Saturday, December 28, 2019

Get in the holiday spirit with Podcast On Fire

Kenny B has just posted his annual Christmas episode over at Podcast on Fire. This one features Ken, me, and fellow co-hosts Paul Quinn and Tom K-W cutting up and waxing eloquent about all things Asian cinema, including Bong Joon Ho's Parasite and the upcoming Blu-ray release of Kim Ki-Young's masterpiece of insanity Woman Chasing a Killer Butterfly. Pour yourself a cup of  day-old eggnog and give it a listen, won't you?

Friday's best pop song ever

Friday, December 27, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast #26: "My World Fell Down"

Hey, do you remember "A Little Bit O' Soul"? "Beach Baby"? "Can't You Hear My Heartbeat?" Well, those songs were all written by the same man. So was "My World Fell Down", which, unless you're an obsessive pop music podcaster like yours truly, you might never have heard of. Well now you'll hear all about it in this latest episode of the Friday's Best Pop Song Ever podcast.


Friday, November 29, 2019

This is why you have ears

If you have a long drive planned for this holiday weekend, 4DK is here to help that time fly by.

First of all is the latest episode of the FRIDAY'S BEST POP SONG EVER PODCAST, which has just been posted on Stitcher.

The subject of this episode is the criminally underappreciated girl group, Reparata and the Delrons, whose nautically themed hit "Captain of Your Ship" will be the subject of my penetrating appraisal.

Next up is this past Wednesday's POP OFFENSIVE, which has just been made available for streaming from KGPC's Pop Offensive Archives.

This month's theme is Northern Soul, so, for the safety of yourself and other motorists, you might want to pull over at a rest stop when the urge to get your swerve on becomes too great.

Enjoy yourselves, people!

Tuesday, November 19, 2019

Django The Bastard (Italy, 1969)

If you prefer your Italian Westerns dark, as I tend to, the waning years of the sixties is your vintage of choice. It was during that period—roughly all of 1969 through the first half of 1970—that some of the cornerstone films of the gothic western genre were released, among them Antonio Margheritti’s And God Said to Cain, Robert Hossein’s Cemetery without Crosses, and the bastard that I’ll be discussing today, Django The Bastard.

Django The Bastard is one of the only, and perhaps the only, of the Django films that could be considered a direct sequel to Sergio Corbucci’s 1966 original. That’s because, rather than simply slapping the name Django on its protagonist for marketing purposes, it honors Corbucci’s conception of Django by presenting him as a blunt archetype; a specter of vengeance who strikes terror into the hearts of evildoers by merging in and out of the shadows, much like the American pulp anti-hero The Shadow. Of course, here, rather than showing up in town with a coffin dragging behind his horse, he shows up bearing a grave marker on which the name of his intended victim is written. In both cases, he’s a pretty morbid dude, is what I’m saying.

As directed by Sergio Garrone and portrayed by co-writer/star Anthony Steffen (aka Antonio De Teffè), the film’s incarnation of Django could rightly be called two dimensional, but can’t be faulted for lacking flesh and blood. That’s because, by the end of the film, the filmmakers are pretty clearly suggesting that this Django is not flesh and blood at all, but rather a straight up ghost. As such, the traditional way for a villain to greet him is by first shouting “but you’re dead!” before trying and failing to kill him. This interpretation is leant weight by the surfeit of spooky atmosphere that Garrone and cinematographer Gino Santini bring to the task of telling the story.

At the picture's opening, Django arrives in whatever godforsaken burgh this movie takes place in (when not specified, I tend to think of all Spaghetti Westerns as taking place in a fabled every-land much like the Shaw Brothers’ oft-visited Martial World) carrying a cross-shaped grave marker bearing the name Sam Hawkins. Hawkins (Victoriana Gazzara) is one of several turncoat confederate officers who betrayed Djangos army unit and left him for dead. (There is a surreal flashback to this event that lends Django the Bastard a similarity to another supernaturally tinged western, Giulio Questi’s Django Kill!] Now it’s some fifteen years later and Django is looking to track down those officers and subject them to some variably poetic and uniformly violent justice. Fortunately for him, all of them seem to have settled in the same town. Hawkins, in particular, appears to have done very well for himself in the years since screwing over Django and his comrades, and now rules over the town like some kind of personal fiefdom.

At Hawkins' side is his son Jack, an overgrown cretin played by Luciano Rossi, whose bleached mop of hair signals that his part might otherwise have been played by Klaus Kinski. Hawkins has paid Alida (Rada Rassimov) a money-obsessed bar girl to marry Jack and give him grandchildren. The fact that Alida, a cold hearted gold digger if there ever was one, is the movie’s primary female character means that there is little potential for Django to make love connection while on the vengeance trail.

Not that Alida doesn’t try. Indeed, it is Django’s exchanges with her that provide some of the script’s most pithy lines, such as when Alida offers to split Hawkins’ fortune with him. “I’m not interested in money,” Django says grimly. “You can’t buy much with hate,” Alida replies.

On a similar note, Alida tells Django at a later point that, with Hawkins’ money, they will be “rich forever.” “We won’t live forever,” says Django flatly.

And so Django goes about surreptitiously strangling, shooting, garroting and otherwise dispatching his betrayers, along with many of their minions. It gets to the point that the respective gangs have been driven into such a paranoid panic that they begin to war with each other. It is against this chaotic backdrop that Django and Jack hunt each other down, each hoping to kill the other before being killed themselves. Their final confrontation is, of course, violent and, for that added dash of sacrilegious frisson, staged in a darkened church.

I have seen Django The Bastard referred as a “horror Western” and I suppose that works, though I think the film’s reliance on fast-paced action plants it more squarely in the Western genre. Also to be considered is the fact that the film ultimately leaves open the question of whether or not Django really is a supernatural being. In this way, the filmmakers get to capitalize on the story’s spooky elements without sacrificing the credulity of audience members who came to the film expecting a straightforward Western. I don’t think those filmmakers had the ambition—or the stones—to do otherwise. If the film was an equal combination of the genres, it would wreak havoc with audience expectations. The horror aspect of the story would push us to see Django as some kind of monster, and empathize with his victim's suffering, while the Western would encourage us to identify with him as a hero, and revel in the suffering he inflicts upon his victims, who are, after all, the bad guys.

Because that’s the way Westerns work: the lone stranger who arrives in the strange town at the beginning of the picture is usually the one whose viewpoint we take, as his situation mirrors ours as we cautiously trek, guns drawn, into the strange new narrative that awaits us. While Django The Bastard is not the strangest Spaghetti Western that I’ve seen, its genre blending does sets it aside from the more prosaic films of its ilk enough to make it well worth seeing.

Monday, November 18, 2019

Podcast on FIre's Taiwan Noir #30: Book of Heroes and A Heroic FIght

It seems like it's been literal ages since my old pal Kenny B and I had one of our cozy fireside chats about violent and weird Taiwanese movies. Until now, that is, because yesterday we posted a new episode. The subject his time is a pair of comedies: Book of Heroes, which comes across as a Taiwanese take on It's a Mad, Mad, Mad, Mad World, and Heroic Fight, a delightful show biz comedy starring the ever winsome Lam "Peach Kid" Siu Law. As usual, it's the epitomy of nerd-dom, as it features two grown men having a long-winded conversation about topics that they seem well aware that no one else is likely to care about. In a sad way, it's kind of heroic. Have at it here.

Wednesday, October 30, 2019

Welcome to the future

Hey, do you live in the 21st Century? If so, you'll be glad to know that my latest book, NEVER DIVIDED, is now available in Kindle format from Amazon. That means that you can scientifically inject the book directly into your eyes using the internet. Plus, it only costs $4.95. Buy it now and become part of the "wired' generation!

Friday, October 25, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast, Episode #24: "Love, They Will Be Done"

In the latest episode of FBPSE, I share the story of how Prince came to write "Love, Thy Will Be Done", one of his most transcendentally beautiful songs, for teen pop star Martika.

Sunday, September 29, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast, Episode #23: "Keys to Your Heart"

Just because it's Sunday doesn't mean it's too late to announce a new episode of the Friday's Best Pop Song Ever Podcast, even though, as the name suggests, it comes out on Friday. This one concerns Joe Strummer's pre-Clash outfit, The 101ers, and their lone single "Keys to My Heart". Check it out and, if you like what you hear, rate us, leave a comment and/or subscribe on Stitcher.

Friday, September 13, 2019

Afternoon offense

Life just got a lot brighter for people with nothing to do on a weekday afternoon, because KGPC's latest schedule shows that they will be broadcasting a different archived episode of Pop Offensive  every weekday at 3pm. This is an ideal way to catch up on episodes that you've missed--even better than just streaming them directly from the Pop Offensive Archives, as this way you can entertain the illusion that they are taking place live. So why not--before heading off to your job as a carnival ride operator, strip show barker, blackmail photographer, or run-of-the-mill shadowy drifter--get your pop on.

Sunday, September 1, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast, Episode #22: "Missing You"


In this latest episode of  the FBPSE podcast (which, through circumstances mostly within my control, comes to you on Saturday this time) I dive headfirst into potential controversy by pitting two "80s Hit" radio staples, the Police's "Every Breath You Take" and John Waite's very similar sounding "Missing you", against each other in a fight to the death. Who will win? The answer may surprise you!

Thursday, August 29, 2019

The day Mars invaded India

I've decided to revisit some of the films I reviewed during the early days of 4DK and write new, more detailed reviews of them that make use of all the increased perspective, wisdom and unfounded self-regard that I've gained during the interceding years. The first film to get this treatment is the 1967 Indian spy-fi epic Wahan Ke Log, which I first reviewed way back on September 23, 2008. Check out the resulting review, which has just been posted over on Teleport City.

Sunday, August 11, 2019

NEVER DIVIDED has arrived!

I am positively giddy at the news that Never Divided, the third and final novel in my SF Punk Trio, is now available for purchase in paperback form from Amazon, with an eBook soon to follow. As always, I've endeavored to make it available at a reasonable price, so check it out, why don't you? And if you have a strong opinion about it, one way or the other, why not review it there and/or on Goodreads?

Readers in the Bay Area may be interested to know that I will be signing books and reading excerpts from Never Dividing at San Francisco's much venerated Green Apple Books on Thursday, August 29th at 7pm. There's no penalty for not having read the book, so if you want to just stop by and say hello, and maybe discuss the global implications of Magic Lizard, please feel free.

Saturday, July 27, 2019

Massacre Gun (Japan, 1967)

It’s been said that every man must have a code. And, if we’re in a movie, that’s likely to be the code decreeing that no cruelty must go unmatched, no betrayal unpunished, and no slight un-avenged, no matter the cost to you, your loved ones, or society at large. According to this credo, men are nothing more than unfeeling puppets animated by an irresistible moral symmetry that sees violence as its own reward and no brutality too great if settling a score is the goal.

This scenario is often presented as a cautionary tale; as the camera slowly pans over the corpse-littered landscape at the film’s conclusion, it’s difficult not to imagine an unseen narrator clucking his tongue somberly and saying “Do you see?” However, it’s very difficult to imagine what is to be gained from seeing this tableau played out as often as it is in pop culture.

Fortunately for the Japanese, they had directors like Seijun Suzuki and Yasuharu Hasebe to astheticize these revenge dramas to within an inch of their lives, ornamenting their nagging ritualism with the quirks of personal expression. Though, of course, not all of Suzuki’s films were Branded to Kill, and not all of Yasuharu’s Black Tight Killers. Both men, while contributing their share of eccentric oddities to the Japanese crime film canon, were also well capable of towing the line for their masters at Nikkatsu and reliably churning out artful and competently made potboilers.

Such a film is Yasuharu’s Massacre Gun. It is a film generic enough to be a genre template, while at the same time being noteworthy for its style almost to the exclusion of its content. Which is to say that it is a very nice looking film, as dense with gloomy atmosphere and signifiers of urban cool as its heroes are with honor and regret.

The film opens with hitman Kuroda (Branded to Kill’s Jo Shishido) being ordered by his boss, the sadistic Akazawa (Takashi Kanda) to murder his lover. Shockingly, Kuroda dutifully heads straight to his girlfriend’s apartment and, under the guise of an out-of-town getaway, drives her to a remote stretch of road and summarily executes her. Kuroda is a little conflicted about this, as you would be, so, later, when he confesses to his younger brother Saburo (Jiro Okazaki), he responds to Saburo’s outraged pleas that he quit Akasawa’s gang by doing that very thing, thus incurring the kingpin’s wrath. Never mind that he could have quit the gang before killing his girlfriend, which clues you in that Kuroda may have more problems than an exaggerated sense of honor.

Saburo, an aspiring boxer and jazz drummer (accompanying Stray Cat Rock’s Ken Sanders as Chico, whose mournful torch songs comment on the action like a Greek chorus) is also in the employ of Akazawa. When, acting as a sparring partner for the boss’s star fighter, he loses control and KO’s him, Akazawa, already enraged by Kuroda’s defection, responds by having his goons crush Saburo’s hands.

At this early point in the film, it’s clear that Kuroda and his two brothers have been chafing under Akazawa’s grip for some time, and the final straw comes when the gang trashes Club Rainbow, the nightclub owned by third brother Eiji (Tatsuya Fuji, likewise of the Stray Cat Rock films.) At this point, the brothers decide to strike back against the crime lord, taking over a handful of his operations with surprising ease.

This turn of events puts Kuroda at odds with his best friend and former fellow gang member Shirasaka (played by Tokyo Drifter’s Hideaki Natani), who runs the Black & White Bar with his lover Shino, whom actress Tamaki Sawa gives a spooky, Cassandra-like presence. Of course, since the world of Massacre Gun is one in which men are rendered incapable of acting in their own best interest by their sense of honor, Shirasaka swears fealty to Akasawa and tells Kuroda that, the next time they meet, they will meet as enemies.

Finally, brother Eiji assassinates Akasawa and is taken down by the gang in a veritable tsunami of bullets that is downright comical in its overkill. Because this is not only hurtful, but rude, the stage is set for Kuroda to have his revenge.

Throughout all of this, Ysuharu employs all the arty bellwethers of alienation and isolation to portray his protagonists’ state of mind. These guys are incapable of relating to anybody, he seems to be shouting, much less even hearing them! I lost count of how many deep focus shots there were of a person having a conversation with a person whose back was turned to them while standing a good twenty feet behind them. Lessening the chances of boring old sanity prevailing is the fact that the only people suggesting that maybe all of this killing isn’t necessary are mere women, those same mewling killjoys who have been keeping us guys from setting off fireworks in our mouths since we were in short pants.

The film’s climax, when it comes, really puts the “mass” in massacre, an all-hands on-deck gun battle featuring a towering platform that seems to only exist so that Jo Shishido can assume his trademark sniper’s pose and pick off all of his former friends and associates with alacrity (I was wondering if Kuroda built it himself, which would have been difficult in the middle of enemy territory, even if he was disguised as a TV repairman or something.) In keeping with the film’s allusions to Greek Tragedy, this scrap ends with everyone dead, except for the relative innocent Saburo, who is left behind to assess the horror.

And the lesson of all this is… what, really? “Don’t try this at home?” But how can us men be expected to heed such a warning when our sense of honor compels us to murder our friends and loved ones simply because someone with a bigger gun told us to?

I’m sorry; I don’t mean to suggest that I don’t enjoy films like Massacre Gun. I do. It’s just that, as someone who grew up with a very different idea of masculine strength from the one presented in this film, I sometimes have to step back and remark upon how absurd it all is.

OK, I’m done.

Friday, July 26, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast, Episode #21: Since You've Been Gone

On this month's FBPSE Podcast, I once again talk about a man you've probably never heard who wrote a bunch of songs that you probably have heard of. In this case, it's Russ Ballard, whose compositions include "New York Groove', "God Gave Rock and Roll To You", "There's Something Going On" and "Since You've Been Gone", which not only has the same name as a much more famous--though less grammatically correct--song, but was also performed by Clout, Rainbow, and Cherie Currie. So dig in!

Please know that if you have some kind of beef with Stitcher, you can also download the podcast from Amazon and iTunes. And once you've obtained it through the streaming service of your choice, I wouldn't be mad at you if you left a review, a rating, or even subscribed. Is that so much to ask?

Thursday, June 27, 2019

It's the FRIDAY'S BEST POP SONG EVER Podcast, #20: Out of Sight, Out of Mind

It's the last Friday of the month and you know what that means: A new episode of the Friday's Best Pop Song Ever podcast--episode twenty, to be exact. This time I've excavated another little known pop gem for your delectation. Remember the Dutch band Shocking Blue, the ones who did "Venus?" Well, they had other songs, too.

Tuesday, June 25, 2019

Bad Black (Uganda, 2016)

With Who Killed Captain Alex¸ Ugandan zero-budget auteur Isaac Nabwana, aka Nabwana I.G.G., proved his marketing acumen by allowing the film to be released for free on YouTube, paving the way for it to become a meme-producing internet phenomenon. With Bad Black, he further proves his savvy with the time tested practice of putting a white American actor at the forefront of his film. Given that white American is his charismatic co-producer Alan Hofmanis, that strategy has seemed to bear fruit, as evidenced by the heat the film has generated on the festival circuit.

Nabwana also exhibits a higher level of artistic ambition with the film, along with a developing social consciousness, given he positions it, to some extent, as a gritty portrait of life on the mean streets of Wakaliga, the Ugandan slum that plays home to Nabwana’s Ramon Studios. And the portrait of Wakaliga that Nabwana paints, while affectionate, is not a pretty one.

The film starts with Swaaz, a young father, and his son committing a violent bank robbery in order to pay the hospital bills of his wife, whose life is threatened by a compromised birth. After a car chase involving many delightfully naïve miniature effect, Swaaz is killed by the police in a video-game like CG explosion. Back at the hospital, Swaaz’s wife, when informed of his death, seemingly drops dead herself.

This leaves their infant daughter Sarah an orphan. She is turned over to an older woman, whose husband, several years later, casts Sarah out onto the street. The couple already has mouths to feed and, Sarah, not being their biological child, seems like an unnecessary expense to him. Thus little Sarah walks the darkened streets of Wakaliga, where, within minutes, she is kidnapped by a Fagin-like street boss who forces her to be part of his gang of child criminals. Adjusting awkwardly to this life, she is frequently abused by the boss and is even, at one point, shot by him. It’s a pretty grim episode that is only lightened by things like one of the kids wearing a bootleg Rugrats tee-shirt, which is probably a pretty accurate representation of what a street kid in Wakaliga would wear. I could almost hear M.I.A.’s “Paper Planes” welling up on the soundtrack.

Skip forward a decade or so and Sarah, now played by Nalwanga Gloria, has become Bad Black, a philanthropic gangster who shares the spoils of her wrongdoing with the city’s poor while exacting vengeance against those who made her childhood miserable. At the same time we meet Dr. Ssali (Hoffmanis), a kindly American doctor who provides free medical care to the impoverished children of the village. The product of a military family, Ssali wears the dog tags of his father, mother and brother around his neck at all times. When these are stolen by members of Bad Black’s gang, he confides the loss to his assistant, a little kid named Wesley Snipes (really). Hilariously, the kid reacts by punching Ssali in the face and telling him to stop being such a pussy. Someone from a family of commandos would not take such an offense lying down, the child admonishes him.

This launches us into the best training montage ever, as this kid constantly punches and beats the mild mannered doctor with a stick while running him through a series of calisthenics and fight maneuvers that will ultimately turn him into a badass, kung fu fighting engine of vengeance, which it of course does. Then follows an absurd sequence in which Ssali, now armed with a huge machine gun (crafted from scrap metal by the Ramon props department), goes on a violent rampage through the city in search of his stolen dog tags. This eventually brings him face-to-face with the none-too-amused Bad Black.

Bad Black owes an obvious debt to the female-fronted American Blaxploitation films of the 70s, such as Coffee and Foxy Brown. As influences goes, you could do a lot worse. But what Bad Black has that those films don’t is the presence of freeform narrator VJ Emmie, who, as he did in Captain Alex, peppers the soundtrack with his energetic yammerings. These range from heroic exhortations (“You are a commando!”) to subtle observations (“What an asshole!”) to lamenting the conditions in Wakaliga (“Poo poo everywhere!”) to rye commentary (‘This doctor needs borders!”) to Tourettes-like single word exclamations (“Subaru!” “Movie!”) This time Emmie debuts something new in his bag of tricks by loudly proclaiming a long expository scene “boring” and fast forwarding the film to the next action scene. I have to admit that, being forewarned of Emmie’s presence in the film, I found him far less jarring than I did while watching Captain Alex and even laughed at a lot of his lines. This is also because I appreciate his role in making Nabwana’s films less prone to mockery by showing that the filmmakers themselves don’t take what they present all that seriously.

During the chaotic final battle scene, VJ Emmie contents himself with simply shouting the names of various Hollywood action stars as the Ugandan characters appear on screen; “Schwarzenegger!” “Stallone! “Van Damme!” Of course, this is a symptom of the unabashed movie fandom that makes these movies so fun to watch. But when, in the battle’s aftermath, Hoffmanis delivered the kiss-off line “Don’t fuck with Americans”, it made me wonder what a Wakaliwood that was not so self-consciously in Hollywood’s shadow might look like. Even the name Wakaliwood begs the comparison.

Not that that is all bad, mind you. In Bad Black’s accompanying materials, Hoffmanis states that the film had a budget of sixty-five dollars, while acknowledging that Captain Alex, rather than the reported two hundred dollars, had a budget closer to eighty dollars. That these films can delight as much as they do is more impressive for the fact that they do so free of Hollywood’s reflexive irony and cynicism. Clearly Nabwana and his crew make movies because movies are fun, inspiring, and often empowering. I imagine those simple facts are hard to see on the opposite end of a two hundred million dollar budget.