Jumping into the discussion of gender and sexual identity; I would like to bring attention to a classification not observed by popular media. Beyond the accepted system of heterosexuality, homosexuality, and bisexually. Further than the identifications of male, female, and transgender is an unexplored area of undocumented sexuality and gender. Unrestricted of current sexual norm is the gender/sexuality identity of ROCK AND ROLL. Rock is dirty. Rock is grimy. Rock is out only to satisfy it's fundamental id needs. Rock and Roll does not care if you are a man or a woman. Rock has no gender. Rock's only identity is sin. Rock seduces everyone regardless of their sexual preference. If cataloging Rock and Roll in it's own gender/sexual identity seems a bit confusing; let me give you the utmost example.....JOAN JETT!!!! Joan Jett is gorgeous, sexy, and a brilliant Rock icon. Much like Rock she is fearless, charismatic, and unapologetic. She is essentially Rock and Roll inhabiting a hot body. I challenge you to find anyone (male or female) that is not sexually attracted to Joan Jett. Being attracted to Joan, is not a choice you have, it's not a choice Joan has. It is Rock's decision. Never having the luck/courage of being "with" the Rock icon; I can only imagine the experience being similar to her concerts: loud, dirty, sweaty, satisfying, and face melting. Watching Joan onstage is intimidating and fearful at times. I found myself being too intimated to look directly at Joan at times, and fearful that my head and loins may explode at any moment. Walking out of the arena I found myself stunned, slightly violated, and satisfied; much as the way I imagine being with Joan on a intimate (not necessarily sexual) level. Joan is a trailblazer not only for musicians. She is an inspiration for women. She has the spirit of Rock and Roll to thank for this. As it possesses her body and uses her as a host to infect and inspire women with the life-force of Rock and Roll. I can see why Rock chose Joan to do all it's dirty work. Thanks Joan. Angelalyn
“First
it controls your mind. Then it destroys your body.” "Long live the new flesh." Videodrome is a psychological, science fiction, horror film. The film’s storyline consists of a television producer programmer,
Max Renn’s (James Woods) aspirations to expand the viewing audience of his UHF
television station, CIVIC-TV. Max is always on an incessant pursuit of the next
radical, cutting edge programming that will push the boundaries of sex and
violence. The station’s regular programing specializes in the perverse,
however, Max is bored with the current lineup. Soon with help from his tech guy
he discovers a grainy broadcast signal featuring gratuitous violence, torture
and death. This
strange broadcast known as "Videodrome" intrigues Max to the point of
pursuing the creators to negotiate rights for a potential hit for his station. Max,
apparently believing the footage to be staged snuff television, begins pirating
the program and also recording it for his own personal viewing. While
appearing on a talk show he meets his soon to be girlfriend, Nicki Brand
(Debbie Harry) who is of course, a sadomasochistic radio psychiatrist. On the
talk show Max defends his choices for programs on his network to both Nicki and
Professor Brian O'Blivion (Jack Creley), a philosopher who only appears on
television if his image is broadcast per television set, with his true
whereabouts to remain secret. O’Blivion predicts that the future will bring
about an age in which television will replace real life. Max’s
curiosity for Videodrome leads him to investigate and discover the truth behind
the signal’s source. In turn he soon loses touch with reality and spirals down
a path of deception, mind control, an unusual socio-political movement, and
bizarre hallucinations.
The surreal film was written and
directed by David Cronenberg. The innovative
director has been recognized as forefather of a subgenre of horror known as
“body horror”. Which is characterized by themes pertaining to the mortal fears
of one’s own body. Such as disease, disaster, mind expansion, hallucinations,
and bodily transformation. His style interweaves the psychological with the
physical in such films as Shivers, Rabid,
The Brood, Naked Lunch, Scanners and Videodrome.
Like many of Cronenberg’s works, Videodrome includes a number of
visually disturbing scenes that demonstrate the fusing of technology with
biology.Cronenberg’s general premise for
most of his films consist of the distortion of reality and hallucinations; which is revealed through the abuse of science,
technology, biology, and drug use.The new flesh theme is not only evident in Videodrome but
also in several of his films. A
number of things were said to have influenced Cronenburg’s Videodrome. These
include the urban legends of the 40’s World War era such as the concept of mind
control and brain tumor-inducing
television waves. During the 70's and 80's, Cronenberg picked up American television signals late
at night after the Canadian stations had gone off the air, and he worried he
might see something disturbing not meant for public consumption. In addition,
Cronenberg’s "Civic TV" was apparently based on an old Canadian
station that actually did broadcast pornography. Punk icon, Debbie Harry of the new wave band Blondie stars as Nicki Brand, James Woods's sexually provocative,
sadomasochistic girlfriend. Debbie
changed her signature two toned hair for red for the role, and portrayed the
character using dronish mannerisms, and a monotone voice. Which added to the
character’s disturbing, erotic, detached persona. In the film, Nicki introduces Max to sadomasochistic play, which includes having him continuously
impale her earlobe with a rather large needle. Her other diversions include,
branding herself with cigarette burns to her breast. When Nicki decides to pursue an audition for Videodrome, she
delivers some noteworthy quotes;
“I was made for that show" she asserts.
She declares to Max,
"It has something you don't
have, it has a philosophy, and that is what makes it dangerous." Cronenberg
has said in interviews, that the name Nicki Brand was influenced by the
character’s taste for self-mutilation. “Nicki”(to
nick or cut) and “Brand” was supposedly used to suggest (to brand or burn). Debbie
Harry has had a lengthy career in acting that spanned many television
appearances and film roles. However, in my opinion her stand out roles were in
cult movies. Such as 1980’sRoadie, 1983’s Videodrome, Rock & Rule
(animated voice over character), 1988’s Hairspray,
1990’s Tales from the Darkside: The Movie,
1993’s Body Bags and 1996’s Drop Dead Rock, which also starred
fellow new waver, Adam Ant. James
Woods portrayed his character with extreme intensity, and passion.He used comedic sarcasm and snarkiness to
lighten the heavy mood of the film. He convinced his audience that the head
trip horror of hisphysical and psychological deterioration in which he endured was all too real. The original synthesized score was
composed for Videodrome by Cronenberg’s friend, Howard Shore, which, to spite
having a rock star casted in it did not contain any rock and roll tracks.
However, due to Videodrome’s cult status, and dark edgy cyberpunk undertones,
it has had a lasting influence on rock music. Several bands ranging in genres
have sampled the film; from metal, punk, and industrial, to EBM bands. Some
of the bands, just to mention a few who have sampled the film include; Skinny
Puppy, EMF, Slipknot, Meat Beat Manifesto, Front 242, Psychic TV, Dope on Plastic,The Klinik, Snog, Cyberaktif, Big Audio Dynamite, Bomb the Bass, Seba and Paradox.
Videodrome: WTF Moments:
O’Blivion’s
office is located at his charity, “The Cathode Ray Mission”, where the homeless
are provided food, shelter, clothing, and marathon sessions of television
viewing, you know the necessities of life. The mission is mysteriously ran by
O’Blivion’s daughter, Bianca (Sonja Smits), whose aim is to contribute to her
father’s vision of a world in which television replaces everyday life.
Max’s torso
transforms into a gaping hole that functions as a VCR, which I had initially mistaken
for a “vajayjay”, AKA a vagina-type slit.
Max must endure
an additional gaping hole in his abdomen; which he plunges a handgun into in
order to carry his “concealed weapon”. The gun drips an oozy substance whenever
he pulls it out of his pouch.
Breathing
television sets, and videotapes that quiver and shake as if they were being
stimulated.
Throughout the
film, Max is programmed, deprogrammed, and reprogramed with numerous pulsating inserted
VHS tapes.
Nicki
appears to Max on television, in which the top of the set becomes a heaving
eroticist zone that responds to his touch. Nicki’s lips engulf the TV frame, and
develops into vortex protruding out of screen which envelopes Max.
Nicki eagerly
auditions for the Videodrome and never returns.
Max takes
refuge on a dilapidated boat, where Nicki appears to him on a TV set. She tells
him he has weakened Videodrome, but in order to completely defeat it, he has to
ascend to the next level and "leave the old flesh".
During a climactic
scene, a television set explodes and splatters bloody human intestines
everywhere.
The Videodrome
program set takes place in a chamber that that is made up of a reddish-orange
fleshy type substance, resembling the inside of a pumpkin.
The film
features an eyeglass company, “Spectacular Optical Corporation”, which on the
surface is an eyeglasses company but is actually a guise for a NATO weapons
manufacturer.
Max is forced to wear cyber punk head gear resembling an old school hairdryer.
Fatal brain tumors are given to "lowlifes" fixated on extreme sex and violence, as part of a crypto-government conspiracy.
During a death scene at a trade show, a character is being gunned down, as this occurs his body erupts into cancer tumors emerging to the surface from out of his exposed insides.
Max’s hand fuses with a gun, literally, forging a “flesh gun” or literally, a “hand gun".
A villian’s hand fuses with a grenade, forming literally a "hand grenade." Which then blows him up!
Max enlists the elderly, Masha (Lynne Gorman), a "feminist pornographer" to help him find out the secrets of Videodrome.
Videodrome reminded me of several preceding films. Just to mention a few, the
fusing, melting of flesh and body parts reminded me of 1989’s “High Society”. Also, Videodrome was “Fifty Shades of Grey” minus death and hallucinations. Videodrome was ahead of its’ time in countless ways.Reflecting
back on the film, the
themes continue to be relevant today. Videodrome strangely projected the future
of modern technology. The popularity of reality television, social media, and
modern voyeurism, such as drones and computer videoing has blurred the borders of
reality concerning man, and technology. If it weren’t for the box style
television sets, VCR, and VHS references, one would not be able to determine
the decade in which this film was produced.
I found myself relating to Videodrome on many levels, in particular I have
felt much like Max at times in my life, “a human VCR”. Being continuously programed
and reprogramed. Or, it could be the fact that I’m such a fan of difficult to
find cult movies, which remain on VHS format and are yet to be released in DVD,
or blue ray format. Regardless, I don’t have to fret concerning Videodrome
receiving a proper release. It has had several releases, which includes being released
as part of the Criterion Collection, which includes many unreleased extras.
These include the mini films featured in Videodrome,
“Samurai Dreams”, and “Apollo & Dionysus”.
When
the Bullet Boys released their debut album Bullet
Boys in 1988; I became an instant fan. Being a lifelong metal fan, at that
time in the 80’s, I idolized the Los Angeles hard rock movement. I tended to
like the heavier groups of that particular subdivision of metal, such as Ratt,
Twisted Sister, Guns and Roses, and W.A.S.P. However, when the Bullet Boys
emerged on the scene, with a harder sound, and edgier look, my full attention
was captured and then
primarily focused on this one band.
Charismatic vocalist
Marq Torien’s voice was unlike anything I had ever heard up to that point and
beyond. His power and passion was and remains evident.
Marq has a powerful and wide bluesy vocal range, which is more akin to the
front men of the bands I have admired most, that of Led Zeppelin and Van Halen.
Correspondingly, his moves were also unlike anything I had ever seen or would see again, which left a
compelling image burnt into my mind to this day. All of which elevated his image for
me as the "Rock God" archetype. His powerful stage persona, although it was reminiscent of Roth and Plant,
is still uniquely his own. Marq’s captivating moves consisting of swaying hips
and forceful gestures to the audience was very inspiring to me. I would often emulate these smooth moves while
watching the video for “Smooth Up in Ya” on MTV’s Hard Sixty series.
Being
a Bullet Boys fan during the 80’s in rural Kentucky is a melancholy story.
There were virtually no record stores and really no place to purchase good
music. To be able to own copy of the Bullet
Boys album, my older sister had to take me across the state line to buy me
a copy at a liquor store. To be able to own a rock t-shirt of the band, a
family member residing in the state of Michigan had to purchase and mail me a
shirt.
Regardless,
I was able to obtain my band merchandise at that time; and later when Freakshow (1991) was released I joined the Bullet Boys
fan club and then was able to receive band updates, and even an autograph photo
by mail, which I still have and treasure today. As you can see in my attached
photo.
Flash forward to the present, the band continues to work diligently to tour, write, perform and release albums. I was thrilled that the band visited my home town during their tour on April 13, 2017 at the Appalshop theatre. I knew the band would pour their heart and soul into the performance and that's exactly what they did.
Lucy
Bullet Boys perform on stage at Appalshop Theatre April
13, 2017
Vocalist/Guitarist, Marq Torien giving his dedicated
fan, and Author, Lucy Hall a hug
Vocalist/Guitarist, Marq Torien meets, greets and
signs autographs for fans
Initially when the band,
Sinful Lilly emerged upon the stage; my thoughts concerning the lead vocalist,
Fredi Handshoe wearing a porn star tee, shifted to an image I once saw in RIP
Magazine. It was an infamous RIP teaser of metal kingpin, Nikki Sixx donning a
Hustler Magazine tee with the caption, Censor that Shirt. Fredi’s overall image
was reminiscent of Nikki Sixx and other traditional metal icons I have loved.
However, as a contrast, bassist Nikki Valklix’s style in my opinion was more
akin to that of the nu metal rockers. Their looks contributed to my initial
impression which was, I thought they were one of L.A.’s newest hot shots coming
to invade my hometown with their hard rocking style. You would think this band
had formed on the L.A. club circuit, later I found out that they actually based
out of Richmond Kentucky. However, Sinful Lilly is no gritty, sweaty, average
club band either, these dudes are radio ready rockers. Often times, fans will leave a show with a shared experience. Though,
there are those times that each fan leaves a show with a different impression
than others may have shared. As a long time metal fan, my observation of Sinful
Lilly’s musical style consisted of an fusion of nu metal, classic metal, sleaze
rock, alternative, stoner rock, anthem rock and punk. Creating one heavy
blistering sound. It is clear that this band has been influenced by heavy
hitters such as Black Sabbath, White Zombie, Van Halen, Alice Cooper, and
Motley Crue; just to mention a few. Yet, they are not imitating others songs.
It is apparent they have their own unique sound and that they are not in it
just for the sake of playing for fans but it is evident they enjoy performing
music for themselves. Which is a sign of true commitment to their craft.
Although, each song contained several aspects of metal genres, the performances
comprised as a fluent, and cohesive whole. While performing California Man.
Lead singer, Fredi Handshoe’s vocal style was reminiscent to that of Taime
Downe of Faster Pussycat. Which was gritty and semi-punkish. Everything a vocal
style should be at a metal show. The song had several elements from many
subgenres of metal, which included an element of alternative rock. Sinful
Lilly’s live act radiated raw, live power with the crunch of guitar and bass
combo. Which was fast paced, feet stomping, speedy, straight ahead in your face
rock. The lightening sound and
melodic thunder is what Sinful Lilly is all about which got their fans hearts
pumping. Bassist, vocalist, Nikki Valklix’s energy was high octane, he was an
awesome standalone showman. However, alongside rebel rocker Fredi, he was a flash
and dazzle side man. He strutted his stuff onstage, doing acrobatic jumps,
drives and often going down on his knees playing the bass, while the audience
observed in amazement. While Nikki had the energetic lightening flash of the
band; Fredi on the other hand, seems the opposite. There was less in your face
rock and roll flashiness, with the lean singer guitarist, these opposing stage
personas contributes to Sinful Lilly being a quintessential hard rock band to
see live. Together they have great rock and roll chemistry, plus they possess a
lot of attitude. This concert attendee found herself in awe and speechless with
praise for what has certainly been the best opening act I have seen in a very
long time. Lucy
Sinful Lilly opens for Bullet Boys at the Appalshop, Whitesburg Ky. April 13, 2017
Lead Vocalist/Guitarist, Fredi Handshoe, Bassist/Vocalist, Nikki Valklix, and Drummer, Trey Bledshoe
Lead Vocalist/Guitarist, Fredi Handshoe
Left to Right: Bassist/Vocalist, Nikki Valklix, Author, Lucy Hall, and Lead Vocalist/Guitarist, Fredi Handshoe
