I Advocate AlleGORical Violence Against CNN

cnn_must_be_destroyedKnown alternately as the Corporate News Network, the Communist News Network and the Clinton News Network, CNN, a channel that less inquisitive minds have decided is the “centrist” and “balanced” news channel between a right wing Fox and a left wing MSNBC, committed what can only be described as an act of terrorism and intimidation.

The story goes something like this; a 15 year old kid created a gif – for you non-tech savvy Luddites, a gif is a constantly moving image loop thingy that resembles a short film that lasts for a couple of seconds before looping again – that was pulled from a brief clip of Donald Trump’s appearance on a World Wrestling Federation event from a decade ago. In the gif, the Donald and some other wrestler get into it in true, funny ‘n’ fake wrastlin’ fashion. In fact here is the gif.

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Pretty funny, eh? So funny, in fact, that Donald Trump re-tweeted it. Well, apparently CNN didn’t think so. They were so butthurt by the tweet that they decided to find the kid who made the gif, contact him and threaten to dox him. Don’t believe me? They blatantly say so themselves.

CNN is not publishing “HanA**holeSolo’s” name because he is a private citizen who has issued an extensive statement of apology, showed his remorse by saying he has taken down all his offending posts, and because he said he is not going to repeat this ugly behavior on social media again. In addition, he said his statement could serve as an example to others not to do the same.

CNN reserves the right to publish his identity should any of that change.

That’s right; CNN bullied a 15 year old kid into making a public apology for a gif in which Donald Trump pulls a phony wrestling move against a phony opponent in the most well known form of phony sports entertainment. Their reason?

The Committee to Protect Journalists said in a statement this week that the tweet “undermines the work of the media in the U.S. and makes it more dangerous.” CNN said in a statement that the tweet “encourages violence against reporters.”

Their claim is that he advocated violence against the press. First of all, as I JUST SAID, the kid used pro-wrestling, a phony form of violence, the kind where nobody ACTUALLY gets hurt, to make his point. In fact people get much more seriously hurt in professional American football games. I wonder if they would have thought he was advocating violence if Donald Trump was dressed in football gear and tackled a player from an opposing team. But secondly, and more importantly, it was a form of SATIRE and ALLEGORY. He didn’t LITERALLY want Donald Trump to pummel members of the press.

I know the mainstream media is full of leftist retards, but surely THEY understand the concept of allegory. I mean, when I was 12 years old, listening to the Corrosion of Conformity song “Dance of the Dead”, where the singer goes, “if the system had one neck, you know I’d gladly break it”, I knew even THEN that he wasn’t advocating breaking the necks of ACTUAL PEOPLE.

But who knows? Maybe they ARE that stupid. So, I decided to find out by doing a little experiment that I hope will turn into a popular hashtag. I’ve decided to find violent imagery from various horror movies, real crime photos and whatnot, slap the CNN logo onto it, post it all over Facebook, Twitter, Reddit and Instagram (actually I don’t have a Reddit or Instagram account, but I know many other people who do) and see what happens. The image at the very top was pulled off of the cover from the 1992 Gwar LP, America Must Be Destroyed. Now, Gwar have had their own problems with censorship in the 90s, where they were charged with obscenity in their hometown of Richmond, VA during one of their shows, so I wonder how they feel about the CNN incident.

Are they full-on advocates of free speech, or do they only believe in free speech when attacking “acceptable” targets like Republicans, the Christian right and the Catholic church? I mean, I already know how they feel about Donald Trump (hint: they hate him), but would they be so bold as to do one of these?

gwar-comic-CNN

Who knows? What I do know is that, if CNN feels that a gif of Trump body slamming someone in the phoniest sport of all time is advocating violence against the press, then they’ll have a field day when they see their logo slapped onto images such as this:

trump_cnn_true_crime
or this…
cannibal_ferox_castration_CNN
or this…
dawn-of-the-dead-1978-machete_CNN
or, heck, why not this…
two-thousand-maniacs-CNN

I bet you can come up with something way better in Photoshop or Microsoft Paint. But either way, the point of this little exercise is to be as gruesome, tasteless and violent as possible. After all this IS a form of alleGORY. And make sure to attach the hashtag #destroyCNN whenever you post your demented creations online because CNN is the enemy of free speech, and it must be destroyed.

Ted Nugent and the Amboy Dukes

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special introductory paragraph
The Amboy Dukes
Journey to the Center of the Mind
Migration
Marriage on the Rocks/Rock Bottom
Survival of the Fittest Live
Call of the Wild
Tooth, Fang & Claw

Before he made his career swinging around on ropes, wearing nothing but a loin cloth like he’s Tarzan, firing flaming arrows at his guitar, adopting a hot, 17-year-old Guatemalan babe so he can sleep with her while continuing to sleep with other girls of non-voting age and still promoting a clean living, drug-free lifestyle, Theodore Anthony “Deadly Tedly” Nugent tore it up for more than a decade with the Amboy Dukes, a criminally underrated band that demonstrated just how wide-ranging the Nuge’s abilities were before he became a solo artist.

Don’t get me wrong; I love me some Ted Nugent. That first album with “Stranglehold” is killer, but I think his earlier work is somewhat overshadowed by his rather boisterous “Motor City Madman” personality. And this is coming from someone who fundamentally agrees with many of his political views. Just that when your persona is one of a loudmouth yahoo, who sings songs like “Wang Dang, Sweet Poontang”, you tend to undercut some of the diversity and nuance in your work.

DIVERSITY AND NUANCE?! YOU ARE TALKING ABOUT TED NUGENT, RIGHT?! Exactly.

Read on, young grasshopper. Ted Nugent released four official LPs with the Amboy Dukes, two as Ted Nugent and the Amboy Dukes – one live and one studio – and then one more as Ted Nugent’s Amboy Dukes before dropping the Amboy Dukes altogether and going full on Ted Nugent. Most of the Amboy Dukes albums have some great material on them; and when they don’t, they’re at least interesting, as I shall soon tell ya…

The Amboy Dukes – Mainstream – 1967

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If you’ve bought the propaganda about how great the Deeeetroit rock ‘n’ roll scene was during the mid/late 60s, that it was some sort of loud, fist-pumping alternative to the trends of hippiedom that had taken over the nation in 1967 (and subsequently would be beaten back by the Altamont fiasco at the end of 1969), then those propagandists are only telling you part of the story if they don’t at least give a passing mention to Ted Nugent’s early band, the Amboy Dukes.

In fact, for those acolytes of the Stooges, MC5, Alice Cooper and hell even Grand Funk Railroad, to not KNOW of this here Amboy Dukes band shows a dearth in one’s knowledge of loud, over-driven rock ‘n’ roll that was pumped through stacks of amplifiers in front of kids who looked like hippies, but I guess weren’t actually hippies.

The opening cut on the Dukes’ first LP is a proto-metal cover of the Big Joe Williams blues standard “Baby, Please Don’t Go” (also done by Budgie and AC/DC), kicking the album off on a speedy (well, speedy for the 60s) and distortion filled note, challenging the loud guitar supremacy of your Hendrix, Clapton or Page. The Nuge pays a few bars of homage to Hendrix’s “3rd Stone from the Sun” just fo fun as well.

After that the group does a faithful cover of “I Feel Free” by Cream —

I know what you’re thinking, and no, The Amboy Dukes isn’t just a covers album. Of the remaining nine tracks, only two others are covers; “Let’s Go Get Stoned” by the Coasters and “It’s Not True” by the Who. And they DO a great job on both, but come on; they’re covers, ya know? You don’t care how well they do OTHER people’s material; you want to know about their ORIGINAL songs.

The other seven tracks include the catchy blues rock number “Young Love”, the Sitar filled hippie-dippie-trippy psychedelic “Psalms of Aftermath”, the total acid blues freak-out “Colors” – complete with an awesome, quivering two note “hook” during which Drake taunts you with the word “colors” – the wicked “shoulda been a Nugget” garage tune “Down the Philips Escalator”, a cute British sounding piece of psychedelic pop called “The Lovely Lady”, a groovy butt-shakin’ garage number called “Night Time” and a SCORCHIN’ hard rock closing cut called “Gimme Love.”

Bonus points to the CD version for including an awesome surfy number called “J.B. Special” – complete with hand claps! – and the uptempo garage rave up “Sobbin’ in My Mug of Beer”, which sounds JUST LIKE a track that would appear on a Back from the Grave compilation.

As a final note, Ted Nugent LOVES to solo, playing wicked bluesy leads ALL OVER nearly every track; pianist Rick Lober fills out the sound with his background plinking and plunking; John Drake has a melodic and powerful bluesy voice, which he can alter to fit the covers of “I Feel Free” and “It’s Not True” or use to mimic the fruity, British singing style on “The Lovely Lady”; and why not give a hand to the other three members – rhythm guitarist Steve Farmer, bassist Bill White and drummer Dave Palmer – good job keeping the rhythm, guys!

Journey to the Center of the Mind – Mainstream – 1968

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In Steven Miller’s book, Detroit Rock City, several musicians lament the fact that the biggest success stories to come out of the late 60s/early 70s Detroit rock ‘n’ roll scene were Ted Nugent, Bob Seger and Grand Funk Railroad; not the Stooges or the MC5. In other words, the bands who burned out really quickly from their degenerate lifestyles were the “cool” ones, while the bands and musicians who lived somewhat healthier, straight laced lives are considered lame and boring. WHAT A CROCK!!!

First of all, what’s with the musical partisanship? I love the Stooges, MC5, Alice Cooper, Grand Funk Railroad, Ted Nugent AND Bob Seger. Why do I have to pick sides here?

But even more importantly, how are Ted Nugent and his Amboy Dukes NOT considered part of this canon of loud, overdrive rock ‘n’ roll when they delivered upon the Earth “Journey to the Center of the Mind”, a rip-roaring proto-metal number that mistakenly gets lumped in with garage rock “nuggets” like “Psychotic Reaction”, “96 Tears” and “I Had too Much to Dream Last Night”? The track is a scorcher, propelled by the aggressive Keith Moon-like drumming of Dave Palmer, the galloping metal riffs of rhythm guitarist Steve Farmer and Ted Nugent’s leads, which accentuate the riffs, before ripping into a guitar solo and the fuzzed out climax. Okay, John Drake’s acid dropping lyrics are cheesy and outdated, but it’s not as if “Iron Man” or “War Pigs” are known for their lyrical genius either.

There have also been some member changes for the second album! New bassist Greg Arama, who, according to Wiki, was in some band called the Gang, is pretty inconsequential as far as the album’s sound goes. But new keyboardist Andy Solomon definitely takes a more prominent role than his predecessor, Rick Lober; especially in the guitar/keyboard interplay in the AWESEOME “Surrender to Your Kings”, which I will describe in further detail two paragraphs from this one.

Unfortunately Journey to the Center of the Mind is not all high energy, acid fuzz, proto-metal hijinks… not by a long shot. The album kicks off with a Nugent and Farmer penned slow blues jam called “Mississippi Murderer”, which though good, sounds NOTHING like the rest of the album. The rest of the 13 track LP appears to be some sort of song cycle or concept story album, in which Ted Nugent wrote the heavy numbers, while Steve Farmer wrote what sound like typical late 60s, not at all heavy, psychedelic songs, one of which is called “Ivory Castles” and another is “Why Is a Carrot More Orange than an Orange”, and concludes with a track called “Conclusion”, which is just a reprise of “Journey to the Center of the Mind”; ironically it seem as though Farmer was the one who took a journey to the center of his mind.

All of Nugent’s heavy numbers are crammed into the album’s first half; among those include “Surrender to Your Kings” – whose spy/surf verses, distorted chords, keyboard interplay and quick, aggressive tempo make it sound like Iron Butterfly on speed – the groovy “Flight of the Byrd”, which sounds like a heavier version of “Hush” by Deep Purple, and a passable rocker called “Dr. Slingshot.” There’s also a progressive instrumental called “Scottish Tea”, which has some neat marching drums and Renaissance-era sounding melodies, and of course the album’s wicked title track.

The psychedelic numbers in the second half are actually pretty good, if a bit silly. If you know what 60s poppy psychedelia sounds like, I don’t need to describe them to you in too much detail; some sound darker and scarier, like you’re entering some sorta Alice in Wonderland type nightmare, some are more sing-songy, like some sorta “Lucy in the Sky with Diamonds”-coo-coo-ca-choo fruitiness and all at least have the Nuge doing his best Syd Barret/early-Floyd impression. But in spite my earlier remark about how Farmer sounds like he’s on acid, something makes me think that he’s not exactly taking his acid trips too seriously. For instance, check out the lyrics to “Death Is Life”:

Things are getting much worse
People will actually curse
Ladies are sighing and babies are dying
And happiness comes with a hearse

Whats the use? There’s no excuse
Death is life

Seems that you never will learn
The only thing is to return
Do what you care and hope your not there
When all your world start to burn

In fact “Missionary Mary” has an intro that I’m almost positive is intended as a joke; it starts off with a really quick buildup, making you think that the song is going to get fast, and then it obnoxiously just slows down. Also “I’ll Prove I’m Right” is quite a fun toe-tapping number. Unfortunately “Saint Philips Friend” is pretty dull and useless. OH WELL, they can’t ALL be winners, right?

The CD version adds on the bonus track, “You Talk Sunshine, I Breathe Fire”, another fuzzed to hell and super catchy proto-metal rocker, which is also the b-side to the original “Journey to the Center of the Mind” single. Check out that title; methinks Nugent even THEN had his “America, FUCK YEAH” viewpoint firmly intact, in spite the shaggy mane and Indian-hippie swag.

Migration – Mainstream – 1969

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Original singer John (J.B.) Drake migrates out of the Amboy Dukes, and future Cactus singer Rusty Day takes his place. How can you have the Amboy Dukes without John (J.B.) Drake?! Okay, all facetiousness aside, I do think that Drake had a better, bluesier type of baritone singing voice, whereas Day kinda just sounds like a generic 70s rock singer. But what difference does it make? He wouldn’t even make it past Migration anyway. And neither would Steve Farmer; so if you’re one of those “Farmer or bust” types of Amboy Dukes fans, sorry bud, your “journey” ends here!

Featuring nine songs, Migration sounds like the work of a band who thought they wanted to cross over from psychedelia into heavy progressive rock, but didn’t write enough new material, and ended up using leftovers from the previous album session instead.

The first song, “Migration”, is a six minute instrumental jam that has cool space noises; and the second track, “Prodigal Man”, is a multi-part, heavy prog epic that goes on for nearly nine minutes and has a really neat, fuzzed out minor chord riff, a bunch of different parts, time changes and organ and drum solos that make it seem as though the Dukes had just heard “21st Century Schizoid Man” and thought “BINGO!” In fact I’ll go on to say that “Prodigal Man” is the crowning jewel of the album and a career high; the Dukes apparently agree with me, since they would go on and play live versions of the song that would be more than twice as long as the original recording.

Then, all of a sudden, the album turns into a mid-60s, psychedelic, garage rock album, except for a pointless cover of the 1956, doo wop hit “I’m Not a Juvenile Delinquent” and a butt-shakin’, funky-soul song called “Curb Your Elephant”, which has a trombone that makes elephant noises. It’s keyboardist Andy Solomon’s sole songwriting credit; you go, Andy!

Now, I know this review is taking on a pretty negative tone, but hear me out. I LIKE several songs on the album. In fact, the third song, “For His Namesake”, and the final track, “Loaded for Bear”, are totally awesome, upper-tempo, 1966-era, garage rock; the former is pure 60s keyboard rock, and the lyrics are all melodramatic, about this kid who’s parents are tellin’ him, “little Johnny, you gotta grow up and be a man or you’ll bring shame on the family”, and the latter has this killer surfy riff and these bluesy licks.

But some of these other songs make me think, “what the hell were they thinking?” “I’m Not a Juvenile Delinquent” just seems like they used the vocal track from the original Frankie Lymon and the Teenagers version and replaced it with their own instrumental backing. I mean, who IS doing that falsetto? It can’t be Rusty Day or Ted Nugent, can it? And the soft number, “Shades of Green and Grey”, might be taking the piss out of all the “peace and love” nonsense, but it’s just so damn boring!

The other two songs, “Good Natured Emma” (was the Nuge listening to too much Zappa or something?) and “Inside the Outside”, are oookay… the latter has a fun, carnival vibe that might remind you of the Creation or something.

Marriage on the Rocks/Rock Bottom – Polydor – 1970

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Trimming the fat – who needs six members? – singer Rusty Day and rhythm guitarist Steve Farmer have been given the boot, or they quit; who knows, ya know? I bet you THEY don’t even remember what happened since they were all taking “journeys to the center of their minds” at the time. As mentioned in the previous album review, Day would go on to ultra-mega super stardom with Cactus (what, YOU’VE NEVER HEARD OF CACTUS?! Bastard! Go back and listen to One Way… or Another and Restrictions.), I believe Steve Farmer still probably hangs out somewhere in the suburbs of Detroit and Andy Solomon took over as lead vocalist, except on the track “Non-Conformist Wilderbeast Man.”

The remaining Dukes – guitarist Ted Nugent, keyboardist/saxophonist Andy Solomon, bassist Greg Arama and drummer Dave Palmer – return with an album that has a really awkward title. Wait a minute… is this the right album? Who replaced my copy of Marriage on the Rocks/Rock Bottom with a Frank Zappa record?!

You’re trying to tell me that that’s TED NUGENT playing those complicated jazzy licks, and that the Amboy Dukes are doing all of those really tricky time signature changes and playing those funky beats? And whadaya know; the second song is called “Breast-Fed Gator”, and the final track is “The Inexhaustible Quest for the Cosmic Cabbage.” Nugent and his Dukes must have REALLY gotten into Zappa and his Mothers in 1970, because if you didn’t know who you were listening to, you might actually confuse Marriage on the Rocks/Rock Bottom for a Zappa record like Hot RatsWeasels Ripped My Flesh, Apostrophe (‘) or Overnight Sensation.

That’s not bad, mind you. It’s just surprising how much of a left turn the band took between Migration and Marriage on the Rocks/Rock Bottom. The fact that Ted Nugent, someone who people think of as Mr. Wango-Tango, can pull off complicated jazzy solos and well crafted fusion/funk/progressive hybrids with technically challenging parts and actually make it work, is somewhat surprising to me. Hey, don’t yell at me! MOST people who know Ted Nugent know him as the wild, hard rock guitar guy, not the precision jazz fusion, nerdy guitar guy.

Marriage on the Rocks/Rock Bottom has eight cuts on it; it opens with a multi-part, nine minute instrumental called “Marriage” that immediately clues you into the whole Zappa fusion thing with how the song starts for a few bars and is interrupted by a piano interlude before starting again. But what a great jam, so pretty and serene at the beginning with the multi-tracked electric and acoustic guitars and keyboard all playing off each other before going into a faster jammy part. Then this Spanish bullfighting music comes in for a few bars, and the song builds up and gets all intense before calming down and getting pretty again.

The rest of the album, with the exception of the high speed, 90 second boogie rock tune,”Non-Conformist Wilderbeast Man”, consists of groove-funk-soul-fusion-prog songs. “Get Your Guns” has a WHOLE bunch of changes, included a flamenco guitar breakdown, a speedy fusion note run and an outro using Spanish scales.  “Today’s Lesson (Ladies & Gentleman)” is a James Gang style, funk rocker that’s abruptly interrupted with Eastern melodies, complicated instrumental interplay and a bunch of random guitar sounds and someone with a helium voice saying a bunch of incomprehensible stuff. “Breast-Fed Gator” and “The Inexhaustible Quest for the Cosmic Cabbage” are TOTAL Zappa rip-offs, right down to the deliberately goofy, pinch-nosed vocals. The latter is one of those funny and annoying multi-genre pieces – like “Brown Shoes Don’t Make It” or the entire Mr. Bungle discography – that abruptly switches tone and musical genre every few seconds for no apparent reason and must have been a real pain in the ass for the studio engineer.

Yep, this ain’t no “Cat Scratch Fever.”

Survival of the Fittest Live – Polydor – 1971

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The second song on the fifth Amboy Dukes LP is called “Rattle My Snake.” Now THAT’S the Nuge I’ve come to know and love! By the time the Dukes had released Survival of the Fittest Live, Ted Nugent had become the only original member of the group; and given how the band now call themselves Ted Nugent and the Amboy Dukes and how Nugent is pictured by his lonesome dressed like on Injun on the cover, it’s clear that the Dukes have become Ted Nugent’s artistic vehicle. YOU USED THE WORDS “ARTISTIC” AND “TED NUGENT’ IN THE SAME SENTENCE? Eh, suck my dick.

Also, there have been some member changes. Original drummer Dave Palmer was replaced by some guy named K.J. Night, and bassist Greg Arama, who had been in the band since Journey to the Center of the Mind, was pushed aside by a Rob Ruzga; according to Wikipedia, Night and Ruzga had been in a band called The Day & Night Dealers Blues Band (just rolls off the tongue, doesn’t it?). Andy Solomon remains intact as Ted Nugent’s right hand man on keyboards, most of the singing, and a brief saxophone solo.

Recorded entirely live across two nights during the Summer of 1971 at the Michigan Theater in Detroit, Survival of the Fittest Live contains five entirely new songs and a 21 minute version of “Prodigal Man” that occupies all of side two and sounds far more at home on this here album, than on Migration. Now, I know it’s boring and lazy to describe a band by comparing them with two or three other bands, but I’m boring and lazy, so I’m going to describe the music on Survival of the Fittest Live as a cross between James Gang, Bloodrock and/or a 70s heavy rock band that switches between happy, fun and funky songs and long and scary songs with minor notes played on the Hammond organ.

THIS ALBUM ROCKS, and had it been recorded in the studio, included two or three more original songs and given a “fuller” sound, rather than being recorded live, it might have been considered a “second tier” 70s rock classic alongside Bloodrock 2, the Cactus album One Way… or Another or something by Grand Funk Railroad or Budgie. Also it’s disappointing that they made it in 1971, rather in 1969. This is the kind of music the Amboy Dukes SHOULD have been doing two years earlier, rather than the hodgepodge of 60s keyboard rock and funk on Migration or the kooky Frank Zappa music on Marriage on the Rocks/Rock Bottom, because Ted Nugent is a phenomenal “workman” guitarist, slinging wicked blooze licks and funky hard rock riffs like he’s early Joe Walsh or sumthin.

On a specific tip, the Dukes kick off the set with a few bars of “Journey to the Center of the Mind”, then stop it short with a sustained note as if to say, “hey fuckers! THAT was 1968, and THIS is 1971! It’s THREE YEARS LATER, AND WE’RE NOT STUCK IN THE PAST!!!”,  before playing the actual first song, an instrumental called “Survival of the Fittest.” The fourth song, “Papa’s Will”, is the group’s doom metal epic, even if the main riff and some of Nuge’s solos are a little too happy to be truly “doomy.” And, in true arena rock spirit, the aforementioned extended version of “Prodigal Man” allows each member to show off on his respective instrument, during which other members introduce each member one by one to the audience; huh huh, I said “member” three times in the last sentence. Also, Andy Solomon throws in some Middle Eastern melodies for good measure and does that tension-building, organ solo thang before Jon Lord would popularize it with Deep Purple. Then the song, and subsequently, the album concludes with an extended jam, another sustained note and a crescendo.

And so ends the journey of Ted Nugent, Andy Solomon and the two other guys. In the three years between Survival of the Fittest Live and Call of the Wild, Nugent would replace his entire band, yet continue to call it Ted Nugent and the Amboy Dukes because, hey, why not? Thank you, good night!

Call of the Wild – DiscReet – 1974

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FIRST he wants to SOUND like Frank Zappa, then he gets SIGNED by Frank Zappa! People might find it strange that Zappa would be involved with a straight forward hard rock musician like Ted Nugent, but Zappa has openly praised Grand Funk in the past, and he even produced their 1976 LP, Good Singin’, Good Playin’.

So it REALLY shouldn’t come as a big surprise that he would sign up and distribute records by the Nuge, SHOULD IT?!

What IS surprising is that Ted Nugent continued to call his band Ted Nugent and the Amboy Dukes after he recruited an entirely new band! That’s right; this NEW Amboy Dukes features the singing of Andy Jezowski, the keyboard and flute playing of Gabriel Magno, the bass plucking of Rob Grange and the drumming of Vic Mastrianni. So why did he keep the name? Did Nugent think, “we GOTTA keep the name! No bar around the country will EVER book my NEW band! Who’s this Ted Nugent guy? It’s my backup band, the Amboy Dukes, that they want, and they’re gonna DEMAND that we play ‘Journey to the Center of the Mind’, or they’re going to revoke our goddamn drink tickets, even though I apparently don’t drink!”?

Call of the Wild is the first of two transitional albums that exist in a no man’s land between the Nuge’s earlier career with the old Amboy Dukes and his breakthrough success as the loincloth wearing Detroit wild man, that would begin as early as 1975 with the release of his self-titled debut solo LP.

First of all, what’s with the two instrumentals, “Rot Gut” and  “Below the Belt”? I suppose if Ted Nugent wanted to add slow, boring blues jam with piano and slow, boring, spacey, Pink Floyd music to his resume, he now can. But what was the point of including these two tracks? Did the Dukes just not have enough material to make a full length album? The sad thing is that both of these sound like the names of Ted Nugent songs! You’re expecting the Nuge to do hard rockin’ numbers about having rot gut or getting hit below the belt, and you get nothing…

But hey! That leaves six other songs, and they’re all good to really great. I just realized the funky hard rock jam “Renegade” is ALSO an instrumental. That only leaves five songs with singing. Album opener “Call of the Wild” is a major chord, boogie rock song with bluesy backing piano that’s reminiscent of Bob Seger. “Sweet Revenge” is a melodic rock tune with a super catchy chorus and acoustic guitars, but still energetic and rockin’ and, as I mentioned a second ago, is catchy as heck!  “Pony Express” and album closer “Cannon Balls” are crushing 70s metal tunes with “chunka-chunka” riffs that are closer to …In Rock era Deep Purple, than hard rockin’ Nugent; the latter even has a neat keyboard solo. And “Ain’t It the Truth” is a melodic hard rock song with multiple parts. Most of the songs are well crafted, feature killer guitar work and are strong additions to the Nugent discography even if they’re stylistically all over the place.

Tooth, Fang & Claw – DiscReet – 1974

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And that brings us to the end of our journey. Technically, on Tooth, Fang & Claw, the band is called Ted Nugent’s Amboy Dukes, and the group has been reduced by 2/3. Singer Andy Jezowski and keyboardist Gabriel Magno have taken a hike, turning Nuge’s Dukes into a trio. And even though he’s using the Amboy Dukes name and still signed to Zappa’s Discreet label, you can safely say that Tooth, Fang & Claw is a prototype of Nugent’s solo career.

On Tooth, Fang & Claw, Ted Nugent is once again joined by bassist Rob Grange and drummer Vic Mastrianni, but this time he sings lead vocals on every song; well not EVERY song since “Hibernation” and “Free Flight” are instrumentals, but you get the idea. AND FINALLY, Nugent has found his sound; tough, mean and occasionally funky hard rock – not heavy metal – with multiple parts, melodic solos and an optimistic, “don’t let the man get you down” and “grab life by balls” philosophy. In fact opening track “Lady Luck”, closing track “No Holds Barred” and somewhere in the middle track “Great White Buffalo” could easily fit on Nugent solo records like Ted Nugent, Free for All or Cat Scratch Fever. Tooth, Fang & Claw has eight songs on it; seven originals and a super speedy (punk rock?!) cover of the Chuck Berry classic “Mabelline.” The aforementioned instrumental “Hibernation” has double-tracked electric and acoustic guitars, and the song “Sasha” is a very pretty acoustic ballad, which I think was written about his daughter. Nugent also expresses his long known love for the great outdoors in “Living in the Woods” and of course “Great White Buffalo”, which has one of the BEST RIFFS EVER that, unlike many a hard rock riff, utilizes individual notes, rather than just power chords. Overall Tooth, Fang & Claw doesn’t have a single dud track and should be considered an early career classic.

And for all of the negative press Ted Nugent gets, I believe several things about the man. One, I believe that he views rock ‘n’ roll not as a vehicle for which to engage in completely wasteful and degenerate behavior, but as an uplifting, positive and inspirational form of music to put on when dealing with what life throws at you. Two, I believe his love and respect for nature and American Indian culture is completely sincere, and that along with it comes his love for hunting, which is not just the sadistic “animal slaughter” his hypocritical enemies portray it as. And three, I believe he is a legitimately talented guitarist with a strong knack for melody and a unique style that, as evidenced by the criminally underrated classic “Great White Buffalo”, differs from many of the guitar heroes of the day. I’ll leave it up to a more experienced guitar expert to decide how he rates compared to, I dunno, Michael Schenker or Eddie Van Halen. I just enjoy his playing.

After Tooth, Fang & Claw, Ted Nugent signed with Epic records, taking bassist Rob Grange with him, recruited Derek St. Holmes on rhythm guitar and lead vocals – something I’ve never understood since Ted Nugent has a perfectly good singing voice – and Cliff Davies on drums and released his classic, self-titled debut solo album in 1975; but that’s another story for another time.

What’s the Deal with Cop Hating Libertarians?

hot_female_copOccupying a bizarre, yet fascinating – well, fascinating to me, at least – spot in the modern zeitgeist is the cop-hating libertarian. Now, I’ve always considered myself to be a libertarian and have been called one by people on the both the left and the right, but one thing that I’ve always had trouble understanding is the libertarian who has a vehement hatred for the police.

I understand where it COMES from. When I was a young, obnoxious teenager, I too hated anybody who wore a suit or a uniform of any type. I thought ALL of these people were assholes who take your freedoms away and stop you from having fun, while filling their coffers and enslaving people through bureaucracy. The first band I ever listened to was Metallica. In “…And Justice for All”, they sing about a corrupt politician, who uses money to subvert the justice system; in “The Shortest Straw”, they sing about how you’re put on trial Kafka-style for something you didn’t do, and no matter what you do, you’re always guilty; in “Eye of the Beholder”, they preach against censorship; in “Leper Messiah”, they attack manipulative people, who sell religion to rubes that don’t know any better; in “Fight Fire with Fire” and “Blackened”, they express their fear of imminent nuclear annihilation at the hands of the two big political powers at the time; and in “Disposable Heroes” and “One”, they condemn war since like war totally sucks. Ironically then, they go on to express the necessity for war in SOME instances in “Don’t Tread on Me.”

But THEN, when my radar moved into the amateurish, under-produced and less musically skilled world of hardcore punk, the bands had an entirely new target for their resentment. In “Police Story”, Black Flag sing about a war on the street between the cops and kids; in “Police Truck”, the Dead Kennedys shout down police brutality; In “Cop Cars”, the Exploited express their paranoia whenever they hear a police siren; in “Fascist Pig”, Suicidal Tendencies call cops “fascist pigs” (or rather, they ironically claim that “I wanna be a fascist pig!”); in “The Badge”, Poison Idea claim anyone who becomes a police officer does so because he has a thirst for power; in “Cop Killer” by Body Count (ain’t it a hoot how Ice-T plays a cop on Law and Order now?), “Kill the Police” by GG Allin and “Cops for Fertilizer” by the Crucifucks, the respective bands advocate KILLING the police; and in “No More Cops”, a band CALLED Millions of Dead Cops says the world would be a much more peaceful place, and that people would just get along all nicey-nice if we just got rid of all cops (no need to kill ’em). Hell, even Motörhead have a song called “Lawman” that attacks narco-cops (actually being a narc is pretty lame). By the end of the 80s, Gangsta rappers N.W.A. added a racial element to the anti-cop sentiment with “Fuk da Police.”

The basic message from punk, rap and some metal is that, if you enjoy freedom or, if you’re a freak or outcast of any type, the police are NOT your friends.

As people grow older, their views tend to get more nuanced, and they stop taking the messages in songs at face value. This is why they realize that it’s contradictory for a leftist punk rock band like the Dead Kennedys to sing a song called “Government Flu”, while advocating for MORE government. They realize that, when the Dead Kennedys bash Christianity in “Religious Vomit” or when Motörhead do the same in “(Don’t Need) Religion” or when Crass sing that there are no gods or masters, that it’s hypocritical to not bash Islam with equal fervor. They also realize that it’s pretty silly to say that people in the United States are oppressed, while completely acting as though the oppression in Islamic countries is no big deal or even worse, advocating Socialism or Communism as if we don’t already have models for the failure of both ideologies.

In other words, they realize that the left is the problem, that they’re the real advocates for authoritarianism, censorship and taking away whatever freedoms we have.

Yet they still hate cops.

Hatred for the police on the left is pretty simple to understand. Leftists just think that cops are racist, unfairly targeting minorities for harassment, abuse and murder. Without doing any further research into the cases of Rodney King, Michael Brown or Philando Castile, they figure, “the cops are white, the people they beat or shoot are black, so therefore, the police must be beating and shooting black people because they hate them.” When you point out that cops kill more white people than black people, that black people kill more black people than either white or black cops or that the reason that possibly blacks have more run-ins with cops than other groups of people is because they commit most of the crime, you’re accused of peddling “hate speech”; then they do as many mental gymnastics as it takes to find the parity between the drive by shootings in black communities and, say, instances of domestic violence or other non-gang related crimes in suburban communities. That way they can claim that all communities have equal distribution when it comes to crime. One girl I know even said that he was raped in the all-white Texas town where she’s from. Bad as that is, I don’t see how she can compare that directly to gang violence such as drive-by shootings, but hey, people need their “equality.” As stated many times elsewhere, blacks make up 13% of the population, yet are responsible for more than 50% of the violent crime. With the left, none of these other factors are ever considered, and based upon this ignorance, idiotic, left-wing movements like Black Lives Matter are allowed to fester and grow.

But, for libertarians, specifically cop hating libertarians, the story is a bit more complicated. My guess is that, in general, they feel that cops are part of the state apparatus, and that they have too much authority, which they can exert onto people at will. Unlike leftists, they don’t see a racial problem; they see a problem with nutsoid cops, who will attack anyone and everyone just because they’re having a bad day or someone just doesn’t look quite right to them. In their view, cops will occasionally discriminate upon the basis of race, but not to the same degree that leftist SJW’s or Black Lives Matter activists think they do. They see THEMSELVES as just as much a part of the anti-cop struggle as leftists and BLM activists, but they feel that the SJW’s and BLM activists need to worry less about racial discrimination and realize that ALL civilians are targets for the police.

Of course, all of this is silly and idiotic. I’ve heard individual stories of people claiming that cops harassed them when they were 100% innocent, and I believe they’re probably telling the truth; but as someone who was stopped by the police for drunk driving and attempted to drive away, when I was surrounded by the police, I stepped out of my car, put my hands in the air as the officers requested, and I was safe of any threats to my life. Do officers overstep their bounds? Sure. Is there an epidemic of officers overstepping their bounds and using the power of the badge to harass, beat and murder people? Now, you’re going to have to give me a WHOLE heckuva lot of evidence to prove that, kiddo.

And God forbid the mainstream media gets a hold of a story which involves a cop and a citizen because, if the right factors are involved – white cop/black “victim” – they’ll spin a wonderful yarn that excludes key details; I bet you didn’t know that Rodney King was high on PCP, and that he had two passengers in his car that both complied with the police when they were stopped. And please don’t get me started with that gentle giant Michael Brown, who robbed a liquor store and tried to grab the officers gun, before he was rightfully shot.

On one hand, cop hating libertarians fully advocate for conceal and carry because it supports the 2nd amendment, but I’m curious how they feel about the Trayvon Marton/George Zimmerman scenario. After all Zimmerman wasn’t a cop. He was just a citizen acting within Florida’s stand your ground law; he was being beat down, defended himself and was found not guilty of murder. On the other hand, they find pro-active, stop and frisk policing, which lead to a severe drop in violent crime in New York during the 90s, to be completely reprehensible; nothing short of an attempt to steamroll over the 4th amendment.

Of course this too is nonsense since the Supreme Court officially ruled that there is nothing unconstitutional about the stop and frisk method of policing, and many have seen how it’s lead to a sharp fall in crime and rise in the standard of living for people living in low income communities.

My question to these cop-hating libertarians is if they honestly equate working class men and women, who decide to become police officers of some local jurisdiction because they have no other training, to federal agents who work with the FBI or the CIA and attempt to spy on them using drones or if they feel that local and even state police are really part of the globalist machine. Because, if these allegations are true, and the cop that stopped me the night I drove drunk and said “cool shirt!” when he saw my Faster, Pussycat! Kill! Kill! t-shirt, works for the state apparatus, then I’ve got way bigger things to worry about than getting back my driver’s license!

Savage Hippie Episode 48 – You Can’t Keep a Good Covfefe Down

ed_ann_kathy_griffin

Other names I thought for this episode are “Never Look a Gift Covfefe in the Mouth” and “You Can Take a Horse to Water, but You Can’t Make Him Covfefe.”

Hey, look; I know that tweet went out two weeks ago and that the mainstream media has pretty much forgotten about it, but it makes sense in light of the fact that this recording was ALSO done two weeks ago. So think of this entire episode as a time capsule. Don’t yell at me for taking so long! My living situation is really weird, and it was a struggle to get it edited. Trump had just left the Paris Climate Accords to the utter horror of the left, and Kathy Griffin had just done her performance piece with the prop of Trump’s severed head.

Among these, at the time, very topical items, David Cole, Ann Sterzinger and I discuss a bunch of other crap, such as David’s youthful ward’s new monster truck, Orson Welles’ later career choices and the band Giuda, since Ann and I both went to the Giuda gig in our respective towns and wanted to compare notes. Do you people ever really read the episode descriptions anyway, or do you just play ’em?

Oh yeah, I’m supposed give you the link to this video of Chris Derpin doing a double take on the Red Carpet premier of Twin Peaks to see if any Paparazzi are snapping photos of him:

For Sounds of Marshabaloosh this week, we have a first time pick from David Cole, who presents a song by James “Bino” Lewis, an early guitarist for Ike and Tina Turner. The song featured is called “All the Above”, a pretty gnarly piece of soul rock. I looked far and wide for a link to it online or for any other information on Bino, but I couldn’t find anything so if you like the song, I guess you should contact one of the Savage Hippies, and we’ll try to get you a copy of the CD.

David Cole did the amazingly intricate, yet outdated artwork, and the song at the end is “The Diet Has Failed” by the Yesticles.

Why Mainstream Liberals, Moderates and Democrats Are the Real Problem

eat_a_dickWith some BernieBro “pulling an A-Team” – my new colloquialism for firing a lot of rounds at no particular target and hitting almost nothing – on Majority House Whip Steve Scalise and the recent outrage surrounding Kathy Griffin and her holding a prop of what looked like Donald Trump’s bloody decapitated head, liberals have been feigning outrage, claiming, “GAWSH, they don’t represent US!!! We may HATE Donald Trump and any politician with an ‘R’ by his or her – actually it’s zhe’s, fascists! – name, but we certainly don’t advocate using violence against them!”

I believe that these people are 100% sincere in their claim, and I also believe that they’re sincere when they say things like “I may not agree with what you say, but I’ll defend to the death your right to say it.” In fact, I have several friends who identify as liberal, leftist and even “left-leaning” who know I voted for Donald Trump and don’t think I’m the antichrist for doing so. We have many fine conversations about a variety of topics from films, music and the arts but, when it comes to politics, many of my liberal or left-leaning friends balk and guffaw at certain claims that I make.

Some of their choice responses include the following:

“Fine, Edwin, if leftism is a mental disorder, than I guess we’re your mentally ill friends!”

“Yeah, SURE, the Democrats JUST want to take your guns! NO WAY are they ACTUALLY concerned about keeping guns away from psychos, unlike your precious Republicans!”

“Come ON, DUDE, you GOTTA at least admit that global warming is real, COME ON!”

“Sure, Edwin, you’re inclusive to ALL people, especially the Muslims, right?”

Now, first of all, as if this point needs to be made in the current year, the concepts of “liberal” and “conservative” are completely meaningless out of context, and furthermore, Democrat and Republican are just the names of parties (if I told you that I love the OLD Democrats, ya know, like George Wallace, you’d probably never talk to me again). When Rory Carroll interviewed me for his piece in The Guardian about conservatives living in Los Angeles, I told him that, like most people, I vote on policies, but because of my beliefs and voting record, I end up on the “conservative” side of the chess board. If you put a gun to my head demanding to know how I label myself, I’d say I’m a basic bitch libertarian (still don’t know if I’m supposed to capitalize that or not) with a wider Overton window than most; this has made my Venn diagram overlap with that of the Alternative Right, which I either am or am not considered a part of by certain people. However the idea of reducing complicated topics – abortion, guns, immigration, foreign policy, taxes, drugs and crime – into binary choices that fall under the categories of “liberal” and “conservative”, “left” and “right” or Democrat and Republican is simply acting as a herd animal OR lacking in critical thinking.

With my liberal friends, I believe it’s the latter, and that is why they are so dangerous.

I honestly feel that, as much as my liberal friends are astute, analytical and rational about their respective interests, hobbies and professions – film, literature, music, engineering, math, etc. – they are completely ignorant to the mechanisms that have been running our world since at least the mid-1960s.

The negative portrayal of Joseph McCarthy after the end of the Cold War and the over the top, cartoony stereotypes surrounding openly right-leaning people have made people afraid to label the left exactly for what it is; Communism. Throw in corporate collusion, and you have Crony Capitalism and Corporatism and have it cross national borders, and you have Globalism, which is nothing more than an attempt by a few elites to enslave the peoples of the world under a totalitarian, one-world government.

On the Savage Hippie podcast, Ann Sterzinger asked me when the “modern, far left version of the Democratic party began.” I told her it started in the 1960s with Lyndon Johnson’s “Great Society” and his war on poverty, the first real attempt in American history to socially engineer equality of outcome, rather than equality of opportunity.

The quick and basic history of the two major American parties goes something like this:

The Republican party began in 1854 with more or less the intention of disrupting the Southern agricultural economy – largely, but not entirely fed by slavery – by pushing for industrialization with factories that were primarily set in the North and owned by top hat wearing, cigar chomping Capitalists with funny mustaches. And if you think for a second that Abraham Lincoln truly cared about emancipating the slaves for some moral reason, you’ve got another thing coming; he made racial statements that would make David Duke blush, and he blatantly claimed that, if he could keep the union together without freeing a single slave, he would do it. On top of that, after the Civil War, he proposed sending every black person back to Africa. Anyway, after the North obviously won the Civil War, by all intents and purposes, the United States became a libertarian country where people were barely taxed, and some people got really rich off of the new industrialized economy; with very little exceptions, there were almost no social programs on the federal level to help people out, and Americans were forced to sink or swim. Some of the ones who swam got rich, effectively showing the potential of a country which gives its citizens the ability to succeed or to fail. Then, in 1929, the stock market crashed, many lost their life savings and a good amount of people lost their faith in a system where the federal government doesn’t take an active role in helping people. Unfortunately, in the three and half decades since FDR’s election in 1932 and the new deal policies which he instated, what was intended to help get a few people working again and to stimulate the American economy morphed into an attempt to socially engineer the nebulous concept of “equality” (again, I ask: equality of what, exactly? Ability? Opportunity?).

So then, am I calling the Democratic party a Communist or Globalist party? No… not entirely…

Again, as I said earlier, I believe liberals and so called left-leaning people mean well, but unfortunately, their lack of in depth political analysis, and their being quick to jump at anything that stinks of “racism”, “sexism” or any word with “phobia” attached to the end of it will be their, and subsequently everyone’s, downfall.

If the war on poverty worked, why are inner city blacks still disproportionately poor? Did any of these people ask that? Do they even know WHAT questions to ask?

The basic notion among the modern “liberal” left is that, if they see something as “unequal”, the laws must be tweaked to “fix” the inequality; it never simply exists as is. Since women and minorities were under-represented in certain professions, well-meaning politicians instilled affirmative action quotas that were implemented either by consent decree or by making the tests to get into certain professions easier; professions such as firefighting. In 1971, IQ testing was outlawed, so now employers had to come up with less efficient ways of testing if a potential employee would be qualified for work. One of the most egregious example of socially engineering equality in recent years is allowing for blacks to get into universities with 200 less SAT points than whites or Asians. Now, I ask, is that judging a man by the content of his character, rather than the color of his skin?

When experiments, such as instilling race or sex quotas or the pumping of money into inner city schools in hopes of achieving higher academic success in kids who come from single parent homes and don’t care about learning, fail, do you then continue to pump more money into inner city schools? When having the government pay a single mother for every kid she has leads to her having more kids so she can have more free money and continue to depend on the government, do you continue having the government pay her for to have kids? When stricter gun control measures in Democrat-run inner cities fails to solve the problem of gang-related drive-by shootings, while dinky, “homogeneous” (feel free to consider that “code”) have virtually no gun restrictions and ZERO gun violence, do you push for stricter gun control measures?

In all cases, logic would dictate “no.” So why do liberals keep advocating for such policies?

The old Communists attempted to recruit people off the streets to attend secret “community organization” meetings, in which someone lectured his crowd about the evil, oppressive nature of the Capitalist system. People would be fired up when they compared their working class status to that of the well-to-do Wall Street fat cats, CEO’s and company owners, who live off the labor of the people they employ, crying “it’s not fair!!! Oppression!” A few rubes obviously bought it, at least for a while. But somehow that kind of thinking went by the wayside when the average American got married, bought a house, had a couple of kids and lived happily ever after in a nice, clean suburb. Not the most exciting life, but we can’t all be Rockefeller.

So, when the old-guard Communism didn’t work, the nu-Communists or cultural Marxists, decided the struggle wasn’t going to be between the “haves” and the “have nots”, but between the so-called “dominant” culture and those people it allegedly dominates. Traditional gender roles were apparently “oppressive”, so came the feminist and “women’s lib” movement to address the “imbalance”, even though there was never a time when women were barred from entering scientific or STEM fields; they then, and mostly now, simply CHOSE not to. There was a disparity between the white man and the negro, so clearly whitey CAUSED that disparity, and now the negro needed some payback – forget that welfare more than compensated for any “reparations” and with interest to boot. Somehow Hispanics and Asians are never compared with blacks, only white people. And of course, the culture is too “straight”, and homos need more mainstream representation, so you better accept their dildo swinging, assless-chap wearing “pride” events, or you’re a “homophobe”; have straight people ever needed parades to represent that they like pussy?

And unlike old-guard Communism, the recruitment to become an apparatchik in the “struggle for equality”, isn’t done in secret meetings, but in the classrooms of universities and on “comedy” news programs by “social comedians” like Jon Stewart, Jon Oliver, Trevor Noah and Steve Cobert. Students are taught that a “history of slavery”, “racist policing” and an overall “racist system” is the reason blacks can’t get ahead, yet completely neglect that the Japanese were put into internment camps during World War II and came to dominate the tech industry. Students are taught that there is a “rape culture” under a system of “patriarchy”, even though rape used to be punishable by death; so does that mean that, during less “enlightened” times, we DIDN’T have a rape culture? Apparently, in universities, 1 in 4 women will be a victim of rape… or is it 1 in 5 or 1 in 7? How exactly do they define rape? Is it when a woman walks alone in the street, and a guy pulls her into an alley and has his way with her? Is it when a girl gets too drunk, and a guy fondles her neither regions without her knowledge? Is it when two consenting adults have sex, but since the woman was drunk, she couldn’t REALLY have consented? I’ve done the third example many times, so I guess I’m a rapist even though I’ve been drunk as well.

Oh, and apparently our culture was discriminatory towards gays until we “fixed” that with “gay marriage.” And while one would think the “gay-struggle” was won, and leftists would take a rest, think again! The left now wants you to recognize a man who dresses like a woman as “transgendered” rather than as a man who dresses like a woman, which WAS typically called a transvestite. And while it’s still accepted that a man who has is ding-dong chopped off and replaced with a fake vaginal device is a transsexual, I’m “transphobic” if I prefer not to sleep with or date this person, since I prefer to date and sleep with women who were, ya know, born women.

And, to top it off, in true Orwellian fashion, new words have been invented to describe anyone who fits the dominant culture. If you’re a “straight white man”, you’re now “hetero cis normative.” If you believe that there are two sexes – not counting hermaphrodites – you’re “gender binary.” And if you happen to be white, “hetero cis normative” and “gender binary”, you’re of the dominant culture and have some sort of privilege.

I asked someone an honest question; “if I’m dating a girl, and she decides to identify as a man, does that make me defacto gay?”, and she took to offense to it.

The question of why she took offense to what is a perfectly logical and reasonable question brings us back to our main point. She considers herself a liberal or left-leaning person and believes that my question comes from the insensitive point of view of an oppressor towards people who identify as “non-binary.” She means well, but she knows not what she does, and she will undoubtedly in the future be the kind of person who will push to implement more policies favoring people with the delusion of being “non-binary”, rather than what the person would have been called a decade or so ago; cuckoo.

This same person sees a black person get killed by a police officer and doesn’t question for a second WHY it happened. Was the black person committing a crime? Was he or she being rude to a police officer during a stop? Was he or she resisting arrest? The answer is always the same; racial discrimination. Forget that more whites, than blacks are killed by police. Forget that blacks consist of 13% of the population, yet commit more than 50% of the violent crime – mostly to other blacks. Forget any of the unpleasant details. If a white police officer – or white person in general – shoots and kills a black person, it’s ONLY because he or she harbored racial animus. The solution? Impede police from doing their job with needless bureaucracy. The result? More violence and death in the ghetto and more disparity between whites and blacks as whites leave the ghetto.

This same person hears of a case where a woman is raped on a college campus and doesn’t for a second wonder if alcohol was involved, if the person had sex with someone she didn’t like and then regret it later, or in the case of the phony Rolling Stone gang rape article, completely lie about it. The solution? Kick men off of college campuses if women accuse them of rape. The result? Men stop approaching women in college or at bars because they’re afraid that they too will get in trouble with the law.

This same person will worry about remembering proper pronouns; she’ll worry if she “mis-gendered” a person; she’ll concern herself of whether it’s more racist to “see color” or “be colorblind”; and if this person happens to come in the form of a man, he’ll worry if asking a girl on a date will lead to a charge of sexual harassment, or in some cases, rape.

And this person will think he or she is completely and 100% on the “right side of history” and in keeping with the times. He or she, who doesn’t follow politics in any meaningful way, will never question the narrative and simply try to keep in lockstep with it, thinking that things always need to be ” moving forward”, and with all the well-meaning intentions in the world, he or she will drive us all off of a cliff.

What Happened to the Morbid Hipster?

mondo_balordoI’m still taken aback when people act surprised when they find out that Johnny Ramone was a Republican. Make no mistake; John “Johnny Ramone” Cummings, the down-strumming, ax-slingin’ guitarist for what many consider either the first or the most influential punk rock band of all time, was an unabashed Nixon and Reagan supporter, a staunch proponent of the death penalty (“they should put it on TV for everyone to see”) and a practicing Catholic, and he wore “Kill a Commie for mommy” and “Kill ’em all and let God sort ’em out” t-shirts under his black leather motorcycle jacket; all while playing the often copied guitar riffs that appear on every Ramones album and were played at every Ramones gig. He even admitted he played his guitar as if it were a Commie blasting machine gun.

People are even more surprised to learn what Johnny Ramone’s OTHER obsessions were; baseball cards, comic books, horror movies and serial killers. Okay, they’ll concede that, between going to church, attempting to outlaw abortion and finding ways to screw poor people, all while hypocritically preaching about family values and the need to quell inner city crime, members of the GOP CAN be fans of baseball cards, comic books and horror movies… but serial killers?! What would Sean Hannity think? Or Pat Buchanan? How does one allegedly support God, mom, apple pie and family values while obsessively reading about the exploits of Ed Gein and John Wayne Gacy?

When Johnny Ramone started the Ramones, he said very plainly that the group’s formula was to write two minute songs with loud, buzz-saw guitars, catchy pop melodies and “sick” – as in morbid, twisted, weird, unusual, dark, disturbing – topics. And did they accomplish this task? Let’s see: “Glad to See You Go” is about Charles Manson; “Chainsaw” is about The Texas Chainsaw Massacre; “Today Your Love/Tomorrow the World” is about a Nazi fighter pilot “fighting for the fatherland”; “Loudmouth” is about beating up an annoying girlfriend; “53rd and 3rd” is about a young punk who makes money by sucking the cocks of middle aged businessmen on skid row (presumably Dee Dee wrote from an autobiographical perspective, but I’m guessing the part where he kills the guy is made up); “We’re a Happy Family” is about a family where “daddy’s telling lies/ baby’s eating flies/ mommy’s on pills/ baby’s got the chills… no Christmas cards to send/ daddy likes men”; “Warthog” is about “drugged out visions of Commies and queers”; “Pinhead” is about Todd Browning’s 1932 grotesque horror classic Freaks; and songs such as “Now I Wanna Sniff Some Glue”, “Teenage Lobotomy”, “Gimme Gimme Shock Treatment”, “Go Mental”, “I Wanna Be Sedated” and “Cretin Hop” sorta speak for themselves.

On top of that, before punk was dwarfed by Clash-inspired Marxist populism, Crass-inspired anarcho-leftism or Dead Kennedys-inspired generic liberalism and anti-capitalism, other punk bands were also into being “sick.” The Sex Pistols sang about a psycho fan of theirs who had an abortion in “Bodies” (some say “Bodies” has an anti-abortion message couched in its cuss-word filled lyrics; certainly “a gurgling, bloody mess” is something people see often in the back rooms of Planned Parenthood Clinics), not to mention calling the New York Dolls “poor little faggots” in “New York”; the Dead Boys sang about serial killer David Berkowitz in “Son of Sam”; the Vibrators sang about some kind of twisted love affair in “Nazi Baby”; Eater angrily tells some offensive bitch to get raped in the confusingly titled “Get Raped”; the Adverts sang about a guy who wakes up from eye transplant surgery to find that he’s had his eyes replaced with those of murderer Gary Gilmore in the cleverly titled – not to mention super catchy! – “Gary Gilmore’s Eyes”; and, of course, songs like “Orgasm Addict” by the Buzzcocks and “Bring on the Nubiles” by the Stranglers speak for themselves as well.

Oh, and if you’re a punk neophyte, google the lyrics to either “Bullet”, “Attitude”, “Last Caress” or “Skulls” by the Misfits. They sure as hell ain’t about saving the planet!

And JUST to belabor the point by using too many examples – because using too many examples is fun! – the Mentally Ill from Chicago have songs with titles like “Gacy’s Place”, “Stalag 13” and “Tumor Boy”, Legionnaire’s Disease from Houston have a song called “Rather See You Dead” that goes “rather see you dead/with a bullet in your head” and both the Child Molesters and the Hollywood Squares, who are both from Los Angeles, have a song about the Hillside Strangler; the former call theirs “(I’m the) Hillside Strangler”, and the latter use the shorter title “Hillside Strangler.”

All of these examples of early punk rock are part of a greater culture of morbidity, that seems to have all but been lost in the last, I dunno… ten, fifteen, twenty years? A quarter century? There are still bands who keep things twisted and weird, such as Rectal Hygienics, but they either get criticized for their “misogynistic” lyrics like in this article asking “Why Are Misogynist Lyrics ‘Entertainment’ in the Current Year?” or ignored entirely for deeply silly crap like War on Women, none of whose members, I’m thinking, have ever heard of Jim Goad.

Speaking of Jim Goad, I asked Dan, the owner of the PATAC record label, if I could use a song by one of his bands on the Sounds of Marshabaloosh segment on the Savage Hippie podcast and if he’d heard of Jim Goad. Not only had he NOT heard of Jim Goad, he explicitly said that he didn’t want any of the stuff from his label – the same label that put out an album by Anal Cunt, known for their racist humor, rape and Holocaust jokes and regular use of racial slurs – played on the evil, racist Savage Hippie podcast that’s hosted by two Jews and a Shiksa. His label also has bands with names like Fistula and Panzer Bastard and often uses blasphemous, horrific and grotesque imagery on their album covers, flyers and press releases. In other words, covering your album with inverted crosses and images of ripped out organs is acceptable, but advocating for immigration reform to keep a certain religion, known for its hatred of gays and women and whose name translates to “submission” and which has been the source of 30,000+ terror attacks since 9/11, out of the United States to keep its citizens safe, is backwards, wrong headed and racist. Did I mention that it’s also racist?

Anyway, when all four issues of Jim Goad’s ANSWER Me! zine were reprinted by Nine-Banded Books, Goad said that the new volume is bound to cause a stir considering the reaction it received a quarter of a century ago. I believe this is wishful thinking. When the Goads’ (Jim and Debbie, that is) zine made them the “top dogs of the zine world”, as he said on the Savage Hippie Podcast several months ago, hipsters, weirdos and freaks were cooler, more open minded and more into morbid and bizarre culture, and only the earliest strains of stifling and sensitive political correctness and cultural Marxism began to poke their ugly heads into the underground world. The people who will see and read the ANSWER Me! volume released in 2017 are already his fans from Takimag, The Redneck Manifesto and Shit Magnet and are primarily on the nu-right/AltRight, and there’s a good chance it won’t see the inside of a “hip”, independent book store.

However, back, during the golden era of the slacker, hidden away in small, “alternative” book stores, cult video stores and even dinky, independent record stores, were groups of people whose interests included, but were not limited to, anything that was bizarre, weird, excessively ugly or just downright unusual. These underground hipster freaks enjoyed watching cult films by Russ Meyer, Ray Dennis Steckler, Al Adamson, Barry Mahon and Herschell Gordon Lewis; they enjoyed watching Faces of Death videos and mondo films which showed primitive African tribes spearing elephants to death and Chinese villagers eating snakes; they read RE/Search magazine, the ANSWER Me! zine and anything put out by Feral House books to learn about bizarre cults with weird rituals or to look at disturbing pictures of botched surgeries and gawk at autopsies and body modifications; they read pieces by Ted Kaczynski and about various mass murderers, serial killers, cannibals and other assorted human detritus; they searched local comic shops for rare issues of the 1980s Japanese comic Rapeman; and, like me, they took their girlfriends to see Cannibal Holocaust, which has animal killing, rape and torture in it, only to have said girlfriend say, “did they at least EAT the turtle after killing it?”

And they enjoyed all of these odd pleasures without feeling guilty about or having to rationalize them. I still cringe when I remember reading about modern day film students looking at Russ Meyer films through a feminist lens. WHAT FEMINIST LENS?! Meyer was a tit-obsessed pig who filled his movies with sex and violence; sometimes the chicks got beaten up, and sometimes the chicks did the beating. And when the chicks did the beating, the guys who watched the movies still beat off to them because the chicks’ tits were huge.

And don’t you DARE consider certain customs practiced by certain tribes in far away lands to be primitive or backward, you racist bastard!

Oh well, just like punk rock, weirdo culture as a whole has all but been ruined because of the SJWs’ need to reassess everything from a politically correct, cultural Marxist angle. Nothing can just be enjoyed at face value anymore. Unfortunately these new school kids, who are obsessed with self-righteousness and virtue signalling, won’t be able to watch footage of primitive tribes spearing elephants to death, listen to songs with the word “faggot” in the lyrics or read about Nazi cults run by Jews who think Hitler is Jesus without thinking, “am I going to get yelled at for this?”. Sucks to be them.

Savage Hippie Episode 47 – If You Love Frogs so Much, Why Do You Wanna Drain the Swamp?

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Sorry this episode took so long to come out, but I was preoccupied with watching every episode of The Young Ones.

In other news, I’ve been staying in a house similar to the one I lived in when I was living in Grand Rapids; just your typical house fulla basic bitch liberals, who in ANY other time in history would have already been married and had kids by now. These are the kind of people who claim they hate gentrification even though they’re contributing to it by living in an area where the brown population views them as a curiosity; the kind of people who say “it’s chill” and feign laughter at the latest hamfisted attempt to bash Trump on Saturday Night Live. Actually one of the girls that stays here is moving to my former home state to go to University of Michigan and get a degree in “policy” or some shit so she can attempt to screw up the country even more.

But, as far as L.A. goes? Eh, it’s okay. If there are supposed to be all these hot women that have moved here from other states and are attempting to get into the film industry, then I sure as hell haven’t seen them. On top of that, L.A. has nothing here that I couldn’t find in any other relatively big city’s hipster districts; ya know, the art theaters, record shops, tattoo parlors, phony dive bars and small rock venues. But on the plus side, I’ve already made friends with people who share a, shall we say, similar mindset as me; so this place isn’t ALL leftist dipshits.

Anyway, in this latest episode, Ann Sterzinger, David Cole and I discuss a wide variety of topics, among which include Detroit’s possibly legalizing the barbaric Islamic practice of female genital mutilation, David being forced to install carbon monoxide detectors in his home, how middle of the road liberals are more annoying than far left SJWs, Trump’s selling weapons to Saudi Arabia, the photograph of Trump with the Saudi King and Egyptian President around the glowing orb, Trump’s hiring of Joseph Lieberman, the Islamic attack at the Ariana Grande concert in Manchester, my love and David’s hate for Halloween III: Season of the Witch, Ann’s traumatic experience listening to Depeche Mode on acid at a science fiction convention and David’s love for Norm MacDonald.

The band for this week’s Sounds of Marshabaloosh segment is Hell Night, who were suggested to us by a new fan of ours that asked to remain unnamed. Hell Night were indeed named after the 1981 slasher flick, hail from Saint Louis, MO, play loud ass noise rock and have gory imagery on their releases, the latest of which is the “Skinless Summer” EP. We feature their song “Boiling Head”, which you can listen to here.

This time David did the masterful artwork, and the song at the end is none other than “The Diet Has Failed” by the Yesticles.