Today is as good as any for a mind-fuck so the FAM is proud to present 2006’s A Scanner Darkly directed by Richard Linklater and featuring a rotoscoped cast headed up by Keanu Reeves who stars as Bob Arctor, a member of a household of drug users. Arctor is also known as Fred. This is the name he goes by at work, where he is an undercover police agent assigned to the household in order to discover the source of a new drug called Substance D. Fred has, in the course of his investigation, become addicted to Substance D as well and soon his surveillance focuses on one person: Bob Arctor.

And so it goes in A Scanner Darkly. Adapted from the 1977 novel of the same name by the late, great Philip K. Dick, one of his most personal work, in many ways a record of his drug experiences in the 70s. Twisting and turning, it is also one of his most complex, a labyrinth of alter egos where people are hidden from even themselves. Linklater handles all of this with aplomb, putting together a movie that deftly trumps its source in plot presentation. As much as I have always liked A Scanner Darkly it oftentimes trips over itself in explaining events, making for more than a few passages that require multiple readings in order to suss out.

Despite any problems with plotting, it remains one of Dick’s saddest works, and one of the few novels in which he goes out of his way to create real characters with a modicum of depth. The man, for all his brilliance, never put much importance on the people that inhabit his worlds; they function merely as tour guides, escorting the reader through the fantastic universes he has created. But the story of Arctor/Fred, perhaps by dint of it being a roman à clef, manages to overcome this proclivity and in doing so presents a powerful tale of paranoia and profound loneliness.

The fate of Arctor, used, abandoned, and broken, was one that Dick witnessed far too often and he channeled that hurt and anger into a story that sets its sights on both sides of the drug debate. It is most telling, then, that in his afterward, in which he lists people he has known who have suffered serious permanent physical, mental damage, or death from drug use he lists himself as well. It is just as sad that this list, included in the ending credits of Linklater’s film, had a name added to it. The story of A Scanner Darkly never really ends.

Saved for a rainy day or, decease in this case, cheap one in a long line of bitterly cold days, thumb I present for your inspection, these animated promos for two Parliament-Funkadelic albums, the surprisingly literal The Motor Booty Affair and Funkentelechy Vs. The Placebo Syndrome. P-Funk always had a great sense of mythology in their music, meaning that both Dr. Funkenstein and his arch-nemesis Sir Nose D’Voidoffunk are in attendance here; more like the chapters of a sci-fi serial than albums. They appear almost alien in contrast to the slick, overproduced (and quite limited) promos that are shown on, say, MTV between episodes of People Acting Awful Towards One Another.

Photo by Ben McCormick

Singer-songwriter Vic Chesnutt intentionally overdosed on muscle relaxers, lapsed into a coma and died Christmas morning, aged 45, in his hometown of Athens, Georgia. A memorial service was held for him today.

Many are devastated, some are angry, few seem surprised. In addition to his physical impediments (he’d been wheelchair bound since 1983 when a drunk-driving accident left him paralyzed from the waist down with limited use of his hands and arms), Chesnutt struggled his entire adult life with crippling depression. He channeled this anguish into writing raw, unflinching songs that tackle the pain of the human condition head on, often with a wicked sense of humor.

His scrappy authenticity garnered the love and respect of a wide variety of fellow musicians, from Jeff Mangum to Michael Stipe to Patti Smith. His band lineups over the years included members of Fugazi, Godspeed You! Black Emperor, Elf Power, Throwing Muses, and more.

In 1996, Garbage, Smashing Pumpkins, REM, Sparklehorse, the Indigo Girls and others covered Mr. Chesnutt’s songs for Sweet Relief II: The Gravity of the Situation, a tribute album benefiting a foundation that raises funds to help pay the medical bills of uninsured musicians.

(via)

It was, needless to say, a cause close to the decedent’s heart. There can be no doubt that Chesnutt’s ongoing struggle to pay off Sisyphean medical costs contributed to his despair. He’d recently been served with a lawsuit filed by a Georgia hospital after accruing surgery bills totaling over $70,000. He couldn’t afford more than hospitalization insurance, and was no longer able to keep up with the payments. From an interview with the LA Times earlier this month:

I really have no idea what I’m going to do. It seems absurd they can charge this much. When I think about all this, it gets me so furious. I could die tomorrow because of other operations I need that I can’t afford. I could die any day now, but I don’t want to pay them another nickel.

What a nightmare. Now is not the time to get into a political discussion about health care reform in the United States (actually, no, strike that– it’s probably the perfect time… I just don’t personally have the stomach for one at the moment) but it’s worth at least acknowledging that the horrific plight of the uninsurable is one faced by untold millions of far less luminary –and conflicted– Americans than Vic Chesnutt.

Chesnutt’s good friend Kristin Hersh has set up a tribute page accepting donations. 100% of that money will go to his family.

RIP.

Film courtesy of Syndicate of Human Image Traffickers.

Many of us across the Coilhouse nation dream of becoming full-time artists, and some of us actually become so, but few follow our vision as fearlessly as Jack Terricloth.  Jack never learned any marketable skill like speed typing or graphic design or computer programming.  He’s never had a “Plan B” of any kind whatsoever.  He just jumped out his window and – wooosh! – he started flying.  While most of us were in college, Jack was a full-time punk rocker. In fact, he never even bothered to graduate from high school. What would cause an abundantly gifted, middle class kid from a stable family to behave so recklessly? Why wasn’t he disciplined by a fear of falling through the social safety net?

While our current global economic bust forecloses conventional career options for many of us, it’s also an opportunity to change consumption patterns and general complicity with an economic order that is clearly unsustainable in the long run. Will the economic downturn lead more people to unconventional lives or will it make us ever more desperate to fit into the economic system? Will global recession be good news for the planet and for making art? Is this the best time to follow Timothy Leary’s advice: “Turn on, tune in, drop out”?  Likewise, as file sharing rings the death knell of the music industry, will we see less mass-orchestrated pop sensations? Will musicians be more inclined to self-expression and artistic exploration once they no longer have the temptation to sell out?

Jack on the beach in Spain. Photo courtesy of the World/Inferno.

I first met our man o’ cloth way back in 1991, while I was working at Reconstruction Records, an all-volunteer punk record store in New York’s East Village. Back then, Jack was a snot-nosed teenager living under an assumed name with more than assumed parents in suburban New Jersey and fronted the band, Sticks and Stones. With Jack at the helm, Sticks and Stones restlessly explored new musical terrain – hardcore, punk, goth, techno, pop – until 1995, when his bandmates told him that they would go no further.  Undeterred, Jack started the current cabaret revival by assembling the World/Inferno Friendship Society.  The World/Inferno has since also explored a smattering of Northern Soul, pop, klezmer, and African-American spirituals. Now, several albums and scores of tours later, the World/Inferno has embarked in a more ambitious direction. They have integrated theater into their live performance in a production titled: Addicted to Bad Ideas: Peter Lorre’s Twentieth Century. Doubtless, their tour will inspire some imitators, but there ain’t nothing like the real thing, baby.

We are going to get right into it because you and I both know that there are copies to be made and collated A.S.A.P. As in As Soon As Possible. As in by 10 minutes ago.

The Naked Lunch is a mess of a novel which, I suppose, was the point. William S. Burroughs’s most famous work, made possible by the cut-up technique he championed* was decried as pornographic when it was published in Paris in 1959. It wasn’t published in the U.S. until 1962 where an obscenity trial was held for it and it was banned by courts in Boston, though the Massachusetts Supreme Judicial Court overturned that ban in 1966. What The Naked Lunch is about is hard to say. There is a man named William Lee. He is an Agent. There are strange, far off places with names like Interzone and Freeland. There is a lot of sex of many varieties, centipedes, drugs, pedophilia, and Mugwumps. Somewhere in all this is satire. Mostly, it is nonsense.

And yet, it is interesting nonsense which is the key to its enduring legacy and the reason that David Cronenberg decided to make a movie out of it in 1991 starring Peter Weller, pulling an excellent Burroughs imitation. Also mixed in there are Ian Holm, Judy Davis and a crazed cameo by Roy Scheider. Naked Lunch does its best to make some kind of narrative out of Uncle Bill’s series of vignettes by filling in many of the gaps with snippets taken from Burroughs’s life, meaning we get to meet fellow Beat writers Alan Ginsburg and Jack Kerouac in the forms of Bill’s friends Martin and Hank. It also features the infamous “William Tell routine” which resulted in Burroughs shooting and killing his common-law wife, Joan Vollmer Burroughs née Adams, in 1951 for which he would spend 13 days in jail and eventually receive a suspended 2 year sentence, in absentia.

Luckily, the novel contains a plethora of just the kind of body horror material that so appealed to Cronenberg before 2002’s Spider. Fluids, orifices, and gruesome transformations are in gleeful abundance and the end result is a film that keeps the hallucinatory vision of the novel while adding a narrative anchor to keep it from completely floating away. Also, it helped to insure that, should one ever have to name a foreign rent-boy for their novel, short story, movie, whatever, it will always be Kiki. Always.

*This is not true, as pointed out by Ben Morris in the comments. While it is considered part of Burroughs’s cut-up period it was not produced using this method, a method Burroughs became acquainted with only after the publication of “The Naked Lunch”, meaning that Burroughs required no special technique to write a confusing mess of a book.

Is it even necessary to discuss the utter insanity of Japanese media? I mean by this point I think it has been firmly established that, to the Western sensibility, their commercials are bat-shit crazy; 30 second recordings of spectacularly horrible acid trips. The Japanese version of Mad Men would require the talents of David Lynch and Takashi Miike working in concert. To stare into the mind of the ad man of the Far East is to stare into the face of God. We blink, for our feeble brains cannot process its wonder.

This ad for Dole bananas is no different. The Dole Banana Man struts down the street as people accost him; demanding satisfaction, which he obliges. A woman sitting on a bench despondent, it seems, from a lack of bananas. Not for long, however, as the Dole Banana Man comes upon her and, smiling at the camera, his bananastache atwitter, he bestows on her a bounty of fruit sprayed forth from one nostril; a potassium rich snot-rocket. In doing so he joins the ranks of other, food-bestowing characters like the Cheese Man who shills for Nissin, assaulting people in their homes in order to add cheese to their cups o’ curry. He even has a love interest now. No doubt Dole will do the same and give the Dole Banana Man a female counterpart; someone who he can grope with his sweet, fleshy digits.

I fear what the future holds.

Via DJ Dead Billy, who says “if only L RON would’ve delved into anime!” Think of the possibilities.

That cute and cuddly bearded fellow you’re watching in the above clip is none other Shoko Asahara, founder of Aum Shinrikyo (Supreme Truth), the infamous Japanese Buddhist/Christian cult obsessed with psychedelics, yoga and apocalypse. They’re now known as Aleph. Guess they felt like they had to change their name after receiving a smidge of bad press back in 1995, when a group of their members released sarin nerve gas into Tokyo’s subway system, killing twelve people and sending thousands more to the hospital.

Yeesh! Asahara with the Dalai Lama, sometime in the late 80s. This was a while before Aum Shinrikyo’s terrorist activities, kidnappings and murders started, mind you. The DL’s inner circle members was initially supportive of the cult’s bid for legal religious organization status, but later severed all ties. More recently, Asahara has been a vocal critic of the Dalai Lama and Tibetan Buddhism.

It’s worth noting that Aum’s previous deployment  of sarin gas on the central city of Matsumoto was officially the world’s first use of chemical weapons in a terrorist attack against civilians. Asahara was convicted of masterminding both attacks in addition to committing several other crimes, and sentenced to death. He’s now awaiting execution.

The three hairs on the tip of a kitteh’s tail are Teh Debbil’s hairs, driving cats to prowl the night when all Lard-fearing beasts should be abed. And while all of The Lard’s blessed wee lambs lie asleep and dreaming of teh baby Jebus, underworldly Seitanic dreck like THIS is holding a Sabutt in the depth of the night, dontcha know. Such unholiness is presided over by The Debbil Himself in the form of a Grand Black Kitteh. Filth! Unclean!

*and apparently, so is After Effects.

Once the host of witches and sorcerers swoop in on salve-anointed broomsticks, the infernal rituals begin. The coven pays homage to their enthroned Debbil Kitteh, making offerings to him of unbaptized children and reading particularly noxious passages from Teh Hairy Pooter seriez. Each minion of Seitan must renew an oath of fidelity and obedience, shuffling past the felonious feline in single file to kiss his dingleberry-ensconced bunghole (some witches claim that he keeps a second face under his tail that looks like THIS). They then celebrate Teh Black Mess, lighting black candles from a flickering torch balanced atop D0OM KITT3h’s head, and turning their backs to the altar. The Sabutt feast commences. The flesh of hanged men, hearts of unbaptized children, Twizzlers, and a variety of unclean animals (like THESE) are then consumed.**

**Text reiterated vaguely from SnikSnak‘s entry on Cat Devilry.

(This post brought to you by muscle relaxants and the finest pipe-weed in all the Shire. Meow meow meow meow…)

It’s been days since we hastily cooked up that batch of bathtub MDMA in honor of the Zobogrammatron’s incept date. Still, I don’t think I’ve quite come down yet, so I’m not really sure what we’re watching right now, folks. I do know that it is very colorful and shiny and retro and Japanese and somehow vaguely Lovecraftian by way of Fisher Price, and thus, it cannot help but to be better than coffee.*

OctopieInTheSky, who has created an entire YouTube channel devoted to the show, may be able to clarify:

A messed-up kids program which first appeared on the Japanese Broadcasting Corporation’s JOCX-TV on October 1st, 1973. Every episode is basically about Kure Kure Takora wanting something that belongs to the other characters and then tries to steal it. While the episodes only run 2 and a half minutes each, you’ll be treated to acts of:

• antisocial behavior (always guaranteed)
• random violence (guaranteed)
• cannibalism
• Love triangles that cross not only species but also plant/animal classifications
• torture
• set decorations inspired by Fauvism
• suicide attempts

Enjoy!

Yo Gabba Gabba and Teletubbies, eat yer hearts out. Via Cephalopod Tea Party.

Several more episodes after the jump.

July 31st: untold years into the future. The incept date of a mysterious being known in this dimension as Zoetica Ebb. Deep in the dank, aromatic depths of the Coilhouse Catacombs, we’d all been wracking our brains as to how to best celebrate another year of the glorious Zobogrammatron’s dalliance in our own space/time.

We know she likes shiny baubles. And pure electricity. And raw meat. So, for weeks, we all pooled our modest resources, collecting them in a special porcine receptacle with the intention of taking Z out for sushi tonight, followed by dancing and Jacob’s Ladder-licking at the Edison Lounge. Also, Nadya and I spent countless nights sneaking away to a top secret, tucked-away laboratory alcove of the Catacombs. Combining our formidable thaumaturgical and soldering skills, we crafted a Rundell Tiara facsimile from unclassifiable, glittering glassine fragments found lining the deep crater in Siberia where Zoetica was said to be discovered.

The ominous crown was finally completed in the wee hours of this very morning. So very proud we were, and so very tired, we forgot to engage the Catacomb’s alarm system before passing out cold in our cots. Or to feed Ross Rosenberg (our brilliant but pathologically ill associate whose cage office is also located here) his daily can of uncooked Spaghettios.

A few hours later, we were awakened by the sound of maniacal cackling. Rushing into the central chamber, we caught a glimpse of Ross clambering out of the jimmied escape hatch with our piggy bank tucked under one arm and the precious Doom Tiara perched askew upon his malformed cranium. “I’M A PRETTY PRETTY PRINCESS. SAY IT!”

“Yes, Ross! You are! You’re the prettiest princess in all the land! Please, just put down the pig!”

“NO. I’M GOING TO SPEND IT ALL ON WHIPPETS AND PTERODACTYL PORN AND THERE’S NOTHING YOU CAN DO TO STOP ME. MOOHOOHAHAHAHAHA.”

“Ross! Nooooooooo!”

“SEE YOU IN HELL!!” With that, he slammed the escape hatch shut, leaving us bereft in the moldering darkness. But let it never be said that we are not resilient, resourceful gals. At the very last minute, through the magic of some hastily cooked up bathtub MDMA, Ross’s discarded balloon stash, and the Craigslist strippergram directory, we are still going to be able to observe Zoetica’s special day with an appropriate degree of sexiness and aplomb.

Ready? TA DAAAAA:

Happy birthday, Z. Love ya.