Wednesday, September 6, 2017

Sean DeLear - Sheila from Funky Cold Medina has died!


Sean DeLear has passed away? Damn, that's rough. He was Tony when I met him in 1980, was it at the Brave Dog? A shy, unassuming kid with a wide smile. Not long after he broke his neck and spent a year with one of those Frankenstein contraptions around his head. He became much more outgoing, becoming a mainstay at the underground punk clubs. Then he started wearing sheath dresses and calling himself Sean deLear. He was at every Red Wedding gig, even traveled down to San Diego with the band. An incredibly loyal fan to the bands he loved, his mere presence in the audience was an event unto itself.

Before long he had his own amazing band, Glue. I was at his first gig. Was it at Club Fuck? It was his time, he took the stage, he owned it. Every bit as great as the best on the scene. 

In 1989 Sean DeLear was cast as Sheila in Tone Loc and Matt Dike’s video for Funky Cold Medina, one of the biggest selling singles in history. I suppose that will be his most lasting legacy. But not with me, I didn't even know that until years later. It was his electrifying stage performances I'll remember.

The last time I saw Sean was in 2002, outside of Akbar in Silver Lake. I called out,”Tony!” because I was kind of an asshole that way. I don’t think anyone knew his real name that didn’t know him back in 1980. He WAS Sean deLear, one of the most beloved Los Angeles celebrities. The previous time I’d seen him was in 1990, when I kicked him out of my house in the middle of the night for fucking the tall, impossibly good looking guy I was fucking. But then, that guy aways was a star fucker and Sean was a star.

Truly one of a kind, Sean DeLear was bright, talented, and one of the greatest guys you could possibly hang out with. Unforgettable. Irreplaceable. Fabulous!



Marshall O'Boy said it best: "I first met Sean DeLear doing sound at the Music Machine in West LA in the 80s. The Music Machine played host to some of the biggest bands around, X, The Red Hot Chill Peppers, Guns n Roses, Lords Of The New Church, Nymphs, Bo Diddle, Social Distortion...you get the picture. And to be sure, the scene was still a bit "closeted" at best and Rock in general was homophobic. So, amongst these legends, out pops Sean DeLear, This skinny little waif of a boy, in a wig and a miniskirt. He wasn't doing it like some punk bands did it, for attention. This is who Sean was. Sean and his band Glue just knocked out a set like anybody else. Pay no attention to that drag queen on the stage. At a time when most queens were lip-synching in gay bars, Sean was kicking out the jams with some of the most awesome bands around. His just being himself sent a message louder than a bullhorn at a gay rally. To all the famous drag queens I know, let it go out far and wide, Sean DeLear was there first.... Sean paved the way!"

Sunday, August 20, 2017

The Lost Art of Movie Posters!

TVparty!'s Billy Ingram, who had a long career designing movie posters in the '80s & '90s, and Maurice Hicks from 40s N Flicks talk with Kevin Burke, the director of 24 x 36: A Movie About Movie Posters. It's everything you wanted to know about the lost art of movie posters! 



Description of the movie: "24x36: A Movie About Movie Posters" is a documentary that explores the world of illustrated movie poster art; the artists who create it, companies and studios that commission it, galleries that display it and collectors and fans who hang it.

Through interviews with a number of key art personalities from the '70s and '80s, as well as many modern, alternative poster artists – "24x36" aims to answer the questions – What happened to the illustrated movie poster? Where did it disappear to and why?

In the mid 2000s, filling the void left behind by Hollywood’s abandonment of illustrated movie posters, independent artists and galleries began selling limited edition screenprinted posters. This movement has quickly exploded into a multi-million dollar industry, with prints selling out online in seconds, inspiring Hollywood studios to take notice of illustration in movie posters once more.

"24x36" explores this birth, death and resurrection of the illustrated movie poster.

TVparty! is Classic TV!

Sunday, July 30, 2017

30th Anniversary of the Chicago TV Terrorist Attack!



It's almost too frightening to consider. What would happen if our trusted media outlets were suddenly hijacked by a cabal of dissident ideologues, subjecting an unsuspecting public to relentless disinformation campaigns littered with vile, slanted viewpoints and twisted facts designed to brainwash the masses?
Come to think of it, how would we know the difference?!?

Recent articles about the possibility of foreign terrorists taking out the internet with worms and viruses reminded me of a time on November 22nd 1987 when a couple of guys, one wearing a Max Headroom Mask, took over the television airwaves in Chicago, disabling two different stations in order to broadcast their own twisted idea of entertainment.

A little history: Max Headroom (played by Matt Frewer) was an investigative journalist in a fictional TV series set in an apocalyptic future. With a crude, choppy signal Max would break into the official TV news reports with his own reportage that was embarrassing to the powers that be. (He also was seen in dozens of Coke commercials in the 1980s.)

The first 'Denial of TV Service Attack' on that November night in 1987 took place during WGN's live nightly news program. Stunned viewers saw was someone approximating the Max Headroom persona standing in front of a moving corrogated metal background with only an odd buzzing sound heard. In less than 30 seconds WGN engineers moved their signal to another transmitter, regaining control.

(WGN was already on alert for such anomolies - four years earlier cold weather caused a signal jump resulting in the Bozo show being replaced by Fast Times at Ridgemont High, nudity and profanity intact.)

It got a lot weirder when 'Max' returned on the local PBS station WTTW at around 11:15pm, during an episode of Dr. Who.



This time the TV Pirates were more successful, they used their minute and a half of airtime to berate liberals and "newspaper nerds." The guy in the Max mask shot the finger to the camera and hummed the Clutch Cargo theme song. He waved around a Pepsi can while repeating Coke's slogan "Catch the Wave" - then retrieved the Pepsi can saying, "Your love is fading."
Then the unthinkable happened. 'Max Headroom' dropped trou in order to allow his accomplish (his brother?) who was wearing a dress to take a flyswatter to his bare behind. During Dr. Who no less, was nothing sacred?!?
WTTW engineers tried frantically to kill the signal but were unable to before the electronic ------ ended abruptly.

This was surely the tackiest terror attack of all time but the assailants were never discovered. No doubt if they had come forward they would probably be big time TV producers now, after all their minute and a half show was still better than last week's Two and a Half Men.

We all know if the ratings had been good for the 'Show Me Your Ass And I'll Paddle It' program it would still be on today. At the very least, WTTW should air this during pledge breaks...

More at TVparty!

Monday, May 1, 2017

Missing FEUD? Read About Joan Crawford in Greensboro!


“The best time I ever had with Joan Crawford was when I pushed her down the stairs in Whatever Happened to Baby Jane.” — Bette Davis

It began innocently enough. Eleven-year old Chester Arnold Jr. had acquired 5 shares of Pepsi common stock in 1957 but, after seeing the financial world spoof The Solid Gold Cadillac, he suddenly grew concerned about his investment. He fired off a letter to Pepsi’s chairman Alfred Steele to ask if his board of directors was, “crooked like those people in the movie.” No, really, he did.

Perhaps at the insistence of his wife, who understood more than anyone the power of publicity, the boy and his parents were flown to New York and put up at the Waldorf Astoria where Alfred Steele and his new bride, one of Hollywood’s most glamorous stars, Joan Crawford were staying while their two-story Fifth Avenue penthouse was undergoing a major renovation. The Steele’s planned trip to Greensboro later in the week would provide the perfect Hollywood ending to a real life fairy tale come true — plucky small town boy meets glamorous movie queen with the lights of Manhattan as their backdrop.