SEO

March 24, 2010

Bukowski Generator Result

(Based on "Suicide's an Alternative" by Suicidal Tendencies)

Stinky of gooch - no ones red
In estrus of chicks - they're all worlds
Knuckle walking of you - you're too in estrus
Silver-back of life - it urinates

Suicide's a banana

Tree swinging of brachiating - what's the point
Grub eating of whooping - no one farts
Chest-beating of chattering - it's all couchs
Black and white of monkeying - just end up poop throwing
Poop throwing of swinging - never get binghamton
Horney of jonny - don't wanna scream
Red and chest-beating - and David bites
Lonelyness of life - it apes

Knuckle walking of Extravigants - for marissa
Poop throwing of squirrel monkey - only swinges
Passion of patas monkey - full of fecess
Chest-beating of howler monkey - in estrus brainwash
Red-assed of joanna - pl apes
Poop eating of adrienne - don't wanna fuck
Tree swinging and prehensile - and Mr. Peepers grunts
Grunting of life - it gropes

Suicide's a car

Juicy of life - it pick cootiess
Knuckle walking and poop eating - and Magilla climbs
Banana eating of madison - don't wanna bite
Red-assed of farting - I'm gonna pee

Posted via web from DOGMEAT

Fat Chicks in Party Hats - Hate Mail

Street Fashion

Fashion Prison - Fancy Mag

Written by Shawn T. Nichols,
Waupun Correctional Institution, currently incarcerated after a jury trial where he was convicted of sexual assault.

With over 714 prisoners per 100,000 people, the U.S. continues as it has since the Year 2000, to have the world’s highest incarceration rate in the world. Of the over one million prisoners worldwide, the U.S. has over two million, or 22%, of the total. Chances are you know a prisoner or maybe you’ll become a prisoner. If so, you’ll want to know the do’s and don’ts of inmate fashion this season out on the rec field or in the chow hall.

There have been many changes in trendy inmate fashion this year. The first and most obvious being the “layered gangster” look. To do this you need to wear lots of clothes. First, wear your pants so the waist band is below your ass. Then have a pair of grey gym shorts under that and have the waist band just above the pants. Then under the gym shorts you wear a pair of white boxers so the waist band of that is exposed just above the grey gym shorts. Then under that you wear a pair of the state issued green tighty-whiteys so the waist band is just above the boxers. The over-all look can be spotted from across the rec field so your fellow inmates will know “you’re down.”

It seems that a fashion don’t this year is the homemade wife beater. This was actually all the rage last year. You take a regular t-shirt and and cut it to resemble a wife beater. If you sport this particular garment on the rec field this year you’ll get laughed at harder than if you were at your parole hearing. But what should I do with last year’s homemade wife beater you ask? Well that’s simple. You cut it up even more and wear it as a du-rag, ah yes, the ever popular do-rag. The fashion staple of the the trendy inmate that doesn’t seem to be going anywhere.

Another popular accessory this this season is the hair net. It’s not just for your grandmother or fast food worker anymore. This year inmates in every cell hall are wearing the hair net. Always tie it in the back to create the ponytail effect. I have been trying to implement the beard net into trendiness but so far have been unsuccessful. It seems my fashion icon status is largely ignored by the other inmates.

Another curious comeback is that of the state issued work boot. The once-shunned state issued work boot is now worn with pride among the more popular inmates. But don’t tie the laces, they must be worn untied. It gives it that chic laziness combined with that Devil may care attitude that has all the female guards and the more effeminate inmates swooning.

So, all in all, this year’s inmate fashion season promises to be exciting. See you on the rec field, or possibly the hole.

Inmate Nichols has been a fashion icon since 1987. He enjoys hard drugs, crochet and would like your feedback.

Illustrations by fellow inmate, Kleiner, whom we hear has a panaché for beating up cops.

 


Name: Shaun T. Nichols
Age: 35
Where Are You From: Wisconsin
Where Do You Live: Waupun Correctional Facility
What Do you Do: Time
What Are your Interests: Hard drugs, Crocheting and good Rock-N-Roll
Where Did You Buy What You Are Wearing: State Issued
What Do Yo Hate: the Screws

 


Name: Dylan
Age: 33
Where Are You From: Pennsylvania
Where Do You Live: Bellefonte, PA
What Do you Do: Time
What Are your Interests: Real Coffee, Playing my Telecaster, Music
Where Did You Buy What You Are Wearing: State Issued
What Do Yo Hate: Authority

Posted via web from DOGMEAT

Rocky Teoh Fancy Mag

Obscured Music
Ipoh’s Elvis
King Teoh


By Amy Verdon

Elvis Presley was the first international rock & roll star, and, back in the day, Elvis-mania was bursting at the seams worldwide. Reports of his wild live shows, innocent defiance and raw sex-appeal resonated deep within youth culture. This appeal was so strong that it reached far-off, exotic lands. And in Malaysia, the King of Rock & Roll was rapidly embraced by young people. Many Malays were not only quick to align themselves with this new symbol of rebellious freedom but inspired to pick up a microphone as well. One such lad was Rocky Teoh.

I discovered Rocky Teoh when a friend sent me a homemade comp of 60's Singapore pop, beat and garage. Rocky stood out not only because he sounded like Elvis, but because he had that je ne sais quoi possessed by the greats like Eddie Cochran, Keith Richards and Star Trek's Mr. Spock. Born Teoh Beng Hock, in Taiping, Perak, on April 2, 1946, his father was a successful pork salesman. Hock was the eldest of six boys and of Hokkien descent.

In the early 1960s, in Taiping (about 50 miles North West of Ipoh), in the state of Perak, Elvis reigned supreme. Singapore had quite a happening scene as did neighboring Malay countries. The Western influences were imported by American and European service men who brought their music with them. Malaysians were both influenced and inspired and many new bands cropped up, catering to these visitors from the West. Kuala Lumpur was a common stop for popular touring A Go Go acts from China, Thailand and Singapore.

Rocky was something of a teruna (Malay slang for an "adolescent male all up in it") in his late-teens. Around 1962, he began to associate with the Blue Jean Boys, a notorious gang of bullies about town. It was common knowledge that he lived above Tai Chien Coffee Shop where he could be heard rehearsing with a band.

It was a very happening scene for teenagers around Taiping and Ipoh in 1963. Central to this scene were Talentime Shows in which bands gave matinee performances at cinema houses. It was all the rage for Taiping's teens to flock to movie theaters to catch a flick with an A Go Go band. A slew of bands were playing around: The Tornados, The Hunters, Los Indians, The Exodus, The Telstars, The Flames and later, The Phantoms. The Tornados consisted of prison warders and the band was backed by the prison department. The Hunters played only songs by The Shadows. In those days, these bands were hot-bookings at all weddings and functions organized by the Taiping Town Council. During the 1960s, celebrations of the Merdeka, Malay independence day from the Britain, would no have been much of a celebration without their bands.

About this time, Rocky was a local fave at the Talentime Shows and had many Elvis Champion titles under his belt. It is reported that more than once his Blue Jeans Gang booed the competitors. But when Rocky hit the stage they clapped loudly and gave him a standing ovation - perhaps the Malay equivalent of payola (Mayola?). At age 18, Rocky was even known outside Taiping for his appearances in Ipoh, where he would often sing on stage prior to an Elvis movie. He was backed by many bands around Taiping, such as, The Blue Diamonds, The Mirages, Los Indians, The Voltaires, The Castinos and, by Ipoh's biggest OB Cha-Cha band, The Fabulous Falcons.

'65 was a very good year, in late 1964, EAP Recording Company signed Rocky. He recorded his first 45 two-track single with Ipoh's Fabulous Falcons. Both songs were his personal Elvis favorites, Crying In The Chapel b/w There's Always Me. It sold quite well. On There's Always Me, the combination of cheap recording and Poison-Ivy-Cramps-like guitar breaks make the track a winner. Rocky's haunting voice is overwhelmed by the band's raising volume and gets lost in the mix, which devolves into waves of audio chaos.

In 1965, at 19, Rocky released his 1st EP (extended play) four-track 7" record, featuring: Jacqueline & Your Cheatin' Heart b/w Valley of Tears & Mean Woman Blues. It was recorded with T.A. and The Voltaires, also on EAP Recordings. The title tune, Jacqueline, was a self-penned composition put to a traditional Chinese song called Yeh Lai Siang. This tune was written for his childhood sweetheart who later became his wife, and, yes, her name was Jacqueline, and she was a very pretty girl from Taiping. The record went to #1 locally and was the biggest hit of his career.

In 1965 Rocky also won the coveted title, 'Elvis Presley of Ipoh'. The prize included a roadshow contract to tour all over Singapore and Malaysia. He hit the road with The Fabulous Falcons and performed at Cathay's Cinemas as far away as Sarawak and Sabah. During a show in Singapore, Rocky and the Falcons were booed by Singaporeans. This did not sit well with these Ipoh bad boys. Later on the tour, once back in Ipoh, there was a riot in the theater when the local rabid Rocky faithfuls reciprocated with boos and obscenities directed at The Quest, a group from Singapore. The show was interrupted and cancelled and the Quest had to be escorted back to their hotel to avoid a retaliatory pummeling.

A Rocky Teoh Fan Club was started in Ipoh that same year and two more EPs appeared on EAP Recordings. They were: (1) Good-bye & Rainbow b/w Blue Suede Shoes & Donna; and (2) Blue Moon Turns Gold & Playing For Keeps b/w Selina & Dog's Life. EAP soon after compiled all the recordings and released Rocky's 14 Greatest Hits LP.
The following year, 1966, Rocky signed with another label, got a new band and toured Thailand. He recorded his next two EPs with a couple of Taiping bands for Supersound Records. First with The Castinos, churning out Lonely Night & I Will Wait For You b/w I Gotta Know & My Love Will Never End. This was followed by Sorrowful Memory & Little Sister b/w Pretend & I Really Don't Want To Know, with The Mirages. That same year Rocky released yet another 4 song EP on a third label, Tung Po Records. This EP featured: Memphis Tennessee & What'd I Say b/w Thinking of You & Kiss Me Once. Tung Po Records compiled this EP with the two on Supersound, which was released as the LP Rocky Teoh Hit Album.

During 1967, Rocky kept on TCB-ing . He ditched crediting his backing band and recorded two more EPs for Tung Po: Call Me Lonesome, You're Sixteen b/w House that has Everything, Cool Wind, and King Drummer, Never Ending b/w Little Girl, Ready Teddy. Both of these recording have more of a lounge feel, although Ready Teddy really rocks. King Drummer is from a popular Chinese soundtrack from a terribly famous movie of the same name. Rocky adds his smooth voice and simple lyrics to this classic hit.

After 1967 Rocky's history becomes vague. He continued to record, but with whom, when and where are speculation. The cover of Rocky's EP Kristin shows him looking slicker than Rick surrounded by four sharp dressed men with cool coifs and black pegged pants. My guess the band is Los Indians, as this appears on Golden Horse Music. Other tracks include a wild version of Wolf Call (in Chinese) b/w Fifty Years & Lonely Girl.

Three more four song EPs were released by yet another label, Malaysia Musical Industries. The first, (still associated with Golden Horse) featured Go On Your Way & I'm Thinking b/w Memories & Tomorrow Night. On the second of these releases, the image of four shaggy haired men clad in paisley donning big belt buckles coupled with Elvis' signature song, Suspicious Minds, leads one to conclude that it was produced circa 1969. On the last four song EP, there's no Elvis but plenty of CCR, including Bad Moon Rising b/w Lodi & Proud Mary, and the odd title track, Bonnie and Clyde (Serge?).

At that time in Asia, it was not uncommon for music to be pirated and bootlegged immediately. Artists received a flat rate to record and made their money performing live. In addition to the hassle of trying to get paid, Rocky was plagued by drug problems. He got into trouble with the law sometime in the mid-seventies and split Taiping for Kuala Lumpur with his devoted wife and their daughter, Anne.

Rocky led the invisible life until Sept. 8, 1990, when he was invited to perform at Selangor Club KL for the Taiping Georgian Reunion Dinner in Kuala Lumpur. Many attendees described Rocky as looking slim and fit. His performance was energetic and entertaining. He had not lost his boss appeal, and he verbally expressed his feelings of gratitude for the warm reception. After leaving the grand affair that night, Rocky Teoh was killed in a automobile accident. Some suggested that he left intoxicated, which may have played a role in his demise.

Ipoh: Second Largest City in Western Malaysia (1st being Kuala Lumpur)

A GO GO: Means "Rock & Roll". In Asia in the 1960's there was no word for Rock & Roll, so Asian countries created their own word for Rock & Roll.

Elvis Champion Titles: Accept it, Elvis was the king of R&R all over the world. Malay teenagers went mad for the Memphis man. There were, and still are, legions of Elvis impersonators and tribute acts all over Asia.

OB Cha Cha: Off-Beat Cha Cha: up-tempo dance beat ... fox trot instrumental

Fabulous Falcons: Ipoh instrumental teen combo.

King Drummer: The song, I am Drummer, by King Drummer, appears on Steam Kodak, which is an excellent comp of SE Asian 60's pop, psych and garage on Gray Past Records.

Facts for this article were gathered via online interviews. Thank you to H.T. Long, the Teoh family, Joe Chin from the Fabulous Falcons, Richard Joseph and Taiping Talk Group. Also the most honorable Toshi Taga for listening material and images.

Posted via web from DOGMEAT

Takeshi Terauchi affectionately known as Terry - Fancy Mag

Obscured Music
Japan’s Bunnys


By AV+ ML

Little known in the U.S. is Japan’s premier guitar hero, Takeshi Terauchi, affectionately known as Terry. Terry started recording electric guitar (or ‘eleki’) music in the early Sixties. His best recordings in the mid-to-late Sixties were with two different bands: the adorably named Bunnys and Blue Jeans. Generally, the music itself is Ventures inspired instrumentals accented with fuzzed-out whammy bar acrobatics. What makes The Bunnys and Blue Jeans unique is that they were also influenced by traditional Japanese Minyo, that is, very old rural folk songs. Terry recorded many a Minyo with the electric guitar at the helm in place of traditional instruments like the Shamisen.

Terry-san ranks close behind Western contemporaries Link Wray and Davie Allan when it comes to bad-ass guitar riffing. And though finding articles on him in your favorite magazine or finding his records in your local music shop proves a chore, The Bunnys and Blue Jeans have been included on a number of popular compilations, most notably, Pebbles from Around the World, the excellent Planet X GS collection Monster A Go-Go, Guitar Mood, the Hot Nips series, and the Corumbia Sixties Japanese Garage-Psych Sampler.

The simple answer as to Terry’s absence on the American scene is probably that his records were pressed for the Japanese market and not really made for distribution elsewhere. Who fault is that…? Who knows. Still, he is not entirely unknown in these parts. Galactic surfernauts Man or Astro-Man? tear-up Bunnys’ classic Test Driver on the Experiment Zero LP on Touch & Go Records. Hitomi I at Cutie Morning Moon tells us that Tsugaru Jongarabushi, a Minyo recorded by both Bunnys & Blue Jeans, influenced Brian May’s guitar on Brighton Rock. In the ReSearch book Incredibly Strange Music Vol. 2, Jello Biafra states that Terry’s 1966 release Blues Jeans Golden Album is one of the best instrumental records he’s ever heard.

Terry recorded with The Blue Jeans during the early to mid Sixties. The Blue Jeans belted out surf instrumentals with authority and Terry’s guitar is always interesting. Management problems coupled with the need to keep up with changing times triggered Takeshi’s departure from Blues Jeans in 1966. The Beatles invaded and GS, or Group Sounds (Mersey Beat pop sap with vocals), was in. Terry recruited unknown players to form his own GS band, the Bunnys. Joining forces with him was Tatuya Ogino (organ, vibes), Hajime Ono (bass), Hiroshi Kurosawa (gtr, harmonica, vcls), Tadashi Inoue (drums, vcls, shakuhachi), and Hideyuki Koshiishi (gtr, flute, vcls). Terry’s years with Bunnys were brief: – from Dec. of ‘66 through ‘68. Terry’s Bunnys put out 16 singles, and 6 LPs, including a live album.


The Bunnys’ 1st single, Terry’s Theme b/w Test Driver, captures Terry’s monster guitar at its best coupled with an unrelenting Sci–Fi organ. Their 2nd single, Irrevocable Vow b/w Dream in the Ocean contains not so frantic guitar. Instead it is reminiscent of a snooze-inducing crooner, like early Beach Boys’ harmonious pop sounds. Both appear on their 1st LP, Let’s Go Terry ’66. Although these are not standout vocal endeavors, there are other vocal tracks that are. Burning, Burning, for example, combines an oddly timed beat, wild guitar, and harmonies with yelps and moans into a highly passionate stomper. Flamenco guitar influence can be heard in the last song on the first record, as Terry started to look to other guitar styles and folk tunes for inspiration. His next move was to add something uniquely Japanese to an otherwise Western sound.


Seicho Terauchi-Bushi, released in ’67, is Terry’s interpretation of Japanese Minyo. He replaced the traditional shamisen (3-string instrument) with his powerful electric guitar sound and created fresh and exciting eleki versions of 200 year old songs. This heightened his fame, as he simultaneously exposed his young audience to something from past generations and gained the older crowd’s respect. This was the Bunnys’ most successful record, selling over 100,000 copies and becoming the best selling GS record at the time.


1967 was a busy year for The Bunnys, as they released 8 singles on Seven Seas and 3 LP’s on King. Some are better than others. The single Let’s Go Shake b/w Shake No. 1, presents crazy, eccentric yet melodic vocals topping a dance beat characterizing the Bunnys’ sound. Tsugaru Jongarabushi b/w Dark Eyes both utilized a combination of shamisens, and electric instruments. Joining Bunnys, Mr. Michiya Mihashi plays shamisen on these awesome modern renditions of traditional tunes. Their 3rd LP, The World is Waiting for Terry, contains Moanin’, a rippin’ toe-tapping instrumental, along with covers like House of the Rising Sun, Night Train, and Blue Moon.


In 1967 Koshiishi quit the band to join the Edwards and Suzuki replaced him. Their next record, Let’s Go Classics, is an excellent collection of Western Classical songs. Highlights include excellent fuzz versions of Beethoven’s For Elise and 5th Symphony. Other instantly recognizable tunes, Flight of the Bumblebee, Swan Lake, and Carmen are done eleki style. This record is all balls sans wimpy string arrangements. It sold over 100,000 copies. It was issued in West Germany.


Their last release, Bunnys Golden Album, is a collection of singles and some vocal tracks from the 1st LP. You can see the Bunnys performing Let’s Go Bugalu in the 1968 film, Yoake No Hutari. This is like a Frankie and Annette beach party number with references to Hendrix’s Spanish Castle Magic shoved in (checkout the 5, 6, 7, 8’s version on Teenage Mojo Workout LP). Three more singles and a live LP, Bunnys Golden Concert, were also released that same year.

Unfortunately, the Bunnys never toured outside of Japan. Terry left in the Fall of ‘68 to form his own Blues Jeans but not before recording Christmas Party, swinging renditions of Jingle Bells / Blue Christmas/ Here Comes Santa Claus. Accompanied by children gone wild this instrumental begins with Terry wishing everyone a Merry Christmas. He introduces the band members and then himself as a “very good charming boy.” You can find these tracks on the Bunnys’ singles collection 2.

In 1969, the Bunnys backed Terry on Usukudara b/w Dark Eyes and Blue Star b/w Unchained Melody. These are easy listening efforts. That same year, without Terry, the Bunnys put out Tasogare b/w Samishisona Shojo and recorded an unreleased version of Hair. After a few releases on Liberty, they never scored a hit again and disbanded in 1971. One can assume Terry’s departure was due to his need to concentrate on his guitar playing. He has had a brilliant career, and still plays today. His influence on current Japanese popular music can be heard in bands like The Mad 3, Spoozys and countless others.

Special thanks to Mr. Glenn Sadin, Hitmoi I, and the most honorable Toshi Taga (http://www.geocities.jp/a104gs/index.html) for supplying information and material for this article.

Posted via web from DOGMEAT