BylemSimpem

@BylemSimpem tak było, nie zmyślam

Ten obrazek to pisowska propaganda i gra grażynacore

Mnie w tym obrazku najbardziej śmieszy twarz prezenterki

@BylemSimpem fajne mieli tytuły piosenek: "Potatoes and Vagina" , "My dog mutilate your cat" "Bombed by shit shells" ...to na pewno była ambitna muzyka ;D

@BylemSimpem Ale o co chodzi , że chciał wciągnąć tym nosem a nim wypuścił?

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Takie coś znalazłem o nim. Brzmi fantastycznie, ale trzyma się (nomen omen) kupy:

This guy. Vito Lovejoy “played” saxophone with King Uszniewicz and his Uszniewicztones—the U-tones for short—back in the early days. He and Ernie “King” Uszniewicz went to high school together in Detroit starting in the late 50s. Uszniewicz would constantly poke fun at Lovejoy over his incontinence in gym class—a victim of chronic lymphocytic colitis, it was said that he would shit himself while doing sit-ups at least twice a week.

They found themselves in the high school marching band together and fought over the coveted tenor sax spot. Uszniewicz ultimately quit the band, telling Vito, “Blow it out yer ass, Lovejoy,” which Vito answered by subsequently shoving Uszniewicz’ mouthpiece in his ass and blowing what would later be known as “the Brown Note.” Uszniewicz found the obscene act to be hilarious, and it cemented their friendship for the rest of their lives.

Later, after forming the Uszniewicztones as a last-minute attempt to fill the entertainment spot during his grandfather’s wake at Detroit’s Polish Century Club, he bought a used saxophone at a local pawn shop and retooled it to become the Brown Note sax, which was used by Lovejoy at all U-tones’ performances except those given at elementary schools or the various other youth-oriented concerts over the years. Many pre-teen attendees would later complain about the absence of this popular “adult” feature of the show they had gotten wind of from their older friends and relatives.

In 1972, after public outcry of censorship, it finally became part of U-tone performances across the board, albeit without his “liquid love,” as Lovejoy referred to his habit of spraying drunken hecklers brown at many of their late-night bowling alley concerts during the Brown Note sequence of the show.

The Brown Note sax was subsequently used in the recording of all the U-tones’ records, as well as Lovejoy’s 1966 solo effort above. Uszniewicz himself had commissioned the record be made specifically to sell at U-tones performances. He knew Lovejoy’s novelty contribution to the act was a major draw, and he decided to cash in on it. Being a largely visual gag, the sound of the Brown Note doesn’t carry across well in the recordings, but diehard U-tones fans and Detroit music historians know where to listen for it. For many, the Brown Note is the sound of old Detroit.

In an ironic twist, Lovejoy’s opiate addiction in the early 1980s brought his career to an end. After being regarded as the novelty performer in the band for years, he never spent time actually playing, and by the time he was battling the chronic constipation brought on by his addiction, he was fired from his position. Uszniewicz later commented, “We couldn’t depend on him any more. The spotlight would be on him, and he’d just be standing there with that old sax stickin’ out of his ass, red-faced and gruntin’ for all he was worth. Folks done thought it was part of the act, and it ain’t. When he started in with bleedin’ I had to do somethin’... he was my best friend, and he was up there tryin’ to get somethin’ out in front of hundreds of people, and it ain’t happenin.’”

Uszniewicz eventually set Lovejoy up in a cheap apartment above a liquor store in Detroit and paid someone a few dollars to come by and check on him every week. Without the connections on the road, Lovejoy couldn’t keep a steady supply of drugs, so he swept the floor of the liquor store every night in exchange for a couple of bottles of cheap fortified wine that helped to dull the withdrawls. In his last public interview with PolkaTime magazine in 1983, he lamented, “Youze a think that I’d be able to blow that brown note a few good times and get people to come and pay for a good show like the old days, but I ain’t got nothin’ left. I ain’t that old, though, and if I can get a good croaker to see me outta this, I’ll be back, you’ll see. I’ll be back.”

Vito Lovejoy was found dead in his apartment in 1986 by his sometime caregiver. It was reported that he died in a fetal position on the dirty shag carpet, the Brown Note sax buried half in his ass as a copy of his one and only solo record spun on a decrepit old record player, the needle aimlessly stuck in the lock groove.