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Hands Up, Who Wants Two Tix To See Dr. Dog @ Skyline Stage Of The Mann On Saturday Night?

September 12th, 2014

 

We have a pair of tix to see Dr. Dog at the Mann’s Skyline Stage tomorrow night to give away to some lucky Phawker reader. All you have to do to qualify win is follow us on Twitter and send us an email saying you have done so (or already do follow us) to FEED@PHAWKER.COM with your full name and mobile number for confirmation. Put the magic words NOW I WANNA BE YOUR DOG in the subject line — 54th person to email us wins. Good luck and godspeed!

RELATED: Phawker’s Q&A with Dr. Dog’s Toby Leaman


DR. DOG + MAC DEMARCO @ SKYLINE STAGE ON SAT. SEPT. 13TH

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ART FIGHT: David Lynch Calls The Mural Arts Program’s Plans For Philly Railways A ‘Travesty’

September 12th, 2014


Photo by JONATHAN VALANIA

From an interview with Art In America at PAFA on Wednesday, during the press preview for DAVID LYNCH:THE UNIFIED FIELD:

ART IN AMERICA: Philadelphia’s Mural Arts program just completed a project in which they invited Berlin artist Katharina Grosse to spray paint the wayside of the rail line through Philadelphia.

LYNCH: A travesty in my book. Unreal. The walls on railroad lines, they were built so beautifully. They say that style follows function—every detail of how they put one thing together with another: the electric wires, the stonework, the plaster work, the metal of the windows, the railroad signs—all of this stuff is like beautiful sculpture. And as it gets older it just gets richer and more beautiful. They’re sacred things, and you should never deface them. MORE

MURAL ARTS RESPONDS: At Mural Arts, we were a bit perplexed reading those comments side by side. We agree with Lynch that many of that the structures along the railways are architectural beauties and that was in fact part of the inspiration for psychylustro, and in many ways, the entire project was an effort to use temporary paint to draw people’s eyes back to the amazing but often ignored architectural and natural environments in the Northeast Rail Corridor. Still, the Northeast Rail Corridor was not a pristine place before Grosse’s project. Every structural site Grosse worked at was covered in graffiti before her team began painting. The buildings were already, from Lynch’s perspective, defaced and ruined. We’ve even been criticized in some circles for painting over so much graffiti in the process of installing psychylustro. However, what most people did not know until now is that we brought the legendary documentary photographer Martha Cooper to Philadelphia just before the installation of psychylustro so that she could document the graffiti along the Northeast Rail Corridor. MORE

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DOOBIE BROTHERS: Nutter & Kenney Pass The Peace Pipe; ‘Not Necessarily Stoned But Beautiful’

September 11th, 2014

 

INQUIRER: It was hardly a lovefest, but Mayor Nutter [PICTURED ABOVE, LEFT] and City Councilman James Kenney [PICTURED ABOVE, RIGHT] made public peace Wednesday over the fractious run-up to their compromise this week on decriminalizing possession of small amounts of pot. “I want to apologize,” Kenney said at a news conference with the mayor, whom he had unmercifully hectored during the summer for his delay in signing the councilman’s marijuana bill. “I sometimes get a little impatient when I feel strongly about something. I can get a little angry, a little red in the face.” Nutter was gracious in return, heaping praise on Kenney for the work he did to bring the bill to fruition. “He is a smart, hardworking, tenacious, focused guy,” Nutter said of Kenney, who stood beside him. “We are always going to be respectful of each other and each other’s work.” In this instance, the work was a bill that will decriminalize possession of less than 30 grams of marijuana and the public use of the drug. The bill, to be reintroduced in City Council on Thursday and expected to become law by Oct. 20. MORE

RELATED: “Are You Experienced?” Lyrics

FALLON: ‘Philly To Become Largest American City To Decriminalize Marijuana’

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ABOUT A GIRL: The Complete Magnet Magazine Q&A With Against Me!’s Laura Jane Grace

September 11th, 2014

 
EDITOR’S NOTE: I interviewed Against Me!’s Laura Jane Grace for the cover story of issue 106 of MAGNET MAGAZINE. Because of space restrictions, more than 2000 words had to be cut from the Q&A. In advance of Against Me!’s performance at The Mann Center’s Skyline Stage tomorrow night, as well as the welcome news that Laura Jane Grace will be getting her own reality show, we are running the complete Q&A. All 7,200 words. Enjoy.

BY JONATHAN VALANIA In 2012, Tom Gabel, the 33-year-old year old frontman of Florida-based million-dollar major label punk band Against Me!, announced to the world that he was transgender and had begun the process of transitioning into a woman. Tom Gabel was dead, long live Laura Jane Grace. Grace told MAGNET she knew, deep down, since the age of five that she been had miscast in the role of heterosexual boy in the play of life. After years of drug-and-alcohol-abetted denial cross-dressing behind a cruel veil of secrecy and shame, Grace realized she could no longer deny her true nature, consequences be damned, and summoning a courage far beyond most mortal men (and women), she went public with her decision. This raised a host of difficult questions that are still being answered. How would her wife, three-year-old daughter, mother and retired Army major father, not to mention her bandmates and Against Me!’s six figure-sized audience react to the news? Almost without exception (her father being the exception) everyone was understanding and supportive, but like her transition, it’s a work in progress. She documented her epic struggles with gender identity and the triumphs and travails of the transition process on Against Me!’s extraordinary new album, Transgender Dysphoria Blues.

MAGNET: So let’s start at the very beginning, you’re born in 1980 at Fort Benning, Georgia. Your father was a West Point grad and for the next ten years you lived the life of an Army brat.

LAURA JANE GRACE: Yeah, after that I lived in Tobyhanna, Pennsylvania. My dad was a recruiter. Then my dad did a year in Korea and I lived with my grandmother for that time in Cincinnati. We then moved to Fort Hood, Texas, and then we moved over to Naples, Italy, where there was a Naval base. My dad worked at that for a while and then moved to Ford Leonard Wood. Around then, my parents divorced, and I moved with my mom to Naples, Florida.

MAGNET: When do you discover punk rock?

LAURA JANE GRACE: Probably when I was twelve years old. At the time, I was really into bands like The Doors, Pink Floyd, Led Zeppelin, Jimi Hendrix and a lot of the classic rock bands. But that only lasted about a year, because I really started getting beat up a lot around that time, too. And then I discovered the Sex Pistols and The Clash and bands like that, and to us, it seemed like the message going with those bands was less of the hippie message of “take the beating” and more of a message of “at least throw some punches back and defend yourself.” So that was really what was appealing about it at first.

MAGNET: So when did Against Me! start up?

LAURA JANE GRACE: I played in a bunch of Naples punk bands but it just really wasn’t going anywhere. So on a whim and challenged myself to write ten songs and record them with my acoustic guitar. I recorded on my acoustic guitar in my mom’s bedroom. I did that on Christmas day of 1996 and just dubbed copies and put them onto cassette tapes and stole photocopied inserts from Kinkos and gave copies to my friends and set the single goal of playing one show. I had really stage fright issues at the time and the idea of playing a show by myself was absolutely terrifying — like, there’s nothing more terrifying. So I set that one goal and accomplished that. My good friend at the time, Kevin, could kind of play drums, but he didn’t really have a drum set. So we built this homemade drum set out of a snare drum and one floor tom and then a bunch of pickle buckets. So we just started jamming like that and recorded another ten-song demo tape like that. And we booked the tour that summer — one of those tours where it was like maybe a month and a half long and we maybe ended up playing 12 shows. The majority of the tour we spent busking in rest stops for spare change.
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RIP: Richard Kiel, aka ‘Jaws,’ Dead At 74

September 11th, 2014

 

DEADLINE HOLLYWOOD: The towering actor who played the mercenary assassin Jaws in a pair of Roger Moore-era 007 movies and the enigmatic alien in one of the most famous episodes of The Twilight Zone died today. Richard Kiel would have turned 75 on Saturday. His agent of 35 years, Steven Stevens Sr, told Deadline that Kiel died this ToServeManafternoon at St. Agnes Medical Center in Fresno, CA. The 7-foot-2 actor with the crooked smile got his start in early-1060s TV, appearing in such series as Laramie, Thriller and The Rifleman. He appeared in the 1962 sci-fi feature The Phantom Planet before landing the chilling Twilight Zone role. In “To Serve Man,” he played a representative of an advanced, giant alien race called the Kanamits, who alight on Earth amid what seems to be peace and good will. Kiel delivers a mysterious encrypted book to a meeting of the United Nations, and the episode soars from there. MORE

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BEING THERE: David Lynch @ PAFA

September 10th, 2014

David Lynch, PAFA press conference, 11:02 am, by JONATHAN VALANIA

PAFA: In 1967 as an advanced painting student at the Pennsylvania Academy of the Fine Arts in Philadelphia (PAFA), David Lynch made a hybrid work of art that brought together painting, sculpture, sound, film, and installation. Six Men Getting Sick (1967) expanded Lynch’s practice and opened him up to the possibilities of filmmaking. He went on to become internationally renowned as a film director but never stopped working as a visual artist. Lynch has maintained a devoted studio practice, developing a parallel body of painting, prints, photography, and drawing that deserves to be better known. In many ways his identity as an American artist brings together all aspects of his creative life into a unified field of subjects and concerns. David Lynch: The Unified Field will be Lynch’s first major museum exhibition in the United States, organized in close collaboration with the artist. It will bring together approximately 90 paintings and drawings from 1965 to present. Part of the exhibition will explore Lynch’s early work, much of which has never been displayed in public. Six Men Getting Sick will be restaged for the first time and presented with related drawings. Several early short films, made in Philadelphia, will also be on display. MORE

RELATED: Michael Solomonov, the chef and co-owner of Philadelphia’s Federal Donuts, jumped at the invite to make confections in honor of the first major retrospective of Lynch’s work, at the Pennsylvania Academy of the Fine Arts (where Lynch studied painting in the late ’60s). With names like Blue Velvet and Good Coffee — a “Twin Peaks” reference — Solomonov’s creations are an homage to the master of magical realist cinema. There’s one, though, that won’t see the light of day: the David Lynch. “I would have done a little clove and allspice, to get at the Indian-mystical thing, and a bit of malt powder since he used to have a daily milkshake,” Solomonov says. “Plus a healthy dose of windowpane LSD.” MORE

PREVIOUSLY: There Goes The Eraserhood

PREVIOUSLY: The Blue Velvet Underground

PREVIOUSLY: Mild At Heart?

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INCOMING: Tim & Eric & Dr. Steve Brule Tour

September 10th, 2014

Coming to the Keswick Theater on October 10th. Stay tuned we’ll have a Q&A with Temple alum Eric Wareheim coming soon to a Phawker near you!

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Q&A: What’s Eating Gilbert Gottfried?

September 9th, 2014

Illustration by DREW FRIEDMAN via LOWBROW READER

DISCUSSED: Groucho Marx, Dick Cavett, Milton Berle’s cock, Ben Kingsley, Katharine Hepburn, F-Troop’s Larry Storch, Forrest Tucker’s cock, Boris Karloff, Frank Sinatra, Ronald Reagan, the Screen Actors Guild, Communists, the Godfather, fucking Marilyn Monroe, Richard Nixon, Danny Aiello, getting fired from SNL, Eddie Murphy, The Beatles, Herman’s Hermits, Do The Right Thing, getting fired by Aflac, suing the pants off Aflac.

EDITOR’S NOTE: Preparing for our Q&A with Gilbert Gottfried I came across this elegantly-rendered and wizardly-reasoned assessment of Brand Gottfried by Jay Ruttenberg in the Lowbrow Reader. He says it better than I ever could, so let’s let this excerpt serve as the intro for our Q&A. (I urge you to click through the link at the end and read the whole thing. And how about this illustration from the always awesome Drew Friedman? Likewise I would urge the unitiated to go HERE and check out his work.)

In 1987, Gilbert Gottfried made his debut appearance on Howard Stern’s radio program. Although it went unspoken, the host and his guest had somewhat overlapping lives. Both men were in their early 30s and clinging to the fringes of show business. Both were Jewish nerds who had come of age as outsiders in rough patches of New York: Stern in a predominantly black area of Long Island; Gottfried in pre-chic Brooklyn and the East Village of burning tenements and open-air heroin bazaars. They found escape and salvation through the junky pop culture of monster movies, super heroes, rock & roll, and comedy. And while both performers’ acts had roots in the ’70s, their entry to comedy’s major leagues began at the dawn of the ’80s, when Stern paired with his invaluable on-air foil Robin Quivers and Gottfried started his short-lived—and little-remembered—tenure on Saturday Night Live. [...]

Gottfried’s Hollywood stock, in the conventional sense, probably peaked in the early ’90s, when he appeared in the Problem Child movies, voiced a parrot in Disney’s Aladdin, and hosted USA Up All Night, a B-movie program on basic cable. In 1987, he had headlined a sitcom pilot, Norman’s Corner, which aired as a Cinemax special before fading into the abyss. The show was co-written by Larry David just before he created Seinfeld. I have heard comedians—albeit mildly demented ones—swear by Norman’s Corner as the Seinfeld-that-might-have-been. Now approaching 60, the comedian remains a prolific character actor and a reliably screeching voice in cartoons. His moments in the spotlight generally transpire because he has said something wildly inappropriate—a comedy mode that Gottfried has raised to an art form, if not raison d’être. In 2011, Gottfried famously got fired as the voice of the Aflac duck mascot after writing a series of corny Twitter jokes about the Japanese tsunami. (A sample: “I fucked a girl in Japan. She screamed, ‘I feel the earth move and I’m getting wet.’”) The loss of the long-running commercial gig clearly unnerved Gottfried, a notorious penny pincher who was apparently unaware that Aflac conducts the bulk of its business in Japan.

A decade earlier, however, his pathological yearning for vulgarity yielded what likely will prove his career apex. Appearing at a Friars Club Roast weeks after the World Trade Center attack, Gottfried took the podium bedecked in the kind of ill-fitting tuxedo a circus monkey might favor and cracked what Frank Rich, in the New York Times, described as the first public 9/11 joke: “I have a flight to California. I can’t get a direct flight—they said they have to stop at the Empire State Building first.” The joke was met by boos and an audience member’s cry of “too soon,” a phrase that quickly entered the lexicon, deployed when a comedian has made an appalling remark about a recent tragedy. (With alarming frequency, that comedian tends to be Gottfried.) – JAY RUTTENBERG Lowbrow Reader

***

PHAWKER: My first question is about The Voice. Where did The Voice come from, what was it inspired by, and what motivated you to want to deliver jokes in this shouty-screechy tone?

GILBERT GOTTFRIED: My normal speaking voice sounds exactly like Ben Kingsley. When people ask me about my voice and my delivery, and everything like that — I never consciously thought of developing anything. I used to go onstage all the time, and over a long period of years. One day you wake up and think, ‘Wow, I’ve been doing it this way for a long time.’ To me, when people ask where it came from, it’s kind of like going up to someone in the street and going, ‘Hey, the way you are walking around and moving your arms and pronouncing certain words, how did you develop that?’

PHAWKER: Point taken. On your Podcast, which I will plug here, Gilbert Gottfried’s Amazing Colossal Podcast, you interview people that have influenced your comedy. Your first guest was Dick Cavett, who I love. Dick Cavett, the man for whom the word ‘plummy’ was invented.Maybe I’m tin-eared, but I’m not hearing Dick Cavett in your work. Tell me about how or why he became an influence. You used to watch him as a kid?

GILBERT GOTTFRIED: Yeah, it’s not necessarily people that have influenced me directly, but people I liked growing up. I had, and still have a fascination with the show business that I grew up with. Dick Cavett was on the air all the time back then. He would have the guests that no one else had, like one week he’d have Katharine Hepburn. The next, it would be John and Yoko, and then Groucho Marx. All of that became fascinating to me. I became especially fascinated listening to Groucho on there, ‘cause he had turned into this weak old man with a quivering voice. It fascinated me more than even than the Marx Brothers movies, which I was a tremendous fan of, because those used to be shown all the time on TV.

PHAWKER: What other once-famous/now-on-the-skids show biz personalities have you had on your podcast?

GILBERT GOTTFRIED: Oh, so many. Larry Storch from F Troop is still alive, and still alert. I went up to his apartment, and interviewed him. He’s in his nineties, and he stands on his head every morning

PHAWKER: Larry Storch was the blonde, tall guy? Or was he Agarn?

GILBERT GOTTFRIED: No, Larry Storch was Agarn, the lanky one. The other one was Forrest Tucker. I kept trying to get Larry Storch to talk about Forrest Tucker, because Forrest Tucker was kind of famous that Milton Berle was famous for, and that was an extremely large penis.

PHAWKER: I did not know about this.

GILBERT GOTTFRIED: Yeah. People know about Milton Berle, because he was showing everybody. I got confirmation when I interviewed Jeff Ross who actually saw Milton Berle’s penis. I tried to get Larry Storch to talk about Forrest Tucker’s penis, but he wouldn’t take the bait. [Laughs] He wouldn’t bite the worm, so to speak. [Laughs]
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PHILLY BLUNT: Illadelphia Will Become The Largest American City To Decriminalize Marijuana

September 9th, 2014

Painting by ZENON MATIAS JIMENEZ

HUFFINGTON POST: Philly Mayor Michael Nutter confirmed Monday that he will sign a bill into law that will make his city the largest in America to decriminalize marijuana possession, Philly Mag reports. Essentially it softens the penalty for such an offense from possible jail time to a $25 fine.Nutter wasn’t a fan of the bill in the past, but he told KYW Newsradio that he agreed to sign the bill — with a caveat — because he’s seen too many of his citizens slapped with charges for small amounts of pot.“So I think the agreement ends up putting the city and our citizens in a much better place,” Nutter told CBS News, noting that signing the bill won’t be the same as condoning marijuana use. Though earlier reports have stated that Nutter would sign the bill this week, it’ll likely take another two. He arrived at a compromise with City Councilman Jim Kenney, who originally sponsored the bill in May. Nutter’s tweak will tack on a $100 fine for smoking in public, which can be waived with a few hours of public service. Kenney’s bill will be amended Thursday by the council and get a final vote two weeks later before it shows up on Nutter’s desk again. MORE

PHILLY.COM: Kenney argued that marijuana arrests were unfairly impacting African Americans – Philadelphia police arrested 4,336 people for marijuana possession last year, 83 percent of them black – while wasting valuable police time. MORE

CBSLOCAL: Kenney says this approach will spare more than 4,000 people from being arrested each year, and will save the Philadelphia Police Department about $4 million a year. “There will be no criminal record for an individual. And that’s a major step,” Kenney notes. “We have so many people that we are putting in the prison pipeline, and the poverty pipeline, because a criminal record is a debilitating thing.” MORE

PREVIOUSLY: IN THE WEEDS: The Behind The Scenes Story Of How Philadelphia Got Its Decriminalization On

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CARL BERNSTEIN: The CIA And The Press

September 8th, 2014

 

ROLLING STONE: In 1953, Joseph Alsop, then one of America’s leading syndicated columnists, went to the Philippines to cover an election. He did not go because he was asked to do so by his syndicate. He did not go because he was asked to do so by the newspapers that printed his column. He went at the request of the CIA.

Alsop is one of more than 400 American journalists who in the past twenty‑five years have secretly carried out assignments for the Central Intelligence Agency, according to documents on file at CIA headquarters. Some of these journalists’ relationships with the Agency were tacit; some were explicit. There was cooperation, accommodation and overlap. Journalists provided a full range of clandestine services—from simple intelligence gathering to serving as go‑betweens with spies in Communist countries. Reporters shared their notebooks with the CIA. Editors shared their staffs. Some of the journalists were Pulitzer Prize winners, distinguished reporters who considered themselves ambassadors without‑portfolio for their country. Most were less exalted: foreign correspondents who found that their association with the Agency helped their work; stringers and freelancers who were as interested in the derring‑do of the spy business as in filing articles; and, the smallest category, full‑time CIA employees masquerading as journalists abroad. In many instances, CIA documents show, journalists were engaged to perform tasks for the CIA with the consent of the managements of America’s leading news organizations.

The history of the CIA’s involvement with the American press continues to be shrouded by an official policy of obfuscation and deception for the following principal reasons:

■ The use of journalists has been among the most productive means of intelligence‑gathering employed by the CIA. Although the Agency has cut back sharply on the use of reporters since 1973 primarily as a result of pressure from the media), some journalist‑operatives are still posted abroad.

■ Further investigation into the matter, CIA officials say, would inevitably reveal a series of embarrassing relationships in the 1950s and 1960s with some of the most powerful organizations and individuals in American journalism.

Among the executives who lent their cooperation to the Agency were Williarn Paley of the Columbia Broadcasting System, Henry Luce of Tirne Inc., Arthur Hays Sulzberger of the New York Times, Barry Bingham Sr. of the LouisviIle Courier‑Journal, and James Copley of the Copley News Service. Other organizations which cooperated with the CIA include the American Broadcasting Company, the National Broadcasting Company, the Associated Press, United Press International, Reuters, Hearst Newspapers, Scripps‑Howard, Newsweek magazine, the Mutual Broadcasting System, the Miami Herald and the old Saturday Evening Post and New York Herald‑Tribune. By far the most valuable of these associations, according to CIA officials, have been with the New York Times, CBS and Time Inc. The CIA’s use of the American news media has been much more extensive than Agency officials have acknowledged publicly or in closed sessions with members of Congress. MORE

RELATED: LA Times Disowns Ex-Inquirer Reporter After He Is Outed As A CIA Collaborator

***

‘Rock Is Sick And Living In England’

 

ROLLING STONE: A man with curly, moderately long, red hair, a pale face and an apelike black sweater gets out. It is Malcolm McLaren, manager of the Sex Pistols, the world’s most notorious punk band who I have flown from New York to meet and see perform. McLaren has been avoiding me for two days. I introduce myself and suggest we get together soon. He changes the subject by introducing me to Russ Meyer, the softcore porn king of Supervixens and Beyond the Valley of the Dolls fame, who is directing the Sex Pistols’ movie. “You’re a journalist?” asks Meyer. “Do you know Roger Ebert? He won the Pulitzer Prize for film criticism and he’s writing the movie with me. You should talk to him. At the Chicago Sun-Times, he’s Dr. Jekyll. With me, he’s Mr. Hyde. He’s really into tits.”

McLaren seizes the opportunity to disappear into the Vortex and is lost to me for the rest of the evening. The dense crowd inside consists of a few curiosity seekers and 400 to 500 cadaverous teenagers dressed in black or gray. Often their hair is dyed shades of industrial pink, green and yellow. Several blacks, also drably dressed and with rainbow stripes dyed into their short Afros, speckle the audience. The music over the loudspeakers is about two-thirds shrieking New Wave singles and one-third reggae tunes, which the kids respond to with almost as much enthusiasm as the punk rock. The dancing is frantic as a band called the Slits sets up. The style is called pogo dancing – jumping up and down and flailing one’s arms around. It is as far as one can get from the Hustle, and it is the only way one can dance if one is wearing bondage pants tied together at the knees. Most are pogoing alone.

Those with partners (usually of the same sex) grasp each other at the neck or shoulders and act like they are strangling each other. Every four or five minutes, someone gets an elbow in the nose and the ensuing punch-out lasts about thirty seconds amid a swirling mass of tripping bodies. Unlike in American punk clubs, which occasionally become as crowded but where most people still try to avoid jostling each other, no one here hesitates to violate another person’s physical space. Everyone is fair game for a push. The dance floor is phenomenally stuffed with sweating humans, and getting more stuffed with each new song. Roadies onstage and a few fans hurl beer glasses at each other. MORE

WATCH: The Filth And The Fury

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LOST CLASSIC: The Gun Club’s Fire Of Love

September 8th, 2014

 

THE GUN CLUB
Fire Of Love
(Superior Viaduct)

On the night of August 16th, 1938, as Robert Johnson lay dying, poisoned by a jar of corn whiskey laced with strychnine by the jealous boyfriend of a pretty girl Johnson was flirting with at a country dance he was playing in Greenwood, MS, he had a brief and flickering vision  — of gaunt white man in a cowboy hat slumped in the backseat of a car motoring through the backwoods of West Virginia on New Year’s Day 1953.  It was Hank Williams. Drifting in and out of consciousness as a potent cocktail of morphine, chloral hydrate and alcohol slowed his heart to a stop, Williams also had a brief and flickering vision — of a bloated, sweaty man wearing nothing but Rhinestone sunglasses seated on the toilet, spangled jumpsuit bunched around his ankles, as he gritted his teeth and grunted with Hulk-like intensity. Right before Elvis Presley’s immaculate, drug-scarred heart exploded as he sat on the throne at Graceland in the early hours of August 16th, 1977, The King also had a brief and flickering vision — of a purple album cover emblazoned with a crude, creepy mosaic of zombie voodoo shit his mama would not approve of on the cover. It was Fire Of Love by The Gun Club. All three men died for its sins. – JONATHAN VALANIA*

*Via the current issue of MAGNET MAGAZINE

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N.A. POE: Live & Direct From The Naked Biked Ride

September 8th, 2014

NOTE: No turtle-dicks were hurt in the making of this.

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BEING THERE: Die Antwoord @ Electric Factory

September 6th, 2014

Photo by MARY LYNN DOMINGUEZ

Being assigned to cover the Die Antwoord show at the Electric Factory last night meant boning up on Zef culture (pun intended), which is all about looking extravagant while being poor. Zef is the South Africa version of ‘ghetto fabulous’ meets white trash. All of which dovetails nicely with Die Antwoord’s mission— embracing the oddities of humankind, casting aside all negative associations with obscenity and horror, and telling censorship to go fuck itself. Hard.

Waiting in the photo pit at the lip of the stage for the band to arrive, I began to worry that maybe I was a little too close for comfort. Turns out my Spidey senses were dead-on, as per usual. An alien-masked member of the group named DJ Hi Tek introduced MCs Ninja and Yo-Landi Vi$$er, with both sporting huge matching neon orange hoodies and sweatpants — think Gitmo meets Rocawear. Die Antwoord wasn’t onstage more than a minute before Yolandi took a big sip of water and spit it at the crowd in a long unbroken plume, most of which hit me square in the face. It was almost like we had a moment. This was in addition to the keepsake of a press pass I was wearing, which marked me as “VIP NIGGA, SUCK MY DICK.” Nice. It was probably the most Zef I’ll ever feel.
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Via BuzzFeed


Check out Ticket Liquidator's Live Toast blog, it's one of the coolest company blogs out there. Not just your usual candy-coated array of dead-end zzzzzzzzz inducing rubbish, Live Toast brings you all the funniest and wackiest original content that you won't see anywhere else on the web. Plus, Ticket Liquidator's team will bring you lots of other articles on concerts, sports and music, including news on ticket prices, plus articles about cool music from firsthand perspectives. All in all Ticket Liquidator is evolving, into a new kind of ticket company. And leaving the rest behind...