“Agent provocateur Mike Edison is joined by the Duke of Greenpoint Peter Zaremba and a cavalcade of stars for this mid-summer explosion of minds and bodies! Starring Cristina Martinez and Jon Spencer of popular rock band Boss Hog, plus Beatnik No. 1, the unsinkable Bob Bert!!! Musical numbers include a Pussy Galore classic and the most revolting version of Summertime Blues ever!!!!” Last episode of Arts & Seizures till September… whatta lovely way to burn….
“For those of you out there accustomed to the gentler versions of New Age music, this record might be outside of the norm, considering some of our musical influences. Our producer continually jokes that our project is “New Age with a Knife”!”
Visit the PledgeMusic.com to stream the tracks Atomized Guru and Bija Blues, for more info and CD, vinyl and digital pre-orders.
“BIG NEWS! We are celebrating our 50th anniversary by opening NYU Skirball’s fall season, TWO NIGHTS OF LIGHTS, SEPTEMBER 8 and 9—with live music from Boss Hog, Dave Harrington Group, Man Forever and Kaitlyn Aurelia Smith. Tickets go on sale next week.” – facebook.com/The-Joshua-Light-Show…
The Joshua Light Show have recently posted details of an event featuring Boss Hog and Dave Harrington Group at NYU Skirball, New York on 8 September 2017.
“Kicked off our new camp lunchtime concert series with Service the band! We want to inspire our campers with live performances and Q&A’s from musicians right here in the Indianapolis community.” – facebook.com/girlsrockindy
S-E-R-V-I-C-E live at Girl’s Rock – Indiana University School of Informatics and Computing, Purdue University Indianapolis, 535 W Michigan St, Indianapolis, IN 46202, US on 10 July 2017.
“It basically inspired the whole movie in a way. I was 20 or 21 when the album Orange first came out, and I [played] “Bellbottoms” on repeat on this audio cassette I had of it. I don’t think I actually even bought it—I dubbed somebody else’s copy because I didn’t have any money at the time. I would listen to the song, and I could imagine a car chase. And I wasn’t even thinking about a particular film, it was more about not being able to listen to the song without seeing a car chase in my head. So at some point, I had to come up with something and I had to write a theme to go along with that idea and this vision I had of this car chase. And that, in turn, spawned the idea of Baby trying to soundtrack the entire movie. You’re basically seeing the story through the ears of the main character.”
“In the opening scene of Baby Driver, Baby (Ansel Elgort) sits behind the wheel fiddling with his click-wheel iPod. He cues up Jon Spencer Blues Explosion’s “Bellbottoms” and lip syncs into an invisible microphone, making an otherwise private experience a performance. As three robbers jump in the getaway car, Spencer’s fiery track sets the tone for the first of many breakneck chases—much as the song itself planted the movie’s initial seed. When Baby Driver writer-director Edgar Wright first heard “Bellbottoms” sometime around 1995, he wasn’t a filmmaker yet, but visions of car chases danced in his head. “It was as close to synesthesia as I’ll probably ever come: ‘When I listen to this song, I think of a car chase—what is the movie that goes with this vision?’” says Wright…”
Baby sits back, cranks up “Bellbottoms” by the Jon Spencer Blues Explosion and air guitars his way through the sequence while the others rob a bank and exit in a hurry. That’s when things really get going as Baby steps on the gas and maneuvers away from the cops with heart-pounding, exhilarating polish. It’s a car chase for the ages.
“You might already know this, but the new movie Baby Driver opens with an absolutely virtuosic broad-daylight Atlanta car chase set to the Jon Spencer Blues Explosion’s deathless romp “Bellbottoms.” If this isn’t enough to convince you to see this movie, then you and I are not the same. Wright cuts the car chase so that all the big moments arrive at big moments in the song, and by the time it ends, you’re left panting. It’s a trick that Wright pulls again and again in the movie, setting all of its scenes to great old pop and funk and instrumental tracks.”
“”Bellbottoms,” The Jon Spencer Blues Explosion (1995)
I mean, that song was never not going to be in the movie. It all starts there, with that weird moment of synesthesia – it wasn’t even “Oh, I know this will be the opening of a movie.” It was just something that appeared to me when I heard the song. But over the years, I had this sequence, and I knew it was the germ of something but I didn’t know what.
Then I thought: What if the getaway driver is listening to that track? Suddenly, it was the starting point for some sort of diegetic action-musical … taking what I love about the movies of Tarantino and John Landis and Scorsese and putting it into one full movie. Or American Graffitti, which is really the first diegetic musical. It’s one of the first movies I can think of where the pop soundtrack really isn’t a score – it’s all coming from whatever people are listening to onscreen.”