Many alternative rock groups have cited Shonen Knife as a favorite of theirs, and the resulting word-of-mouth gained significant exposure for the band. They were also featured on CNN's This Week in Japan. In 1989, Gasatanka Records released a double-album tribute entitled Every Band Has a Shonen Knife Who Loves Them, which featured renditions of the group's songs by a number of contributing bands, including Redd Kross, Sonic Youth, L7, The Mr. T Experience, and Babes in Toyland (the last two on non-CD formats only). The tribute album's success led to Shonen Knife's first American tour in 1990, and group later signed with Virgin Records in 1992. The group had a song called "Buttercup (I'm a Supergirl)" that appeared on a Powerpuff Girls soundtrack. A Shonen Knife cover of The Carpenters' hit "Top of the World" was used in the 1998 remake of "The Parent Trap", a US television commercial for Microsoft, the credits music for the documentary Double Dare, as the ending song for the movie "The Last Supper" and in summer 2006 by the BBC in UK TV trailers for a season of nature programmes. It was also featured on the album "If I were a Carpenter" along with Carpenter covers by American Music Club, Babes in Toyland, Matthew Sweet, Red Kross and others. Shonen Knife's most recent album fun! fun! fun! was released in Japan on July 6, 2007 to coincide with the band's 25th anniversary. A new Album entitled Super Group was released in Japan on November 7, 2008
Rumi as Miss Lucille Higgins from Peoria coming to see Sylvester doing a floor show as Miss Ruby Blue from Chicago. Photo by David Wise
"Steven Arnold was instrumental in bringing the Cockettes together for the very first time. The MIDNIGHT MOVIES and later the NOCTURNAL DREAM SHOWS at The PalaceTheater, where Steven and Michael Wiese showed rare historic films, created an atmosphere where San Francisco artists and eccentrics could mingle and meet. Steven was always flanked by this magnetic entourage and working artists like The Joseph, Ruth Weiss, Pandora, Nikki and Joanne. If it hadn't been for Steven, the Cockettes might not have met.
Prior to that, a performance group arose out of Berkeley known as The Floating Lotus Opera Company under the direction of Daniel Moore with Zilla, Charles the organist, Hibiscus, and others. I wasn't in the group, I was just sleeping with them. It was New Years Eve, 1969, Steven asked The Opera Company to be the opening act and invited the Cockettes to follow them. When The Opera Company left the stage, they left all their props.
The Cockettes leapt onto the stage immediately following and danced wildly as they played The Stones "Honky Tonk Woman" twice. Scrumbly landed on the Opera Company's prayer scroll, Johhny stepped into the footlights completely naked, and I ran in front of him to cover him with a fur coat. It was then that I crashed into a giant, illuminated, glass mirrored ball which blew up in smoke. We totally decimated their props, and as far as I know, they never performed again.
Steven Arnold and Hibiscus shared a similar vision and affiliation with Cocteau. It was at the San Franciso Film Festival that Steven was asked did he recognize his similarity to the Opium flavored, psychoanalytic-surrealist. Steven slowly perused the room from left to right, as he quietly offered..."I am Cocteau." However, LSD had been added to the recipe, and Hibiscus, Steven and the Cockettes set a precedent of reveling in make-up, feathers, glitz and goop.
As the audience entered, Steven stationed Cheryl dressed as a Gypsy in the ticket booth collecting the small admission price. Hibiscus, who did not believe in money or collecting it, always insisting the shows should be free. After all the paying customers arrived, he was known to open the side doors and let the rest of the audience in for free. The nudity, could have been a problem, considering how North Beach police terrorized and censored Lenny Bruce only a few years earlier. The Chinese Chew family that operated the Palace Theater, was saavy and paid off the police, so nudity and profanity were never a problem.
Johnny and the other Cockettes had naked carte blanche and the ambience it created, made The Palace Theater a safe haven for John Waters and his up and coming star - Glenn Milstead, the hairdresser/interior designer from Baltimore, who came forth and performed with The Cockettes at The Palace Theater once and forever to be known as Divine."
It's great in that it's gutsy way that no-holds-barred downers like REQUIEM FOR A DREAM and THEY SHOOT HORSES DON'T THEY are gutsy. It's one of those films where you think "what happened? why didn't anyone stop this?" Suits would know there's no money to be made in something so nihlistic and hopeless. Recall if you will the happy ending switch to his CAT ON A HOT TIN ROOF, for example.
Then there is the uncomfortable neediness and sexuality in the story itself. Vivien Leigh is a recently widowed Broadway star who just backed out of playing Rosalind in AS YOU LIKE IT, realizing she is too damn old to play a gamin. She moves to Rome and starts to drift... drift. A scheming deposed Russian countess-cum-madame drops in, as if to welcome Leigh to the neighborhood, but really to introduce young stud Warren Beatty. The scene plays out as uncomfortable as one could possibly imagine. The idea here is to get Viv to go out with this young man, and maybe shower him with kisses and then buy him jewelry (which the countess then pawns and they split the take). In short, without anything but small talk spoken, they are pitching a perfect and beauitiful business arrangement, sad only if you cling to your petty patriarchally-instilled mores. But our faded ingenue is still too vain and deluded to realize the faustian bargain implied by Beatty's apparently stringless interest in her. She just assumes she's still beautiful and he's the one who should pay for dinner.
Warren Beatty's limits as an actor suit the role perfectly; he pretends to act like a guy pretending to act. The layers of emptiness run so deep you feel his despair at his own flawlessness. In other words, he's a great gigolo, but not a very good business man or manipulator (this is his first job). Is Leigh ever going to wise up and just pay the man already? Will he ever get the guts to ask? Meanwhile, some rent boy by the fountain below her balcony keeps watching her... watching and waiting... everything is subtle and implied, but the thoroughly American Leigh refuses to read the writing on the wall.
Beatty's "madame," is played by Lotte Lenya--that dog-faced demoness of Weimar era cabaret and FROM RUSSIA WITH LOVE (and SEMI-TOUGH)--and she alone seems to be "operating on the realistic level" as far as taking her pleasures where she may instead of clinging to delusions of youth like the old rich ladies she provides young Italian men for. There's some great scenes of her drunkenly cavorting through bohemian night clubs with her debauched pack of "waxworks," (to borrow SUNSET BOULEVARD's rent boy Joe Gillis' phrase) the type of creepy but very funny old hedonists you would later see cooing over ROSEMARY'S BABY. One of them is the wondrously bitchy Ernest Thesiger (Dr. Pretorious in BRIDE OF FRANKENSTEIN). The links to horror movies of the past are no mistake; STONE is a horror movie dressed up in gloss and glamour, a knife in a pretty flower sheathe.
Director Jose Quintero is perhaps too clever for his own good with all the soap and Sirkian gloss. It's intended to be so sweet it becomes poisonous, ala the plants in Sebastian's garden in SUDDENLY LAST SUMMER but it passes so well for the "real" thing that I can see audiences not getting it. As per the style of the time, there's lots of travelogue sunny Rome streets and market footage (cinemascope beating out the television for sheer spectacle, etc.) which contrasts brilliantly with the debauched sadness going on in the shade and Bava gel-lit beatnik caverns. I can see audiences recoiling from this combination, the worst of both worlds if you will... leading them to expect froth then awakening their knee-jerk patriarchal condemnation of this sort of old woman younger man cash for sex transaction. Meanwhile, were the genders and ages reversed, it would be socially acceptable! Leigh would even marry him and then divorce him and geit it ALL! She'd be a bitch, but respected. Beatty merely wrangling a rolex from some old trick who got more money than God, that's considered vile, shameful.
The extras on the DVD let you know the original book Williams wrote was his most naked attempt to depict his anguish over growing older and having to face death...
So I basically live in a recording studio. Our house is fairly small. The green room is my closet. If you look closely you might see a few things that will be used in this weeks photo shoot. I'm really looking forward to it. I'm excited about my new website but it takes forever to get all the art together.
If you would like to know a little more about us check out our new video. Boudoir Queen is the creator of "Boudoir Decadent" style for the modern woman. See where the first Boudoir Cuff was made. Our new ankle cuffs are in an editorial that is out now . We will post photos in about a week. Often imitated never duplicated Boudoir Queen is Divine Decadence
see the full article about Boudoir Queen on Etsy's Blog
HUGE GIGANTIC EARRINGS I'm INTO IT Another cool pic from GO BACKSTAGE. My husband bought me a pair of HUGE earrings for Valentines Day. Mine are gold and Moroccan. I'm in luv with them! He has a show tomorrow night and I'm thinking about wearing them. Maybe I'll get a photo. They are so huge that they are clip ons so I'm afraid I might loose them. decisions, decisions what's a girl to do?