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Fans can watch an exclusive 29 minute behind-the-scenes jamming session filmed at the ‘Early Days’ video shoot. The official video was launched earlier this summer and the end of it sees Paul playing with a group of blues guitarists, including Johnny Depp. This exclusive footage captures an impromptu jamming session that broke out between Paul and the musicians on the day of the shoot.
An official ‘Making of Early Days’ film will be made available later this year as part of a special collector’s edition of ‘NEW’. The special collector’s edition will feature highlights and exclusive material chronicling the release and promotion of ‘NEW’. More details to be announced in the coming weeks. ‘NEW’ was originally released in October 2013.
Watch the video for ‘Early Days’ HERE: http://youtu.be/QvBVIA_ZaNg
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I don’t doubt that Aldous Huxley’s classic Brave New World is on many a disinfonaut’s list of top novels. Apparently it’s one of Hollywood stalwart Steven Spielberg’s favorites too and now he has the green light to turn it into a television series for Syfy, per the Hollywood Reporter:
The Emmy-winning team behind Syfy’s Taken is reuniting for another science fiction classic.
Steven Spielberg’s Amblin Television is adapting Aldous Huxley’s novel Brave New World as a scripted series for the NBCUniversal-owned cable network, The Hollywood Reporter has learned.
Brave New World — ranked fifth among the 100 best English-language novels of the 20th Century by Modern Library — is set in a world without poverty, war or disease. Humans are given mind-altering drugs, free sex and rampant consumerism are the order of the day, and people no longer reproduce but are genetically engineered in “hatcheries.” Those who won’t conform are forced onto “reservations,” until one of the “savages” challenges the system, threatening the entire social order.
First published in 1932, Brave New World will be adapted by writer Les Bohem, who penned Taken, which won the 2003 Emmy for best miniseries and racked up six other nominations…
[continues at the Hollywood Reporter]
You might not know this (we didn’t), but Tony Montana’s Scarface mansion has a name. The estate, known as “El Fureidis” and actually located in Montecito, California, recently underwent a multi-million dollar renovation so that the 10-acre ………. continue reading
SCARFACE-THE BEST PARTS
With Big Brother and the Holding Company, she performed the song at the Monterey Pop Festival in 1967 to an enthusiastic audience and critical reception. The first performance on June 17 was not filmed, so the band was persuaded to perform the song again on the next day. This shorter version
Singer (1943–1970)
Back in Texas, Joplin took a break from her music and her hard-partying lifestyle, and dressed conservatively, putting her long, often messy hair into a bun and doing everything else she could to appear straight-laced. But the conventional life was not for her, and her desire to pursue her musical dreams wouldn’t remain submerged for long.
Joplin slowly returned to performing, and in May 1966, was recruited by friend Travis Rivers to audition for a new psychedelic rock band based in San Francisco, Big Brother and the Holding Company. At the time, the group was managed by another longtime friend of Joplin’s, Chet Helms. Big Brother, whose members included James Gurley, Dave Getz, Peter Albin and Sam Andrew, was part of the burgeoning San Francisco music scene of the late 1960s; among the other bands involved in this scene were the Grateful Dead.Big Brother
Joplin struggled with her decision to leave Big Brother, as her bandmates had been like a family to her, but she eventually decided to part ways with the group. She played with Big Brother for the last time in December 1968.
Following a historic performance at Woodstock (August 1969), Joplin released her first solo effort, I Got Dem Ol’ Kozmic Blues Again Mama!, in September 1969, with Kozmic Blues Band. Some of the project’s most memorable songs were “Try (Just a Little Bit Harder)” and “To Love Somebody,” a cover of a Bee Gees tune. But Kozmic Blues received mixed reviews, with some media outlets criticizing Joplin personally. Feeling uniquely pressured to prove herself as a female solo artist in a male-dominated industry, the criticism caused distress for Joplin. “That was a pretty heavy time for me,” she later said in an interview with Howard Smith of The Village Voice. “It was really important, you know, whether people were going to accept me or not.” (Joplin’s interview with Smith was her last; it took place on September 30, 1970, just four days before her death.) Outside of music, Joplin appeared to be struggling with alcohol and drugs, including an addiction to heroin.
Joplin’s next album would be her most successful, but, tragically, also her last. She recorded Pearl with the Full Tilt Boogie Band and wrote two of its songs, the powerful, rocking “Move Over” and “Mercedes Benz,” a gospel-styled send-up of consumerism.Tragic Death and Legacy
An upcoming Janis Joplin biopic has found its star: Tony award-winning actress Nina Arianda will appear as the singer in the Sean Durkin-directed Joplin, Deadline reports.
According to producer Peter Newman, who’s been trying to put together a Joplin flick along with his partners for the past 12 years, Arianda will sing all of Joplin’s music. That’s no easy task, especially trying to capture Joplin’s signature grit, but Newman says he’s confident in his star’s talents.
“I’ve never in my life seen an actress walk on a stage and convey the duality of vulnerability with overheated sexuality, which is what Janis was all about,” Newman told Deadline.
While this isn’t Arianda’s first foray into film – she’s held supporting roles in Midnight -n Paris, Tower Heist and others – it will be her first major starring role. The actress won acclaim and a Tony for best actress in a play for her turn in the Broadway show Venus in Fur. Meanwhile, director Durkin broke out last year with his film Martha Marcy May Marlene, which garnered plenty of praise at festivals and landed him the Best Director honor at Sundance.
Joplin will focus on the last six months of the Texas-born musician’s career, though it will also include flashbacks to her early career. The film has exclusive rights to use 21 of Joplin’s best known tracks.
While there have been other attempts to produce a Joplin biopic, especially as Newman’s sat on the back-burner, the producer had scored Joplin’s crucial song and life rights as well as the arrangements by backing band Big Brother and the Holding Company. Newman also holds the rights to the collection of letters Love, Janis and Piece of My Heart, the book written by Rolling Stone reporter David Dalton, who traveled with Joplin during the six months before the heroin overdose that killed her in 1970.
Read more: http://www.rollingstone.com/music/news/tony-winner-will-play-janis-joplin-in-upcoming-biopic-20120710#ixzz3K6cF1LwT
Follow us: @rollingstone on Twitter | RollingStone on Facebook
An upcoming Janis Joplin biopic has found its star: Tony award-winning actress Nina Arianda will appear as the singer in the Sean Durkin-directed Joplin, Deadline reports.
According to producer Peter Newman, who’s been trying to put together a Joplin flick along with his partners for the past 12 years, Arianda will sing all of Joplin’s music. That’s no easy task, especially trying to capture Joplin’s signature grit, but Newman says he’s confident in his star’s talents.
“I’ve never in my life seen an actress walk on a stage and convey the duality of vulnerability with overheated sexuality, which is what Janis was all about,” Newman told Deadline.
While this isn’t Arianda’s first foray into film – she’s held supporting roles in Midnight -n Paris, Tower Heist and others – it will be her first major starring role. The actress won acclaim and a Tony for best actress in a play for her turn in the Broadway show Venus in Fur. Meanwhile, director Durkin broke out last year with his film Martha Marcy May Marlene, which garnered plenty of praise at festivals and landed him the Best Director honor at Sundance.
Joplin will focus on the last six months of the Texas-born musician’s career, though it will also include flashbacks to her early career. The film has exclusive rights to use 21 of Joplin’s best known tracks.
While there have been other attempts to produce a Joplin biopic, especially as Newman’s sat on the back-burner, the producer had scored Joplin’s crucial song and life rights as well as the arrangements by backing band Big Brother and the Holding Company. Newman also holds the rights to the collection of letters Love, Janis and Piece of My Heart, the book written by Rolling Stone reporter David Dalton, who traveled with Joplin during the six months before the heroin overdose that killed her in 1970.
Read more: http://www.rollingstone.com/music/news/tony-winner-will-play-janis-joplin-in-upcoming-biopic-20120710#ixzz3K6cF1LwT
Follow us: @rollingstone on Twitter | RollingStone on Facebook
May 20 201
Photo of the new bus courtesy of the Kickstarter page
In 1964, Ken Kesey—intrepid psychedelic traveler and author of One Flew Over the Cuckoo’s Nest—piled into a multicolored school bus with his friends and a bunch of drugs and drove from La Honda, California, to New York City for the premiere of Kesey’s new novel. The gaggle of proto-hippies traveling with Kesey were dubbed the “Merry Pranksters,” and their goal was to freak the fuck out of Middle America and document the whole thing for a feature-length film.
The movie they wanted to make never quite came to fruition, but the trip, and the Pranksters’ subsequent LSD antics, were cemented in history in Tom Wolfe’s 1968 book, Electric Kool-Aid Acid Test.
This year marks the 50th anniversary of the iconic Prankster adventure, and Kesey’s son, Zane, is looking to raise $27,500 to take the Pranksters’ psychedelic trip all over again. The original 1939 Harvester bus—named “Furthur”—is currently rusting in a swamp behind the Kesey Farm in Oregon, but Zane has a new one, and it’s even more decked-out than the original. If you want to get on the bus, you can donate $200 or more to be considered for the trip. And if you were off the bus in the first place, as Kesey once said, then it won’t make a damn.
If the Kickstarter hits its goal the new bus with its new Pranksters will be swinging through America later this summer. I called up Zane to learn a little more about the trip.
VICE: Hey, Zane. How long has the Kickstarter campaign been going on?
Zane Kesey: Like three weeks. We’re around halfway to our goal and have a week left.
Do you already know who will be onboard?
There have been 20 or 30 applications sent in. If you donate $200, we’ll give you a bunch of cool Prankster stuff—but you also get to apply to ride on the trip with us, be part of the movie that we’re making, and become a Merry Prankster. Even if we don’t choose you, we’ll still send you a Merry Prankster laminate. It will get you on the bus whenever we go parading through your town.
I know you haven’t planned the whole journey out yet, but are any stops lined up?
We’re going cross-country and hitting a few really good festivals along the way. Lockn’ Festival in Virginia is a big one. Furthur, the Grateful Dead side project that is named after the bus, is playing.
That’s cool.
We’ll be at their only concert this year, at the final Allman Brothers concert, and then at Phases of the Moon Festival in Illinois. Then we’ll head to this art festival called Great North up in Maine, which has the best artists from across the country. We’re hoping they will paint on the bus.
This isn’t the first Furthur bus, right? This is Furthur 2.0.
It’s not the 1939, no. This one is from 1947. My dad had it for a long time. He actually put way more miles on this one than he did on the original one… even took it to England and Ireland.
A lot of the toys on the bus—like the short-wave radio broadcaster—are either going to be fixed or upgraded. We want it to have WiFi so we can be working on the blog and posting pictures and videos from the road.
The original Furthur bus
What can people do to maximize their chances of making it onto the bus?
If you’re good at being a character or if you have equipment and want to come film, you’re going to rise to the top of the people we need. We also need people taking pictures for the blog and updating the website and blowing bubbles for the kids. All that stuff is really important.
Will riders be chosen for the whole stretch?
People will mostly be chosen for weeklong legs of the trip. So far there are only two or three of us who are essential. Derek Stevens is the tour manager. He is the one who talked me into this. I thought it was impossible, but after about a year of discussing it, he made it sound like it could really be fun.
Your dad’s original trip became a huge part of the story of the 60s. Will this new adventure be about preserving the legacy, or will it be a whole new chapter?
There are two different things that we’re after: One is we want to create a movie of us out there—having fun in the moment. We’re also trying to remind people of that innocent seed that started the 60s. The Pranksters weren’t out there trying to end the war or change the world; they were trying to have fun and go across the country just doing their thing.
Right.
In the 60s, everything was all so new and so fresh that it couldn’t be ignored. Now they don’t mind ignoring us at all. The hippie movement has fractured. People look at us now like we’re these dirty, confrontational people who just want to argue about government and taxes and the environment. That’s not necessarily where the movement started.
We need to get some of that innocence and fun and approachability back. Once we do that, we can reclaim some of the power that the 60s had.
The Furthur 50th anniversary Kickstarter ends on May 28. Donate here and hit the $200 mark for a chance to get on the bus.
Follow River Donaghey on Twitter.
VIEW THE TRAILER FROM THE GRADUATE
New York Times
February 9, 1997
FILM VIEW / By STEPHEN HOLDEN
What’s That You Say Now, Mrs. Robinson?
It was 30 years ago next December that the world first chortled at the scene in “The Graduate” in which a smug Los Angeles businessman takes aside the baby-faced Dustin Hoffman and declares, “I just want to say one word to you — just one word — ‘plastics.’�”
“The Graduate” didn’t invent the use of the word plastic to signify everything phony and superficial in American life. It merely sealed it in, well, celluloid. To sneer at all things plastic was to offer an instant definition of oneself as among the young, hip, truth-seeking cognoscenti locked in a moral power struggle with an older generation of square, corrupt, greedy, warmongering materialists. More than any other touch, its ridicule of plastic defined “The Graduate” as a film about the 60’s generation gap.
On Friday, the movie will begin a two-week 30th-anniversary run at Film Forum in Manhattan. Seen today, this comedy with a bittersweet romantic undertow holds up as a classic. But in retrospect, the cultural signals it sends seem decidedly more mixed than they did in 1967.
As most of us remember, Mr. Hoffman plays Benjamin Braddock, a 20-year-old high-achieving schlub who, upon graduation from a fancy East Coast college, flies home to Los Angeles to be greeted by his family like a returning war hero.
Listless and dejected, Benjamin is in a deep funk that he can barely articulate, except to mumble that he has no ideas about his future. Day after day, he lolls about the house staring into an aquarium and identifying with the goldfish. When his father gives him scuba gear for his 21st birthday, he becomes a kind of goldfish himself, hiding from his parents at the bottom of their swimming pool and staring blankly into space through his goggles.
It is at Benjamin’s welcome-home party that Mrs. Robinson (Anne Bancroft), the wife of his father’s law partner, asks the young man to drive her home. Once there she proceeds to put the moves on him. This classic comic seduction scene has the rhythm and hostile tone of a Mike Nichols-Elaine May improvisation in which Mr. Nichols plays a jittery nerd bullied by Ms. May’s domineering know-it-all.
There ensues a series of rendezvous at a hotel, but the affair comes to a screeching halt when Benjamin falls in love with the Robinsons’ beautiful college-age daughter, Elaine (Katharine Ross). Elaine drops Benjamin when he confesses his affair with her mother, but he pursues the young woman to her Berkeley campus and desperately woos her. When the Robinsons rush their daughter into a marriage with someone else, Benjamin storms into the church, plucks her away from the altar, and the lovers flee on a city bus. But their future is left hanging.
As a generation-gap fable, “The Graduate” is essentially one-sided, since Benjamin is a cipher. On the other hand, the movie certainly knows what it doesn’t like. Benjamin’s parents and their friends are garrulous, heavy-drinking hypocrites, and Mrs. Robinson (whom Benjamin never addresses by her first name) is a devouring monster, the older woman as selfish, sex-starved harpy. She is really a 60’s update of the blame-Mom-for-everything archetype who inhabited so many 1950’s dramas. At the same time, Mrs. Robinson is the fantasy of every virginal high school boy dreaming of an exotic sexual initiation.
When Ms. Bancroft, who is actually only six years older than Mr. Hoffman, orders a martini, the word “mah-tini” rolls off her tongue with an ominous, damp sensuality. Cigarette in hand, she is forever exhaling plumes of blue smoke — just the right flourish of hypersophisticated ennui.
But if this satire of the cocktail generation turns out to be politically inert, maybe it’s because the Charles Webb novel on which it’s based was published in the early 1960’s.
Although the setting for the film seems to have been moved up five years, the Vietnam War isn’t even hinted at. When Benjamin follows Elaine to Berkeley, the only reference to the Free Speech Movement is his landlord’s warning that he had better not be one of those “outside agitators.” Not a whiff of marijuana is to be seen, nor a blast of rock-and-roll to be heard. The soundtrack is bathed in the wistful strains of Simon and Garfunkel.
These crucial songs — “The Sounds of Silence,” “April Come She Will” and “Scarborough Fair” — evoke the alienation, confusion and depression that Benjamin can’t put into words and lend Mr. Hoffman’s poker-faced portrayal of Benjamin as a tongue-tied naif an aura of pathos not in the screenplay.
We know that Benjamin doesn’t want to go to graduate school or into plastics. But what does he want? For him, there is no war to stop, no cause to espouse. He seems content to drift between an air mattress in the swimming pool and the hotel-room bed where he has sex with Mrs. Robinson, which he later dismisses as being like “shaking hands.”
Benjamin is roused to action by only one thing: his love for Elaine. It’s the late 60’s, and the consuming goal of this aimless graduate is to marry the pretty all-American girl next door.
That’s not exactly the defining ambition of those who aligned themselves against all things plastic.
It’s really a longing for a safe retreat back into the plastic bubble of the Eisenhower 50’s.
Thanks to Tom George for reminding me of this cool song check out Tom’s cool blog tomgeorgearts.com
THE ROTTEN PEACHES SINGING “ANYONE ELSE BUT YOU”
Have you seen the movie “JUNO” in which this song was included? It’s a cool movie well worth watching.
AN EXCERPT FROM “JUNO’
The Century of William S. Burroughs
By Levi Asher on Tuesday, February 4, 2014 11:00 pm
American, Beat Generation, Biography, Fiction, Indie, Internet Culture, La Boheme, Language, Music, Postmodernism, Reading, Transgressive, Tributes
.
He was the oldest of the major Beat Generation writers. That’s why William S. Burroughs is today the first Beat writer to celebrate a centennial.
Burroughs was born on February 5, 1914. He arrived on this planet the same year as the First World War.
Some people don’t call Burroughs a Beat writer, because they prefer to think of him as a postmodern experimentalist, or a psychic investigator, or a political activist. He was those things too, but of course he was a Beat writer.
Like Jack Kerouac and Allen Ginsberg and Gregory Corso, William S. Burroughs was a wordsmith of torrential power. He was a great intellectual, and he inspired the other Beat writers to become more intellectual. He impressed young Allen Ginsberg by his deft ability to quote Shakespeare. His best writings sparkle with literary clarity, style and confidence, though many of his texts are also unreadable. Burroughs was erudition on drugs.
One of William’s greatest talents was literary mimicry. He was particularly good at hard-boiled detective noir-speak, which he dropped unpredictably into works like Junky and Naked Lunch. Like T. S. Eliot, his fellow cut-up artist from St. Louis, he do the police in different voices. One of my favorite examples of Burroughs’s private-eye parody is the “Bradley the Buyer” set piece from Naked Lunch, which you can read here.
The master had some highly questionable characteristics. I’m sorry that William S. Burroughs allowed himself to be defined as a happy gun nut. This would be less offensive if he hadn’t once shot his wife to death with a gun. The famous William Tell murder of Joan Vollmer Adams was most likely an accident, but I’ve really never been able to feel comfortable with the fact that Burroughs liked to show off with guns later in life. Well, he was a weird dude.
His essays were great, and when I was a young teenager I read the monthly columns he published in Crawdaddy magazine (Paul Krassner was also a columnist — quite a lineup in the mid-1970s). The first Crawdaddy essay I ever read was “The Great Glut”, which can be read in the superb collection The Adding Machine. The description of pigs fed on shit (the essay presented a horrifying dystopian vision of scatological nutrition) becoming so soft that you could puncture their skin with a fork made a big impression on me.
Burroughs was also part of a fabulous circle of freewheeling counterculture social critics who thrived in the 1960s/70s Summer of Love era, along with R. Buckminster Fuller, Ken Kesey, Hunter Thompson and Marshall McLuhan. His uncompromising libertarian but wistfully communitarian vision would have had great relevance if he were alive today, in the era of the NSA, the drone, Al Qaeda, the mall shooting of the week, Occupy Wall Street and the Tea Party. I wonder what he would have to say if he were around today.
Happy birthday William S. Burroughs, from all your friends at Literary Kicks!
The painting at the top of the page is by the legendary East Coast strolling artist, writer and guitar strummer Goodloe Byron, who also now runs a newspaper called Stone Bird.
Here’s The Burroughs Centennial Celebration, a Beat Museum event and one of several don’t-miss tribute articles at the website of one of William S. Burroughs’ best friends, the Allen Ginsberg Project (check out the great vintage Burroughs book covers here).
And finally, for old times’ sake, here’s our account of his 1997 funeral: Sliced Bardo.
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