Today's driver for the journey home from treatment was the infamous "Liquor Man," and I found myself in the role of his therapist.
He was freaking out over having been involved in a threesome with a pair of swingers over the weekend, a threesome where he was one of two men involved. He got into it because the woman in the equation was "a Dominican chick with a so-so face, but that slammin' Dominican body," but her partner was a black dude who stipulated that he would get to have sex with Liquor Man. I'll spare you the graphic details, but after Liquor Man had his fun with the woman, he found himself on the receiving end of a solid buggering from the guy, which led LM to note "My ass still hurts from it. Extremely painful." The freakout was due to LM realizing he's not into guys, but he liked the way the guy touched him. That revelation was punctuated with numerous utterances of "I'm not into guys" and "It's just not for me."
I spent the half-hour ride assuring him that the experience does not make him gay, and if anything it served to clarify his stance on his sexuality, and hearing that made him feel better about something he swears up and down he will never do again. And bear in mind that the guy is a fat, unattractive 50-something who you would not look at twice of you saw him on the street.
Oh, and he also went into more detail about his early-30's career as an oral sex prostitute to bored housewives. He claims he plied that trade for nine months and enjoyed it very much, but he quit after encountering a client whose state of feminine hygiene was roughly equivalent to the bottom of a particularly nasty birdcage. (Not how he phrased it, but you get the idea.) It was like hearing Fred Flintstone confess his hidden history in the most crass and graphic language imaginable, and due to his face, the sound of his voice, and his body language, I believe every word he said, no matter how absurd and unlikely this unattractive slob of a guy getting up to Skinemax shenanigans. His fear and confusion over his sexuality in the wake of getting raunched up the fudge tunnel was 100% real.
© All original text copyright Steve Bunche, 2004-2025.
Wednesday, December 28, 2022
RETURN OF THE LIQUOR MAN: THREE'S COMPANY(?)
Friday, December 9, 2022
IT WAS FORTY YEARS AGO TODAY
From December 9th, 2020
Dear Vaulties-
here's
a re-run from the past couple of years, complete with the title change
and a few edits to render the accurate passage of time. Bear with it,
because this has become an annual fixture.
NOTE
: Every word of the following story is true (or rather remembered as
exactly as humanly possible given that nearly four decades have elapsed
since it happened), and if you find some of it offensive at this late
date, imagine being in my shoes at age fifteen!
December 9th, 1980-
It was the start of my tenth grade school day morning and I was
disgruntled (as usual) at being denied sleep and instead being herded
along with the rest of the cattle at Westport, CT's Staples High School
into yet another inane class.
The first item of regurgitation/education of the morning was English
with Mr. Dyskolos (not his real name; changed for reasons soon to be
apparent), a late-forty-something red-headed guy who then resembled what
Danny Bonaduce looks like today, who was also among the minute handful
of teachers whose classes would keep students awake because he was
genuinely interesting, did not talk down to the kids, and had not
allowed the thankless teaching system to beat him down and force him to
consider his job a mocking reminder of wage-slavery. (I'm the son of a
veteran high school teacher, so I speak with a working knowledge of such
things.)
As the students took their chairs we all noticed that Mr. Dyskolos's
usual laid-back manner seemed somewhat "off" that morning and after
nearly a minute of total silence while he stared into space as though
contemplating some cosmic truth or inevitability, he suddenly focused
himself, looked at us and said, as serious as a heart attack, "By the
look of you, you haven't heard what happened this morning. I'll just get
right to it. John Lennon, de facto leader of the Beatles, was shot dead
by some lunatic fan." Most of the class had indeed not heard about
Lennon's murder and those of us who hadn't, myself among them, were
stunned. But before the horrible truth could fully set in, Mr. Dyskolos
continued. "You kids probably know a lot about the Beatles from what
your parents or maybe your older brothers and sisters played for you,
but you can't even begin to imagine the worldwide pop culture impact
those guys had at the time. Obviously I was there for the 1960's and can
tell you firsthand what it was like, but I'm gonna spare you that
nauseating, self-indulgent trip down memory lane. I guarantee you that
all your other teachers are going to suspend actual teaching for the day
and drag you along for their reminiscences of their flower-power salad
days, but I'm not gonna do that to you. Instead, I'm gonna tell you a
few truths that you won't hear anywhere else in this school, or damn
near anywhere else, on what's gonna no doubt be a day of worldwide
mourning."
He leaned forward in his chair, his face a mask of utmost solemnity, and
uttered words that blew the minds of the roomful of privileged suburban
white kids (and me): "The Beatles sucked.
They were a bunch of marginally talented 'heads' who started out
ripping off the work of their black American influences and made a hell
of a lot of money for no good reason, killing real rock 'n' roll in the
process and unleashing legions of even less-talented imitators in that
godawful British Invasion nonsense. And then they went to India,
supposedly to gain 'enlightenment' or some other George
Harrison-inspired bee-ess, but if you ask me all it did was make their
music more annoying." To emphasize that point of criticism, Mr. Dyskolos
began making a nasal and high-pitched "neeeeeeer neeeeeer neeeeeeeeeee
neeeer" sound by way of approximating the tones of a sitar.
By this point in his diatribe you could have heard an amoeba fart.
Young eyes practically bugged out of their sockets and jaws had fallen
into laps. This was rock 'n' roll blasphemy in the extreme, and on the
morning of the senseless slaughter of a man held by most in the room to
be a hero of peace, love and great music, no less. Our worlds were
shaken to the core. And then Mr. Dyskolos continued, still looking
solemn, but his mouth betrayed a slight half-smile as he was very
obviously enjoying his class' speechless outrage.
"Then they put out that asinine White Album that had exactly two good
songs on it — 'Birthday" and 'Back in the U.S.S.R.,' and those two were
good because they sound like actual rock 'n' roll! — and they had the
fucking unbelievable nerve to include that 'Revolution 9' horseshit!
What the hell was that? (assumes comedic Liverpudlian accent) 'Noombuh
nine? Noombuh nine?' What a load of crap! I'm telling you kids right
here and now, remember how 'deep' that bullshit is when you decide to
give acid a try!" (NOTE: this was the first time I ever heard a teacher
curse when not discussing some of the content in THE CATCHER IN THE
RYE.)
Before he could say another word, Mr. Dyskolos was cut off and drowned
out by an aural assault of irate dissenting opinion, his every word
being tarred as the rantings of an anti-peace & love curmudgeon who
"just didn't get it." "Who do you think you are???" shrieked several of
my classmates. "The Beatles were the most important band in history!
John Lennon and Paul McCartney were two of the greatest songwriters who
ever lived! Are you crazy?" Dyskolos responded with a sneer that would
have done Vincent Price proud and uttered my favorite comeback heard in
all of my teenage years, whether I agreed with him or not: "What the
hell did they ever write that was worth a goddamn? 'We all live in a
yellow submarine?' Puh-leeeeze. The only reason you kids enshrine those
hacks is because of nostalgia filtered down from parents who were barely
your age when the Beatles showed up and absorbed by the general public
and your older brothers and sisters who used that garbage as a
soundtrack for when they'd sneak off to smoke weed in the back of a
'bitchin' van. Which also explains how anybody could ever find the
stomach to listen to those Doors assholes! Face it, kids. For some of
what are supposed to be this country's brightest young minds, you sure
are a bunch of programmed parrots!" And when one of the students blurted
out that John Lennon was a symbol of "give peace a chance," our sage
teacher batted that one aside with "You've obviously never heard about
the time when Mr. Give Peace A Chance went to some club and hung out
with a Kotex stuck to his forehead," a then-shocking truth that only
elicited more teenage keening.
That was the real meat of it but the back and forth ranting went on for
the class's full hour, with order barely being restored with the ringing
of the bell marking the rotation to the next class. Each of my
classmates and I zombied off to the next class and swiftly discovered
that Mr. Dyskolos had been correct in his auguring. Indeed, each and
every teacher I had to endure for the rest of the day derailed the
planned curriculum in favor of rose-colored reminiscences of "a more
innocent time" full of free love, "the people getting together, man!"and
how the Beatles were the troubadours that saw them through all of it
and changed to reflect the time. That was all well and good in theory,
but not for hours on end as heard from speakers of wildly varying levels
of eloquence (to say nothing of interest), with lunch being the day's
only respite from what was essentially the same story only with the most
minor of variations. When the day finally ended I headed downtown to do
my volunteer teaching of a cartooning class at the local YMCA and the
journey allowed me some time to process the events of the day and the
"truths" imparted.
I'd grown up liking the Beatles quite a lot but didn't own any of their
albums on vinyl thanks to their many hits being available in endless
rotation on some of the nascent stations that played what would come to
be known as "classic rock," and as the seventies ended I avoided the
agonizing repetition of disco and such by listening to the excellent
oldies station WBLI out of Long Island, a radio entity that served to
plant the seeds of my passion for pre-1970's rock that was either
primitive and raw or bizarre and very much off the beaten path. WBLI
played some of the standard Beatles hits, but they also threw stuff like
"Devil in Her Heart," "Dig A Pony" and "Rain" (nowadays my favorite
Beatles tune of all) into the mix and showed me just how much the
classic rock stations played the same Fab Four songs over and over and
over and over and over again, ad nauseum, and taking into account the
espoused theory — voiced with absolute certainty of its veracity — that
myself and my fellow students may have been a bunch of programmed
drones, I began to wonder if Mr. Dyskolos had in fact done his young
charges a favor by showing none of the rote reverence extended to the
favorite sons of Liverpool by all who drew breath. He had effectively
"killed our idol" on the day when one would expect nothing but 100%
adherence to the party line, and that greatly intrigued my punk
rock-influenced sensibilities.
As I pondered these thoughts, I wandered past Westport Record and Tape,
one of the town's most accessible record stores, and greeted Jean, the
sweet southern proprietor. I asked her if the shooting of John Lennon
had affected her sales that day and she said, "Honey, look over at the
Beatles and John Lennon sections. Whadda you see? Tumbleweeds 'n' cattle
skulls, that's what! Folks came in and cleaned the place out like they
were a bunch of vinyl-eatin' locusts! On sales of Beatles and Lennon
records alone, I could close early today." And it was true. Every single
Beatles/Lennon platter had vanished into the Westport ether, bought up
by fools who believed those perennial best-sellers (okay, maybe not
SOMETIME IN NEW YORK CITY) would become instant collector's items.
Later that night as I lay there in my bed staring up at the white stucco
ceiling, I listened to my cassette tape of SERGEANT PEPPER'S LONELY
HEARTS CLUB BAND (the only Beatles album I owned at the time) and
experienced it in a way that I never had before. I'd listened to it
about two dozen times since acquiring it a couple of years previous, but
now it served as a poignant grave marker for my favorite member of the
Beatles and its words took on a whole new timbre. No one would be
"fixing a hole" in Lennon and ensuring he would live to see sixty-four
and beyond. He would not be getting better and there would be no more
good mornings for him. Yet tragic though it was, this was just another
day in the collective life, and that life would go on without John
Lennon (though obviously not "within").
I remember the hue and cry when Elvis Presley, the so-called King of
Rock 'n' Roll, gave up the ghost and people acted as though the world
had come to an end, and I frankly didn't get it. I liked some of Elvis's
music, but it didn't really speak to me in the way that the Beatles had
and I now chalk that up to the Beatles happening during what could
arguably be considered the most pivotal period of the twentieth century,
a time that redefined much of American culture and into which my
generation was born. We didn't grow up with Elvis, whose music helped
set the template of rock 'n' roll, but we did come along during the rise
of the Beatles and reached early sentience while under the influence of
their sound. We couldn't know at the time just what their contribution
meant, but we did know that we liked it. Obsessive poring over the
minutia of the whys and wherefores of their lives, art and careers would
come later. At that point in our young lives love was indeed all we
needed, and in the wake of the plastic disco era and what small impact
punk had in the U.S. at the time, that wasn't a bad thing.
So today marks the fortieth anniversary of John Lennon's senseless
slaughter and for me the day that it happened becomes ever more remote,
so I figured I'd jot down my experience of it before age robs it of what
clarity remains. If any of you have tales of that day, please write in
and share.
Wednesday, October 26, 2022
(UPPER) WEST SIDE STORY 1994
A true story of boy meets girl, they hit it off, boy loses girl:
Sometime during the '90's, probably 1994, when I lived on Manhattan's Upper West Side, I once spent a night at a neighborhood bar that had an excellent jukebox, which I of course programmed with loads of tunes. The cute bartender, whose name is lost from my memory, enjoyed my selections, so I figured I would chat her up. We got on well and had a great time, with her occasionally matching me with a shot. Eventually the extended version of this song came on and, transported by good vibes and good tequila, I serenaded her with it, much to her delight.
What
most of you don't know is that when I want to I can sing in a beautiful
tenor tone, and even used to sing in mu junior high's chorus, so I can
nail a song when so desire.
Anyway, when the record ended, she
pulled me down from the bar top (where I pretended to be a swashbuckling
romantic pirate while singing to her) and kissed me long and deep. Bear
in mind that I had only known this woman for a few hours, so this was
gravy on a great night. And it should be noted that the kissing happened
in front of her just dropped in brother, and he was quite appalled at
the torrid PDA.
At the end of the night I asked if I would see
her again if I dropped by, so she wrote down her work days and told me
to return. Sadly, when I returned a few nights later, she was not
present. When I asked the bartender where she was, I was told that she
had been "let go." Alas, I neglected to give her my number, as I did not
want to ruin a fun evening by coming on too strong and seeming
desperate. Tragic, and she was punk rock Velma cute.
Just
another of many crazy bar incidents during my Manhattan years. Looking
back on that time now, I realize 29-year-old me would never have
predicted the state of himself 28 years in the future. If he had, he
just might have cranked his booze 'n' drugs adventuring up to 11. Good
thing he never knew...
Tuesday, September 20, 2022
A TIME FOR MODESTY
From 2006.
The
1960s. A time of great social change that affected all aspects of the
international human experience and a decade in which the British wielded
considerable impact upon the globe’s pop culture. Music, film,
television, fashion and literature all felt the influence of the British
sensibility and an America that simmered with ready-to-boil
civil/political/sexual/hallucinogenic madness fell victim to the spell
of “Cool Britannia.” The post-Camelot Yoo Ess Uv Ay welcomed the
Beatles, 007, ultra-foppish outfits that made the wearer seem either
insane of quaintly fey, THE AVENGERS and a host of other notable
lime-flavored diversions, but oddly one of the major groundbreakers of
UK entertainment never really made its presence known over here. That
MIA bit of fun was the daily comic strip MODESTY BLAISE, and considering
its relatively adult content it’s really no surprise that it would
never have flown in stateside papers at the time. And that, if you ask
me, is a goddamned shame.
When
it comes to tough and glamorous female characters of UK origin the one
that immediately springs to mind for most Americans of a certain age is
Emma Peel, the second and unarguably most popular partner of dapper,
bowler-chapeuxed secret agent John Steed for two years on the cult
classic TV series THE AVENGERS. Peel was smart, classy, dead sexy in a
catsuit, resourceful and tougher than any man in the room and capable of
handing the most daunting opponent with her highly stylized martial
arts moves. Sounds cool, no? Well lemme tell ya, brother, next to
Modesty Blaise Emma Peel has all the resonance and interest of a slowly
screeching “squeaker” fart that fizzles out with a pitiful whistle from
betwixt the vast butt cheeks of popular culture. I don’t mean to
disrespect Emma but Modesty is the real deal (and besides, I like Cathy
Gale better as Steed’s partner anyway). But I digress…
The MODESTY BLAISE comic strip, written and created by Peter O’Donnell
and lavishly illustrated by Jim Holdaway, debuted in the pages of
Britain’s The Evening Standard on May 13th, 1963 and introduced readers
to the globe-hopping exploits of the stunning Modesty Blaise and her
ultra-badass of a right hand man Willie Garvin, a pair of retired
criminals with hearts of gold who once ran a crime syndicate called the
Network. Having accrued considerable fortunes and desiring lives that
didn’t entail potentially getting their asses shot off on a daily basis,
the two take up well-heeled lives of leisure but it seems that no
matter where they go the fates conspire to involve them in all manner of
hard-hitting adventure and intrigue. Keen-minded highly trained
strategists, fiercely loyal friends to those in need and just plain
downright deadly, Modesty and Willie are a match for anyone misguided
enough to rouse their ire.
Modesty’s origin is fraught with the sort of horrifying shit that either
forges tungsten-like fortitude or destroys a person utterly, but even
as an amnesiac child our heroine was a born survivor, enduring nomadic
homelessness ranging from her escape from a prison camp in Greece during
the waning days of WWII through years of wandering in the Middle East
(aspects of which “influenced” Chris Claremont’s origin for Storm of the
X-Men). The girl, whose actual name was a casualty of severe trauma, fell in
with an old man named Lob, a professor from Bucharest, after she rescued
him from an assailant in a refugee camp when but a waif of perhaps
twelve years of age. Under his guidance the girl absorbed knowledge like
a sponge, learned several languages, honed her survival skills and
gained the nickname “Modesty” upon entering puberty, and to that she
added the surname “Blaise,” garnered from the tutor of Merlin the
sorcerer. During her late adolescence, Lob died and Modesty ended up in
Tangiers where she began her criminal endeavors — which strictly
abhorred drugs and vice — eventually happening upon rough-and-tumble
diamond in the rough Willie Garvin who was earning a questionable living
handing out Muay Thai ass-whuppings in the kickboxing ring in Saigon.
Recognizing a potential asset to her organization, Modesty bought Willie
out of jail with no strings attached and from that transaction was born
one of the most unique relationships in adventure fiction. Modesty and
Willie are soul mates and a perfect match in every way, as intimate as
two kindred spirits can be and utterly willing to die for each other
without a moment's hesitation, but, intriguingly, they are not lovers.
Their
lack of a sexual relationship serves to magnify the intensity of their
friendship, an unbreakable and deep connection that thrives and grows
despite the presence of several significant romantic involvements for
both characters, and their bond is fascinating to read about.
With all of this information, you are now ready to dive headfirst into
Modesty’s harrowing world and I promise that you will not be bored. You
have the choice of availing yourself to the comics or the even better
series of novels penned by series creator O’Donnell, and you can’t go
wrong with either incarnation.
Titan Books is currently collecting the strip in chronological order in
an ongoing series of handsome trade paperbacks and despite some
reproduction glitches inherent to the inevitable ageing of the source
film, these books are exactly what your collection needs to give it a
touch of class. The stories are entertaining as hell and are real
nail-biters in many cases, especially the perverse “Uncle Happy” in the
second collection and volume three’s “Top Traitor,” a tale in which
Modesty’s high-ranking secret service pal Sir Gerald Tarrant goes
missing and is assumed to be a mole for enemy interests. And as if first
class entertainment weren’t good enough, the reprint volumes also
provide fascinating articles on the development and history of the
series, plus riveting interviews and reminiscences from the strip’s
creator.
There are thirty-eight years and ninety-five serials to wade through,
all written by O’Donnell and drawn by several artists (the John Burns
run is stunning and inexplicably underrated), so Titan will be blessing
us with volumes of this classic series for quite some time provided the
current books do well, and I promise you that I’ll be on board for the
long haul. Search all you want, but it is simply impossible to find a
more cracking good adventure strip from the past fifty years than
MODESTY BLAISE. If you haven’t experienced this phenomenon, then now is
the time for Modesty. And you can trust your Bunche on that one,
muthafukkas!
A couple of additional short notes:
1. In 1994 DC Comics issued a graphic novel adaptation of the first
Modesty Blaise novel (entitled “Modesty Blaise”) drawn by comics legend
Dick Giordano. It’s a perfect introduction to the character for those
who don’t necessarily cotton to the daily newspaper strip format of the
classic run and can be obtained with a little comic shop or internet
sleuthing.
2. There have been two theatrical features based on Modesty Blaise and
one 1982 TV movie; the 1966 Joseph Losey campfest MODESTY BLAISE is
available on DVD and majorly sucks sweaty ass, so I heartily advise you
to spurn it like you would spurn a rabid dog (Peter O’Donnell has been
quoted as saying of the film “It makes my nose bleed just to think of
it”). I have not seen the TV version but available reports are not
favorable, and the 2003 MY NAME IS MODESTY: A MODESTY BLAISE ADVENTURE
deals with the character’s origin — minus Willie since he was not a part
of the years chronicled in this story, and that’s a big detriment to
the whole feel of the series — and is pretty decent despite its slow
pace and seventy-eight minute running time.
3. Some of the particulars of Chris Claremont’s origin for Storm in
UNCANNY X-MEN # 103 are clearly “influenced” by the early years of
Modesty Blaise. Read that Marvel oldie and then read “In the Beginning”
which is found in the tail end of the first Titan reprint volume and
judge for yourself.
4. Perhaps the best-known “homage” to Modesty Blaise is Renny Harlin’s
unjustly maligned 1996 thriller THE LONG KISS GOODNIGHT, which featured
Geena Davis as an amnesiac housewife whose true self is revealed in an
action film fan’s wet dream. Read some of the O’Donnell stuff and then
see this film. You will be amazed by the similarities.
Saturday, September 17, 2022
REGARDING EBON AMAZONIA AND ANCILLARY WHITE-A-TIZING
The latest addition to my "to read" stack.
About
an hour ago I was talking with Michele about our "to read" stacks, and I
forgot to mention to her that I finally got my hands on this pulp era
classic by the woman who 26 years after its publication wrote the screenplay for THE
EMPIRE STRIKES BACK, and that I am currently reading it. I set about writing
her a note explaining the why of my interest in it, and that note
instead blossomed to what you are now reading, so I share it with you as
well as Michele.
I used to collect coffee table books of vintage
sci-fi pulp magazine artwork, volumes that sprung from the 1970's
nostalgia boom, and I have been fascinated and enthralled by this cover
illustration since I was around ten or eleven, when I first saw it in
its original context as the cover for an issue of PLANET STORIES.
At
the time I was really into the style and aesthetic of vintage pulp
illustration, its elements heavily influencing my sci-fi and fantasy
doodles to this day, and this one struck me with the dynamism of its
central figure. Who was that fierce warrior? What was her story? For
forty-some-odd years I had no answers, but the other day I was looking
at the cover on the internet and the thought occurred to me that a
sci-fi/fantasy author of Leigh Brackett's pedigree probably had much of
her catalog still in print or available somewhere, so I did a bit of
sleuthing and found out that it could be had in a slim indie press
volume that collected three of her unrelated novellas. It was under ten
bucks, so I snagged it as this month's treat to myself.
Upon
getting into reading it, I found it to be quite good and briskly paced,
with Brackett's self-admitted love of the writings of Edgar Rice
Burroughs and Robert E. Howard being unabashedly worn on her sleeve, as
was evident from the style of storytelling and pacing, and the fact that
the story's protagonist — who is not the titular Black Amazon —
is an obvious gene splicing of Tarzan, John Carter of Mars, and Conan
the Barbarian. That's a good thing, as the aforementioned authorial
influences were two of the top tier writers of the pulp era, when they
were creating while firing on all cylinders.
I was surprised to discover that the novella is actually the fourth in a series about the sword-wielding guy in the lower corner of the cover illustration and that the Black Amazon is (thus far in my reading) somewhat disappointingly not the hero of the story, instead being a warlord and conquest-minded adversary for the actual protagonist. And while looking into whether or not I should read the rest of the series, I found it interesting that on every vintage pulp cover and in every magazine illustration or later reprint book that depicts the hero, John Eric Stark by name, well into the 1970's, he was never once illustrated as he was described. In the stories, due to his having grown up in the weird environmental conditions of a colonized Mercury, his skin is dark, described as almost ebony black, though ethnically he is of European Earth descent. Apparently, in those days it did not matter that he was not a negro, but he was close enough for rock and roll, and depicting a hero with black skin was just never gonna happen during the era between Pat Boone and the advent of Shaft. To the best of my knowledge, it was not until the '70's and '80's that sci-fi prose started featuring POC's as characters at all, let alone as heroes.
Just one example of the illustrational white-a-tizing of the Stark character. (art by comics legend Jim Steranko)The more recent printings of Brackett's Stark stories, however, get his coloration right.
John Eric Stark, back and black.Anyway, I was so enthralled by that old cover — an early example of media that fed directly into my adolescent fetish for strong, fierce females in armor —, I used to draw my own comics of what her adventures on Mars would be (comics that, if they still exist, are secreted away somewhere in my mother's files), and I may start sketching her again, though I will not adhere to the description in the novella. There she is described in more realistic and practical armor and a cloak, as she leads a nomadic tribe of brigands who survive in the snowy wastes in the upper northern regions of the planet, and it's clear that Brackett was pretty much dropping hostile Bedouins into the cold, so they had to wear gear that made sense for that environment. The version drew at age 11 looked a lot like the one in the vintage cover illustration, but drawing her today I would make the design of her armor a tad more modern/sleek and, since it's sci-fi/fantasy, I might add pauldrons to the shoulders which a modern illustrator of the bland, too-slick vintage-inspired cover did, to an effect that renders the figure stiff and un-dynamic, and maybe make her boots more like those of Wonder Woman in the movies, complete with greaves, but with visually obvious cushioned soles for the environment.
The modernized version of the classic illustration. Looking like something that would be found emblazoned on the side of a bitchin' van, this bears none of the dynamism and gestural character of its 1951 template.That said, back to reading.
Monday, September 12, 2022
TO EVERYTHING TURNER, TURNER, TURNER
Last week I spent a considerable amount of time rescuing old photos from my previous laptop, and while doing so I came across this classic document.
The guy is Bill Turner, asleep next to my long-gone greatest dog ever, Sammy. This pic was snapped sometime in 1979, in the family room of the first house my family lived in in Westport. Seen above Bill is the bottom portion of the infamous huge wooden silhouette of Africa that my dad bought in our San Francisco years during his flirtation with the Black Power movement — which is hilarious in retrospect, as, after my folks split up and divorced, he aggressively reinvented himself from the ground up as a dark chocolate white man — and the damned thing even had gigantic letters spelling out "AFRICA" burnt into the wood in U.S. Military font. It was so kitschy and garish, I would have kept it as a goof, but dad eventually took it and other such items out of the house when he finished stripping the house of everything he owned (and then some).But I digress. This is about Bill Turner.
After my folks split up, my mother also began recreating herself. Now that she was out from under a loveless and awful 16-year relationship, part of her attempting to build herself anew after having lived her growing up years (and beyond) under the iron fist of her domineering Christian cultist mother, then enduring my father included her taking her first tentative steps at finding a boyfriend, something she had not done since the late 1950's. She had been raised in a rigid Christian household, so her every activity was closely monitored by her mother and the other women of the James family matriarchy, even down to some of her relatives sneaking into her room to inspect her panties for evidence of sexual activity, and that was when she was a grown woman.
Needless to say, with that kind of shit going on, plus her time with dad, she had a very warped perception of men and dating. She was lonely, but her ideal man was an unachievable fantasy blend of Rhett Butler, Kenny Rogers, and Omar Sharif, only black, and he must always be the exemplar of the perfect southern gentleman. (A fantasy that she unfortunately tried to program me to be from an early age. Not in some incestuous way, but the way she treated me like she was grooming me as a chaste surrogate husband really did a number on my young head. Getting out of that house and going to college was the best thing that ever happened to me.) Nonetheless, she began to reach out to various black men she had met in various capacities, all from other towns since the number of single black men in Westport was practically nil. (Hell, the number of black people at all in Westport was practically nil.)
I believe my mom met Bill Turner sometime during 1978. Bill was a house painter of some small renown who did quality work for a reasonable rate, assisted by a sketchy white guy named Donald. He was nice enough, so mom briefly dated him. It didn't work out because my mom is very much a snob, and Bill, as she herself put it, just was not on her intellectual level. She was not wrong, but Bill was the salt of the earth, even if he did refer to a theme song as a "scheme song." Anyway, despite no longer being romantically involved, they stayed good friends, and he was her go-to guy for any house painting or simple home repairs.
Bill was over at the first house, and later the second house, quite often, and I think mom liked having him around so I would have something resembling a father figure and a positive male influence. I never thought of Bill fulfilling either of those roles, but I liked him a lot. He had a very earthy sense of humor and he was downright hilarious once he got going, with a favorite topic for him to take the piss out of being current Top 40 pop music. His derisive imitations of the songs that he hated made me laugh my ass off, especially his renditions of Billy Joel's "Big Shot" and "Pop Muzik" by M. He would also sometimes sing a sarcastic version of Mel Tillis's "I'm Just A Coca-Cola Cowboy," as he found country music to be an endless goldmine of ludicrous songs. In fact, he may be the Patient Zero for my love of old school country, the dumber, the better. Unfortunately it is impossible to translate the nuances of Bill's vocal performance of the aforementioned hits in writing, but if you ask me nicely, I would be glad to perform my approximation of his dulcet tones over drinks.
Between the time when I was 13 through to the end of my 12th Grade year, mom would sometimes task Bill with what amounted to babysitting me, despite me being in my teens and being quite a responsible kid. (To call Mildred overprotective would be a monumental understatement.) That was fine by me because what she didn't know was that Bill was a high-functioning alcoholic who always had two cases of Bud in his truck, and that he and Donald drank all day while on the job. There were a number of times when Bill would have to run an errand while I was in his care, so we would hop in his truck and he would whip out a beer, always noting with a sly wink that I was not to tell my mother, after which he would crack open the can and guzzle like a wolf pup at its mother's teat. And since I kept schtum about his drinking, he would hand me a beer of my own, thus introducing me to the timeless joy of "the Connecticut road beer." Those of you out there who grew up in Fairfield County during my era know EXACTLY what I'm talking about. His truck also had a generous supply of some of the scurviest porno mags I have ever seen, really grungy stuff featuring models who looked like worn-out biker hags. I'm talking the kind of stuff that kids would find molding inside a tree stump deep in the woods, what a friend of mine calls "feral porn." Bill always blew it off by claiming they belonged to Donald, but yeah, whatever.
Bill remained an on and off presence until perhaps the early '90's, at which point I never saw him again and my mother never mentioned him. A few times I asked mom if she knew what became of him, but she says she doesn't know. She was raised in a home where the code of silence on family matters and history was strictly enforced, so for all I know she does know what became of him. If I were to put money on it, I could see him doing himself in with the drink. I hope not, because he was a solid dude.
Sunday, September 11, 2022
TEN YEARS LATER
From September 11, 2011.
NOTE:
This piece is a splicing/revision of three previous entries on the
subject, and I intend for it to stand as my definitive statement of
experience and sentiment on the events in question. After this, I put
this one to bed once and for all.
It wasn't like something out of a Michael Bay cinematic confection.
I know today is the day to remember the dead, and while doing just that this classic John Berkey movie poster comes to mind:
If only a battle with a gigantic ape had been the worst thing to happen at the World Trade Center...
Today is the tenth anniversary of the cataclysmic Bin Laden-driven
terrorist attack, and I am filled with a great sense of trepidation and
near nausea when I think of the inevitable wave of phony patriotism and
jump-on-the-bandwagon “grief” that is certain to inundate the nation for
about a week. I guarantee you that the bulk of media will be devoted to
documentaries/tributes on the subject — all punctuated by somber
arrangements of classic patriotic standards — and there will be at least
one presidential address to the nation from our alleged Commander In
Chief, a badly read cue card performance that will politically and
emotionally push buttons and exploit/exacerbate the nation’s xenophobia
and jingoistic horseshit, which in turn will probably fuel yet more
American youth to throw away their lives in pointless and immoral wars
supposedly being fought in the name of Freedom with a capital F.
Across the nation but most flagrantly here in the Big Apple, there are
certain to be legions of thoughtless vendors out for no more than some
extra greenbacks, flogging mountains of 9/11 souvenirs and merchandise
to blindsided tourists and perhaps even a few locals who forgot exactly
how horrifying the events of that day were. The rest of the country may
have been genuinely shocked by what they witnessed on the news during
9/11 and the days that followed, but the images seen on a TV, secure in
the comfort of home and hearth, cannot convey the agonizing impact of
what happened here. Yes, other countries have endured nightmarish events
of similar caliber — on a daily basis, no less — but this was the first
time something of such international magnitude struck us here at home
in quite some time, and that’s what really kicked our long-held American
arrogance right up our collective ass, that feeling of “How could they
do this to us? How can this happen here?” and my absolute favorite, “But
we’re Americans! We’re the good guys!”
How soon we forget the atrocities committed by this country and its
various administrations, both within my own meager lifetime and since
the beginning of this nation. My ancestry includes both Native-American
and African blood among the other genetics that make up my own personal
stew, and both of those groups were famously fucked over by the US
government and its people, but many factions these days urge us ethnic
types to more or less shut up and forget it, and be happy about where we
are blessed enough to live.
I love my country but I am in no way blind to what has gone before or at
present, so the situation of ten years past did not necessarily
surprise me, but what does continue to surprise me is the extent to
which the American people — and to be honest, some New Yorkers as well —
have relegated the horrors of 9/11 to an oft-discussed tragedy, but one
that they are not really connected to in an actual, visceral way. It’s
one thing to have the media inform your opinion, but it’s a whole
different animal to have been there for a major catastrophe and relegate
it to the file of sensational events that evoke revulsion one day, only
to become a case of ”Yeah, that really sucked.” In essence, forgetting
it as another disposable news item rather than the globally connective
event that it was.
I, for one, will never forget it, and I hope that I never see anything
else like it for as long as I may be fortunate enough to draw breath.
On the morning of September 11th, 2001, I reported to work at 7am at DC
Comics' Vertigo offices, an early start, yes, but one that facilitated
speaking to the company’s European freelancers without interrupting
their dinners or quality evening times with their families or loved
ones. I immediately got on the phone and called my favorite HELLBLAZER
scribe, Jamie Delano, to hash out the details of getting him a check
that had slipped through the cracks, an unfortunately common occurrence
at the company in question at the time. As I chatted with him and
assured him that I would remedy the situation once the payroll guys
showed up, one of the editors from the collected editions department
burst into my office and told me to switch my computer to the BBC News
live feed; an airliner had crashed into the World Trade Center and one
of the towers was burning and in danger of imminent collapse. Stunned, I
filled Jamie in on what had happened and again promised to take care of
his check as soon as possible. I hung up the telephone and switched to
the online BBC news channel.
I gaped at the monitor as I watched the tower burn and immediately
thought of the people who were within the structure, frightened,
confused, in search of a safe exit, and in many cases flat out dead. As
those thoughts wrapped around my brain, a second plane hit the towers,
and at that moment one cold, jagged inkling leaped to the front of my
consciousness:
THIS IS NO ACCIDENT. THIS IS A TERRORIST ATTACK.
I had no experience with such matters other than through what I saw on
the news, and while I was willing to accept one plane slamming into the
Twin Towers as pilot error or some other such awful happenstance, two
planes making such a collision one after the other was too much of a
coincidence for me to write off as an unfortunate twist of fate, the
odds against such a fluke being beyond astronomical. Sure, I worked in
an industry that thrived from depictions of super-powered set-to’s and
endless scenes of mass destruction, but that shit’s fantasy and
entertainment. Here, for the first time in my life, I was faced with
wholesale devastation for real, and the gravity of the situation
completely rewrote my thinking on such things as the stuff of celluloid
or four-color diversion.
As my mind reeled from what I had just witnessed, before I proceeded any
further I called my mom in Connecticut. I knew that she was one of
those East Coasters who frequented Manhattan but did not really know its
geography, so for all she knew the Trade Center could have been across
the street from where I worked (it was at the bottom end of Manhattan
and my office was in Midtown, across the street from The David Letterman
Show, so it was approximately three miles away). She was still asleep
when I called and had no idea what the hell I was talking about, but I
told her not to worry about me and that communications in the city would
soon be overloaded by people attempting to reach their loved ones. I
then signed off and set about emailing all of the freelancers and anyone
else who might wonder if we’d been caught up in the attack.
Most of my co-workers made it in to work, arriving just before most mass
transit ground to a standstill. The majority of the subway lines shut
down, there were power outages, and then the predicted phone problems
happened, effectively rendering the city incommunicado for the better
part of twelve hours depending on where you were. Needless to say, work
did not happen that day and we all sat or paced in a nauseous, nervous
state of uncertainty, wondering if more planes would plummet from the
air.
After over six hours of being more or less stranded in Midtown, the
subways tentatively began to move once again and we all made our way
home. I entered the B train station right at the steps of where I worked
and found myself deep in a throng that crowded the platform, every one
of us eager to get home and escape the horror that spewed hellish black
smoke only a few dozen blocks away. Three or four trains slowly lurched
in an out of the station before the crowd thinned enough for me to
actually board one, and as I clung to the metal ceiling handle I
surveyed my fellow passengers and found each of them looking back at me
with the same silent question written on their faces: “What now?” That
brief musing came to an abrupt halt as the train shuddered roughly into
motion and bore us downtown, a destination that we dreaded since the
line ran close to what would later be known as Ground Zero.
As the B train approached the stop near the burning towers, there were
long delays as the preceding trains delicately inched their way toward
Brooklyn, gingerly advancing in hope that that the tunnel would not
collapse. Never in my life have I felt such out-of-my-control fear, and I
couldn’t help but flash back to my mother’s rampant claustrophobia, a
condition that has affected her since her father attempted to kidnap her
in a sack and through a window when she was three years old; if she had
been on that train, she would have begun hyperventilating, shaking, and
finally trying to claw her way out of the car like a rat trapped in a
box. (NOTE: the claustrophobia story about my mom is not a gag, but
that's a tale for another posting.)
Passing under the potentially unstable section of street took less time
than I would have thought, and as we left that foreboding underground
hell we emerged onto the elevated track that crossed the Manhattan
Bridge and sat stunned as an unspeakable tableau loomed to our
collective right. You see, the train passed right by the Twin Towers as
part of its route, which I rode every motherfucking day, and as we
surfaced all present beheld a vision straight out of Gustave Doré.
The pristine lower Manhattan cityscape that I had passed for four years
now had a black abscess smack dab in its center, a wound from which
protruded two smoldering stumps of iron and glass, both surrounded by a
multitude of police cars, ambulances, and assorted rescue vehicles, each
with lights blinking and swirling, forcing the onlooker’s attention to
the misery. Thick, blacker-than-black clouds of chemical smoke billowed
heavenward, making the scene look like the largest sacrificial pyre
imaginable (which, let’s face it, it kind of was).
The passengers craned their necks, pressed themselves against the
windows and sat agog, unwillingly mesmerized by the sight. Not a word
was said as we passed the inferno, but the view was reminiscent of a
drive-by attraction at Disneyworld if the designer had been a mass
murdering pussy of an arsonist. The chemical fumes somehow managed to
creep in through the car’s sealed doors and windows, filling us with the
dread certainty that what we were experiencing was so unreal that is
simply had to be real. Not soon enough, the nightmarish display faded
into the distance and we were once more underground in the safety (?) of
the MTA’s underground labyrinth. A commute that normally encompassed
about a half hour one way had been actually and subjectively transformed
into a three-hour trip along the River Styx, and I felt an edginess
that I had never known before.
Upon surfacing at my subway station, I looked northward in the direction
of the once flawless skyline of lower Manhattan — a key selling point
for homes and apartments in Park Slope — and saw the spewing columns
blotting out everything else within view, then noticed some form of
unusual precipitation; thanks to the strong winds debris, ashes, and
burnt office papers fell from the skies like morbid snowflakes,
festooning both sides of the Gowanus Canal with remains that settled all
over parked cars, houses, backyards and citizens on the street. When I
realized that at least some part of those ashes was all that was left of
some of the innocents removed from the human equation by a bunch of
cowardly hijackers, I became stiff as a board, staggered over to the
entrance of the local bath house turned performance space and voided the
contents of my stomach onto the sidewalk. After I had regained my
composure, I headed straight to the corner bodega and bought a case of
beer, then raced to the liquor store on Fifth Avenue for a bottle of the
reliable Jose Quervo tequila, and finally went home to my apartment.
After dropping off my book bag and putting away half of the beer, I went
to the roof of my building, camera at the ready, and found many of my
fellow dwellers at number 647 staring to the north, some in the throes
of great, wracking sobs while others just stood transfixed by something
inconceivable to those of us raised in the over-confident security of a
society that had kicked ass on all comers (yes, I’m leaving Vietnam out
of that one).
Zombified, I snapped pictures of the burning towers until I had
exhausted the disposable camera — pictures that I decided against
developing, and I chucked the disposable camera over the side of my
building — at which point I broke the seal on the Quervo, took a deep
burning swig, and passed the bottle to the others who stood on the roof
bearing witness. As the amber cactus squeezings incinerated their way
down my gullet, I washed them down with one beer, then another, and
ended up sitting cross-legged on the roof trying to make sense of the
whole thing. Then a huge joint was stuffed into my mouth by another
resident and I inhaled for all I was worth. “Fuck it,” I figured. ”This
is the first volley of the end of the world, and there’s NO FUCKING WAY
I’m facing it sober!” The other-than-nicotinal effects mingled with the
fermented goodness to create a feeling of hoodoo comfort and I willingly
surrendered, somehow eventually ending up safe in my bed, where I awoke
the next afternoon, which turned out to be a day off from work for
obvious travel and emotional reasons for the company’s entire staff.
The moment I awoke I turned on the TV and sifted my way through
countless takes on what had happened and a nearly endless amount of
video footage from Ground Zero and the surrounding areas. It was several
hours later when I caught up on all of my friends who lived and worked
in Manhattan and found all of them to be basically okay, although some
soon showed signs of post-event trauma such as a formerly brown head of
hair turning silver, and one healthy person in his early forties
developing the first sign of what would turn out to be testicular
cancer. Both people had made their way out of the great cloud of debris
when the second tower collapsed, so the gods only know what the fuck
they inhaled or absorbed through physical contact, but they are both
thankfully okay now.
When I returned to work, the morale of the whole place was quite
understandably fucked up and very little work was accomplished, but we
all were grateful for our own miserable lives and sickened that so many
innocents had senselessly perished in what was in my humble opinion a
clear case of the chickens coming home to roost. I resumed my usual
duties and checked in with the international talent who needed to be
called, and one of our artists, a guy who lives in Croatia, forever
cemented my understanding of how the rest of this world looks at such
events. As I told him of what I’d seen he didn’t say a word, and when I
had finished I was greeted with a very long silence. As the long
distance hush stretched on I said,”Goran? Dude, are you there?” He
cleared his throat after an audible drag on a smoke and said, “Bunche…I
know you’ve just seen something really, REALLY horrible, but I live in
Croatia, man. Similar shit happens all the time here, and the worst part
is, YOU GET USED TO IT.”
Sure as hell put me in my motherfucking place, let me tell you that fucking much.
So while we all take time out to remember and mourn for those lost or
affected by 9/11, let us also channel as much positive energy as we can
into the ether in hope of man someday overcoming his seemingly ingrained
need to kill his fellow man for what are more often than not the most
idiotic of reasons. Tolerance is a bitch thanks to the fact that we all
possess some attribute, belief or behavior that drives someone else
barking mad, but we've got to start trying to deal with each other if we
don't want to see all that our ancestors strove and bled for washed
away in a tsunami of ignorance and violence.
And that’s all I have to say on the subject. Hopefully I will not have
any need to bring this up again in the foreseeable future, but here’s my
multi-point, possibly bottom line on the subject, and then I’m out:
1. WAR FUCKING SUCKS. DO NOT FORGET THAT. It is wasteful of lives
and everything else, so avoid it whenever possible. When innocents,
women, and especially children are killed there is simply no excuse,
despite what your country’s administration may tell you.
2. THE DEHUMANIZATION OF OTHER PEOPLES AND CULTURES IS UNACCEPTABLE. See above.
3. THINK FOR YOURSELF AND DO NOT LET THE MEDIA — even well-meaning li’l ol’ me — OR YOUR GOVERNMENT TELL YOU OTHERWISE.
4. REMEMBER WHAT RICHARD PRYOR HAD TO SAY ON THE SUBJECT OF WAR IN GENERAL: “COMING BEATS HAVING A WAR.”
So get the hell out there, get your hump on, and stop all of this
madness, for fuck’s sake! In this world, you are just a guest, so make
the stay pleasant for all people.
Thank you for your time. And never forget to make love, not war. For all our sakes.
-Yer Bunche
Thursday, September 1, 2022
ROCKIN' BONES: CRAMPSOLOGY 101
From 2009.
Dear readers-
As
I conduct a one-man tequila-soaked wake for Lux Interior, my mourning
is accompanied by the Cramps' A DATE WITH ELVIS, my favorite of their
albums, and it reminded me of this article I wrote a couple of years
back. This is the perfect layman's guide to the Cramps' musical catalog,
so use it well.
After
my spiritual revivification at the Cramps show last week, I have
launched into a near nonstop aural diet of the group’s albums,
recordings that I have devoured both on vinyl and CD for over
twenty-five years, and I never get sick of them. However, despite my
fervent adoration of the Cramps I am aware that their peculiar brand of
lysergic swampbilly is a bit of an acquired taste for some listeners, so
this post is here for the novice, a guide to over a dozen albums and
pointers on the best tunes that each has to offer. So let us begin,
shall we?
GRAVEST HITS EP (Illegal, 1979)
Tracks:
Human Fly
The Way I Walk
Domino
Surfin’ Bird
Short and sweet, GRAVEST HITS is the perfect introduction to the band
with “Human Fly” immediately setting the edgy, psychotronic tone. The
remainder of the album consists of covers but the intent is highly
infectious and there’s not a dud in the bunch. All of these tracks turn
up again on subsequent releases — get used to some serious track
redundancy from here on out — and this album has been paired with
PSYCHEDELIC JUNGLE on CD, so go straight for that if you want to pick up
GRAVEST HITS. The only thing that saddens me about the CD being
repackaged is that they put GRAVEST HITS on as the second half of the
CD, thereby killing the discovery of a “new,” sinister sound. But that’s
not to say that PSYCHEDELIC JUNGLE lacks merit, but I’ll get to that
later.
SONGS THE LORD TAUGHT US (Illegal, 1980)
Tracks:
TV Set
Rock On The Moon
Garbageman
I Was A Teenage Werewolf
Sunglasses After Dark
The Mad Daddy
Mystery Plane
Zombie Dance
What’s Behind The Mask
Strychnine
I’m Cramped
Tear It Up
Fever
CD EXTRAS:
I Was A Teenage Werewolf (with false start)
Mystery Plane (previously unreleased original mix)
Twist And Shout (previously unreleased)
I’m Cramped (previously unreleased original mix)
The Mad Daddy (previously unreleased original mix)
This first full length LP gets off to a great start with the classic “TV
Set,” a seriously rockin’ ditty about a guy who has dismembered his
girlfriend and put her components to interesting uses around the house,
but the rest of album is a bit of a mixed bag. The indisputable gems on
this one include “I Was A Teenage Werewolf,” “Garbageman,” “The Mad
Daddy,” “Mystery Plane,” “Zombie Dance,” and inspired covers of
“Strychnine,” “Tear It Up,” and “Fever,” the last one being the only
version of that oft-covered chestnut that I can listen to anymore. With
the exception of “Twist And Shout” (an original composition by Lux and
Ivy, not a cover of the Isley Brothers classic), the CD extras are
nothing to write home about, so check them out only if you are the most
rabid of diehards.
PSYCHEDELIC JUNGLE (IRS, 1981)
Tracks:
Green Fuz
Goo Goo Muck
Rockin’ Bones
Voodoo Idol
Primitive
Caveman
The Crusher
Don’t Eat Stuff Off The Sidewalk
Can’t Find My Mind
Jungle Hop
The Natives Are Restless
Under The Wires
Beautiful Gardens
Green Door
Paired as the lead-in to GRAVEST HITS on CD, PSYCHEDELIC JUNGLE is
strong meat indeed and it would take the band five years to come up with
another full-length work, let alone one as good as this. The two
weakest tracks, “Voodoo Idol” and a forgettable cover of “Green Door,”
can be skipped over and considered no great loss, but the rest of the
album is a prime example of a band really finding its voice, most
memorably in the bizarre “Don’t Eat Stuff Off The Sidewalk” and the last
song I would ever want to hear if I’d been slipped some bad acid,
“Beautiful Gardens.” A clear winner and definitely one of the Cramps’
best efforts.
OFF THE BONE (Illegal, 1983)
Tracks:
Human Fly
The Way I Walk
Domino
Surfin’ Bird
Lonesome Town
Garbageman
Fever
Drug Train
Love Me
I Can’t Hardly Stand It
Goo Goo Muck
She Said
The Crusher
Save It
New Kind Of Kick
CD Extras:
Good Taste (live)
Uranium Rock
Eight of the tracks found here have been recycled from earlier releases,
rendering this disc pretty much disposable if not for the inclusion of
the exceptional “New Kind Of Kick,” and while the other new tunes are
okay, this album is basically a ripoff.
SMELL OF FEMALE (Big Beat, 1983)
Tracks:
Thee Most Exalted Potentate Of Love
You Got Good Taste
Call Of The Wighat
Faster Pussycat
I Ain’t Nuthin’ But A Gorehound
Psychotic Reaction
CD Extras:
Beautiful Gardens (live)
She Said (live)
Surfin’ Dead
Too short for its own good on vinyl and extended with two more live
tracks and a single recorded for the film RETURN OF THE LIVING DEAD for
the CD release, this is a fun live set recorded at NYC’s legendary
Peppermint Lounge (former home of Joey Dee and the Starlighters, the
guys who gave the world “The Peppermint Twist” back in the early
1960’s). The sound is great and the audience enthusiasm is clearly
present, but the energy found at a live Cramps performance is oddly
absent. Such, however, is not the case on the mind-boggling live
rendition of “Tear It Up” found in the film URGH! A MUSIC WAR, which
exists on the double-LP soundtrack, and the hard to find CD release of
the same. It’s worth tracking down not just for the Cramps; the album
features fantastic live cuts by Devo, the Go-Go’s, Wall of Voodoo, and
many other bands just before they scored big league success.
BAD MUSIC FOR BAD PEOPLE (IRS, 1984)
Tracks:
Garbageman
New Kind Of Kick
Love Me
I Can’t Hardly Stand It
She Said
Goo Goo Muck (single mix)
Save It
Human Fly
Drug Train
TV Set
Uranium Rock
Yet another festival of repackaging, this is at least more consistent in
rockin’ content than OFF THE BONE and works well as a party album (if
you can get away with putting this kind of stuff on a party, that is).
A DATE WITH ELVIS (Big Beat, 1986)
Tracks:
How Far Can Too Far Go?
The Hot Pearl Snatch
People Ain’t No Good
What’s Inside A Girl?
Can Your Pussy Do The Dog?
Kizmiaz
Cornfed Dames
Chicken
(Hot Pool Of ) Womanneed
Aloha From Hell
It’s Just That Song
Hands down, this one gets my vote as The Cramps’ finest hour. Flagrantly
raunchy and sex obsessed, this is a mid-Eighties distillation of
exactly what scared the shit out of parents in the Fifties when “race
music” first reared its ugly head and just might corrupt Biff and
Princess. Taking a break from their more psychotronic and creepy
leanings and opening appropriately by asking the musical question “How
Far Can Too Far Go?,” the album goes on to answer that query in a
balls-out, knock down, drag out and frequently hilarious tour de force
that stood little chance of getting any commercial airplay. Firing on
all cylinders, everything clicks perfectly this time around; the lyrics,
Lux’s rockabilly hiccup delivery, Ivy putting her all into the guitar
work in a way that only a woman who’s in on the smutty joke could,
thereby rendering it that much dirtier (and better), all of which is
served up with tongue firmly in cheek. There are those who champion
PSYCHEDELIC JUNGLE for its early purity, but in my opinion if you choose
to buy only one Cramps album, I say go with this one. You will NOT be
disappointed.
ROCKINNREELININAUCKLANDNEWZEALAND (Vengeance, 1987)
Tracks:
The Hot Pearl Snatch
People Ain’t No Good
What’s Inside A Girl?
Cornfed Dames
Sunglasses After dark
Heartbreak Hotel
Chicken
Do The Clam
Aloha From Hell
Can Your Pussy Do The Dog?
Birdfeed
CD Extras:
Lonesome Town
Adding three tracks on the CD to supplement the LP material, this
recording from Down Under is by far the better of the two Cramps live
albums. Mostly featuring songs from A DATE WITH ELVIS (so you can’t go
wrong), this is a lot of fun and definitely a keeper.
STAY SICK! (Enigma, 1990)
Tracks:
Bop Pills
God Damn Rock ‘N’ Roll
Bikini Girls With Machine Guns
All Women Are Bad
The Creature From The Black Leather Lagoon
Shortnin’ Bread
Daisys Up Your Butterfly
Everything Goes
Journey To The Centre Of A Girl
Mama Oo Pow Pow
Saddle Up A Buzz Buzz
Muleskinner Blues
Her Love Rubbed Off
Her Love Rubbed Off (live)
Bikini Girls With Machine Guns (live)
Sounding slicker than ever (and for this band I don’t think that’s
necessarily a good thing), STAY SICK! is not without its moments — the
highlights being “God Damn Rock ‘N’ Roll,” “Bikini Girls With Machine
Guns,” “All Women Are Bad,” and “The Creature From The Black Leather
Lagoon” — but the bulk of this release is simply mediocre. Apparently, A
DATE WITH ELVIS was a tough act to follow. Oh, and try to track down
the 12-inch single of “Bikini Girls With Machine Guns” for the superb
and frameable movie poster-sized foldout of a howling Poison Ivy as one
of the title characters.
LOOK MOM NO HEAD! (Vengeance, 1991)
Tracks:
Dames, Booze, Chains And Boots
Two Headed Sex Change
Blow Up Your Mind
Hardworkin' Man
Miniskirt Blues
Alligator Stomp
I Wanna Get In Your Pants
Bend Over, I'll Drive
Don't Get Funny With Me
Eyeball In My Martini
Hipsville 29 B.C.
The Strangeness In Me
Wilder Wilder Faster Faster
Jelly Roll Rock
Taking the slickness factor up a few notches, the band experiments here
with a “harder" sound and a beat that hits you in the face like a
slightly wet leather glove wielded by a dominatrix suffering from raging
PMS. However, while quite listenable, this album is largely a
place-filler until the next release.
FLAMEJOB (The Medicine Label, 1994)
Tracks:
Mean Machine
Ultra Twist
Let’s Get F*cked Up
Nest Of The Cuckoo Bird
I’m Customized
Sado County Auto Show
Naked Girl Falling Down The Stairs
How Come You Do Me?
Inside Out And Upside Down (With You)
Trapped Love
Swing The Big Eyed Rabbit
Strange Love
Blues Blues Blues
Sinners
Route 66 (Get Your Kicks On)
Slightly better than the previous disc, FLAMEJOB tones down the
overproduction and returns to the crunchy tones that worked for them in
the first place, but by this point it’s pretty plain to see that the
band continues to tread water. Sure there are highlights like the
excellent “Sado County Auto Show” and “Naked Girl Falling Down The
Stairs” (a strange tribute to Marcel Duchamps), but it’s still just more
of the same.
BIG BEAT FROM BADSVILLE (Epitaph, 1997)
Tracks:
Cramp Stomp
God Monster
It Thing Hard-On
Like a Bad Girl Should
Sheena's in a Goth Gang
Queen of Pain
Monkey With Your Tail
Devil Behind That Bush
Super Goo
Hypno Sex Ray
Burn She-Devil, Burn
Wet Nightmare
Badass Bug
Haulass Hyena
Confessions of a Psycho Cat
No Club Lone Wolf
I Walked All Night
Peter Gunn
Bouncing back from the previous album, BIG BEAT delivers a lot more than
expected, with much of the album rockin’ out hard. “God Monster,” “Like
A Bad Girl Should,” “Devil Behind That Bush,” and especially “Haulass
Hyena” make this one worth checking out. Not a return to glories past,
but a decent listen nonetheless.
FIENDS OF DOPE ISLAND (Vengeance, 2003)
Tracks:
Big Black Witchcraft Rock
Papa Satan Sang Louie
Hang up
Dr. F**ker M.D. (Musical Deviant)
Taboo
Fissure Of Rolando
Elvis F**king Christ
Owee Baby
Color Me Black
Mojo Man From Mars
She's Got Balls
Dopefiend Boogie
One Way Ticket
Considering how long in the tooth they are, I’d place a solid bet on
this turning out to be the Cramps’ swan song, and as such it’s a
surprisingly solid coda. Still romping through familiar territory, the
Cramps perform here like grandpa with a fresh refill on his Viagra
prescription, stirring life back into a once-vital rock ‘n’ roll Johnson
and embarking on one last trip to the whorehouse. This one plays like
the consistently-conceived whole that it is, making it the first release
since A DATE WITH ELVIS that can be listened to without skipping any of
the tracks. It’s all pretty good, but I have to give special props to
“Big Black Witchcraft Rock,” and the charmingly offensive/ridiculous
“Elvis F**king Christ.”
HOW TO MAKE A MONSTER (Vengeance, 2004)
Tracks:
Quick Joey Small
Lux's Blues (Instrumental)
Love Me
Domino
Sunglasses After Dark
Subwire Desire
TV Set
Sunglasses After Dark
I Was a Teenage Werewolf
Can't Hardly Stand It
Sweet Woman Blues
Rumble Blues (#)
Rumble Blues (False Start)
Rumble Blues
Rumble Blues
Lonesome Town
Five Years Ahead of My Time (Demo Version)
Call of the Wighat (Demo Version)
Hanky Panky (Demo Version)
Journey to the Center of a Girl
Jackyard Backoff
Everything Goes
All Women Are Bad (Demo Version)
(Untitled Hidden Track)
Don't Eat Stuff Off the Sidewalk (Live)
I Was a Teenage Werewolf (Live)
Sunglasses After Dark (Live)
Jungle Hop (Live)
Domino (Live)
Love Me (Live)
Strychnine (Live)
TV Set (Live)
I'm Cramped (Live)
Way I Walk (Live)
Love Me (Live)
Domino (Live)
Human Fly (Live)
I Was a Teenage Werewolf (Live)
Sunglasses After Dark (Live)
Can't Hardly Stand It (Live)
Uranium Rock (Live)
What's Behind the Mask (Live)
Baby Blue Rock (Live)
Subwire Desire (Live)
I'm Cramped (Live)
TV Set (Live)
Definitely lending credence to my theory that their studio days are most
likely over, this two-disc outing is a massive compilation of rare
tracks, demos, live stuff, and just about anything else that could be
exhumed, and is recommended for hardcore fans only, and perhaps not even
then. At this point in their career a “best of” collection would seem
to be in order, but having already repackaged much of their early output
far too many times to get away with it yet again, a rummage sale of an
album such as this may have been the only viable option. Of wildly
varying quality and questionable necessity, the only saving grace of
this album is an indispensable book chronicling the band’s history as
told by Lux and Ivy themselves.
So there you have it, an unbiased-as-possible look at one band’s
discography from a fan who has proven to be as diehard as the group
itself, so take my recommendations if you feel so inclined. If not, then
crawl face down into the nearest swamp and die, making sure your ass is
above water so a rockabilly zombie can drop by for a cold one.
BY WAY OF PROOF
From 2008.
Every now and then I'm asked by friends, relatives, co-workers and the occasional total stranger what I would look like if I ever deigned to dress up all nice 'n' purty for a formal occasion. It's an understandable question as I spend most of my time attired in an assortment of black t-shirts or shirts adorned with various punk rock and metal band art and logos, paired with blacks jeans, black shoes (sometimes Japanese tabi) and a (surprise!) black karate gi, but when I do have to dress up I do so in style. I'm very far from being the picture of sartorial elegance by anyone's estimation of such things so the existing photographic proof of me rockin' an outfit that would not have outraged the late and esteemed Mister Blackwell is rather limited, but here's a shot of me and my buddy Hughes at our pal Eddie's wedding a few years back.
THE RIBALD SONGBIRD STRIKES AGAIN
From 2007.
In
a scenario nearly identical to the last time I wrote about my habit of
befouling innocent oldies, yesterday I had the TV on and there was
another one of those half-hour Time-Warner oldies compilation ads, only
this time under the title FLOWER POWER, featuring a compendium of — you
guessed it! — songs encompassing the hippie era (which the packagers see
as having occurred betwen 1967 and roughly 1973) as hosted by a
Jurassic Peter Fonda and some unknown blonde who was swimming around in
her daddy's balls when EASY RIDER came out.
As the songs began to stream into the air, complete with accompanying
footage of mud-covered hippies with beards a-flyin' and no bras — that
was just the guys — and the groups on various shows like OLD GRAY
WHISTLE TEST, my evil urges took hold of me and in no time "San
Francisco" ended up as "Are you blowin' in San Francisco?," "Turn, Turn,
Turn" became "O'er everything sperm, sperm, sperm," the New Seekers'
treacly "I'd Like To Teach the World To Sing (In Perfect Harmony)"
degenerated to "I'd like to teach the world to fuck, and make
pornography," and even Lobo's innocuous — and stupid — "Me and You and a
Dog Named Boo" found new filthiness as "Me and You Fucked a Dog Named
Boo," a song vastly improved by the substitution a one single word.
And Steppenwolf's epochal "Born To Be wild" felt the wrath in a
shortened version created by myself, with assists from John Bligh and
Keith Karchner, a few years back. For your edification, here's the long
version:
Getcher colon runnin'/Sittin' on the toilet
Gonna make a doody/And ain't nothin' gonna spoil it
Ex-Lax is gonna make it happen
Turn the bowl to a bombed-out space
Fire volleys of fecal schrapnel
All over the place!
Like a true coprophile
I was born, born to defile
Make a pile so high
It's gonna
Touch the sky!
Born to defiiiiile!!!
I dunno why, but that stuff just makes me smile. Aah, maturity...
THE RIBALD SONGBIRD
From 2007.
Time-Life
has packaged many fine — though pricey — collections of music honoring
many genres over the years, and the television spots for those
collections backs in the days used to offer just enough of a snippet of a
song to ring the bells of memory. These days we get half hour
infomercials that usually haul out some now-forgotten hitmaker of yore,
such as Fabian or Gary Puckett, and dump them on some "nostalgic" set
representing a malt shop or "lover's lane," the kind of location that
was pretty much rendered extinct by Viet Nam, LSD, the Women's Movement,
the Pill, and disco. The former star would then cloyingly spew on and
on, yes-manned by some co-host that you've never heard of, about "the
good old days"and the songs that were the soundtrack to a more innocent
time, his comments punctuated by ancient footage of pop artists and teen
idols lip-synching their hits on shows like AMERICAN BANDSTAND,
SHINDIG, and HULLABALOO.
My formative years came during the ass-end of that fading era, and the
first wave of rock 'n' roll nostalgia hit the mass media with a
vengeance, bombarding the airwaves with ads for "golden greats," ads
played with such heavy rotation that even now people my age can recite
them at will, complete with the song clips sung in fair approximation.
It was during those years that I developed my love for pre-Beatles rock,
appreciating its simplicity and semi-primitivism (or full-blown
primitivism in the case of stuff like "Surfin' Bird" or "The Crusher"),
and loving it for the ease with which it could be warped into outright
filth. People have dirtied-up popular songs since the second that humans
began to sing, and there's just something about the cheeriness of pop
that makes many folk, such as yours truly, find great pleasure in
ruining the innocence of such tunes, forever robbing them of any decency
when heard again. Knowing that, it's no surprise that two of my
all-time favorite recording artists are masters of the form, namely
Blowfly and John "Dr. Dirty" Valby, a two-man Four Horsemen of the
Apocalypse whose musical stylings lay smoking waste to the songs they
wrap their dirty little minds around. Blowfly even got his nom du filth
back in the early 1960's for turning Chubby Checker's innocent "Come on,
baby! Let's do the Twist!" into "Come on baby! And suck my dick!" after
which a relative told him, "Boy, you nastier than a blowfly!"
I am certainly guilty of this peurile habit, a behavior that has become
so ingrained within me that I almost cannot listen to any Top 100 song
recorded between 1954 and 1995 without coming up with a dirty version
almost instantaneously. My dear friend Wendy is a self-professed "pop
queen" whose musical tastes run toward mainstream and popular songs, and
when she lived close by and we hung out all the time I couldn't help
but to mangle her favorite songs with gleeful gusto. I did this so often
during our day-to-day association that the habit began to rub off on
her to a small degree, her memories of the real lyrics now suffused with
gratuitous usages of "dick," fuck," "pussy," and "shit," a state that I
can assure you resulted in me getting yelled at.
This wretched affliction also hobbles the maturity of my pals John,
Keith, and most especially Hughes, a Bronx-born Irish lunatic who
besmirches his people's gift of song and poetry with a lightning-swift
and utterly hilarious knack for extemporized filthy lyrics. During the
two decades that I've known these idiots, we've cracked each other up
with many a soiled version of familiar favorites, but Hughes still
claims the prize with his desecration of the chorus to "Jack and Diane,"
which posits:
Oh, Yeah/Cream comes out
Out of my dick/Like a water spout
Most pop music isn't meant to be great art; it's meant to be a catchy
little ditty that sticks with you for a while, maybe even becoming a
favorite, but in terms of true merit much of it is aural junk food. You
can enjoy pork rinds, but it sure as hell ain't prime rib, so I say why
not have fun with the junk food that you ingest and retool it to be
even more fun? I'm certain that Hughes would concur.
That point was driven home over this past weekend when I watched a
half-hour infomercial for MALT SHOP MEMORIES, a compendium of 150
classic radio hits from roughly 1957-1966, and as I puttered around the
Vault I left the ad on for noise, enjoying the oldies and after a while
succumbing to the siren-call of smut. I swear I didn't do it
intentionally, but I must have been spewing forth filth for about three
or four songs when I realized I had added new lyrics to The Tokens' "The
Lion Sleeps Tonight;" as the grainy footage of the singer performing
that number flickered on my TV screen I let fly with "In the jungle, the
mighty jungle, your mother sucks my cock!!!" all the while imagining
the guy actually performing it as such on live 1950's television. With
that realization I stopped washing the dishes, sat down in front of the
tube, and awaited each oldie so I could have fun with my little game.
The Angels' "My Boyfriend's Back" became "My boyfriend's Black, and he's
got a monster penis! Hey-La, Hey-La! My boyfriend's Black!" Mark
Dinning's sappy death-rock classic "Teen Angel" was corrupted into "Porn
Angel, can you fuck me?" The Righteous Brothers' classic "You've Lost
That Lovin' Feelin'" blurted forth as "Your Pussy's Got No Feeling."
"Goin' Out of My Head" turned into "Jerkin' off in my bed/Over you!!!"
And so it went, my juvenile juices firing on all cylinders.
When the infomercial was over I decided to eventually purchase the
collection and re-sharpen my MAD magazine by way of GG Allin talents
with gusto, all in anticipation of someday passing on my tasteless hobby
to my yet-to-be-born progeny. One of my favorite childhood memories is
from when I was about seven years old and my dad recited a version of
"The Midnight Ride of Paul Revere" that must have been handed down to
him via an oral tradition, and that version of that epic tale of
vigilance and patriotism was rewritten to feature Revere's urgent need
to take a shit, culminating in "the fifty-yard dash to the toilet seat."
That shared moment of naughtiness, okay under certain family
circumstances, was wonderful and I can't wait to encourage my own little
ones to the nadir of immature bad taste.
Now all I have to do is come up with a nasty version of "Freebird."
Perhaps "Free Turd," an anthem about feeling as free as a
freshly-deposited, size of a "kid's day" souvenir baseball bat doody...
Let's see:
Well, I'm free as a turd now
And this turd is smellin' strange
Yep, I'm on the right track.
And have any of you out there in the internet ether ever felt the call
of the Ribald Songbird? Please write in with any such offerings you may
recall, especially those passed on by irresponsible parental units and
other risque relatives.