SEO

August 22, 2018

Soooo good! Thanks for sharing — Bowie Bookclub (@bowiebookpod)

August 21, 2018

@ChiamonwuJoyArt my twitter is being held up by the king who is my father. until i can obtain the $5 to retweet this i will not be able to come into the unlimited fortune of my inheritance (progressive post)


Leica I, 1927 - lange Fassung mit Musik
A post shared by Wikimedia (@mrjyn) on





Argento washes hands after French-kissing Rottweiler dog-film

Italian actress Asia Argento failed to turn up at a Rome press presentation of Abel Ferrara's new film, Go Go Tales, which she claims has damaged her career.

Argento, 32, recently distanced herself from the film, mainly because of a scene in which her scantily clad character is seen French-kissing a Rottweiler.

The scene was the talk of the town when Go Go Tales was presented at the Cannes Film Festival in 2007.

"Don't get me started on Asia Argento," Italian-American cult director, Ferrara said.

Go Go Tales, which goes out in Italian cinemas, is described as a 'screwball comedy' set in a downtown Manhattan lap-dancing club, and co-stars Willem Dafoe, Bob Hoskins, and Matthew Modine.

Argento, the daughter of Italian slasher director, Dario Argento, has had a number of Hollywood hits, including Rob Cohen's xXx (2002), Vin Diesel, Gus Van Sant's Last Days (2005), and Sofia Coppola's Marie Antoinette (2006).
 

WATCH Asia Argento washes hands after French-kissing Rottweiler


Asia Argento does the dog





Argento washes hands after French-kissing Rottweiler dog-film

Italian actress Asia Argento failed to turn up at a Rome press presentation of Abel Ferrara's new film, Go Go Tales, which she claims has damaged her career.

Argento, 32, recently distanced herself from the film, mainly because of a scene in which her scantily clad character is seen French-kissing a Rottweiler.

The scene was the talk of the town when Go Go Tales was presented at the Cannes Film Festival in 2007.

"Don't get me started on Asia Argento," Italian-American cult director, Ferrara said.

Go Go Tales, which goes out in Italian cinemas, is described as a 'screwball comedy' set in a downtown Manhattan lap-dancing club, and co-stars Willem Dafoe, Bob Hoskins, and Matthew Modine.

Argento, the daughter of Italian slasher director, Dario Argento, has had a number of Hollywood hits, including Rob Cohen's xXx (2002), Vin Diesel, Gus Van Sant's Last Days (2005), and Sofia Coppola's Marie Antoinette (2006).
 

David Bowie TV ads - all of them (thanks to the Bowie freaks)


Beautiful demonstration in the service of a great cause

David Bowie Tattoo






David Bowie Album Commercials (1974-2016)




David Bowie - Collection of TV Commercial Appearances


bow style

In the late 1960s, long before Ziggy Stardust, Bowie was struggling, not above starving in an ad for British “Pop Ice Cream,” Luv.

Demonstrating he was blessed, the Luv ad was directed by no other than up-and-coming brit, Ridley Scott (Alien, Blade Runner, Gladiator, The Martian).




David Bowie the man who passed away — leaves the world with an impressive collection of TV adverts that have been rightfully exploited for an humongous amount of money.
And let’s not forget BMW’s use of “Changes” during the Super Bowl for its new clean diesel technology.

Then there is “Under Pressure,” a song that commercial makers love for all the obvious reasons.




2013 - Sony made him creative director of sorts for its Xperia smartphone campaign, which used a remixed version of his song “Sound and Vision.”

Bowie placed a longer version of the remix on his own website, noting “prayers have been answered.

He used his celebrity to promote issues he cared about, such as promoting literacy in iconic “READ” posters for the American Library Association:
David Bowie - American Library Association - READ poster

Bowie was MTV, and vice versa, so no surprise to see him championing infancy.

While not the star, Bowie does appear in the mid-80s ad for the National Coffee Association.

Easy Japanese ad money proved too strong for Bowie, as seen in this ad for Takara sake.


In 2013, Bowie got his own Sirius XM channel.
But a decade earlier, when the two-satellite radio brands were battling it out as rivals, Bowie was the centerpiece of XM’s messaging.

This campaign was a hint that Bowie, in his older age, was laughing at his career.
bowie mercedes
Mercedes got Bowie’s endorsement in a magazine spread.
bowie hilfiger
Bowie and his wife, Iman, were as turn of the century as (Tommy) Hilfiger.

But Bowie was also a regular brand collaborator, and starred in ad campaigns, including la publicité pour l'eau embouteillée française, in which The Thin White Duke demonstrates thirstiness from The Man Who Fell... and self-awareness.

Peak self-mocking Bowie is the form in an ad for French bottled water brand Vittel.


Bowie’s last starring role in a brand partnership came in the form of the extravagant short film, I’d Rather Be High (L’Invitation Au Voyage) for Louis Vuitton.


 Infectious riffs were unmistakably riffs, not surprisingly for branding in the late 90s. And at the peak of its world domination, Microsoft built an indomitable empire around Bowie’s “Heroes.”

Cadillac employee, Bowie’s “Fame” in his Escalade spot.

August 19, 2018

Watermelon car from Ukraine


Kim Fowley only raped music R.I.P. (i introduce Kim to Marilyn Manson, etc.)


 
Kim Fowley and Marilyn Manson backstage at The Dope Show New Orleans - photo taken by mrjyn


Kim Fowley only raped music R.I.P. (i introduce Kim to Marilyn Manson, etc.)

In a Cell Phone/Text Nightmare World, Kim Fowley is the Human Being Movie @ The End Of The Rainbow.
In 27 years, 2 months, and 11 days from Mother's Day 2012, Kim Fowley will be 100 years old. I am still active in Music/Movies/Television/Sports/Commercials/Ringtones/Video Games/Sexual Relationships. Many people I am not directly involved with are threatened by my survival and magical skills...but they are not magical, great, logical, interesting, or essential...therefore, their lack of importance doesn't matter.


There is so much to say about Kim Fowley, but rather than tell you about his life, I’ll suggest that you watch two films, The Runaways and The Mayor of Sunset Strip, to get a good idea of who this man was. Kim passed away in January after a long battle with bladder cancer.

Kim Fowley was an unlikely friend. We met when he lived in New Orleans from 1997 to 2003. For our March 2000 issue, OffBeat published a profile, “Kim Fowley: A Strange Dog In The Barnyard Of Humanity” with Bunny Matthews conducting the interview and me tagging along to take photos.

After several hours of listening to Kim boast about his accomplishments—“I’m in 15 rock ‘n’ roll encyclopedias, I’ve sold 102 million records—56 gold, 26 platinum. I’ve sold more records than Allen Toussaint, Trent Reznor and Daniel Lanois combined”—I left the room telling Mr. Fowley I couldn’t take much more of this.

A week or so later, who walks into my office but Kim Fowley.
We talked for about an hour. He was no longer boasting, just talking about life in general. Kim loved New Orleans, but he never felt welcome. “As far as I’m concerned, white music in New Orleans is lame and stupid. When I first came here, I went and talked to white musicians and singers and I got bad attitude. Hey—live local, think global, guys! I got bored talking to them.”
Kim did work with and released a record with New Orleans native Buzzy Beano. This topic always seemed to come up in our conversations. “New Orleans is a black city and the black culture is so rich and so innovative that it totally castrates whitey. There’s no Elvis here—yet—who only listened to black music, a white guy who reinterpreted black music and created something new called rock ‘n’ roll. The white guys here are dwarfed by the black culture and they have a real crappy attitude about being white.”
Kim tried to find reasons why New Orleans was so insulated and why the city, in his opinion, never became a shining star. It had all the elements as the birthplace of jazz and the home of famous musicians, but cities like Nashville or Austin seemed to outshine New Orleans. “I was Texas-fixated. I had fallen for that Austin, Texas propaganda.”
Our conversations would sometimes last several hours and it was difficult to ask him to leave. I realized that Kim Fowley was an exceptional person—probably the smartest person I’ve ever met. He was sharp and his observations opened my mind up considerably. And sprinkled in between all his lofty ideas were his shocking sexual provocations. I’m pretty sure Kim liked to shock people with the sexual things he said, but as an older man, it was just words. I’m guessing it kept him feeling as if he was still sexually vibrant, but sadly, I don’t think he was.
I often thought about what made him latch on to me. Maybe he was lonely and I was a good listener, or maybe—I sometimes tell myself—he really liked me, in part because I stormed out of the room telling him I couldn’t take his bullshit rather than being an adoring fan.
After he left New Orleans, I would receive monthly telephone calls, usually right after he received his copy of OffBeat. But sometimes he would call and announce proudly “I just earned $1,000 lying in bed doing nothing.” His royalty check had arrived.
We had a great time in Austin for the South by Southwest music conference with Kim dragging me along to his interviews and telling all the media who wanted to interview him that he would appear only if he could interview me, and of course they all obliged. Now don’t get this wrong, he wasn’t turning the attention over to me: This was his clever way to get even more attention, and it succeeded.
Kim loved New Orleans. “New Orleans is magic. It smells and feels and tastes different. I’m totally unknown here. I can wander around at odd hours and do strange things.”
He kept a close eye on the New Orleans music scene and recently he was excited about Boyfriend saying that she was going to be big and that OffBeat should cover her quickly. I’m sorry he will not know that I took his advice.
When he got sick I started calling him. He always took my call and was always positive even though he knew he was dying. I last spoke to him a few weeks before Thanksgiving 2014, and although he was close to death, he didn’t reveal anything, but at this point in our relationship he knew I knew.
I will miss Kim Fowley. I will even miss him telling me how great he was and all his accomplishments. I don’t know how the man remembered it all.
Kim Fowley wrote or co-wrote songs that were recorded by Kiss, Helen Reddy, Alice Cooper, Leon Russell, Kris Kristofferson, Van Halen, Steppenwolf, Sonic Youth, Nirvana and many others. As a solo artist he released numerous albums.
Kim was the emcee for the Plastic Ono Band’s performance at the Toronto Rock and Roll Revival in 1969, where he claims he created the tradition of having the audience light matches and lighters to welcome performers to the stage. One of my favorite albums of all time is the Mothers of Invention’s Freak Out! That’s Kim singing with Frank Zappa on “Help, I’m a Rock.”
As Kim told it “I was first with Cat Stevens, I was first with the Germs, I was first with Poison, I was first with Joan Jett, I was first with George Lucas because I was the producer of the new music sequences for American Graffiti when he was right out of film school.”
Although he was misunderstood I think people will come to realize that it was a privilege to know him. Kim Fowley was a good friend—one-of-a-kind. He traveled everywhere and knew everybody. In a 2012 interview in the San Diego Reader, Fowley said, “It’s necessary for a band to have charisma, and it’s necessary for a band to have a Kim Fowley in there someplace.”
When asked the question “What is God?” in the OffBeat interview, his response “God is a white 17-year-old girl with a credit card who wants to buy me a recording studio.”

The Rubber Maids - One of Those


On the evening of March 25, 2000, K-Doe and a contingent of young associates—the Rubber Maids, the McGillicuddys, Egg Yolk Jubilee, Fireball Rockett and Quintron—staged a concert at the Mother-In-Law Lounge that will forever be etched into my cerebrum as a transcendental experience. The place—about the size of the average bedroom—was crammed to nearly ten times its capacity. The temperature was very, very hot. The patrons were my age, my elders and kids the same age as my kids. Whites and blacks. Ex-hippies and ex-punks. R&B fanatics and B&D fetishists. Bettie Page lookalikes and victims of bad tattoo artists. We were all drenched in sweat, gasping for oxygen, loving ever second. And K-Doe ruled!
In the late 1990s and early 2000s, Fowley lived in New Orleans' French Quarter, where he had moved, he told Spectropop.com, "looking for the black music of the '20s, but I couldn't find it." He advertised his production and composing skills in Offbeat magazine, which ran a feature on Fowley in March of 2000, and co-produced the South Coast Party Boyz' 2000 rap album "Escape From New Orleans."
Fowley became a familiar face at local rock shows, performing occasionally with his own band, and as a fan of acts like the Rubbermaids and Mr. Quintron. Fowley, Quintron recalled, named his 2003 album "Are You Ready For An Organ Solo?"
"I sent him an email asking, should I call the record 'Art Fag' or 'Are You Ready For An Organ Solo?" Quintron said, "And he wrote back immediately, 'Definitely, 'Are You Ready For An Organ Solo?'" 

Star Sighting: March 7, 1998 - Legendary rock producer Kim Fowley attended fuck's performance at the Hi-Ho Lounge in New Orleans
A post shared by thebandfuck@thebandfuck) on

Mike Judge goes ahead and talks 'Office Space'


'Office Space' retrospective with Mike Judge

When Office Space premiered in theaters on February 19, 1999, it was hard to imagine that Beavis and Butt-Head and King of the Hill creator Mike Judge’s first attempt at writing and directing live action would become the oft-quoted classic it did. When it made around $12.9 million at the box office, it continued to be an unlikely candidate to become a pop cultural cornerstone that would literally change restaurant chains and stapler designs. Repeated appearances on cable television and a successful life on DVD made Office Space the phenomenon that it is.

THE MOVIE WAS MADE DUE TO THE SUCCESS OF THERE’S SOMETHING ABOUT MARY.

20th Century Fox wanted a new “big, broad comedy” after the success of the Farrelly Brothers movie, and figured that the Milton shorts had the potential to become one. Judge initially didn’t think it was a good idea, but eventually got on board.

THERE WAS A SPECIFIC JOB MIKE JUDGE HAD THAT INFLUENCED HIS WRITING.

The former engineer alphabetized purchase orders for 2-3 weeks, for eight hours a day, which he described as “god-awful.” The fact that he couldn’t daydream nor talk to someone without losing his place in the alphabet made it distinctly bad.

MIKE JUDGE SPOKE AS BUTT-HEAD AND BOOMHAUER ON SET.

Judge voiced those characters on Beavis and Butt-Head and King of the Hill, so it wasn’t particularly difficult for him to appease some crew members who insisted on the impersonations.

MICHAEL BOLTON LEARNED TO BE AT PEACE WITH BEING CALLED A "NO-TALENT ASS CLOWN."

The singer came off as annoyed in a 2003 article where he said, “I was doing fine. Then they made this movie, and I can’t go anywhere!” Ten years later, he admitted that the movie is funny and willingly signs Office Space DVDs for fans.

THE STUDIO WANTED THE CHARACTERS TO BE CHIPPIER.

Judge remembered the executives giving him notes that generally said to make the movie less low-key. Watching dailes of Lumbergh’s “mmm… yeaaaaah” allegedly drove some executives “crazy.”

THEY ALSO DIDN’T LIKE THE MOSTLY ALL HIP-HOP SOUNDTRACK.

Focus groups changed 20th Century Fox’s mind about the inclusion of artists like Ice Cube, Scarface, and, of course the Geto Boys, whose songs “Damn It Feels Good to Be a Gangsta” and “Still” serve as the official soundtrack to printer beatdowns everywhere since 1999.

DIEDRICH BADER HAD A CLEAR IDEA ON WHAT LAWRENCE SHOULD LOOK LIKE.

The actor who played Oswald Lee Harvey on The Drew Carey Show as well as Peter Gibbons’ nosy neighbor Lawrence wanted to look like “somebody who loved the Allman Brothers.” Mission accomplished.

JOHN C. MCGINLEY ORIGINALLY AUDITIONED TO PLAY LUMBERGH.

That role went to Gary Cole, but as a nice consolation prize, Dr. Cox from Scrubs played Bob Slydell, a.k.a. the taller, mustachioed Bob.

TPS ACTUALLY STANDS FOR SOMETHING.

At the 10th anniversary screening, Judge revealed that Peter had to fill out Test Program Set reports. The reference dates back to his engineering days.

IT’S BEEN COMPARED TO A HERMAN MELVILLE SHORT STORY.

The protagonist in the 1853 short story Bartleby, the Scrivener: A Story of Wall Street hand-copies legal documents until he starts responding to every request by his boss with the phrase, “I would prefer not to,” and refuses to do anything, including leave his desk or eat. The similarity between Melville’s plot and the movie wasn’t lost on movie critics, bloggers, or high school teachers.

  IT’S MEANT TO BE SET IN "ANYWHERE, U.S.A."

Office Space was shot in Las Colinas and Austin, Texas, but the cars had custom-made “USA” license plates on them. Lumbergh's read, ”MY PRSHE.”

ACCOUNTANTS WERE THE FIRST PEOPLE TO QUOTE THE MOVIE.

Judge figured that the studio executives he was talking to throughout production couldn’t relate to the boring, soul destroying jobs Office Space was portraying, but he still had doubts that his brainchild would resonate with audiences. He first felt optimism when he heard that the accountants in the post-production department were referencing the movie before it even came out.

IT INSPIRED T.G.I. FRIDAY’S TO STOP IT WITH THE FLAIR.

As you surely remember, Jennifer Aniston’s character, Joanna, grew increasingly disengaged with her server job at T.G.I. Friday’s stand-in Chotchkie's because she could never seem to wear enough buttons, or “flair,” on her uniform to appease her superiors and counterparts. In real life, TGI Friday’s noticeably phased out the flair by 2005. Judge revealed last year that one of his assistant directors asked a Friday’s employee—without revealing his or her affiliations—about the absence, and was told that they “removed it because of that movie Office Space.

THE ACTOR WHO PLAYED BRIAN, THE FLAIR-LOVING CHOTCHKIE’S WAITER, SUED THE STUDIO.

A special edition DVD called The Office Space Box of Flair included the 32-page book, The Office Space Guide to Flair, and 15 buttons (15 being the minimum number of flair a Chotchkie’s server must wear). Todd Duffey wanted to be financially compensated for his face appearing on the cover of a book and on one of the buttons, but the false endorsement violation claim lawsuit was dismissed.

MIKE JUDGE PLAYED JOANNA’S CHOTCHKIE’S BOSS, STAN.

He wore a wig, a moustache, and glasses to make it a pretty good disguise. The role is credited to a “William King.”

THE RESTAURANT WHERE THE CHOTCHKIE’S SCENES WERE FILMED CLOSED IN 2009.

R.I.P. The Alligator Grille in Austin, Texas.

SWINGLINE MADE RED STAPLERS THREE YEARS AFTER THE MOVIE CAME OUT.

Milton’s precious office item needed to pop on screen, so a prop designer painted a Swingline stapler red. After potential customers called and e-mailed the company asking for a Milton stapler that didn’t exist, some enterprising folks made a profit making and selling red staplers on eBay. In April 2002, the company finally offered a “Rio Red” model.

OFFICE SPACE INSPIRED PEOPLE TO QUIT THEIR JOBS.

People that were unhappy at the jobs they felt no passion for have told Judge and Ron Livingston, the actor who played Peter, that they quit after watching the movie.

MIKE JUDGE DOESN’T LIKE THE ENDING.

He realized that the entire third act should be re-written a little too late in the process—after the final test screening.