Fantastic narration by Burroughs about Danny, a poor unfortunate junkie who reveals his last remains of selflessness and humanity despite his urgent physical predicament.
Directed by Nick Donkin and Melodie McDaniel. William S. Burroughs wrote the story and narrates the film; he also appears in live-action footage at the beginning and end of the film. The story originally appeared in the 1989 collection Interzone and the recording of Burroughs reading the story was also released on the CD Spare Ass Annie and Other Tales.
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 where 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 vampirebefore vampires became hip.
In 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon’s hotel room in Toronto and convinced John to do an interview about peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative which tenderly romances Lennon’s every word in a cascading flood of multipronged animation. Raskin marries the terrifyingly genius pen work of James Braithwaite with masterful digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message. ”I Met the Walrus” was nominated for the 2008 Academy Award for Animated Short and won the 2009 Emmy for ‘New Approaches’ (making it the first film to win an Emmy on behalf of the internet).
Check out this subversive fashion video for House Casting in New York City. It is based on the Iggy Pop song ‘I Wanna Be Your Dog’ and was played at the Center George Pompidou in Paris in September 09, as part of the ‘A Shaded View On Fashion’, during the larger fashion week.. Directed by Leg’s Georgie Greville.
Exploited Teen Models from Russia
It kinda works like either a pimp or a cult…Your pick… At first glance it seem’s all good but after awhile you are like hmmmm…There is definitely something wrong … BTW The Girl on top in the video is now the trainer in the documentary film for those who haven’t noticed…and she speaks quite frankly and honestly. That documentary called Girl Modelby Ashley Sabin and David Redmond has a very complicated backstory. Click HERE to read more.
“She was almost proud of the fact that her teeth were rotten, that her hair was grey…her skin was bad, she had needle tracks all over. She liked that. That was her aesthetic.”
The above quote, attributed to James Young – Nico’s keyboard player from 1981-86 – summarizes the often harrowing watch that is filmmaker Susanne Ofteringer’s 1995 documentary, .It was Young who penned the fascinating on-the road-with-Nico tell all, Songs They Don’t Play On The Radio, chronicling his days in her ad hoc touring band. But unlike Young’s book, which is frequently injected with (and buoyed by) levity, Ofteringer’s Icon is a meditative, often dark, look at the woman born Christa Päffgen. While hardly wholly representative ofNico the artist/muse/person, the film is an engaging 67 minutes beginning with Nico’s early years modeling in Germany and France, onto to her Zelig-like existence moving through sixties pop culture (Iggy Pop, Brian Jones, Jim Morrison, Alain Delon, Bob Dylan,Andy Warhol…) and beyond. And it’s the beyond, Nico’s “desire for her own annihilation”, and heroin, that looms heavily over the remainder of the film.
Take note that the biopic Nico 1988 I have previously posted about is currently being made. I really hope it will do her justice. In the mean time it’s always interesting to get ”the real thing”. nico :: icon is and will remain the best documentary ever made about Christa Päffgen so far.
Originally filmed in 1922, this version was updated in the mid 1960’s to include english narration by William S Burroughs while he was in London. The writer and director Benjamin Christensen discloses a historical view of the witches through the seven parts of this silent movie. First, there is a slide-show alternating inter-titles with drawings and paintings to illustrate the behavior of pagan cultures in the Middle Ages regarding their vision of demons and witches. Then there is a dramatization of the situation of the witches in the Middle Ages, with the witchcraft and the witch-hunts. Finally Benjamin Christensen compares the behavior of hysteria of the modern women of 1921 with the behavior of the witches in the Middle Ages, concluding that they are very similar.
“Pink Flamingoes” director and Pope of Trash JOHN WATERS discusses how his odd roster of role models inspired him to achieve neurotic happiness. In this conversation with Paul Holdengräber, Waters also offers subversive tips for how to dress, steal flowers and die.
—————————– JOHN WATERS is an American filmmaker, actor, writer, and visual artist best known for his cult films, including Hairspray, Pink Flamingos, and Cecil B. DeMented. He lives in Baltimore.
PAUL HOLDENGRÄBER is the Director of Public Programs – known as LIVE from the NYPL– for The Research Libraries of The New York Public Library. This conversation occurred on June 7, 2010.
~ Conversation Portrait by Flash Rosenberg ~
Artist-in-Residence, LIVE from the New York Public Library ~ ideas drawn as they are discussed in real time ~
2011 LES Film Festival Winner for ‘Best Animation’ lesfilmfestival.com/archives/1123
executive producers: Ron Qurashi, Diane Charles – for Intelligent Life Productions sponsor: Lexus for L/Studio.com – for Team One Advertising: Chris Graves – for Lexus:Robin Pisz live-drawing and direction: Flash Rosenberg video editor: Sarah Lohman music: Ken Rosenberg
In the early 70’s Bob Gruen and his wife Nadya Beck bought a video camera and filmed around 40 hours of footage from the New-York Dolls. This is a must see!!
Artist Biography by Stephen Thomas Erlewine
The New York Dolls created punk rock before there was a term for it. Building on the Rolling Stones‘ dirty rock & roll, Mick Jagger‘s androgyny, girl group pop,the Stooges‘ anarchic noise, and the glam rock of David Bowie and T. Rex, the New York Dolls created a new form of hard rock that presaged both punk rock and heavy metal. Their drug-fueled, shambolic performances influenced a generation of musicians in New York and London, who all went on to form punk bands. And although they self-destructed quickly, the band’s first two albums remain among the most popular cult records in rock & roll history.
All of the members of the New York Dolls played in New York bands before the band formed in late 1971. Guitarists Johnny Thunders and Rick Rivets, bassist Arthur Kane, and drummer Billy Murciawere joined by vocalist David Johansen. Early in 1972, Rivets was replaced by Syl Sylvain and the group began playing regularly in Lower Manhattan, particularly at the Mercer Arts Center. Within a few months, they had earned a dedicated cult following, but record companies were afraid of signing the Dolls because of their cross-dressing and blatant vulgarity.
Late in 1972, the Dolls embarked on their first tour of England. During the tour, drummer Murcia died after mixing drugs and alcohol. He was replaced by Jerry Nolan. After Nolan joined the band, the Dolls finally secured a record contract with Mercury Records.Todd Rundgren — whose sophisticated pop seemed at odds with the band’s crash-and-burn rock & roll — produced the band’s debut New York Dolls, which appeared in the summer of 1973. The record received overwhelmingly positive reviews, but it didn’t stir the interest of the general public; the album peaked at number 116 on the U.S. charts. The band’s follow-up, Too Much Too Soon, was produced by the legendary girl group producerGeorge “Shadow” Morton. Although the sound of the record was relatively streamlined, the album was another commercial failure, only reaching number 167 upon its early summer 1974 release.
Following the disappointing sales of the Dolls’ two albums, Mercury Records dropped the band. No other record labels were interested in the group, so the Dolls decided to hire a new manager, the BritishMalcolm McLaren, who would soon become famous for managing the Sex Pistols. With the Dolls, McLaren began developing his skill for turning shock into invaluable publicity. Although he made it work for the Pistols just a year later, all of his strategies backfired for The Dolls. McLaren made the band dress completely in red leather and perform in front of the U.S.S.R.’s flag, all of which meant to symbolize the Dolls’ alleged communist allegiance. The new approach only made record labels more reluctant to sign the band and members soon began leaving the group.
By the middle of 1975, Thunders and Nolan left the Dolls. The remaining members, Johansen and Sylvain, fired McLaren and assembled a new lineup of the band. For the next two years, the duo led a variety of different incarnations of the band, to no success. In 1977, Johansen and Sylvain decided to break up the band permanently. Over the next two decades, various outtakes collections, live albums, and compilations were released by a variety of labels and The New York Dolls’ two original studio albums never went out of print.
Upon the Dolls’ breakup, David Johansen began a solo career that would eventually metamorphose into his lounge-singing alter ego, Buster Poindexter, in the mid-’80s. Syl Sylvain played with Johansen for two years before he left to pursue his own solo career. Johnny Thunders formed The Heartbreakers with Jerry Nolan after they left the group in 1975. Over the next decade, the Heartbreakers would perform sporadically and Thunders would record an occasional solo album. On April 23, 1991, Thunders was found dead in his room at the St. Peter House in New Orleans, Louisiana. Nolan performed at a tribute concert for Thunders later in 1991; a few months later, he died of a stroke at the age of 40.
In 2004, formerSmiths vocalist Morrissey — who was once the president of a British New York Dollsfan club — invited the surviving members of the New York Dolls to perform at the 2004 Meltown Festival, a music and cultural festival that was being curated that year by the singer. To the surprise of many, David Johansen, Syl Sylvain, and Arthur Kane agreed to the gig, with Steve Conte (from Johansen’s solo band) standing in for Thunders and Gary Powell from the Libertines sitting in on drums. The group’s set was well received by critics and fans (and was recorded for release on DVD and compact disc), which led to offers for other festival appearances, but only a few weeks after the Meltdown show, Kane checked himself into a Los Angeles hospital with what he thought was a severe case of the flu. Kane’s ailment was soon diagnosed as leukemia, and he died only a few hours later, on July 13, 2004, at age 55.
The very controversed red leather look Malcom McLaren gave the New York Dolls, also using a communist flag backdrop for their concerts. Not very long afterwards McLaren was flying back to UK. The Dolls were history and McLaren was about to enter it. With a keen eye for trends, McLaren realised that a new protest style was needed for the ’70s, and largely initiated the punk movement in the UK, for which he supplied fashions from the Chelsea boutique ‘SEX’, operated with his girlfriend Vivienne Westwood. The issue of a controversial record, “God Save the Queen”, satirising the Queen’s Jubilee in 1977 was typical of McLaren’s shock tactics, and he gained publicity by being arrested after a promotional boat trip outside the Houses of Parliament. The Sex Pistols became more associated with the Punk movement than any other band.