Here it is in all of its unadulterated glory, Russ Meyer’s riot grrrl masterpiece Faster, Pussycat! Kill! Kill! , the film John Waters called “beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future.”
Ladies and gentlemen, welcome to violence, the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains… sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn’t only destroy, it creates and molds as well. Let’s examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female, the surface shiny and silken, the body yielding yet wanton. But a word of caution: handle with care and don’t drop your guard. This rapacious new breed prowls both alone and in packs, operating at any level, any time, anywhere, and with anybody. Who are they? One might be your secretary, your doctor’s receptionist… or a dancer in a go-go club!
Here’s a little something by Glasgow purveyors of rocktronica Errors, in the run up to the January 30 release of their new album Have Some Faith In Magic on Rock Action Records. Taking as much influence from modern and classic electro as they do from shoegaze and kosmiche, Errors genuinely bring something fresh to the table, and have been steadily building up momentum over the last five years. From the Rokbun website:
A group who emerged at the tale end of a period when anything purely-instrumental and guitar- based became lazily tagged “post-rock,” Errors have now distanced themselves from that loose genre so much that any fleeting comparison to it is now completely redundant.
Have Some Faith In Magic is an LP of sprawling pop, with delicious hooks applied liberally across post-electro scatterings; a complete turn away from previously lauded albums It’s Not Something But It Is Like Whatever, and last year’s Come Down With Me - not least with vocals now being included prominently for the first time.
“It was just something that naturally happened,” comments the group’s Steev Livingstone, “we had the idea to put vocals in the music a while ago but we always intended that they should be treated as another instrument.
“We’ve used them in a way that sits really naturally so the music and the vocals don’t feel like separate entities.”
Judging by the simultaneously wistful-yet-pumping sounds of “Pleasure Palaces,” the new album could be very special indeed. As for the video… well, I don’t really understand it, but I do like it. A lot. Directed by Rachel Maclean, and coming across like New Order by way of Tim & Eric, there is a whole host of strange and humorous imagery to digest here:
Taking its cues from Schoolhouse Rock, “My Name is Potato” is an Italian novelty song by Rita Pavone from 1977. It features Ms. Pavone — who was apparently 32 when she recorded this, despite looking to be about 17 — singing to a cartoon of a potato. An American potato, as he gruffly insists, who shoots guns and flies off in an American flag spaceship at the end. The animation was done by Guido Manuli, who was famous for his collaborations with director Bruno Bozetto, particularly on the film Allegro Non Troppo, a sort of spoof on Fantasia.
The Wisconsin Democratic Party was quick to dub the recall effort — which also targeted Lt. Gov. Rebecca Kleefisch and a handful of Republican state legislators — the “biggest” in American history, and boasted that organizers had gathered a whopping 460,000 extra signatures for the recall of Walker, who infuriated many in his state last year by pushing through a law that ended most collective bargaining rights for many public workers.
Meagan Mahaffey, executive director of United Wisconsin – the group behind the recall efforts – told POLITICO that Tuesday’s results sent a “crystal clear message to Scott Walker that voters are done with his extreme policies and his destruction that he’s doing to our state.”
Unions were poised to emerge as some of the biggest winners from Tuesday’s news, but Mahaffey insisted that the movement did not simply represent a battle between Walker and organized labor.
“This is a message to people of all backgrounds and all different types of peope that have worked so hard on this recall. The best outcome for all of us is the same: Recall Scott Walker,” she said.
As the months-long recall campaign had neared its end, State Democratic Party Chairman Mike Tate had predicted Tuesday’s outcome earlier this week, telling POLITICO he was confident that the final tally would “hit or exceed” their goal of 720,000 signatures and saying the message he hoped would resonate with Wisconsin voters was that “help is on the way.”
“An incredible number of Wisconsinites have stood up to be counted and say, ‘We can’t wait for the next election. We absolutely must get Scott Walker out of office right now,’” said Tate.
Walker himself signaled that he expected his opponents would be able to achieve their goal.
Speaking at the American Enterprise Institute in Washington, D.C., earlier this month, the embattled governor predicted that a recall election will indeed occur sometime in June.
But Walker stood by his controversial reforms, maintaining that they were all made “for the right reasons.”
“You either get elected to be somebody great or do something great, and I always tell kids to do the latter,” he said.
What are you going to tell your kids now, shithead?
The 1981 German synthpop cult hit “Fred vom Jupiter” was recorded by a teenage boy named Andreas Dorau along with a chorus comprised of some of his female school chums. It is an unbelievably catchy tune about Kosmonaut Fred, who comes from Jupiter, obviously, and is beloved by all the Earth girls.
Enterprising young Andreas put out “Fred vom Jupiter” as Die Doraus und die Marinas on his own record label and it was eventually picked up for release in the UK by Mute’s Daniel Miller, who released it between records by Depeche Mode and Yaz (“Fred vom Jupiter” is not all that dissimilar from what Miller was trying to do with his pre-Gorillaz/post-Archies group Silicon Teens).
There are several amusing PR shots, like the one above, of young Andreas dressed in a tuxedo ala James Bond surrounded by a bevy of pre-teen girls with guns. Dorau, who is still active in music as Andreas Johnson, clearly knew how to work the popstar thing to his advantage with the ladies, even at a tender age.