The Ramones 1975 Live at Arturo’s Loft
Conjured by @SeMeNSPeRmS on April 28, 2017
“On the first episode of “The Art of Punk” we dissect the art of the legendary Black Flag. From the iconic four bars symbols, to the many coveted and collected gig flyers, singles, and band t-shirts, all depicting the distinctive Indian ink drawn image and text by artist Raymond Pettibon. We start off in Los Angeles talking to two founding members singer Keith Morris, and bass player Chuck Dukowski, about what the scene was like in 1976 – setting the stage for the band’s formation, as well as the bands name, and the creation of the iconic four bars symbol. Raymond Pettibon talks with us from his New York art studio. Back in LA we meet with Flea, from the Red Hot Chili Peppers, about how the art, the music, and that early LA scene impacted his own life and career. To wrap it all up we sit and talk at length, with Henry Rollins, at MOCA Grand Ave in Los Angeles, about all of the above and more.”
Conjured by o~ SeMeN SPeRmS ~o on July 10, 2014
It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, “Give Up The Funk (Tear The Roof Off The Sucker),” a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other.
Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs —a rare opportunity for everyone to get their proper dose of The P-Funk.
Do That Stuff
Gamin’ On Ya!
Standing On The Verge Of Getting It On
Children Of Productions
Mothership Connection (Star Child)
Swing Down Sweet Chariot
Comin’ Round The Mountain
P-Funk (Wants To Get Funked Up)
Give Up The Funk (Tear The Roof Off The Sucker)
Night Of The Thumpasorus Peoples
Funkin’ For Fun
Conjured by o~ SeMeN SPeRmS ~o on May 24, 2014
Damn, I wish I coulda chilled with Dee Dee when he was still alive.
“This program features Lech Kowalski’s 2003 documentary feature about the life and times of Ramones bassist and all-star burn out, Dee Dee Ramone (1952-2002). Dee Dee’s life is a fascinating character study of a punk rock legend who never grew up. Listen to Dee Dee’s account with director Lech Kowalski, to discuss Johnny Thunders for the film ‘Born to Lose.’ Relive the battlefield history of rock and roll through the memories of this ordinary, yet extraordinary guy from Queens whose songs distilled frustration, humor, and pleasure, into the energetic melodies that made the Ramones a worldwide influence!” –IMDb
Conjured by o~ SeMeN SPeRmS ~o on January 22, 2014
Pink film (ピンク映画 Pinku eiga or Pink eiga?) is a broad cinematic term used to categorize a wide variety of Japanese films with adult content. This encompasses everything from dramas to action thrillers and exploitation films (a.k.a. pinky violence), and softcore pornographic (romance pornography or roman poruno) features. The term is often mistakenly used to apply only to sex films. However, the so-called pink movie is part of an ongoing (and evolving) cycle of films rather than a specific genre.
Pinku eiga, along with the bloody and violent yakuza-eiga, or contemporary gangster film, both became wildly popular in the mid-1960s and dominated the Japanese domestic cinema through the mid-1980s. In the 1960s, the pink films were largely the product of small, independent studios. In the 1970s, some of Japan’s major studios, facing the loss of their theatrical audience, took over the pink film. With their access to higher production-values and talent, some of these films became critical and popular successes. Though the appearance of the AV (adult video) took away most of the pink film audience in the 1980s, films in this genre are still being produced.
Conjured by o~ SeMeN SPeRmS ~o on November 8, 2013
Pixote: a Lei do Mais Fraco (Portuguese pronunciation: [piˈʃɔtʃi a ˈlej du ˈmajʃ ˈfɾaku], Pixote (small child): The Law of the Weakest) is a 1981 Brazilian drama film directed by Hector Babenco. The screenplay was written by Babenco and Jorge Durán, based on the book A infância dos mortos (The Childhood of the Dead Ones) by José Louzeiro.
The plot revolves around Pixote, a young boy who is used as a child criminal in muggings and drug transport.
After a police round up of street children Pixote is sent to a juvenile reformatory (FEBEM). The prison is a hellish school where Pixote uses glue sniffing as a means of emotional escape from the constant threats of abuse and rape.
It soon becomes clear that the young criminals are only pawns in the criminal, sadistic games of the prison guards and their commander.
When a boy dies of physical abuse by the guards, they frame the lover of the transgendered effeminate boy known as Lilica (Jorge Julião), for the murder. This lover then conveniently also dies, with some help from the guards.
Soon after, Pixote, Lilica and her new lover Dito (Gilberto Moura) find an opportunity to flee from the prison. First they stay at the apartment of Cristal (Tony Tornado), a former lover of Lilica, but when tensions arise they go to Rio for a cocaine drug deal; there, however, they get duped by a showgirl.
After some time bumming around the city, Pixote and his friends go to a club for another drug deal. While there, Pixote finds the showgirl that took their drugs and stabs her.
They become pimps for the prostitute Sueli who is definitely past her prime and is possibly ill from a botched abortion. The group conspires to rob her johns, but when Lilica’s lover Dito falls for Sueli, Lillica leaves. The robbery scheme fails when an American john fights back (because he apparently does not understand Portuguese) so they have to shoot him. In the ensuing fight, Pixote accidentally shoots and kills Dito as well.
Pixote tries to gain comfort from Sueli, treating her as a mother figure, but she rejects him. He leaves and is seen walking down a railway line, gun in hand, away from the camera, his figure disappearing in the distance, out of the film’s view.
Film critic Roger Ebert, who writes for the Chicago Sun-Times, considers the film a classic, and wrote, “Pixote stands alone in Babenco’s work, a rough, unblinking look at lives no human being should be required to lead. And the eyes of Fernando Ramos da Silva, his doomed young actor, regard us from the screen not in hurt, not in accusation, not in regret — but simply in acceptance of a desolate daily reality.”
Critic Pauline Kael was impressed by its raw, documentary-like quality, and a certain poetic realism. She wrote, “Babenco’s imagery is realistic, but his point of view is shockingly lyrical. South American writers, such as Gabriel Garcia Marquez, seem to be in perfect, poetic control of madness, and Babenco has some of this gift, too. South American artists have to have it, in order to express the texture of everyday insanity.”
The New York Times film critic, Vincent Canby, liked the neo-realist acting and direction of the drama, and wrote, “[Pixote], the third feature film by the Argentine-born Brazilian director Hector Babenco, is a finely made, uncompromisingly grim movie about the street boys of São Paulo, in particular about Pixote – which, according to the program, translates roughly as Peewee…The performances are almost too good to be true, but Mr. Da Silva and Miss Pera are splendid. Pixote is not for the weak of stomach. A lot of the details are tough to take, but it is neither exploitative nor pretentious. Mr. Babenco shows us rock-bottom, and because he is an artist, he makes us believe it as well all of the possibilities that have been lost.”
Conjured by o~ SeMeN SPeRmS ~o on November 6, 2013