Mike Wallace Interviews Lili St Cyr

Lili St Cyr Interview PART 1

Burlesque star, stripper and erotic dancer who was raised by her Grandparents whose name was 'Klarquists', and had two sisters named Dardy Orlando and Barbara Moffett in the show business world. Took Ballet lessons as a child and started dancing in Hollywood as a chorus girl such as at the Florentine Gardens Nightclub. Realizing she could make more money nude she made the change. Lili's stripping debut was at the Music Box nightclub but was a fop. Got her big break in Hollywood in 1951 when she was charged with indecent exposure during a bubble bath performance at Ciro's nightclub. By the time she beat the charge in court, the publicity had made her a headliner and led to series of low-budget movies. Lili was featured in thousands of Men's magazines and was said to be married many, many times (well six anyway). One of her husbands even claimed that she and Marilyn Monroe were having an affair (reportedly not true, they were friends however).

Lili St Cyr Interview part 2

She was one of the most explosive blonde pin-ups and at the same time an unconventional beauty with no conventional attitude. In a mythical scene of the famous musical film "The Rocky Horror Picture Show" (1975) directed by Jim Sharman a young Susan Sarandon as Janet Weiss sings while she is floating in water surface: "God bless Lili St Cyr" in a moment of ecstasy. Let's sing it too!

Lili knew how to give glamour and sophistication to striptease features and she became one of the most prestigious burlesque's artists.

In the bath's act, one of her most famous shows, she took a bubble bath and after that she dressed herself helped by a maid in front of amazed audience eyes.

She was married six times with six different men. Her two most famous husbands were Paul Valentine and the actor Ted Jordan who was the author of one of Marilyn Monroe's biographies in which he talked about a supposed false romance between the most desired blonde girls of the age.

Uploaded by:lisatina69

Thanks to Hudson Marquez for the referral...

Big Daddy Roth- Silk Screen Instruction

Early 80s. Big Daddy Ed Roth teaches you, hilariously, step by step, how to go into business making silkscreen t-shirts. Dead serious stuff to a guy like Roth, the indy businessman, operating on a marginal profit as a way of life.
I really doubt any of the info is obsolete. But that's not its real appeal. The real appeal is watching Roth. Legendary craftsman / pop culture hero, working out of his garage at home.
About those jumpy edits. Don't get upset. It's not me. You're not missing anything. It's how it came to me on VHS. Roth probably hand edited the way I use to edit tape. Using two VCRs. That gives you some dandy glitches. I love Roth's focus. Ice cream trucks, kids and cats, lawn mowing, smart alec videographers, nothing takes his attention from the task at hand.
I think it's sentimental stuff to go in tight on Roth's hands as he shows you how to do a tight screen stretch. Those are the hands that did fiberglass work on The Beatnik Bandit and other timeless designs. Men used to have pocket knives that they sharpened with wet rocks. Sharpened to scalpel sharpness. They worked with their hands.
I bought three video tapes from Roth back in the mid 80s from his mail order operation. One is the Von Dutch interview that is already on youtube. 10 minutes worth of it. I'll upload the whole thing. 
The third one is something I bought to see if he was serious. I used to live in Oklahoma City. Roth was there for a convention. OKC is the intersection of I-35 and I-40. Roth stationed himself at that point, the statistically richest point in the country for semi truck travel, and videotaped....Semi trucks going by. The way some fighter aircraft fighter enthusiasts loiter around the edges of Miramar and videotape Tomcats.
If I kept a copy of that I'll upload it as well. 
The quality was slightly better on the original videotape. Thankfully I transferred this to DVD and still had a copy of it. Now I have it as an MP4. And you have it on Youtube. My job as archivist is done.
I'm assuming, based on seeing the Von Dutch interview, that there is no Roth estate trying to block this sort of material. I'm not monetizing it. I just want to share it. -- plazpastic

Hee Haw - Pffft Compilation

Pfft You Were Gone. Archie Campbell & Gordie Tapp



Roy Acuff, Tammy Wynette, Loretta Lynn and Jerry Reed join Archie Campbell in A Pffft Fest



Tom T Hall, Conway Twitty, Pat Boone, Tennessee Ernie Ford, Johnny Cash, Lisa Todd, Lester Flatt,


Johnny Cash, Conway Twitty & Loretta Lynn, Pat Boone, Sonny James, George Lindsey, Johnny Bench, Barbara Fairchild, Johnny Rodriquez


George Jones and Tammy Wynette sing Pfft You were gone on Hee Haw w/ Archie Campbell


Chet Atkins Gooses Archie Campbell


1969.DID NOT CHART.FAMOUS FROM A SKIT ON ''HEE HAW''.FROM HIS 1965 ALBUM ''HAVE A LAUGH ON ME''

" the yardbirds " - documentary bbc t.v - 1995 (in four parts)

The Chess Records Story (in four parts)

"YOU RANG, MR ADDAMS?" - (Charles Addams - Creator of The Addams Family) - 2007

(Via Jim Gurney)
This video tells the story of how Charles Addams (1912-1988) got his start as a cartoonist for the New Yorker and how he developed the macabre cast of characters who eventually became the Addams Family on television and movies—(Gomez, Morticia, Wednesday, Pugsley, Uncle Fester, Grandmama, Lurch,Thing, Cousin Itt, and Ophelia). (Direct link to YouTube video)

Addams Family on Wikipedia
Book: Charles Addams: The Addams Family: an Evilution
Thanks, Robert



Charles Samuel "Chas" Addams (January 7, 1912 -- September 29, 1988) was an American cartoonist known for his darkly humorous and macabre characters. Some of the recurring characters, who became known as the Addams Family, have been the basis for spin-offs in several other mediums.

The Addams Family is an American television series based on the characters in Charles Addams' New Yorker cartoons. The 30-minute series was shot in black-and-white and aired for two seasons on ABC from September 18, 1964, to April 8, 1966, for a total of 64 episodes. It is often compared to its CBS rival, "The Munsters", which ran for the same two seasons and achieved somewhat higher Nielsen ratings. The show is the first adaptation of the characters to feature The Addams Family Theme.

The Addams Family was originally produced by Filmways, Inc. at General Service Studios in Hollywood, California. Successor company MGM Television (via The Program Exchange for broadcast syndication and 20th Century Fox Home Entertainment for home video/DVD) now own the rights to the show.

The Addams are a close-knit extended family with decidedly macabre interests. They are humans with supernatural abilities. No explanation for their powers is explicitly given in the series.

The very wealthy, endlessly enthusiastic Gomez Addams (John Astin) is madly in love with his refined wife, the former Morticia Frump (Carolyn Jones). Along with their daughter Wednesday (Lisa Loring), their son Pugsley (Ken Weatherwax), Uncle Fester (Jackie Coogan), and Grandmama (Blossom Rock), they reside in an ornate, gloomy, Second Empire-style mansion, attended by their servants: Lurch (Ted Cassidy), the towering butler, and Thing (billed as "itself" but played by Cassidy), a disembodied hand that usually appears out of a small wooden box. Occasionally, episodes would feature relatives or other members of their weird subculture, such as Cousin Itt (Felix Silla) or Morticia's older sister, Ophelia (also played by Jones).

Much of the humor derives from their culture clash with the rest of the world. They invariably treat normal visitors with great warmth and courtesy, even though their guests often have evil intentions. They are puzzled by the horrified reactions to their (to them) good-natured and normal behavior since they are under the impression that their tastes are shared by most of society. Accordingly they view "conventional" tastes with generally tolerant suspicion. For example, Fester once cites a neighboring family's meticulously maintained petunia patches as evidence that they are "nothing but riff-raff." A recurring theme in the epilogue of many episodes was the Addams Family getting an update on the most recent visitor to their home, either via something in the newspaper or a phone call. Invariably, as a result of their visit to the Addams Family, the visitor would be institutionalized, change professions, move out of the country, or have some other negative life-changing event. The Addams Family would always misinterpret the update and see it as good news for that most recent visitor.

The tone was set by series producer Nat Perrin who was a close friend of Groucho Marx and writer of several Marx Brothers films. Perrin created story ideas, directed one episode, and rewrote every script. Much of the dialog is his (albeit uncredited).[citation needed] As a result, Gomez, with his sardonic remarks, backwards logic, and ever-present cigar (pulled from his breast pocket already lit), could be compared to Groucho Marx. The series often employed the same type of zany satire and screwball humor seen in the Marx Brothers films. It lampooned politics ("Gomez, The Politician" and "Gomez, The People's Choice"), the legal system ("The Addams Family in Court"), Beatlemania ("Lurch, The Teenage Idol"), and Hollywood ("My Fair Cousin Itt").

A reunion film, "Halloween with the New Addams Family", aired on NBC in October 1977 and starred most of the original cast, except for Blossom Rock (Grandmama) who was very ill at the time and was replaced by "Phyllis" actress Jane Rose. Elvia Allman portrayed Grandma Hester "Franny" Frump in the special who was previously played by Margaret Hamilton. On a related note, Parley Baer (who had previously played Mayor Arthur J. Henson in the TV show) portrayed the special's main villain "Bones" Lafferty. The picture also featured extended family members who were created specifically for the .production and had never appeared in the television series, such as Gomez's brother Pancho (played by Henry Darrow) and two additional children, Wednesday Junior and Pugsley Junior. It was originally intended for a pilot for a sequel, but no other episodes were ordered.

Willie "The Lion" Smith

This is a part of a show recorded by the BBC in the 60' featuring Willie Smith and two musicians. 
Willie The Lion Smith is one of the three giants of Harlem Stride piano with James P. Johnson and Fats Waller, beginning his career in the 20'.

C'est une partie d'un enregistrement fait par la BBC dans les 60' et diffusé par M6 dans les années 80, du pianiste Wille The Lion Smith, l'un des 3 géants du stride piano de Harlem des années 20-30.








via Gene Taylor

Kevin Ayers - Musical Express (1980)

via: http://wyattandstuff.blogspot.com/2012/06/kevin-ayers-musical-express.html


"...here is the full portrait of Kevin Ayers, from the Spanish series "Musical Express"... 
with Andy Summers, John Cale and Ollie Halsall..."

This is an hour-long & the interviews are in Spanish, but it's worth the time & Ollie Halsall is crazy...

Kevin Ayers Interviews

KEVIN AYERS

(Danny Clifforda)

A collection of Kevin Ayers post-2000 interviews and snippets both on video and in print...

Kevin Ayers about the 14 Hour Technicolor Dream

Uploaded by freakedeliqueful on Jan 9, 2010

All Kevin Ayers' contributes in the great documentary 'A Technicolor Dream'.

Kevin Ayers and his 'normal' life with Sixties friends

Uploaded by UKRockHistory on Jul 16, 2011

Syd Barrett, Jimi Hendrix and some of the rip-offs of a musician's life in the Sixties

Kevin Ayers interview 2008

Uploaded by freakedeliqueful on Jan 9, 2010

Kevin Ayers interviewed in 2008 by catalan television Sputnik for their great documentary 'Les Illes Escollides', about musical scene in Balearic Islands during '60-'70.
This video collect all Ayers'interviewes you can find in the documentary.
Other persons who appear in this extract are: William Graves (with red polo, Robert Graves'son) and the guitarist Joan Bibiloni (black coat and pink t-shirt).

http://www.stylusmagazine.com/articles/interview/kevin-ayers.htm

Interview

Kevin Ayers

ince the recent release of The Unfairground, the first new album from British singer-songwriter Kevin Ayers in fifteen years, there has been an increasing and long overdue acknowledgement of his position as one of the founding fathers of British psychedelic rock. Along with Robert Wyatt, Mike Ratledge and Daevid Allen, Ayers was a member of the original line-up of the Soft Machine. Following a grueling tour of the US in 1968, supporting the Jimi Hendrix Experience, Ayers left the band and embarked upon a remarkably varied and consistently engaging solo career, releasing a series of critically acclaimed (if commercially under-performing) albums during the 1970s, before slowly sliding off the radars of all but the committed few during the 1980s. 

For his latest album, which marks something of a return to the freshness, eclecticism, and clarity of vision that characterized the best of his 1970s work, Ayers has enlisted the services of a wide array of younger collaborators. These include members of Ladybug Transistor, Architecture In Helsinki, Noonday Underground, Neutral Milk Hotel, and Teenage Fanclub, as well as Euros Childs (the former leader of Gorkys Zygotic Mynci, and a long-time champion of Ayers’ work), and the rising pop-soul singer Candie Payne. 

Ayers is widely regarded as an awkward and reluctant interviewee, whose distaste for self-promotion could be attributed partly to unreconstructed hippy anti-commercialism, and partly to classic upper middle-class English reserve (he is, after all, the son of a diplomat). Speaking to Stylus from his home in Southern France, where he leads a simple and mostly reclusive existence, he willingly submitted himself to a guided stroll through his solo career to date. Choosing his words slowly and carefully, with frequent pauses, Ayers’ natural wariness was tempered by a wry humor and a gentle, understated charm. 

To anyone who knew your work with the Soft Machine, your solo debutJoy of a Toy [1969] would have been viewed as a radical switch of direction: from free-form experimental jamming into a more traditional songwriting-based approach. Had you been storing up songs for future use over a long period, or was it a sudden decision, that you were going to change course and try your hand at songwriting? 

The latter. Basically, I’m a songwriter. I’m not a virtuoso musician, or anything like that. It was great to do the so-called “free-form” stuff—but after a while, you get the T-shirt, you know? I think that songs are more enduring, and more fun to do. A lot of free-form stuff is very self-indulgent. That’s why I left, because Soft Machine was heading more into fifteen-minute solos—and frankly, it wasn’t just Soft Machine. There was a whole era, wasn’t there? Endless guitar solos, and people just banging around. Which is great fun for a while, but then you just want to move on. 

You got out ahead of the curve, I suppose. But then with Shooting at the Moon [1970], you threw another curveball. You’re back with a band [the Whole World]—indeed, it’s your only album which is credited to you and a band—and there’s actually quite a lot of free-form stuff on there, where you’ve abandoned traditional rhythmic and harmonic structures. It’s not quite heading back in the same direction, but it’s certainly a surprise. 

Well, I was surrounded by some incredibly talented musicians, and it’s a side that’s just… there. I still have it, to a certain extent. 

Was that album more of a band effort, or was it more your vision as interpreted by others? 

Both. I always consider myself as a sort of catalyst, for these very talented people. I provided a sort of framework, and allowed them an incredible leeway. Letting them have their heads, basically. 

And I suppose you were also mentoring a young Mike Oldfield at that stage? 

In a way. He was quite a lost soul at the time. I think it provided some kind of stability for him. 

Onto Whatevershebringswesing [1971]. There’s a lot of eclecticism at work: you’ve got symphonic rock, vaudeville, avant-garde, and almost MOR balladry on there. This genre-hopping is a key part of your appeal, I think. What was the motivation? Was it experimentalism; was it showing off; was it restlessness? 

It’s just the way I am—it’s as simple as that—and it’s to my disadvantage, I think. If you think about most best-selling albums, they’re all basically one tone, one direction, repeating the same thing over and over again. I just wasn’t able to do that. But there certainly wasn’t any showing off in it at all, I can assure you. That’s just how my mind works. 




It seems to me that you were constantly picking a new genre and seeing what could be done with it. And then trying another, and then trying another… 

Yes. And also, a lot of stuff is kind of arbitrary. It happens in the studio. Choices are made, simply because some machine sounds better than another, or someone suggests another bass line, and you say: yeah, that’s a good idea too. So it’s kind of random. 

Because of this eclecticism, it is always difficult to recommend a definitive Kevin Ayers album, or even a definitive track, as somewhere for people to get started. But I think that the more unified Bananamour[1973] is as close as we get. 

I’m glad that you said that, because that’s one of my favourites. I think it sort of covers the ground. 

During an interview that you gave while supposedly promoting The Confessions of Dr. Dream [1974], you said that you were disappointed with your new album, and that Bananamour was superior. I thought that was such an extraordinary thing for an artist to be saying, especially as you had just switched record labels. So I went out and boughtBananamour and left Dr. Dream for a couple of years, because you told me it wasn’t very good. 

Oh, shit…! [laughter] 

Were you just winding up the interviewer, or did you have reservations about that album after it came out? 

I don’t know; I’m always saying things like that, and putting my foot in my mouth… and always getting told off for it too. Managers tearing their hair out, you know… [laughs] 

The live album June 1st 1974 [recorded with John Cale, Brian Eno, and Nico] sounds like one of the first Big Pushes, if you like. There was an attempt being made to turn you into a rock star, and it sounds like a pre-conceived showcase. You’ve said that you weren’t always too comfortable with that. 

No, I wasn’t. It was too stagey, and you’re absolutely right—it was Island’s attempt to make me into a kind of pop star, with high-heeled shoes and all that kind of stuff. It just wasn’t me; I didn’t fit the picture. 

And in any case, you were still promoting Dr. Dream, which is quite “out there.” It’s not something that you would expect to be pushing to a mass market. 

Not at all. Especially the second side, which is basically one track, all interlinked. It’s sort of the remnants of my Soft Machine days. 

It was round about this time that Ollie Halsall came onto the scene. He then stayed with you, as your closest musical associate, for the next eighteen years. At a time when an awful lot of collaborators were constantly coming and going, what was it about Ollie that led to the two of you sticking together for so long? 

[long pause] Gosh, that’s a really hard one. I think it was just instant empathy. I met him while I was in the studio doing Dr. Dream; I think he was working with members of Colosseum at the time. I needed a guitar solo for “Didn’t Feel Lonely Till I Thought of You.” I opened the door, and there was this guy walking along with a white Gibson. I said, “Do you fancy doing a guitar solo?” Sure, he said… and then came in and did this stunning solo, after listening to it just once. That was it. That was love, you know? 

Ollie worked with you closely on the next album, Sweet Deceiver [1975]. This is a problematic one. I listened to it again this week and absolutely loved it—I had forgotten what a good album it was—and I really do think that it’s one of your most underrated albums. 

Well, thank you for saying that. [emphatically] Thank you very much for saying that. 

Up until that point, you’d been the golden boy of the music press. You’d always had good reviews. And then all of a sudden they turned against you, maybe because you were saying goodbye to the avant-garde, and they didn’t like the idea of you going in a more conventional soft-rock direction. I think you were nobbled by the cool police, actually. 

Absolutely right. It was probably Nick Kent, or someone like that. It was panned. I think something about the title pissed them off. 

And the cover art maybe, because there’s this rather of-its-time line drawing of you. But these are very superficial reasons for dismissing an album. 

Well absolutely, but it’s so damaging to the artist. People don’t realize that. They sit there, sniffing their lines of coke, writing you off, sniping away… and you get slammed. At that time, the musical press was very powerful. Today it’s zero, compared to what it used to be. If you had a good review in Melody Maker orNME, you sold records. Now, no one really gives a shit. But thank you for saying that it’s an underrated album; I totally agree with you. 

And then came Yes, We Have No Mananas [1976], which makes me think of sunshine, beaches, palm trees… 

Falling in love does that for you. [laughs] 

That was the emotional context, was it? 

Of course. It always is. Either falling in love or out of love; those are the only two things that motivate anybody. 




You had John Reid, of all people, managing you at the time—and I think this may have been another attempt at a Big Push. He also had Elton John and Queen on his books, didn’t he? 

No, but the problem was that it wasn’t a Big Push. I was like a token, a golden boy, another charm on his bracelet. He totally abandoned me. He just bought me somehow, I don’t know how, and then proceeded to totally ignore me, in terms of any positive, constructive plan of what to do. 

Was there, at any time, any part of you that wanted that kind of mainstream rock star status, or was it always anathema? 

[long pause] I think probably when I very first started, with the Wilde Flowers or something way back then. It was part of the dream, yeah. But after that, not at all. 

By the time that Rainbow Takeaway [1978] came out, the ground had clearly been pulled from under your feet, in several ways. The album had no promotion at all, and punk rock had come along. All of a sudden, people didn’t want to hear about sunshine and palm trees; they wanted to hear about high-rises and dole queues. [laughter] Rainbow Takeawayisn’t even a rock and roll album, really. How did you feel about that kind of paradigm shift? Did it touch your world? 

I kind of numbed out on that. I kept working, but obviously it wasn’t working. I mean, another generation had just clocked in, you know? 

It was another explosion of creativity, but in a very different direction. 

Yes, and the best of punk rock is great. I was just rather out of context. 

Once again, with That’s What You Get Babe [1980], the NME absolutely savaged you, with the reviewer [Ian Penman] decrying the whole concept of the Cult Figure, and holding you up as an example. And in some ways, you are the living archetype of the Cult Figure—at least in terms of someone who’s actually living, of course. Is it a description with which you feel comfortable? 

Having never been in any kind of cult, I don’t really know what that means. 

I think it means that there’s a small number of people who really get what you’re doing, as opposed to having a larger number of people who might only have been half listening. 

Cult is the wrong word, then. It’s a selective audience. [laughter] 

You then left your major label, moved to Spain, and Diamond Jack & the Queen of Pain [1983] came along. In many ways, this is your strangest album. It’s the only time where it sounds as if you’re trying to follow fashion. There are typically Eighties-sounding synths on there, and so on.

That’s because it was commissioned. Someone offered to pay for it, but on condition that I agreed to his producer, and his musicians, and his ideas as to how things should be. I was very poor at the time, so I had to do it. And that’s really all there is to it. 

Listening to it, I almost sensed an invisible stick, just off-camera, forcing you to sing in a way that’s not your normal singing style. 

Yeah, you’ve got it. Absolutely right. 

Various albums then emerged during the Eighties, which are less well-known: Deia Vu [1984], As Close As You Think [1986]—which isn’t available on CD, and which few seem to have heard—and Falling Up[1988], which sounds like you’re just having fun. One of the Amazon reviews says it’s as if you’ve “just drifted up from the beach bar to the studio with old friends.” Was music perhaps less of a priority during this period? 

I think Falling Up was a good record, though. [pause] I mean, hopefully what you said was right. It was coming up from the beach and having fun with friends? Well, that’s good then. Leave it there. 

But there’s a track on there called “Am I Really Marcel” in which you seemingly hold your hands up to being lazy and lacking ambition, in a way that suggests that you’re very comfortable about it. Should we take that at face value? 

Well, obviously I’m not that lazy, or else I wouldn’t have had a whole career in the business. But you have to be clear in terms of what “lazy” means. It just means that you don’t need to be involved in the day-to-day hustle, or hassle, of city life. You can actually exist as a person on your own, without all the trappings. “Lazy” means you don’t necessarily have to keep making an effort to make yourself liked. 

Still Life with Guitar came out in 1992. Shortly after its release, Ollie Halsall tragically died—and then you didn’t release another album of original new material for fifteen years. It’s very tempting to draw certain conclusions from that. 

Well, you’ve got it, yeah. [pause] I mean, you’ve answered… it’s a rhetorical question. 

OK. Well, I could delve further, but I kind of don’t want to. 

[evenly] No, I don’t think you should. 

Let’s fast-forward to The Unfairground, which is being hailed as your best album in over thirty years. What gave you the impetus to return to recording after so long? 

That’s a really tough one to answer. Firstly, I need to earn a living. Secondly, I need some kind of intellectual satisfaction, and life. I need to feel that I’ve been vaguely useful on the planet. 

But there must have been a change in your general mindset… in your confidence, maybe, I don’t know… 

Well, it’s probably been made more from a lack of confidence. I need to re-affirm that I still exist, you know? It’s my job; it’s what I do; it’s been my whole life. I kind of have to do it—otherwise I’m dead. Dead to myself. 

With some of the 1980s albums, it didn’t feel as if you were so firmly in the driving seat—but I gather that you personally directed every note onThe Unfairground. Was this a happy experience? Was it a long hard slog, or was it a joyous explosion of energy? 

A long hard slog. It always is! There’s no such thing as a joyous explosion in recording studios. 

I’m outside of it; I can romanticize these things. [laughter] 

You might have it for a while. You might have a few moments of it, but then you find it sounds like crap on tape—and then it’s the long hard slog. It’s work; it’s like anything else. 

Tim [Shepard], your manager, helped bring in a range of younger collaborators. Has it led you to a curiosity in their work? 

Sort of, but I don’t really listen to pop music these days. I listen to jazz—the old jazz—and classical music. I’m not trying to be snobby about it; there’s just so much crap around. I turn the radio on, and listen, and I just have to turn it off again. I’ll listen to world music, but mainstream pop, or whatever, I just find to be totally uninteresting. 

There has been a sustained period of publicity involved with this album, and I know it’s not your favorite activity in the world. Are you longing for the buzz to die down, so you can go back to your quiet, bucolic, rustic life? 

It’s like a punishment tour for me. [laughs] No, you have to support what you do. You don’t necessarily have to enjoy it. But I do enjoy talking to people, sometimes. And other times, it’s not enjoyable at all. 

I would imagine particularly when they’re asking you questions which they could have found out for themselves, without too much effort. 

Well, particularly when they know the answers already. But I’d like to thank you for intelligent questions. 

By: Mike Atkinson Published on: 2007-10-23

all content copyright 2001-2007 stylusmagazine.com

http://www.kevin-ayers.com/

Waylon Jennings.... "I Got Eyes For You"

Written by ....

Brian "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" Hyland and Del "Runaway" Shannon.

Recorded Jan 1971. RCA Studio Nashville TN. This session was produced by Ronnie Light........

From the RCA album Cedartown Georgia was released Aug 1971.

Produced by Danny Davis.

SkidRowJim: "Once Waylon pulled a gun on Davis during a recording session but Davis denies it happened ....At RCA studio, Merle Haggard returned a 22 magnum pistol that he borrowed from Waylon ....The last session produced by Danny Davis was Apr 22 1970 for recordings for this album. This was the last album produced by Danny Davis..."

JOHNNY RAMONE - Last Interview

Taped in March 2003, this may be the last major interview given by Johnny Ramone. Produced by Carlo Generelli. Videography by Bill Day. Audio by Terry Schwartz. In this clip, Johnny discusses the formation of the Ramones and their rocky road to success.


In this clip, Johnny discusses his early influences and his thoughts on what makes a good band. 


via J.d. King

REPOST: The Dark Side of Christmas - The Cramps, Evil Santas, Krampus & XXXmas Sleaze

From:

Saturday, December 26, 2009

http://ttexshexes.blogspot.com/2009/12/dark-side-of-christmas-cramps-evil.html

From: http://wfmuichiban.blogspot.com/2009/12/black-christmas.html

Black Christmas - Here is a cd compiled by Lux Interior and Ivy Rorschach of The Cramps. Artwork care of Lux himself. This was originally put together for some magazine, but I can't recall which.

Have a BLACK_Christmas!: http://www.rockndog.com/Black_Christmas/
http://www.mediafire.com/?dtdyhzbwgzy



From: Chuck Miller's The Cramps Blog:
http://suchbeautifulgardens.blogspot.com/











From: http://suchbeautifulgardens.blogspot.com/2009/12/christmas-cramps.html

The three drawings below are by Benjamin Marra, who says: "These were sketches for an assignment that didn't pan out. It was a cool one: to illustrate a Cramps Christmas album cover. I think my friend and colleague Ted McGrath ended up getting the gig. Dems da breaks ..."
http://benjaminmarra.blogspot.com/2008_08_01_archive.html







From: http://brainsteakbikini.blogspot.com/2009/12/congo-christmas.html

Congo Christmas "Kid send me this letter from L.A. on December 28, 1981. Artwork : Kris Guidio" -Krom at Brain Steak Bikini - Far out with The Cramps



From: http://morbidanatomy.blogspot.com/2009/12/happy-holidays-and-happy-new-decade.html

Happy Holidays and best wishes for the new decade, compliments of myself and Krampus, St. Nicholas' cloven-hooved, chain-swinging, lolling-toungued, child-punishing Eastern-European sidekick.
If what you see interests you, then you might want to check out The Devil in Design: The Krampus Postcards, which you can purchase from The Morbid Anatomy Bookstore by clicking here: http://astore.amazon.com/morbanat-20/detail/1560975423




From: http://weirdtownstuff.blogspot.com/2009/12/various-artists-oh-no-not-another.html

Various Artists: Oh! No! Not Another... Midnight Christmas Mess Again!!

1. Hazy Shades of Winter - The Slickee Boys
2. Christmas I'll Be Home - The Vipers
3. Star - The Cheepskates
4. Santa is Comin' Down Again - The Psycho Daisies
5. Santa Ain't Santa - Woofing Cookies
6. Jesus Christ - The Love Pushers
7. O Tannenbaum Now - Das Furlines
8. Blue Christmas - The Ravens
9. Wreck These Halls - Howard & Jag's X-mas Vacation
10. Sleighbell Bop - The Holidays
11. Coal in My Stocking - The Backbones
12. Christmas Eve at KNL (Kansas Neurological Institute) - The Iguanas
13. Snow is Falling - Dementia 13

http://rapidshare.com/files/323806337/02-xmess.zip

Two more volumes of Midnight Christmas Mess:
http://weirdtownstuff.blogspot.com/2009/12/various-artists-midnight-christmas-mess.html
http://weirdtownstuff.blogspot.com/2009/12/various-artists-its-midnight-xmess-part.html



From: ???






From: http://trixietreats.tumblr.com/post/298523373/addams-family-christmas


Addams Family Christmas




From:http://1.bp.blogspot.com/_ja0u9vcxkW0/SzLLyLKwkpI/AAAAAAAARS4/EIEglKv36bI/s1600-h/ouija.jpg

"Never Kill Santa Claus" from the February 1973 issue of The Witching Hour #28, followed by a xmas themed ouija board text tale 




From: http://therealbigrockcandymountain.blogspot.com/2009/12/boogaloo-santa.html





From: http://lpcoverlover.com/2009/12/12/have-you-been-good-or-bad/

Navidades con Chucha La Loca (Solo Para Adultos)



From: http://snakeoilblog.blogspot.com/2009/12/greatest-story-ever-told.html

Santa Claus versus The Devil
I first saw K. Gordon Murray's Santa Claus at the 25th Street Theatre in Waco, TX in 1966. It's impossible to overstate the profound effect this film had on my life. Of course, it was the English dubbed version I saw, but nowadays I'm partial to the original spanish. 




From: http://xmasorelse.tumblr.com/post/2397805060/santa-claus-via-gravitasvod-while-most

Santa Claus (via GravitasVOD)

While most commercial adaptations of the Santa Claus legend add a distinctive twist to the traditional story this film is unique in its depiction of a Santa who works from outer space, and who does battle with a demon sent to Earth by Lucifer to ruin Christmas.

Release: Sep 19, 1959

From: http://lacontessa.tumblr.com/post/292025519/rene-magritte-woman-1923

Rene Magritte, Woman, 1923.




From: http://crookiesblog.blogspot.com/2009/12/happy-2010.html

Happy 2010 - "How terrible do I feel about using the same image I painted from last year?! I think I can squeeze a few more years out of this one." - MATTHEW CRUICKSHANK (via death becomes her)



From: http://powsley.blogspot.com/2009/12/merry-christmas-from-munsters.html

'AL "Grandpa Munster" LEWIS signed this cool MUNSTERS CHRISTMAS photo for me back in 1989!' - PATRICK OWSLEY



From:http://www.flickr.com/photos/vintagehalloweencollector/sets/72157594429321748/

Vintage Christmas Krampus Postcards
Men about to be punished by lady Krampus

Vintage Christmas Postcard - Krampus and Saint Nick

Girl with her favorite Krampus Figure (Dated 1906)



Krampus stealing babies and taking them to Spain



From: http://www.flickr.com/photos/73902814@N00/3016951354/in/set-72157608818462424/

Holiday Grotesque #1 KRAMPUS! 1st in a new series of Holiday paintings in trading card size by Matthew Kirscht.




From: http://trixietreats.tumblr.com/post/298466738/the-best-new-years-postcard-ever-via

Another by Matthew Kirscht




From: http://sundayblues.org/archives/233

Rev. A.W. Nix was one of the great singing preachers whose fiery, earthshaking sermons are enough to send any sinner running for salvation. Nix made his mark with his first coupling, the incredibly intense “Black Diamond Express to Hell Pts. I & II” in 1927. This was one of the best known and popular sermons with Parts 3 and 4 issued in 1929 and parts 5 and 6 in 1930. He cut fifty sermons for Vocalion through 1931, railing against sinners in sermons with provocative titles like “Goin’ To Hell And Who Cares”, “The Fat Life Will Bring You Down”, “Jack The Ripper” and “Hot Shot Mamas And Teasing Browns.” He had a special affinity for the holidays as evidenced in recordings like “Death Might Be Your Christmas Gift”, “That Little Thing May Kill You Yet (Christmas Sermon)”, “Begin A New Life On Christmas Day – Part 1 & 2″ and “How Will You Spend Christmas?” (via PCL LinkDump/Donna Lethal)
Listen & download here: http://www.baddogblues.org/clips/nix-present.mp3



From: http://dailyhitler.blogspot.com/2009/12/merry-christmas-from-daily-hitler.html

How Hitler's Nazi propaganda machine tried to take Christ out of Christmas
(From the Daily Mail)

Nazi Germany celebrated Christmas without Christ with the help of swastika tree baubles, 'Germanic' cookies and a host of manufactured traditions, a new exhibition has shown. The way the celebration was gradually taken over and exploited for propaganda purposes by Hitler's Nazis is detailed in a new exhibition. Rita Breuer has spent years scouring flea markets for old German Christmas ornaments. She and her daughter Judith developed a fascination with the way Christmas was used by the atheist Nazis, who tried to turn it into a pagan winter solstice celebration. Selected objects from the family's enormous collection have gone on show at the National Socialism Documentation Centre in Cologne. 'Christmas was a provocation for the Nazis - after all, the baby Jesus was a Jewish child,' Judith Breuer told the German newspaper Spiegel. 'The most important celebration in the year didn't fit with their racist beliefs so they had to react, by trying to make it less Christian.' The exhibition includes swastika-shaped cookie-cutters and Christmas tree baubles shaped like Iron Cross medals. The Nazis attempted to persuade housewives to bake cookies in the shape of swastikas, and they replaced the Christian figure of Saint Nicholas, who traditionally brings German children treats on December 6, with the Norse god Odin. The symbol that posed a particular problem for the Nazis was the star, which traditionally decorates Christmas trees. Civilians were encouraged to send patriotic Christmas cards to soldiers at the front. The Iron Cross shaped Christmas tree decorations commemorate the start of World War One. 'Either it was a six-pointed star, which was a symbol of the Jews, or it was a five-pointed star, which represented the Soviets,' Breuer said. It had to go. In the 1930s, the Nazis tried to change the ideology of Christmas. But when World War II started, the focus became more practical. There were also tips on how to make Christmas cookies in the face of food shortages.
In 1944-1945, the Nazis tried to reinvent the festival once again as a day to commemorate the dead, in particular fallen soldiers. 'By then nobody felt like celebrating,' Breuer explained. Happily, the German people mostly ignored the clumsy propaganda efforts and continued with the same traditions as before. The is a legacy of the Nazi Christmas. The wartime version of the traditional Christmas carol 'Unto us a time has come' is still sung. 'The Nazis took out the references to Jesus and made it into a song about walking through the snow,' Breuer said. Surprisingly, German churches put up little opposition to the Nazification of Christmas. 'You would have expected them to protest loudly and insist that it was a Christian festival,' said Breuer. 'But instead they largely kept quiet, out of fear.'




From: http://dailyhitler.blogspot.com/2009/12/hitler-getting-beat-by-krampus.html

Hitler getting beat by Krampus



From: http://gmtplus9.blogspot.com/2009/12/christmas-with-satan.html

James Chance... Christmas With Satan (2002, Tiger Style TS-038 .mp3 audio 06:14). Christmas With Satan was originally released by James White on A Christmas Record(1981, ZE Records ILPS 7017). It was replaced by No More Christmas Blues by Alan Vega on the 1982 edition.
Listen & Download: http://www.box.net/shared/static/y7e6huh0x9.mp3



From: http://texaspunktreasurechest.blogspot.com/2009/12/culturcide-santa-claus-was-my.html

Culturcide "Santa Claus Was My Lover/Depressed Christmas" 7"
A Christmas time classic from Houstons own Culturcide... Especially the b-side. Merry Christmas (or whatever you're into) from the Texas Punk Treasure Chest!
1. Santa Claus Was My Lover
2. Depressed Christmas

DL: Culturcide "Santa Claus Was My Lover/Depressed Christmas" 7":http://www.mediafire.com/?khymmgjcjjn



From: http://www.pulpinternational.com/pulp/entry/Publicity-photo-of-Joan-Collins.html

Publicity still of Joan Collins being terrorized by Oliver MacGreevy in 1972’s horror anthology Tales from the Crypt.




From: http://hereliesrichardsala.blogspot.com/2009/12/slightly-dated-look-at-psycho-santa.html

Art by Richard Sala (via death becomes her)



From: http://fantomatik75.blogspot.com/2009/12/merry-christmas.html?zx=78378242f3b8b718





From: http://nonozeroblog.blogspot.com/2009/12/have-yourself-sleazy-little-christmas.html

Have yourself a sleazy little Christmas







From: http://MicheleWitchipoo.deviantart.com/art/Babalon-Babes-Holidays-2009-147204491

Babalon Babes Holidays 2009 by ~MicheleWitchipoo