White Line Fever (1975)
Rock Baby – Rock It (1957)
Blue Water, White Death (1971)
Top Gun (1986)
Once Upon a Time in Hollywood (2019)
L. Ron Hubbard’s SPY KILLER
L. Ron Hubbard
Spy Killer
1936 (2008 reprint, Galaxy Press)
In the middle of reading, I accidentally spilled beer all over my copy of this book and it’s just as well. These Galaxy Press reprints of L. Ron Hubbard’s early pulp fiction work ARE a little too spiffy. They could use some rough treatment to match the contents.
Also, while I have klutzed up some rare collectibles in my day, reducing $100 vintage, outta-print records or books or movies to $3 damaged goods with one spilled drink or false step, I’m not concerned about this one. My local Half Price Books has stacks of these Hubbard reissues for $2 each, which is also perfect. Pulp should be cheap.
Cheap and stained.
If you’re reading junk like Spy Killer, you should be fine with that.
The story of this 1936 novella is Goofball City.
THE PRISONER #4: Free For All
(October 20, 1967; writer: “Paddy Fitz”; director: Patrick McGoohan)
Star Patrick McGoohan both wrote and directed this episode (he assumes the name Paddy Fitz for his script credit) that takes the series to a striking new level of absurdity.
This is the one in which McGoohan’s “Number Six” learns that the position of the most powerful person that he’s met in The Village–that would be “Number Two”, who’s under the command of the still-mysterious “Number One”–goes up for election every year and that he’s very welcome to run for the job himself. In fact, the current “Number Two” (seasoned British film actor Eric Portman, a favorite of Michael Powell and Emeric Pressburger) encourages it. Not that it takes much effort to convince him, as McGoohan sees this as a possible chance to escape. Or to least learn more about The Village’s secrets.
Now, none of this makes a lick of sense because there’s a different “Number Two” in every episode. The Village is clearly does NOT run elections for that position. They are hiring and firing like Donald Trump. Crazy turnover in that position.
So, I don’t know what the hell kind of of logic is happening in this episode, but that’s okay. The Prisoner is already weird all over. Every episode begins with Patrick McGoohan waking up and hobbling toward the window of his room, as if he’s unsure if he’s dreaming or not. And maybe he is.
And this very episode is VERY dreamy.
Robert Pollard-Mania! #37: BULLDOG SKIN
Guided by Voices
Bulldog Skin
1997, Matador Records
I don’t hate “Bulldog Skin”. It’s a rocker, alright–and a trashy one, too, which is cool with me. It’s a song that sounds less like it was written than it was spat out–and there’s nothing wrong with that, either.
But I’m not passionate about it and I think I know why.
Robert Pollard-Mania! #36: GUIDED BY VOICES / COBRA VERDE Split 7″
Guided by Voices/Cobra Verde
1997, Wabana Ore Limited
What, ANOTHER 7″? What year is this? 1994?
No, this is definitely 1997. There’s no mistaking this record for the Guided by Voices of ’94.
All of those guys were out and were replaced by an already-existing band who didn’t sound much like them. The newcomers were Cobra Verde outta Cleveland. Mean guys. City guys.
Old Guided by Voices had that small town thing happening. They were weirdos in the basement rocking while their neighbors slept.
By contrast, Cobra Verde hailed from urbanity and they kicked up the kind of confrontational roar that rises from street noise. Most of them had been in bands and put out records for as long Pollard had (a little longer, actually). They were seasoned and versatile, sometimes quiet, but often hard, mean and spiked with classic big balls 70s rock and a few splatters of punk. The also had a smokin’ lead guitarist (Doug Gillard).
In them, Robert Pollard heard the future of Guided by Voices.
Continue reading “Robert Pollard-Mania! #36: GUIDED BY VOICES / COBRA VERDE Split 7″”
The Constant Bleeder Doesn’t Know Shit About Anime #3: BUBBLEGUM CRISIS episode 3, “Blow Up”
Another episode of Bubblegum Crisis, another story about the evil Genom corporation and how they have their dirty fingers lodged into every orifice of the dystopian Tokyo of 2032.
Another batch of hulking mecha-monsters who shoot up the streets of the city, another excuse for the girls of The Knight Sabers to slip into their armored disguises (complete with quick cartoon nudity) and batter some metal.
Another bucket of blood, another terrific score loaded with synthesizers and blazing audio neon.
It’s also another strikingly cinematic affair that’s fun to watch if ultra-80s junk is your bag. Even if the storyline is murky, each episode is a neat cyberpunk smoke ring blown out in the night. We’re talkin’ miles of style.
Robert Pollard-Mania! #35: WISH IN ONE HAND
Guided by Voices
Wish in One Hand
1997, Jass Records
Two years before Ric Ocasek shined up “Teenage FBI” for mainstream radio, the song appeared on this small-press 7″ that only indie dorks and GBV fan mega-dweebs, such as myself, knew about.
Two years before “Teenage FBI” acquired synthesizers and glittery Doug Gillard guitar work, it was a skeletal minute-and-a-half piece of raw indie pop, barebones and dog-simple.
Two years before “Teenage FBI” was the first song on the slickest GBV album ever, it sounded like an Alien Lanes outtake.
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Things I Will Keep #15: BETTY BLOWTORCH, Are You Man Enough?
Betty Blowtorch
Are You Man Enough?
2001, Foodchain Records
I’m just your regular, everyday, Miller Lite-drinking, heterosexual guy who happens to have “Size Queen”, an anthem about big dicks, permanently stuck in his head.
It’s a nuclear-powered rock song from the greatest, raunchiest AC/DC album ever made by an all-girl band from Hollywood. I can turn it up in the car and not be embarrassed one tiny bit by lyrics such as “I want a man with man-size toys” and “Pull it out and I’ll be the judge/ I’ll let you know if you’re well-hung”. That’s all fine with me. I’m not fragile. Get me drunk enough and I’ll even sing along with that shit. I don’t give a damn.
No, the thing that makes my asshole pucker is when a raucous and ready for action Vanilla Ice shows up for a quick guest spot during the bridge and throws out bon mots such “You know I got it all/ A long white dick almost ten inches tall!”
It’s not a moment for the faint for heart, but Betty Blowtorch doesn’t make music for wimps or critics. Their sole album is a monument to high-flying tastlessness. They miss the glory days of hair metal. They don’t understand why anyone would even want to make music that ISN’T about sex and good times and bad times on The Sunset Strip and settling old grudges. Betty Blowtorch pack humor, hooks, and attitude onto this album like a chick with DDs might fill out a Kiss tank-top that’s at least two sizes too small. Vanilla Ice slips in neatly between Betty Blowtorch’s cleavage and plays a small part on one of my favorite rock records of all time.
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A Laurel and Hardy Party #9: BRATS
(1930; director: James Parrott)
Laurel and Hardy are the bumbling babysitters of two annoying toddlers and this is a great short because it doesn’t make the mistake that a lot of lesser comedies would make.
They didn’t hire cute kids to play the troublemakers. Cute kids don’t exist in Laurel & Hardy’s world of idiots and jerks.
They also didn’t hire kids who sorta look like jerks.
Nope, the Hal Roach crew did the right thing and had Stan and Ollie also play the toddlers, via gloriously primitive 1930 camera tricks. Roach and stalwart director James Parrott went to the trouble to make some oversized furniture for them, but they didn’t even try to make the boys look proportionate as 3-year-olds. They look like they got hit with the shrinking ray from Dr. Cyclops.
