Perry Farrell and various iterations of the Addiction.
Category: videos
The remarkable Patrick Mahomes seems to perform well-nigh impossible feats almost routinely. At age 24, he already is poised to become one of the all-time greats.
See Campbell video here.
O.J. video here.
The two greatest running backs I have ever viewed, Earl Campbell and O.J. Simpson. Both combined speed and power with an uncanny, innate sense of how and where to maneuver. Like Larry Bird or Steph Curry in basketball, it was as if they were prescient, seeing how all and everything was developing just a shade before the other players.
The indomitable Arthur Brown, who possesses the most profound dance moves and world-view in the world, is also a pretty astonishing vocalist.
The great Gordon Lightfoot, who is not only a legend in the music world, but {arguably} rates as the highest-ranked Canadian of all time, has written some of the most iconic and memorable songs ever. A mere sampling is here presented, including some criminally neglected gems.
The Clash formed in 1976, led by charismatic/titanically intense vocalist Joe Strummer. The group cut a swath through the burgeoning punk rock scene, with furiously kinetic performances that whipped all and sundry into a frenzy.
“The High Priest of quasi-androgynous Synth-Pop/Electronica, the Impassive Alien Deity, The Gary Numan.” *That* is the gist of the above Volume Integral symbol. What has been used to calculate Flux Densities, and has served as one’s WordPress Profile “About Me” content, to boot, now is more—much more—much, much more.
We’ll lead off with four epoch-defining…”performances” {which will, I suppose, have to suffice, word-wise, as there exist no words suitable…}. He is **up** to something…..
The first and third videos are both from Dutch TV program TopPop, 1979. They are *not* identical, however. One, I believe, was not broadcast {the 1st; perhaps the “smiling” was considered too dangerous…}. Both are sublime.
By 1984, Numan was atop the globe.
Spellbinding are Numan’s performances on Down in the Park, live at the Odeon, 1979 and 1984. Doom-y, dramatic, evocative, remarkable.
He created aural landscapes which allowed access to the unfathomable. His performances have been described in so many ways. Strikingly “robotic”. Otherworldly. Mesmerizing. And there’s an edge, accompanying his trenchant intelligence; a certain wariness. At times, an unnerving camaraderie with….whatever it may be, the ritual held out in the open, hauntingly obvious, yet impenetrable. A language we’ve forgotten; mind-argot beyond our ken.
An ever-so-haphazard collection of songs/performances which bring one to the trancelike state of what is called Pure Pop Wonderment. These things avoid syzygy. It’s not an excuse; it’s a vigorously researched excuse. Linear-ness is overrated. Most of these you’ll know, but perhaps not these versions. Maybe 1 or 2 that are new, to, say, the likes of you. Enjoy.
Go ahead. Choose a realm, any realm. Ian’s not from there; he’s never taken up residence there, and, for that matter, spends precious little—if any—time there. Yes. It’s been proven.
What follows is a smattering of incredible live performances by this ensemble, some of which include guitar maestro Adrian Belew. David Byrne, it could be argued, virtually created “New Wave” {or *something*} with the inexplicable, unpinpointable, wondrous peregrinations of his vocals. Plus, the unusual “dancing”{or Nureyev/??-like movements}. Much more than an iconoclast, Byrne simply brought into the time/space continuum, things that were previously Noumenal, intangible. An epoch-defining genius.
{Granted, Wild Wild Life is nowhere near the preternaturally edgy/”weird”/indefinable ventures into undreamt-of realms, which made this band legendary. But, it *is*, well, fun. And it shows Byrne’s mindboggling theatricality and capacity for adopting a bewildering array of disguises, and such.}
A few comments on our selections {NOT all of them!!}: Cities {1983, 1982, *and* 1980 versions} *might* be David Byrne’s high-water mark as an “umm, what???” (followed by audible hysteria, in my case…) vocalist. The Impossible writ upon a landscape. Pulled Up and Mind, at the very least, are looking uneasily over their shoulders. The “He’s come undone” staggerings/lurchings in Psycho Killer {1983} are also enough to keep one alive for several epochs; the 1979 Mudd Club version is electrifying, mystique-laden; ridiculously brilliant. Both versions of Drugs have an eerie, haunting element all of their own; Dollette McDonald and Adrian B contribute mightily. Crosseyed is simply a collective singe-fest.
