![]() ![]() When it came to arousing blizzards of strange, forbidden female desire, he was on par with swaggering former SNL star Pete Davidson today-a charmed, confectionary Marilyn Monroe for the female of the species to have impure feelings about a respected artist a kind of emotional porn star. His image was an indelible one in the 1980s. It looked as radically avant-garde and hip as Devo did the first time I saw them, and Lurie immediately became dear to my heart as an animal more substantial and interesting than his prevailing East Village It Boy image suggested. He’s figured out how to own the means of production, without involving the music industry. ![]() ![]() I was so impressed with how outside the box this promotional stunt was. He epitomized a flavor that everybody wanted around the mid-1980s: a real artist with outstanding personal style, an offbeat sense of humor, and a rebellious streak, making his mark on the world through unconventional channels. Lurie, the band’s saxophonist and front man, was already fairly well known as the breakout star in Jim Jarmusch’s breakout independent movie Stranger Than Paradise (1984), and the follow-up, Down by Law (1986). It was a charming, homemade ad, shot on grainy video, full of beautiful women dressed in international garb like they were animatronic dolls in Disneyland’s It’s a Small World ride. It was 1989 when I saw John Lurie on TV in a late-night advertisement for the new Lounge Lizards album, Voice of Chunk, which was “not available in stores” and selling exclusively through an 800 number. ![]()
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