.mattfraction

straitjames: Left to right: Iggy, James, Elton. Richards, Atlanta, 1973. James Williamson: ‘Yeah, so Elton John is in town for whatever reason, and I think he was kind of a fan of the Stooges or else he wanted to get some action with somebody or whatever. Anyway, he showed up in a gorilla suit and came onstage while we were playing. Everybody’s looking at this guy like, “Who the fuck is this?” and he was pretty close to getting in some real trouble onstage with us. You know, like getting hit with a guitar or something. Anyway, I think he sensed that and took his head off and showed us that he was Elton.’ “For a couple of seconds, as Elton emerged from the wings in his gorilla suit, Iggy thought he was hallucinating, or else a real gorilla was raiding the stage. The Creem photograph documenting the event is hilarious, showing James Williamson transfixing the uppity ape with a malevolent glare that signals, he says, his intent to ‘take him out. He lucked out, because he was smart enough to take his head off to let people know who he was, just in time.’”

straitjames:

Left to right: Iggy, James, Elton. Richards, Atlanta, 1973.

James Williamson: ‘Yeah, so Elton John is in town for whatever reason, and I think he was kind of a fan of the Stooges or else he wanted to get some action with somebody or whatever. Anyway, he showed up in a gorilla suit and came onstage while we were playing. Everybody’s looking at this guy like, “Who the fuck is this?” and he was pretty close to getting in some real trouble onstage with us. You know, like getting hit with a guitar or something. Anyway, I think he sensed that and took his head off and showed us that he was Elton.’

“For a couple of seconds, as Elton emerged from the wings in his gorilla suit, Iggy thought he was hallucinating, or else a real gorilla was raiding the stage. The Creem photograph documenting the event is hilarious, showing James Williamson transfixing the uppity ape with a malevolent glare that signals, he says, his intent to ‘take him out. He lucked out, because he was smart enough to take his head off to let people know who he was, just in time.’”

Reblogged from STRAIT JAMES WILLIAMSON

cinephilearchive: The Complete Citizen Kane (1991, BBC). The most complete investigation in the origins and making of one of the most important films in cinema history. This excellent documentary was created as an Arena Special and includes interviews with Welles from BBC interviews in 1960 and 1982. It also includes an interview with Pauline Kael discussing her controversial “Raising Kane” article. The finest most insightful work ever done to date on Citizen Kane. With thanks to Citizen Welles Tweet // Follow @LaFamiliaFilm //

cinephilearchive:

The Complete Citizen Kane (1991, BBC). The most complete investigation in the origins and making of one of the most important films in cinema history. This excellent documentary was created as an Arena Special and includes interviews with Welles from BBC interviews in 1960 and 1982. It also includes an interview with Pauline Kael discussing her controversial “Raising Kane” article. The finest most insightful work ever done to date on Citizen Kane.

With thanks to Citizen Welles

Reblogged from Cinephilia and Beyond

nedraggett: A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding: “Dear Mr. Tilmanthis is the only way i can help you salutiGiorgio Moroder” This is the greatest thing ever, of course. Credit to my friend Grady for the reminder.

nedraggett:

A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding:

“Dear Mr. Tilman
this is the only way i can help you

saluti
Giorgio Moroder”

This is the greatest thing ever, of course. Credit to my friend Grady for the reminder.

(via samhumphries)

Source nedraggett

Reblogged from Ned Raggett