Kid, you don’t even KNOW from violence

And that’s too bad as far as I’m concerned, because she could really, really use a crash course in it.

I’m a student who was arrested at a Columbia protest. I am not a hero, nor am I a villain.
New York Mayor Eric Adams has said that there were no incidents of violence. That’s not true.

Yeah, whyn’tcha eat a whole bag of dicks there,  Bimbelina. To my way of thinking, the violence hasn’t started until the nightsticks have come out.

Tuesday night, two dozen Columbia University students linked arms in front of the student-occupied Hamilton Hall at dusk. I was one of them. 

We sang with broken yet mighty voices, “Your people are my people, your people are mine; your people are my people, our struggles align.” We were a group of activists of differing faiths and none, friends and strangers united, linking arms with one another and, in spirit, with the generations of courageous students who came before us. Electricity crackled through the air from the growing protests echoing just beyond the university gates – gates I had just moments ago slipped through and sprinted from like a bat out of hell. 

We knew we were likely to be arrested for being on campus despite the university-mandated shelter-in-place order, but chose we to run into the fire anyway.

As a human chain, draped in keffiyehs and shaking like leaves in the autumn wind, we sang with hushed tones and breathed deeply as hundreds of New York police officers armed with flash grenades and pepper spray marched toward us like a military parade. 

As they approached from multiple directions, we sang with frail and cracking voices, “This love that I have, the world didn’t give it to me; the world didn’t give it, the world can’t take it away,” as officers threatened student journalists with arrest, presumably to ensure minimal coverage of the aggression they were about to exert. 

Students in dorms craned their necks and shakily stretched their iPhones out windows to observe the impending attack. 

We clung tighter to one another as they approached us, and seized us like rag dolls and slammed us into the hallowed ground of brick and concrete. But unlike rag dolls, we bleed, we crack, we bruise, we feel.

Police at Columbia were anything but professional

Once dispersed, I held my hands up to show I was neither resisting nor armed. In response, I was handled brutally by police alongside other students being shoved down concrete steps saying with shameless condescension, “Watch your step.” We were arrested, bound and shuttled down to 1 Police Plaza, where the New York Police Department had a pizza party prepared for arresting officers. 

They threw us in cells like animals – cells where the only toilets women could use lacked any privacy and where our naked bodies were in plain sight to throngs of male officers.

Aw, poor widdle dawlin’. Ain’t much fun being in the slam, huh? And bad as jail is, even that isn’t a patch on actual, y’know, prison. Later in the article, this deluded, pig-ign’ant young ‘un manages to come off as at least somewhat reasonable, if still ignorant, blind, and historically illiterate.

On Saturday, I hosted a Passover Seder at my cramped Manhattan apartment for many of my closest friends. Representing many faiths and none, we broke bread together and celebrated the Jewish liberation from slavery and a broken, unjust system of oppression. 

On Tuesday I was shackled and arrested as part of the campus movement that many in the news media are calling “antisemitic.” It isn’t.

Critically, our fellow Jewish students are not the villains in this story. They are our friends, our family, our blood, our fellow foot soldiers. Like us, they bleed, they crack, they bruise, they feel. At no point have the student organizers called for or promoted violence against our Jewish brothers and sisters. We are calling to end the violence and genocide against our Palestinian brothers and sisters.

“Genocide,” yet. “Genocide,” yet AGAIN. Know who really IS calling for genocide—truly, literally, and without embarrassment or hesitation—means every word they say when they do, and has tried over and over again to get the genocide ball a-rolling? Three guesses, first two don’t count.

I realize you’re severely handicapped in your quest for knowledge by not having any non-Lefty-idjit teachers to ask about it; being surrounded by ideologically-rigid, obstinate clods wearing the mask of “educators” at your overrated Leftybaby factory makes it a tough row for any sincere, open-minded knowledge-seeker to hoe. But I beg, don’t let that stop you. Cast off the shackles of arrogance-in-ignorance native to callow youth; stop the sob-sister whining when your criminal actions bring consequences you are in no way prepared to shoulder; and, as Minor Threat suggests in the song “12XU,” flex your head.

Trust me, girl, you’ll be a much better person for it. No easy, obvious path is ever worth following, likewise an angry, destructive mob.

Sweet home Shithole Chicago

Hog butcher for the world, City of the Sloped Shoulders, to update Sandberg to better reflect modern reality. They tell me you are wicked, and I believe them.

Chicago Mayor Panics, Runs From Reporters Asking About Slain Cop’s Funeral
Mayor Brandon Johnson had another one of his panic attacks Thursday, running away from reporters like NBC Chicago’s Mary Ann Ahern, who just wanted to ask him–among other things– about his administration pressuring the family of slain Chicago Police officer Luis Huesca, to let Johnson attend his funeral. Johnson ultimately did not attend, even though he and other officials spilled their petulant, childish drama over the somber event. To watch him succumb to his panic attacks over questions about the funeral I leave this link: https://x.com/MaryAnnAhernNBC/status/1786118723230707763 “Why do you have to run from us Mr. Mayor?” asked Ahern.

But Ahern knows the answer. He’s a snowflake, a grape who can’t take the pressure of leadership. And there are just about 100 days until the hard left tear up the Democratic National Convention. What a party it will be.

According to reporting by Fran Spielman of the Sun Times, Johnson’s team tried to push the mourning Huesca family into inviting him to the funeral of the slain officer. I’ve never seen anything so despicable in Chicago politics and most of you know I’ve seen a lot.

If there’s anything lower than that, it’s running away like a whipped dog when you get caught.

He has a coward’s built-in excuse though, he might say Huesca’s mother didn’t understand the bad Spanish of his police officials and aides who initially tried to intimidate her by insisting he had to attend her son’s funeral, that it was mandatory. That it was all lost in translation. He’s craven enough, with his panic attacks, to try it. And he’ll always play the race card if it doesn’t work.

It’s John Kass, who as is his usual wont pulls not a single punch throughout, so of course you’ll want to read the whole thing.

Blibbering

Yeah, he’s just fine, no Alzheimers issues here, nosireeBOB.


Follows, several more videos confirming Pedo Peter’s total lucidity, clearheadedness, and remarkable facility for quick-wittedness and spontaneous speech, all from the same Medal of Presidential Paralympics in Freeduuhhhh…yeah, you know, the thing.

Tide seems to be doing…that thing tides do

You gotta love it.


And then there’s this:


And this:


In the words of this Great American, albeit in a different context: “It’s turning now.”


Easy-peasy prediction: Look for these objectively pro-terrorist, Sorosturfed protests to do a fast fade from the daily news cycle in 5…4…3…2…

Nashville Pussy

Would like to remind you all that “pussy” is not a dirty word.

That’s a full-length video of NP’s set, 34 minutes long, but the part I most wanted to highlight is near the beginning and should be obvious to anyone who knows me well. One of the YT commenters makes a very astute observation:

It might look anarchic but that is an extremely polished rock n roll performance. A total lesson in how rock n roll is done. One of the best live rock n roll bands of all time.

Indeed so, right down the line. As for the band’s sordid history, here’s the background.

Nashville Pussy is an American rock band from Atlanta, Georgia. The band’s lyrical themes mostly revolve around sex, drugs, drinking, fighting, and rock ‘n’ roll. Initially called Hell’s Half-Acre, the band’s name comes from Ted Nugent’s introduction to “Wang Dang Sweet Poontang” on the Double Live Gonzo album.

Following the initial 1997 breakup of Kentucky cowpunk band Nine Pound Hammer, guitarist Blaine Cartwright formed Nashville Pussy where he would take up vocal duties in addition to guitar. The core lineup of Nashville Pussy consists of husband-and-wife duo Blaine Cartwright and Ruyter Suys (pronounced “Rider Sighs”), and drummer Jeremy Thompson, formerly of Texas band Phantom Creeps. Original drummer Adam Neal (Nine Pound Hammer) left to form the Hookers. Original bassist Corey Parks (sister of former basketball player Cherokee Parks) quit one month after the release of the album High as Hell, and later joined Die Hunns. Tracy Almazan a.k.a. Tracy Kickass formerly of New York City’s The Wives, and Helldorado was enlisted to replace Parks mid-tour.

Nashville Pussy recorded Say Something Nasty with Almazan on bass only to be replaced by Katielyn Campbell (of the band Famous Monsters). Katie Lynn’s image is on the album Say Something Nasty. Campbell was subsequently replaced by Karen Cuda for the album Get Some. Karen Cuda also appeared as bassist on the album “From Hell to Texas”, and in the live DVD Live in Hollywood.

Nashville Pussy have released seven full-length studio albums, one EP and two live DVDs.

The band has remained largely underground, but has been gaining a large cult following in the rock club scene, and in Europe, Australia, Japan, France, and the rest of the world. Grassroots promotion of the band has been aided by their taper-friendly show recording policy. Ruyter Suys was recently voted One of the Greatest Female Electric Guitarists in ELLE magazine. Nine Pound Hammer has since reunited and plays the introduction song for the Adult Swim cartoon 12 Oz. Mouse. Cartwright also had a cameo in the Mr. Show spinoff movie Run Ronnie Run as Duke’s Bar Owner. The band also played themselves in the Dutch Film ‘Wilde Mossels’ (Wild Mussels).

Nashville Pussy received a Best Metal Performance Grammy nomination for their song “Fried Chicken and Coffee” from their debut release, Let Them Eat Pussy (1998, The Enclave) 1999 Grammy. Between April 2 to May 7, 1999, the band toured as the opening act for the North American leg of Marilyn Manson’s Rock Is Dead Tour. Ruyter Suys was featured on National Enquirer TV along with Jennifer Lopez on the Grammy Red Carpet for her ‘revealing’ Evel Knievel meets Wonder Woman leather bustier in a feature titled ‘Too Much Too Little’ and their songs “Come On, Come On” and “Hate & Whisky” were featured in the video game Jackass: The Game. Additionally, “Snake Eyes” was for the end credits in the video game Rogue Trip: Vacation 2012 and both “Shoot First and Run Like Hell” and “Wrong Side of a Gun” were in the movie Super Troopers. The song ‘DRIVE’ with its Gary Glitter style drum beat was featured in the episode ‘Watching Too Much Television’ of the HBO series The Sopranos. HBO’S Entourage also featured Nashville Pussy’s ‘Hell Ain’t What It Used to Be’ in the episode ‘A Day in the Valley’. In 2012 Ruyter Suys has also played guitar and toured for Atlanta comedy metal band Dick Delicious and the Tasty Testicles.

Pretty strong credentials,  I’d say. Below the fold for the rest, so’s the punk-rock non-fans in my reading audience won’t be annoyed.

Continue reading “Nashville Pussy”

Elon is at it again

Speaking the plain truth, being reviled to the rafters for it by shitlib morons. Y’know, the usual sort of thing.

Elon Musk posted about the West’s Achilles heel and man oh man did it make a lot of people angry
Elon was up at 1:30 a.m. and decided to spit some fire on the interwebz:


Hoo boy.

You know you can’t say things like that on the internet, Elon!!!

Follows, the typical Mark-1 Mod-0 foaming, frothing, nonsensical hissy-fit, wherein the Usual Gang of Idiots can’t even manage to stay on-topic. Gee, wonder if Mr Musk gives a lumpy fart. Myself, I’m beginning to suspect he tremendously enjoys hacking off the stupes and dupes, and is now doing it on purpose, just for his own amusement. Good on ya either way, sir.

Little Dutch girl hits it into the cheap seats

No insult intended by that “little Dutch girl” schtick, mind; I was just playing off the old “Little Dutch Boy” cultural meme, that’s all. At any rate, the brilliant, brave, and beautiful Eva Vlaardingerbroek is about as formidable as formidable comes.

Dutch Activist: The Fall of Europe, the Most Important Speech You’ll Hear
Dutch commentator Eva Vlaardingerbroek spoke at CPAC Hungary and began by talking about the stabbings and a riot in European countries and another church burning down in Europe in just the past two days.

As she said, everyone knows, and the governments know, there is a link between mass migration and crime.

This is one of the most important speeches you will hear. A rushed transcript follows the video.

Boy, is it ever—no punches pulled, no flinches flinched, nothing but the straight dope, like a nine-pound hammer straight to the kisser. Just a smidge from said transcript:

Our new reality in Europe consists of frequent rapes, murders, shootings, and even beheadings, but let me be clear about one thing, this did not used to happen before. This is a newly imported problem.

Samuel B Huntington predicted this over 25 years ago when he wrote, and I quote, “In the New World of mass migration, the most pervasive important and dangerous conflicts will not be between the social classes. They will not be between the rich and the poor. They will be between people belonging to different cultural entities, tribal wars, and ethnic conflicts will occur within civilizations.

Well, boy, was he right, and the worst part is we as a society seem to have become indifferent to it. When another white boy or white girl dies at the hands of an immigrant, we might shake our head; we might let out a sigh; we might even get angry for a minute or two, and then we go on with our lives. We are for the family, thoughts, and prayers, but nothing ever changes.”

What does that say about us?

This is the response of a society that has already given up. A society that has already accepted its defeat. But is this true? Have we given up? Do we really accept the new reality that our globalist leaders have in mind for us? I know one thing for sure, and that if nothing changes, if we don’t fight for our continent, for our religion, for our people, for our countries, then this time that we live in, will go down in history as the time in which western nations no longer had to get invaded by hostile armies to be conquered.

The esteemed and estimable Ms Vlaardingerbroek carries on in like vein from there, and it is some truly heady stuff. Francis calls her “A Voice Of Sanity,” and he couldn’t be righter about that; my sincerest thanks to him for the steer, and to Maura Dowling for the transcript. How pitifully far we’ve fallen, that simple, plainspoken truth like this should come as such a shock to us. If you prefer watching to reading, the vid is available at the link. Speaking of Fran, his closing ‘graph caps things off perfectly.

It’s time, as Eva Vlaardingerbroek has told us, to stand and fight: not for the dominance of the world by the white race, but simply for the right to be left alone in our own lands. Unless we elect to do so – and to scorn the race-hustlers and grievance-peddlers demanding that we accept an endless onslaught of “diversity” – our future will be one of marginalization and eventual extermination. Vermin and savages will enjoy – “appropriate?” – what we leave behind…while it lasts. Our ghosts will have only the bitter satisfaction of watching them turn on one another when our legacy is exhausted.

Indeed so, sir, and very well put, as per usual.

Rockin’ in the free world state

Not to restart the whole “DeSantis is a Deep State boll weevil” discussion, mind; certainly, he’s amply demonstrated himself to be an extremely ambitious ProPol at best, which is in no way a compliment. That said, though, he does just keep on doing good and worthwhile things as FLA Guv, if only in spite of himself, perhaps.

Ron DeSantis wants to teach young people about communism. He should use rock ‘n’ roll
Gov. Ron DeSantis (R-FL) has written a bill that requires teaching on the history of communism in Florida public schools, beginning in the 2026-2027 school year. DeSantis wants students inoculated against the evils of Marxism.

It’s a great idea. One suggestion — use rock ‘n’ roll in the lesson plan.

Rock ‘n’ roll is an exciting, popular art form geared toward young people. It also has a proud (and largely ignored) history of anti-communism.

In their book, The Declaration of Independents: How Libertarian Politics Can Fix What’s Wrong with America, Nick Gillespie and Matt Welch, who both work for the libertarian outfit Reason, reveal the often hidden history of popular music as a weapon against totalitarianism. In the chapter “Keep on Rockin’ in the Free World,” they detail how the music helped defeat communism.

As Welch and Gillespie note, Vaclav Havel and the leaders of the 1960s revolt against communism in Czechoslovakia were deeply influenced by American rock and roll, particularly the band the Velvet Underground. A group of young Czech hippies formed the group the Plastic People of the Universe, named after a Frank Zappa lyric, and were soon banned by the government. A fan of the Rolling Stones, Havel saw and heard in rock and roll “a temperament, a nonconformist state of the spirit, an anti-establishment orientation, an aversion to philistines, and an interest in the wretch and humiliated.”

It’s an exciting piece of history. DeSantis should add it to Florida’s new pro-freedom curriculum.

A sound idea all around, to my way of thinking.

RFKjr halo slips

Is pushed, more like.

A resurfaced clip of Robert F. Kennedy during a 2005 IdeaCity speech shows Kennedy stating that “red state people are more likely to murder you.”

It’d be nice to think so, at any rate, seeing as how we all know who it is they’re most likely to be murdering. And those “people” have it coming, far as we’re concerned.

Robert F. Kennedy Jr.’s strategy of engaging with conservative media contrasts sharply with his past and present liberal ideologies. His 2005 speech, where he made disparaging remarks about “red state” people, and his ongoing criticism of conservative policies, like his labeling of voter ID laws as “racially rancid,” have not been thoroughly addressed in his recent media appearances.

This oversight by conservative media to confront Kennedy on his record is perplexing, given his advocacy for policies that are antithetical to conservative values, such as a 70% tax bracket and the elimination of gas-powered engines. Chris LaCivita, co-campaign manager for Donald Trump, expressed frustration to Politico, highlighting the contradiction in giving Kennedy a platform: “It is concerning and beyond logic that there are some conservative platforms that continue to give a voice to someone…who generally subscribes to the same school of thought as Karl Marx.”

Along with murdering certain people, Kennedy also makes a few other invidious assertions:


Establishing once and for all that, contrary to popular belief, if you REALLY wanna party hearty, you need to be hanging with those stick-in-the-mud, uptight Conservative prunefaces. I mean, seriously now: knocked-up teenybopper chicks? Pr0n? Degenerate video games? Only one thing to say to all that:

I must say, it certainly took dumpster-diving shitlib “journalists” long enough to dig this up. And you know as well as I do that there’s bound to have been multitudes of the asswarts sweating veritable bullets until they did, thereby damping down a prospective threat to their hero, Pedo Peter, and his behind-the-scenes puppetmaster, our Lord and Savior Bathhouse Barry Himself. I really can’t see RFKjr as very much of a threat to Orange Man Bad, who’ll doubtless be murdered in his prison cell by the time “Election” Day 24 rolls around anyways.

Please do note that I’m assuming it’s shitlibs behind this snipe hunt, although the article says it’s actually “conservative media.” So of course and as usual, I could very well be all wet on the whole mishegoss.

Via Ace, who begs to differ with my take on who’s threatened by this latest in a long, long line of spectacular Kennedy flame-outs and who ain’t.

A Marist poll found that RFKJr. is pulling more support from Trump than from Biden. This poll, which seems like an outlier in putting Biden ahead of Trump, says that Biden is +3 in a head-to-head but rises to +5 in a multicandidate five-way race, suggesting that RFKJr. is pulling more support from Trump than from Biden.

Ah well, no matter; he briefly provided us with a little idle, cheap amusement, but now his apportioned Fifteen Minutes are well and truly up.

Your feel-good video of the week

New York shitlib vandalizes Florida man’s truck because it has an anti-Biden bumper-sticker on it, is too goddamned stupid to realize the parking lot has video cameras recording his felony offense, gets his sorry ass hauled off to jail in handcuffs.

Beautiful. As I always say: couldn’t happen to a nicer asshole. Rot in jail, fuckface; hope you enjoy being repeatedly gang-butt-raped while you’re in stir.

The nature of the beast: INSANE, with a side order of big brass balls

Bayou Peter has a GREAT story demonstrating what crazy-ass adrenaline junkies all pilots truly are.

65 years ago today on April 24, 1959, legend has it that an aviation stunt so bizarre it defies belief actually took place in the Mackinaw Straits between the upper and lower peninsulas of Michigan.

A U.S. Air Force RB-47E Stratojet reconnaissance aircraft piloted by Strategic Air Command pilot Capt. John Stanley Lappo was said to have flown underneath the Mackinaw Bridge where Lake Michigan and Lake Huron converge. As history records the event, no photos of the aircraft flying under the bridge exist, but the stunt, if it actually did happen, created enough buzz that a legend was born.

According to the thisdayinaviation.com website and the Wikipedia page for the Mackinaw Bridge, fitting a Boeing RB-47E Stratojet under the Mighty Mac was a tight squeeze with little margin for error. The highest place between the water surface in the Mackinaw Strait and the bottom of the Mackinaw Bridge is 155-feet at the center. The tail of an RB-47E stands 27-feet, 11 inches off the ground. If you do the math, that leaves about 127-feet of space between the water and the bottom of the bridge to play with. Considering the RB-47E stall speed in these conditions may have been as slow as 150-190 MPH, the plane would cover that distance in altitude in just over a second or two.

As the story goes, and is told in several media outlets, Capt. Lappo was, “Reported by his navigator” to some higher authority after the bridge fly-under. The legend claims that Lappo was, “charged with violating a regulation prohibiting flying an aircraft below 500-feet”. No great aviation tale is complete without details, and the story is that Capt. Lappo was permanently removed from flight status by the Commanding General of the Eight Air Force, Lieutenant General Walter Campbell.

Wow, I mean just…WOW. I’m with Peter on this:

I can see a fighter or fighter-bomber flying under that bridge, just as has been done to other famous bridges around the world (for example, see the Tower Bridge Incident in London, England in 1968). However, the much larger, less nimble and maneuverable B-47 bomber would be very difficult indeed to fly through such a confined space. If it was done, one can only tip one’s hat to the pilot in admiration.

A-yup, that’s about the size of it. Having known quite a few pilots in my day, as well as having a better-than-average amount of stick-time in various aircraft my own self, I can confirm that the above is just exactly the kind of thrill-seeker behavior one expects from pilots, especially military ones. What ordinary folks tremble at as death-seeking daredevilry, they see as an irresistible temptation—a challenge, not an impossibility.

The Gyrines famously call themselves “heartbreakers and life-takers,” but with the Brylcreem Boys one must tack on “lawbreakers” as well, in the highest, most aspirational sense of the word; not mere petty, trivial laws those guys break, but the laws of gravity, physics, and sensible behavior in the air, among many others.

Peter wonders, “did it actually happen?” I’d be willing to bet just about anything that it did; these are fucking pilots we’re talking about here, of COURSE it did!

Update! This post just wouldn’t be complete without a photo of the sleek, lovely B47 Stratojet, from back in the halcyon days when Boeing was still making serviceable, capable aircraft.

Six turbojet engines, six man crew—a high-altitude, subsonic (barely) strategic bomber mostly used as recon aircraft, in service from 1951 until 1969. Yet another exemplification of the phrase “they just don’t make ‘em like this anymore.”

Birth of a legend

And a culture—or sub-culture, or counter-culture.

What Do You Got? The Wild One, The Loveless and the Biker Movie
On the fourth of July weekend in 1947, a group of bikers rode into a small California town and, depending on who you believe, either had a great party or went on an orgy of destruction. This single incident – now famous as the Hollister Invasion or the Hollister Riot – created both the abiding myth of the outlaw biker and the renegade bike gang, and inspired the movie that provided the template for every other biker movie to follow.

The occasion was the first major bike rally held by the American Motorcycle Association in California since before World War Two, and while attendance was expected to be high, nobody anticipated what would really happen. Hollister – about two hundred miles south of San Francisco and inland from Monterey and Carmel – had always been friendly to bikers, hosting regular races and hill climbs on the Bolado Racetrack.

It had, according to Tom Reynolds’ Wild Ride: How Outlaw Motorcycle Myth Conquered America, “twenty-seven bars, twenty-one gas stations and only six policemen.” It had its own bike club, the Tophatters (still in existence today) – one of dozens, probably hundreds of groups of mostly ex-servicemen who got together to ride, race, drink and raise a bit of hell just before the Hell’s Angels formed a year after Hollister and took over the image of the outlaw biker forever.

Uhh, not to pick nits or anything, but having had a few good friends flying the Red & White patch over lo, these many years—enough of them to know it actually does matter to them, if no one else—technically it’s supposed to be Hells Angels, no apostrophe. Kinda undermines the author’s credibility a wee mite, I think. A bit odd too that, in this recounting of the Hollister debacle, no mention is made of the less-hyped but way worse Laconia whoopjamboreehoo in 1965. Then again, maybe nobody’s made a movie about that one yet. Speaking of Hollister and hype, though, the iconic Life magazine photo of one of the likkered-up, violent “rioters” is instructive:

As it turns out, the provocative pic was almost certainly staged by Life’s sensationalist “photojournalist” and his assistants:

The reliability of the striking photo has been debated, with some sources suggesting that the scene was overtly staged. While the photograph was taken by Barney Petersen of the San Francisco Chronicle. the Chronicle did not run it, nor any other images, in its initial two articles covering the event. The bearded individual standing in the immediate background of the photograph, Gus Deserpa, has said he is sure that the photograph was staged by Petersen, and gave the following account: “I saw two guys scraping all these bottles together, that had been lying in the street. Then they positioned a motorcycle in the middle of the pile. After a while this drunk guy comes staggering out of the bar, and they got him to sit on the motorcycle, and started to take his picture.” Deserpa claims he deliberately tried to sabotage the staging by stepping into the shot, but to no avail.

Barney Peterson’s colleague at the Chronicle, photographer Jerry Telfer, said it was implausible that Peterson would have faked the photos. Telfer said, “Barney was not the type to fake a picture. Barney was the kind of fellow who had a very keen sense of ethics, pictorial ethics as well as word ethics.”

And you can believe just as much or as little of that as you like; surely, no “journalist” would ever lie, right? RIGHT?!? Why, it’s simply UNPOSSIBLE!!!

Anyways. Onwards.

“Nobody has ever fully explained what happened in the town on Independence Day weekend in 1947,” writes Reynolds, “because the allure of the myth is far more tantalizing than whatever facts can be gleaned from eyewitnesses or news photographs. Descriptions run from just a wild party to a rural version of the Rape of Nanking.”

Hollister would inspire a film, The Wild One (1953) – the film that Marlon Brando made between A Streetcar Named Desire (1951) and On the Waterfront (1954) and arguably did more than either film to create Brando’s persona, both on and off the screen. Its basic plot – bike gang comes into conflict with squares, causes mayhem/destroys small town/inspires vigilante payback – is really just a western with wheels instead of hooves, which is why it would be so easy to copy for decades to follow, in films with titles like Dragstrip Riot, The Wild Angels, Devil’s Angels, The Rebel Rousers, Angels from Hell, She-Devils on Wheels, Satan’s Sadists, Angel Unchained and dozens more whose plots vary as much as their titles.

The Wild One begins with a warning: “This is a shocking story,” the boldface card explains over a shot locked off just above the asphalt of a country road stretching to the vanishing point. “It could never take place in most American towns – but it did in this one.”

The first time I watched The Wild One as a teenager I constantly wondered when I’d seen it before; every plot point and conflict worn itself into the pop culture collective memory of the “biker picture” I shared with everyone else: the combination of curiosity, excitement and revulsion when the locals encounter Johnny Strabler (Brando) and the Black Rebel Motorcycle Club; the gang’s goofy mix of childish provocation and cornball hipster slang; the belligerent square john local businessman who insists they have to take matters into their own hands and teach these hoodlums a lesson.

Even Johnny’s signature line, among the most famous Brando ever uttered in his career (“Hey Johnny, what are you rebelling against?” “What do you got?“) had been rendered as rote as pantomime by the time I finally saw it on screen and in context.

The Wild One – directed by László Benedek (Song of Russia, Death of a Salesman), produced by Stanley Kramer and based on “Cyclists’ Raid”, a short story by Frank Rooney published in Harper’s magazine – strains for relevance. Even the costume Lee Marvin wears as Chino, leader of rival bike gang The Beetles, is based on “Wino Willie” Forkner, founder of the Boozefighters, the outlaw gang that was blamed for most of the trouble in Hollister.

(Forkner was a consultant on The Wild One but quit in protest at the portrayal of bikers. The Boozefighters are still around, with chapters all over the world.)

Interestingly enough, and to my bemused astonishment when I learned of it, there’s a Boozefighters MC chapter in CLT, of all locales. I met a young fella in a Boozefighters cutoff at one of our Double Door shows, asked him about it, and saw him at several more of our shows after. Friendly, personable guy, in fact, accounting for my initial astonishment, since the original Boozefighters MC members (Wino Willie most definitely included) were notoriously some of the toughest, rowdiest, most flat-out dangerous one-percenters ever to fly a patch. Even first- and second-generation HA patch holders gave them respect, when they weren’t just avoiding them outright.

Despite my snarky dig at the author’s credibility before, it’s nonetheless a decent enough piece all in all. Certainly, his point about most of the biker-exploitation flicks being sub-par is not something I’ll dispute; I’ve seen all the ones he writes about and many more of the genre besides, and if you’re not into gazing at rip-snorting custom Harleys tearing around the landscape there ain’t much in ‘em for your average Joe Cager to enjoy.

One thing that does puzzle me a mite: contra his sniffy disdain for the biker movies of the 50s and 60s, McGinnis goes on to more-or-less gush at great length about The Loveless, characterizing it as a film with pretentions to High Art whose flaws prevent it from living up to its lofty cinematic ambitions. I saw it many years ago and thought it a real stinkburger myself, not even a patch on The Wild One, which I liked a lot back when I first saw it and still do now. Ultimately, though, even the presence of Willem DaFoe in his first starring role can’t quite redeem the flick for McGinnis:

As the film comes to its conclusion we’re waiting to see if the town is happening to the bikers or the bikers are happening to the town. The directors deliver just the right amount of sex and violence; by the time the smoke clears on the bodies they’ve made precisely the film a young man thought he was going to see when he paid for a ticket to The Wild Angels.

But the film hits its apex just before the cathartic explosion of gunshots and blood at the end, when the gang sit drunkenly around a table at the lounge, bragging about where they’re going and what they’re going to do. Dafoe’s Vance – with a straight face that hints at the talent he’d demonstrate repeatedly over the decades to follow – silences them all by bellowing out four words that impeccably sum up The Loveless:

We’re going nowhere. Fast.

As I recall, the friends with whom I watched The Loveless on VHS erupted in gales of laughter at DaFoe’s simultaneously wooden yet canned-hammy delivery of that line. “Bellowed”? Not in the movie I saw, it wasn’t. Mumbled, more like, or maybe grunted. DaFoe’s face shot adoringly from below as he runs the line; lit cigarette a-dangle from his lips; meticulously-coiffed pompadour afloat over his head like an angel’s halo; trying his very damnedest to look menacing and failing miserably: it was the best unintentionally-comedic performance of all time, hands down. He shoulda won an Oscar for it, assuming there’s a category for such. Happily for all concerned, Willem DaFoe overcame this embarrassing misfire, going on to become one of our finest actors ever.

In any event, The Loveless is as dull, flaccid, and aimless a movie as I ever did sit through. Too-pretty actors turning in lifeless performances; a shambolic, meandering plot arc; disjointed scenes in which the sole point seems to be striking sultry, cliched, wholly-unconvincing tough-guy poses for the camera; unidimensional, affectless, and un-relatable characters; a piss-poor excuse for a “script” bodged together by writers who obviously know no more about bikers than I do about writing screenplays; ludicrous, stilted dialogue no self-respecting real-world biker would ever be caught dead uttering, The Loveless does somehow pull off the cinematic quasi-miracle of being both overblown and underwhelming.

Any of y’all miscreants with a hankering some lazy summer evening to curl up on the couch with some popcorn, a cold beer, and a real, honest to God biker flick, just check out Hells Angels Forever instead, that’s my advice.

Brainwashing personified

Jesus Tapdancin’ Christ, but what a complete moron this kid is.


Not that it will make a blind bit of difference when all’s said and done, but mucho kudos to Kirk anyhow for giving this obliviated, mind-raped stupe plenty of rope to dangle from the way he does here. It’s fun to imagine Dr Brainiac’s profound, lasting humiliation once he’s hit, oh, forty or thereabouts, the deep-conditioning has finally worn off, and his own kids unearth the historical record of dear old Dad’s regurgitative self-immolation in his callow, clueless youth, for purposes of ridiculing him to actual tears.

Nuttin’ but the truth

The peerless James Woods slices, dices, and fricassees ‘em.




Amen to ALLL that, James. If you ain’t following Woods on X, you’re missing out on something truly good.

UNEXPECTED!

Okay, so I’ve never been much of a Rod Stewart fan, I do admit it. Even his supposedly legendary stuff with the Faces was kind of, ummm, meh for me. As for the Disco Rod era…well, the less said about that, the better. “Maggie May,” “Hot Legs,” “You Wear It Well” I like, maybe a couple others. The rest of it, not so much, frankly.

But after tonight, Rod Stewart is a-okay with me.

See, there’s a local FM radio station, 95.7 (The Ride), which on Saturday nights plays recent “Live In Concert” recordings by two, sometimes three artists. It’s almost always a good listen, even when I don’t really care for the band or artist in question. So it was with this evening’s broadcast, featuring Rod Stewart as the “headline” performer. Not so much for the music itself, as for the between-songs patter.

First, Stewart brought his old Faces PiMC (Partner in Musical Crime), grizzled guitarist Ron Wood—now sharing guitarslinging duties with Keith Richards as a Rolling Stone—to the center-stage mic to be introduced to the howling throng. This tour was by way of being Old Home Week for the pair, reuniting them after many years of not playing together.

So Wood makes a crack about his and Stewart’s famously-oversized schnozzes, to which Stewart shot back brilliantly: “Yeah, you’ll notice tonight that we always stay on opposite sides of the stage from each other. That’s because when we stand back to back, we look like a pickaxe.”

Love Stewart or hate him, that’s pretty dang funny right there. But wait, it gets better still.

A few tunes later on, Rod’s stage patter went as follows:

“I’d like to dedicate this next song to our wonderful military personnel all over the world. Iraq, Afghanistan, anywhere else: whether you think they should be there or not, they’re out there fighting for all of us, risking everything for us and for our freedom. God bless them all!”

I was gobsmacked. Also highly, highly impressed. IMNSHO, Rod Stewart expressed it about as perfectly as anyone possibly could have, without the sentiment either coming across as mindlessly jingoistic, condescending, or in any way just an obsequious pander to Mark-1 Mod-0 shitlib pseudo-peacenick pacifism, with which his concert audience just about had to be packed to the rafters.

A welcome change from the obnoxious Leftist sermonizing we’ve come to expect from entertainers these days, rock stars especially. Perhaps I’m full of shit, perhaps not, but the feeling I got from his words was sincere and heartfelt gratitude, and I gained a new respect for Rod Stewart as a result. So hats off to the man, I say. I still ain’t crazy about most of his musical output, but from here on out Rod’s all right as far as I’m concerned.

No Tune Damage embed, though; I got big plans for that later on, or mebbe tomorrow, we’ll see.

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CF Glossary

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