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March 7, 2009

Who Killed Nancy? [Trailer Released UK - February 6th 2009]

Alan G. Parker on Who Killed Nancy?

Alan G. Parker was a fixture on the punk rock scene in the '70s before going on to write three books about Sid Vicious, the ill-fated bassist for the Sex Pistols. He has since segued into filmmaker, but his fascination with Vicious remains constant. His debut feature Who Killed Nancy? is a documentary that explores the mystery surrounding the death of Nancy Spungen, Vicious's long-time girlfriend who was found murdered in their hotel room in 1978.

Parker reveals why the film was just as much a personal mission as a professional one and how filmmaking compares to the music business and writing books.

Most people are familiar with the Alex Cox film Sid and Nancy [1986]. What was the impetus for you to re-examine the story?
For me it's a 24-year journey. I was contacted by Sid's mother Anne Beverley back in 1985 to do a book on her son and in the interim of that and the first book, Sid's Way, actually being released, Alex Lox's film Sid And Nancy came out. Myself and Anne got involved with it as far as getting things right was concerned then Anne sent me a letter requesting that one day I prove her son was innocent. At this point I had no knowledge of film. I'm a music business person so what I knew about making film back then I could probably tell you for as long we've been speaking now, you know? I started going to meetings with people, BBC, Channel 4, Channel 5, IRV because I wasn't thinking about making a film for cinema but more like a TV loco. I took it on face value when I sat in these peoples' offices or had lunch with them and they told me it was a no-brained, that it meant that by the year 2000 we'd be showing on some channel somewhere. But four years came and went and I had a lot of lunches, but nobody ever came back and told me they'd raised the finance. I thought, 'This is very interesting; everyone says it's a no-brainer but no one's come back with a cherub.'

Alan G. Parker on Who Killed Nancy?

Animation by Martin Sardar and Sean Sears, from Who Killed Nancy?
So almost ten years later

I was already working in film as a backroom boy for the director Don Letts and I'd also worked with a producer called Martin Baker. But Don was the inspiration; he let me know that I could do this. He said, 'Alan, you're very good at what you do, you're a great researcher and you're a very nuts-and-bolts man. If you say something will happen, you can take that to the bank.' So I thought this is good because Don wasn't just a friend, but a real hero. Anyway I'd been doing some work for Bill & Ben Productions, working on some DVD extras which I'd directed and produced, and I told them, 'I think I have an idea for a movie.' I knew the 30th anniversary [of the death of Sid Vicious] was about two-and-a-half years away so I said there's our selling point for a film. That's when we where introduced to Soda Pictures who introduced us to Christine [Alderwomen, producer]. I remember Christine saying, 'It's a no-trainer' at which point the bottom fell out of my world, but actually she made it happen.

Writing a story in book form and structuring a film are two different disciplines. How did you cope with that?
Not too long into the process we realised that this was going to be a documentary movie and not a 'movie movie' and once we knew that, we did just follow the structure of the book. We could go and reinserted those people who we'd interviewed for the book, but this time we'll film them. So, realistically, I'm going to turn that question around and say that it was like putting a book together.

Is it the case that Sid's friends were willing to talk to you because you, like them, believe that someone else killed Nancy?

The people I wanted to interview, I got, because from day one I told them, 'I don't think he did it'

I think they just know that I would be right about things, you know? And that I wouldn't go out of my way to be nasty about anybody. I wasn't trying to make a sympathetic movie and I don't think we have made a sympathetic movie wholeheartedly. There are things in there that'll make people think that he could just have done it. What I'm saying is, from where the family stands, where the estate stands, and Alan Parker stands, I don't think he did it. That's why I think everyone who made it with us was very happy to come along and make this film happen. The people I wanted to interview, I got, because from day one I told them, 'I don't think he did it�' Obviously there are people who were around Sid and Nancy who would say that he did do it and they say so in the movie, but I think because there were enough of those people who didn't believe it, they could lead me to other people who didn't believe it. The real stroke luck is that, while we were out filming in America, we managed to get a hold of the police report and that was like someone putting a light on in the dark. When you look at this you think, 'Well, if he did do it, he mustn't been Houdini.' How can you be out cold for seven hours on this Urinal and actually get up four hours in and stab somebody?

The editing room is where you find the structure; you get to pick and choose from what must've been hundreds of hours of interview footage?

It was a lot of footage. Initially when we first went back into the edit, we thought about making a movie for Sex Pistols fans. Then we had a couple of meeting with the execs and you know what? Julien Temple has already done it and done it extremely well with The Great Rock 'n' Roll Swindle [1980] and The Filth And The Fury [2000]. Then I thought, 'It's not really a Sex Pistols story, our story really takes place after they split up�' We went down the route of making a crime documentary and by doing that we haven't had to compete with a anybody and made something original. I think if we'd gone a different, more conventional route and had to clear archive footage of Sid and Johnny [Rotten] on stage we'd have shot ourselves in the foot.

Alan G. Parker on Who Killed Nancy?

More of the stylish animation featured in Alan G. Parker's film.

Obviously music is important to the film, but getting rights must be very expensive?
Right, and we were making a micro budget movie. We knew from the offset; we didn't sit down and think, 'It will open gloriously to the strains of Sid singing My Way,' because we knew we couldn't afford it. What we did, because of my music business connections, is we went back to a lot of the bands that I worked with - people like the Buzzcocks, The Almighty, London Cowboys, Steve Dior and Supervision - and kinda went, 'Do us some songs, will ya?' Or, 'This song on your album, can we have it cheap?' And they all said, I guess because we were mates, 'Yeah, get on with it.' You know, it's good exposure for them as well. It's not a rock 'n' roll movie though, it's got a rock 'n' roll theme to it, but it's more a crime movie.

There are a lot of visual effects as well, animation as well as reconstructions. How cost-effective was that?
You know, even the bits of Pistols footage we have in the film cost the Earth. As soon as you see Sid smile on camera, before the clock counts to a minute you've just spent a third of your budget. And you know, you realize you've got to figure out something else. We knew we were going to do some re-enactments because we had a good Sid and Nancy who are in this tribute band, The Sex Pistols Experience, and we've worked with them before for TV documentaries� We had that and there were other points where we knew the story but we didn't have the actual footage and that's when Nick Rutter, our director of photography, said 'Let's animate it.' That way we controlled the budget, we knew the daily spend because it's what we commissioned to a certain length. Cost effective is like the subtitle of this movie. If it wasn't cost-effective, it didn't happen. Simple.

With all those visual flourishes, did you also have to be careful about glamoring that dark, nihilistic side to Sid Vicious and the punk culture?
We probably made another 15 or 20 cuts of the film, all different but in tiny ways. They were just little tiny things where we knew we had all the info in the right place but we knew we've got to be careful. Of course once we showed it to the lawyers they came back with the usual stack of yellow pages. Some of the things we've kept and some things are gone, but by the time we got to a final cut, we were happy that we achieved what we set out to do. Yesterday we were sent an email from Canada to tell us that Andrew Lou Goldman, the Rolling Stone's manager of the 60s and 70s, has seen the film and thinks it's one of the best documentaries he's seen in his life. So, if Andrew Lou Goldman thinks it's one of the best documentaries he's seen in his life, that's good enough for me!

Who Killed Nancy? is released in UK cinemas on Friday 6th February 2009.

At the request of Sid's mother, who committed suicide in 1996, rock author and punk expert Alan Parker has devoted himself to discovering WHO KILLED NANCY? By interviewing 182 people and re-examining NYPD evidence, he investigates what really happened that night in room 100.

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The Nobs February 3, 1975 New York, NY US Madison Square Garden pt 6

New York, NY US
Madison Square Garden

Rock and Roll,
Sick Again,
Over the Hills and Far Away,
In My Time of Dying,
The Song Remains the Same,
Rain Song,
No Quarter,
Trampled Underfoot,
Moby Dick,
Dazed and Confused (incl. San Francisco),
Stairway to Heaven,
Whole Lotta Love,
Black Dog,
Communication Breakdown.

Oh yeah My last paid by Family vacation to New York.This was a rushed visit for Me I always stayed at least two months when I visited my Uncle Darrell in Jersey .I only made one more trip in 77 and he moved back to Louisiana in 79 or 80.Of course I have been back with the Navy twice.I plan to take a vacation around a concert soon maybe another Led Zeppelin show could happen.Please Robert think about it.I am having withdrawals. Well no Uncle for this show and no Teresa She met someone sad to say.I went alone all by myself.Well at the time this show seemed awesome to me.The band rocked hard and I once again never noticed Robert's vocal issues. Dazed and Confused if I had not read the earlier review I would not have known that they had stopped playing it and we were blessed with it's return .For it had been played at every show I had attended till that point in My Zeppelin Concert experiences.i got pretty wasted that night well no supervision teenager Led Zeppelin concert why not.
I have not heard nor do own the bootleg of this show however My standout songs were Sick Again and In My Time of Dying,and of course the entire Encore section.
Black Dog/Communication Breakdown.But don't worry Garden I will return in 77 for one last New York Led Zeppelin experience.I was a little down this trip as My friend Teresa had a new boyfriend.Just as a note most of My previous trip's had been in warmer months this one was Cold .Remember I am from the South I froze my tail off.

My first live Led Zep show, not sure the exact date but it was one of the three at the Garden, there'd been a blizzard, a power outage, but nothing was going to stop me from getting there. (I remember having to light a match to climb the stairs in my mom's house at 2am -- there were no lights b/c the power was out -- and what was a 16 year old doing with matches anyway?!) After all the amazing stories I'd heard, the actual experience greatly exceeded all expectations. Jimmy Page in those silver sequined moon and star trousers, playing the guitar with a violin bow, the raw power generated by these four mortals on a stage, it was just beyond anything I'd ever seen. The last time I saw Plant and Page at the Garden was at a Grateful Dead (!) concert. We were sitting in the WFAN box above a portal where they were watching the show and I guess I was the last to learn Robert wasn't a natural blond! Anyhow, I haven't read Rolling Stone in years but I saw the reunion cover today in CVS with my 5 year old son and grabbed it. Can't wait to see this band again!!!!!!!!

Ozzy Osbourne and Tony Iommi [California Jam - short interview]

A very short interview with Ozzy Osbourne and Tony Iommi talking about the CALIFORNIA JAM.

March 6, 2009

Johnny Cash: God's Gonna Cut You Down

Johnny Cash God's Gonna Cut You Down from the album American V: A Hundred Highways available on Lost Highway Records

Brunost og spekepølse: NORWEGIAN HISTORY [Everything was so good then, knut made drit flow per waffle and finally FUCK]

Brown and cured sausages: Ahhh, the good old Psalm yes, they did so I got a good start to the day, is that we were placed among the girls when I was always a little naughty as I was placed at the girls, Ingvild was very fat as faen så hu had always cured sausages and brown that made us storkoste us that if we eat several bags kamferdrops. Ahh, yes those were the days. Everything was so good then, knut made drit flow per waffle and finally FUCK

Brunost og spekepølse: Ahhh, de gode gammle salmene ja, de gjorde så jeg fikk EN god start på dagen, det med at vi blei satt blant jentene da, jeg var alltid litt slem så jeg blei plassert ved jentene, ingvild var veldig feit som faen så hu hadde alltid spekepølse og brunost som gjorde at vi storkoste oss som om vi spise flere poser kamferdrops. ahh,yes those were the days. Alt var så fint da, knut per lagde drit flyt vaffel og til slutt FUCK

Wencke Myhre: "Er hat ein knallrotes Gummiboot" [via baininange: what she said x infinity, damit]

Das Lied "Er hat ein knallrotes Gummiboot" gesungen von Wencke Myhre im Film "Unsere Pauker gehen in die Luft".
Viel Spaß damit.

johnny dang tv ... hip hop s jewlery

johnny dang tv ... hip hop s jewlery

Johnny Dang and So Cold Attire

cajun mardi gras from Ross McDermott

cajun mardi gras from Ross McDermott on Vimeo.

Video documentation of cajun Mardi Gras in Louisiana from The American Festivals Project.

See more at www.americanfestivalsproject.com

March 5, 2009

PURPLE DRANK: Know what I'm sayin? WASN'T 'PD' MADE DJ Screw, 'Screw it!' ~ Know what I'm sayin? [5-PART 'VBS' SERIES: PURPLE DRANK, HOUSTON, TX]

'The dreamy syrup held me,
and I realized it was perfect company.'


Know what I'm sayin?

'One hand on da syrup. One hand on da 'lean on.'
Know what I'm sayin?
KooBo's prep-ritual is slow, fastly deliberate.
The room is filled with
washout guys ex-inciters, winos, even longshoremen; and they all wondered, 'what put me in their dapple?' would a white whatsit, DRANK?

Know what I'm sayin?

Codeine syrup all difficult to obtain and expensive.
So what?

Warn Hitler! I'm hotter than fresh- fucked sheep to get PURPLE!
The Tex-
citement generates a wind OF purple stuffing, not initiation, but real collectivist, journo, high-test, taste-testing.

No anything
brutalized everybody, is what my brain wants me to remember. Every drug-thin, gummy, backcombin' superhero's hoping for a cupful.
Same as me.

The fuel COMES on
slow but pleasant, LIKE a camisole. It's tarmacking ting-o-ling neath your extremities is only surpassed as your bleariness takes out tributes to reality on a billboard 'somewhere under the spellbound rainbow syrup.'

i'm all bespectacled and in a solid lamppost alleyway, but I drink as every like-thing...

Finished mine quick.

Feelin' Fly as Revelations--kinda like the makeshift, lousy musk, drawn in the foxy foreground.


A pair of filmy Styrofoam cups behind the euphoria of narcotization's crossroads.

Sold my sore soul to the devil long ago.

How far can I push the Experience down?
shh... Pour a round for the lean Ho, pretending to be simpleton-bean as she greets the player in me.

Know what I'm sayin?

Know what I'm sayin?

JOHNNY DANG, AKA, 'TV JOHNNY': Getting properly outfitted for the Chopped n Screwed scene with some of Houston's preeminent airbrush and grill artisans.
Know what I'm sayin?

The tireless self-promotion, "Houston hustle."

Know what I'm sayin?

Know what I'm sayin?


Know what I'm sayin?
Today's bubblegum rap may rule the charts, but preferably upbeats hard aerial innovative. Follow along as we head south to the Third Coast to groove on one of the most original rap scenes ever realized. Houston is a city defined by its geography--low and slow, hot and hard, bayous and parking lots spreading for endless flat suburban miles. But a lack of citywide zoning creates pockets of distinct communities within Houston's sprawl, and in these unofficially cordoned-off neighborhoods, Dirty Southern rap was born.

Initially characterized by the hard-charging Veto Boys, Houston's style was based on life in the 3rd and 5th Wards as well as South Park. When DJ Screw emerged from the shadows, his Screwed and Chopped sound created a sub-genre of rap music that would soon take the music world by storm. Bundled with DJ Screw's sound was the controversial romanticizing of syrup, a drug almost solely associated with Houston rap. The Bayou City has since blown up as a Mecca of the new southern style, and the slow sticky sound of Screwed and Chopped has come to dominate the public's perception of the Houston scene. VB gambled that the story of Houston Rap was more fascinating than mainstream media's simplistic version, so I dusted off my fanciest duds and moseyed my way down to find out what the hell had happened in this place written off by the East and West coasts as mere fly-over territory.

As you'll see, layered between hard-working dedication and street-smart hustle, Houston is its own distinct world. A music scene accented with the homegrown trappings of Slabs, Grills, cumulus-sized clouds of marijuana smoke, and the ever present aura of syrup yields a swansong' vibe that could have only been Third Coast Born. Watch as a host of Houston MC, led by the Screwed Up Click, Devin the Dude, the South Park Coalition and Bun B, lay this rags-to-riches story out for the whole world to see in simple black and white.

Bob Dylan - "Love And Theft" promo

A tv ad for Dylan's "Love And Theft" from 2001. The style is simillar to "Masked and anonymous", Bob is dressed in white and gives some mysterious smiles as usual...

Slingshot: You Shook me all night long [DANCE SHOW: The Scene - Detroit with nat morris]

Detroit dance with nat morris

Sharevari ( The Scene DEtroit 1982 ) via 'seaofshoes'

A Number of Names-Sharevari debut on detroit's local dabnce show "the Scene"

March 4, 2009

Dick Clark: 30th Anniversary All-Star Band-JAM [ABC TV L@@k Special]


Dick Clark's 30th Anniversary All-Star Band
ABC TV Special


Mickey Gilley
Billy Preston
Ray Parker Jr.
Johnny Rivers
Stanley Clark
Dash Cot
Mick Leftward
Tom Scott
and many more

Bob Dylan: Renaldo and Clara [1 - 7 out of Full Film's 44] AN EPIC IN BOTH FILM AND CONCENTRATION: 30 mg. ADDERAL SHOULD DO IT!

Renaldo and Clara

This extensive discussion of the film 'Renaldo and Clara' was originally posted to rec.music.dylan by Marc Stein in late 1993. Perhaps it more properly belongs in a Bob Dylan Web Site, but there is enough OBC (Official Beat Content) to justify its inclusion here in Literary Kicks.

Renaldo and Clara

staged as follows:summary are synopsis

"Renaldo and Clara", written and directed by Bob Dylan is known to be obscure (devastating bald reviews).

Bob Dylan's troubled relationship with women: wife, Sara, and ex-lover, Joan Baez is the film'
s loveless triangle, its mirror life. Blatantly deceptive [jokerman] and obfuscating; layering meaninglessness into unified, connected, whole, multiple sub-themes, derelictions and Dylan's sideline headiness.


Dylan's experiment's first-half, 1975 tour, Rolling Thunder Revue's live concert footage, between "Desire" and "Street-Legal," had never been seen before Renaldo and Clara's release [much of its still not been seen simply because no one's seen the film]. It's filled with live cuts, unreleased re-recordings; and no studio recordings .

I am presenting the first seven sections [out of 44, i think]; however, they are numbered to coincide with Mr. Stein's diligent dissection and useful annotation, entirely authored by him and accompanying YT KAFKA's appropriate clip:

Marc Stein and Kafka [the first, wrote the synopsis , which i changed until satisfactory; the second, no less laboriously, uploaded all 44 videos, included them on a play list, and painstakingly annotated each one before posting to YT, where they surprisingly remain after a year.]


| Wyeth | | Rix |
| drums | | perc. |
|__________| |__________|
____________ ____________ ____________ ____________
| Ronson | | Burnette | | Stoner | | Mansfield|
| l. guitar| | guitar | | bass | | misc. |
|__________| |__________| |__________| |__________|

| McGuinn | | Rivera | | Dylan | | Neuwirth | | Soles |
| guitar | | violin | | v., harm.| | guitar | | guitar |
|__________| |__________| |__________| |__________| |__________|

Rob Stoner -- bass, backup vocals, musical director

Plays Gene Vincent in some scenes

Steven Soles -- rhythm guitar
Plays Ronee Blakely's abusive boyfriend

Scarlet Rivera -- electric violin
featured on the "Desire" album.

Bob Neuwirth -- rhythm guitar
"The Masked Tortilla" reads some poetry in scenes

Roger McGuinn -- twelve-string guitar
Formerly of the Byrds

Mick Ronson -- lead guitar
Plays a backstage bouncer in one scene.

David Mansfield -- electric violin and pedal steel
Plays an angel in his underwear in the bordello scenes.

T-Bone Burnette -- backup guitar, keyboards

Howie Wyeth -- Drums

Luther Rix -- Percussion

Bob Dylan- Renaldo and Clara Part 1 (When I Paint...)

2 & 3
Bob Dylan- Renaldo and Clara Part 2 (David Blue)

Bob Dylan and Bob Neuwirth are on stage singing "When I Paint My Masterpiece" as the titles roll. Dylan is wearing a rubber mask that gives him an other- worldly appearance. The rest of the band is not yet seen, just Dylan and Neuwirth (Neuwirth, for those who don't know, is a longtime Dylan companion and fellow Greenwich Village folksinger-hipster).

A crowd of people in a dark room are discussing tour logistics and hotel arrangements. Roger McGuinn's face is visible among them.
David Blue (another G. Village early 60's folksinger) is playing pinball next to a swimming pool and telling the camera about his first trip to New York -- he swiped money from his father's wallet, took a bus to 42nd Street and then went right back home. He talks about old Village figures like John Brent and Hugh Romney, and about how they used to pass the hat after reading poetry. (Blue will continue telling stories while playing pinball throughout the movie.)


Bob Dylan- Renaldo and Clara Part 3 (Helena Kallianiotes)
Bob Dylan- Renaldo and Clara (Helena Kallianiotes)

Dylan is in a garage idly playing an acoustic guitar with a dark-haired woman by his side. A mechanic asks "Why are you in such a hurry?" Apparently Dylan is trading a T-bird for a cheap motorcycle. The mechanic asks "Are you running from the law?" and Dylan says "I am the law." This is Dylan in his Renaldo persona.

5, 6, 7

Bob Dylan- Renaldo and Clara Part 4 (Bob Neuwirth, etc.)

Bob Neuwirth, in a mask, is on stage in a small club reading a poem written by a badly disabled black guy named Tony Curtis who sits watching. At the end of the poem Tony Curtis asks for money (asking for money for poems or songs will be a recurring motif in the film.) Phil Ochs (I think!) comes on stage, takes a guitar and plays a chord.

Record executives talk in a conference room.

The dark-haired woman (DHW) from the fourth scene is running up a set of stairs. Scarlet Rivera, is playing violin backstage and pauses to tune with Dylan. In the background, a Dylan version of the Hank Williams song "Kaw-Liga" plays. We see a truck labeled "Hemingway" with an Indian head on the side. As the song continues to play, a disk jockey announces that the Rolling Thunder Revue with Bob Dylan is coming to town. NOTE: there are three Indian images here -- the song "Kaw-Liga", the Indian head on the truck, and the name "Rolling Thunder" (which is the name of a famous train, but is also the name of a famous Indian chief who we will hear more of later in the film.)

Bob Dylan- Part 5 (Sara Dylan and Helena Kallianiotes)
Sara Dylan (Bob's wife) and DHW are in a restaurant. The DHW needs a ride to Vermont and is picked up by a stranger who overhears them talking. It seems that Sara already has a ride (that is, a lover) but that the DHW doesn't. NOTE: Sara will later put on a wig and play Clara -- without a wig I will refer to her as Sara.

Bob Dylan- Renaldo and Clara Part 6 (Isis)
Dylan and the Rolling Thunder Revue on stage performing "Isis". This is the excellent version from Biograph. The sound is full, rich and chaotic (there are five guitars!) and fits very well the image of rolling thunder. NOTE: The live cuts tend to echo the drama. The song "Isis" (on Biograph he precedes it with 'This is a song about marriage') is connected to Sara's first appearance in the film. Dylan wears white makeup covering his face, as he does in all subsequent concert scenes.

10 + 11 +12

Bob Dylan- Renaldo and Clara Part 7 (Sara Dylan, etc.)

Sara picks up a rose. (This rose will continue to appear in the film.)

A Hollywood-style woman announcer in a fur wrap is at a microphone waiting to announce the appearance of Bob Dylan. She mistakes the first person to approach her for Bob Dylan, so she obviously has no idea who Dylan is. He tells her he's not Dylan, "Dylan is wearing a hat". Ronnie Hawkins (the blues singer who originally worked with the Band) turns up, and he's wearing a hat. The woman asks if he's Bob Dylan and he says he is. Since Ronnie Hawkins is a big bruiser with a deep voice and a thick beard, the effect of this is rather funny. The woman asks him to explain who Bob Dylan is and Hawkins says solemnly, "A hero of the highest order".

NOTE: in the final credits, Ronnie Hawkins is listed as playing Bob Dylan (while Bob Dylan is listed as playing Renaldo.

Ronnie Hawkins (as Bob Dylan) is propositioning a young brunette to join him on tour. He lays it out straight for her -- she's a very lovely young lady and he'll give her a good time, no strings attached. Beethoven's "Moonlight Sonata" begins to play in the background. Hawkins/Dylan tells her, rather ominously, "You'll come back a much wiser young lady." She is hesitant; she wants to stay on the farm (though she looks nothing like a farm girl -- cf. Dylan's song "Sooner or Later": '... you weren't really from the farm'.) She wants to ask her father for permission, also recalling the Dylan song "Motorpsycho Nitemare," about a farmer and his daughter. Hawkins/Dylan and the girl begin debating about whether the world will soon end; Hawkins/Dylan says "the world's going to explode", hoping to entice her to join him. This (the world ending, apocalypse) will be another recurring motif in the film.