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Above is the cover of Scroobius Pip’s new collection of illustrated poems, entitled ‘Poetry In (e)motion’. It is released in a week or so by Titan books and you should most definitely all buy yourselves a copy.

It features work by yours truly.

Yes, I can finally announce that I was selected alongside several other artists to have my work represent the words of Mr Pip.

This is a massive honour and I am greatly excited about it all (I haven’t seen the finished product yet!). Many, many thanks to Scroob for deeming my doodles appropriate and worthy enough to include in this collection.

You can pre order the book HERE.

I can’t wait to read the  introduction by Nick Frost as well. ^_^

If it were the case in the 1930’s that the success of a man could be attributed to his acquisition of midgets, then Jed Buell was the Donald Trump of his day. ‘The Terror of Tiny Town’ features an ‘All Midget Cast’ of none other than ‘Jed Buell’s Midgets’. Yes folks, step right up to witness the all singing, all dancing, hootin’, shootin’, rootin’ and hollerin’ collection of pint size Sheriffs, diminutive cattle rustlers and half measure drunkards. This was pretty much how ‘The Terror of Tiny Town’ was marketed, a direct cinematic transfer of a sideshow act. The tone is set straight away in which an announcer welcomes us all to have a bit of a laugh at a varied collection of small people. He is interrupted by the two stars of the show, who ensure us that this is no comedy, and is to be treated as a serious feature. The credits don’t even attribute character names to the actors, they are merely known as ‘The Hero’, ‘The Villain’ etc. We are then transported to a western town were the inhabitants sing about ‘slashing your blues away with your sledgehammer.’ Sound advice methinks. The fundamental flaw in ‘The Terror of Tiny Town’ is that it’s essentially a one trick (Shetland) pony. The fact that the cast is made up of circus performers and sideshow attractions is all there is to it. It is an act that may have delighted several hundred attendees at a Vaudeville show, but fails to transfer to the big screen with any grace or humour whatsoever. The cast ride around on miniature horses, lassoing tiny calves with clumsy ineptitude. What would have caused roars of laughter in the fleapits, leaves the viewer decidedly cold. It would be wrong to attack the actors for the poor performances, they were after all, commodities, they were possessions who did what they were told. It is the lack of empathy and the abundance of snickering and finger pointing that leaves this an altogether charmless affair. The result is a long winded Western of poor and predictable quality. It lacks the heart of Tod Browning’s ‘Freaks’, which allowed it’s outsider cast to voice their frustrations at the attitudes of an ignorant, unsympathetic society, this feature however, encourages us to do no more than point and laugh. In the sense of Exploitation, this is as literal as it gets. A turn of the (20th) Century sideshow brought to life before your very eyes. As a historical reference point it is interesting, and definitely worth watching, for it portrays the humour, harshness and apathy that people felt towards those of whom had the misfortune to be born different. The film maintains a cult status today and is referenced in movies (Johnny Suede), music (Dead Kennedy’s Jello Biafra) and TV (M*A*S*H*). The reason for the references lies, I imagine, in the obscurity of the concept more than the execution of the feature. It’s a shallow and saddening piece, but one which is worth watching nonetheless. Make your mind up for yourself.

Before the release of ‘Freaks’ in 1932, director Tod Browning (1880-1962) had made silent features with Lon Chaney Sr. and of course, directed Bela Lugosi in 1931’s Dracula. He also had over fifty completed movies to his name. After the controversy and furore that surrounded ‘Freaks’, he directed only four. What could have possessed Browning to make such a bold cinematic statement that would have drastic results on what had been a lucrative career?

Inspired by a story written by Tod Robbins (1888-1949), (a Science Fiction, Horror and Fantasy writer who would later spend WW2 in a Nazi occupied concentration camp), Browning drew from his own experiences, having run away from home at 16 to join a travelling circus. This was the basis for his eventual ascent through Vaudeville and eventually, Hollywood.

Browning makes his feelings clear in the opening reel, praising the misshapen outsiders of the movie for their courage and strength in dealing with their afflictions, and the uncaring harshness of the regular world. The written introduction draws to a close with the mission statement:

‘With humility for the many injustices done to such people (they have no power to control their lot) we present the most startling horror story of the ABNORMAL and THE UNWANTED.’

A horror it most definitely is, but for reasons well beyond the aesthetic. Browning’s choice to cast actual sideshow employees, such as Johnny Eck and members of Germany’s The Doll Family, would be what audiences professed to find disgusting and in poor taste. It is Browning’s reflection of society’s attitude towards individuals of difference that really struck a nerve. The horror in this movie is a human horror, and it is more terrifying than any monster imaginable.

It begins with a Carnival hype man, who is telling the story of one particular exhibit, and we are cast back to the travelling show’s recent history. It is here where we first meet Hans (Harry Earles) who is engaged to Martina (Daisy Earles), two of the performances ‘little people’. Martina worries that Hans is starting to develop feelings for (regular sized) trapeze artist Cleopatra. From Hans’s smitten, forlorn gazes, this would appear to be the case.

Cleopatra is involved in a relationship with the circus strongman Hercules (again, one of the non afflicted cast members). Upon the revelation that Hans is in receipt of a considerable inheritance, Hercules and Cleopatra make a joint plan to weasel him out of it.

It is prominent throughout, that the ‘Freaks’ live by a very strict code of conduct and honour, which is far more than can be said for their average counterparts. The initiation scene, in which Cleopatra is accepted into their group, is possibly the most recognised and referenced in pop culture, but there is far more to this movie than one scene can surmise.

It is above all, a love story, but it is the twisted and devious ways of man, which make it a horror.

Freaks became notorious. The prologue was added post production and several scenes were heavily cut. One woman even sued MGM complaining that the movie had caused her to miscarriage. This led to the exclusion of a castration scene and its subsequent results. It also meant that an attack scene, included in the climax, was also almost completely eradicated. A happier ending was added too. None of these factors however, diminish the joy and pleasure that can be gained from this movie. It is a testament to Browning’s skills as a director and producer, that almost 80 years later, ‘Freaks’ stands strong through the references and parodies, leaving behind one of the most spectacular and genuinely shocking movies ever made. Although possibly not in the ways you might initially imagine.

The most famous (in name at least) of the ‘Cautionary’ tales of the 1930’s is ‘Reefer Madness’, which was originally a Church Group sanctioned public safety entitled ‘Tell Your Children’. It wasn’t long after its release that it was purchased by raconteur and movie producer Dwain Esper, director of classics such as ‘Sex Maniac’ (1934), ‘Sex Madness’ (1938) and ‘How To Undress In Front Of Your Husband’ (1937). Esper was also responsible for showcasing the mummified remains of outlaw Elmer McCurdy, who has since become a lost sideshow legend and the makings of many urban myths.

The film begins in a lecture format, as a spokesperson introduces some concerned looking individuals to the madness and menace of the demon weed. A short selection of stock footage is played, showing the simplicity of the drug’s manufacture, distribution and supply. We then cut to the subsequent story.
The plot (as it is) centers around Jack and Mae, he’s a sullen hood with a predatory approach to pedaling his nefarious wares. When some preppy looking college boys come up to the apartment to do some dealings with Jack, Mae comments that they are ‘Not like the young kids you bring up here.’ To which Jack responds: ‘Why don’t you get over your mother complex?’ Thus displaying his damaged, uncaring personality, no doubt accentuated by his devious lifestyle.

The kids are Bill and Jimmy, who will become further embroiled in Jack’s web of sin. Soon afterwards we are taken to a seedy bar, where crazed looking teenagers are losing control to some provocative ragtime, played by the most sinister looking man I think I have ever seen in my life.

Watching him huff down a reefer, clutched in his gnarled fist a few minutes later, is no less terrifying.

The spiral then begins. Jimmy, currently ripped out of his tiny mind, speeds home at speeds of almost 50 miles per hour! His passenger yells in fear as Jimmy runs uncaring through a stop sign, plowing down an innocent man and driving away, impervious to any form of empathy or remorse.

A frantic professor contacts the FBI, well aware that the drug is being distributed amongst his students. The agent shows him examples of ‘Marihuana’ based atrocities, such as one young man who:

‘Under the influence of the drug killed his entire family with an axe.’
As if we were not suitably shocked and awed at this point, we see yet another wild and crazy sex party, in which girls who are out of control spin wildly to yet more ragtime, played by an equally insane but slightly less sinister pianist.
Things degenerate so much beyond this point that I can only allow you to proceed alone. If you dare.

It’s easy to see why this became a cult classic when it was released again in the 70’s. It has been heavily re-cut and altered since its original creation; this was primarily the work of Esper, who wanted it to appeal to the exploitation market. I gave the film a hard time in my introduction, but I think I was projecting the frustration at the aforementioned students who hang the poster on their grubby walls without realizing what the movie is actually like.

Thankfully for all of us, it’s currently in the Public Domain, and so we can watch it right here, all completely legally and guilt free. So, get comfortable and judge the rest for yourself, I hope that you will agree, it’s a nice starting point for what is going to be a very long trip indeed.

‘Baby Don’t Fear The Reefer‘

Happy Monday Everybody!

Here is a new Mixtape for you all.

Play it LOUD!

Click HERE To Download

Tracklisting is as follows:

1: ‘Jennifer’ : Pig Destroyer (Prowler in the Yard)
2: ‘Cheerleader Corpses’ : Pig Destroyer (Prowler in the Yard)
3: ‘Orange Ball-Peen Hammer’ : Mudhoney (My Brother The Cow)
4: ‘Roadbull’ : Melvins (Stoner Witch)
5: ‘Piss Virus’ : Amen (We Have Come For Your Parents)
6: ‘Waiting For The Turning Point’ : Superjoint Ritual (A Lethal Dose Of American Hatred)
7: ‘I Against I’ : Bad Brains (Banned In DC)
8: ‘L’angoisse du veilleur de nuit d’autoroute les soirs d’alarme à accident’ : Year Of No Light (Nord)
9: ‘Hexagram’ : Deftones (Deftones)
10: ‘Divinations’ : Mastodon (Crack The Skye)
11: ‘Rollin’ And Tumblin’ On Satan’s Rotisserie’ : The Tony Danza Tapdance Extravaganza (Danza II: The Electric Boogalo)
12: ‘Scum’ : Napalm Death (Scum)
13: ‘Bury Your Dead’ : The Haunted
14: ‘Reap What You Sow’ : Converge (Axe To Fall)
15: ‘And You Will Live In Terror’ : Necrophagia (Black Blood Vomitorium)
16: ‘Cut Throat’ : Assjack (Assjack)
17: ‘Behold The Face Of Death’ : Arkangel (Dead Man Walking)
18: ‘Blood And Tears’ : Danzig (Danzig II: Lucifuge)
19: ‘Ghost Trail’ : Cult Of Luna (Eternal Kingdom)
20: ‘Last Caress’ : The Nutley Brass (Misfits Meet The Nutley Brass)

A black rabbit silhouetted against a darkened sky, caught in a vicious snare that will almost surely end his life by slow suffocation. This is not a PETA campaign poster, or an animal rights campaign, but the cover of a children’s movie.

The 1978 animated version of Richard Adams’ novel stands the test of time as one of the best children’s adaptations of the last century, but how can something so gruesome, so harrowing, possible be suitable for children?

The simple answer is, because it’s real. Watership Down does not dilute the harshness of life, in either the human world or the animal kingdom. The ecological statements (and warnings) are made very clear from the offset: We will by our own hands, destroy this world in which we live. The political subtext is represented by the Owsla’s, the military structure that exists in each warren and the restrictions that it brings on its inhabitants.  The plight of the common man (or rabbit) is represented, his pleas falling onto the deaf ears of those who can make a difference.

There is as much can be read into Watership Down as George Orwell’s ‘Animal Farm‘, and in ways, the former has more dimensions. All of these factors aside, the film remains a wonderful and spellbinding adventure, in the purest sense of the word. It does nothing to curtail its brutality, something which is wholly represented in the cover to the VHS version of the film.

Even the write-up on the back represents the film perfectly:

‘One dim moonlit night, a small band of rabbits leave the comfort and safety of their warren and set out on a long and dangerous journey after a premonition of a terrible disaster that will overtake them. None of them know where they are heading, or of the dangers that they will face in their search for a new warren where they can live in peace.’

The tone of those sentences is imposing, dark and treacherous.

This leads me to my main point. In the recent reissue of Watership Down on DVD, the cover is changed to this:

‘The sky is bright and the fields are sunny, look at the smiling, inquisitive bunnies, aren’t they gorgeous. Oh, but there’s a big mean bunny too, it’s ok, I bet everything works out fine.’

No. It won’t. All this cover does is set children up for a fall. It lulls them into a false sense of security; even the appearance of the rabbits has been altered. They are now smoothed, sanitised Disney versions of the rough, grainy originals. This is misrepresentation, as to associate Disney titles with a movie like this is like telling a child that they’re going on the teacup ride and then throwing them into a ghost train on their own. I’m not one of these people who hate Disney, let’s not make that mistake. I think they make amazing movies and have done so for years, that is why they are the massive company that they are.

This is an entirely different animal however; Watership Down has a bigger body count than all of the Disney movies put together. You knew were you stood with the rabbit in a snare. Even the text on the back cover is an elusive side stepping of the actual story; they make it out to be Homeward Bound. There is no mention of the actual content of the movie, it’s all words like ‘enchanting’, ‘courageous’, honourable’ and other such nonsense. It also tries to set Kehaar up as comedy relief by referring to him as their ‘Loony’ friend. He wasn’t ‘loony’; he was psychologically distraught, starving and injured.

It’s incomprehensible that it is deemed necessary to dumb down everything that is targeted at a young audience for fear of upsetting anyone. The sad truth is, in today’s world, Watership Down would never get made.

Whatever chance Watership Down had, follow up The Plague Dogs would have none whatsoever.

‘Subject to harrowing scientific experiments, two dogs make a flight for freedom from the animal research laboratory in which they are imprisoned. In making their confused way through the lab, and panicked by the cries of monkeys, rabbits and mice, they break a glass container used by bubonic plague researchers. Beyond the fences, hungry and terrified, Snitter, a gentle little fox terrier and Rowf an older more cynical Labrador soon discover that the outside world is not the haven they hoped to find.’

So basically, it starts badly and gets progressively grimmer as it goes on. It is however, a must see. Despite being completely heartbreaking, its brutal honesty and unflinching approach make such a change to the unrealistic expectations of life that so many animated films portray.

Things don’t always work out like we want them to, sometimes the good guys don’t make it and it’s almost always us, man, people, that are the true villains of the piece. When it all comes crumbling down and we finally drag ourselves into oblivion, we can’t say we weren’t forewarned.  We have Richard Adams to thank for his honesty, his insight and his impact on literature and film, let us not forget that.

Even though it’s not the weekend yet, I thought I’d help tackle the mid-week bues with, erm, some blues (and other great stuff too!).

This Mix kind of just happened, but where else would you get to hear Jack Kerouac sing? (He may have had a wee drinkie or two before getting up out of the chair for this one)

Alongside Samuel L Jackson and Robert Crumb? You’ll only find those sort of ill advised and slightly neurotic song choices here! There’s an amazing song about Jaques Cousteau by ‘Young Jacques‘, some amazing blues from RL Burnside (featured on this week’s cover), Blind John Davis and Jimmy Witherspoon. Leadbelly is on there of course, did you know that it was William Burroughs who introduced the music of Leadbelly to Kurt Cobain? Well, now you do.

One of my favourite all time songs is on here as well, Eddie Harris’ ‘I Don’t Want Nobody’ Harris went from standard 60-’s Jazz to become one of the most pioneering artists of the 1970′s, in this cut he is singing into an electric saxophone,  leaving us with a sound something akin to Sigur Ros, except 25 years previous, before breaking into some sublime bass / trumpet combos.

Sam Cooke is in there because he’s amazing, there’s a bit of Bluegrass and a few surprises.

CLICK HERE TO DOWNLOAD

Tracklisting is as follows:

1: ‘Aint We Got Fun’ Jack Kerouac (On The Road)

2: ‘Chain gang’ Sam Cooke (Portrait Of A Legend)

3: ‘Jacques Cousteau’ Young Jacques

4: ‘Space Guitar’ Johnny ‘Guitar’ Watson (Space Guitar)

5: ‘Pick Along’ Flatt & Scruggs with Doc Watson (Strictly Instrumental)

6: ‘Get A Load Of This’ Robert Crumb & His Cheap Suit Serenaders

7: ‘Fine & Mellow’ Bilie Holliday (Encyclopedia of Jazz)

8: ‘The Howling Wolf’ Lightnin’ Hopkins (Bluesville Recordings Vol 4)

9: ‘I’ll Fly Away’ The Barrier Brothers

10: ‘Send Me To The ‘Lectric Chair’ Bessie Smith

11: ‘Wandering Gal Blues’ Jimmy Witherspoon (Same Old Blues)

12: ‘Everyday I Have The Blues’ Blind John Davis (My Own Boogie)

13: ‘I Wish I Was In Heaven Sitting Down’ RL Burnside

14: ‘Stack-O-Lee’ Samuel L Jackson (Black Snake Moan)

15: ‘I Dont Want Nobody’ Eddie Harris (I Need Some Money)

16: ‘Where Did You Sleep Last Night’ Leadbelly

It’s that time of year again. It’s that time of the week again, so I decided that it would be suitable to make this week’s Mixtape Halloween themed. Compiled here are some of the themes and songs from my favourite scary, gory, creepy and unsettling movies. There are some well renowned ones (Edward Scissorhands) and some slightly more obscure ones for you to enjoy (Such as the theme from Nekromantik! – For all you lovers out there, it’s not wrong, our time will come.). This mix can be used as a goth makeout album, a score to your Halloween party or just something to get you in the mood for a weekend of creepy, gore filled debauchery.

This is essentially what I listen to all year round, so the excuse to compile something horror based was a real treat. From the synth heavy sounds of the old Italian horrors of Fulci and Argento, to the jumping strings of Danny Elfman and the otherworldly soundscapes from the universe of David Lynch, I am certain that this will get your Halloween off to a simply wicked beginning…..have a good one folks.

Click here to download.

Tracklisting is as follows.

1: ‘Title Sequence‘: Edward Scissorhands (Danny Elfman)
2: ‘This Magic Moment‘: Lost Highway (Lou Reed)
3: ‘Dark Night‘: From Dusk Till Dawn (The Blasters)
4: ‘House Of 1000 Corpses‘: House Of 1000 Corpses (Rob Zombie)
5: ‘Suspiria‘: Suspiria (Daemonia)
6: ‘Main Titles‘: Blue Velvet (Angelo Badalamenti)
7: ‘Main Titles‘: Beetlejuice (Danny Elfman)
8: ‘Main Titles‘: Rosemary’s Baby (Krzysztof Komeda)
9: ‘Woe Be Unto Him‘: The Beyond (Fabio Frizzi)
10: ‘Nekromantik‘: Nekromantik (A Scary German Man)
11: ‘Titles‘ : The Fog (John Carpenter)
12: ‘Destructo X‘ : Mars Attacks (Danny Elfman)
13: ‘Prelude‘ : Psycho (Bernard Herrmann)
14: ‘Audrey’s Dance‘ : Twin Peaks (Angelo Badalamenti)
15: ‘Jump In Line‘ : Beetlejuice (Harry Belafonte)
16: ‘Sympathy For The Devil‘: Interview With The Vampire (Guns N Roses)
17: ‘Ghostbusters’ : Ghostbusters 2 (Run DMC & The Cast)

I think that this is one of my favourite ones sofar. Hope that it kicks off your weekend nicely.

CLICK HERE TO DOWNLOAD

Tracklisting is as follows:

1: ‘The Addams House‘ : Vic Mizzy (Addams Family (TV) OST)

2: ‘Mirror’s Image‘ : The Horrors (Primary Colours)

3: ‘Shadowplay‘ : Joy Division (Les Baines Douches)

4: ‘Bon Viveur‘ : DJ Downfall (Bon Viveur)

5: ‘Rock On‘ : Jackson & His Computer Band (Smash)

6: ‘I Come From San Francisco‘ : Gold Chains (ICFSF : EP)

7: ‘Bela Lugosi’s Dead‘ : Nouvelle Vague (Bande A Parte)

8: ‘Look Out There’s A Monster Coming‘ : The Bonzo Dog Doo Dah Band (Gorilla)

9: ‘Mr Roboto‘ : Styx (Greatest Hits)

10: ‘I Still Believe‘ : The Call (Lost Boys OST)

11: ‘Magic Dance‘  David Bowie (Labyrinth OST)

12: ‘Any Way You Want It‘ : Journey (Essential Journey)

13: ‘Live To Win‘ Paul Stanley (Live To Win)

14: ‘Miami 2017‘ : Billy Joel (12 Gardens Live)

15: ‘Magnum PI Theme Song

Friday number nine is upon us and this week, there has been another slight change of style in the Zombiehamster Mixtapes. I hope that you enjoy this one, it’s representative of a lot of stuff which I have on vinyl and tend to play out sometimes. I have been dusting off my Technics and will be looking into making vinyl to pc mixes in the near future and also building my technical abilities at the computer programmes themselves (this whole digital mixing thing is way harder than using records, for me anyway), so expect lots more in the near future. Just wait until I get the movie samples nailed, then we’re really in for some fun. ^_^

Enjoy!

CLICK HERE TO DOWNLOAD

Tracklisting is as follows:

1: Batards De Barbares : Sheitan (Sheitan OST)
2: Nique La Police : Cut Killer (La Haine OST)
3: Comme Un Sampler : La Caution : (EP)
4: Harder Than You Think : Public Enemy (How You Sell Your Soul…)
5: A Little Bit Cool : The Cool Kids (The Cool Kids)
6: IMC : Spank Rock (Yoyoyoyoyo)
7: To Protect and Entertain : Busy P (Feat MURS) (Ed Rec Vol 3)
8: Strings Of Death : Krazy Baldhead (Ed Rec Vol 2)
9: God Is Green : Alloy Mental (Alloy Mental)
10: Human After All : Daft Punk (Human After All)
11: Ovoma : Mr Oizo (Transsexual EP)
12: Turtle Trouble : Para One (Epiphanie)
13: Touch Your Toes : Armand Van Helden (Feat Fat Joe) (Ghetto Blaster)
14: Ross Ross Ross : SebastiAn
15: Chivers As A Female : Sebastien Tellier
16: Waters Of Nazareth (EP Version) : Justice (Waters Of Nazareth EP)