Tag: YouTube

Dire Straits -Sultans of Swing

Seth Anderson0 comment

I don’t know much about the band called Dire Straits, nor much about its leader, Mark Knopfler, but the song, Sultans of Swing is certainly one of the best things to emerge in 1979, at least to my ears.

Here’s a version to revive your memory:

https://youtu.be/Q5wDuAiryCA

The lyrics were inspired by a performance of a jazz band playing in the corner of an almost empty pub in Deptford, South London. At the end of their performance, the lead singer announced their name, the Sultans of Swing; Knopfler found the contrast between the group’s dowdy appearance and surroundings and their grandiose name amusing.

…

The song is set in common time, with a tempo of 149 beats per minute. It is in the key of D minor with Knopfler’s vocal range spanning G2 to D4. It uses a chord progression of Dm–C–B♭–A for the verses, and F–C–B♭ for the choruses.The riff uses of triads, particularly second inversions. The song employs the Andalusian cadence or diatonic phrygian tetrachord. All the chords are compatible with a D natural minor scale, except for the A major triad, which suggests a D harmonic minor scale. Knopfler used similar triads on “Lady Writer”.

via Wikipedia

P&G Slashed Digital Ad Spending by $200 Million Last Year

Seth Anderson0 comment

Be A Better Lover
Be A Better Lover

More signs that the bottom hasn’t yet been reached for the advertising industry, as we’ve mentioned previously…

The consumer products giant says that its push for more transparency over the past year revealed such spending had been largely wasteful and that eliminating it helped the company reach more consumers in more effective ways.

P&G , PG +0.18% whose brands include Crest, Tide and Pampers, says it cut its digital ad budget by more than $100 million from July through December. Those reductions were on top of the more than $100 million in digital marketing spending the company had already cut in the June quarter, which P&G said had little impact on the business.

The ad dollars were pulled back from a long list of digital channels but also included reducing spending with “several big digital players” by 20% to 50% last year, according to Marc Pritchard, P&G’s chief brand officer. He has been leading the charge among marketers as a vocal critic of digital advertising clutter, ad fraud and brand safety issues on platforms like YouTube.

…

Once armed with more measurement data, P&G discovered that the average view time for a mobile ad appearing in a news feed, on platforms such as Facebook , was only 1.7 seconds. The Cincinnati-based company also realized some people were seeing P&G ads far too many times.

“Once we got transparency, it illuminated what reality was,” said Mr. Pritchard. P&G then took matters into its owns hands and voted with its dollars, he said.

Long the biggest advertiser in the world, P&G carries significant weight among marketers and its efforts are closely tracked.

(click here to continue reading P&G Slashed Digital Ad Spending by $200 Million Last Year – WSJ.)

Translated, Facebook and YouTube ads were fairly useless for P&G, so they cut back on spending on them, without noticing much of a difference on sales. If P&G, with its sophisticated marketing analysis teams thinks digital/mobile ads are missing the mark, what about other businesses? I’d assume many will follow in P&Gs footsteps, and the digital ad world is about to have revenues sliced drastically.

Prevent Cross Site Tracking
Prevent Cross-Site Tracking…

Large advertising holding corporation WPP is already feeling the pinch:

 

Advertising’s digital upheaval took a heavy toll on WPP LLC as the world’s largest ad company Thursday logged its worst performance since the financial crisis, triggering jitters among investors across the sector.

 

On Thursday, WPP said net sales fell 0.9% on a like-for-like basis last year, spooking investors who were expecting signs of recovery after the company cut its forecast three times, predicting a “broadly flat” 2017. The firm also said it is setting budgets for 2018 on the assumption of no growth in revenue and net sales.

 

WPP shares tumbled 9%, and the fallout quickly spread to rival ad giants like Publicis Groupe SA, which fell 4%.

 

Digital disruption is leading Unilever PLC, Procter & Gamble Co. and other consumer-goods giants that once splurged on ad agency-led campaigns to redirect their spending. That is saddling ad firms with their slowest revenue growth in a decade and pressuring agency holding companies to revamp organizational structures that are out of step with the digital age. Advertisers are demanding agencies provide services that target consumers relentlessly over the internet as well as coming up with traditional campaigns for print and TV.

…

The question is whether the big ad companies can evolve fast enough. P&G, long the biggest advertiser in the world, has said that it is looking to cut an additional $400 million in agency and production costs by 2021, having already saved around a combined $750 million in recent year. Unilever, meanwhile, has also been slashing agency fees and production costs, in part by reducing the number of traditional ads it makes and bringing more of its marketing work in-house.

 

 

(click here to continue reading Ad Industry’s Digital Upheaval Rocks WPP; Shares Fall 14% – WSJ.)

and

 

The packaged-goods sector, which accounts for close to a third of WPP’s sales, is the key problem. Big advertisers like Procter & Gamble have been driving hard bargains with their suppliers as they trim and reallocate ad budgets in response to new consumption patterns and new media.

 

This malaise could spread to other industries challenged by new tastes and technology. Car makers, for example, are trying to work out how their approach to advertising needs to adapt if, as many expect, individual car ownership gives way to “mobility as a service”—renting cars by the hour through tech platforms. They accounted for 12% of WPP’s revenue last year.

 

Then there is the question of whether the ad industry itself is challenged by new technology. This is far from clear in the data: WPP’s 19% margins in media buying—the ad business most vulnerable to a more digital approach—haven’t slipped. Such high margins could also be a reason to worry at a time when clients are seeking big savings.

 

 

(click here to continue reading Is WPP Cheap Enough to Own? – WSJ.)

Interesting times. And like the Chinese proverb says,1 to live in interesting times is not actually fun.

Footnotes:

  1. or doesn’t actually say [↩]

The Late Show with Stephen Colbert uses my photo called Wieners Circle Rages At The Dying Of the Light

Seth Anderson0 comment

The title says it all. And I even got compensated!

Wieners Circle Rages at the Dying of the Light

Here’s the clip from the opening of last night’s show:

I should have asked how LSSC found my photo out of the gazillion images of Wieners Circle. Maybe they liked the title (partially nicked from Dylan Thomas)?

Sign in To YouTube Using an iOS Device Like an iPhone

Seth Anderson1 Comment

Illinois Central

Electric Shocking Power!

For perhaps the five hundredth time this decade,1 I spent a long time trying to login to YouTube to upload a video, and my password was not accepted, even though I’d copied it right out of 1 Password. After wasting about ten minutes trying to figure it out, I remembered that because I have set up a 2-Step Verification for my Google account, I have to generate an App specific password for logging into YouTube. I’m not sure why YouTube is different than other 2-Step Verification services2, but at least the solution is easy enough, once you remember that is why your password keeps failing. You’d think Google could update YouTube to at least give a hint that enabling 2-Step verification means a user can’t login simply with email and password. I mean, would it be that hard for the YouTube iOS App to add a footer to the login page? Or at least a suggestion to look to the App passwords page if a password fails a few times?

Anyway, after I did the proper Google search, I ended up here, with these instructions.

Sign in using App Passwords

An App password is a 16-digit passcode that gives an app or device permission to access your Google Account. If you use 2-Step-Verification and are seeing a “password incorrect” error when trying to access your Google Account, an App password may solve the problem. Most of the time, you’ll only have to enter an App password once per app or device, so don’t worry about memorizing it.

…

  1. Visit your App passwords page. You may be asked to sign in to your Google Account.
  2. At the bottom, click Select app and choose the app you’re using.
  3. Click Select device and choose the device you’re using.
  4. Click Generate.
  5. Follow the instructions to enter the App password (the 16 character code in the yellow bar) on your device.

 

(click here to continue reading Sign in using App Passwords – Accounts Help.)

That’s pretty clear, and simple, once you know that is what you are required to do.

Perhaps since I’m writing a post about this procedure, I’ll remember next time I’m uploading a video from a new iOS device, or a new app that uses YouTube.

Also, the video was pretty dark, I’ll have to retry with better lighting next time I have a can of Nuclear Winter beer by Finch’s Beer…

My app specific list looks like this3

Screen Shot 2014 12 03 at 9 22 36 PM
Google App specific passwords, a partial list

Vimeo version…

Nuclear Winter Boilermaker- Finch’s Beer from Seth Anderson on Vimeo.

With a name like Nuclear Winter, what else could I do?

—
update, damn, this post became a spam comment magnet so we’re disabling comments for a while. Sorry. Footnotes:

  1. every time I get a new iPhone or iPad, or Apple TV basically. Though some apps use YouTube as well, I’m guessing this has happened more than three million times since I’ve enabled 2-Step Verification [↩]
  2. for instance, I use 2-Step Verification for Tumblr, for Twitter, for Buffer, and probably some others too [↩]
  3. not all shown [↩]

Free Congress From Grover Norquist

Seth Anderson0 comment

Interesting discussion from Professor Robert Thurman, attempting to start a meme, questioning why signing Grover Norquist’s pledge to destroy the government is not a subversive, impeachable act. The professor has a point: signing an oath to an unelected organization whose sole purpose is to starve the “beast” of government is akin to signing an oath to violently overthrow the US Constitution. Unpatriotic at the very least, and maybe an impeachable offense. Why should we hire (i.e., elect) people who hate the country so much?

Give a listen to his ten minute speech, what do you think? 

The Oath of office1 reads:

I, [name], do solemnly swear (or affirm) that I will support and defend the Constitution of the United States against all enemies, foreign and domestic; that I will bear true faith and allegiance to the same; that I take this obligation freely, without any mental reservation or purpose of evasion; and that I will well and faithfully discharge the duties of the office on which I am about to enter. So help me God.

Americans For Tax Reforms oath against the interest of the United States Government reads:

I, ________________________, pledge to the taxpayers of the state of _______________________, and to the American people that I will:
ONE, oppose any and all efforts to increase the marginal income tax rates for individuals and/or businesses;
and TWO, oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates.

Footnotes:

  1. full name is United States Uniformed Services Oath of Office [↩]

The Modern Lovers -Roadrunner – Official State Song of Massachusetts

Seth Anderson0 comment

Some politician wants to make Jonathan Richman and the Modern Lover’s seminal tune, Roadrunner, into the Official State Song. I could agree with that. I remember listening to this song back in the stone age, before CDs, and I always loved it. Maybe because it is so much a descendant of the Velvet Underground sound, or just because it is cool. I had forgotten that John Cale produced the song.

One of these days I’ll be a tourist in Boston…

 

Roadrunner, filmed in Boston, circa 1976

I’ve never been to Massachusetts, but this song evokes what MA is, to me anyway.

From Wikipedia:

Richman’s band The Modern Lovers first recorded “Roadrunner” with producer John Cale (previously of the Velvet Underground) in 1972. This version was first released as single and in 1976 on The Modern Lovers’ long-delayed but highly acclaimed debut album (originally Home of the Hits HH019). Later in 1972, the group recorded two more versions with Kim Fowley, which were released in 1981 on the album, The Original Modern Lovers (Bomp BLP 4021). A live version from 1973 was also later officially released on the album, Live At Longbranch Saloon. The most commercially successful version of the song, credited to Richman as a solo artist, was recorded for Beserkley Records in late 1974, produced by label boss Matthew King Kaufman, featured Jonathan backed by The Greg Kihn Band and released at the time on a single (Beserkley B-34701) with a B-side by the band Earth Quake. Kaufman stated: “To record “Roadrunner” took the 3 minutes 35 seconds for the performance, about another 30 minutes to dump the background vocals on, and another 90 minutes to mix it”. Actually Kaufman was mistaken – this version is listed on the UK release of the single as being 4:40. This version was reissued in 1975 on the album Beserkley Chartbusters Vol. 1(Beserkley JBZ-0044). In the UK, where Richman had received substantial and very positive publicity in the music press, it was released in 1977 as a single (Beserkley BZZ 1), known as “Roadrunner (Once)” and credited to Jonathan Richman, with the Cale-produced “Roadrunner (Twice)” on the B-side, credited to The Modern Lovers, and lasting approximately 4:06. This single reached number 11 in the UK singles chart in August 1977. The differences among all these versions are in the lyrics, the duration, the instrumentation (electric garage rock vs. acoustic rock) and the way Jonathan sings them.

(click here to continue reading Roadrunner (Jonathan Richman song) – Wikipedia, the free encyclopedia.)

and from Rolling Stone:

Jonathan Richman used to describe “Roadrunner,” the best-known song by his band the Modern Lovers, as a “geographical love song.” Now his affection for his home state is on the verge of being institutionalized: there is a movement underway to make the classic song – an ode to the singer’s native Massachusetts as it appeared through his windshield (“Gonna drive past the Stop and Shop with the radio on”) – the state’s official rock song.

Last week, Massachusetts State Representative Marty Walsh filed a bill proposing as much. Jerry Harrison, who joined Talking Heads after the first recorded lineup of the Modern Lovers split, tells Rolling Stone he’s pleased. “I can’t tell you how many congratulatory emails I’ve gotten,” he says.

…

The push to designate “Roadrunner” as the official rock song of Massachusetts began with Joyce Linehan, a Boston publicist who did A&R for Sub Pop Records and now has a record label with Joe Pernice. She has political connections, too: she worked closely with Elizabeth Warren on her successful campaign for the U.S. Senate.

 

(click here to continue reading Modern Lovers’ ‘Roadrunner’ Proposed as Massachusetts’ Official Rock Song | Music News | Rolling Stone.)

one two three four five six
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop ‘n’ Shop
With the radio on

I’m in love with Massachusetts
And the neon when it’s cold outside
And the highway when it’s late at night
Got the radio on
I’m like the roadrunner

Alright
I’m in love with modern moonlight
128 when it’s dark outside
I’m in love with Massachusetts
I’m in love with the radio on
It helps me from being alone late at night
It helps me from being lonely late at night
I don’t feel so bad now in the car
Don’t feel so alone, got the radio on
Like the roadrunner
That’s right

Said welcome to the spirit of 1956
Patient in the bushes next to ’57
The highway is your girlfriend as you go by quick
Suburban trees, suburban speed
And it smells like heaven(thunder)
And I say roadrunner once
Roadrunner twice
I’m in love with rock & roll and I’ll be out all night
Roadrunner
That’s right

Well now
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive to the Stop ‘n’ Shop
With the radio on at night
And me in love with modern moonlight
Me in love with modern rock & roll
Modern girls and modern rock & roll
Don’t feel so alone, got the radio on
Like the roadrunner
O.K., now you sing Modern Lovers

(Radio On!)
I got the AM
(Radio On!)
Got the car, got the AM
(Radio On!)
Got the AM sound, got the
(Radio On!)
Got the rockin’ modern neon sound
(Radio On!)
I got the car from Massachusetts, got the
(Radio On!)
I got the power of Massachusetts when it’s late at night
(Radio On!)
I got the modern sounds of modern Massachusetts
I’ve got the world, got the turnpike, got the
I’ve got the, got the power of the AM
Got the, late at night, (?), rock & roll late at night
The factories and the auto signs got the power of modern sounds
Alright

Right, bye bye!

More reasons to love this song:

Roadrunner is one of the most magical songs in existence. It is a song about what it means to be young, and behind the wheel of an automobile, with the radio on and the night and the highway stretched out before you. It is a paean to the modern world, to the urban landscape, to the Plymouth Roadrunner car, to roadside restaurants, neon lights, suburbia, the highway, the darkness, pine trees and supermarkets. As Greil Marcus put it in his book Lipstick Traces: “Roadrunner was the most obvious song in the world, and the strangest.”

One version of Roadrunner – Roadrunner (Twice) – reached No 11 in the UK charts, but the song’s influence would extend much further. Its first incarnation, Roadrunner (Once), recorded in 1972 and produced by John Cale, but not released until 1976, was described by film director Richard Linklater as “the first punk song”; he placed it on the soundtrack to his film School of Rock. As punk took shape in London, Roadrunner was one of the songs the Sex Pistols covered at their early rehearsals. Another 20 years on and Cornershop would cite it as the inspiration behind their No 1 single Brimful of Asha, and a few years later, Rolling Stone put it at 269 on their list of the 500 greatest songs of all time. Its impact would be felt in other ways, too: musicians playing on this song included keyboard player Jerry Harrison, who would later join Talking Heads, and drummer David Robinson, who went on to join the Cars. Its power was in the simplicity both of its music – a drone of guitar, organ, bass and drums around a simple two-chord structure – and of its message that it’s great to be alive.

(click here to continue reading The car, the radio, the night – and rock’s most thrilling song | Music | The Guardian.)

Did Anonymous stop Karl Rove from Stealing Ohio Like What Happened in 2004?

Seth Anderson0 comment

A conspiracy theory you might enjoy: did Anonymous thwart Turdblossom from subverting democracy? If so, they should get a Congressional Medal of Freedom, or a Nobel Prize, or something. Free beer? Something. Anonymous should also publish their findings so that Karl Rove gets that jail term he so deserves…

Thom Hartmann discusses an article that says the hacker group, Anonymous may have been involved in stopping GOP mastermind Karl Rove from stealing the election in Ohio this year.

The letter itself is currently at Scribd (as PDF), read it yourself

John Kerry at Austin Bergstrom Airport
John Kerry at Austin Bergstrom Airport

via Crooks and Liars
who add:

I’m especially interested in 2004. Remember when all the corporate media people were chiding bloggers, who reported the exit poll info, for leaking inaccurate raw data? What I remember that the exit polls were only off in a few counties. Gee, I wonder why?

The other thing I’ve always wondered is why John Kerry collected donations for his legal fund, swearing he would fight for every last vote — and then didn’t. I guess we’ll never know.

Bob Dylan and Van Morrison In Athens

Seth Anderson0 comment

Via Rolling Stone:

Bob Dylan’s 1989 summer European tour wrapped up with a pair of shows in Greece. During an off-day, Dylan and  Van Morrison climbed onto the picturesque Hill of the Muses in Athens for a stunning four-song acoustic set that thankfully was captured by cameras for the BBC documentary Arena: One Irish Rover – Van Morrison in Performances. They began with Morrison classics “Crazy Love” and “And It Stoned Me,” but the clear highlight was the 1986 Morrison obscurity “Foreign Window,” featuring Dylan on harmonica and Van on guitar and vocals. They wrapped up the set with a duet on “One Irish Rover.” Check out both songs in this incredible video.  

Swanksalot’s Solipsism

Seth Anderson0 comment

I Don't Wanna Look Down
I Don’t Wanna Look Down

I finally found a use for my long-standing Blogger account – all of my photos from Flickr and Instagram end up there. Thanks to the magic of IFTTT (If this than that, a great service if you have a few different online accounts), every photo that I upload to Flickr, every photo I upload to Instagram, every photo I “like” on Flickr, every photo I “like” on Instagram, every YouTube video I “favorite”, and so on is automatically uploaded into a Blogger post. If you are ever bored, you can browse this page for visual stimulation…

(click here to continue reading Swanksalot’s Solipsism.)

Whatever it is called when you add a pickled pepper to a martini
Whatever it is called when you add a pickled pepper to a martini

A Brief Rain Storm

Seth Anderson0 comment

A Sunday night rain storm; my soundtrack was Townes Van Zandt and bottle of decent enough red wine. And the sound of falling water.

30 Seconds of a Rainy Night in Chicago
30 Seconds of a Rainy Night in Chicago



and the actual 30 second video, theoretically… (Flash, sorry)

Not Wishing To Intrude
Not Wishing To Intrude

Rain Bokeh Number 2169
Rain Bokeh Number 2169

Out The Window Blues
Out The Window Blues

Absinthe Verte in the Rain
Absinthe Verte in the Rain

Listen to The Falling Rain
Listen to The Falling Rain

Inside A Broken Clock
Inside A Broken Clock

Youtube version:

Tom Waits – Hell Broke Luce

Seth Anderson0 comment


 A surreal yet intriguing music video of the Tom Waits song, Hell Broke Luce, from his 2011 album, Bad as Me.1

Directed and photographed by Matt Mahurin, and only recently released, as far as I can tell…  ((as of right now, only 307 views, despite being linked from TomWaits.com ))

Footnotes:

  1. Wikipedia [↩]

When Jimmy Page Debuted With the Yardbirds

Seth Anderson0 comment

I’ve always loved this clip of The Yardbirds playing Stroll On from Michelangelo Antonioni’s Blow Up.

Before Jimmy Page became the quintessential guitar player with mystique, he was a bass player with ambition.

In 1966, Page joined one of the most influential and up-and-coming British bands of his era, the Yardbirds. At only 22 years old, he was already a respected session musician in London – in fact, the blues-leaning rock band had approached him two years earlier to replace then-guitarist Eric Clapton, but Page declined in loyalty to his pal. A year later, when Clapton quit, the group solicited Page again, who in turn recommended another friend, Jeff Beck (because Page was raking in the cash sitting in with Decca Records artists, including the Rolling Stones).

Page finally joined the group in 1966 as a replacement for bassist Paul Samwell-Smith. At his first show with the Yardbirds, at the Marquee Club in London, he played electric bass. The venue was a significant one for the Yardbirds, as they’d held their first residency there in February 1964, and the show celebrated Page’s hard-won presence. Page kept up four-string duties for a bit before switching to twin lead guitar alongside Beck – until Beck left the tumultuous group too, and the Yardbirds became a quartet with Page at lone lead guitar. It was with this lineup that they released their final album, 1967’s Little Games.

All three guitarists of the Yardbirds – Clapton, Page, Beck – would become guitar superstars. However, the Yardbirds proved an especially strong catalyst for Page’s future glory: When singer Keith Relf and drummer Jim McCarty left the quarreling group in 1968, Page rebranded the band as “the New Yardbirds” and recruited vocalist Robert Plant and drummer John Bonham. Bassist John Paul Jones came into the fold soon after – and with him, the one and only lineup of Led Zeppelin was cemented.

(click here to continue reading When Jimmy Page Debuted With the Yardbirds and Steely Dan Broke Up | Rolling Stone Music.)

Reggae the sound that revolutionized Britain

Seth Anderson1 Comment

Reminded me once again that Eric Clapton is an asshole:

The summer of 1976 brought another pivotal event, Eric Clapton’s drunken rant on stage at Birmingham, in which he acclaimed Enoch Powell as the politician who would “stop Britain from becoming a black colony… the black wogs and coons and fucking Jamaicans don’t belong here”. From a man which had topped the US charts with a cover of Marley’s “I Shot the Sheriff”, this was shocking stuff and inspired the formation of Rock Against Racism (RAR).

British reggae swiftly acquired a new militancy and ubiquity. Steel Pulse sang “Ku Klux Klan” with the Klan’s white hoods on their heads. Linton Kwesi Johnson proclaimed it was “Dread Inna Inglan” and warned “get ready for war”. The growing roster of home-grown acts – Misty in Roots, Reggae Regular, Black Slate – found exposure on RAR stages and, after John Peel’s conversion from prog rock, on his Radio 1 show and its live sessions.

Aside from its social commentary, reggae became chic due to its sonic radicalism, with its dub, rap and special disco mixes picked up by rock and soul. “Reggae taught us about space, leaving gaps. It was such a relief after the strictness and minimalism of punk,” says Viv Albertine, guitarist with the Slits, whose 1979 album, Cut, was produced by Dennis Bovell.

In the post-punk era, the Clash, the Members and the Ruts were other rock bands incorporating reggae into their sound, along with the Police, who deftly integrated reggae on hits ‘Message in a Bottle” and “Walking on the Moon”. “We plundered reggae mercilessly,” acknowledges drummer Stewart Copeland on Reggae Britannia.

(click to continue reading Reggae: the sound that revolutionised Britain | Music | Music | The Observer.)

And always a good excuse to play music by Linton Kwesi Johnson, the political, poetical reggae master.

 

httpv://www.youtube.com/watch?v=Ji4hdnCEEUM

or:

httpv://www.youtube.com/watch?v=9fU2yFsW9NI

httpv://www.youtube.com/watch?v=b4QCYQfov6I

 

Here’s a transcript of what Eric Clapton said, btw.

Do we have any foreigners in the audience tonight? If so, please put up your hands. Wogs I mean, I’m looking at you. Where are you? I’m sorry but some fucking wog…Arab grabbed my wife’s bum, you know? Surely got to be said, yeah this is what all the fucking foreigners and wogs over here are like, just disgusting, that’s just the truth, yeah. So where are you?

Well wherever you all are, I think you should all just leave. Not just leave the hall, leave our country. You fucking (indecipherable). I don’t want you here, in the room or in my country. Listen to me, man! I think we should vote for Enoch Powell. Enoch’s our man. I think Enoch’s right, I think we should send them all back. Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I’m into racism. It’s much heavier, man.

Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back. The black wogs and coons and Arabs and fucking Jamaicans and fucking (indecipherable) don’t belong here, we don’t want them here. This is England, this is a white country, we don’t want any black wogs and coons living here. We need to make clear to them they are not welcome. England is for white people, man. We are a white country. I don’t want fucking wogs living next to me with their standards.

This is Great Britain, a white country, what is happening to us, for fuck’s sake? We need to vote for Enoch Powell, he’s a great man, speaking truth. Vote for Enoch, he’s our man, he’s on our side, he’ll look after us. I want all of you here to vote for Enoch, support him, he’s on our side. Enoch for Prime Minister! Throw the wogs out! Keep Britain white!

links for 2011-01-19

swanksalot0 comment
  • Put This On • In 1964, Lyndon Johnson needed pants, so he called…
    In 1964, Lyndon Johnson needed pants, so he called the Haggar clothing company and asked for some. The call was recorded (like all White House calls at the time), and has since become the stuff of legend. Johnson’s anatomically specific directions to Mr. Haggar are some of the most intimate words we’ve ever heard from the mouth of a President.

    We at Put This On took the historic original audio and gave it to animator Tawd Dorenfeld, who created this majestic fantasia of bungholiana.

    (tags: youtube LBJ humor)
    artofjazz.jpg
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    (tags: music music_history blues film)
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    (tags: music_history)
    79640354.jpg
  • Sam Peckinpah’s Long-Lost Script for The Texans Unearthed — and Vulture Has the First Fifteen Pages! — Vulture
    How’s this for true grit? Famously combative, alcoholic, and drug-addled filmmaker Sam Peckinpah (The Wild Bunch, Straw Dogs) is, as Chevy Chase might joke, “still dead” (he passed away in 1984 at the age of 59) — but that doesn’t mean Bloody Sam can’t make a comeback. Vulture has learned exclusively that producer Al Ruddy (The Godfather, Million Dollar Baby) recently unearthed a script for a Western called The Texans that Peckinpah wrote in 1980 but never got around to making.
    (tags: film)
  • Antonio McDyess is cool
    Antonio McDyess is the chillest chill bro in the Association. He’s Serge Gainsbourg, stubbled, disheveled, and in love. McDyess is the serpentine rise of smoke from Tom Waits’ cigarette. He’s Chet Baker’s My Funny Valentine—the especially long version that forgets you’re listening. Antonio McDyess is all these things and a Quitman smile.
    (tags: NBA San_Antonio_Spurs)
    5223333073_b966bb92fd_z.jpg
    Inky Lautman of the Philadelphia SPHAs, circa 1939-40
  • The Southerner > Peter Bogdanovich
    Orson Welles and I were talking one time about the relative merits of John Ford and Howard Hawks at their best, and finally Welles summed it up: “Hawks is great prose; Ford is poetry.” There haven’t really been very many poets in pictures, but the one pretty much everybody agrees about now is the Frenchman Jean Renoir. He was also Orson’s favorite director—as he is mine—and Ford was so impressed by Renoir’s Grand Illusion (l937) that he wanted to remake it in English. Luckily, studio-head Darryl Zanuck told him to forget it; he would “just fuck it up.”
    (tags: film_history film)
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