Category: Taking You Bastards To School

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Rock The Casbah Isolated Tracks

A few years ago, I was surprised to learn the true origins of “Rock the Casbah,” the only Clash single to make the top 10 in the Billboard Hot 100.

“Rock the Casbah” was musically written by the band’s drummer Topper Headon, based on a piano part that he had been toying with. Finding himself in the studio without his three bandmates, Headon progressively taped the drum, piano and bass parts, recording the bulk of the song’s musical instrumentation himself.

This origin makes “Rock the Casbah” different from the majority of Clash songs, which tended to originate with music written by the Strummer–Jones songwriting partnership. Upon entering the studio to hear Headon’s recording, the other Clash members were impressed with his creation, stating that they felt the musical track was essentially complete. From this point, relatively minor overdubs were added, such as guitars and percussion.

However, Joe Strummer was not impressed by the page of suggested lyrics that Headon gave him. According to Clash guitar technician Digby Cleaver, they were “a soppy set of lyrics about how much he missed his girlfriend”. “Strummer just took one look at these words and said, ‘How incredibly interesting!’, screwed the piece of paper into a ball and chucked it backwards over his head.”

Strummer had been developing a set of lyrical ideas that he was looking to match with an appropriate tune. Before hearing Headon’s music, Strummer had already come up with the phrases “rock the casbah” and “you’ll have to let that raga drop” as lyrical ideas that he was considering for future songs. After hearing Headon’s music, Strummer went into the studio’s toilets and wrote lyrics to match the song’s melody.

The version of the song on Combat Rock, as well as many other Clash compilations, features an electronic sound effect beginning at the 1:52 minute point of the song. This noise is a monophonic version of the song “Dixie”. The sound effect source was generated by the alarm from a digital wristwatch that Mick Jones owned, and was intentionally added to the recording by Jones.

Sadly, Headon was kicked out of the band for heroin addiction just four days before Combat Rock was released. Also, one of my friends had that same “Dixie” digital watch when we were in the sixth grade. He annoyed the shit out of us with it.

Anyway, on to those isolated tracks …

Drums

Keys

Bass

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Help Bring Satan To Springfield

The Chicago branch of The Satanic Temple gifted the above sculpture (Eve holding the Apple of Knowledge) to the Illinois State Capitol rotunda this year. As the state cannot censor the content of speech or displays, the sculpture takes its holiday place  near Christmas and Hannukah symbols.

The principles of the Satanic Temple:

  • One should strive to act with compassion and empathy toward all creatures in accordance with reason.
  • The struggle for justice is an ongoing and necessary pursuit that should prevail over laws and institutions.
  • One’s body is inviolable, subject to one’s own will alone.
  • The freedoms of others should be respected, including the freedom to offend. To willfully and unjustly encroach upon the freedoms of another is to forgo one’s own.
  • Beliefs should conform to one’s best scientific understanding of the world. One should take care never to distort scientific facts to fit one’s beliefs.
  • People are fallible. If one makes a mistake, one should do one’s best to rectify it and resolve any harm that might have been caused.
  • Every tenet is a guiding principle designed to inspire nobility in action and thought. The spirit of compassion, wisdom, and justice should always prevail over the written or spoken word.

The rotunda boasts a fine tradition of holiday free-for-all, including a Festivus Pole a few years back.

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The Soul Of Rock ‘n’ Roll Is Mistakes

Google Books has archived every issue of SPIN, which is what my original post was going to be about. Then I started digging around in an old issue from the summer after I graduated college (August, 1991), and rediscovered an excellent Paul Westerberg interview. Apparently, rock has always been on the verge of imminent collapse, to quote the man himself. We bastards were just the other day discussing rock’s back seat in pop culture, and this edition of SPIN is 27 years old! Anyhoo, I was amused by this …

SPIN: Is rock dead?

Westerberg: Well, is jazz dead? That’s the way I look at it. Rock ‘n’ roll is underground once again, but it won’t die, just like jazz won’t. It’s not the popular music of the day, but it’s not dead.

A little later, the interviewer asks if Elvis was king, which leads to this exchange …

SPIN: What about somebody like Alex Chilton? You made him a rock hero in your song.

Westerberg: No. I don’t know what Alex represents. Now I listen to his new Rhino compilation, and it’s like, I can’t make up my mind whether Alex is some brilliant chameleon or just a guy who fucking lost it real quick. I almost regret writing that song. It’s sad, because kids will come and ask me about Alex and you’ll see this look in their eyes, and they think he’s some guy in leather pants that jumps from amplifiers or something. It’s like, if they only knew.

Interview here, every issue of SPIN here.

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Help! Magazine

Holy shit, more pop culture dots connected. Before I forget, a few full issues of Help! are available online.

Help! is an American satire magazine that was published by James Warren from 1960 to 1965. It was Harvey Kurtzman’s longest-running magazine project after leaving Mad and EC Publications, and during its five years of operation it was chronically underfunded, yet innovative.

In starting Help!, Kurtzman brought along several artists from his Mad collaborations, including Will Elder, Jack Davis, John Severin and Al Jaffee.

Kurtzman’s assistants included Charles Alverson, Terry Gilliam and Gloria Steinem; the latter was helpful in gathering the celebrity comedians who appeared on the covers and the fumetti strips the magazine ran along with more traditional comics and text pieces. Among the then little-known performers in the fumetti were John Cleese, Woody Allen and Milt Kamen; better-known performers such as Orson Bean were also known to participate. Some of the fumetti were scripted by Bernard Shir-Cliff.

At Help!, Gilliam met Cleese for the first time, resulting in their collaboration years later on Monty Python’s Flying Circus. Cleese appeared in a Gilliam fumetto written by David Crossley, “Christopher’s Punctured Romance”. The tale concerns a man who is shocked to learn that his daughter’s new “Barbee” doll has “titties”; however, he falls in love with the doll and has an affair. Gilliam appeared on two covers of Help! and along with the rest of the creative team, appeared in crowd scenes in several fumetti.

The magazine introduced young talents who went on to influential careers in underground comix as well as the mainstream: among them Robert Crumb, Gilbert Shelton and Jay Lynch. Algis Budrys and other science fiction writers were regular contributors of prose and scripts to the magazine.

A total of 26 issues were printed before the magazine folded in 1965. Volume one (Aug. 1960–Sept. 1961) had 12 issues, and 14 issues comprised the second volume (Feb. 1962–Sept. 1965).

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Please Kill Me Radio Documentary

And if you haven’t read the book, we can’t be friends anymore.

Please Kill Me: Voices from the Archives
Two one-hour documentaries that explore an America that birthed the new order of today.

20 years ago journalists and music historians Gillian McCain and Legs McNeil recorded interviews with the icons of Punk for their New York Times best-selling book “Please Kill Me – The Uncensored History of Punk.” Now, these rare, candid interviews have been meticulously restored for Public Radio and compiled to create an oral history of the Punk movement in Please Kill Me – Voices From the Archives.

The stories of these bands are more than music, they’re the cultural evolution of America:
the end of the 60s
the ferment of the 70s
Watergate to the Women’s Movement.

Part One -The Pioneers of Punk
How the Warhol 60’s morphed into the Punk 70’s, marginalized inhabitants of a near-bankrupt New York City, changed 20th century culture, and influenced the World.

Part Two – The Punk Invasion
The music of the Velvet Underground, Iggy and the Stooges,The New York Dolls, and others were meeting fierce resistance in the US. With no other options open to them, during the July 4rth weekend of 1976, as America was celebrating it’s bicentennial, the Ramones went to London and launched punk rock. In England, punk would explode and become a cultural force to be reckoned with.

Features exclusive, never-before-heard interviews with Iggy Pop, Patti Smith, Debbie Harry, the Ramones and many more.

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Funnier Than You Remember

https://youtu.be/QtdpVKpl8qY

Here’s the very first episode The Adventures of Rocky and Bullwinkle and Friends (AKA Rocky and His Friends, The Bullwinkle Show, The Rocky Show/The Rocky and Bullwinkle Show/The Adventures of Rocky and Bullwinkle/The Adventures of Bullwinkle and Rocky, and Bullwinkle’s Moose-O-Rama), which aired on ABC way back on November 19, 1959.

Crude animation and clever as hell.

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I Was Reminded Of This The Other Day

https://youtu.be/KSPzsV2YN6Q

Very funny, and very much NSFW.

From Our RoboCop Remake, a project undertaken by a group of filmmakers pissed off about the 2014 RoboCop remake …

Our RoboCop Remake is a crowd-sourced feature based on the 1987 Paul Verhoeven movie. Pooling our resources through various filmmaking channels (including Channel 101) we are 50 filmmakers (amateur and professional) from Los Angeles and New York who have split the original RoboCop into individual chunks, remaking the movie ourselves. Not necessarily a shot-for-shot remake, but a scene-for-scene recreation. We’re big fans of the original RoboCop, and as filmmakers and film fans kinda rolling our eyes at the Hollywood remake machine, we’ve elected to do this remake thing our own way.

Our RoboCop Remake premiered in Los Angeles on January 26th 2014 and New York on February 5th. On February 6th, it was released online.

Because if anyone is going to ruin RoboCop, it’s us.