Alex Chilton (R.I.P.) "Make A Little Love" french TV
blob83000 — December 01, 2006 — un étrange clip français au milieu des années 80...c'est l'époque des albums de l'ex-Big Star sur le label New Rose.
Il tourne en France en trio à cette pèriode et j'ai souvenir d'un concert magique à Sete.
http://atlasobscura.com/place/larry-spring-school-common-sense-physics
94-year-old man teaches his own "common sense" laws of physics CATEGORY Strange Science, Repositories of Knowledge It is hard to know what to make of 94-year-old Larry Spring. Born in 1915, as a boy Larry took an interest in radio and airplanes, going on to become a pilot during WWII. Upon returning from the war Larry owned his own television sales and service shop, and took a renewed interest in the science behind radio waves. In 1954 Larry says he independently verified the speed of light using comparison dipole antennas and a field strength meter. This was to be the beginning of the creation of what Larry Spring calls his "common sense physics." Put simply Larry believes and teaches a view of physics based on the idea that light is neither particle nor wave but a "magnesphere," a pure magnetic sphere of alternating polarity that drives electrons. Among his theories are "spring atoms" and that heat is the result of electron activity within the atom not friction from their movement. Of course all of this is arrived at without peer review, and 94-year-old Larry would readily verify he is not a physics professor or mathematician. Larry sees this as his strength and why he is able to think "outside the box." In his own words "I'm just playing around with the basics. It works and it's not in the books." A lifetime of being a science outsider has led Larry to a somewhat cynical sense of humor about mainstream physics. He has made a number of cartoons and one about peer review reads "There are no peers for new discoveries. To judge something a peer would have to know about it. If a peer already knew about it, it would not be a new discovery." Whatever one feels about his scientific theories, his dedication to self-education, and the ability of one man to attempt to make new discoveries is impressive. Larry occasionally gives classes from his Fort Brag studio which features a window display of many of his "Common Sense Physics" models and inventions. His self published books, inventions and other items can be purchased as his website: http://www.larryspring.com LARRY SPRING SCHOOL OF COMMON SENSE PHYSICS
Source www.larryspring.comwww.larryspring.com" rel="gallery" style="margin-top: 0px; margin-right: 10px !important; margin-bottom: 0px; margin-left: 0px; vertical-align: baseline; color: #b3d5ef; text-decoration: none; font-weight: normal; font-size: 9px !important; float: right !important; padding: 0px;">Click to Enlarge 
http://themusicsover.wordpress.com/2010/04/03/sarah-vaughan/
Posted by themusicsover.com on April 3, 2010 Sarah Vaughan Click to buy from amazon Died On This Date (April 3, 1990) Sarah Vaughan
March 27, 1924 – April 3, 1990
Alex Chilton was born in 1950 in Memphis, and he died two weeks ago, March 17th, in New Orleans. In between, Chilton, an undeniably gifted man, rather deliberately drifted through four-plus decades of a music career in which he served as both a pioneer of blue-eyed soul and a sort of conscripted, yet bemused uncle to indie rock. Of course, this counts the years when he preferred to be neither, when he purposely walked away from the music business, took his damaged spirit elsewhere, and washed dishes instead. Chilton sang "The Letter" and "Soul Deep" as a member of the Box Tops. He produced the Cramps' debut album. With fellow Big Star bandmate Chris Bell he co-wrote"Thirteen," my favorite song in the whole wide world, and "In the Street," subsequently used as the intro theme for That '70s Show. But for a whole generation Alex Chilton is best-known as the titular subject of a Replacements song. Which is both kind of ironic and fitting, considering the Replacements were never exactly household names themselves. I knew Alex when I lived in Tuscaloosa, Ala., but do not misread "knew Alex" as "was friends with Alex." As I've written elsewhere, he would come by my house without so much as a pretense of visiting me. He just wanted time with my cassette deck so he could make new mix tapes for his continuing travels. While in grad school I made extra money booking bands at a number of off-campus bars. And sometime in 1987, I arranged for Alex to play his first fraternity party, but I was more than tentative in approaching him with the idea. There is something doubly damaging about being rejected by someone whose records you've not only played but sung along to hundreds of times. So I'm certain that I began the pitch with the amount of money (about three times what the bar would normally guarantee) the fraternity was offering him. Surprisingly, Alex accepted the gig and, based on his usual modus operandi, I didn't expect to see or hear from him until maybe 30 minutes before his scheduled start time (the man did not believe in sound checks). But just a few nights before the frat party, my phone rang at an hour when a ringing phone makes you think, "Who died?" It was Alex. He had never ever called me before. In fact, I didn't even know that he had my number. And the reason Alex was calling so late just three days before the most lucrative night of his Tuscaloosa career was to ask, What do you think those frat guys want to hear? Well, Alex, I said. They know who you are and they asked for you specifically, so they realize what they're getting into. I think anything you play will be fine, though it might not hurt to break it into two sets to make the night last longer. What about cover songs? he asked. Don't frats like cover songs? What about that "Pablo Picasso's not an asshole" song? Do you think they'd like that? Obviously I am not the only one from that college town with stories to tell. If there are a million Alex Chilton stories around the world, there are likely hundreds in Alabama alone. Because in the late '80s, after the Box Tops and Big Star but before the Box Tops and Big Star reunions would put enough money in his pocket to make fraternity parties a thing of his past, Alex would pass through town three, four, maybe five times in a year. In Tuscaloosa at least, Alex Chilton was revered, despite, or maybe due to, a mercurial nature that seemed to tip-toe between mischievous and merciless; people felt honored just to buy him weed. Here's how some Tuscaloosans remember him. George Hadjidakis[1]: I was thinking about that very first show he played at the Varsity and just how everybody was just so hyped up for it. There was definitely a sizable group of people in Tuscaloosa who were really fanatical about him about that time. I just remember that for at least a month before that show it was like there were Chilton parties every night. Will Kimbrough[2]: Alex was in the Deep South a lot, probably making the most money there. He didn't get the romanticized cred of the Replacements or Husker Du or Black Flag, but he got in his car and drove all over the place. He was in the car and Doug (drummer Garrison) and Ron (bassist Easley) were in the van. That was his choice, you know. It seemed like Alex was the lonely guy who didn't want any company. Sam Baylor[3]: Yeah, the first time I met him he asked me what my sign was, and that seemed to be very important to him. Another thing that was odd about Alex was he made Doug and Rockin' Ron drive themselves around. He drove himself, but he would make them drive themselves around. He didn't want any company, didn't need any company. He was a cynic from years of being involved in the music business. It seemed like he didn't really want or need friends, you know. He was an unusual character, very cynical and sarcastic. Some might have thought him rude, but I read it differently. I thought he was real. And honest. And sometimes people can't take real and honest. Kimberley Mathews[4]: I was able to hear Alex Chilton play in a variety of different clubs over, I guess, a five- or six-year period in the late '80s and early '90s. A couple years after I had seen Alex play the first time, he played the same club, and it was right after the show, and I was walking back from the bathroom, and the Varsity had this little room — it was like their green room for musicians — and the door was open, and he was in there all by himself. And I walked by and I thought, Oh, I should say something to him. I had just walked by the room, and then I just took two steps back. And I felt really dumb. I'm one of those people that usually thinks of the perfect thing to say after the moment has passed. And I said, "Hey, I really liked your show." And he smiled. I expected some smartass remark because of kind of how he is onstage, but he said, "Thanks. Thanks a lot." I said, "I really, really like your music," like a total groupie, you know. And I thought, Well, that's really dumb. But he said, "Thanks. Thanks a lot." And he smiled, and he paused, and I couldn't think of anything else to say and he didn't say anything else, but he was nice, you know. He was polite. He didn't make fun of me, and he wasn't sarcastic. So that was really surprising to me. Cass Scripps[5]: We were lucky enough — I guess it would've been spring of 1988 — to book Alex to come and perform at our fraternity house. It was the Friday night of one of our biggest parties of the semester, and me and Howard, my roommate and running buddy at the time, were just beyond excited. Everybody in the fraternity house was all excited, but I think that they were excited because we were so excited. I don't necessarily know that they fully understood exactly how huge it was to have Alex Chilton come and play at the fraternity house, but we certainly did. So Alex gets there, he loads in, he sets up, and he's pretty much ready to go hang out wherever they're staying until it's showtime that night. And one of the things I certainly remember about Alex is that he wasn't a huge man in stature, and his vocal presence certainly reflected his size. He spoke in a very low, sort of monotone vocal style, but it was awesome. He said: "Hey man, do you know where I can get some pot?" And my eyes light up and I was just like, "You know, I think I know a guy. I can probably help you out with that." And so he told me where he was going to be staying, and me and Howard go and find the guy. We were like kids on Christmas morning. We had scored one of our musical heroes some weed, and we thought this was going to be great. So we go over there, we knock on the door, we go inside, we're talking to him, and there's that kind of anxious moment. You've brought somebody what you think is the prize, and then there's that moment of silence and that tension in the room of like, Well, here it is, and wondering what's going to happen next. Then after a thick silence for about 90 seconds or maybe even two minutes, he hands back the bag and shakes his head and just says, "Nah, I can't smoke this." Me and Howard were both just absolutely dejected. So after the gig the crowd had cleared, and we went back to the Dill's Motor Court and we hung out in his hotel room and he was frantically searching the channels on the TV looking for cartoons, and cussing out the TV because there were no cartoons on it. And I was like, "Come on, Alex. It's like 3 in the morning. There's not going to be any cartoons." I'm not going to throw in what we might've been smoking at that time. WK: He loved old Epiphone guitars, and I had an old '60s Epiphone acoustic guitar with a pick-up stuck in it. And the next day he came by our room. We were all staying at the Dill's Motor Court. and I was rooming with Sam Baylor, and Alex drops by. Now he dropped by to see Sam because he wanted to smoke pot. But he also wanted to see my Epiphone. And so he said, "Can I see that Epiphone of yours?" And I said, "Sure." And he pulled it out and starts playing it, and so we're in a hotel room with Alex, and he's playing my guitar, and it's pretty cool. And then he goes, I've got this kind of halfway written song, and he played a song that came out on High Priest a year later or something. It wasn't "I'm in Love with a Girl" or "Back of a Car," but it was cool to have Alex kind of running through this song. I mean, he didn't ask our opinion or anything. He just played it for us. And then he got stoned and got a joint to go, and he got up and got in the Ford Explorer he was driving around in. And I went out there to say bye, and he rolled his window down, and he played me a song off this cassette he had. I think it was by Jesse Belvin. But he told me how this was on the radio when he was a kid. To me it sounded like some old record. I'm not an aficionado of that kind of stuff so I said, "All right. Cool." And then he did what he did with most people who he had more than a passing conversation with — he asked me my birthday. And as he was pulling out he said, "Wow, Will. We're almost astrological twins." So that was the longest visit I ever had, when he paid us a visit, smoked our pot, and then gave us some astrological pointers. By that point we were — I don't know — as familiar as we were going to get. I don't think he thought too much of what we were doing or anything like that. Who knows? It doesn't matter. Wade Gilmer[6]: Of course he was my hero, but I was living in Atlanta — this would've been 1990 or so — and it was on a weekend so I showed up at George's house for a Chilton show, and I had no idea that Alex Chilton was staying there with George. So I walked in, and here's Alex Chilton sitting on the couch, and George said, "You know Alex, don't you?" And I said, "Well, yeah. How's it going?" And we shook hands and sat down on the couch and he looked at me, and he said, "Hey, you remind me of the guy who turned me on to the Bonzo Dog Doo-Dah Band." So that's how we started our conversation. So I produced some marijuana and said, "Hey Alex, you want to smoke a joint?" And he was like, "Sure." So we sat, smoked a joint. And George came in and he said, "Hey Alex, have you ever seen this Cramps video of them playing at the State Hospital in California [The Cramps: Live at Napa State Mental Hospital]?" And Alex said no, so we put the tape in, and George kind of leaves the room, and so it's just Alex Chilton and me sitting on the couch, passing this joint around. And I got so tickled because neither of us said a word. We just sat and watched this video, which is just absolutely brilliant. I saw him a couple of times after that, and he like nodded his head, and it was a real cute kind of thing. He didn't ever really say anything. He just kind of nodded his head. There was definitely recognition. GH: The last time he played in Tuscaloosa he was playing on a Friday night, and the Cynics were playing on Saturday night, but they came in early so they could see the Chilton show. And he would stop over by the house, you know, when he was playing, and the Cynics were all over there. And Alex came in, and I think Gregg [Kostelich, Cynics guitarist] was the only one who knew who he was because I just introduced him as Alex. And we were talking about music and stuff and after a while Michael [Kastelic], the singer, goes, "So, are you in a band too?" WK: Once, when I opened for him, he stood in front of me while I played "Thirteen," and he stood in front of me while I played a version of "The Dark End of the Street." I was probably playing from the Gram Parsons version, and he's from Memphis so he knew the James Carr original version, and he also knew ["Dark End of the Street" songwriters] Dan Penn and Spooner Oldham well. So there's three factors involved. Number one, he walked out and stood right in front of me, and those were the days when I played almost all the time with my eyes shut. You know, terrified, early 20s, playing in front of people. He stood there and watched, and I opened my eyes at one point in the middle of his song "Thirteen," and there he was. And I was like, Fuck me, man. He's going to hate me forever. Because by that time I knew Alex was like, you know, not going to play more than one or two Big Star songs and was just scoffing at the whole notion that it was some kind of great band. That was his whole stance on it: Would you just lay off the Big Star shit, please, and let me play these Slim Harpo songs? So anyway, I play that song and then I play "The Dark End of the Street," and afterwards he came up to me and told me that if I played a certain extra minor chord in "Dark End of the Street" that it made it especially scary and darker. And so I took that as like, Oh cool, you know. He heard me play his song, and he's talking to me about this, and he's my idol of the decade. You want your idol to pat you on the back and tell you you're cool. Maybe coming and telling me the scarier way to play "The Dark End of the Street" was it. In fact, I think it was. KM: A few years later, after I got engaged, I saw him at the Ivory Tusk. And we used to show up early so we could get right in front of the stage. So we staked our claim in front, and we were standing there having a beer and smoking a cigarette, and he was hooking up his microphone and stuff, and he saw that I was smoking, and he asked for a light. And so I pulled out a lighter, and he noticed my engagement ring,and he looked at me kind of quizzically. You know, he kind of cocks his head and cracks that kind of funny grin, and he says, "How old are you?" And I said, "25." And he goes, "Man, you're too young to get married." And I said, "Well, I don't think so. You know, we've been dating five years." And then we had a little conversation and he said, "Well, okay. All right." And, you know, he didn't make fun of me and he didn't make a smart remark. And I said, "Boy, I'm really looking forward to the show," and I think I gave him a few songs that I wanted to hear, and he played one of them. So the two times that I met with him were different from what other people have told me when they tried to speak with him. And I don't know why that is. I don't know if it was because I was a woman. Maybe because there wasn't anybody else around. I'm not really sure. It seemed to me that when he was talking with other people — because I would see him, you know, onstage — he kind of had a different rapport about him, a different way that he would talk to people. You know, when guys sit around and talk it's always like they're trying to one-up each other with a wisecrack. And maybe he didn't feel like he had to do that with women. I have to say this, though: Although he was polite and nice, he didn't, you know, make a conversation go longer than it needed to. He wasn't out to make any kind of connection to a fan or anything like that. It just happened to be, probably, that I had a lighter, and he needed a light. CS: A year or two years later I was a talent buyer for a venue there in Tuscaloosa, and after they had loaded in and set up I was back in the back talking to Alex, and he's smoking his cigarette, just hanging out in the back. And I ask if everything was all right, and he's just like, "Hey man, do you know where I can get some pot?" And needless to say I was a little bit gunshy at that point since it didn't go well the last time. I was wondering if I should even try again. But I said, I think I know a guy, and this time I called the guy and sure enough it was like crazy, kooky, over-the-top sort of pot, and I brought it over to where Alex was staying, and his eyes lit up when he saw it, and he was just like, "Oh yeah. This is great. This is great." So it was one of those yin and yang stories. I failed the first time but the second time he seemed quite pleased. It was quite the redeeming moment. SB: The last time I saw him he was happy and smiling. GH: I certainly will miss him. I'll just plain ol' miss him [1]George Hadjidakis owned the late, lamented Vinyl Solutions record store in Tuscaloosa. He is now a private rock 'n' roll citizen living on a small pension. [2]In the late '80s Will Kimbrough was best known as the "Will" of Will & the Bushmen. Along with Sam Baylor he wrote "Dear Alex" (see below) Kimbrough is currently a Nashville-based solo artist and guitar slinger for hire, and some of his most recent compositions may be found on each of Jimmy Buffett's last three albums. http://deadspin.com/5507622/getting-high-with-alex-chilton-in-tuscaloosa-1986...
Getting High With Alex Chilton In Tuscaloosa, 1986-1990: An Oral History
arthurbrownmusic — March 30, 2010 — Arthur Brown with with him Jim Mortimore on Guitar and Percussion and Steve Watts on Keyboards filmed live in December 2009 by Matthew North.http://www.youtube.com/bandnfilm http://www.arthurbrownmusic.com
John Hellier for WAPPING WHARF PROMOTIONS presents
14th annual SMALL FACES CONVENTION.
Sunday, 15th August 2010
RELENTLESS GARAGE, Highbury Corner, London N5 (Opposite Highbury and Islington tube station)
Doors 4-11
6 Great bands plus very special guests, giant screens showing rare footage, DJ and merchandise. 7 HOURS OF 100% SMALL FACES!....“MOD PARADISE!”
Tickets £20 from www.ticketweb.co.uk (08444 772000) www.hmv.com www.wappingwharf.com or by post, cheques payable J Hellier 7 Waterdene Mews Canvey Island SS8 9YP
THIS EVENT WILL SELL-OUT. Be sure to purchase in advance.
http://onemansblog.com/2007/03/26/how-id-hack-your-weak-passwords/
If you invited me to try and crack your password, you know the one that you use over and over for like every web page you visit, how many guesses would it take before I got it? Let’s see… here is my top 10 list. I can obtain most of this information much easier than you think, then I might just be able to get into your e-mail, computer, or online banking. After all, if I get into one I’ll probably get into all of them. Statistically speaking that should probably cover about 20% of you. But don’t worry. If I didn’t get it yet it will probably only take a few more minutes before I do…Hackers, and I’m not talking about the ethical kind, have developed a whole range of tools to get at your personal data. And the main impediment standing between your information remaining safe, or leaking out, is the password you choose. (Ironically, the best protection people have is usually the one they take least seriously.) One of the simplest ways to gain access to your information is through the use of aBrute Force Attack. This is accomplished when a hacker uses a specially written piece of software to attempt to log into a site using your credentials. Insecure.orghas a list of the Top 10 FREE Password Crackers right here. So, how would one use this process to actually breach your personal security? Simple. Follow my logic: And how fast could this be done? Well, that depends on three main things, the length and complexity of your password, the speed of the hacker’s computer, and the speed of the hacker’s Internet connection. Assuming the hacker has a reasonably fast connection and PC here is an estimate of the amount of time it would take to generate every possible combination of passwords for a given number of characters. After generating the list it’s just a matter of time before the computer runs through all the possibilities – or gets shut down trying. Pay particular attention to the difference between using only lowercase characters and using all possible characters (uppercase, lowercase, and special characters – like @#$%^&*). Adding just one capital letter and one asterisk would change the processing time for an 8 character password from 2.4 days to 2.1 centuries.How I’d Hack Your Weak Passwords
| Password Length | All Characters | Only Lowercase |
|---|---|---|
| 3 characters 4 characters 5 characters 6 characters 7 characters 8 characters 9 characters 10 characters 11 characters 12 characters 13 characters 14 characters | 0.86 seconds 1.36 minutes 2.15 hours 8.51 days 2.21 years 2.10 centuries 20 millennia 1,899 millennia 180,365 millennia 17,184,705 millennia 1,627,797,068 millennia 154,640,721,434 millennia | 0.02 seconds .046 seconds 11.9 seconds 5.15 minutes 2.23 hours 2.42 days 2.07 months 4.48 years 1.16 centuries 3.03 millennia 78.7 millennia 2,046 millennia |
Remember, these are just for an average computer, and these assume you aren’t using any word in the dictionary. If Google put their computer to work on it they’d finish about 1,000 times faster. Now, I could go on for hours and hours more about all sorts of ways to compromise your security and generally make your life miserable – but 95% of those methods begin with compromising your weak password. So, why not just protect yourself from the start and sleep better at night? Believe me, I understand the need to choose passwords that are memorable. But if you’re going to do that how about using something that no one is ever going to guess AND doesn’t contain any common word or phrase in it. Here are some password tips: By request I also created a short RoboForm Tutorial. Hope it helps… Another thing to keep in mind is that some of the passwords you think matter leastactually matter most. For example, some people think that the password to their e-mail box isn’t important because “I don’t get anything sensitive there.” Well, that e-mail box is probably connected to your online banking account. If I can compromise it then I can log into the Bank’s Web site and tell it I’ve forgotten my password to have it e-mailed to me. Now, what were you saying about it not being important? Often times people also reason that all of their passwords and logins are stored on their computer at home, which is save behind a router or firewall device. Of course, they’ve never bothered to change the default password on that device, so someone could drive up and park near the house, use a laptop to breach the wireless network and then try passwords from this list until they gain control of your network – after which time they will own you! Now I realize that every day we encounter people who over-exaggerate points in order to move us to action, but trust me this is not one of those times. There are 50 other ways you can be compromised and punished for using weak passwords that I haven’t even mentioned. I also realize that most people just don’t care about all this until it’s too late and they’ve learned a very hard lesson. But why don’t you do me, and yourself, a favor and take a little action to strengthen your passwords and let me know that all the time I spent on this article wasn’t completely in vain. Please, be safe. It’s a jungle out there. EDIT: You might also want to listen to my interview on Connecticut Public Radioabout password security.
Laura Tabor-Huertawas a regular fixture on the North Texas punk rock and new wave underground scene back in the 80s and 90s. She spent a decade documenting the bands, the musicians, the fans and the "scene" on video. Saturday night, Laura's documentary, DFW Punk, screens at 1919 Hemphill in Fort Worth. It's a safe bet that you'll find some of those punk rock stars in attendance, which will make for a really interesting Q&A after the screening. Speaking of Q&A's, we caught up with Laura via e-mail recently to chat with her about the film, the idea behind it and more, as part of this week's Art&Seek Q&A: Art&Seek: How did you first get interested in punk music and especially punk bands based in North Texas. Laura Tabor-Huerta: I was into rock and metal music in high school. Suddenly, on the radio, new wave music started to be played and a little punk, and I guess the genres won me over. Very little information was available about punk music and any tiny picture, clipping, article or rumor was appreciated during that pre-Internet time. I was a fine arts major at UT-Arlington in the early 80s, and by word of mouth heard of some local punk clubs. I started driving over to see the bands and experience the scene, which was bigger than just music. It was about experimenting. Some did it with drugs, fashion, art or music. A&S: When did you decide to start documenting these bands and artists with video, and what was your inspiration to do so? L.T.H: It was while I was still in college that I decided to make a documentary, but I was living the life too much and couldn't really organize such a big project at that time. Later, in 1995 or so, I finally had a steady full-time job and started buying equipment and getting a crew together to work on it. I started by writing a list from memory of all the people, clubs and events that I could remember and started calling those people, which led to finding others. In 1997, I started interviewing bands and musicians on the weekends, which continued over the next year or two. My inspiration was that I knew it had been a really special time for me and a small minority of people. As I got older and more non-Texans began moving to Texas with the attitude of "all you hillbillies are behind the times," I realized that many people did not know that a punk scene thrived here back then. I thought it would be an important, accessible story, because I lived it and the subject matter suited itself to a low budget, which was all I could afford. A&S: How much footage was left on the cutting room floor? Enough for a sequel? L.T.H.: Not so much a sequel as a big ol' extras disc! Someone else can make a sequel about the later 90s to today's Dallas scene. Of course, it might be a real tearjerker, because I've heard that it's really a dead scene in Dallas now. I have a lot of interviews and old band footage that I think a niche group might really appreciate having. I even considered having multiple DVDs and offer them as burn to order. We'll see. Some of the most compelling footage is an off-shot of the punk scene; the skinheads. But I have to find a way to protect them, because everyone has a right to privacy and making mistakes when you are young. I would want to show the essence of that time for them. A&S: What is one of your most memorable punk shows? L.T.H.: Well, one of my most positive memories of the DFW punk scene was not of a specific show, rather a feeling from all of it. An average night out to see a local band was such a comfortable experience. Walking with friends, drinking a six-pack and wandering around the Twilight Room area or Deep Ellum with the intent to have fun, meet some interesting people and find some band that you've never heard of before. It was really wonderful. One of the most memorable negative memories I have was at the Exploited show back in 1988, I think. I remember going with a new friend, and he was wearing a jacket with a peace sign on the back. That was about the worst thing you could do, style-wise back then, and I remember skinheads standing behind him spitting all over his back. A&S: How has the film been received at the various film festivals, and where has it screened? L.T.H.: Each festival has been a little different. At the Dallas Video Festival, I screened a different version than the current one. It was not as tight but seemed well-received because everyone was starved for some footage and information from that time, I think. In Los Angeles, at the Don't Knock the Rock Music and Film Festival, it was well-received by Allison Anders, who picked it to screen there, but I think attendance was a bit down because the listing for the screening had no image, so the two film listings (mine and another one) may have blended into one. The crowd, though smaller, was really appreciative. When it played at Alamo Drafthouse in Austin last August, it sold out by 9:45 p.m. on a Monday night, so that was a pretty incredible experience! It was amazing, too, that the majority of the audience stayed for the Q&A! A&S: Who were the major players in the underground punk scene back in the early 80s and why? L.T.H.: I was a bit younger than the original punks from the DFW scene. I was the second wave, as Charlie Gilder, owner of Bar of Soap, likes to say. So speaking for them, which is always a bad idea, Bobby Soxx seems to stand out. He seemed to be a guy you loved to hate. He died of alcohol poisoning a decade ago. He was well known for being so destructive. However, there were many standouts; members of the Nervebreakers, Stickmen with Rayguns, Fort Worth Cats and VVV Record Store. As far as the late 70s, you'll have to ask someone from the first wave to answer that question. Some of the bands I liked in the early 80s and later on were Why am I, Sedition, Broken Promise, MC 900 Ft. Jesus and I was one of the first fans of Reverend Horton Heat. I got into the late 70s bands later, after I started making the documentary in 1995. A&S: If you could bring back one venue and put together a reunion showcase, who would perform and where? L.T.H.: I'm not big on living in the past. I would rather go back and live a random day at the Hot Klub and just see what happens. Seeing the Sex Pistols reunion tour soured me on the whole reunion thing. A&S: Are you planning on working on future documentaries or films? L.T.H.: I plan on doing small projects only, so no big documentaries, only music videos, weird warped animated pieces and small documentaries about a few people. That is about it for the next year or two. Plus, I make mosaics and draw, both of which I plan on doing a lot more. The Art&Seek Q&A is a weekly discussion with a person involved in the arts in North Texas. Check back next Thursday for another installment. http://www.kera.org/artandseek/content/2010/04/01/artseek-qa-filmmaker-laura-...
Art&Seek Q&A: Filmmaker Laura Tabor-Huerta
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