“Exploding the Phone: The Untold Story of the Teenagers and Outlaws who Hacked Ma Bell” by Phil Lapsley

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Before Napster, before computer hacking, and even before the VCR, there were “phone phreaks.”  What, pray tell, are phone preaks?  The phone phreaks were a group of individuals back in the 1960s who figured out a way to make free long distance calls through manipulating the flaws in Bell Telephone’s and AT&T’s extensive national network of phone lines.   The tale of how many distinct and different individuals made their own “blue boxes” and “black boxes” to make phone calls is chronicled extensively in Phil Lapsley’s extremely entertaining new book “Exploding the Phone: The Untold Story of the Teenagers and Outlaws who Hacked Ma Bell.”

While Lapsley does go into extensive technical detail about how the different hackers learned to circumvent the system to make free phone calls, it’s never too much that you still won’t be riveted by the story.  The phone company went into a panic for obvious reasons, not only because their system which they spent billions creating was flawed and could lose them money due to hackers figuring out their system, but because the laws at the time didn’t expressly make such hacking illegal.  And, most tellingly, because the Justice Department and FCC at the time didn’t agree that current laws should be interpreted to prosecute such activity.  Hard to believe, but there was a time when the government was not quite the pathetic bitch to corporations as they are today.

“Exploding the Phone” is a fascinating cultural history of technology, law, and business and is especially relevant, given how this story seems to be repeated every time ordinary people figure out ways to exploit flaws in technology.

“Basquiat” (1996) dir. Julian Schnabel

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One of the best films about an artist’s life I’ve ever seen, as well as being one of the coolest films I’ve ever seen about any subject, “Basquiat” is a biopic chronicling the fast times and short life of legendary 1980s postmodernist/neo-expressionist painter Jean-Michel Basquiat. Basquiat created some brilliant (and highly commercial) art and also ran with a lot of famous people (Andy Warhol, Madonna, Keith Haring) back in the day. However, personal demons and drug abuse wound up getting the better of him and Basquiat died of a heroin overdose in 1988.

Jeffrey Wright does a terrific job in the lead role as Basquiat and leads an all-star cast that includes David Bowie as Andy Warhol, Gary Oldman playing a character based on director/artist Julian Schnabel, Michael Wincott as critic Rene Ricard, Dennis Hopper as art dealer Bruno Bischofberger, and Christopher Walken, Courtney Love, Claire Forlani, Benicio Del Toro, Tatum O’Neal in supporting roles.

“Basquiat” also boasts one of the coolest soundtracks of any film, featuring the Pogues, Public Image Ltd., Iggy Pop, Tom Waits, Charlie Parker, Melle Mel, the Modern Lovers, and Peggy Lee among others.

This was director Julian Schnabel’s directorial debut, a career that has led to great films such as “Before Night Falls,” “The Diving Bell and the Butterfly,” and “Lou Reed’s Berlin.”

“A Wedding in Cherokee County” – Randy Newman

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Another gem from Randy Newman’s 1974 album “Good Old Boys.” This song is sung from the perspective of a loser who is about to marry someone that no one in his town thinks much of. However, despite this, he’s also terrified of his wedding night. Either because he’s impotent or because his equipment is deformed (I’ve never been able to figure out which). He starts wailing about his new bride laughing at his “mighty sword.” Given Newman’s normal sardonic nature, it seems like he’s laughing at his subject, but he’s not. The gorgeous arrangement and singing provide a dignity to a man who doesn’t have any. And you genuinely feel the man’s pain and terror.

“Guilty” – Randy Newman

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From Newman’s classic 1974 album “Good Old Boys,” is a brilliant, non-sardonic song sung from the perspective of a helpless addict. Yes, “Guilty” sounds self-pitying to the nth degree, but so are a lot of addicts. Newman brilliantly conveys the desperation of someone who knows they have a problem, but can’t (and won’t) dig themself out. This was one of John Belushi’s favorite songs and he used to sing this quite often during his Blues Brothers era.

“Ballad of Maxwell Demon” – Shudder to Think (from the 1998 film “Velvet Goldmine” dir. Todd Haynes)

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When Todd Haynes decided to make a film loosely based on the life of David Bowie, he took a similar approach to his idea that Allison Anders did when she wanted to make a film about a Carole King in “Grace of My Heart.” That approach was to use significant events from their subject’s lives, but make a fiction film and to change things enough to make their films more dramatically interesting. The approach was smart in both cases, because they didn’t have to worry about being factually accurate and could tell whatever story they wanted.

The result isn’t perfect, but Haynes’s film “Velvet Goldmine” is mesmerizing and he hired some great 1990s-era musicians to recreate the highlights from the English glam-rock era. “The Ballad of Maxwell Demon” is Shudder to Think’s variation on Bowie’s “Ziggy Stardust” and “All the Young Dudes” and it’s a damn good song. The lyrics even recall “Dudes” directly: “Six feet down when I’m 25” is similar to the first verse in “Dudes.”

“You’re Breaking My Heart” – Harry Nilsson

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I first heard this song over the opening credits of that immortal early 1980s Phoebe Cates/Matthew Modine T&A comedy “Private School … for Girls.” By the point it appeared in the film, the song was over 10 years old, but it was certainly memorable then … and now. Arguably one of the best opening lines of any song ever: “You’re breaking my heart, you’re tearin’ it apart, so f–k you!”

“Laugh at Me” – Mott the Hoople

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“Laugh at Me” was originally a charming, yet clumsy protest song written and performed by Sonny Bono in the late 1960s. Mott the Hoople covered it in 1967 on their first album and what was once clumsy became majestic. Sounding like an outtake from Dylan’s “Blonde on Blonde,” Ian Hunter and the gang slowed down the tempo, gave the song a serious treatment, and let that wonderful organ and guitar sound do the rest. A great example of how a cover can completely transcend an original.

“Get Back” – The Beatles with Billy Preston

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The Beatles tend to run hot and cold with me. I don’t know whether it’s oversaturation or overpraise of everything they’ve ever done that sometimes rubs me raw. Please don’t get me wrong. For the 8 years that they recorded (1962-1970), the Beatles were some prolific bastards and all of their great stuff (even if it only comprises 40% of what they recorded, in my opinion) is better than what most bands have produced over twice (or even triple) the number of years. Despite that, a lot of what the Beatles recorded was merely OK. And even some of it was pretty dreadful.

But “Get Back” is a song that I’ve never ever disliked, even during those times when I’m down on the Beatles. Unlike much of what they’ve done over the years, “Get Back” just sounds like a bunch of friendly musicians kicking back and just jamming away for the hell of it. The organ fills by Billy Preston are an especially nice touch and are miles away from the funk freakouts (sometimes great, sometimes not so great) Preston did in the 1970s. It’s a song that always makes me feel better, even when I’m in a really s—ty mood.

“2 Kindsa Love” – The Jon Spencer Blues Explosion

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When you’re invited to be on a big network youth television show, it’s always a good idea to shake things up a bit and be memorable. Here’s Jon Spencer and the Blues Explosion tearing it up on an Australian TV program from 1996 named “Recovery.” Exciting stuff. Makes me want to kick over some furniture, in fact.