and Pavia, above the tedium of a courtroom transcript. Most chapters contain multiple story lines, which McNeil cleverly weaves together by the end. And the book’s two most fascinating stories—about the making of Deep Throat and the Traci Lords child pornography case—involve unreliable narrators, which gives them a Rashomon -like quality. In the case of Deep Throat , the movie that catapulted hardcore pornography into the mainstream, its star, Linda Lovelace, claims she was forced to perform in the movie, though everyone else connected to the film contradicts her. As for Lords, her detractors make a compelling argument that far from being the victim she portrays herself to be in her book, she deceived the industry about her age so she could make a fortune and leverage her sob story into a mainstream Hollywood career. Whether recounting high-profile scandals or answering trivia about the origins of porn films and lap dancing, this is a relentlessly gripping read.







 Charles Burns Exhibition at SPX, This September 13 & 14

Mark Frauenfelder at 1:57 pm Mon, Sep 8, 2014

boing boing

The great Charles Burns will exhibit his art this weekend at SPX in Maryland, and Pigeon Press will have a signed print for sale there.

Charles Burns will at the Pigeon Press table (W 51-52) throughout the weekend. We’ll have advanced copies of Sugar Skull, the final volume of the Nit Nit trilogy (X’ed Out, The Hive – for sale along with many other rare out of print books from the artist. Come early and be the first to get this book!

**The first 200 copies of Sugar Skull sold will include a limited-edition signed and numbered Gicleé printed bookplate made especially for SPX along with a Pantheon Books​ promotional Nit Nit mask (while supplies last)**

Burns will be on 2 panels during the weekend:

  1. SAT — Alt-Weekly Comics Roundtable — Noon – 1:00pm (White Oak Room)

  2. SUN — Charles Burns Spotlight/Q + A — 2:00 – 3:00pm (White Oak Room)



Limited-Edition bookplate for SPX 2014 advanced copies!!!!


Beat Punks: A Brief History of the Counterculture from William S. Burroughs to Kurt Cobain | Imperium Pictures

An interview with Victor Bockris on his book Beat Punks

by Phil Weaver

Bull Will.

I’m a huge fan of Victor Bockris’ book Beat Punks, a collection of interviews and photographs documenting the relationship between the Beat generation and the punk movement in the 1970s downtown New York scene. The book does a great job of illustrating the cross-pollination of two generations (’50s Beats and ’70s punks) that resulted in one of the most extraordinary cultural flowerings of the 20th century. I recently talked to Bockris about some of the ideas behind the book, and I was pleased to hear he’s about to begin work on a follow up with interlinking prose. He didn’t want to give away too much about the forthcoming book, so I proposed a general interview on the history of the counterculture’s clashes with the establishment in the mid-to-late 20th century. Burroughs was the through-line in a cultural revolution that began in the ’50s with the Beats, blossomed in the psychedelic explosion of the late ’60s, peaked in the ’70s with the Beat-Punk fusion, burned out in the neoconservative revolution of the ’80s and was briefly revived by Kurt Cobain and the alternative wave of the early ’90s. Throughout this era many of the leading figures of the counterculture found themselves the targets of harassment and campaigns of repression, yet they still managed to produce some of their best work. I wanted to trace this multigenerational struggle for the liberation of the human spirit with the great author and raconteur Victor Bockris, biographer of William S. Burroughs, Andy Warhol and Keith Richards, and the man dubbed the “poet laureate of the underground.”

PHIL WEAVER: Describe the counterculture’s confrontation with LBJ.

VICTOR BOCKRIS: Key point: the counterculture changed dramatically in 1965. Before then it had been populated by a relatively small, international collection of avant-garde artists in every form, left-wing political activists, civil rights activists, academics and members of the clergy. With the appearance of the electric Dylan and semi-radical songs by the Beatles and the Stones (“Satisfaction”), an enormous new group became countercultural enthusiasts overnight: college students listening to Simon and Garfunkel, and high school long hairs known as folkies now folk rockers. Consequently, demonstrators grew in numbers of younger enthusiastic girls and boys. Johnson had been popular in 1964, even into ’65, but he was forced into supporting the Vietnam war to a ridiculous extent. The brutal, burning napalm dropped on the civilian population, and the well-oiled anti-war machine did a good job of dramatizing the suffering of women and children. Johnson was a far superior President than Kennedy, but his classically Stetson-hatted good old boy image was easy to turn into a bogeyman.

Lyndon Johnson and John F. Kennedy

By 1966 the demonstrators rarely gave him any peace. Their “Hey hey LBJ, how many kids did you kill today?” chant wafted into the White House from Lafayette Park across the street. Every time he left or came back they were always there. In his mind, they became the voice of the youth. He had been a rebellious youth himself, and it began to drive him nuts. This was greatly exacerbated by his fear that the country really wanted another Kennedy in the White House and the seething hatred of Robert Kennedy. The irony was that the arrogant Kennedy brothers were incapable of getting any bills passed, because they did not know how the Congress really operated, where Johnson was a master politician – probably the best we’ve ever had as President. Johnson tried to explain how the Senate worked, but Kennedy just didn’t want to hear anything from that “old galoot.” That kind of name calling might be funny in high school – not when you’re running the country (and too busy fucking badly to pay attention). Think of how successful the Kennedy administration could have been if they’d used Johnson like a cruise missile. This is a naive thing to say, but if memory serves this is one of the corners of history where the truth was of no importance – image took over. This initially benefited the counterculture. When Johnson refused to run for President in 1968, he later wrote that the hawks of war on his right and the anti-war demonstrators on his left gave him no room to further contribute to the well-being of the nation. It is shocking (does that word still exist?) to see only recently the outpouring of reverence for John Kennedy, despite everything written about him since his death, while Johnson fades in the nation’s memory. This embracing of huge lies is what allows us Americans to go on supporting just the kind of atrocities by our nation we fought so hard to erase in World War II. Bombs, genocide and unbelievable lies shower down upon us daily. It seems that we live in an increasingly immoral nation. Where is the peace movement? Where are the heroes who stood up against all the power of the United States to reveal the elements of control? People like William Burroughs and Andy Warhol. People like Muhammad Ali, who turned his back on many millions and almost destroyed his life by standing up against the war machine when everybody told him he was crazy?

Andy Warhol and Muhammad Ali

That’s only to mention the world famous. But this is what happens, I believe, when the education system writes the counterculture out of existence. Does anyone remember that it was the first time in history that an international population of a non-military people, with no political or religious base, played an unquestionable role in changing the way we live by bringing down one American President and creating an atmosphere in which the next was driven from office? Also, please note the appropriation of many of the counterculture’s key practices, which have been manipulated into today’s mainstream. Any humanist interested in the well-being of our nation’s history could see the counterculture as one of the greatest, most imaginative, most nurturing contributions we have ever made to the world. The media always finds violence – often created by the media itself – to undercut the best things about this country. New York Punk was not a violent movement, it was very loving, but once one Yobo, (in persona of poor dumb manipulated Sid Vicious) believed he had murdered his murdered girlfriend, punk was all about violence.

Sid Vicious arrest

Change is always dangerous for its agents, but anyone who watched the carefully managed police and FBI undercover riots in Chicago must find it hilarious to see the peace movement turned into Sodom and Gomorrah, when the shoe was really on the other foot. We still live with the extraordinary conflict of the Catholic Church threatening endless pain to those advocating the joys of love from behind a logo of a guy nailed to a piece of wood. My favorite example of robbing the beautiful truth from the population was, and still is maybe, the image of Jack Kerouac, who wrote the most loving, tender and exemplary celebrations of the beauty of America, being hounded to death by the establishment. America is a beautiful place, but it’s hard to see sometimes because of the waters of slaughter.

Jack Kerouac. Photo by Allen Ginsberg.

WEAVER: Can you talk a bit about William Burroughs’ clashes with the establishment in the 1970s?

BOCKRIS: Bill was very active in the early 1970s; he was still living in London. He published The JobThe Wild BoysThe Last Words of Dutch SchultzExterminatorand Port of Saints. Of these books The Job is the most political. In terms of clashes with the establishment, everything he wrote and said in interviews continued his attempt to reveal their attempt to control the population. But to be specific, you have to look at the reaction to him in different countries. In England he was protected by his relationship with Lord Goodman, a powerful behind the scenes financial lawyer for many powerful government figures.

Lord Goodman

He did not have such connections in New York, but after trying to move back there in 1965, and again in 1972, he had been threatened by the police who were trying to set him up for a bust. By the time he did return, the fall of Nixon had turned him into a prophet, and he was embraced as a king returned from exile. So I think he avoided any particularly overt confrontation during the 1970s, due to his desire to find a new life and continue writing.

Jean Genet, William S. Burroughs and Allen Ginsberg march in Chicago 1968

His clash with authority came in more subtle ways than marching in the streets as he had in Chicago in 1968. His “Time of the Assassins” columns in the rock magCrawdaddy! would have been read by teenagers and college students, and his appearance at the many readings he gave across the country would have been very influential.

Burroughs' "Time of the Assassins" column in Crawdaddy! magazine

He was also interviewed by the still existing underground press. The name Burroughs was a clash with the establishment. When I knew him in the late seventies he was virulently critical of U.S. foreign policy, but I recall him definitely not wanting to draw attention to himself in public.

WEAVER: Describe the relationship between William Burroughs and the punks. 

BOCKRIS: Burroughs’ relationship with the punks was, as I see it, a vital connection which drew attention to the vitality of his writing. This happened on two levels. First Patti Smith and Richard Hell were both Burroughs fans before he moved back here. She was the first to note his presence.

Patti Smith and William S. Burroughs

The Nova Convention was the big turning point in terms of his recognition, the first time he brought together several new subcultures based in the punk ethos. Then over 1977-1982 I introduced him to Lou Reed, Blondie and The Clash among others; they were thrilled to meet him. He appreciated their interest and enjoyed their company. They were his children.

William S. Burroughs and Joe Strummer

However, there was a strange disconnect. Every beautiful punk girl I knew had a copy of Junkie on their table, but they were all taking heroin. It was like they had not understood the book, which was an indictment of being a junkie. It had nothing to do with Bill that a 24/7 heroin supermarket protected by the police suddenly emerged blocks from CBGB’s, but there were bags called Dr Nova. Heroin decimated the New York punks. When he made all those spoken word records, a number of punks contributed. Burroughs’ profile grew considerably during the 1970s. The support of punk, and his inclusion in the punk press, had a lot to do with it.

Timothy Leary, William S. Burroughs, Les Levine, Brion Gysin and Robert Anton Wilson at the Nov

WEAVER: In what ways was the punk rock ethos inspired by the Beats?

BOCKRIS: The New York punks came out of the same ethos as the Beats. I can only speak for the New York punks. That is to say, there were three generations of American artists operating under the umbrella of a shared reaction to WWII (for civil rights against genocide and the bomb): the Beats (1950s); the artists of the ’60s personified by Warhol (including the Rolling Stones, Goddard and Truffaut, Antonioni etc); and the Punks of the 1970s, with the whole thing coalescing in the late seventies.

Andy Warhol

I mean, Elvis was punk; Lennon was punk; Richards, Dylan, Reed were all punks. Punk is Beat speeded up, like the Stones are Chuck Berry speeded up. Blondie, Patti Smith, Television, later Richard Hell, Iggy Pop and on and on were all influenced by Rimbaud and Celine and the surrealists and comic books – just like the Beats.

Arthur Rimbaud

They were all influenced by Warhol. The difference between Lennon and Richards, and NY punk was the Warhol influence. My book Beat Punks should have been called Beat Warhol Punks, it just doesn’t read so well.

Debbie Harry and Andy Warhol

WEAVER: Describe some of the tactics the establishment used to repress the counterculture in the 1970s.

BOCKRIS: Nixon’s administration targeted the counterculture from both ends. They put the IRS on famous counterculture artists like Warhol, Mailer, etc. They hounded Terry Southern, a great writer (author of CandyDr. Strangelove and Red Dirt Marijuana), nearly to death.


Warhol was audited every year until his death. The IRS were vicious. Meanwhile the FBI infiltrated the yippies and hippies and caused riots at demonstrations by manufacturing violence. They also sowed rumors like Allen Ginsberg was an FBI snitch. The overall effect was to bring the counterculture to its knees by 1973. Groups like the Stones, Lennon and Dylan rose above the corruption and carried the flag. Burroughs’ return to New York in 1974 took on a larger importance just because he returned to take his rightful place as the King of the Counterculture on the fall of that great yahoo demon, “Tricky Dick” Nixon.

William S. Burroughs

In fact, 1974 was a great year for the counterculture: Ginsberg won a National Book Award for The Fall of America (poems); Ali regained the World Heavyweight Crown he lost in 1967 after refusing to be drafted; Warhol won an MLA Award and moved to a new upscale Factory. In 1975 he published The Philosophy of Andy Warhol. If you pause to ask, who else could have used such a title and been taken seriously by the New York Times, you can gauge a sense of how far the counterculture had come. Don’t forget this was a worldwide movement, so these American artists were being given credence as the leaders of the new way of life that would find its terrible climax in 1983.

William Burroughs and Andy Warhol have chicken fried steak at the Chelsea Hotel as Victor Bockris narrates. Segment from BBC Arena documentary, Chelsea Hotel.

WEAVER: Describe WSB’s involvement with magick. Did he use it against the establishment?

BOCKRIS: Bill’s involvement with magic dates back to the time he spent in Paris with Brion Gysin. Read The Beat Hotel by my favorite writer Barry Miles, or pick up his brand new bio Call Me Burroughs. It’s great. In “The Electronic Revolution” (essay in The Job) Burroughs explains the ways he used the tape recorder to change reality. I remember one night he read from the Necronomicon in an attempt to call up Humwawa, but several people there were on verge of flipping out so he canceled it. They really thought Humwawa was gonna sweep them away! Bill believed in magic. He certainly practiced magic everyday. To him writing was a magic act.

Brion Gysin, William S. Burroughs and The Dream Machine

WEAVER: What effect did the Reagan-era 1980s have on the counterculture?

BOCKRIS: The counterculture in New York was delivered a knockout blow by the combination of the heroin epidemic and AIDS in 1983-1985, which I consider to be the end of the counterculture as we had lived it.

Victor Bockris at the Chelsea Hotel, 2005. Photo by Phil Weaver.

Of course, Reagan was the great yahoo, but I think the counterculture was too exhausted to confront him, as they had President Johnson. There’s much more to that. Reagan oversaw the great theft of the rich that changed the way America operates. He was a murdering corpse, a kind of Edgar Allan Poe version of Howdy Doody. I remember Burroughs telling me in 1991 that we were looking at a very grim decade. He was always much more aware than most of us of what was really happening.

Kurt Cobain's high school drawing of Ronald Reagan

WEAVER: In what ways did Kurt Cobain revitalize the “Beat Punk” ethos?

BOCKRIS: Kurt Cobain’s image revitalized the Beat Punk Ethos:

1. Because his real being suffered as a result of the straight world, and his music and words like “Rape Me” were consequently a universal howl of rage, which captured the attention of teenagers around the world.

Kurt Cobain in 1991. Photo by Charles Peterson.

2.  His awareness of Burroughs and desire to collaborate with him were similar to Patti Smith’s homage to Burroughs in 1974. Cobain became the agent of Beat Punk continuity who connected his generation to the Beats. Mind you, there were many other musicians, filmmakers, writers doing the same. By 1995 the U.S. literary establishment recognized the Beats far more widely and positively than ever before. There was a great revival of Kerouac in 1995. All his books are now in print and sell. College reading lists are not complete without at the least Burroughs, Ginsberg and Kerouac. I think it’s pretty much established by now that the Beats began the whole cultural revolution of the late ’50s to early ’80s. Burroughs had his vision of a love generation in 1958.

Kurt Cobain and William S. Burroughs

Each decade seems to have a pivotal celebrity death which becomes a turning point and an international gathering place. I remember John Belushi’s death in 1982 was heard in New York, and around the world, as the shot that announced the beginning of the end of the counterculture.

John Belushi

I remember Kurt Cobain’s death a decade later was eerily similar, the difference was that there was no deep audience for it, there was no counterculture to pick it up. So the question is what happens then? When the young civil rights worker Medgar Evers got murdered in the 1960s, his death catalyzed the people to rise up. When Brian Jones was found dead in his badass swimming pool at midnight (a great fantasy) in 1969, it made the Rolling Stones the most pain-stained suffering band, at a time in America (early seventies) when the more pain you were in, the cooler you were.

Brian Jones

I called Burroughs when Cobain died, and it turned out we were both in the middle of reading a short, recently published mass paperback bio of Kurt, which I still have. Bill chuckled in a Burroughsian manner and said he thought it was pretty good. Bill used to get really upset when certain special people he would meet in relation to his work died. He would recognize them.

Victor Bockris and William S. Burroughs

Of course Kurt Cobain was a Beat Punk. I knew many people who had stopped following the latest music in 1991-1992, but they all had Nirvana’s first LP. And we all got it; you didn’t have to say anything about it it was totally accepted as part of us.

Kurt Cobain

So Kurt Cobain broke through the surface with his music and his band, but he also spoke loudly with his songs. I’ll never forget hearing him sing “Rape Me” over and over again in the subway, in the streets, on the radio, in the deli, in the cab, “Rape Meeeeee, Raaape mee!” I thought it was so brave.

He backed those songs up with his body and his behavior. Cobain was one of those stars (like James Dean) who can almost play their way into your intuition.

James Dean

Everything he did was a confrontation with the establishment.

Most rockstars do that from the comfort of protection. You felt Cobain was never protected. He was so drawn, he got to look like he was bleeding on the cross. That’s how far he got. Seems like Jesus Cobain crossed a line… oh Lord, where is this taking me?


Interject: Could the above description of Cobain be applied too William Burroughs? No. They each had their own trips. Cobain’s life was the most vivid line of connection to the beat punk movement at the time, but people did not make as much as they could out of it. Sid Vicious got a film and endless fucked up books celebrating his stupidity. There is also a beat punk connection between Sid and Kurt. They both received the same out pouring of pain from all those little girls chasing them in their black mini-skirts.




“Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant. . . .
History is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened.
My central memory of that time seems to hang on one or five or maybe forty nights—or very early mornings—when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder’s jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . .
There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .
And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .
So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.”

Favorite Quotes by H.S. Thompson:

-The hippies , who had never really believed they were the wave of the future anyway, saw the election results as brutal confirmation of the futility of fighting the establishment on its own terms. There had to be a whole new scene, they said, and the only way to do it was to make the big move — either figuratively or literally — from Berkeley to the Haight-Ashbury, from pragmatism to mysticism, from politics to dope… The thrust is no longer for “change” or “progress” or “revolution,” but merely to escape, to live on the far perimeter of a world that might have been.

-Myths and legends die hard in America. We love them for the extra dimension they provide, the illusion of near-infinite possibility to erase the narrow confines of most men’s reality. Weird heroes and mould-breaking champions exist as living proof to those who need it that the tyranny of ‘the rat race’ is not yet final.

-Bush is a natural-born loser with a filthy-rich daddy who pimped his son out to rich oil-mongers. He hates music football and sex, in no particular order, and he is no fun at all.


-There are times, however, and this is one of them, when even being right feels wrong. What do you say, for instance, about a generation that has been taught that rain is poison and sex is death? If making love might be fatal and if a cool spring breeze on any summer afternoon can turn a crystal blue lake into a puddle of black poison right in front of your eyes, there is not much left except TV and relentless masturbation. It’s a strange world. Some people get rich and others eat shit and die. Who knows? If there is in fact, a heaven and a hell, all we know for sure is that hell will be a viciously overcrowded version of Phoenix — a clean well lighted place full of sunshine and bromides and fast cars where almost everybody seems vaguely happy, except those who know in their hearts what is missing… And being driven slowly and quietly into the kind of terminal craziness that comes with finally understanding that the one thing you want is not there. Missing. Back-ordered. No tengo. Vaya con dios. Grow up! Small is better. Take what you can get…

-Maybe there is no Heaven. Or maybe this is all pure gibberish — a product of the demented imagination of a lazy drunken hillbilly with a heart full of hate who has found a way to live out where the real winds blow — to sleep late, have fun, get wild, drink whisky, and drive fast on empty streets with nothing in mind except falling in love and not getting arrested…

-Like most of the others, I was a seeker, a mover, a malcontent, and at times a stupid hell-raiser. I was never idle long enough to do much thinking, but I felt somehow that my instincts were right. I shared a vagrant optimism that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. At the same time, I shared a dark suspicion that the life we were leading was a lost cause, that we were all actors, kidding ourselves along on a senseless odyssey. It was the tension between these two poles – a restless idealism on one hand and a sense of impending doom on the other – that kept me going.


-But with the throttle screwed on, there is only the barest margin, and no room at all for mistakes. It has to be done right… and that’s when the strange music starts, when you stretch your luck so far that fear becomes exhilaration and vibrates along your arms. You can barely see at a hundred; the tears blow back so fast that they vaporize before they get to your ears. The only sounds are the wind and a dull roar floating back from the mufflers. You watch the white line and try to lean with it… howling through a turn to the right, then to the left, and down the long hill to Pacifica… letting off now, watching for cops, but only until the next dark stretch and another few seconds on the edge… The Edge… There is no honest way to explain it because the only people who really know where it is are the ones who have gone over. The others- the living- are those who pushed their luck as far as they felt they could handle it, and then pulled back, or slowed down, or did whatever they had to when it came time to choose between Now and Later. But the edge is still Out there. Or maybe it’s In. The association of motorcycles and LSD is no accident of publicity. They are both a means to an end, to the place of definitions.

-But speaking of rules, you’ve been arrested dozens of times in your life. Specific incidents aside, what’s common to these run-ins? Where do you stand vis-à-vis the law?
“Goddammit. Yeah, I have. First, there’s a huge difference between being arrested and being guilty. Second, see, the law changes and I don’t. How I stand vis-à-vis the law at any given moment depends on the law. The law can change from state to state, from nation to nation, from city to city. I guess I have to go by a higher law. How’s that? Yeah, I consider myself a road man for the lords of karma.”

-America… just a nation of two hundred million used car salesmen with all the money we need to buy guns and no qualms about killing anybody else in the world who tries to make us uncomfortable.Hunter_S._Thompson_graffiti_1

-Going to trial with a lawyer who considers your whole life-style a Crime in Progress is not a happy prospect.

-In a closed society where everybody’s guilty, the only crime is getting caught. In a world of thieves, the only final sin is stupidity.

-The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason.

-A man who has blown all his options can’t afford the luxury of changing his ways. He has to capitalize on whatever he has left, and he can’t afford to admit — no matter how often he’s reminded of it — that every day of his life takes him farther and farther down a blind alley… Very few toads in this world are Prince Charmings in disguise. Most are simply toads… and they are going to stay that way… Toads don’t make laws or change any basic structures, but one or two rooty insights can work powerful changes in the way they get through life. A toad who believes he got a raw deal before he even knew who was dealing will usually be sympathetic to the mean, vindictive ignorance that colors the Hell’s Angels’ view of humanity. There is not much mental distance between a feeling of having been screwed and the ethic of total retaliation, or at least the random revenge that comes with outraging the public decency.


-Sometimes at dusk, when you were trying to relax and not think of the general stagnation, the Garbage God would gather a handful of those chocked-off morning hopes and dangle them somewhere just out of reach; they would hang in the breeze and make a sound like delicate glass bells, reminding you of something you never quite got hold of, and never would.

-When the going getsweird , the weird turn pro.    hunter-thompson-tee-shirt


-Anything that gets the adrenalin moving like a 440 volt blast in a copper bathtub is good for the reflexes and keeps the veins free of cholesterol… but too many adrenaline rushes in any given time span has the same effect on the nervous system as too many electro-shock treatments are said to have on the brain: after a while you start burning out the circuits. When a jackrabbit gets addicted to road-running, its only a matter of time before he gets smashed — and when a journalist turns into a politics junkie he will sooner or later start raving and babbling in print about things that only a person who has Been There can possibly understand.

-I sat there for a long time, and thought about a lot of things. Foremost among them was the suspicion that my strange and ungovernable instincts might do me in before I had a chance to get rich. No matter how much I wanted those things that I needed money to buy, there was some devilish current pushing me off in another direction- toward anarchy poverty and craziness. That maddening delusion that a man can lead a decent life without hiring himself out as a Judas goat.


Suicide (?) note

* Football seasons over. No More Games. No More Bombs. No More Walking. No More Fun. No More Swimming. 67. That is 17 years past 50. 17 more than I needed or wanted. Boring. I am always bitchy. No Fun — for anybody. 67. You are getting Greedy. Act your old age. Relax — This won’t hurt.

All quotes by Hunter S. Thompson (1937-2005) RIP (try at least…)



Gorgeous Psychedelic Posters

Gorgeous Psychedelic Handbills and Posters from Detroit’s Grande Ballroom, circa 1967-68 



Simply stunning vintage handbills for Detroit’s historic live music venue The Grande Ballroom. The majority of these trippy handbills and postcards were designed by Gary Grimshaw (who died in January of this year) and Carl Lundgren. Historically significant, yes, but from a design perspective, these are just jaw-droppingly, face-melting goodness, aren’t they?













William S. Burroughs Radio

in dub

Click on it for more WSB and other Beat artists audio tracks/music albums/spoken words

Burroughs’ Connection to Modern Music

The elder statesman of literature’s Beat Generation — and, by extension, of the American underground culture — few figures outside of the musical sphere exerted a greater influence over rock & roll than novelist William S. Burroughs. A provocative, controversial figure famed for his unique cut-up prose aesthetic, Burroughs lived the rock lifestyle years before the music itself was even created; the ultimate outsider, he existed on the dark fringes of society in a haze of drugs, guns, and violence, remaining a patron saint of hipsterdom until his dying day. Ultimately, Burroughs’ hold on the popular culture was extraordinary: few artists failed to credit him as an inspiration, and while bands like Steely Dan and the Soft Machine adopted their names from his turns-of-phrase, younger artists like Kurt Cobain and the Disposable Heroes of Hiphoprisy lined up to offer musical support for his occasional excursions into spoken word performing.

William Seward Burroughs was born February 5, 1914 in St. Louis, MO, the grandson of the founder of the Burroughs Adding Machine company. A homosexual bookworm with a fascination for guns and crime, he attended Harvard University, but largely rejected all the restraints of mainstream society, opting instead to pursue a life in New York City’s underworld of organized crime. Upon becoming a heroin addict, Burroughs fell in with junkie drifter Herbert Huncke, leading to his introduction to other future Beat paragons like Jack Kerouac, Allen Ginsberg, and Lucien Carr; he also met Joan Vollmer, who became his common-law life. While older than the others, Burroughs had yet to begin writing as Kerouac and Ginsberg had; at first indifferent to literature, he finally completed 1953’s Junky, an autobiographical tale of addiction published in pulp novel format by Ace Books. Queer, a similarly upfront examination of homosexuality, was rejected by the publisher and did not surface for several decades.

By the mid-’50s Burroughs, Vollmer, and their children had relocated to East Texas to live on a farm; as his descent into heroin addiction worsened, he found himself hounded by authorities, and eventually the family fled to Mexico. The marriage became the stuff of tabloid headlines when, attempting to impress friends with his shooting skills, Burroughs enlisted Vollmer to participate in a William Tell-like target demonstration; a faulty shot left Vollmer dead and sent Burroughs wandering the globe, finally drifting to Tangier. Following the success of their respective On the Road and Howl, both Kerouac and Ginsberg had become media sensations, with the Beat Generation emerging in full force; they tracked Burroughs down in Africa, finding him hopelessly addicted to heroin yet somehow able to write brilliant and wildly experimental fragments of prose. Kerouac began typing up the material and even gave it a title, Naked Lunch.

Upon its 1959 publication, Burroughs became a celebrity; the novel was the subject of a high-profile obscenity trial, and even today it remains his best-known and most influential book. Beginning with 1961’s The Soft Machine, he began experimenting with a “cut-up” method of writing, literally cutting and pasting together various random fragments of text for maximum reader disorientation; in 1965, Burroughs began expanding into other forms of media, recording the LP Call Me Burroughs, a collection of spoken word readings of material culled from Naked Lunch and The Soft Machine. While remaining a prolific literary voice on the strength of work like 1971’s The Wild Boys: A Book of the Dead and 1973’s Exterminator!, aside from compilation appearances he did not issue another major recording prior to 1975’s William S. Burroughs/John Giorno; Nothing Here Now But the Recordings, compiled by Psychic TV’ s Genesis P. Orridge, followed in 1981, as did another collaboration with Giorno, You’re the Guy I Want to Share My Money With. Always a major cult figure, by the late ’80s Burroughs had become something of a pop culture icon, a symbol of decadence and ominous genius; a supporting role in Gus Van Sant’s 1989 film Drugstore Cowboy brought him his widest mainstream exposure to date, and virtually every hipster worth his salt name-checked him as an influence. After 1987’s Break Through in Grey Room, Burroughs recorded 1990’s Dead City Radio, a collection of performances backed by Sonic Youth, John Cale, the NBC Symphony Orchestra, and others. In 1992, he guested on Ministry’s “Just One Fix” single, and the following year recorded The ‘Priest’ They Called Him with Nirvana’s Kurt Cobain. In 1993, Burroughs recorded his final LP, Spare Ass Annie and Other Tales, with the members of the Disposable Heroes of Hiphoprisy, and his sampled voice was also heard on recordings from diverse acts including the Jesus and Mary Chain, Laurie Anderson, and Material. With Tom Waits, he also co-wrote The Black Rider. The last major surviving figure of the Beat Generation, Burroughs died of a heart attack on August 2, 1997 in Lawrence, KS. ~ Jason Ankeny

via William S. Burroughs – Free Internet Radio – Slacker Radio.



Click on image for original post on Dangerous Minds

We all know that writer, William S. Burroughs is one of the “people we like” on the Beatles’ Sgt. Pepper’s album cover, but did you know that Burroughs was around when Paul McCartney composed “Eleanor Rigby”? Apparently so. Over the weekend, I noticed the following passage in the book With William Burroughs: A Report From the Bunker by Victor Bockris:

Burroughs: Ian met Paul McCartney and Paul put up the money for this flat which was at 34 Montagu Square… I saw Paul several times. The three of us talked about the possibilities of the tape recorder. He’d just come in and work on his “Eleanor Rigby.” Ian recorded his rehearsals. I saw the song taking shape. Once again, not knowing much about music, I could see that he knew what he was doing. He was very pleasant and very prepossessing. Nice-looking young man, hardworking.

The connection here was, no doubt, author Barry Miles. Miles started the Indica Bookshop in London with McCartney’s financial backing. Miles states in his book In the Sixties that Burroughs was a frequent visitor to the shop. When the Beatles started their experimental label Zapple, with Barry Miles at the helm, the idea was to release more avant garde fare, such as readings by American poets Michael McClure, Lawrence Ferlinghetti, Richard Brautugan and comedian Lenny Bruce. McCartney set up a small studio that was run by Burroughs’ ex-boyfriend, Ian Sommerville, who also lived there, and this is why Burroughs would have been around.

It’s always thought that John Lennon was the far-out Beatle, but it was Macca who was obsessed by Karlheinz Stockhausen, John Cage and Morton Subotnick, not Lennon (he got there later via Yoko).

(The story is also confirmed in Barry Miles’ own Biography on Burroughs called ”Please Call Me Burroughs”. The studio was in fact Ringo Star’s appartment, converted in a studio since it was inhabited most of the time.)

How Porn Star John Holmes Got to Wonderland; Down the Rabbit Hole


john-holmes-05 Some Boogie Nights can take more of you than you can afford to give. I guess Holmes could have said like Iggy  in Cry for Love ”Sometimes my self-respect took second place”. Now let’s be clear, this is not about sex is a bad thing and going all ”judge mental” This guy was not better or worst any of us. It’s just his story and happens to have a bad ending like so many others…. I just want to tell his story because it touched me and keeps on reminding me how close we all are to falling onto our knees, no matter how good we are at something, how gifted, how special or how well off in life we may be or seem to be….  How all those little everyday choices we matters. Porn-King-book150

     In the early days of his career, Holmes was mostly starring in loops under various names so it is rather hard to say in how many since he appeared under various names, constantly changing it until he stuck to Johnny Wadd. He was wanted and noticed not only for his ability to maintain an erection but also because of the size of his ”most precious and valuable accessory” reported to be 13 inches to it’s fullest extend althought numbers vary.

     In 1971, Holmes’ career really began to take off with a porn series built around a private investigator named Johnny Wadd, written and directed by Bob Chinn. The success of the  film Johnny Wadd created an immediate demand for more Johnny Wadd films so Chinn followed up the same year with Flesh of the Lotus. Most of the subsequent Johnny Wadd films were written and directed by Chinn but it’s the success of Deep Throat (1972), Behind the Green Door (1972) and the Devil in Miss Jones (1973) and the fact that porn became chic and that the beginning of The Golden Age of Porn, although its legality was still highly contested,  that gave him all the fame and fortune one could hope for. He was even arrested for pimping but he avoided prison time by becoming an informer for the LAPD. Using his status as an informer, it is alleged Holmes systematically had his competition in the porn industry arrested, although there is no substantiated evidence to support the claim that anyone in the adult industry was arrested as a result of Holmes’ efforts.


By 1978, Holmes was reputed to be earning as much as $3,000 a day as a porn performer. Around this time (the late 1970s), his consumption of cocaine and freebasing  was becoming a serious problem. Professionally, it affected his ability to maintain an erection, as is apparent from his flaccid performance in the 1980 film Insatiable. To support himself and his drug habit, Holmes ventured into crime, selling drugs for gangs, prostituting himself to both men and women, and committing credit card fraud  and petty theft. In 1976, he met 16-year-old Dawn Schiller who became his girlfriend. After Holmes became desperate, he prostituted both her and himself, and he it was said he would often beat her in public.  Long story short, John made a ton of money. He started doing drugs. He started really screwing up and pissing people off. A lot of people didn’t want to work with him anymore. During his drug period, he hooked up with some loser dealers that lived in a house, in the Hollywood Hills. 


wonderland plate wonderland house

The Wonderland Gang was centered around the occupants of a rented townhouse at 8763 Wonderland Avenue in the Laurel Canyon section of Los Angeles: Joy Audrey Gold Miller, William R. DeVerell (Miller and DeVerell were a couple), David Lind, and leader Ronald Launius. All four were involved in drug use and drug dealing.

On June 28, 1981, the group met with friends Tracy McCourt and Holmes himself. They had decided to rob the home of Eddie Nash, née Adel Gharib Nasrallah, another drug dealer and wealthy owner of several Los Angeles-area night clubs. Holmes, whom Nash had befriended, visited the house, ostensibly to buy drugs. While at Nash’s home, Holmes unlocked a back door; he then left Nash’s home and reported back to the Wonderland gang.

The next morning, June 29, DeVerell, Launius, Lind, and McCourt went to Nash’s house. While McCourt stayed with the car, a stolen Ford Granada, the other three entered through the unlocked door. Invading the home, the trio handcuffed Nash and his live-in bodyguard, Gregory Diles. During the course of the subsequent robbery, the group took money, drugs, jewelry, and threatened to kill Nash and Diles. They then went back to the Wonderland Avenue townhouse to split up the money.

Nash suspected Holmes had been involved and ordered Diles to bring Holmes to his house. Diles found Holmes on a street in Hollywood wearing one of the rings that had been stolen from Nash and brought him back to Nash. Nash directed Diles to beat Holmes until he identified the people behind the robbery; the beating was witnessed by Scott Thorson, former boyfriend of Liberace, who was making a drug buy at Nash’s home.[1]

In the early morning of July 1, 1981, two days after the robbery, an unknown number of assailants entered the Wonderland Avenue house. DeVerell and Launius were present, along with Launius’ wife Susan and Lind’s girlfriend, Barbara Richardson. Each occupant present was bludgeoned repeatedly with what was later determined by the medical examiner and detectives to be a striated steel pipe. Susan Launius was the only one in the home who survived, albeit with serious injuries. A left palm print belonging to John Holmes found on the bed railing above the head of Ron Launius gave homicide detectives reason to believe John Holmes was present at the site of the murder. Holmes denied participation in the killings or being there when the murders happened.

According to court testimony, David Lind survived because he was not at the house at the time of the murders, having spent the night at a San Fernando Valley motel with a prostitute and consuming drugs there. Shortly after the news media reported the murders, Lind contacted the police and informed on Nash and Holmes, thus giving them a start to their investigation.

Although Holmes did not participate in the robbery, Nash apparently suspected that Holmes had a part in it. After getting Holmes to confess to his participation, and threatening his life and that of Holmes’ family, Nash exacted revenge against the Wonderland Gang. In the early hours of July 1, 1981, four of the gang’s members were found murdered in their hideout. Holmes was allegedly present during the murders, but it is unclear if he participated in the killings.

Holmes was questioned regarding the murders in July 1981, but released due to lack of evidence. Holmes refused to co-operate with the investigation. After spending nearly five months on the run with Dawn Schiller, he was arrested in Florida on December 4, 1981 by former LAPD homicide detectives Tom Lange and Frank Tomlinson and returned to Los Angeles. In March 1982, Holmes was charged with personally committing all four murders. On June 26, 1982, Holmes was acquitted of all charges except contempt of court. The Holmes Murder Trial was a landmark in American jurisprudence, as it was the first murder trial in America where videotape was introduced as evidence.


Last Days On Earth

In February 1986, six months after testing negative for the virus, Holmes was diagnosed as HIV positive. According to Laurie Holmes, he claimed that he never used hypordermic needles  and was deeply afraid of them. Both his first wife, Sharon, as well as Bill Amerson , separately confirmed later that Holmes could not have contracted HIV from intravenous drug use because he never used needles.

During the summer of 1986, Holmes was offered a substantial sum of money by Paradise Visuals (who were unaware of Holmes’ HIV-positive status) to travel to Italy where he filmed his last two porno movies. The penultimate one was, The Rise and Fall of the Roman Empress (originally released in Italy as Carne Bollente) for director Riccardo Schicchi . The film starred Holmes, the later Italian Parliament member  IIona ‘Cicciolina’ Staller, Tracey Adams, Christopher Clark , and Amber Lynn. His final film was The Devil In Mr. Holmes, starring Tracey  Adams, Amber Lynn, Karin Schubert, and Marina Hedman.  These last films created a furor when it was revealed that Holmes had consciously chosen to not reveal his HIV status to his co-stars before engaging in unprotected sex for the filming.

Not wanting to reveal the true nature of his failing health, Holmes claimed to the press that he was suffering from colon cancer. Holmes married Laurie Rose on January 23, 1987 in Las Vegas , after confiding to her that he had AIDS!

John Holmes died from AIDS-related complications due to AIDS on March 13, 1988 at the age of 43. His body was cremated and his widow, Laurie, and his mother, Mary, scattered his ashes from an urn at sea off the coast of  Oxnard, California.



Deep Inside the Deepest Throat by Tobe Damit



 By Tobe Damit

By Tobe Damit


      Deep Throat,  written and directed by Gerard Damiano in 1972 was one of the very first pornographic film to feature some kind of plot, an interest in the characters  and higher production standards.  This 61 minutes comedylike porn movie managed to earn mainstream attention and launched the ”Porno Chic” trend comedy and  is by far the most famous porn movie that was ever produced to this day.



Tony ”Big Tony” Peraino

Starring the famous Linda Lovelace and Harry Reems Deep Throat was produced by no other than the now infamous New-York mobster Anthony  ”Big Tony” Peraino, an officially made man from the Profaci family whom obviously could throw a lot of weight around since he was well over 300 pounds. He became one of Colombo crime family’s biggest earners.

Already in the porn business, Deep Throat helped Tony and his brother Joe ”The Whale” Peraino, his sons Louie ”Butchie”Peraino and Joseph C. Peraino and his nephew, Joseph Peraino Jr. develop pornography into one of organized crime’s biggest moneymakers after narcotics and labour racketering. The Peraino family had indeed financed and produced the most profitable pornographic film of all time, starring the first porn star ever. Louis produced the movie and his father Anthony loaned him the initial $22,500 in production costs.

The Perainos used a unique procedure by leasing very decrepit, low end venues and employees at an extremely low price for all proceeds. To ensure compliance, they sent their own employees or associates known as “checkers” to run the movie houses so that not a single penny would get stolen from them. By doing so Anthony and Louis used profits from Deep Throat to build a vast financial empire, controlling various industry interests bases in New-Yok, L.A. and South Florida, from adult bookstores, to peep shows and adult movie theaters. Joseph Peraino later became involved in the distribution of another very successful pornographic film, The Devil in Miss Jones, and from his base of operations in California’s San Fernando Valley, Peraino would maintain a tight grip on the Colombo crime family’s interests in the porn industry well into the 1990s.

With the Perainos under siege from law enforcement,a dispute between the Peraino brothers over their pornography and business empire was settled in favor of Anthony by the administration of the Columbo Family. On January 4, 1982, gunmen chased down Anthony’s brother Joseph and nephew Joseph Jr. in a residential area of Gravesend, Brooklyn. Joseph Sr. was paralyzed and Joseph Jr. was killed. Joe ”The Whale” was saved by his fat, preventing the bullet to do some significant damage.

Linda Chuck

Linda Boreman and Chuck Traynor 1973

Linda Lovelace real name was Linda Susan Boreman. She  was born in the Bronx and her father was a policeman and her mother  Dorothy was  a harsh,  domineering and very strict disciplinarian. She attended private catholics schools and “Miss Holy Holy” was known to always keep her high school dates at distance.

Later on Linda was involved in an automobile accident and it’s while recovering at the home of her parents, Boreman became involved with Chuck Traynor. According to Boreman, Traynor was violent and controlling. She said he forced her to move to New York, where he became her manager, pimp, and husband.

Still according to Boreman she was coerced by Traynor to do silent 8mm hardcore porn loops for peep shows and even starred in a 1971 bestiality film titled Dog Fucker.  In 2013, Larry Revene, the cameraman who actually shot the film asserted that Boreman was a willing participant and that no coercion took place.

In 1972, Boreman starred in Deep Throat, achieving the mainstream success I mentionned before and making her an icon in the porn industry, Lovelace became an international celebrity . The movie later also became one of the first, and highest-grossing, X-rated videotape releases.

Linda Blair, Keith Moon and Linda Lovelace

Linda Blair, Keith Moon and Linda Lovelace

With its numerous graphic sex scenes, Deep Throat stirred up a national debate on obscenity. Several diverse groups, including the Nixon administration, Christian leaders, and feminist activists, protested against the film and the porn industry itself. There were police raids of movie theaters across the country often with the film’s print being seized by the authorities. Fines were also levied against some projectionists. While Lovelace faced no legal challenges, she was subpoenaed to testify in one of many court cases against its “obscene” content in 1973. A Supreme Court ruling that same year led to a crackdown on hardcore pornography, but all of the outcry about Deep Throat only generated more interest in the film and spurred ticket sales.


Not long after Deep Throat, Lovelace left Traynor and tried to launch a career as an actress. But her notoriety did not translate into any substantial legitimate roles. She did an R-rated sequel, Deep Throat Part II (1974), and starred in Linda Lovelace for President (1975), which was rated X, but both were box office duds.

In 1974, she published two “pro-porn” autobiographies, Inside Linda Lovelace and The Intimate Diary of Linda Lovelace.

In 1976, she was chosen to play the title role in the erotic movie Laure. However, according to the producer, Lovelace was “very much on drugs” at the time. She had already signed for the part when she decided that “God had changed her life”  and was therefore replaced by French actress Annie Belle.


Lovelace published Ordeal in 1980, in which  she provided details about her abusive relationship with Traynor. In the book, Lovelace said that Traynor kept as a prisoner and that he forced to perform obscene sex acts often by pointing a gun at her as a form of intimidation. He also made her have sex with other men for money, according to her book. Once the porn industry’s biggest star, Lovelace stood up against pornography, testifying about its dangers before Congress and in other venues. She also shared her hellish experiences in numerous forums, including the book Out of Bondage (1986).

Lovelace’s accusations provoked mixed responses. Skeptics included Traynor, who admitted to striking Lovelace but said it was part of a sex game. In Legs McNeil and Jennifer Osborne’s 2005 book The Other Hollywood, several witnesses, including Deep Throat director Gerard Damiano, state that Traynor beat Boreman behind closed doors, but they also question her credibility. Eric Edwards, Boreman’s co-star in the dog sex films and other loops that featured Linda urinating on her sex partners, similarly discounts her credibility. According to Edwards, Boreman was a sexual “super freak” who had no boundaries and was a pathological liar. Adult-film actress Gloria Leonard was quoted as saying, “This was a woman who never took responsibility for her own [...] choices made; but instead blamed everything that happened to her in her life on porn.”

Linda Lovelace Vogue

Linda Lovelace Vogue

Corroboration for Lovelace’s claim came from Andrea True, Lovelace’s co-star in Deep Throat 2, who, on a commentary DVD track of the documentary Inside Deep Throat, stated that Traynor was a sadist and was disliked by the Deep Throat 2 cast. Andrea Dworkin stated that the results of polygraph tests administered to Boreman support her assertions.  Moreover, psychiatristJudith Lewis Herman notes that many details in Lovelace’s memoir Ordeal are consistent with a diagnosis of Complex PTSD, such as Lovelace’s description of a fragmented personality in the aftermath of alleged abuse. Because of the circumstances of her upbringing, however, it had ceased to be clear whether the abuse came from Traynor or from Boreman’s parents.


Eric Danville, a journalist who covered the porn industry for nearly 20 years and wrote The Complete Linda Lovelace in 2001, said Boreman never changed her version of events that had occurred 30 years earlier with Traynor. When Danville told Boreman of his book proposal, he said she was overcome with emotion and saddened he had uncovered the bestiality film, which she had initially denied making and later maintained she had been forced to star in at gunpoint.

Boreman maintained that she received no money for Deep Throat and that the $1,250 payment for her appearance was taken by Traynor. Your pride is a really hard thing to swallow… We all know that … ”Sometimes my self-respect took second place” said Iggy in Cry for Love….  Well Linda I just hope someone heard your Cry for Love because in the end it does matter…    CUT!


Click for Linda Lovelace last interview with Legs McNeil

Click for Linda Lovelace last interview with Legs McNeil


All These People Who Fell on Earth…


Brigitte Bardot 1961 par Bert Stern.

Catherine Deneuve par  Bert Stern 1961.

Catherine Deneuve par Bert Stern 1961.

Marlon Brando by  Bert Stern 1963.

Marlon Brando by Bert Stern 1963.

Liz Taylon and Richard Burton by  Bert Stern in 1962.

Liz Taylon and Richard Burton by Bert Stern in 1962.

Liz Taylor

Liz Taylor

Marilyn Monroe by  Bert Stern.

Marilyn Monroe by Bert Stern.

Andy Warhol

Andy Warhol

Vanessa Paradis

Vanessa Paradis


Jane Fonda is Barbarella

Bowie, Iggy and Lou

Bowie, Iggy and Lou



Bowie and Dog

Bowie and Dog

Smooth Operator

Smooth Operator




Debbie Harry

Debbie Harry



Sid Vicious, Johnny Thunder and Richard Hell

Sid Vicious, Johnny Thunder and Richard Hell



Iggy & The Stooges

Iggy & The Stooges



Ian Curtis

Ian Curtis

Jopey Ramone in 1978

Joey Ramone in 1978

Patti Smith 1975 by Robert Mapplethorpe 1946-1989

Patti Smith 1975 by Robert Mapplethorpe 1946-1989

Sid and Nancy Spungen.

Sid and Nancy Spungen.

Sid Vicious and Spungen

Sid Vicious and Spungen

Hunter S Thompson and Bill Murray.

Hunter S Thompson and Bill Murray.


Click on image for more about Poison Ivy.

Evil Elvis

Evil Elvis

Bull and Patti

Bull and Patti







MC5 A True Testimonial Sixties Detroit Rock

Just click on image to view documentary

DETROIT, Michigan — With all the troublesome legal questions now firmly resolved, the highly regarded “MC5 – A True Testimonial” documentary film is finally poised for release.

Having screened to SRO crowds and widespread critical acclaim at international film festivals around the world, the much lauded MC5 documentary had been poised to make a major splash before it’s derailment in early 2004. The highly anticipated film had a full schedule of nationwide theatrical screenings in place, followed by a DVD release, before the curious decision was made to deny the requisite synchronization license for the MC5’s music publishing.

mc5 2

That decision, initiated at the behest of Wayne Kramer, one of the two guitarists in the legendary but long-defunct band, ignited a firestorm of controversy. Kramer had long supported the film’s production, having once said “The filmmakers have done a fabulous job of telling the story of the MC5… the story is finally getting told and told right.”

Having successfully blocked the film’s release, the guitarist would later file suit in federal court in November 2005 over a purported “music producer” position and alleging a variety of copyright infringement, fraud and breach of contract claims against director David Thomas, producer Laurel Legler and Future/Now Films.

After hearing extensive testimony and reviewing the evidence presented during a week-long trial held October 2006 in Santa Ana, California, United States District Court Judge Andrew J. Guilford dismissed all charges against the filmmakers, concluding there was “insufficient factual basis to establish any claim” against them.

In a decision rendered March 31, 2007, Judge Guilford found “no terms specific enough to form an enforceable contract were ever agreed upon,” that neither Thomas or Legler “had made any actionable false representations” to Kramer, and that the dispute arose only after Future/Now Films “demonstrated that the film they were crafting could be successful” adding “The MC5 is historically significant and its music and story merit being heard today. The film had and still has the potential to spread the music and story of the MC5.”

mc5 1

The families of the late Rob Tyner and Fred “Sonic” Smith have been fully supportive of the film’s release from the beginning; Patti Smith has been unequivocal, saying “They were a great band and they should be remembered. And they should be remembered together. This film is a very good opportunity to give them recognition.”

With authorizations from the surviving members now in place, Vincent Cox, attorney for Future/Now Films, has declared “the disputes are water under the bridge, and there’s no point in rehashing them.”

m5 4

One could argue that, had the film come out as scheduled, it would have boosted the MC5’s profile enough to propel the band into the Rock & Roll Hall of Fame; the band’s sole nomination came in 2002 when the “MC5 – A True Testimonial” festival tour was in full swing. Whether or not that time has now passed remains to be seen.

Nonetheless, as USDC Judge Guilford noted in his decision, director David Thomas and producer Laurel Legler were “first-time filmmakers who spent eight years of their lives trying to create a documentary film that would be historically truthful, a documentary that would celebrate the talent and creativity of the MC5 band, a documentary that would say something about the 60’s, and would say something about the present. They succeeded, and the film merits wide distribution for the enjoyment and edification of the masses.”


This Ain’t No Holiday Inn

This Ain’t No Holiday Inn


Chelsea Girls' Poster

An amazing book with I woud suggest to read along is ”Just Kids” writen by the one and only woman, Patti Smith here photographed with no other than the Godfather of the Beat Generation, William S. Burroughs.

Bull patti

Reading this 3 books you will have a very unique insight of that very unique era that defined so many movements to come. Even today we are still trying to measure the great impact of all that was done and thought during this savage era who would put in the Glamour anyone who had balls….  Do yourself a favor and just allow yourslef to go down, deep down inside the rabbit hole….


Ah those Chelsea Girls with their slurpy names… I’m going to let find about it for yourselves…  There’s even a documentary called ”Beautiful Darling’‘ on Candy Darling….

Dennis Hopper and Terry Southern, Chelsea Hotel

1981 BBC documentary on the Chelsea Hotel and its legendary inhabitants. This is good stuff. Includes footage of Quentin Crisp, Nico (backed up on guitar by my old friend Joe Bidewell), Warhol, Burroughs, Viva, Jobriath (2 years before he died of AIDS), Chelsea manager Stanley Bard and more.

I used to sit in the lobby of the Chelsea Hotel just to soak up the vibes. Here’s your chance to do the same. Enjoy.






Posted by Marc Campbell on Dangerous Minds

I would aslso very strongly suggest this collections of  ”Conversations” between William S Burroughs, Andy Warhol and various other people such as Mick Jagger and others..



 A Time Out and Daily News Top Ten Book of the Year upon its initial release, Please Kill Me is the first oral history of Punk the most nihilist of all pop movements. Iggy Pop,Lou Reed and the Velvets, Danny Fields, Dee Dee and Joey Ramone McLaren, Jim Carroll, Patty Smith and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol’s New York reign to its last gasps as eighties corporate rock, the phenomenon known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.

Click on image to get to website.(awesome blog and infos provided by both writers onPKM)

Delightfull book! It’s direct first hand comments about what’s happening by those who were there. An Astonishing piece of a whole very specefic era that became a world movement long ago started by the Beat Generation carried on by the Velvet Underground, MC5, Iggy and the Stooges, The New York Dolls, Richard Hell, The Ramones, The Dictators, The Sex Pistols, The Damned, The Clash, etc…

The name ”Punk” was born with a amagazine who called itslef that way but it already meant so much more than, as Burroughs said ”someone who would take it up the ass”….or maybe not after all cuz that’s what we all get in the end. Difference is a punk doesn’t think he’s lost his pride for that. It’s just life you know and it sucks. The ”movement” agonized during the 80’s and nowadays in the suburbs punk is seen as a very bizarre thing hat their grand-parents use to do. Yet it is the strongest statement any generation has made, no other statement has been pushed so far, un fortunately it’s been widely misunderstood, misinterpreted and in the beginning of the 80s, It had already lost it’s velocity and it’s punch even if some very good music still came from it. If you really wanna know how it went over in the USA and a bit in England (the book talks mostly about the underground Punk NYC scene),  It’s the most authentic written document that we have from the era… Punk changed so much in so little time… If you think it never affected your life cuz you never listened to it, think again and read this book. You might find that the flower power and love sometimes aren’t enough. Sometimes the only way to make things happen and change is rage or complete rejection of all establishement. No other movement has tried to do it so entirely and with so much hatred and conviction. Problem is not of a lot of people understood what was really going on but maybe it was meant to be that way, otherwise It’s ”No FUN”.

BTW the blog attached to the book is really really interesting. Weird things happen since I started to follow it. The other day I was attracted to a book. It was really calling on me to read it and I have it in my mind to read it and I know I will …and the other day  this precise exact same book ”fell” in my hands while at the library, the article hadn’t been written yet by , it was only written on May 1st and I got onto this book, exactly the same book  like 4 days before it was published. I had never heard of that book or of it’s author, didn’t even read the description before until I’ve seen it at the library, nor of it’s author but I felt I just had to read it… Maybe it’s the Corvette?? Nah I’m sure this book is really interesting. Here is a ittle a bout it..







Electric Emotions

En mars 1967, Jimi Hendrix est pratiquement un inconnu lorsque Jean-Noël Coghe l’accompagne en tournée en France et en Belgique. Cet album constitue un témoignage sur le vif réunissant une foule d’anecdotes et de documents.
À partir de photos inédites, Moebius (alias Jean Giraud) réalise une série de dessins qui projettent Jimi Hendrix dans l’imaginaire et propulsent à l’infini cette épopée. Il révèle un univers cosmique, féerique.
Jean-Noël Coghe évoque avec passion et émotion la fulgurante carrière du plus célèbre des guitaristes. Il nous fait côtoyer les principaux protagonistes de l’époque. Nous assistons au début d’un mythe que seuls quelques anonymes ont pressenti.

Titre exact : Jimi hendrix. Emotions électriques
Catégorie : Art, architecture et photo
Date de parution : 1 février 2000
Éditeur : Castor astral
ISBN : 9782859203863
Auteur : Moebus/ Cogne, Jean-noël

Iconic ”Overlook” Set Design

Iconic set design: The Shining’s Overlook Hotel

News Ryan Lambie 3 Nov 2011 – 17:53

The Shining’s Overlook hotel remains one of the most disturbing locations in horror. Ryan looks over its history, and how it tells Kubrick’s story…

Cinema is full of set designs so beautiful, you almost wish you they were real. Fritz Lang had vast chunks of city built forMetropolis. Joseph Mankiewicz nearly brought 20th Century Fox to its knees, so huge and sumptuous were his sets for 1963’sCleopatra.

Thinking back over the course of movie history, how many films can you think of where the set itself is as big a star as the actors that emote within it? In Alien or Blade Runner, perhaps. The impossibly creepy motel and Victorian house of horrors in Psycho, maybe. The set in Stanley Kubrick’s The Shining, I’d argue, towers over all these.

In no other film has an interior felt so mundane and yet so palpably evil – Jack Nicholson may rant and rave spectacularly as unhinged writer Jack Torrance, and Shelley Duval may act convincingly exhausted and terrified as his beleaguered wife, but it’s production designer Roy Walker’s set design that constantly dazzles.

Credit must also go, of course, to John Alcott’s prowling cinematography, aided Garrett Brown and his wonder invention, the Steadicam, which allowed Stanley Kubrick, ever the technician, to pull off some of the most striking long takes in all cinema.

Nevertheless, it’s the Overlook Hotel, at the time the biggest indoor set ever built, that bears so much of the film’s dramatic weight. This is partially because The Shining has such a simple story to tell. Pared back even by the standards of Stephen King’s source novel, the movie contains none of the rampaging elephant-shaped hedges or infernos of the original book. Instead, Kubrick’s film presents us with little more than embittered, failed writer, Jack, slowly growing crazy in a remote hotel. His wife Wendy (Duvall) and telepathic son Danny (Danny Lloyd) can do little more than look on in horror.

At first glance, Kubrick and Walker appear to have created the perfect fusion between exterior and interior shots. At the start of the film, the outside of the Overlook we see is actually the Timberline Lodge, located in Oregon. The rest of the film’s exteriors and interiors, meanwhile, were immaculately constructed back at Elstree Studios in the UK.

A world away from the dusty, peeling interiors usually seen in horror movies, the hotel interior envisioned by Kubrick is spacious and modern. The set generates tension not through claustrophobia and dark spaces, but with high ceilings and lonely expanses. Characters are frequently dwarfed by gigantic columns or huge windows. Even the carpets accentuate the how small and vulnerable Danny and his mother are; one shot shows the little boy playing on a carpet whose huge geometric patterns surround him like a cage.

As he did in 2001: A Space Odyssey and A Clockwork Orange, Kubrick uses violent contrasts of colour to heighten the feeling of unease. There’s a key moment, where Grady (Philip Stone) ushers Jack into a bathroom and urges him, rather unsubtly, to “correct” his family. The acting in this scene is so intense that it’s easy to miss just how striking the actors’ surroundings are; unlike the warm, boozy golds of the ballroom Jack was drinking in seconds before, the bathroom is bathed in stark artificial light. The pure white ceiling and floor merely accentuate the startling crimson of the walls.

The room is utterly unlike any other in the hotel – it’s as though it’s a direct projection of Jack’s violent mind, which it almost certainly is. It’s but one example of how Kubrick uses colour and design to reflect the mood of his characters.

As an example of how The Shining’s set takes us through those moods, take a look at the manager’s room, where Jack is interviewed at the beginning of the film – it’s a typical 70s office, its ugly salmon-coloured walls festooned with framed pictures. It’s vastly different from the supernatural ballroom or evil-looking bathroom seen in the film’s final act.

When Walker set about designing the film’s rooms, he took inspiration from real hotel rooms from around America, and went all over the country photographing different interiors. On his returm, Kubrick leafed through the pictures, chose the ones he liked, and had his production team construct rooms that looked exactly the same. The director described the process of designing the film’s sets in aninterview with writer Michel Ciment.

“We wanted the hotel to look authentic rather than like a traditionally spooky movie hotel,” Kubrick said. “The hotel’s labyrinthine layout and huge rooms, I believed, would alone provide an eerie enough atmosphere. This realistic approach was also followed in the lighting, and in every aspect of the decor it seemed to me that the perfect guide for this approach could be found in Kafka’s writing style. His stories are fantastic and allegorical, but his writing is simple and straightforward, almost journalistic.”

Writer Rob Ager made an exhaustive and brilliant examination of The Shining’s set design, and suggested that Kubrick deliberately built anomalies into the hotel’s layout in order to confuse the viewer’s spatial awareness. (It’s a fascinating piece of work, and you can read it, and watch an accompanying video, here.)

From a plan view, as one might see in an architect’s drawing, the Overlook’s layout doesn’t make any sense; hotel rooms open out straight onto balconies; what should be internal windows appear to have light coming from outside; corridors lead to abrupt dead ends.

Not everyone agrees with Ager’s thesis, but I’d argue it’s too plausible to dismiss entirely. While it’s possible that Kubrick and his designers may have cut a few corners to cram their already enormous sets into the space available at Elstree, it’s unlikely that a director as meticulous and obsessed with minor detail as Kubrick would make so many glaring errors.

Besides, Kubrick makes it obvious from the outset that the hotel’s architecture is vital to his story. His use of Steadicam isn’t merely a gimmicky use of new technology – it allows him to lead us around this weird interior landscape, across horrid carpets, polished floors and rugs, through its sprawling kitchen and storage rooms. He wants us to know how gigantic and dehumanising this place is – before the psychological wargames begin, he shows us the battleground on which they’ll take place.

In the Overlook, Kubrick created a hotel that acts as a kind of psychological torture chamber, trapping its victims in a labyrinth of impossible corridors and rooms. Its design mirrors that of the hedge maze outside, cunningly built from a wood and wire mesh frame, with foliage threaded through it. This maze, with its eight-foot high walls, was complex enough for the crew to get lost in.

Kubrick’s daughter Vivian shot a candid documentary of The Shining’s making, and the director and his crew are seen consulting maps of the maze’s layout. It’s been said that, at one point in The Shining’s year-long shoot, Kubrick had the maze walls rearranged, without telling certain members of the crew. When they became lost in its new layout, their cries for help were met with peals of laughter from Kubrick – laughter that, disconcertingly, seemed to becoming from all directions at once.

The Shining is the perfect example of the use of set design to enhance a narrative. Combined with its cinematography, the viewer is left with the impression of a building that isn’t merely haunted, but alive, and actively observing its occupants’ every move. No other set in cinema is quite so oppressive, or so convincingly depicted – we barely notice the spatial anomalies that Ager points out, but it’s likely that on some subconscious level, our brain notices, and shudders.

The Shining’s shoot was long and arduous. In his quest for perfection, Kubrick went through take after take. Scatman Crothers and Shelly Duvall clashed with the director. The latter even collapsed, exhausted, which was caught on camera by Vivian Kubrick.

The film’s extraordinarily realistic lighting also took its toll: the pale sun shining through the vast windows in the main room was achieved with a bank of powerful studio lights – so powerful were these, the set eventually caught fire. Rather than work with the footage he’d already shot, Kubrick, perfectionist to the last, had the set rebuilt from scratch.

Kubrick’s maniacal approach to filmmaking resulted in one of the most unusual entries in the horror canon. Its performances are desperate and sometimes bizarre, its images wavering violently between the starkly real and the surreal. And then there’s the Overlook itself, watching, waiting – it’s entirely unforgettable, and perhaps the most striking haunted house in all cinema.

Original Post  HERE


Some little extras I found on Youtube…Enjoy!! I did!! 




On the Same Subject I Found This Amazing Gallery… 

odditiesoflife: The Real Abandoned Overlook Hotel Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.

von losing-neverland  –  16. Mai 2013, 20:03

odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
odditiesoflife:</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> <p>The Real Abandoned Overlook Hotel<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />


The Real Abandoned Overlook Hotel

Unlike the fictional Overlook Hotel in Stanley Kubrick’s The Shining, this hotel is really named the Overlook. The abandoned hotel is located in the small, wine growing town of Bernkastel-Kues in Germany. Other than it has been unoccupied for about 13 years, there is no information as to why the hotel was closed. All of the furniture remains and it looks as if everyone there simply left. There are rumors that the hotel is haunted. According to urban explorers who frequent the spooky site, cameras malfunction, sounds can be heard throughout the premises and items seem to move around the hotel by themselves.

 the shinning

20 Best Gangster/Gang/Skinheads Movies

20 Best Gangster/Gang/Skinheads Movies

rusty james

Click on title to see the trailer.

2-Pulp Fiction
3-Reservoir Dogs
5-Gangs of New-York
6-The Godfather
7-Romper Stomper
8-American History X
9-The Pusher Trilogy
10-American Gangster
12-White Heat
13-Once Upon a Time in America
14-La Haine
16-This is England
17-Green Street Hooligans
18-Rumble Fish
19-Lock, Stock and Two Smoking Barrels

My 50 Best Horror Movies

My 50 Best Horror Movies

martyrs 2

I really tried to stick to what is strickly defined as horror movies, excluding sci-fi or fantastic or movies that are more a suspense than horror. Therefore I ruled out most of what is called “Monster movies” . So in no particular order..

Click on title to see the trailer.

1-The Exorcist
4-Possession from Andrej Zulawski
5-Suicide Club
6-In My Skin
7-Haute Tension
9-Let The Right One In
10-The Shining
11-The Texas Chainsaw Massacre
12-HalloweenRob Zombie
13-Jeepers Creepers I
14-The Devil’s Reject
15-The Midnight Meat Train
16-REC(Original from Spain)
17-Evil Dead 2
18-Dead Birds
20-The Wizard of Gore
21-Rosemary’s Baby
22-The Tenant
24-28 Days Later
26-Funny Games(The original)
27-28 Weeks Later
31-Dark Corners
33-Drag Me to Hell
34-The Cabinet of Dr.Caligari
35-The Ring
36-House of 1000 Corpses
37-Halloween IIRob Zombie
39-Silent Hill
40-Diary of the Dead
41-The Conjuring
42-Near Dark
43-The Last House on the Left 1972
45-Dead Ringers
46-The Omen
47-Interview with a Vampire

Brian Jones: It Was Murder!

 “There was a cover-up. It’s not a crackpot theory, it’s what happened.”  

Brian Jones

THE ROLLING STONES’ BRIAN JONES was killed by builders working at his house in East Sussex, who escaped the attentions of the police after the band’s minder, Tom Keylock, orchestrated a cover-up, claims a book published on the 45th anniversary of the guitarist’s death.

The updated edition of Brian Jones: Who Killed Christopher Robin? also links Jones’ death to the attempted murder three weeks later of Joan Fitzsimons, an alleged witness to the crime. “[Brian Jones] was definitely murdered and there was a cover-up,” asserts the book’s author Terry Rawlings in the new issue of MOJO, on sale in the UK on July 29. “It’s not a crackpot theory, it’s what happened.”

Mystery has always surrounded the death of the guitarist, who drowned in the swimming pool at his Cotchford Farm country home on July 2, 1969, a month after he was sacked from the Rolling Stones. Jones had become isolated from the other band members, drinking and drugging to excess.

Several of Rawlings’ revelations follow the death in July 2009 of Tom Keylock, the band’s driver/minder, who admitted to the author in a videotaped interview a year before he passed away that he was, indeed, present at Cotchford Farm at the time Jones died. Previously he’d maintained that he had left the property earlier that evening to collect a guitar for Keith Richards.

The book – the original 1994 edition of which first identified builder Frank Thorogood as the primary murder suspect – also sheds more light on who was at Jones’ home on the day he died, and how police failed to act on information that could have brought his alleged killers to justice.

Read more in our interview with Terry Rawlings in the 250th Edition of MOJO magazine

Plus Jamais Seuls

Plus Jamais Seuls

silver globe

Empalé vivant sur l’antenne satyrique des demi-dieux
Organes glissant sur le métal rougi et froid
 Minutes volées- Une célébrité précieuse et idyllique
Afin que puisse percuter sur le “Quoi”
Une Planète ou les femmes maigrissent pour pouvoir mieux disparaître
Andy craque une allumette mais ne peut refuser de se soumettre a de multiples maîtres
-”Essaie très fort d’oublier Pourquoi…” (en plusieurs exemplaires)


Toute ces matières viscérales sincères
Valeurs singulières qui macèrent
Dans la salive d’une foule impudique qui bave, voyeuse,
De se croire si belle en ce miroir,  la rend indiciblement joyeuse
Caricature d’elle-même, grotesque et incongrue
Se complaisant dans l’observation continue
De son image reflétée a l’infini
De bête tondue qui malgré tout sourit
Alors que l’abattoir se trouve, sans nul doute, au bout de ce chemin
Qui nous semble pourtant sans fin


Le Saigneur attend….
By Tobe Damit October 2012

By Tobe Damit October 2012