GLORIA GAYNOR Love is Just a Heartbeat Away from Transylvania to Manhattan with Pans People 1979

GLORIA GAYNOR

Love  is  Just  a  Heartbeat  Away

from Transylvania 

to

 Manhattan

Danced 

by 

Pans  People 

1979

Concert for Kampuchea: Ian Dury & The Blockheads [Sweet Gene Vincent + Hit Me With Your Rhythm Stick 1979] Check out that solo! Uploaded by mrjyn

Concert for Kampuchea: Ian Dury & The Blockheads [1979]

Uploaded by mrjyn

The Concert for Kampuchea
DVD cover of The Concert for Kampuchea
Directed by	Keith McMillan
Produced by	Bob Mercer
Starring	Wings The Clash Elvis Costello The Pretenders Ian Dury Rockpile feat. Robert Plant Queen The Specials The Who
Cinematography	Anthony Richmond
Distributed by	Almi Cinema 5
Release date(s)	August, 1980
Running time	90 min.
Language	English

The Concert for Kampuchea (subtitled "Rock for Kampuchea") is a musical film from the best of the Concerts for the People of Kampuchea. The film was directed by Keith McMillan and was 4 nights of concerts in Hammersmith Odeon to raise money for the victims of Pol Pot's reign of terror in Cambodia. The event was organized by Paul McCartney and Kurt Waldheim (who was then Secretary-General of the U.N.), and it involved well-established artists such as McCartney, The Who and Queen as well as younger new wave acts like The Clash and the Pretenders.

The film finishes with the presentation of Wings' Rockestra (more of 25 musicians playing together). They get on stage, sing, and get off with intermissions.

Filmed in 1979, Concert for Kampuchea did not receive American theatrical distribution until it was picked up by Miramax in 1988.

• Opening commentary by Peter Ustinov
• Performed by Queen:

Now I'm Here

Crazy Little Thing Called Love

• Performed by Matumbi:

Guide Us Jah (In Your Own Way)

• Performed by The Clash:

Armagideon Time

• Performed by The Pretenders:

Brass in Pocket

• Performed by Wings:

Got To Get You Into My Life

Getting Closer

Every Night

Arrow Through Me

Coming Up

• Performed by The Specials:

Monkey Man

• Performed by Elvis Costello & The Attractions:

The Imposter

• Performed by Rockpile with Robert Plant

Crawling From The Wreckage

Little Sister

• 
  

• Performed by Ian Dury & The Blockheads:

Sweet Gene Vincent

Hit Me With Your Rhythm Stick

• Performed by The Who:

Sister Disco

Behind Blue Eyes

See Me, Feel Me

• Performed by Billy Connolly:

Introduction to the Rockestra

• Performed by the Rockestra:

Lucille

Let It Be

Rockestra Theme

• Concerts for the People of Kampuchea, the concerts and set lists.
• Concerts for the People of Kampuchea, the album and the EP about the concerts.

'Make It Stop! The Most of Ross Johnson' (Goner Records 2009 CD) ['Baron of Love' from Alex Chilton's 'Like Flies on Sherbert' (Jim Dickinson: 1979)]

THAT'S THE DIRECTOR'S UP THERE

HERE'S MINE
[IT'S SHORTER: I CAN'T WATCH LONG ONES (I LIKE THAT MEMPHIS SIGN LADY THOUGH...I HOPE THAT'S NOT THE DIRECTOR'S WIFE!)]

From

Make It Stop!
The Most of Ross Johnson

produced by
Bob Mehr

[originally produced by Jim Dickinson for 'Like Flies on Sherbert' 1979]

SPECIAL JAPANESE INTRODUCTION QUOTE!

"

Maybe some of the strange times, but he, in a sloppy manner, in which it is his feeling, was that, like him, it's pure rock!"-- JAPANESE FAN ON 'BARON Of LOVE'

Like the kin of Jerry Clower, Jerry Lewis, and Jerry Lee Lewis passing a coffin on Percodan, Ross Johnson's "BARON OF LOVE (PT. 2), the video [special abbreviated version] from Alex Chilton's LP, "LIKE FLIES ON SHERBERT" is his Ross Johnsonest release yet!

This PANTHER BURNS' cluster-fuck alumni helped foment Memphis's 1970s 'cult of no personality' scene, which brought together a horde of shut-ins, and provided 'art damage' therapy, propagated by Tav Falco and his Unapproachable's.

Tav used a tool borrowed from the infamous cult leader chest: quasi babble-speak on top of dissonant musical accompaniment.

The cult called 'PANTHER BURNS,' named after an apocryphal [also cultic ] legend--unverified and orally passed from Plantation to cotton field--where 'you know who' thought they saw 'you know what' ON FIRE [!], smack dab in Mississippi's Delta.

This cult consisted of Alex Chilton [guitar], Tav (Gustavo)Falco [vocals, Silvertone guitar], Jim Dickinson [guitar *not sic], Eric Hill [synthesizer], and our man of the hour--the reason we're here! The greatest one-handed, beer-gulping timekeeper since the man from Munchen held a metronome and a Weierstrass while simultaneously yodeling--Ross Johnson [stand-up drums]!

LIKE FLIES ON SHERBERT ['LFOS'], recorded at Sam Phillips Studios, 1979; mixed the following year; released as a pipe-dream on Sid Selvidge's Peabody label; one year later on Aura; and finally by Patrick Mathe's French, New Rose, wherein it has grown into the greatest cult record of 'em all--in my opinion.

The album is divided among Chilton originals and Nashville Bar Band covers [think of a Lower Broad band-rider which includes Dexamyl and a keg of Schnaaps].

The only non-LX vocal track on 'LFOS' (although LX makes known the spirit of the recently departed Baron, Elvis in this tallboy-fueled, extempore-eulo-billy, seance/monologue, through his use of ribbons of a/b guitar feedback), this 'Flies,' was remastered by Dickinson, who says it's as good as it's going to get--which in Memphis means "ROSS JOHNSON will forever be remembered for "Baron Of Love (Pt. 2)"! *Orig track from Alex Chilton's 'Like Flies on Sherbert' produced by Jim Dickinson From Ross Johnson's Goner Records' self defecating 25-year retrospective autobiographically titled 'Make It Stop!The Most of Ross Johnson'.

[some of the content of this review may have been taken directly from other sources, where it may have been mechanically manipulated into its current state by the author. The author is not responsible for any over-three word strands which may still may remain in tact--thank you.]

i think this is by Andria Lisle, but i'm not sure: WHICH ONE DO YOU THINK IS BETTER? SHE STARTS HERS OUT WITH A QUESTION, WHICH IS VERY SHARP AND TRICKY--HARD TO BEAT--I DIDN'T GO TO JOURNALISM SCHOOL. MINE HAS MORE BRACKETS AND COLA, THOUGH. LOOK UP! THERE'S ANOTHER ONE--THE NAME OF MY BLOG--HOW YOU SAY IT:

bRACKET cOLA

What do Alex Chilton, Jim Dickinson, Tav Falco, Peter Buck, Monsieur Jeffrey Evans and Jon Spencer have in common?

They’ve all lent their talents to the skewed genius that is Memphis drummer/ranter/raconteur extraordinaire Ross Johnson.

Johnson’s name may only be familiar to a cult of faithful followers, but he’s one of the true heroes of the Southern alt and punk rock underground. From his days riding shotgun with Chilton, to his efforts helping found the Panther Burns to his work with outfits like the Gibson Bros. and ’68 Comeback, Ross has been a dedicated soldier in the trash rock trenches for four decades – while creating a catalog of truly brilliant and bizarre solo recordings on the side.

This January, Goner Records, will release Make It Stop!: The Most of Ross Johnson. This career-spanning collection includes 20-plus tracks, covering Ross’s solo sides and numerous all-star collaborations from 1979 to 2006. It’s a wild, wooly, sonic and lyrical journey that’s sure to take its place among the more outré anthologies in your CD collection.

Ross' mostly spontaneously composed songs – which concern his fraught relations with women, booze, and the very nature of being a Southerner -- are part deconstructionist roots music, part absurdist comedy. Imagine a cross between Hasil Adkins and Sam Kinison, or Charlie Feathers and Albert Brooks, or Kim Fowley and Jerry Clower, and you’ll get the picture (please forgive the groping hybrid comparisons, but as you’ll find out, Ross is rather hard to define). Call it southern fried outsider art or rockabilly psychosis, but once you get a glimpse of Ross’ twisted vision, you’ll never look at the world the same way again.

But Johnson’s story is more than that of just an unhinged rock and roll hellion. An Arkansas native and son of a respected newspaper editor, he moved to Memphis as a teen, just in time for the city’s mid-60s garage band boom. He got his foot in the music scene as a one of the few original and enthusiastic fans of hometown pop group Big Star. Johnson then went on to write for the legendary Lester Bangs at Creem, under the memorable alias of Chester the Conger Eel. He soon befriended Alex Chilton, helped introduce punk rock to Memphis, and later became a notorious imbiber/MC/ringleader as a founding member of Tav Falco’s Panther Burns. Since then he’s spent time thumping the tubs for a variety of wild outfits from the Gibson Bros. to the Ron Franklin Entertainers --- all the while maintaining his alter-ego as a mild mannered librarian at the University of Memphis.

Make It Stop! is a treasure trove of material that collects a variety of out-of-print, hard-to-find, and previously unreleased selections from Ross’ colorful career, including singles, album and comp appearances for labels like Peabody, Sympathy for the Record Industry, Sugar Ditch, and Loverly.

There is of course his legendary vocal debut, “Baron of Love Pt. II,” one of the highlights of Alex Chilton’s famed Like Flies on Sherbert album.

Also, included are solo tracks ranging from 1982’s infamous “Wet Bar” – which was featured on the companion CD to Robert Gordon’s book It Came from Memphis – to early-‘90s cult classics like “It Never Happened” and “Nudist Camp,” down to the recent acoustic nugget, “Signify,” a ridiculously raw self-confessional that will have you laughing and crying simultaneously.

The disc also unearths some never-before-heard (and suitably insane) tracks Ross recorded with R.E.M.’s Peter Buck amid a drunken haze sometime in early 1983.

Credited to

Our Favorite Band

[HEY, THAT'S ME],

songs like “Rockabilly Monkey-Faced Girl” and “My Slobbering Decline” represent some of Buck's first work outside of R.E.M.

(Amazingly, when the tapes were discovered in late 2007, Buck had total recall of the sessions and the songs; Ross has no recollection of recordings whatsoever).

Also included is Ross’ work with a couple mid-‘90s groups he fronted like Adolescent Music Fantasy – dig the band’s twisted take on “Theme From ‘A Summer Place’”. Ross and multi-instrumentalist Tim Farr stir things up as The Young Seniors – check their brilliant cover of Bobby Lee Trammell’s “If You Ever Get It Once” and a revamp of The Gentrys’ hit “Keep on Dancing,” which Ross mutates into a meditation on the embarrassing nature of “ass whoopings.”

Further highlights include a handful of team-ups between Ross and fellow garage cult icon, Monsieur Jeffrey Evans (Gibson Bros., ’68 Comeback). The duo essays everything from the freaky holiday anthem “Mr. Blue (Cut Your Head on X-Mas)” to a souped-up take on “Farmer John,” with equal parts guitar distortion and manic glee.

Make It Stop! comes packaged with a handsome 16-page color booklet, featuring Ross' own hilarious biographical essay, as well as tributes from acclaimed author Robert Gordon ("It Came From Memphis," the Muddy Waters bio "Can’t Be Satisfied"), MOJO writer Andria Lisle, and pop culture critic John Floyd.

Once the proverbial needle drops on this collection you’ll be – as Gordon notes in his liners – “seduced then debauched” by Ross’s “rivulets of rage, humor, and words words words.”

Don’t say we didn’t warn ya’.

LYDIA LUNCH & Eight Eyed Spy: 'DIDDY WAH DIDDY' + Nick Zedd: 'They Eat Scum' (1979) + HOWIE ZOWIE [Paul Tschinkel's InnerTube: NYC CABLE ACCESS 1983]

Paul Tschinkel's

InnerTube

[Cable Public Access Show]

NYC
1983

Featuring

Howie Zowie

"Middle of the Road"

Eight Eyed Spy

with

Lydia Lunch

"DIDDY WAH DIDDY"

and

Nick Zedd [ZODIAC]

"They Eat Scum"

(1979)


artnewyork

AMY WRIGHT: 'LOOK AT THOSE 'PEE-CAN' EYES AND GO CRAZY!' [BIO + CLIP OF FAVORITE SCENE from WISE BLOOD [JOHN HUSTON , 1979: CRITERION DVD - finally!]

Wise Blood Chicago, Illinois 4/15/1950 Amy Wright Wise Blood As sexually frantic, Sabbath Lily,, Enoch Emory's [Harry Dean Stanton] righteous 15-year-old daughter, Amy Wright, reached heights of intentional overkill, akin only to a few Tennessee Williams' film adaptations, or possibly Olivier's role in Richard III. With Criterion's DVD already in UK stores, and coming to the US, it will be possible for audiences, thirty years denied, to view Amy Wright and BRAD DOURIF's performance thirty thousand movies late, to find what made her great, but unfortunately obscure! Wright married Rip Torn, 1976 The couple have two daughters: (Claire Torn, b. 1992 + Katie Torn, b. 1982) Wright is a graduate of Beloit College and the University of Chicago Laboratory School. Studied with Uta Hagen. Broadway: FIFTH OF JULY and NOISES OFF Off Broadway: MRS. KLEIN with Uta Hagen Rip Torn’s Sanctuary Theatre HAMLET MISS JULIE THE STRONGER A VILLAGE WOOING... Wright currently is on the faculty of HB Studio in New York City. Course Teacher Day Time Performance Lab Amy Wright Wednesday/Friday 10:00am - 12:00pm http://www.hbstudio.org/ Amy Wright gave up her position as teacher to pursue her dream in New York as actress. Elfin in quality with an intriguing, gap-toothed look, the child-like blonde actress found almost immediate reassurance as an apprentice at actor Rip Torn's Sanctuary Theater, making her stage debut in the company's 1975 production of "Agnes and Joan." Amy and her much older mentor (married to theater legend, Geraldine Page) began a clandestine personal relationship which produced two daughters. Torn never divorced Ms. Page. His longtime relationship with Amy was exposed shortly before his wife's sudden death of a heart attack in 1987. Amy and Torn married. [Amy appeared with both Torn and Ms. Page in August Strindberg's short plays "Miss Julie", "Creditors" and "The Stronger" in 1977 in repertory at the Hudson Guild Theatre.] Amy's sweetly countrified look and demeanor inspired a number of standout performances in quality productions. At age 26, she earned major attention on stage playing a crippled teen in a successful revival of Lanford Wilson's "The Rimers of Eldrich" in 1976. In 1978 Wilson wrote the stage part of 13-year-old, Shirley Tally in his acclaimed work, "Fifth of July," off-Broadway . The show made a spectacular transition to Broadway in 1980. In 1983 she shared the Drama Desk Award for her ensemble contribution in the comedy farce "Noises Off." Amy's debut film Martha Coolidge's quirky Not a Pretty Picture (1976), which led to minor roles in The Deer Hunter (1978) and Breaking Away (1979) ... Bed-hopping groupie Stardust Memories; opposite John Savage, Inside Moves (1980); William Hurt's spinster sis, The Accidental Tourist (1988); Southern-baked beauty contest spoof, Miss Firecracker (1989); Jeff Daniels' soon-to-be-married sister, Love Hurts... Ignored by Hollywood and film awards, Wright continued as character actor, also making strong stage showings opposite the late Uta Hagen, in the Off-Broadway winner "Mrs. Klein" 1995... Other stage appearances include: "Breakfast with Les and Bes" "Hamlet" "A Village Wooing" "The Little Foxes" "Prin" Onscreen: The Scarlet Letter (1995) Tom and Huck Winning Girls Through Psychic Mind Control (2002) Messengers (2004) The Namesake (2006) AND EVEN Rare TV APPEARANCES "Law and Order" Scratch... Play for Keeps (2009) .... Ma Synecdoche, New York (2008) .... Burning House Realtor The Good Shepherd (2006) .... Safe House Operations Officer The Namesake (2006) .... Pam "Law & Order: Criminal Intent" .... Sister Dorothy (1 episode, 2005) ... aka Law & Order: CI (USA: promotional abbreviation) - Acts of Contrition (2005) TV episode .... Sister Dorothy Messengers (2004) .... Nan Parrish Winning Girls Through Psychic Mind Control (2002) .... Psychiatrist "Undeclared" .... Debra Karp (1 episode, 2002) - Parents' Weekend (2002) TV episode .... Debra Karp Besotted (2001) .... Mona Amy & Isabelle (2001) (TV) .... Rosie ... aka Oprah Winfrey Presents: Amy and Isabelle (USA: complete title) Joe the King (1999) .... Mary ... aka Joe Henry (USA) Day and an Arabian Knight (1999) .... Day Tom and Huck (1995) .... Aunt Polly ... aka The Adventures of Tom and Huck ... aka Tom Sawyer The Scarlet Letter (1995) .... Goody Gotwick Robot in the Family (1994) To Dance with the White Dog (1993) (TV) .... Carrie Josh and S.A.M. (1993) .... Waitress Where the Rivers Flow North (1993) .... Loose Woman Lethal Innocence (1991) (TV) .... Margaret Stokely Deceived (1991) .... Evelyn Hard Promises (1991) .... Shelley Final Verdict (1991) (TV) .... Queenie In the Line of Duty: Manhunt in the Dakotas (1991) (TV) .... Karen ... aka In the Line of Duty: The Twilight Murders ... aka Midnight Murders Love Hurts (1990) .... Karen Weaver Daddy's Dyin'... Who's Got the Will? (1990) .... Lurlene Largo Desolato (1990) (TV) ... aka Vaclav Havel's 'Largo Desolato' (USA) Settle the Score (1989) (TV) .... Becky Miss Firecracker (1989) .... Missy Mahoney The Accidental Tourist (1988) .... Rose Leary Crossing Delancey (1988) .... Ricki The Telephone (1988) .... Honey Boxe/Irate Neighbor/Jennifer on Answering Machine Trapped in Silence (1986) (TV) .... Dana Wendolowski Off Beat (1986) .... Mary Ellen Gruenwald Beer (1985) .... Stacy ... aka The Selling of America A Fine Romance (1983) (TV) .... Jean Inside Moves (1980) .... Anne "NBC Special Treat" .... Bobba June (1 episode, 1980) - Sunshine's on the Way (1980) TV episode .... Bobba June Stardust Memories (1980) .... Shelley, Sandy's Bed Hopper Wise Blood (1979) Sabbath Lily ... aka Der Ketzer (West Germany) ... aka Die Weisheit des Blutes (West Germany) ... aka John Huston's Wise Blood Heartland (1979) .... Clara Jane The Amityville Horror (1979) .... Jackie Breaking Away (1979) .... Nancy The Deer Hunter (1978) .... Bridesmaid Girlfriends (1978) .... Ceil Not a Pretty Picture (1976) .... Cindy It's Like Life (2004) (V) .... Rose Leary No man with a good car needs to be justified!- Hazel Motes Hazel: ...the Church of Christ Without Christ. Where the blind can't see, the lame don't walk, and the dead stay that way.- Hazel Motes 'Twas like where you're from weren't never there. Where you're going doesn't matter. And where you are ain't no good unless you can get away from it!- Hazel Motes sexual desires Shot almost entirely in Macon, Georgia, director John Huston's 1979 adaptation of Flannery O'Connor's novel, as pitch-black satire on religion...
			Brad Dourif Wise Blood (1979) John Huston United States 1979 105 minutes Color 1.78:1 English In this acclaimed adaptation of the first novel by legendary Southern writer Flannery O’Connor, John Huston vividly brings to life her poetic world of American eccentricity. Brad Dourif, in an impassioned performance, is Hazel Motes, who, fresh out of the army, attempts to open the first Church Without Christ in the small town of Taulkinham. Populated with inspired performances that seem to spring right from O’Connor’s pages, Huston’s Wise Blood is an incisive portrait of spirituality and Evangelicalism, and a faithful, loving evocation of a writer’s vision. Cast Hazel Motes Brad Dourif Hoover Shoates Ned Beatty Asa Hawks Harry Dean Stanton Enoch Emory Dan Shor Sabbath Lily Amy Wright Landlady Mary Nell Santacroce Preacher William Hickey Grandfather John Huston Credits Director John Huston From the novel by Flannery O’Connor Producer Michael Fitzgerald and Kathy Fitzgerald Music Alex North Editing Roberto Silvi Screenplay Benedict Fitzgerald and Michael Fitzgerald Cinematography Gerry Fisher and B.S.C. Disc Features * New, restored high-definition digital transfer * New interviews with actor Brad Dourif, writer Benedict Fitzgerald, and writer-producer Michael Fitzgerald * Rare archival audio recording of author Flannery O’Connor reading her short story “A Good Man Is Hard to Find” * A 28-minute episode of the television program Creativity with Bill Moyers from 1982, featuring John Huston discussing his life and work * Theatrical trailer * PLUS: A booklet featuring an essay by author Francine Prose