Judy Speaks

For nearly 40 years, Judy Garland was the icon of the Hollywood life and classed as one of the greatest entertainers of her generation. She was performing on stage and in movies from a very young age and at 16 she brought The Wizard Of Oz to life on the big screen. She followed this with many movies and a staggering amount of concert appearances that broke box office records.

Behind the scenes it was a different story. From an early age, MGM Studios had been plying its young actors with ampthetamines and barbiturates to keep them going through the back to back filming schedules required to keep new movies being released. This went hand in hand with the glitzy lifestyle and constant rotation of work/party/premiere/work that made up the backbone of Hollywood.

Despite a hectic work schedule and much critical acclaim, Judy Garland's personnel life was a shambles. By the early sixties, five marriages and a life long battle with alcohol and drug abuse had taken its toll on her. In a bid to get her back into the public's eye it was decided she would write an autobiography. Enter her agent, Irving "Swifty" Lazar. He supplied the ailing star with a reel to reel tape recorder and got her to use it as a way to get the book started as well as maybe come to terms with her problems.

What follows has become known as the "Judy Speaks" tapes. Still mainlining pills and a ludicrous amount of gin, she sobs and screams at ex-husbands, film executives, her complete distrust of the recording device and pretty much everyone who she believes led her to this point in life.

Bear in mind that its pretty heavy going at times. Her booze soaked rendition of Somewhere Over The Rainbow is pretty heavy. As legend goes, these tapes got confiscated after her death in 1969 and ended up locked away in a publicist's vault before getting a public release some years ago. Judy's family actually petitioned for them to be denied a release but the court ruled otherwise.

Its pretty heavy going stuff at times. Some brief moments of cohesion and happiness are soon washed away by Judy's gin soaked anger and vitriol. Be warned.

Judy Speaks

When drawing goes wrong pt3. Photoshop abortions.

During the previous two installments, here and here, it gradually became apparent that even amongst the bad album artwork that plagues the Internet and peoples music collections there are even worse examples of dreadful artistic vision and crap delivery. Previous posts concentrated on art that was in the most part actually drawn/painted/dribbled out by someone. They might not have had much of a idea about anatomy or have ever seen a women naked but they at least possess, in the loosest sense, charm.

Tonight's post deals with those most heinous of culprits when it comes to bad album artwork. The Photoshop abortions. Your technology can't save you.

To kicks things off, IllCon follower SoulReaper recommended this blinding piece of ham fisted photo shopping nonsense. Dismal Euphony....dismal euphotoshoppy. Sorry.

This was always one of the first things that came into my head whenever anyone mentioned bad photo-shopping. You have all manner of tools at your disposal  yet you can't even get the lower jaw of a skull right!

Not content with making it look like some pre-1997 PC game art they just go and use the most basic, default font.

You'll never get anything started slacking off like that Mr Speckmann.

Another example of not only being dreadful ( I mean look at it!) but knocked even more for having a bog standard font. Plus, a dreadful album title.

I can wager that if this image, an angel being defeated and having its life force sucked out by a demon inside a church, had been hand drawn and coloured I would probably have thought it pretty cool. Sadly someone got to it with Photoshop first.

If ever a single image summed up the plight of the regular IllCon follower then this album cover is it.

I like Benediction. I don't like this artwork. 

I still haven't been able to work out if this band are a joke or not. I could only get about 20 seconds into this video. This artwork and album title certainly suggest its all a joke.

The soft-porn/1997 "adult" PC game vibe was perfectly nailed on these two covers by everyone's favourite band we all claim not to like.

German engineering perfection. No.

Another example of quality band let down by PS1 quality artwork. it doesn't really fit.

You send something off to the printers, you send it at the right resolution don't you. I have been aware of this one for ages but I never knew the actual band name, I still don't.

Not often do tasteless album title/artwork concepts combine with bad Photoshop. But when they do the results are pretty special.

I can spot a circular saw, cyborg eyes, pink hair, robotic boobs and what looks like parts of a motorcycle. its not a magic eye image either.

Its like the cheap version of a Minotaur. A bemused armadillo. Doesn't really chase you round the maze. Just sits there looking confused.

Hypocrisy have quite a few probable entries lurking in that back catalogue of theirs. Funnily enough nearly most of it has been reissued in recent years with different artwork. I'd like to think that's because they looked back in horror at the below image.

To top it off is the one that got mentioned the most in past correspondence. Iron Maiden have done many great things for metal but this artwork certainly wasn't one of them. In my research I came across a story about how this was originally a mock up of the concept. The band saw it and decided to use it. Maybe save a bit of money. It may be true it may not be, it does sound like something you would say after many years of reflection and you slowly come to the realisation of how lame your album art is. I always like to think that Iron Maiden don't really need to go near computer technology. keep the two separate. Ed Hunter was bad enough.

Once again I will leave it up to you guys to let me know if there are any that deserve inclusion? In all fairness I spent quite a bit of time trawling the Nuclear Blast, Spinefarm and Roadrunner back catalogues and its almost another full post on some of the lame art those guys have hidden away.

Brave New World and a Half

Although its roots remained firmly planted in the buddy-comedy genre of previous decades, the offshoot emergence of the buddy-cop subgenre in the mid 1960’s began posing a challenge to post-war American society. Despite some tentative steps that decade, it wasn’t until the 1970’s that the buddy cop movie first began testing the limits of traditional social norms. It was in 1976, when the unthinkable happened; a woman became the buddy to the cop. While the foundations of the status quo were surely shaken to their roots by this and other ruptures, it wasn’t until almost a decade later that the genre really began to come into its own.

The 80’s proved to be the heyday of the buddy-cope genre, a time when the form truly crossed a threshold and, dare I say it, forever changed the face of American cinema. This is thanks to the release of Beverly Hills Cop in 1984, a film which pushed the envelope for African American characters in American cinema. That year, the floodgates weren’t just opened, they were swept from their very hinges. Buddy-Cop films became the leading edge of a social revolution, recasting conventional stereotypes with greater subtlety and nuance and daring us as individual citizens and as a nation to question long held assumptions about workplace integration and traditional ways of combining comedy and action. By the end of the ‘80’s, new and more daring buddy-cop entries arrived monthly, addressing complex social issues each time. Women buddy-cops reappeared, Soviet/American buddy cops, Japanese/American buddy cops, dog/human buddy cops (it’s own sub-sub-genre!) human/alien buddy cops, and even federal/municipal buddy cops. The 80’s was a cultural and political minefield, but Buddy Cops were ready for the challenge.

As the decade came to a close however, it seemed that the Buddy-Cop had reached its apex. It was a heady and inspiring time in America, daily forging a new nation of comedic multicultural camaraderie on the screen. Yet, at the same time the very maturity of this groundbreaking genre prevented it from fully remaking society in its own revolutionary image. The Buddy-Cop could apparently go no further. They may have been a symbol of all that was right with America, but the genre’s aesthetic complexity remained out of reach of the very beneficiaries of the new America that the buddy-cop was carving; children under ten.

In the early years of the 1990’s the genre was foundering, seemingly unable to carry through its promise of a greater society. In the bowels of Hollywood however, a chance encounter between two screen-powerhouses was brewing the formula of a new Buddy Cop that would very nearly achieve the status of its progenitors. With almost half a century of collective experience in the television industry, Henry Winkler and Burt Reynolds had a bone-deep understanding of the American intellect. But how do you translate all the complex socio-cultural commentary of Buddy Cops into an ageless cypher?

The answer turned out to be deceptively simple. By taking the touchstone of modern buddy cop cinema, Axel Foley, and effectively shrinking him into an 8 year old child, the genre became palatable to even the most sensitive of American tastes. While Foley had been a comedic loose-cannon, albeit a “good guy”, he was still a ‘black-man’ and this represented a traditional threat to whiteness that his goofy smile could never quite temper. All the imminent sexuality, violence and anger that black men represent in the white American mythos vanished and was replaced by a cute, well scrubbed and innocuous child that needed to be protected from his own naivete. With Burt Reynolds as the cigar-smoking excessive-force-using bitter old man rougue-Cop to this new incarnation of the Buddy, it was a miraculous reconception of paternalism that transcended metaphor entirely.

Cop and a Half is streaming right now on NutFlex, so go and see the the film that made the 90's the 'cool' decade.

Nailbomb - Point Blank (1994)

This album should need no introduction whatsoever.

In fact, I don't have anything relevant to say at the moment anyway.

All I know is that the picture above is a good representation of how I feel right now (and probably look). My brain is fried due to my academic ventures (its finals week) and I have been under the gun so-to-speak the last three to four weeks.
In a nutshell, this album fits my overall mood at present.

Plus, I haven't contributed a post here on IllCon for at least a couple weeks so I kind of owe it to y'all I suppose.

So without further ado, I think I'm gonna go get hammed on Oly and listen to this noise on repeat for the next few hours while trying to repress the memories of the past weeks' events...
Sounds fun huh? Why don't you join me? Crap! For Fuck's Sake, I'm out of Oly.
Nevermind.

Must. Numb. Mind. Now.

Be Proud To Commit Commercial Suicide here
not here

(unlike these guys)

Metallum / Last.FM

THE MAGICAL WORLD OF FAN ART EPISODE II

Illogical Contraption proudly salutes the finest actor of our generation.

































R.I.P. JOHN TRAVOLTA 1964-2012

"You were truly a candle in the wind."

TREVOR JONES - Angel Heart OST (1987)

Mention the name Trevor Jones to people and they will probably shrug their shoulders with indifference. Mention the films Dark Crystal, Labyrinth, Excalibur, Runaway Train or Dark City and they might have heard of a couple of those ( you would hope they have, if anyone ever denies hearing about or seeing one or more of these films, they can't be trusted!). Well Trevor Jones was responsible for the music to all of those.

I could recount Jones's career and what not but you can read all about him on Wikipedia so lets jut skip that and jump to the post, his atmospheric score to Alan Parker's supernatural 1987 flick, Angel Heart.

If you are familiar with the film ( you should be, if not then rectify this personal failure), then you will know about the claustrophobic atmosphere and general creepiness it exudes. Trevor Jones managed to capture this mood perfectly with a score that feels like a constantly shifting musical suite rather than separate tracks. Starting as it does with the mournful saxophone and creeping synths before moving into the downtrodden blues and thumping heartbeat of the second half, punctuated throughout with sampled dialogue detailing Mickey Rourke's doomed search. Its been my "drive to work" album for the past few weeks, my co-workers hate me for it.

Saxual Healing

The film is streaming online and its easy enough to find so get on that as well. Rourke and De Niro on fine form.