Extensive war crimes in Donbass committed by Poroshenko and his army of murderers.

 

 

 

Published on Aug 18, 2014

Extensive war crimes in Donbass committed by Poroshenko and his army of murderers from July 27 to August 14, 2014. Kiev’s warmongers/Zionists continue genocide of civilian population of Donetsk and Luhansk People’s Republics.

Behind the Filth and the Fury: Rarely Seen Sex Pistols Photos

Photographer Dennis Morris chronicled the U.K. punks amidst the chaos of 1977

This slideshow requires JavaScript.

Photographer Dennis Morris first captured the attention of the Sex Pistols when Johnny Rotten saw some of the work he’d done with Bob Marley. The punk singer, a huge reggae fan, quickly brought Morris into the fold when the Pistols signed with Virgin in May 1977, and for the next seven months the photographer was constantly by their side, capturing incredibly intimate natural images during the absolute peak of their career. It was a time of madness, drug addiction, infighting and constantly canceled gigs, and Morris caught it all on film. The Bollocks, an exhibition of his work, opened at the Known Gallery in Los Angeles on August 9th and runs through the 23rd. 

Mr. Vicious: “I remember shooting this when we pulled the tour bus into a petrol station,” says Morris. “They had to make a phone call to find out about the next gig. Johnny kind of walked out of the shot. If you look at Sid’s jacket, it’s slightly open and you can see where he was cutting himself. He did that quite a lot.”

Sid & Nancy “This is from Brunel University,” says Morris. “It was the last gig they did on the SPOTS tour. I remember when they arrived they were excited since it was a massive venue, maybe 3,000 people. It was finally a chance to play a big gig and prove to people they were a great live band. Well, the show started and, to their horror, they realized it was a backline sound system. It sounded horrible and was possibly they worst gig they ever did. They were devastated. I took this shot of Sid Vicious and Nancy Spungen after the show. You can see where Courtney Love got her image from, and you can see who the boss was with the two of them. She was a very strong character. I remember her saying, ‘You could have done this! You could have done that!’ Sid would just mumble a response.”

The Great Rock and Roll Swindler “This is the only shot I ever got of [Sex Pistols manager] Malcolm McLaren,” says Morris. “He just detested getting his photo taken. I think this was taken in the lift of Brunel University. I just sneaked in a shot. I love how the sign says, ‘Load not to exceed 3,000 pounds.’ That was right in so many ways. You know, he thought it would be best if the band was never allowed to play. He wanted the shows to be shut down after a few songs so mayhem would break out and they’d get press attention. Nearly every place he booked them in was too small. Sometimes there was no stage and they’d play on the floor. One place I was at ran a rope in front of the stage. A rope! Everyone dove onto the stage, of course. It was chaos, which is just what Malcolm wanted.”

Pretty Vacant:  “This was shot backstage at the Marquee Club,” says Morris. “That’s where everyone played, including the Who, Jimi Hendrix, Led Zeppelin, the Rolling Stones… everybody. We were there for the video shoot for ‘Pretty Vacant’ and ‘God Save the Queen.’ The band decided they wanted to do a live gig, so they invited an audience in. The filmmaker wanted to do a playback, but the band refused and played live. If you look at the videos carefully you can see that they are out of sync. As usual, the show was utter chaos. This photo was taken backstage before or after they played.”

God Save the Queen’s Jubilee: “I shot this photo of Sid on the jubilee boat trip,” says Morris. “It’s one of my favorite shots of him. I love that it looks like he’s just sweeping through. We were all on this ferry going up and down the Thames, playing music really loudly during the Queen’s Jubilee. We were creating mayhem and eventually police boats pulled up to us. The band kept saying, ‘Fuck off! Fuck off!’ We were eventually pulled over onto the docks and God knows how many police were waiting for us. Malcolm made sure he got arrested and he made his statement about the oppression of the society and God knows what else.”

Pissed Off:  “These are fans in the bathroom of the Vortex, which was one of the main clubs in England where the Sex Pistols played,” says Morris. “One of the guys was having a piss in the toilet and another guy is pissing on him. That sort of sums it up. Most people don’t realize that fans back then didn’t have Mohicans. That came after the demise of the Pistols, around 1979. In 1976 and 1977 nobody had them. The main thing about punk back then was self creation. It was about buying an old jacket, writing words on it or whatever and making it your own. People used to show up at the clubs with plastic bags. They’d disappear into the toilet and come out looking glorious. They knew they couldn’t leave their homes like that.”

Paul Cook: “To me, the band would not have existed without Paul,” says Morris. “He was a brilliant, brilliant drummer. The same goes for Steve Jones on guitar. The sadness for these two is that their abilities have gone so unrecognized. They really crafted the sound of the band. John’s voice is on top of them, but all the sound is coming from them.”

Roxy Pistols:  “This was taken backstage in Sweden,” says Morris. “As you can see, Johnny was constantly changing his look. He was very into Brian Ferry, and I call this his Brian Ferry stage with the white jacket and tie. With Sid, he’s usually wearing the same thing in most of my photos. He basically just woke up, ran his fingers through his hair, put on a jacket, with or without a shirt, put on that chain and he looked amazing. John, however, really worked it.”

Wink: “Even though this looks like it was taken in a photo studio, I actually just snapped it one day in Sweden,” says Morris. “One morning I just decided to take some portrait shots. We opened the curtain, moved away some furniture and that was it. This shot with Sid winking is one of the most bootlegged shots of mine. It’s been ripped off so many times. It’s just unbelievable. People often tell me they thought it was public domain or they come up with some other excuse. One guy actually told me he had no memory of bootlegging it because he had Bird Flu! I had no sympathy for him. These people will come up with any excuse they can think of.”

Disco Punk:  “This was taken backstage at a club in Sweden,” says Morris. “It was another example of complete chaos. It was a disco club and they had to play on the floor. Again, there was no division between the crowd and the band. Just a rope. The gig was pulled after a few songs, just complete chaos. It was exactly what Malcolm wanted.”

The Rise of Sid:  “When you look at this image, which I think I took at the Marquee, you get a sense of life in the band,” says Morris. “Like in other bands, a time comes when one member becomes more of a focus than another. When I look at this picture, I see Sid becoming stronger within his presence in the band. John was an amazing frontman, one of the best I’ve ever seen, but Sid had huge potential. He just didn’t know what he had, but he slowly figured it out. You can see Sid coming forward in this photo and John kind of lurking back.”

Virgin Boys:  “This was taken right after they signed a contact with Virgin,” says Morris. “They were known as a hippie label at the time. Tubular Bells by Mike Oldfield was their best-selling album. Richard [Branson] had a real vision, and after they were dumped by a bunch of labels, he knew signing them was the best way to break out of the hippie thing. It was a very brave move, and it caused Virgin to just go through the roof. It allowed them to sign Human League, Culture Club and many others. Signing the Sex Pistols was the best move he ever made.”

Sid’s Fall:  “I shot this at the side of the stage during a gig in Penzance,” says Morris. “It was one of the best gigs they ever did. They had a proper stage and a functioning PA. The crowd was really up for it. Sid suffered from real stage fright. The adulation and hysteria was becoming too much for him. In that photo, he’s yelling ‘Shut up!’ John is looking at him like, ‘Oh shit.’ That was really Sid’s downfall, when he sank more into drugs.”

Motley Crue’s Big, Badass Influence on Today’s Country

Motley Crue (Photo by Ke.Mazur/WireImage)

Motley Crue (Photo by Ke.Mazur/WireImage)

If there was ever any doubt as to how Eighties hard rock influenced contemporary country music, press play on Nashville Outlaws: A Tribute to Mötley Crüe. Released today, the album assembles a cadre of modern country artists to interpret some of the Crüe’s biggest songs, along with a smattering of more obscure, deeper cuts from albums like 1997’s Generation Swine and 2008’s Saints of Los Angeles.

Rascal Flatts handle “Kickstart My Heart,” Brantley Gilbert does “Girls, Girls, Girls” and Eli Young Band tackle “Don’t Go Away Mad (Just Go Away)” while Florida Georgia Line cover the Red, White & Crüe compilation’s “If I Die Tomorrow” and Cassadee Pope (with an assist from Cheap Trick’s Robin Zander) takes on Saints‘ The Animal in Me.” The project’s first single, currently at radio, is a duet between Justin Moore and Mötley Crüe’s Vince Neil on the epic power ballad “Home Sweet Home.”

“If that song came out now, even how they recorded it back in the day, it’d probably be on country radio,” says Moore, “and one of the more country things on country radio.”

Neil, however, says he initially wasn’t sure if there was a home for his notoriously wild band in country music. When Big Machine Label Group, who is releasing Nashville Outlaws, first approached the high-voiced singer, he hesitated.

“Because I’m a diehard rock & roll guy, who listens to classic rock radio in my car,” Neil tells Rolling Stone Country. “What I remember of country, 30, 40 years ago, isn’t what it is today. Today, it’s rock & roll. It’s more rock than a lot of the rock & roll out there is.”

Nikki Sixx, Mötley Crüe’s bassist and chief songwriter — who along with drummer Tommy Lee and guitarist Mick Mars round out the group — shared Neil’s wariness.

“We started talking about it and, at first, like Vince said, well…I’m not sure,” Sixx recalls. But then he realized the genius of what modern country artists were doing, both on radio and especially onstage: furthering the “party never ends” attitude that the Crüe and their peers depicted on MTV. If Nirvana and the grunge revolution doused that decadent fire, then young country artists raised on Mötley Crüe, Bon Jovi and Def Leppard rekindled it.

“It’s very smart of the new country music artists to look at that whole thing in rock where it just became a downer. Bands like us weren’t around…there weren’t new versions of us. So those fans started going somewhere else,” says Sixx of the rock-to-country migration. “I remember watching some country awards show, and I was going, ‘Jesus, they have pyro, girls, production, lasers, smoke and shredding guitar players.’ I was like, ‘This looks familiar.'”

The lyrics and rock-based sound also caught Sixx’s ear. “I was really impressed by their songwriting skills, the ability to take that lyric and thread it all the way through and build it,” he says. “And Vince said to me that it was like Seventies rock at its peak. You can almost hear songs like ‘Free Ride’ in it.”

Jaren Johnston of dirty country outfit the Cadillac Three, who turn in a greasy, slide-heavy version of “Live Wire,” sees obvious similarities between the lyrics coming out of Music Row and those that originated from the Sunset Strip in the Eighties.

“They were talking about convertibles and hot legs. I get that. Now, you take the convertible and replace it with a truck,” says Johnston. Himself a hit songwriter, Johnston has had his songs cut by Tim McGraw and Keith Urban. “[Bands like Mötley Crüe] were singing about cocaine and shit too! At least that hasn’t hit country yet. Not since Hank and Waylon back in the day anyway,” he says laughing.

The Cadillac Three are perhaps the Nashville Outlaws act closest in style to the band they’re honoring, a point that isn’t lost on the group’s singer. “I love the mentality of Mötley Crüe because they were badass, they didn’t take no shit from nobody and that’s kind of the way we look at ourselves,” Johnston says.

“Mötley Crüe were the band that would come to town and steal your girlfriend,” says Raul Malo, lead singer of the Latin-flavored country group the Mavericks. “I love that about them honestly.” Malo and the Mavericks provide, if not the high point of the tribute, then certainly the most musically adventurous: a flamenco-like reinvention of “Dr. Feelgood,” that 1989 tale of doomed drug dealer “Rat-Tailed Jimmy.”

“It’s definitely an East L.A. meets Miami kind of [sound]. It’s really what the Mavericks do anyways. We don’t really worry about what genre or where it comes from. We just kind of go with the vibe,” Malo says. “That’s why we chose that song; because I thought we could step out of ourselves and have some fun with it.”

While the album has its share of musical surprises like the Mavericks’ “Dr. Feelgood” or LeAnn Rimes’ sultry “Smokin’ in the Boy’s Room,” the 1973 Brownsville Station jam that Mötley Crüe cut for their Theatre of Pain album, the song choices themselves are equally daring. The group’s last studio album, Saints of Los Angeles, was a moderate success, yet even the most devout metalheads likely aren’t cueing up non-singles like “The Animal in Me.”

“You feel the artists were going to pick the hits, and a lot did,” says Sixx, surprised by Cassadee Pope’s selection of “The Animal in Me.” “That was a deep track on Saints of Los Angeles, and it was always one of our favorites.”

“I didn’t really want to do a more well-known song. I wanted to dig a little deeper and I think ‘Animal in Me’ is pretty different from what I do, different from my album,” says Pope, one of the few female artists carving out her spot on male-dominated country radio. “I think the lyrics are pretty risqué. It’s definitely an interesting take on a love song.”

Likewise, Aaron Lewis, the singer of grunge-rock group Staind, who has gained a foothold in country with his traditional-sounding album The Road, looked past the hits. He chose “Afraid,” from Generation Swine, Neil’s reunion album with the band after quitting the group (or being fired, depending on whom you ask) in 1992. In Lewis’ hands, it’s a Haggard barroom weeper.

“That song is more country than any other song on the album. It’s that old school,” says Neil.

“From the only guy who is the actual rock guy on the record,” adds Sixx.

“A lot of times, listening to today’s country radio, I tend to have a hard time finding the country in it,” says Lewis, explaining his unexpected approach to “Afraid.” “If I’m going to make country music, I’m going to make country music.”

Like Johnston, he too sees the similarities between the Crüe’s onstage rock-god production and today’s country stars. “There are artists out there who have borrowed their shows as if they stood side stage and took notes from Nickelback. And Nickelback did the exact same thing, probably looking at bands like Mötley Crüe,” says Lewis. “That time frame of music, and that genre of music, it brought such a larger than life spectacle of a show to the table that really hadn’t been done. Now it’s bounced from rock to pop to country.”

Johnston and Lewis aside, you needn’t have been a bad boy rocker to have been influenced by Mötley, a band for whom drug and alcohol addiction, car crashes and jail time became the norm. Darius Rucker, country’s approachable everydude, counts himself a fan.

“Oh God, of course. They were so big, how could you not have been a Crüe fan?” he asks. Rucker contributes the socially conscious ballad “Time for Change,” from Mötley’s six-times platinum Dr. Feelgood album, to Nashville Outlaws.

“I always thought it was such a cool tune. It wasn’t a power ballad like they used to do, or one of those big metal songs. We thought it could be a song that came out today [in country],” Rucker says. “That’s what I love about popular music. It always borrows from other stuff that came before. You can hear the influences and I think that’s a good thing.”

Ironically, country music is the one genre that didn’t influence Mötley Crüe, who are currently in the midst of their, they promise, final tour. The farewell trek stops in Nashville on October 15th. While traces of country may have crept their way into songs like “Home Sweet Home” and “Don’t Go Away Mad,” the merging of sounds was never a conscious decision for the band.

“It was never for me. I never really sat down and had country music as my mainstay,” says Sixx. “But it was in the background. When I lived in Idaho as a kid with my grandparents, that’s what was on the radio.”

Neil cites the songs of Johnny Cash and Johnny Rivers as his country music memories, although the latter is decidedly more rock & roll.

Perhaps that’s why the guys are adamant about what the Nashville Outlaws project is and is not.

“We think this is for country fans, by great country artists who happen to be rock fans as well,” says Sixx. “Mötley Crüe is not making a country record.”

Laughs Neil: “That’d be bad.”

(Additional reporting by Carson Meyer)

Hear Motley Crue’s Final Tour Anthem ‘All Bad Things Must End’

1035x680-20140707-vince-x1800-1404764321

The group’s first song in two years also soundtracks two-minute video of farewell tour

“This ain’t farewell,it’s goodbye,”MötleyCrüe frontman Vince Neil sings in the group’s first song in two years, “All Bad Things Must End.” The group is currently playing the tune as the centerpiece of the set list for its “Final Tour,” video from whichwas captured at the group’s July 4thSummerfest gig below. The video also features a guitar solo, a bit of Gary Glitter’s “Rock and Roll Part 2” and their cover of “Smokin’ in the Boys Room.”

Motley Crue 2014-07-04 “All Bad Things”

Regarding the content of the song, drummer Tommy Lee told Billboard in May that the song is “definitely about this time right now with the band and what the feeling is and kind of all that wrapped into a song. I hate to say it’s like a goodbye, but it definitely references our time here.”

While the group has yet to release a recorded version of the song, Neil told the audience that the group would release the track to radio. The group did, however, release a two-minute snippet of the studio version on Monday as the soundtrack to its tour sizzle reel.

 Dodge presents “Motley Crue: The Final Tour” Sizzle Reel

Last week, the infamously debauched metallers kicked off their farewell tour, which features opener Alice Cooper on dates ending in late November. Neil told Rolling Stone that the group had been planning its final run for the past three or four years. To ensure that this will be the group’s last time out on the road, each band member has signed a “cessation of touring agreement,” preventing them from playing live together again after this tour. “There’s no backing out now,” bassist Nikki Sixx said at the time. “It’s been, like, this fuckin’ blur, maybe because we’re going so fast. Perhaps when it’s done, things will come into focus. At that point, everyone in the band will be doing their own creative stuff, but there will be moments where we’ll miss this. But we’re not there – no tears yet!”

The tour features a new drum rig for Lee that he has dubbed the “Crüecifly.” The kit runs along and spins on a track akin to a roller coaster, even hovering over the audience a la the Spider-Man musical. It’s proven so dangerous that Lee had to issue a disclaimer on Twitter about why it has not been featured at some concert stops. “Want you to know certain venues cannot handle the Crüecifly!” he wrote. “It’s not our fault their roof cannot hang the rig! It’s massive!”