Saturday, May 31, 2008

guys and dolls

There are few things as disappointing as having a decent concept spoiled by an iffy personal agenda. Conn and Hal Iggulden's The Dangerous Book for Boys, an attempt to enlighten the Playstation generation about the "lost" wisdom of folkways of yore, is the type of book that ought to appeal to me, yet comments made by the authors regarding the intent of the omnibus have left me loath to purchase a copy.

As a dilettante retrologist, I have a keen appreciation for efforts to preserve and present the fascinating parts of our collective cultural history that have fallen by the wayside, but it's that gender-specific qualifier, "for boys," that makes me pause. In the author's Amazon Q&A section, Conn Iggulden states, "You only have to push a boy on a swing to see how much enjoys the thrill of danger. It's hard-wired." It's a statement that smacks of biological determinism, and when placed alongside his complaints about raising a risk-adverse generation, suggests that the intent behind the book was not just about preserving vanishing folk wisdom, but an attempt to resurrect a mythicized version of traditional "rugged" masculinity, "snips and snails and puppy dog tails" versus "sugar and spice."

Which is bullshit, quite frankly. Bullshit which stems from reactionary discontent with modern liberal society and the gradual erosion of traditional gender roles. It's the same impulse that launched countless self-indulgent whines about "Daddy issues" and has created a thriving industry purposed to sell synthetic -- and quite depressing -- iterations of manliness to rubes convinced that they're missing out on something vital. I can empathize with those feeling a hunger of wholeness, but the idea that gender roles or a sense of personal identity can be purchased like a tin of shoe polish is wrongheaded for so many reasons.

While I've made an active effort to forget most of what I learned from my father on the subject of "what it is to be a man," there is one thing that has stuck with me. In reference to the manly-man gastronomic polemic Real Men Don't Eat Quiche, my father stated "Real men eat whatever the fuck they feel like." It's similar in sentiment to the Bard's "to thy own self be true," though with the additional benefit of some casual profanity, and if one changes "real men" to the gender-neutral "real individuals" it still applies in force.

You only have to push a child on a swing to see how much he or she enjoys the thrill of danger. It's hard-wired into children, period. Or not. Some kids are thrillseekers and others are cautious. It's a matter of temperament, not of sex, though the encouragement or discouragement of such traits is often shaped by the semi-transparent hand of gender role socialization (which is a damn shame). Rather than thinking that something has been lost because of the socio-cultural shifts regarding gender, it's more productive -- not to mention better for the theoretical child in question -- to embrace the wider vistas of self-expression and opportunity that have been opened.

So I think I'll pass on picking up The Dangerous Book for Boys. It would be a redundant purchase, anyhow, considering that I already have a few volumes of this, handed down to me by my mother, at my disposal:

(click for maximum edification)

That's the first half of the contents page for the third volume of The Book of Knowledge, 1951 edition. Part encyclopedia, part almanac, part DIY handbook -- it's the real deal, as opposed to a post-facto nostalgic recreation. Check out the range of subjects covered, all targeted toward the eight-to-twelve year olds of six decades ago. Something has been lost in the past half-century, but it has fuck all to do with presence of absence of a Y chromosome.

Mechanical Servants - Study Up! (from the Min X Match 12", 1980; collected on several bootleg minimal synth compilations) - A little bit of digging about the Mechanical Servants reveals that they were a female minimal synth duo that hailed from New York and their 1980 EP was released as a private pressing, though copies of the record can be found for quite reasonable prices (under $20) on eBay and elsewhere.

London Underground - Train of Thought (from a 1981 single; collected on the Atomic Shockwaves v. 13 compilation) - This one sounds a little like an early Killing Joke track...if said track was being broadcast by a failing automated low-power transmitter half a decade after a global thermonuclear exchange.

Yeah, I'm in a minimal synth/postpunk mood tonight. What of it?

Friday, May 30, 2008

Friday Night Fights: Most of all, you've got to please her

From Frank Castle's Guide to Shared Intimacy (a.k.a. The Punisher's Love Journal):

1. Communication between partners is essential.

2. Try varying your foreplay routines to keep things exciting and unpredictable.

3. Always carry protection.

4. After the deed is done, indulge in some post-poital "cuddle time" with your partner.

Fighting and fucking, it's all the same in the Punisher's sad little world.

I used to to be a fan of Marvel's flagship sociopathic vigilante back in the late 1980's, but media oversaturation and the wisdom that comes with getting older killed my affection for Frank Castle and his one-man war on crime. Like butterfly knives and heavy metal music, the Punisher falls into the category of things that seemed really bitchin' to my teenaged self, but just feel embarrassing to me these days.

The above sequence of panels originally appeared in a story titled "Accounts Settled, Accounts Due!" which ran in Marvel Super Action #1 (January 1976), one of several attempts by Marvel to launch a more adult-oriented comics magazine. It was written by Archie Goodwin and illustrated by Tony DeZuniga and Rico Rival, and while I have an immense amount of respect for the late Mr. Goodwin's contributions to the comics industry, I have to wonder if he was freebasing Mickey Spillane manuscripts while he was scripting the story, which falls into the common comics trap of confusing "adult" with "lurid, titillating, and disturbingly violent."

The story does feature this panel though, so it's not all bad...

The stuff Chris Sims's dreams are made of.

The Fleshtones - Treat Her Like a Lady (from Vs. Reality, 1987) - In keeping with the proud garage rock tradition of doing sloppy covers of classic soul tunes.

The Misfits - Die, Die My Darling (from a 1984 EP; collected on the reissue of Earth A.D., 1983) - The track is actually a juiced-up outtake from the 1981 Walk Among Us sessions, which would explain why it's the only post-1982 Misfits release (apart from the "lost" Static Age LP recorded in 1978) that's worth a damn.

(Viva Bahlactus!)

Thursday, May 29, 2008

don't know what you're missing

Imagine Homeward Bound: The Incredible Journey as directed by Sam Peckinpah and co-scripted by William Gibson and the Animal Liberation Front and you'd have a decent, if incomplete, idea of the premise behind Grant Morrison and Frank Quitely's 2004 mini-series We3. I say "incomplete" because underneath the high concept sci-fi ultraviolence, We3's tale of three cybernetically-augmented animals on the run from a black-ops weapons lab possesses a level of genuine pathos rarely encountered in a work of fiction, and especially within the medium of comics.

While I'm well acquainted with the technical concept of catharsis (as is anyone who has ever taken a college literature or drama class), it isn't often that I come across a work that inspires the actual emotional purgative-tranformative process. This is partly because I'm a jaded old fart, but also because I'm hyper-sensitive to attempts to stack the creative deck in order to force such emotional responses. Art is manipulative by nature, but too many artists get too eager and overplay their hands to dismal effect. Reading We3 is a cathartic experience for me, an emotional roller coaster ride that leaves me feeling undefinably but noticeably changed (and a bit teary-eyed) afterward. (Granted, stories with animal protagonists have a paw up in the "pull the heartstrings" stakes, but Morrison's characterizations and Quitely's illustrations of "1" the dog, "2" the cat, and "3" the rabbit ring so authentic it hurts me to read the more tragic parts of the story.)

Today marks the release of Grant Morrison's most current effort, Final Crisis #1, a big "event" title guaranteed to change the DC superhero universe forever (again, but for real this time, honest). I've read it, and it's decent enough for what it is, but there's already a vocal minority in the dark corners of the comics internet reiterating the usual charge lobbed at Morrison's work, namely that his stuff is "too hard to follow."

Morrison's stuff tends to be hit or miss with me, and I do think his infatuation with BIG CRAZY CONCEPTS tends to work at cross-purposes with his plot logic at times, but I never really considered his work to be incomprehensible (apart from the instances Morrison was deliberately attempting to be obtuse). Final Crisis, in comparison with some of Morrison's other work (The Invisibles or even parts of Seven Soldiers), is a model of narrative lucidity.

The real problem, I suspect, lies with the audience, who've been conditioned to see comics, especially superheroic stuff, as product to be consumed rather than material to be engaged. There's a thin line between a "challenging" work and self-indulgent wankery, but requiring more effort than a five-minute linear burn-through to grasp the material does not automatically place a work in the latter category. Junk food should not set the baseline for one's palate, and a genre shouldn't be held hostage by some lazy, retrograde bottom feeders.

Upon considering the fannish whinings, as well as Morrison's own remarks that fans who don't like the content ought to pencil in their own captions in the word balloons, I went up to the attic and dug out my old Creator-to-Creator translation machine. It's a heavily-modified version of Joel Robinson's Cartuner (here at the 4:00 mark) incorporating Babelfish source code which allows one to see how certain comics would have turned out if done by a different creator (like EC horror stories as done by Carl Barks, for example).

And so, in the name of SCIENCE, I took the following panel featuring 1 the dog and 2 the cat from the second issue of We3....


...and ran it through the machine to see how it theoretically could have been "improved" by other fan-favorite comic book writers.

The panel in question, as it would have been written by:

Brian Michael Bendis (Powers, Daredevil, Secret Invasion)*


Chuck Dixon (Nightwing, Robin, Snakes on a Plane: The Comic)


Mark Millar (Ultimates, Wanted, Civil War)


Roy Thomas (Avengers, Invaders, All-Star Squadron, and too many others to list)

...and just so the indie kids don't feel left out:

Brian Wood (Demo, DMZ, Northlanders)

I really wanted to try and generate a Chris Claremont one, but the machine's feed kept getting jammed on "focused totality," "starhair," and "violated my soul." The technology has its limits, apparently.

David Walker - Ring the Changes (from Le Beat Bespoke, 2004) - A harmonious marriage of powerhouse pop (a la Sir Tom Jones) and heavy, horny funk.

Quincy - Turn the Other Way Around (from Quincy, 1980) - Man, that Jack Klugman really rocks! (I kid. They were a New York-based power pop band that got some brief national exposure following the success of The Knack.)

Isabel Bond - Let's Find Out (from Beat at Cinecitta, Vol. 3, 1994) - This weird slice of freakbeat soul comes from the soundtrack of 1969 Italian sex comedy Vedo Nudo. My Italian is rusty, but I believe the title of the film translates into English as "broad pantomime and boob shots."

*In an actual Bendis comic, the text in that scene would have been frugally doled out across a nine-panel grid covering an entire page. The translation machine still needs some fine-tuning.

Wednesday, May 28, 2008

visual synergy: the revolution will be synthesized

This Korg Poly-61 kills fascists! New wavers of the world unite! You have nothing to lose but your oversized shoulder pads!



Re-Flex - The Politics of Dancing (from The Politics of Dancing, 1983) - Are you now doing, or have you ever done, the hokey-pokey? I have in my hand a list of 57 highly-placed individuals who have put their left feet in and shaken them all about.



Duran Duran - New Moon on Monday (from Seven and the Ragged Tiger, 1983) - So the moral of the video is that the 1956 Hungarian Revolution and the Prague Spring in late 1960's Czechoslovakia would have succeeded if the pro-democracy forces had access to Simon Le Bon's pouty lips and Nick Rhodes's groovy hair?*

*Providing that the counterrevolutionary forces were armed with neon vibrators and not Kalashnikovs and Soviet tanks, of course.

Tuesday, May 27, 2008

it's not animosity

From the March 1978 issue of Pizzazz, Marvel Comics' attempt to crack the tweener mag market:

Writing music reviews is easy when your target audience is a bunch of starry-eyed twelve-year-olds who think that a Big Mac constitutes haute cuisine. Nice work, if you can get it, though I suspect the psychic toll involved in writing lines like "an infectiously appealing little charmer that rocks, rolls, shakes, and boogies" in regard to such musical luminaries as Jimmy Osmond, Leif Garrett, and Cassidy the Younger on a regular basis would inevitably lead to a self-inflicted gunshot wound to the roof of one's mouth and parts beyond.

Here's the "smash single" that the reviewer issued the severe groove damage warning over...

Shaun Cassidy - Hey Deanie (from Born Late, 1977)

This Eric Carmen cover (three words I never imagined having to string together) did peak at #7 on the Billboard Top 100, though my wife, who briefly participated in the Shaun-o-mania craze, claims that she doesn't recall it at all. That's not surprising, as the music, along with running around in the dark with Parker Stevenson on prime time television, was just one facet of the teen idolatry package -- scaffolding by which best to display the dreamy, marketable image.

What shouldn't astonish me so much, but does, is that the song and album were released around the same time (the second half of 1977) as this track:

Wire - Mannequin (from Pink Flag, 1977)

It's a loaded comparison -- disposable teen pop product versus a phenomenally influential piece of art punk -- but it amazes me how well "Mannequin" has retained its freshness over the past three decades while the shelf life of "Hey Deanie" can be measured to the picosecond. It's as quaint a historical artifact as a shellac 78 RPM recording of Flip Pringle and His Liberty Orchestra's "Let's Set Fire to the Kaiser's Mustache," while the hooks and jangles of "Mannequin" retain a sense of immortality.

It's not simply a matter of being a work "for the ages." There are many classics pop songs -- including quite few songs I like more than "Mannequin" -- that have endured, yet operate within clear historical moments. "Mannequin," apart from its association with the early British punk scene, exists outside history. It could have been released in 1983, 1995, or five minutes ago and still sounded fresh and of the present age, immutable, eternal, and radiant.

Monday, May 26, 2008

resistance of memory

(from Marshal Law #6, April 1989; by Pat Mills and Kevin O'Neill)

Memory is useless if it fails to engender wisdom.

The Pogues - The Band Played Waltzing Matilda (from Rum Sodomy & the Lash, 1985)

"Plus ça change, plus c'est la même chose" - Jean-Baptiste Alphonse Karr

Sunday, May 25, 2008

too fowl for words

You know what contemporary superhero comics are sorely lacking in?

Duck-themed vengeance.

If the Spectre had been feeling especially vicious that day, he could have opted to inflict today's b-side offering upon his victims instead...

Rick Dees and His Cast of Idiots - Disco Duck (Part II) (the b-side of 1976's "Disco Duck" 7") - Because an instrumental version of a novelty song predicated on a sub-par Donald Duck impersonation makes perfect sense. Then again, we are talking about the 1970's; I doubt anyone looked up from their gold-plated coke spoons or custom-made bongs long enough to notice the absurdity of it all.

...and because one waterfowl-related musical travesty deserves another, I might as well lob this rotten egg into the ring, too:

Thomas Dolby, George Clinton & Other Folks Who Really Should Have Known Better - Howard the Duck (from the Howard the Duck OST, 1986) - There are certain cinematic stinkers from the past -- Xanadu, for instance -- that have improved with the passage of time. Howard the Duck is not one of them.

Saturday, May 24, 2008

tired of wasting all my time

Freedom of speech is one of the cornerstones of a just and open society. Everyone is entitled to his or her opinion, but that does not mean that all opinions are equally valid, nor does it place any obligation on me to listen. Decades of bitter experience have caused my subconscious mind to install a cognitive kill switch. It is triggered by certain words, phrases, or sentences that when encountered cause my attention to disengage.

When dealing with written material, it's a simple enough matter to stop reading and move onto something else. In conversational environments, notions of tact and decorum make things a wee bit trickier. In situations where I can't just tell the other party to fuck off and be done with it, my body slips into a automatic routine of glassy-eyed stares and occasional nods while my consciousness scrolls a mental slide-show of Mamie Van Doren, Tuesday Weld, and Ann-Margret pinup shots set to the following tune:

Laurie Johnson - Shopping Spree (from Music for TV Dinners, 1997)

The mind is a wonderful and mysterious thing.

Here is a representative sample of some of the trigger phrases guaranteed to land someone on my "please disregard" list:

- "America needs a flat tax."

- "Um, actually..." (It doesn't matter if the pedantic infodump that follows those words reveals the location of a cache of unmarked twenty-dollar bills, the cure for cancer, or a meticulous chronology of Phantom Girl's appearances; once that introductory phrase is uttered, my mental firewall kicks in at full force.)

- "I'm a big fan of Dane Cook."

- "I'm a big fan of Chuck Klosterman."

- "I'm a big fan of Ayn Rand."

- "I'm a big fan of Orson Scott Card."

- "It contradicts my fan-fiction." (Or any statement evoking fan-fiction as something other than a curious hobby.)

- "My psychic told me..."

- "Fight Club is my favorite novel."

- "I pay his/her/their/your salary." (When spoken by an end user, not by the actual employer)

- "...then we'd all be speaking German/Russian/Japanese."

- "Steampunk" (Used seriously in any context outside genre fiction.)

- "...according to Rush Limbaugh/Bill O'Reilly/Michelle Malkin/Ann Coulter/Michael Savage." (As a serious citation, not a negative example.)

- emoticons, IM-speak, or l33t used unironically in ratios greater than one to one thousand words of coherent English

- "Future generations will appreciate Kenny Loggins's immense contributions to rock music."

Hüsker Dü - Never Talking to You Again (from Zen Arcade, 1984) - The sound that spawned a host of inferior imitations.

Bananarama and Fun Boy Three - He Was Really Sayin' Somethin' (from Deep Sea Skiving, 1983) - I wouldn't go so far as to call this the whitest cover of Motown song ever, but it's definitely up there in the top ten percent of its class.

Friday, May 23, 2008

Friday Night Fights: Agent of Fortune

Brace yourself for some two-fisted pulp-inspired action, as this week's contribution to Bahlactus's battle royale turns the spotlight on Dominic Fortune, Adventurer for Hire:

(from Marvel Super Action #1, January 1976; by Howard Chaykin)

A repurposing of the Scorpion character Howard Chaykin created for the failed Atlas/Seaboard line of comics, Dominic Fortune was a 1930's pulp hero variant of the "square-jawed honorable rogue" archetype that Chaykin has shown a pronounced predliction for. (See also: Ironwolf, American Flagg!, Chaykin's Blackhawk stories, and American Century.) A mercenary who fights on the side of the angels, Fortune wasn't above throwing the occasional low blow while fighting the good fight...

(from Marvel Preview #2, 1975; by Len Wein & Howard Chaykin)

When he wasn't tangling with thugs or tossing unconscious Axis ninjas to their deaths, Fortune spent his time gambling his earnings away on the Mississippi Queen, a casino ship anchored off the coast of Los Angeles, and flirting with the ship's owner, the savvy (and sexy) Sabbath Raven (because the name "Drusilla L'Gothique" was already taken, I assume).


Not a bad life, all in all, and a darn fine series that pretty much exemplifies my definition of "fun comics" -- great art, solid storytelling, and an interesting yet straightforward concept. Chaykin's Dominic Fortune stories were scattered across several Marvel titles, including a beautifully illustrated, and frustratingly unfinished, run in the Hulk magazine. While I'd love to see the entire run collected and reprinted into a handy trade paperback edition, I'm enough of a realist not to hold my breath in anticipation. I can dream, though.

Marvel did introduce (without Chaykin's involvement) an older incarnation of the character into its collective universe during the early 1980's, but the less said about that....


...the better.

In the days before variant covers and limited print runs, Marvel used the promise of hot senior citizen sex to boost sales...

I find myself faced with a musical quandry today. Django Reinhardt or Peggy Lee? The King of Gypsy Jazz or Miss Wonderful?

I guess I'll just have to go with both:

Django Reinhardt - Between the Devil and the Deep Blue Sea (from Crazy Rhythm, 2001)

Peggy Lee - Between The Devil And The Deep Blue Sea (from ...Sings For You, 1954)

Thursday, May 22, 2008

ne travaillez jamais

While I am a strong proponent of the antinomian viewpoint that work is an anachronistic impediment to a life of unstructured leisure, the mortgage and utilities people aren't hep to the Situationist vibe. (If you know of some that are, send me an email.) So I find myself obligated to render unto Caesar from my little cubicle overlooking Dorchester Bay, mourning each lost minute that could have been spent sprawled out on the couch and watching F-Troop re-runs on TV Land.

It is in this spirit that I am proud to announce Armagideon Time's first annual job fair. Given the present state of the economy and the accompanying blizzard of pink slips, being able to think outside the box has become a vital skill when it comes to job hunting, and our musical representatives are standing by to illustrate the wide variety of available career options.

Blotto - I Wanna Be a Lifeguard (from a 1981 single; also on Collected Works, 1994) - The romantic myths regarding the career tend to vanish quickly once one discovers their first suspicious-looking mole...or after performing mouth-to-mouth on a bearded grandma with garlic-and-whiskey breath.

Spacegirl - I Wanna Be a Spacegirl (Single Edit) (from a 1998 single) - First you'd have to purge 90% of your body mass, then cleanse yourself of any vestiges of actual talent, marry a soccer player, and wear the most unflattering 1970's sunglasses imaginable. Oh, it's "spacegirl," not "Spice Girl."

Ultravox - I Want to Be a Machine (from Ultravox!, 1977) - It depends on the type of machine in question. While I can see the appeal of becoming a sex, dancing, or love machine, I would not like to spend life as the flush mechanism of a public toilet. Considering that this track comes from the band's post-punky pre-Ure era, I'd assume that John Foxx yearns to become a meticulously-engineered piece of German industrial automata.

Gary Oldman - I Wanna Be Your Dog (from the Sid and Nancy OST, 1986) - In preparation for his role as Sid Vicious, Gary Oldman went on a boiled fish and melon diet that ended up leading to his hospitalization. In preparation for recording this song, Oldman went on a Gravy Train and toilet water diet that ended up leading to his being hit on the nose with a rolled up newspaper.

Hulk Hogan & The Wrestling Boot Band - I Want to Be a Hulkamaniac (from Hulk Rules, 1995) - There is a point where egomania becomes so densely concentrated that it collapes into a singularity from which nothing but lousy pop-rap-rock can escape. We have crossed the event horizon, ladies and gentlemen.

Catch the nipple-free fever!

Wednesday, May 21, 2008

tuned to a dead channel


Despite the large and ever-growing number of unread books in my collection, whenever I'm at a loss about what to read next I invariably gravitate to something chosen from a short list of well-loved favorites. The criteria for being part of that elect group of books isn't so much a matter of importance or literary merit, but rather stems from my personal and empirical experience as a reader. To put it simply, they are books I never tire of re-reading.

The list includes The Great Gatsby, The Loved One, Kidnapped, Raymond Chandler's "Phillip Marlowe" novels, Len Deighton's "Spy With No Name" books, Roddy Doyle's Barrytown Trilogy -- all read and re-read many times over with no signs of diminishing returns on their entertainment value. Also high up on the list is a novel I recently had the pleasure of revisiting and plan on discussing a little in today's post, William Gibson's Neuromancer.

The 1984 novel codified, if not created, the template for the "cyberpunk" genre, a hyper-stylized blending of noir and hard-sci elements with an emphasis on technology -- particularly cybernetics, computer/information science, and genetic engineering -- fraying the boundaries between man and machine. Many of the concepts and constructs presented in Neuromancer have since been appropriated into the popcultural fabric (and in the case of the virtual realm of the cyberspace, into reality), imitated and replicated to point of cliche. The novel's astonishing degree of influence makes it difficult to discuss properly in the space of a couple-hundred word blog post (or even a doctoral thesis), so in keeping with the micro-subjective spirit of Armagideon Time, I'm just going to indulge in some personal musings on the subject.

Like all works of sci-fi, Neuromancer is a product of its time, in this instance, the early 1980's, when the dying gasps of consensus-driven progress where drowned out by rushing sound of upwardly concentrating wealth and power and a the bleep-bloop din of revolutions in personal electronics and computing. It was a time when style was knowingly but unironically embraced over substance, which is reflected in the techno-lyricism of Gibson's prose, in passages such as this one...

Night City was like a deranged experiment in social Darwinism, designed by a bored researcher who kept one thumb permanently on the fast forward button. Stop hustling and you sank without a trace, but move too quickly and you'd break the fragile surface tension of the black market...
...which make me despair over my own limitations as a writer. Chrome and surgically-fitted mirrorshades, the radiant geometric purity of cyberspace and the entropic grime of the east coast Sprawl -- the world of Neuromancer took its stylistic cues from both edges of the zeitgeist's blade.

That's not to say that the novel is a disposable exercise in superficiality. It is, at its core, an entertaining sci-fi take on the classic heist story, with Case the "Console Cowboy" and razorgirl Molly drawn into a fractally complicated job with tremendous ramifications. Gibson is adept at integrating the stylistic and technical flourishes into the novel as a whole.

This, and the moral ambiguity of the protagonists allows the author to indirectly offer socio-cultural insights without tipping over into the realm of techno-parable. Entertain, then edify. A common mistake made by other writers with aspirations of following in Gibson's thematic footsteps is to simply crib the superficial trappings of the cyperpunk genre, and use them as window-dressing for formulaic sci-fi material, swapping out the bubble helmets and bug-eyed aliens for cybernetic enhancements and monolithic corporations.

I read Neuromancer (and occasionally its two sequels) once every couple of years or so, and each time I do the novel's vision of the future seems that much more quaint, a retro-futurist cul-de-sac of "could have, but didn't." (Something Gibson himself has acknowledged in the intro to Virtual Light, a more up-to-date -- yet also dated -- novelistic spin on cyberpunk themes.) Oddly enough, the novel's increasingly dated vision of the shape of things to come is one of the major reasons I've become so fond of the book -- nostalgia for an anticipated future that never came to pass.

"Too young to remember the war, aren't you, Case?" Armitage ran a large hand through close cropped brown hair. A heavy gold bracelet flashed on his wrist. "Leningrad, Kiev, Siberia. We invented you in Siberia, Case."

"What's that supposed to mean?"

"Screaming Fist, Case. You've heard the name."


See, I thought "Screamin' Fist" was the a-side of The Viletones' 1977 debut 7"...

The Viletones - Screamin' Fist - Somewhere around here I have a 1978 issue of Creem which covers the Sex Pistols' American tour and subsequent break-up. One of the short news blurbs in the front of the magazine mentions The Viletones, specifically the announcement by the Canadian punk band's lead singer, Nazi Dog, that he planned to kill himself on stage during an upcoming show. I wonder how that worked out for him?

Rational Youth - City of Night (from Cold War Night Life, 1982) - The "punk" aspect of cyberpunk wasn't a musical reference so much as shorthand for the genre's street-level grittiness and its "underground" sensibility, which dovetailed into the popular perception of the 80's punk subculture.

My synesthetic soundtrack when reading cyperpunk fiction runs toward the New Romantic end of the spectrum, though I admit that "cybersynthpop" lacks a certain ring to it.

Tuesday, May 20, 2008

it is a vision reoccurring

Some wholesome family entertainment, courtesy of Captain Marvel Adventures #82 (March 1948):

Cap's really into Kegel exercises, apparently...

Devo - Jerkin' Back 'n' Forth (from New Traditionalists, 1981) - Loved by fourth-grade boys back at the dawn of the Reagan Era, hated by the teachers and parental units of said boys.

Generation X - Shakin' All Over (from the b-side of 1979 "Valley of the Dolls" single; collected on the 2002 reissue of the 1979 Valley of the Dolls LP) - The last time I went down this stimulating road, I opted for the Flamin' Groovies' version of this oft-covered Johnny Kidd and The Pirates tune. This time I decided to go with some vintage (Billy) Idol worship.

Monday, May 19, 2008

this cat is where it's at

People of America, I'm sure you've heard what the other candidates are proposing as the solutions to the challenges facing this great nation of ours. Before you cast your ballot, however, you ought to ask yourself if another four years of politics-as-usual is really what this country needs.

There's another way. A better way.

It's time for a new species of chief executive. It's time for a Tawky Tawny presidency. As a tiger who has managed to pull himself up by his own foreclaws (notwithstanding scurrilous rumors concerning the patronage of a being of godly power), Mr. Tawny is able to rise above the petty distractions of professional politics and offer a true vision of substance for America:

EXPERIENCE!

SOUND JUDGEMENT!

FISCAL RESPONSIBILITY!

COMPASSIONATE CONSERVATISM!

DIGNITY!

TAWNY '08 - PUT A TIGER IN YOUR TANK!

Tiger! Tiger! - So You Won't Deceive Me (from The Kind of Goodnight, 2007) - This Atlanta-based garage punk outfit has jumped to the #3 slot on my Last.fm "top artists" list, right behind The Clash and Lush. Fitting company, indeed.

Paul Anka - Eye of the Tiger (from Rock Swings, 2005) - The diminishing returns of irony, clearly illustrated.

(A big thanks to honorary "Tiger Scout" Dave Lartigue for his invaluable assistance.)

Sunday, May 18, 2008

desire to be repeated as often as desired

As this weekend has turned out to be an unexpectedly and unpleasantly stressful one, I decided to make use of this b-side Sunday to take a deep breath and relax a little...

Frankie Goes To Hollywood - Relax (Instrumental) (the b-side of 1983's "Relax" 12" single)

...though perhaps not in the manner Frankie suggests.

Depending on what story one chooses to believe, wouldn't the instrumental version of "Relax" actually be a Blockheads, Art of Noise, or Trevor Horn track? (Actually, considering the amount of production spit and polish Horn lavished on the recording, the latter essentially applies regardless of the version in question.)

The single wasn't so much a pop record as a meticulous marketing stratagem calculated to maximize publicity, and therefore sales, through the MacLarenesque technique of epater-ing the bourgeoisie. While the psuedo-decadent sexual window-dressing seems transparently pretentious and absurd in hindsight...


...it did pay off very handsomely for a short while, at least.

Saturday, May 17, 2008

never thought this day would come


Sadly, Marble King's powers of lofting and angling were deemed insufficient to earn him a place in the Legion of Super-Heroes.

While I've never had the (dubious) honor of knowing a bona fide "Marble King" (as my childhood peers were more inclined to view marbles as ideal slingshot ammunition), I am on friendly terms with the former Exchequer of Pogs.

The Troggs - Marbles and Some Gum (from Mixed Bag, 1968) - Thematically similar to the J. Geils Band's "Centerfold," but minus the softcore overtones. Is it just me, or does it also sound like a lost Davy Jones track from the Monkees?

Friday, May 16, 2008

Friday Night Fights: Cannon Spike!

In this week's contribution to Bahlactus's never-ending battle, Cammy White, the Shadaloo assassin turned MI6 operative, demonstrates to a couple of thugs that wanting something and getting something are entirely different things.

(from the Super Street Fighter II: Cammy graphic novel by Masahiko Nakahira)

Of the diverse roster of characters in the Street Fighter franchise, Cammy is one of my favorites (tied for first place with Final Fight alum Cody Travers from Street Fighter Alpha 3). Maura attributes my fondness for the character as another example of this supposed "thing" she's convinced I have for petite blondes, but I would like to go on record as stating that Cammy's speed and Cannon Spike move make her ideally suited for carrying out the cheap corner traps and hit-and-run attacks that are the lynchpins of my winning SF strategies.

Then there's the whole Kylie-as-Cammy thing from Street Fighter: The Movie, which is the only reason I could ever bring myself to sit through that steaming cinematic turd...


Okay, so maybe there is some truth to the wife's "petite blonde" theory...

Kylie Minogue - On a Night Like This (from Light Years, 2000) - I make no excuses nor offer any apologies.

Kylie is, and that's that.

that rises above

Actor John Phillip Law passed away last Tuesday at the age of 70.

In honor of his memory, let us pay homage to his unparalleled cinematic legacy, specifically the trio of 1968 films that cemented his place of high esteem within my personal retrological pantheon...

Danger: Diabolik

Ennio Morricone - Deep Down (from the Danger: Diabolik OST, 1968)

Barbarella

Bob Crewe and Charles Fox - The Angel Is Love (from the Barbarella OST, 1968)

...and Skidoo.

Harry Nilsson - I Will Take You There (from the Skidoo OST, 1968)

Farewell, Mr. Law, and thank you. May a flight of blind space angels sing thee to thy rest.

"It's not unlike ancient dental equipment on Earth - not that you'd know anything about that!" - John Phillip Law (as Kalgan) in Space Mutiny, 1988

Thursday, May 15, 2008

ghosts of a dead future

I remember when the future was orange, set to the tune of blip tones and the whirring of tape reels in sterile, climate-controlled rooms.

It was a time when utopian fantasies took a back seat to dystopian nightmares engendered by the collective anxieties of a society trying to find its footing after a period of immense political and cultural upheaval. The only way to escape, if escape was even a possibility, was to return to the green world's ecological alternative to dehumanizing technological processes.

Yet, for all the lip service paid toward a life lived in harmony with nature and the rejection of the synthetic, it was an era marked by contoured plastic, earth-toned polyester, and Brutalist architecture.

It was an interesting time in which to be a kid, that's for sure...



See what I mean?

Raymond Scott - Baltimore Gas & Electric (from Manhattan Research, Inc. 2000) - From the dawn of ambient electronic music.

Gerhard Trede - Technischer Bewegungsablauf (from Electronic Toys: A Retrospective of 70's Easy Listening, 1996) - That's "technical course of motion," for those of you not fluent in deutsch.

Electric Moog Orchestra - Space Symphony (from Music From Close Encounters, 1977) - Ever summer, Maura makes a point of watching Close Encounters of the Third Kind. I'd rather watch paint dry.