Most people would probably be surprised to find that Frankie Valli and the Four Seasons recorded a musically ambitious concept album in 1969 that was inspired by Pet Sounds and Sgt. Pepper’s. The Jersey boys were all about a doo-wop meets big band Motown sound and songs about girls, so no one expected an album of bold social commentary, complex vocal arrangements, long songs and quirky Van Dyke Parks-esque musical arrangements, but this is exactly what they got when the group released The Genuine Imitation Life Gazette.

The opening fanfare is the provocatively titled “American Crucifixion Resurrection”:

Unbound slaves stand outside the gate
With lengths of broken chain they wait
Empty stomachs filled with hate
No-one told the heads of state, the Prince of peace is sleeping late
Who will wait on the lords and ladies, who will cry when they lose their crowns?
Sleeping through the years of error, waking in a reign of terror

Yes, folks, that’s from the same fellas who sang “Sherry” and “Big Girls Don’t Cry”!

The Genuine Imitation Life Gazette was released in a fold-out cover with an extra inner page, containing an eight page ‘‘newspaper’’ insert. Bob Gaudio co-wrote the album’s songs with Jake Holmes (who actually composed “Dazed and Confused” not Jimmy Page, and the “Be A Pepper” jingle for the Dr. Pepper soft drink with Randy Newman). In the mid-70s, Gaudio was told by none other than John Lennon that The Genuine Imitation Life Gazette was one of this favorite albums, a claim bolstered by the fact that John and Yoko (not to mention Jethro Tull) stole the newspaper cover idea for their 1972 Sometime in New York City record.

Bob Gaudio later said of the album:

“One of the disappointments of our career for me on a creative level was The Genuine Imitation Life Gazette album. It was just something that I had to do at that time. It got wonderful reviews, but obviously it was not an acceptable piece from us. Everybody was expecting Top 40.”

The album did well with critics, it was really the group’s fans who rejected it. The lavish, over the top approach used on the album was abandoned for the group’s next records, the straight ahead Half & Half and Chameleon, their Motown album. Still, it wasn’t a total flop, selling over 150,000 albums, but by Four Seasons standards it was a disaster, making it to just #85 in the charts.

Even if The Genuine Imitation Life Gazette isn’t quite as legendary as Pet Sounds, it is in the same “big league,” literally, as both groups, the Four Seasons and the Beach Boys are among the top selling vocal harmony pop acts that America has ever produced, each selling in excess of 100 million records. It certainly deserves to stand alongside of something like The Zombies’ Odessey and Oracle as a somewhat lesser-known example of this brand of lush, elaborately orchestrated vocal psych pop. Brian Wilson wasn’t the only one capable of making music in this style.

Below, some more examples of what the insert newspaper looked like. Some label needs to do a full-on re-issue of this puppy, pronto. It’s even long out of print on CD, with Amazon dealers charging exorbitant prices for what can still sometimes be found for a dollar in used vinyl shops. Crate diggers, hear me: If you see an original copy of The Genuine Imitation Life Gazette album with the insert, grab it.
 

 

 

 

 

 
After this record, the creative partnership of Bob Gaudio and Jake Holmes went on to another brilliant—and similarly ill-fated—project, Frank Sinatra’s haunting 1970 Watertown. Note “Watertown” reference in the above detail from the insert newspaper.
 

“American Crucifixion Resurrection”

“Mr. Stately’s Garden” (in which The Four Seasons do their best American Kinks approximation)

More Four Seasons after the jump…

A nineteen-year-old Phil Lynott photographed for Irish magazine Women’s Way in 1969.
 
In 1969, Thin Lizzy vocalist Phil Lynott was already singing with his fourth band, Orphanage, following his dismissal from the band Skid Row (featuring guitarist Gary Moore). Lynott was pretty laser-focused on making rock and roll his primary profession from a very young age after forming his first group, Black Eagles—a cover band, and his second, Kama Sutra, when he was fifteen. In 1969, during his short time with Orphanage, from which Thin Lizzy would soon spring, he was interviewed by one of the most popular women’s magazines in Ireland at the time, Women’s Way, for a column called “Beat Up” by journalist Heather Parsons. During his youth, Lynott had gone through more than his fair share of difficulties. His father was absent, and the young Lynott was subjected to relentless racially-motivated verbal attacks because of his mixed heritage. The racism was so bad in Manchester that Lynott’s mother Sarah sent him off to live with his grandparents in Dublin. All of these experiences, as well as others, made a deep impression on Phil, which he articulated in the interview in a rather profound way. Here are a few of the insights he shared with Women’s Way when he was just nineteen and about to become the biggest rock star in Ireland, and later known worldwide as the charismatic, cock-sure vocalist for Thin Lizzy. Let’s start with my favorite moment from the interview, when Phil was asked what he disliked the most:

“I’ll tell you what I dislike the most of all—those superior types who look down on any girl who hasn’t got the same views. What right does anyone have to be so critical? We’ve all got our own lives to lead and different ideas on how to do this. The place money has in people’s lives annoys me too. Okay, I know it’s essential, but at the moment it’s all-important to too many people. Another thing is social injustice. No. I’m not going to say anything about racial discrimination because people just say, ‘Oh, another coloured fella with a chip on his shoulder. Take all the things Bob Dylan writes about though—housing problems, people starving and dying, wars. I sometimes get very frustrated because I feel so strongly about these things and can’t do anything about them. I’d like to put all the oppressors into the oppressed position.”

If you just high-fived your laptop screen, congratulations. You, my friend, are on the right side of history along with Phil Lynott. Here’s a little more from Phil on the desire to have a child and be a good father, unlike his own father:

“Do you know what else I’d like to do? Adopt a kid. Now, why can’t single people do that? I’d like a kid, and I’d be good to him and look after him and give him a good life—better than he’d have in an orphanage. No pun intended!”

Of course, since this is a nineteen-year-old burgeoning rock star we’re talking about here, Lynott does give some insight into the stuff you’d expect a nineteen-year-old dude to be interested in. Such as girls with strawberry blonde hair, cars (especially if they are “kinky”), and not being the marrying type because he’s too much of a “flirt.” (He would marry Caroline Crowther eleven years later on Valentine’s Day.) You can read the entire interview here.
 

Phil Lynott giving a spoken-word performance of the song “Shades of a Blue Orphanage.” Lynott wrote the song as a tribute to his grandmother Sarah who raised him with her husband, Phil’s grandfather, Frank. It is taken from the television special ‘Me & My Music’ recorded in 1976 (but broadcast in 1977).
 
HT: Brand New Retro

Previously on Dangerous Minds:
‘Pop Quiz’ with Phil Lynott versus Morrissey, 1984
Roy Wood & Phil Lynott: As probably the Greatest Pub Rock Band in the World?
The rocker, the legend: The Phil Lynott Story
‘Supersonic’: Mid-70s footage of The Damned, Thin Lizzy & T.Rex performing on UK kids TV show
Thin Lizzy: Live Rock Palast, 1981
When a 70-year-old Grandmother played keyboards with Thin Lizzy
Your new car jam: One hour and twelve minute megamix of JUST THE GUITAR SOLOS from Thin Lizzy

 
This month sees Cherry Red releasing the first expanded edition re-issue of Marc Almond’s The Stars We Are since the album’s original release in 1988. The Stars We Are is Marc Almond at his most commercial, but that is in a no way a slight. Marking the singer’s final collaboration with his musical partner Annie Hogan, the lush balladry of The Stars We Are—Almond’s 4th solo album proper (if you don’t count his Marc and the Mambas side project)—is also one of his very best, an all-killer, no-filler affair that spawned five singles, two of them international hits.

There are three amazing duets on the album that I want to call your attention to. First is “Your Kisses Burn,” an astonishing number performed with Nico, in her final studio recording. Being a big Nico fan and a big Marc Almond fan, I was awestruck by the infernal power of this song when I first heard it. It’s scary! I can vividly recall playing it over and over again at top volume the day I brought the CD home. It cannot be said that Nico didn’t go out on a high note, but according to Almond, interviewed by The Quietus, she had difficulty singing that day:

“Nico was a mysterious figure, enigmatic with that great musical and artistic connection to The Velvet Underground and Warhol, which were things I was obsessed about at school. And of course that wonderful intriguing voice, icy and remote yet warm at the same time. She made a sound I’d never heard before - maybe some sort of a gothic punk Marlene Dietrich. The first time i heard her music was with The Velvet Underground, but I bought Desertshore, The Marble Index and The End and liked them more. There was also her musical association with Brian Eno, which made her more intriguing.

“When I became a musician, she was always at the top of my wish list for a duet of some sort. I was so nervous to contact her and EMI were not really for it at all, as you can imagine. I wanted to make sure that she was treated like the legend and the star I felt she was. EMI balked at her demands, but I was insistent. It turned out she was lovely if fragile, and we played pool and drank tea and talked for ages. The song was a problem, it turned out to be a bit too complicated, too orchestral for her and she began to deteriorate as the day went on and the methadone took effect. She still managed to deliver that wonderful Nico voice. We left on warm terms with plans for a better track more suited to her.

I think this one is fucking incredible. You be the judge. PLAY IT LOUD:
 

 
And then there is the album’s BIG HIT, “Something’s Gotten Hold of My Heart,” Almond’s duet with Gene Pitney on a remake of Pitney’s own top five song of 1967. The Stars We Are was originally released in late 1988 with a solo Marc rendition of the number, but the duet—with the same backing track—went to number one on the UK pop charts and stayed there for an entire month. Marc really gives it his all here, while Pitney’s vocal takes the song to a new height. There were TV appearances galore—the pair were even invited to be on Wogan—and this charming music video shot in Las Vegas.
 

 
There’s more after the jump…

Lemmy and his trusty Rickenbacker bass and his pal Wendy O. Williams with her chainsaw. These marionettes were made by Canadian artist, Darren Moreash of Darrionettes.
 
If there is one thing I have learned as a contributor to Dangerous Minds for the last seven years is this—you can always count on the members of this collective to bring things to your attention that you perhaps did not know existed. I’ve done this many times myself here, including when I wrote about the fact an anatomically correct GG Allin marionette exists, poop stains, and all dubbing him the “Masturbator of Puppets.” I still get a kick out of that wordplay because I am, as far as you know, a fifteen-year-old boy. Also, my DM colleague, the always intriguing Paul Gallagher posted about these gorgeous marionettes fashioned after rock and roll royalty last summer, and boy, did you all dig that (as you should).

Anyway, as people do, I recently spent too much time scrolling through my social media feeds and looking at old photos of Alice Cooper from the early 70s and BOOM. Suddenly there was a photo of Alice holding an Alice Cooper puppet by its little paddle control that pulls its strings, and the search to find out more began.

This brings us to Canadian artist (and stand-up metal fan, I might add) Darren Moreash—the self-dubbed “Geppeto” of Harrietsfield, Nova Scotia. And Moreash’s efforts have brought him good fortune. Apparently, when he was still dating his soon-to-be wife, he gifted her with an Alice Cooper marionette. In 2012, Cheap Trick used puppets Moreash made in their images for their video “I Want You For Christmas.” Of the countless marionettes Moreash has produced during his lifetime, he has been able to gift them to many of his childhood heroes like Lemmy Kilmister and Stan Lee.

Now, I have to say that my kid went through a phase when he was a little kiddo, during which he became quite enamored with marionettes. And I gotta say, they were a lot of fun to play with once you got the hang of making them move the way you wanted. If I had known about Moreash during that time period, I would absolutely be the proud owner of a David Bowie marionette that I would lie to people about, telling them it’s really for my kid. In the past, Moreash’s marionettes have been auctioned off for charity fetching as much as $500. Anyway, as it’s the photos you came here for so, I’ll stop jawing so you can keep scrolling and see some of Moreash’s marionettes. If you are curious, yes, it does appear that you can get in touch with Moreash and have one of his wooden creations for your very own, such as his latest, a marionette in honor of the Bernie Sanders mitten meme. More info on that, here.
 

Feel the BERN!
 

Booji Boy!
 

Mark Mothersbaugh of DEVO wearing his red energy dome.
 

Hunter S. Thompson and Ralph Steadman.
 

 

Peter Gabriel.
 
Many more of Moreash’s marionettes after the jump…

 
While it’s true that nearly 100% of the articles and blog posts that you read—like this here very blog post—about Cathal Coughlan compare his voice to that of Scott Walker’s, would everyone say THAT if it wasn’t true? High praise indeed, but hey, if the shoe fits, wear it.

I was a big fan of Microdisney, the band Coughlan fronted in the 80s—and I did come at them as a Scott Walker fan wanting more of ‘that.’ One of the very, very best bands that Ireland has ever produced, the lush music of Microdisney sounded instantly classic to my ears—like Burt Bacharach’s stuff does—when I first heard it. Songs like “Loftholdingswood,” “Birthday Girl,” “Singer’s Hampstead Home” (allegedly about Boy George), “Are You Happy?” and my favorite by them, “Mrs. Simpson,” have that big, epic, cinemascope thing going on that the voice has no choice but to live up to. Coughlan’s trenchant lyrics were fascinating and emotionally evocative, but still open to interpretation enough that I could make them all about whatever woman I happened to be in love with or whatever was going on in my life at the time.

Admittedly I lost track of his post-Microdisney output until I became obsessed with a song of his called “Witches in the Water” that was part of The North Sea Scrolls, a whimsical alternate history lecture/musical made in collaboration with Luke Haines and Australian journalist/rock critic Andrew Mueller. (I won’t go off on a tangent about this album, but trust me, it’s a minor masterpiece and you really need to hear it. On Spotify and YouTube.)

Have a listen to “Witches in the Water,” and then get back to me. I’ll wait.
 

 
That song has everything, doesn’t it? Separates the boys from the men. I immediately made up for lost time with Fatima Mansions and Coughlan’s solo work, and I am happy to report that for the first time in a decade there will be a new Cathal Coughlan solo album coming out later this year, heralded by the release of this new video—which gets around COVID-19 lockdown music video cliches in a quite creative manner I thought—for the title track, “Song of Co-Aklan.”
 

 
It is extremely difficult to republish a long out of print book. I know this because I have actually done it myself. First off, a pre-computer era book was typeset by hand, so the text will not often exist as a digital file. This presents the option of either rekeying in an entire book, or else scanning in each page individually. Doing it with some sort of image-to-text OCR program only makes for introducing new problems. It’s a time consuming process and a pain in the ass. Anything beyond text such as illustrations and photographs need to be handled differently.

Which is why this exquisite recreation of the 1901 Theosophist publication Thought Forms: A Record of Clairvoyant Investigation is so noteworthy. This isn’t an example of merely putting out a new version of a book, but the complete recreation of the original object as it was 116 years ago. It’s beautiful. Although long out of print in its original form, and nearly forgotten, Thought Forms can be seen as an influential but overlooked link between esoteric thought and modern art. Certainly there’s been no other book like it, before or since.

The volume explored the ideas of the occult society as they related to art, specifically the notion that certain people—clairvoyants—could sense and see energy and emotions in the auras of human beings. A person of high character would have a “clear” aura, whereas a selfish, insensitive brute’s aura would be cloudy and so on. Theosophist leaders Annie Besant and C. W. Leadbeater dictated their clairvoyant “thought-forms” to a group of followers who created the beautiful and unusual 58 illustrations seen in the book.

Published by Sacred Bones Books, an imprint associated with the Sacred Bones record label, the principals involved originally set the project up on Kickstarter which was a resounding success:

We learned of Thought Forms a few years ago and it completely took us by surprise. This one book totally challenged the classic art history narrative that had been taught to in school. Not like we fundamentally believed that story, abstraction is found in all cultures—not just in western 20th century painting, but the genesis story of a few male painters “inventing” abstraction does have its truths.

In this narrative of Modernism, Wassily Kandinsky is widely viewed as one of the most important founders of abstraction, and his manifesto “On the Spiritual in Art” is mandatory reading in art school.

What was never mentioned to us in school however, was that Kandinsky was a member of the Theosophical Society, and had acquired a copy of their book Thought Forms a few years before he abandoned conventional ways of painting. Learning that Kandinsky didn’t just come upon these ideas on his own as previously thought, totally changed our understanding of his work. It’s worth mentioning that Piet Mondrian was also deeply influenced by Theosophy and later on, Jackson Pollock was as well.

Last year the Guggenheim held the first US retrospective of Hilma af Klint’s paintings. She was a member of the Theosophical Society and was undoubtedly influenced by the spiritualistic currents of the time. Theosophy was the first occult group to open its doors to women, and it deeply questioned gender roles, many of these ideas are also in Af Klint’s paintings. This show was one of the first times the all-male origin story of abstraction was challenged within the ivory tower. Af Klint, made these paintings before Kandinsky, and she was a woman. Thought Forms came out before Af Klint began her abstract paintings and it is certain that she must have come across this book.

We’re republishing this beautiful, overlooked book, so that it may be widely accessible and no longer omitted from the past. Thought Forms offers a reminder that the history of modernist abstraction and women’s contribution to it is still being written.

Theosophy’s motto seems as appropriate today as it did in 1880, “there is no religion higher than truth.”

The new publication of Thought Forms: A Record of Clairvoyant Investigation was edited by Lucy Lord Campana, with introductory essays from renowned spiritualism expert Mitch Horowitz, art historian Dr. Victoria Ferentinou of the University of Ioannina and Troy Conrad Therrien of the Guggenheim Museum and Columbia University. A few of the book’s illustrations follow.
 

 

 

 

 

 
From the Dangerous Minds archives, here’s a sizzling hot cult film to help keep you warm. Highly recommended!

I first heard about Armando Bo’s lusty 1969 Argentinian sexploitation movie Fuego (“Fire”) due to John Waters championing of the film. I’m always interested in seeing something—like Boom!—that John Waters is enthusiastic about and I reckon that quite a few of you feel the same way. If so, then you NEED to watch Fuego and you need to watch it now.

Trust me, it DOES. NOT. DISAPPOINT.

Fuego stars the outrageously hot, extremely well-endowed Isabel Sarli, who has the sort of “brick shithouse” build that Russ Meyer was so very fond of. Fuego and Meyer’s Vixen would actually make a great “ants in her pants” nymphomania double bill, but a more appropriate match-up might be Female Trouble and Fuego, which was obviously a big influence not only on John Waters, but also on Divine. Much of Dawn Davenport—the character’s fashion sense, walk and even her bouffant hairdo—would appear to be closely modeled on Isabel Sarli. Sarli was also an outrageously hammy actress and Divine just took her already over-the-top “undulating” acting style and turned the volume up to 11. If you are not at least curious to see the woman who inspired the divine Divine, why are you even reading this blog???

In Fuego, Sarli plays the sexually insatiable, irresistible Laura and in this role, lemme tell ya, she is perfectly cast. Laura is a completely uninhibited—if not completely unhinged—and naturally this gives Sarli plenty of excuses to doff her duds, which she does constantly and we see her engaged in trysts with both men (any man seems to do, her catchphrase—normally screamed—is “I NEED MEN!!!”) and with her older, lizard-like lesbian maid. A wealthy businessman named Carlos (director Armando Bo, who also wrote the script and the insanely incessant music) sees some girl-on-much-older-girl action on the beach and later attends a party at Laura’s boyfriend’s house. Soon Carlos is seeing Laura, but he has no idea what he’s gotten himself into. She roams the streets flashing her tits and he is constantly catching her in bed with other dudes. This happens a lot.
 

 
The first part of Fuego is where most of the naked flesh is shown, whereas the latter half is talkier, more melodramatic and way more NUTS. Laura realizes that her uncontrollable urges are causing her husband grief when he nearly kills an electrician he catches her bonking. They go to a sex expert to discuss what can be done about her “condition” but during the gynecological exam, Laura has a thundering orgasm. The pair travel all the way to New York where Carlos is told by a doctor there that the only thing that can save Laura is… his unwavering love. Well all right then!

I won’t tell you how it ends—hint: FUCKING CRAZY—but when you know in advance that Armando Bo and Isabel Sarli made 27 films together—with her rolling around naked in every single one of them—and that they were famously lovers for years (although he never left his wife for her), you can start to project all sorts of unhealthy psychological things onto Fuego. First off, Bo wrote the script and so he therefore wrote the cuckold role for himself. There’s also the voyeuristic aspect of Bo arranging to see his woman getting her tits out for so many other guys.

There’s a certain “cucky” subtext to Fuego, let’s just say and leave it at that.

Waters calls Fuego: “A hetero film for gay people to marvel at” and truly, it’s a movie that covers all the bases. I’d recommend watching it in a group. It’s enjoyable no matter what, but like most “so bad that it’s good” movies, experiencing it for the first time with a bunch of other people is the way to go. If you just saw Fuego cold, with no background information about it, it might take a while to figure out how you are supposed to react to it.

Armando Bo died in 1981 and Sarli stopped making films. She became a cult figure with a devoted following. Sarli was feted at Lincoln Center in 2010 and profiled in TIME magazine. In April 2018, John Waters presented Fuego in Argentina and got to meet Sarli. She died in 2019 at the age of 89.
 

 

 
In the clip below from his John Waters Presents Movies That Will Corrupt You show, the Fellini of Baltimore waxes poetic about one of his favorite films, and candidly admits that he “stole” a lot of stuff from Fuego:
 

 
If you’re an Iggy and the Stooges fan, you’ve surely heard their infamous live album, Metallic KO (1976). But did you know that, due to a technical error, the record was issued at the wrong speed and was off pitch? It would be decades before anyone noticed and the blunder was righted, but the tapes of the two shows that were edited down for the LP didn’t receive the same treatment. That’s all changed, and for the first time the full recordings of both gigs, including the Stooges’ tumultuous final show, can be heard in all their speed-corrected glory.

In the spring of 1973, Columbia Records released Raw Power after a long delay. The album justly received critical acclaim, but failed to sell. Also during this period, Iggy and the Stooges were dropped by their management company, Main Man, so things were not looking good. In July, needing money to survive, the guys hit the road, touring heavily, leading to what turned out to be their final show in February. By then, the Stooges’ contract with Columbia had been terminated.
 

Getting near the end: Opening for Slade in Cleveland on January 18th, 1974.

During the February 9th, 1974 gig at the Michigan Palace in Detroit, the crowd threw all sorts of objects at the Stooges, including ice cubes, lit cigarettes, coins, beer bottles, light bulbs, and eggs, all the while egged on by a defiant Iggy. Pop, incidentally, was dressed in a leotard and wearing a shawl fashioned as a skirt. They closed with an X-rated version of “Louie Louie,” leaving the stage as projectiles continued to fly towards them.

A burnt-out Iggy would soon leave the group and the Stooges were no more.

Metallic KO contains two shows that took place at the Michigan Palace. Side A has three songs from an October 6th concert at the venue, with the remaining three on Side B from the riotous February 9th gig. Both were taped on a four-track cassette recorder by Michael Tipton, a fan and friend of bassist Ron Asheton. Ron had a copy of the last show, which guitarist James Williamson borrowed and got to British rock journalist Nick Kent, who in turn put in the hands of Marc Zermati of Skydog Records, a French label. Scott Thurston, who played piano for the Stooges in their waning days, was the source for the October 6th tape. Metallic KO was released by Skydog in September 1976, with Iggy’s nihilistic, taunting banter and the Stooges’ savage songs influencing the burgeoning British punk movement. Lester Bangs famously wrote, “Metallic KO is the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings.”

Continues after the jump…

A shot of David Bowie on the set of ‘Bing Crosby’s Merrie Old Christmas,’ 1977.
 
Well, it’s about time 2020 actually gave us some good news. Though it’s not actually from Mars (BOO!), a David Bowie Monopoly-themed game does exist, and yes, you can have one.

The Thin White Duke’s version of Monopoly came out earlier this year, first via an exclusive distribution with UK site Booghe. Sometime around the end of the summer, it found its way across the pond and can be easily found on all kinds of U.S. e-commerce sites. Now that you know you can actually have one, here’s the scoop on the gameplay for this Ziggy-centric edition of Monopoly.

First, speaking as a collector of Monopoly board games, one of the things geeks like me look forward to are the game pieces, and wham-bam, thank you ma’am, the ones created for Bowie Monopoly do not disappoint. There is Major Tom, an astronaut helmet, a rolled-up tie for Bowie’s 1993 album Black Tie White Noise, and a replica of the hat Bowie wore as Pierrot in the video for “Ashes to Ashes” and on the cover of Scary Monsters (and Super Creeps), designed by Natasha Korniloff. Of course, there is a lightning bolt in honor of Aladdin Sane, a star to signify Bowie’s musical swan song, Black Star, and a skull, which of course, was often a Hamlet-esque Bowie stage prop. SOLD? Right? Not yet because as the saying goes “But wait! There’s MORE!” is in full effect here as Bowie Monopoly bends Monopoly’s classic gameplay just like many other versions of Monopoly have done over time.

In the case of Bowie-Opoly, instead of buying property, the squares on the board represent albums from Bowie’s vast musical catalog. Once you own one of his albums, you can then build stages (instead of houses) and then stadiums (instead of hotels) to increase the “rent” paid when other players land on your square. Other play includes hitting up Bowie on tour and hiring your crew and other musicians to increase your star power and bank account. There are also Sound and Vision cards (like the Chance and Community Chest cards), which bring both good and bad fortune to players drawing from the deck.

It’s hard to conceive there might be a Bowie fan out there who also digs board games that would not want a Bowie-themed Monopoly game. I should know; I am one of those people currently waiting for their very own Bowie-Opoly to arrive. Images of the Queen Bitch of Monopoly games follow.
 

 

 

 

‘Oh You Pretty Things!’
 

 

David Bowie’s performance of ‘Heroes’ as shown on ‘Bing Crosby’s Merrie Olde Christmas’ in 1977.

Previously on Dangerous Minds:
‘I’m gonna kill you, Tin Man!’: Axl Rose’s knuckle-brawl with David Bowie over a girl, 1989
‘She asked for my love and I gave her a dangerous mind’: Goodbye David Bowie from Dangerous Minds
A night spent hanging out with David Bowie and Iggy Pop: Ivan Kral tells us what it was like
Beautiful images from David Bowie’s least favorite film role, 1978’s ‘Just a Gigolo’
Burn baby, burn: Did David Bowie REALLY torch his 360-ton ‘Glass Spider’ stage prop in 1987?
David Bowie, Dennis Hopper and/or Dean Stockwell bring blow to Iggy Pop in a psych ward, 1975

’Baba Yaga’ (Italy/France, 1973) 
 
Every year around this time, Westgate Gallery‘s poster concierge extraordinaire Christian McLaughlin drastically cuts prices for his annual Black Xmas 50% Off Sale.

Anyway, my pal McLaughlin, a novelist and TV/movie writer and producer based in Los Angeles, is the maven of mavens when it comes to this sort of thing. You couldn’t even begin to stock a store like his if you didn’t know exactly what you were looking for in the first place, and if you want a quick (not to mention rather visceral) idea of his level of deep expertise—and what a great eye he’s got—then take a gander at his world-beating selection of Italian giallo posters. Christian is what I call a “sophisticate.”

He’s got a carefully curated cult poster collection on offer that is second to none. His home is a shrine to lurid giallo, 70s XXX and any and every midnight movie classic you can shake a stick at. But why would you want to shake a stick at a bunch of movie posters to begin with? That would be pointless. And stupid.

The Westgate Gallery’s Black Christmas 50% off sale sees every item in stock at—you guessed it—50% off the (already reasonable) normal price. All you have to do is enter the discount code “BlackXmas2020” at checkout and your tab will be magically cut in half.

The selection below is only a very tiny sliver of what’s for sale at Westgategallery.com.
 

’Cinderella 2000’ (USA, 1977)
 

’Dead Alive’ (New Zealand, 1992)
 

’Exhausted’ (USA, 1981)
 

’Femmes de Sade’ (USA, 1976)
 

’Man Who Fell To Earth’ (USA/UK, 1976)
 
More after the jump…