“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.”
Sacrilege were a female-fronted thrash metal band from the Midlands region of England. Despite having played relatively few gigs during their existence, Sacrilege are today recognised as an important band; both as an influence on later heavy metal and doom metal bands, and as an example of the blending of hardcore punk, radical politics, and heavy metal that occurred during the 1980s, making Sacrilege one of the prototypical crust punk bands of the time.
Prior to the formation of Sacrilege, guitarist Damian Thompson,drummer Andy Baker released a pair of thrash metal demos under the moniker Warwound. In 1983, the duo joined the Varukers, Damian left the Varukers in 1984 to form Sacrilege. In 1984 and ’85, the band recorded demos and contributed tracks to the compilations We Won’t Be Your Fucking Poor (Mortarhate, 1985) and Anglican Scrape Attic (a pre-Earache release from Digby Pearson)
After replacing drummer Pickering with Andrew Baker, Sacrilege recorded their first album, Behind the Realms of Madness, in 1985, which was released through the Bristol-based label Children of the Revolution (COR) Records. The album was moderately successful, selling a respectable 7000 copies. Shortly after this, the band brought in former Warhammer member Mitch Dickinson on second guitar, although he never played live with the band and he soon left to join hardcore group Heresy and later Unseen Terror. Around this time, the band were approached by FM Revolver Records, but this ultimately went nowhere.
Their second release, Within the Prophecy, was recorded in January 1987 at Birmingham’s Rich Bitch Studios with Rob Bruce and producer Mike Ivory. It was released later that year through Under One Flag Records, a subsidiary of Music for Nations. Sacrilege underwent a significant line-up change at this juncture, replacing drummer Baker with Paul Brookes, bassist May with Paul Morrisey and adding rhythm guitarist Frank Healey. After a further change, this time replacing Brookes with new drummer Spikey T. Smith, the new line-up recorded the band’s third album, Turn Back Trilobite, issued in April 1989. This record saw the band moving away from their thrash metal roots into a more doom metal musical direction, with touches of folk. Sacrilege split up quietly in the early 1990s.
After Sacrilege, Healey and Baker would go on to join Cerebral Fix, with Healey later joining Benediction and Baker also playing in an early incarnation of Cathedral. Brookes would also Benediction, and then metal act Marshall Law in 1999.
The Dirk Diggler Story is a 1988 mockumentary short film written and directed by Paul Thomas Anderson. It follows the rise and fall of Dirk Diggler, a well-endowed male porn star. The character was modeled on American porn actor John Holmes. The film was later expanded into Anderson’s successful 1997 breakout film Boogie Nights.
Dirk Diggler (Michael Stein) was born as Steven Samuel Adams on April 15, 1961 outside of Saint Paul, Minnesota. His parents are a construction worker and a boutique shop owner who attend church every Sunday and believe in God. Looking for a career as a male model, Diggler drops out of school at age 16 and leaves home. Jack Horner (Robert Ridgely) discovers Diggler at a falafel stand. Diggler meets his friend, Reed Rothchild (Eddie Delcore), through Horner in 1979, while working on a film.
Horner slowly introduces Diggler to the business until Diggler became noticeable within the industry. Diggler becomes a prominent model and begins appearing in pornographic films. Diggler has critical and box office hits which leads him to stardom. The hits and publicity lead to fame and money, which lead Diggler to the world of drugs. With the amount of money Diggler is making he is able to support both his and Rothchild’s addictions. The drugs eventually cause a breakup between Diggler and Horner, since Diggler is having issues with his performance on set.
After the breakup Diggler tries to make a film himself, but it is never completed. He then attempts a music career, which is successful but leads him deeper into drugs because of the amount of money he is making. He then stars in a TV show, which is a failure both critically and commercially. Having failed and with no work, Diggler returns to the porn industry, taking roles in low-budget homosexual films to help support his habit. On July 17, 1981, during a film shoot, Diggler dies of a drug overdose.
The film ends with a quote from Diggler: “All I ever wanted was a cool ’78 ‘Vette and a house in the country.”
The film was Anderson’s first real production having experimented with what he called “standard fare”. Anderson conceived the film when he was 17 years old and a senior at Montclair College Preparatory School. Anderson called his friend Michael Stein, telling him to come over for a production meeting, and told Stein his idea: “John Holmes”. Stein loved the idea and was cast to play the role of Dirk Diggler; he selected his own wardrobe. Stein showed Anderson some video of his friend Eddie Dalcour, who was a professional body builder, which Anderson loved and cast him in the role of Reed Rothchild. Anderson’s father, Ernie Anderson, narrated the film and Robert Ridgely, a friend of Anderson’s father, played the role of Jack Horner
The film was shot in 1987 using a video camera and steadicam provided by Anderson’s father. Some scenes were shot at a motel. Anderson raised money for the film by cleaning cages in a pet store. Being influenced by This is Spinal Tap at the time, he decided to do a mockumentary and used the John Holmes documentary, Exhausted, as a model for the film, even taking some dialogue almost word-for-word. Anderson worked from a shot list and wanted the actors to be serious since the characters took their work seriously. Anderson edited the film using two VCRs. According to Anderson, the film drew admiring laughs when it was was shown at a University of Southern California film festival.
The Dirk Diggler Story was expanded into Anderson’s 1997 breakout film Boogie Nights with a number of scenes appearing almost verbatim in both films. Two actors had roles in both films; in Boogie Nights, Robert Ridgely played The Colonel, a pornography financier, and Michael Stein had a cameo appearance as a stereo store customer. The main differences between The Dirk Diggler Story and Boogie Nights are the mockumentary versus narratives styles in the former and latter films, respectively; Diggler’s stint in gay porn in the first film versus his prostitution in the second; and Diggler’s dying from an overdose in the first film versus his happy return to his former roles and lifestyle in the second.
NY Illustrated – Saturday Night At Fort Apache – March 4, 1973
‘Three types of people use the streets of the South Bronx after dark: Policemen, Criminals, and Potential Victims.’
One in this public affairs series devoted to issues that concern the greater New York area. This program profiles Police Precinct 41 in the South Bronx, nicknamed “Fort Apache” because of the frequency and severity of violent crimes committed in the surrounding area. Narrated by Norman Rose, the program begins with a clip of Sgt. Bill Taylor addressing officers of the precinct’s anti-crime unit. Later, accompanied by Rose, Taylor tracks down and arrests a suspected mugger. In interviews with officers stationed at and previously assigned to the precinct, the following topics are discussed: the high risk of incurring severe injury while on duty and the ability to cope with fear; the reluctance among members of the police force to be assigned to the 41st precinct; completing tenure at the precinct as a step toward promotion; the high incidence of illegal weapons possession among area residents; and the factors linking street crime with drugs and poverty. Also included is footage of a typical night at the Lincoln Hospital emergency room, where the number of people suffering from gunshot wounds and stabbings often exceeds the hospital’s nightly capacity. Among those interviewed are Deputy Inspector Matthew Neary and Officers James Finn, Bob Gardner, and Tony Imbimbo. Commercials deleted. (This series occasionally runs under the title “New Jersey Illustrated” or “Connecticut Illustrated”; series dates unverified.) - The Paley Center For Media
Filmmakers Alan Raymond and Susan Raymond spent three months in 1976 riding along with patrol officers in the 44thPrecinct of the South Bronx, which had the highest crime rate in New York City. They produced about 40 hours of videotape that they edited into a 90-minute documentary.
The result was what New York Times TV critic John J. O’Connor called a “startlingly graphic and convincing survey of urban crime, violence, brutality and cynical despair”. Cases followed include the discovery of a dead body on the street, the rescue of a mother trapped in her apartment by a mentally ill son, an attempt to negotiate with a woman armed with an improvised flail who refuses to stop threatening her neighbor, and the arrest of a 70-year-old woman accused of hitting her daughter in the face with an axe. There is some introductory narration at the beginning describing the neighborhood and the time the documentary was filmed, but some unifying commentary is provided by an interview with Bronx Borough Commander Anthony Bouza, who ascribes the crime rate in the 44th Precinct to poverty, describes the hardening effects of urban violence on idealistic police officers, and likens himself to the commander of an occupying army, saying “We are manufacturing criminals… we are manufacturing brutality”.
The production was financed by the New York State Council on the Arts and WNET and cost only $20,000, thanks to the use of Portapak tape equipment; it would have cost an estimated $90,000 if film had been used. Special Newvicon tubes in the video cameras allowed them to tape with only streetlights for illumination, making them less conspicuous to subjects who might otherwise have fled from or approached the cameras.
The Police Tapes was an important source for Fort Apache, The Bronx, a 1981 film with Paul Newman and Ed Asner. It influenced the deliberately ragged visual style of the 1980s television police drama Hill Street Blues, which used handheld cameras to provide a sense of realism and immediacy—particularly during the morning roll call in each episode, which was based on a similar scene in The Police Tapes. Robert Butler, who directed the first five episodes, urged the camera operators to avoid carefully composed shots and to move their cameras frequently, telling them “If you’re having trouble focusing, that’s great.” This mock-documentary style, in turn, influenced many other television dramas.
Another line of influence runs from The Police Tapes to the Fox Networkreality TV series COPS. COPS, like its predecessor, closely follows police officers, suspects, and crime victims with handheld cameras. According to New York Times film critic Elvis Mitchell, the style of COPS then became part of the visual language of feature films, so that “the DNA of [the Raymonds'] original has found its way into the film mainstream.”