As regular readers remember, for over a year we counted down the 666 best songs of all time, one a day, until the end of this past September when Lucid Culture went halfspeed. As we get into December, we’re still at halfspeed but we’ll be back with new stuff on a daily basis here in just a couple of weeks. Which gives us plenty of time to say good riddance to the decade of the Zeros and welcome in the Teens – til then, here are the songs on the list which will take us up to the first of the new year. Enjoy!

237. Randi Russo – So It Must Be True

Careening, otherworldly, somewhat flamenco-inflected epic from the greatest writer of outsider anthems of this era. The studio version on the classic 2001 Solar Bipolar cd is great, but it can’t quite match the out-of-control intensity of the live version from Russo’s Live at CB’s Gallery cd.

236. Erica Smith – Pine Box

The multistylistic New York rock goddess has been off on a sultry jazz tangent lately, but five years ago she was writing lusciously jangly Americana rock and this is a prime example, ecstatically crescedoing yet dark and brooding as the title would imply. Recorded and leaked on a few bootlegs, but officially unreleased as of now.

235. The Electric Light Orchestra – From the Sun to the World

You can hear echoes of this clattering, frenetic suite in a lot of obscure art-rock and indie rock from the last thirty years. Jeff Lynne’s scary, out-of-focus apocalypse anthem kicks off with a Grieg-like morning suite, followed by a warped boogie and then an unhinged noise-rock outro that falls apart once it’s clear that it’s unsalvageable. From ELO II, 1972; mp3s are everywhere.

234. X – Nausea

The combination of Ray Manzarek’s organ swirling dizzyingly under Billy Zoom’s growling guitar and Exene’s thisclose-to-passing-out vocals is nothing if not evocative. From Los Angeles, 1980; mp3s are everywhere.

233. Stiff Little Fingers – Piccadilly Circus

Big punk rock epic about an Irish guy who gets the stuffing knocked out of him by a bunch of knuckleheads on his first night in London. From Go For It, 1981; there are also a million live versions out there, official releases and bootlegs and most of them are pretty awesome too.

232. The Wallflowers – Sixth Avenue Heartache

Elegiac slide guitar and organ carry this surprise 1996 top 40 hit’s magnificent eight-bar hook, the best song the band ever did and the only standout track on their disappointing sophomore effort Bringing Down the Horse. Mp3s are everywhere.

231. Bruce Springsteen – The Promised Land

This backbeat anthem makes a killer (literally) opening track on the Boss’ 1977 Darkness on the Edge of Town lp, perfectly capturing the anomie and despair of smalltown American life. In the end, the song’s protagonist speeds away into the path of a tornado. A million versions out there, most of them live, but it’s actually the album track that’s the best.

230. The Moody Blues – Driftwood

Towering powerpop anthem from the band’s 1977 “comeback” lp Octave, opening with a big whooosh of cymbals and lush layers of acoustic guitar. And Justin Hayward’s long electric guitar solo out, over the atmospheric wash of the strings, is a delicious study in contrasts. Many different versions out there, some of them live, and they’re all good (the link above is the studio track).

229. David Bowie – Diamond Dogs

Surreal, Stonesy apocalyptic anthem from the Thin White Duke’s vastly underrated 1974 lp. Did you know that’s Bowie on all the guitars – and the saxes too?

228. Mary Lee’s Corvette – 1000 Promises Later

Centerpiece of the NYC Americana rockers’ classic True Lovers of Adventure album, 1999-ish, this was a live showstopper for frontwoman Mary Lee Kortes and her steely, soaring, multiple-octave voice for several years afterward. It’s a rueful breakup anthem sung with typical counterintuitive verve from the villain’s point of view.

227. New Model Army – Luhrstaap

Written right as the Berlin Wall came down, this ominous, bass-driven, Middle Eastern-inflected art-rock anthem accurately foretold what would happen once East Germany tasted western capitalism: “You can buy a crown, it doesn’t make you king/Beware the trinkets that we bring.” From Impurity, 1989; the live version on 1992’s double live Raw Melody Men cd is even better (the link above is the studio version).

226. David Bowie – Life on Mars

Soaring epic grandeur for anyone who’s ever felt like an alien. Ward  White’s live Losers Lounge version (click on the link and scroll down) is equally intense.

225. Telephone – Ce Soir Est Ce Soir

Absolutely creepy, methodical epic nocturne that wraps up the legendary French rockers’ 1982 Dure Limite lp on a particularly angst-ridden note. ”Ce soir est ce soir/J’ai besoin d’espoir [Tonight's the night/I need some hope].”

224. Al Stewart – Bedsitter Images

The live acoustic track in the link above only hints at the lush, orchestrated original, a big radio hit for the British songwriter in 1969, Rick Wakeman doing his best Scarlatti impression on piano. It’s a masterpiece of angsted existentialist songwriting, the song’s narrator slowly and surreally losing it, all by himself in his little flat.

223. LJ Murphy – Pretty for the Parlor

Our precedessor e-zine’s pick for best song of 2005, this blithely jangly yet absolutely sinister murder anthem perfectly captures the twistedness lurking beneath suburban complacency. Unreleased, but still a staple of the New York noir rock legend’s live show.

222. Wall of Voodoo – Lost Weekend

Creepy, hauntingly ambient new wave string synthesizer ballad from the band’s best album, 1982’s Call of the West, a couple gone completely off the wheels yet still on the road to somewhere. Frontman Stan Ridgway soldiers on as an occasionally compelling if sometimes annoyingly dorky LA noir songwriter.

221. Randi Russo – House on the Hill

One of the New York noir rocker’s most hauntingly opaque lyrics – is she alive or dead? In the house or homeless? – set to an absolutely gorgeous, uncharacteristically bright janglerock melody. Frequently bootlegged, but the version on her 2005 Live at Sin-e cd remains the best out there.

220. The Wirebirds – This Green Hell

Our predecessor e-zine’s pick for best song of 2003 is this towering janglerock anthem, sort of a global warming nightmare epic as the Church might have done it but with amazing harmonies by songwriter Will Dial and the band’s frontwoman, Amanda Thorpe.

219. The Psychedelic Furs – House

“This day is not my life,” Richard Butler insists on this pounding, insistent, anguished anthem from the band’s best album, 2000’s Book of Days, the only post Joy Division album to effectively replicate that band’s unleashed, horrified existentialist angst. Mp3s are out there, as are copies of the vinyl album; check the bargain bins for a cheap treat.

218. X – See How We Are

The link above is the mediocre original album version; the best cut on this offhandedly savage anti-yuppie, anti-complacency diatribe is the semi-acoustic version on the live Unclogged cd from 1995.

217. The Sex Pistols – EMI

Gleefully defiant anti-record label diatribe from back in the day when all the majors lined up at Malcolm McLaren’s knee. How times have changed. “Unlimited supply,” ha!

216. Amy Allison – No Frills Friend

As chilling as this casually swaying midtempo country ballad might seem, it’s actually not about a woman who’s so alienated that she’s willing to put up with someone who won’t even talk to her. It just seems that way – Allison is actually being optimistic here. Which is just part of the beauty of her songwriting – you never know exactly where she’s coming from. Title track from the excellent 2002 cd.

215. X – Johny Hit & Run Paulene

One of the greatest punkabilly songs ever, nightmare sex criminal out on a drug-fueled, Burroughs-esque bender that won’t stop. From Los Angeles, 1980; mp3s, both live and studio, are out there.

214. The Sex Pistols – Belsen Was a Gas

Arguably the most tasteless song ever written – it’s absolutely fearless. The lp version from the 1978 Great Rock N Roll Swindle soundtrack lp features its writer, Sid Vicious along with British train robber Ronnie Biggs. There are also numerous live versions out there and most of them are choice. Here’s one  from Texas and one from San Francisco.

213. Randi Russo – Battle on the Periphery

Russo is the absolute master of the outsider anthem, and this might be her best, defiant and ominous over a slinky minor-key funk melody anchored by Lenny Molotov’s macabre, Middle Eastern guitar. From Shout Like a Lady, 2006.  

212. The Dead Kennedys – Holiday in Cambodia

True story: Pepsi wanted to license this song for a commercial despite its savage anti-imperialist message. Jello Biafra said no way – which might have planted the seed that spawned his bandmates’ ultimately successful if dubiously lawful lawsuit against him. So sad – when these guys were on top of their game they were the best American band ever. From Fresh Fruit for Rotting Vegetables, 1980.

211. X – Los Angeles

One of the great punk rock hooks of all time, title track to the 1980 album, a perfect backdrop for Exene’s snide anti-El Lay diatribe. Ice-T and Body Count would sneak it into their notorious Cop Killer twelve years later.

210. The Sex Pistols – Anarchy in the UK

Yeah, you know this one, but our list wouldn’t be complete without it. As lame as the rhyme in the song’s first two lines is (Johnny Rotten has pretty much disowned them), this might be the most influential song of all time. If not, it definitely had the most beneficial effect. Go download Never Mind the Bollocks if you haven’t already: the band isn’t getting any royalties.

Work hasn’t stopped behind the scenes here, just the posts about what has gone up recently. I am about to catch it up now. Our resident inventory overlord, The Soul Destroyer, has been sick as of late as well as the short Thanksgiving work week slowed things down recently, but he made quite a few pages before retreating back underneath our house that I am going to catch up on now.

I’m not even sure all of these are even restocks or new to the store, but they’ve all recently passed through by my desk for some reason, so here they are (and possibly again):

VINYL:

AFI – The Art of Drowning
AFI – Answer That And Stay Fashionable
Assholeparade – Embers
Avenged Sevenfold – Avenged Sevenfold
Avenged Sevenfold – City of Evil
Avenged Sevenfold – Waking The Fallen
Big D and the Kids Table, Brain Failure – Beijing to Boston
Bishop – Asylum
Boy Sets Fire – Live For Today
Dave Matthews Band – Big Whiskey and the Groogrux King
Dead Kennedys – Fresh Fruit for Rotting Vegetables
Dead To Me – Cuban Ballerina
Dost, Andrew – Columbus
Druglords of the Avenues – Sing Songs
Gregory Alan Isakov – This Empty Northern Hemisphere
Hale, Mike – Lives Like Mine
Love Me Destroyer – The Things Around Us Burn
Mars Volta – Amputechture
Mars Volta, The – Bedlam in Goliath
Mars Volta, The – Is Anybody There?
Monikers – Wake Up
NOFX – 22 Songs That Weren’t Good Enought To Go On Our Other Records
NOFX – The Longest Line
Perfect Circle, A – Emotive
Perfect Circle, A – Thirteenth Step
Price, Chad – Smile Sweet Face
Re-Volts – Re-Volts
Silversun Pickups – Carnavas
Silversun Pickups – Swoon
Smashing Pumpkins – Siamese Dream
Swellers, The – My Everest
Various Artists – Glory Daze Soundtrack
Various Artists – Mallrats Soundtrack
Various Artists – New Tales To Tell Love and Rockets Tribute

DVD:

36 Crazyfists – Underneath a Northern Sky
Against Me – We’re Never Going Home
Between The Buried And Me – The Great Misdirect (CD and DVD combo)
Japanther – Don’t Trust Anyone Over 30
Propagandhi – Live From Occupied Territory
Tool – Toology

In de VS schijnt onder wat reactionaire “patrioten” een vrij standaard antwoord te bestaan op iedere vorm van kritiek op de VS:

In de jaren ‘80 van de vorige eeuw maakten de Dead Kennedys, een californische punkband, daar een bijtend commentaar op in hun tekst “Stars & Stripes of corruption”. De tekst is nog steeds opmerkelijk actueel, maar zeker niet alleen voor de VS.

Finally got to Washington in the middle of the night
I couldn’t wait
I headed straight for the Capitol Mall
My heart began to pound
Yahoo! It really exists
The American International Pictures logo

I looked up at that Capitol Building
Couldn’t help but wonder why
I felt like saying “Hello, old friend”

Walked up the hill to touch it
Then I unzipped my pants
And pissed on it when nobody was looking

Like a great eternal Klansman
With his two flashing red eyes
Turn around he’s always watching
The Washington monument pricks the sky
With flags like pubic hair ringed ’round the bottom

The symbols of our heritage
Lit up proudly in the night
Somehow fits to see the homeless people
Passed out on the lawn

So this is where it happens
The power games and bribes
All lobbying for a piece of ass

Of the stars and stripes of corruption
Makes me feel so ashamed
To be an American
When we’re too stuck up to learn from our mistakes
Trying to start another Viet Nam
Whilke fiddling while Rome burns at home
The Boss says, “You’re laid off. Blame the Japanese”
“America’s back,” alright
At the game it plays the worst
Strip mining the world like a slave plantation

No wonder others hate us
And the Hitlers we handpick
To bleed their people dry
For our evil empire

The drug we’re fed
To make us like it
Is God and country with a band

People we know who should know better
Howl, “America rules. Let’s go to war!”
Business scams are what’s worth dying for

Are the Soviets our worst enemy?
We’re destroying ourselves instead
Who cares about our civil rights
As long as I get paid?

The blind Me-Generation
Doesn’t care if life’s a lie

so easily used, so proud to enforce

The stars and stripes of corruption
Let’s bring it all down!
Tell me who’s the real patriots
The Archie Bunker slobs waving flags?
Or the people with the guts to work
For some real change
Rednecks and bombs don’t make us strong
We loot the world, yet we can’t even feed ourselves
Our real test of strength is caring
Not the wartoys we sell the world
Just carry on, thankful to be farmed like worms
Old glory for a blanket
As you suck on your thumbs

Real freedom scares you
‘Cos it means responsibility

So you chicken out and threaten me

Saying, “Love it or leave it”
I’ll get beat up if I criticize it
You say you’ll fight to the death
To save your worthless flag

If you want a banana republic that bad
Why don’t you go move to one
But what can just one of us do?
Against all that money and power
Trying to crush us into roaches?

We won’t destroy society in a day
Until we change ourselves first
From the inside out

We can start by not lying so much
And treating other people like dirt
It’s easy not to base our lives
On how much we can scam

And you know
It feels good to lift that monkey off our backs

I’m thankful I live in a place
Where I can say the things I do
Without being taken out and shot
So I’m on guard against the goons
Trying to take my rights away
We’ve got to rise above the need for cops and laws

Let kids learn communication
Instead of schools pushing competition
How about more art and theater instead of sports?

People will always do drugs
Let’s legalize them
Crime drops when the mob can’t price them
Budget’s in the red?
Let’s tax religion

No one will do it for us
We’ll just have to fix ourselves
Honesty ain’t all that hard
Just put Rambo back inside your pants
Causing trouble for the system is much more fun

Thank you for the toilet paper
But your flag is meaningless to me
Look around, we’re all people
Who needs countries anyway?

Our land, I love it too
I think I love it more than you
I care enough to fight

The stars and stripes of corruption
Let’s bring it all down!
If we don’t try
If we just lie
If we can’t find
A way to do it better than this
Who will?

Wie werkelijk van zijn/haar land houdt, maar evenzeer wie werkelijk van zijn/haar kerk houdt, levert kritiek waar dat aan de orde is. Wie tot zich laat doordringen wat in de Kerk in Ierland is gebeurd, en wie bedenkt hoe de lokale kerkleiding daar mee is omgegaan snapt al heel snel dat degenen die haar hadden moeten leiden, in werkelijkheid hebben gewerkt om haar te vernietigen. Op de site van Kattekliek zegt ene Arjan heel politiek correct dat de leiding van de RKK tegenwoordig niet uit geboefte bestaat. Heel politiek correct, maar wie volgt wat nu over Ierland boven tafel komt, wie gevolgd heeft wat in Amerika en Australie boven tafel kwam, mag zich ernstig afvragen of er niet aardig wat geboefte tussen zit. En terecht stelt Observatrix de retorische vraag: waarom moeten we geloven dat in andere landen dezelfde houding van zwijgen ten koste van alles en iedereen over wat er ook maar mis ging of gaat in de kerk niet de norm is.

Wie in de tijd van de Vietnam-oorlog in de VS de vraag stelde of alles wat daar gebeurde nou wel helemaal netjes was, kon rekenen op het verwijt van “niet patriotistisch” zijn. Diezelfde benadering maakte enkele decennia later dat de grondrechten van arabieren in de VS met voeten getreden werden, en een onzalige oorlog werd begonnen in Irak: wie protesteerde was anti-amerikaans.

Protesteer vandaag de dag tegen de keiharde onderdrukking van Palestijnen door Israël, en je kritiek wordt gesmoord in een tegenverwijt dat je anti-Israël bent.

En inderdaad, wie kritiek heeft op de kerk, of zelfs maar kritische vragen durft te stellen bij pakweg het management van de ene bisschop, of de wat hypocriete verhouding tussen uitspraken over fiscale constructies enerzijds en eigen activiteiten anderzijds, krijgt voornamelijk de vraag maar gewoon te zwijgen.

Je kop in het zand steken, kritiek pareren met aanvallen op de persoon of gewoon negeren, is dat arrogant of onwaarschijnlijk dom? Kan beiden, maar Ierland laat vandaag de dag weer eens zien wat de gevolgen zijn.

Love it or leave it? Vast wel. Maar als je politiek van arrogantie of domheid ook maar één ziel de Kerk uit jaagt, zou je dan met een gerust hart aan de hemelpoort aankloppen?

I have a love-hate relationship with punk.

Intellectually I get the whole kicking-against-the-establishment thing and the DIY ethic.  I recognise that in the late 70s these bands were a shock to the ears of a public accustomed to disco and prog-rock. I even get the primal desire to jump around and bash into each other.

But, I typically struggle with the reality of the recordings. The sloppy vocal stylings, trashy guitar and haphazard rhythms just ain’t that shocking through a 21st century lens.   What I mean is that it just doesn’t seem that dangerous or rebellious, and instead can be a bit of a chore.

This album is a case in point.  The DKs were at the forefront of shocking the conservative US, what with their name, their expletives and (elsewhere) supposedly perverse album covers. They dished up an angry, sarcastic critique of early 80s Californian and American mundanity and tyranny.

That’s all and good, but much of this compilation just sounds just sound like poorly constructed Cramps ‘tunes’ and Stooges outtakes.

When the band do get it right, they get it very right, however. Their most famous tracks (i.e. the first three plus Holiday in Cambodia) are justifiably subcultural icons.

File under: Give me competence

Polluting the World in Death as in Life

Where are the Global Warming Ninnies as the Kennedy Vent spews pollution into the world, hour after hour, eternally?

Free, free at last of Kennedys… I have a dream.  That one day there will be no trace of the immorality that IS the name Kennedy.  How fitting, that on this anniversary of the good and proper assassination of a Kennedy that the last of the lot, the least and the dregs to drag the name from public life has been formally denied communion by his own Bishop Tobin.

May the people of Rhode Island be freed of the curse that Patrick might wander and twaddle along, harmlessly drunk and stupored.

And put out that environmental pollution, stifle the vent from Satan’s depths, extinguish the inglorious marker of debauchery that America might take stock of morality, responsibility and honor.

44,43 MB
128 kbps
mp3

download

This episode of Janitor From Mars is a special episode. Basically, I covered for a DJ who could not do their show. I chose to split this show into two different themes.

My first aim was to showcase bands that Jello Biafra has been involved with. Below is a partial list of what I played:

I didn’t have any material from Jello w/th DOA or the No WTO Combo but overall, I had a pretty good selection.

I also showcased several hardcore/metalcore bands for the rest of this set. I hope you enjoyed this show and I hope to showcase more bands/genres with shows in the near future.

Janitor From Mars 11/15/09 Playlist:
http://tinyurl.com/janitorfrommars111509

Listen to Janitor From Mars in WRUV Archives:
http://tinyurl.com/d9ew2s

(Note: Show will only be available in Archives for one week)

The Grateful Dead playing in San Francisco's Winterland Auditorium, 1971

Known for the “San Francisco Sound,” San Fran has had a steady music scene since at least the ’60s. With huge bands like The Grateful Dead, Jefferson Airplane and Journey forming there it’s been a hot spot for trends and great music. In addition to an interesting history of mashup DJs, ’Frisco has also thrown its two cents into West Coast hardcore and punk music with pioneers such as The Dead Kennedys and Green Day.

Listen up and listen good. WERW and City Sounds are crossing the Golden Gate Bridge for one hell of a night on Monday, 11/16, from 11pm-1am. We’ll send you off into the wee hours of the morning with some of the great new artists coming out of the Bay Area and give you some of their great mashup artists during the second half of the show.

– Kyle Kuchta

Este António Sérgio que não volta a fazer rádio foi tão importante para a minha geração como o outro António Sérgio, que escrevia livros, o foi para a sua.

Sei que isto para muitos será uma heresia. Mas quem o seguiu, desde os tempos da Rotação na RR, gravando programas inteiros nas velhas k7’s, única forma de ouvir a música que só ele passava em Portugal, e quem entenda que a música para nós ocupou o espaço dos ensaios, a comparação pode ser parva mas faz sentido.

António Sérgio abriu uma estrada de Lisboa a Londres e a Nova York que não existia, uma estrada com ligação directa às ruas de má fama, desviada de outros caminhos com passadeiras, os das todo poderosas editoras que moldavam o consumo da música moderna à maneira do negócio e da tacanhez, repetindo infindáveis Baby I Love You. Trazia canções que nos falavam de jovens urbanos chateados com o mundo, e era isso que nós também queríamos ter o direito a ser. Há uma revolução escondida nessas esquinas, obrigado por nos teres trazido decibéis dela.

Resta-me a consolação de saber que quando chegar ao inferno ele já lá estará a passar música. Pobre Diabo, a sua vida nunca vai ser a mesma.

Soltas:

• Martin Rev – Whisper (excerto);
• The The – Perfect 12”;
• The Creatures – Miss the Girl;
• Passions – Skin Deep 12”;
• Art of Noise – Beat Box (excerto);
• Theatre of Hate – Do You Believe In the West World;
• Virgin Prunes – Baby Turns Blue;
• Beatnigs – Television (The Drug of the Nation);
• World Domination Enterprises – Jah Jah Call You;
• Big Audio Dynamite – Much Worse 12”;
• XTC – Nearly Africa;
• Butthole Surfers – John E Smoke;
• The Fall – Strychnine;
• Dead Kennedys – Kill the Poor;
• Shriekback – This Big Hush.

O conhecimento da música que fez este Endrominus foi obra do António Sérgio. Muitos dos seus achados deixámo-los por descobrir. Mas, é o que importa, ficou-nos o olfacto. Em grande parte a ele o devemos.

Texto e sua leitura – João José Cardoso (originariamente no Aventar)

Voz e selecção – Pedro Lemos

1h01m33s – 56Mb

Download Endrominus 065

Perhaps it’s time to listen to the Cambodians. They could teach us a thing or two about solving our health care problem. You see, I read somewhere that they have this magic ox. And when this enchanted beast takes a shit, someone is there to gather it into a pile. The sick folks come around and rub the poop all over their lame bodies, and they’re cured of whatever’s ailing them. And when it pisses, they gather the stream in vessels and drink it down and feel their pocked skin grow smooth to the touch.

Meanwhile, we’re still stuck in a twentieth century frame of mind, thinking that every problem must have a rational, logical, scientifically-sound solution. If we’re ever going to get anything done we’re going to have to get beyond the mind; we’re going to have to start sucking that magic ox, in essence, if not in fact. Let us build this movement on the slogan, “Poop: It’s Cheap.” And let us say to the people in power, “Piss Panels – Not Death Panels.”

We must get started soon, before the argument degenerates any further. We’ll need sound research if we’re ever to be taken seriously – a holiday in Cambodia for starters. This is not the moment for complacency. It’s time to taste what you most fear. It’s time to go where people get things done. Open your mouth; the magic ox awaits.

Burning Image plays the Alternative Tentacles 30th Anniversary show at the Great American Music Hall in San Francisco, CA on November 7, 2009! HERE is the link to show info (tickets, time,…etc..)
SEE YOU IN SAN FRANCISCO ON SATURDAY, SAY HI IF YOU SEE US!

Simplest event ever. It’s a direct reference for “Day of the Dead” honoring the fallen/passed/dead/lost/etc. You need to only do a few things.

1. Learn the Cooking skill and buy Simple Flour and Ice Cold Milk.
2. Go to your home race’s graveyard (see the list above).
3. Talk to Chapman an npc “Day of the Dead” vendor located there.
3. Buy the recipe for Bread of the Dead and any of the flowers which allow you to see spirits or have a Warlock friend that can cast Detect Invisibility (or have the elixir). Learn the recipe. (It only requires a cooking skill of 1.)
4. Make the bread using the “Ghostly Cooking Fire” which is located at each race’s graveyard.
5. Use the flower, have the Warlock cast the spell or drink the elixir to see the undead spirits.
6. Locate the “Cheerful” spirit and accept the quest.
7. Turn in the quest and get the reward Macabre Marionette.

Today is the last day. Gitterdone!

by the way it’s also Oingo Boingo’s most popular song.`Dead Man’s Party’. Spent many nights in 9th grade parties dancin to that song. Below is a montage vid.

Yet another staple of my high school days that still sounds great today. Though Jello Biafra is no longer the frontman, The Dead Kennedys are still around, and sound great.

Dead Kennedys “I Am The Owl”

Like what you see feel free to email me at tad@creativesquall.com and don’t forget to become a fan on Facebook. Check out the Creative Squall website to see how sketches grow up to be complete ideas.

Yo for real? Jimi I don’t want to get all up in your grill on our day off, but how are you  gonna go and put LYRICS to the a bad ass old school song like halloween and then put up some bullshit HOE dancing in a slut costume? For real some of us do actually read the blog they write for.(and guess what, I don’t hate on cake)  This is the VIDEO CIRCUS yo! steal some serious video off of youtube of the real deal.
PEACE.

-Kevin Dalton Swellco & Swellco 83473t

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And you feel like dancin’
And you feel like shinin’
And you feel like letting loose

Whatcha gonna be
Babe, you better know
And you better plan
Better plan all day

Better plan all week
Better plan all month
Better plan all year

You’re dressed up like a clown
Putting on your act
It’s the only time all year
You’ll ever admit that

I can see your eyes
I can see your brain
Baby, nothing’s changed

You’re still hiding in a mask
You take your fun seriously
No, don’t blow this year’s chance
Tomorrow your mold goes back on

After Halloween

You go to work today
You’ll go to work tomorrow
Shitfaced tonight
You’ll brag about it for months

Remember what I did
Remember what I was
Back on Halloween

But what’s in between
Where are your ideas
You sit around and dream
For next Halloween

Why not everyday
Are you so afraid
What will people say

After Halloween

Because your role is planned for you
There’s nothing you can do
But stop and think it through
But what will the boss say to you

And what will your girlfriend say to you
And the people out on the street they might glare at you
And whadya know you’re pretty self-conscious too

So you run back and stuff yourselves in rigid business costumes
Only at night to score is your leather uniform exhumed
Why don’t you take your social regulations
And shove ‘em up your ass

-Dead Kennedys

done

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Jackson Free Press

October 21, 2009

In 1999, the Voodoo Music Festival began in New Orleans and promptly became the fall counterpart to spring’s Jazzfest. The lineup is always diverse enough to deliver a few can’t-miss high points that are worth the drive to the city for any fan. Here are just a few for this year.

Hip-hop Central (Friday, Oct. 30)—While spring’s Jazzfest generally shies away from hip-hop, Voodoo has embraced it from the festival’s inception. Eminem, a headliner in 2000, returns (with D12 in tow, regrettably) to highlight the opening night in what is expected to be his only show in America this year. However, two acts that promise to be equally fun and considerably less crowded are The Cool Kids and The Knux.

The Cool Kids are a Chicago-based throwback rap group whose 2007 debut “The Bake Sale” caused quite a stir in the hip-hop underground. Their sound is decidedly old school, but they come at it with a fresh-enough approach to be considered one of the potential saviors of underground hip-hop.

The Knux are a transplanted New Orleans rap duo whose record “Remind Me in 3 Days …” was one of the best hip-hop albums last year. Heavily inspired by Outkast, they feature a motley sound, with lyrics bouncing seamlessly between tough and highbrow.

The Legends Come Out (Saturday, Oct. 31)—Kiss is the headliner, and their face paint should play well to the debaucherous Halloween crowd. However, they are not the only rock ‘n’ roll heavyweights playing this date. Also performing are legends George Clinton with Parliament Funkadelic and Jello Biafra (of Dead Kennedys fame) with his newest band, The Guantanamo School of Medicine.

The main highlight of Saturday night, though, will be Jane’s Addiction’s return. Jane’s Addiction began touring with their original lineup again last year for the first time since 1991. The set lists at recent shows have been leaning heavily toward material from their first two classic albums. In other words, “Entourage” fans hoping to hear “Superhero” should brace yourself for disappointment.

1980s Revival (Sunday, Nov. 1)—Two of the most fascinating acts on the lineup close out the festival: The Meat Puppets and The Pogues. Neither has done anything particularly memorable in about 15 years, but the curiosity level is sky high as to how time has served these two ground-breaking artists, particularly The Pogues.

The Pogues are the one group that you should not miss at this festival for several reasons. It is one of the most influential bands of the past 30 years, nearly single-handedly injecting Celtic influence into popular music. On top of this, lead singer Shane MacGowan has been teetering on the brinks of insanity and death for the last 20 years and is well into the “every day is a gift” stage of his life. Combine that with the fact that The Pogues rarely venture to the American south, and this figures to be one of the last opportunities to see this trend-setting band within 700 miles of home.

Take advantage of it.

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At Fresh Media conference at W2 Arts + Media Centre, participants riff a spontaneous blurb about a hero from a Dossier of Importantancy in a workshop about storytelling + podcasting by Dave Olson (AKA Uncle Weed).

Features Samuel Pepys, RMS Carpathia, Amber Case, Thomas Paine, J. Garcia, Mudhoney, JJ Rousseau, Geoff Berner, Ed Abbey, The Numbskulz, DH Lawrence, Tin Tin, HD Thoreau, Jer Crowle, Bev Davies, Gary Snyder, Vaclav Havel, Lou Reed, Cory Doctorow, Dr. Seuss, Dead Kennedys, Theo Van Gogh & Derek K. Miller, Gillian Shaw and other personal luminaries liberated from an envelope. Thanks to @shermanscorner for tunes.

Questions & Answers from the Hero Dossier (7:33, .mp3)

Ephemeral Feasthouse podcast feed

More about Podcasting:

Belated, but Joyful, Northern Voice Podcast Mop-up

In Firefox 3, there is a well-known Easter Egg.  Tryping ‘About:Robots’ into the address bar presents a series of quotations made (allegedly) by or about robots.  The most salient of which is ‘You plastic pal who’s fun to be with’.  If you don’t get the reference, I suggest that you stop reading this entry now.  Alternatively, look it up.  There’s plenty of information and it might even raise a chuckle.

The idea of mechanism is one with which I’ve been struggling all week.  Without realising it, I’ve been discovering the extremes of human cultural robotism.  One the one hand, Kraftwerk and the ‘Terminator’ films (I will conclude that the first one is by FAR the best, although ‘Judgment Day’ is good.  Three is too obvious and I haven’t even given ‘Salvation’ a chance yet) and yet on the other Stockhausen (I will explain) and the Dead Kennedys.  Two of which demonstrate clinical precision and two do not.  Stockhausen (‘Kontake’) demonstrates human control over what is otherwise fairly mechanically-produced music.  In a sense it hybridises both the electrical and the human, although at the time it was clearly the experimental edge of the new machine control – so in the modern context it appears so.

Ironic how the passage of time can change the mechanistic nature of a work.  What was once the ultimate in ‘machine’ is now considered positively manual analogue.  To me, this explores the idea of a humanistic ‘drive to perfection’ which underlies much of our philosophy.  Nietzsche’s idea of the ‘ubermensch’ being incarnate in the construction of ever more powerful machines in the pursuit of this human idea (and it is very human) of ‘perfection’.  We see it in audio production, we see it in film – we even see it in society, although thankfully less since the end of the Cold War.  It is a strive that I believe is futile.  The reasons are obvious – a very definition of ‘perfection’ is difficult to ascertain and in certain cases where it IS definable, it is impossible.  Absolute Zero is a temperature that cannot be achieved, although the success would be deemed a ‘perfect’ result.  Indeed, I see much in this ‘Absolute Zero’ analogue.  Although scientists increasingly reach closer and closer (last count, to within two billionths of a degree Kelvin) they will never achieve that elusive figure.

This analogy fits in nicely with my idea of perfection.  In a sense, the closer you come to your ultimate goal (that goal being the ‘perfect’ outcome) of whatever you are attempting, the further from ‘actual’ perfection you are.  This is because of a inverse distance effect, where 99.9% will be the only ever outcome.  As progress is limited further numerically, the longer it takes to obtain that extra 0.0001% – a self-imposed time limit on progress.  An extra distance from ‘perfection’.

That of course, assumes that all perfection can be measured.  Of course it cannot be.  I am making assumptions about the readers’ abilities of basic subjective/objective analysis.  Not everything is numerical (no matter what various governments may want us to think).  But the ‘extra’ hour you spend on writing that chord progression to get it ‘perfect’ usually seems pretty pointless in comparison to the time you spent writing the main outline of the piece.

The point?  First sketches usually make the most sense.  Polish, but don’t strive.

Dopo la sua agognata conclusione negli Usa (ci hanno messo quattro anni a finire questa mini), arriva anche in Italia in un unico volume Ultimate Wolverine vs Hulk, scritta dallo sceneggiatore di Lost Damon Lindelof e disegnata da Leinil Francis Yu.
Ok, l’universo Ultimate fa cagare, particolarmente adesso, e particolarmente Ultimate Wolverine con le sue forzature da “figo prezzemolino” del mondo Marvel, ma devo ammettere che questa serie non è niente male.

Il primo motivo per cui è apprezzabile è che non centra una mazza col resto delle robe Ultimate. La serie potrebbe essere ambientata, pur nel rispetto dei suoi protagonisti, anche a casa mia.

Il secondo motivo è che a differenza di altri autori prestati al fumetto supereroistico da altri format (e non mi espongo, almeno in questa sede, su quali siano perché sarebbe un discorso molto lungo e polemico), Lindelof dimostra di saper scrivere un fumetto.
Il ragazzo sa anche essere piacevolmente autoironico:

Il terzo motivo è che si tratta di una storia divertente, dal ritmo frenetico, precisa nella narrazione e che permette di passare un’ora e mezza di buona lettura pur non essendo davanti a un capolavoro. Se non avete nulla da sfogliare sul treno o sull’autobus fermatevi in edicola che vale i suoi cinque euro e cinquanta.

Il quarto motivo è che quando Hulk e Wolvie si prendono a sganassoni c’è sempre del bello in un fumetto.

Il quinto motivo è che c’è una tavola in cui Jennifer Walters (la ultimate Jennifer Walters, non la She-hulk a cui siamo abituati. Qua She-hulk ha un’altra identità che ci viene svelata proprio in questa storia) fa ascoltare a un Hulk-criceto i Dead Kennedys: