Herbert booked shows at a local club called the Village, which sold out thanks to themes inspired by the San Francisco post-hippie underground culture such as "The Streaker's Ball" and "Mondo Bondage." Much to Graham's dismay, Herbert chose an opening slot for the upcoming Led Zeppelin show at Kezar Stadium. The band pulled out the stops, including Waybill dressed as an early version of "Quay Lewd" throwing "Cocaine" (flour) and "Pills" (candy) at the crowd, who threw it back. Graham threatened Herbert that the band would never play in San Francisco again but calmed down and eventually fell in love with the band, booking them at Winterland and other California venues for New Year's shows and Halloween. After the 1973 Led Zeppelin show, Herbert wanted to manage the band, but Spooner and the group went with local management team Mort Moriarty and Gary Peterson, also known as "Bag O' Bucks." Moriarty was interested in the use of video in rock music and saw the Tubes' stage show as the future of music videos. Bob McIntosh died of cancer at this time, leaving Prince as the only drummer.
In 1974, Bag O' Bucks filmed a Tubes show at the California Hall and shopped the "video demo" around Los Angeles. George Daly, Columbia Records head of A&R in San Francisco, made some Tubes demos, but CBS' corporate headquarters in New York City would not agree to signing the Tubes to Columbia due to the radical nature of their art. After 18 months, with no success at his own label, Daly, at the suggestion of Rick Wakeman,[4] finally pitched the group to competitor A&M Records, where his former Columbia East Coast A&R colleague and friend, Kip Cohen, had recently headed the A&R division. Daly personally flew managers Moriarity and Petersen down to LA, and Cohen signed the Tubes to A&M, a rare example of cross-company support by major label executives. Working with lawyer Greg Fischbach, the band signed with A&M Records.
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By late 1975, the band created a stage show unlike any other after hiring Kenny Ortega to direct and choreograph, comedian Jane Dornacker and her band "Leila and the Snakes," and event support/video pioneer T.J. McHose to run a live video feed with films for each song. The show was critically acclaimed and broke them into show business in Los Angeles during sold-out runs at the Roxy Theater, David Allen's Boarding House and Bimbo's in San Francisco, as well as The Bottom Line in New York City. Compared at the time to The Rocky Horror Picture Show, the Tubes' stage show was closer to Saturday Night Live with its mix of topical satire and subversive postmodern Andy Kaufman-like routines such as Waybill beating up a couple in the front row (who were planted) during the "Crime Medley," then taking off his disguise as the band launched into "Mondo Bondage" and a huge stack of "Kill Amplifiers" (cardboard) falling on Quay Lewd during the finale of "White Punks on Dope."
Synth player and visual stylist Michael Cotten designed an innovative multimedia stage show for the "Remote Control" tour, which employed multiple TV monitors and a 35 mm film projector, which according to Cotten, cost US$12,000 (equivalent to around $50,000 in 2022). They tested it (with no dress rehearsal) at UCLA's Royce Hall, but there were multiple technical problems, including the poor visibility of the small TV screens, and synchronization problems with the film projections. The show was scrapped after Steen, Waybill and the group's management reportedly complained about the cost, and the show overtaking the music. This led to a stripped-down tour in the U.S, Japan and Europe with Squeeze as the support act. The band also played two shows at the Greek Theatre in Los Angeles, with Yellow Magic Orchestra as support; that show was released on home video in 1982. The band held an auction of Tubes stage props and costumes in 1980 at the Boarding House before the band attempted to play as a straight rock act for several sold-out shows at The Roxy in Los Angeles.
In 1984, the band teamed up with Todd Rundgren again for their eighth album, Love Bomb (1985).[13] Tired of spending money at other recording studios, the band built their own studio with Rundgren called "Cavum Soni" and XTC recorded several tracks for Skylarking there with Todd. Glen Tilbrook of Squeeze sings back up on "Night People." The entire recording process was video taped by a camera crew on Betamax. Bruce Garfield and Bobby Colomby were dropped by Capitol in the company-wide layoffs that took place pre-reorganization, and like many of their label mates, the Tubes were also released; however, this occurred just as they were going on tour in support of the album. The band found it necessary to self-finance the tour as a matter of respect to honor their commitment to their fans. Between this tour's self-financing and the band's continued self-financing of their San Francisco recording studio built in 1980, the tour left the band a half million dollars in debt, obliging them to play less expensive and smaller venues for a year to pay off their financial commitments.[8] The Tubes also recorded several songs for movie soundtracks including Hardbodies, My Science Project, and Heavenly Bodies. Bill Spooner also recorded a solo album titled First Chud, released on The Residents' record label Ralph Records. Spooner's next solo project was Mall to Mars, recorded with coproducer Jim Blake and featuring fellow Tubes member Prairie Prince on drums. The concept album was released on Visible Records, a label owned by long-time Tubes music publishing associate/copyright administrator Richard Kaye, and contains several cover versions including the "Theme from Star Trek", "Dimming of the Day", and "They Kicked Me Out of the Band" (that Bill claims is not true... he says, he actually quit the Tubes).
Intrigued by the title? You should be. Don't F**k With Cats: Hunting An Internet Killer is a docuseries that gets increasingly bizarre, telling the tale of a group of amateur internet sleuths who successfully tracked down a person who had been anonymously uploading videos of them murdering kittens online. It was almost an impossible task, with no indication as to where the killer lived or from where they were uploading the videos, but it's just as well they persisted. As is often the case, the abuser eventually graduated on to bigger targets. Far more disturbing than the title suggests, Don't F**k With Cats is not for the faint-hearted. netflix.com
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