October 31, 2009

If a man is beating you with a whip and you love the whip, what is he doing to you?--Charles Manson to Terry Melcher

A year has come ...and gone. Much has transpired, but Google not crawling 'What Gets Me Hot' since October 8th, 2009 makes it easier to move digs.

http://whatgetsmehot.blogspot.com

**(already up and running, albeit in a supporting capacity)**

Until that time, please enjoy these lovingly collected Videos from

Mrjyn's

(Dailymotion and 123Video) Collection. Rest assured, these represent the cream of my extensive personal crop, including many videos which previously existed on Evil YouTube, and which now (due to Mickey Mouse Rollerblading Copyright Regulation), DWELL NO LONGER THEREIN!

STAY TUNED TO THIS BLOG FOR THE REMAINDER OF HALLOWEEN. I'LL BE PULLING HALLOWEEN RELATED VIDEOS and POSTS, with a couple special NEW ONES OUT OF MY HAT, AS I CELEBRATE ONE YEAR AT

http://visualguidanceltd.blogspot.com

POSSIBLE DESCRIPTION FOR MY NEW DOMAIN:

If you accept the paradox that this blog derives its name from the first film by Traci Lords, an opulent tribute after a reference to the Lords, and not a site geared to adults, then a viewer can return to find What Gets Me Hot.

The author walks the line for daily inspiration. What Gets Me Hot is equal to its proportionality and discovery of coexistence with YOU. It takes readers intelligence and sensitivity attentively and not of false end, that its readers may accidence a caveman in a spaceship, as Charles Manson once rambled.

You can but guess the magic water in this oasis is its strength, intrepid navigators with their speedometer beautifier blogs, its antithesis. I am digesting and it shows. Master synthesizer, not a quick look at notes, I admit I have inherited of Halloween.

因

有一晚朱蘭回家來 ﹐發現母親半夜鬼崇崇的來到小巷的一間簡陋小屋中﹐她跟方志偉感到好奇﹐遂追蹤而至﹐沒想到屋裡有一個老

劉

劉世道忍待不住﹐一手把葉春源刺死了﹐之後又重回監獄中﹐而朱蘭又再重過歌女的生活。

If it is less than one year that I see you again, this effects not only you, but me. But without you there is nothing.

I love discovering something completely out of a trance. I've tried everything, and see that it is easier to ignore the right thing to a mountain of information. A second reading will be justified.

“花外流鶯” 跟“歌女之歌” 雖然擁有相同製作班底﹐然而前者故事過於胡鬧﹐後者的情節卻非常吸引﹐可惜結局草草收場﹐不曉得會否是筆者欣賞的﹐乃是殘缺本之故。戰後許多電影﹐情節上常常偏向灰暗﹐似乎也默認了命運弄人﹐走不出戰後陰霾的局面﹐就像這部電影﹐進牢的最後還是要進牢﹐做歌女的最後還是依然對人歡笑背愁的歌女。電影中周璇主唱了6首插曲﹐分別收錄於4張留聲唱片中。

歌女之歌﹕原收錄於“歌女之歌”(1947/百代) 留聲唱片中。
曲﹕林枚 (陳歌辛)
**********

I with my choice and my acquisitiveness in the face of aversion to that which older dogs are not curious.

Internet,

you have impressed me within.

Image representing FriendFeed as depicted in C...

Apture will still provide the mouse over link positions in my deep multi-go embeds, which even video blogs do not contain, but what they say on Wikipedia, Twitter, Google,

Maps, Images, and even entire articles are not visible until clicked, and then its flowers bloom with characteristics particular.

陋巷之春﹕原收錄於“愛神的箭”(1947/百代) 留聲唱片中。
**********

I am seamless with incredible Lijit, elegant researcher, wonder tracker, full statistic app; and it is useful to discover.

You may find My Back Pages, my network, links, blogroll, all; and without leaving the site. I hope it's better late than never introduced. Incomplete guides discover slightly hidden treasure mined from blog quarrys. Trust inspiration, beware of the pan.

Continue to dig.
No mean pyrite here. Ask the blog via Lijit. Welcome Feedburner. Link each article.

I hope to follow you on Twitter. What Gets Me Hot is on FriendFeed. Subscribe for regular dissemination.

Thank you for your visit, and if you want to say hello, please do not hesitate the comment regardless of relevance.

I am always curious while online. RePosts and reBlogs regularly attract, and therefore contact is remarkably unusual.

一片痴情﹕原收錄於“高崗上”(1947/百代) 留聲唱片中。

我要問一問為甚麼你的心像鐵石一樣的硬

**********

read below the demarcation for the remainder of this posting which includes some special reviews of the author throughout the years by strangers and a few of his blogfriends lyal and true.

http://static.flickr.com/119/265359620_c89a473bd9_m.jpg

Tony Palmer - All You Need Is Love (vol. 12: Hail Hail Rock 'n' Roll - Complete Video) 'brilliant exposition, magisterial style, magnificent'

All You Need Is Love

… brilliant exposition … magisterial style … magnificent

Sunday Times

All You Need Is Love, a 17-part series on American popular music, described by Bing Crosby as "a mighty achievement". “A brilliant authoritative, historical study” (New York Library Journal).

… this beautifully–presented book and films are something of a triumph … the first well–planned … history of the people’s music in the people’s century, infuriating, stimulating, long overdue: and hugely welcome. The Listener

It began, inevitably, with John Lennon. There I was in 1964, a happy little student at Cambridge University, sent along by the University student newspaper Varsity to report on a press conference being given by four lads who had risen to some prominence in the pop world (in which I had no interest whatsoever) and were announcing the out-of-town preview of their new film, A Hard Day's Night, at the Regal Cinema, Cambridge.

Silly questions, silly answers, I thought smugly, lurking at the back and refusing to be a part of this nonsense. Afterwards, when the formal part of the 'event' broke up, I was milling around when a large tap on the shoulder -- followed by a not-so-silly question -- "Why didn't you ask any questions?" -- confronted me with Mr. Lennon. "Because it was all pretty silly", I said. He agreed, and asked me what I did. "I am a student", I replied. "Of what?" he said. "Moral Sciences", I said. "Well now, that's what I call pretty silly", he said, and we both laughed. It was ...

He asked if I would show him around the University that afternoon. "Big place", I said, and in any case I didn't fancy being mobbed by his fans. "Then I'll come in disguise", he said. "Come and pick me up at 2pm in the hotel lobby where I'm staying".

At 2 o'clock I presented myself, to be met by a man in a long brown raincoat, shabby fedora, and unkempt (and obviously false) beard. "This is ridiculous", we both thought, and the 'disguise' was gleefully abandoned. King's Chapel, the Wren Library, the Bridge of Sighs -- and we were not mobbed. He was most grateful, he said at the end of the 'tour', and when I next came to London, please call him on the number scribbled on a scrap of paper and thrust into my hand. I explained that that might not be for some years, since I still had to finish my studies. "Yeah, in 'Moral Sciences'", he chortled.

In fact, almost two years passed (during which time The Beatles had graduated from being 'very popular' to Kings of the Universe) before I went to London to work for the BBC. "Nothing ventured, nothing gained", I thought, so I telephoned the number on the scrap of paper, thinking it must surely be well out-of-date by now. But not so.

A young lady answered the phone. Her voice was chirpy until I said "John Lennon said to call" whereupon the voice immediately entered its pained 'I've heard this 300 times already this morning' mode. I persisted, explained a little of the background, and eventually she reluctantly said she would pass on the message -- but couldn't say exactly when. Imagine my surprise, therefore, when about an hour later the phone rang and the voice announced itself as Derek Taylor, sort-of responsible (he said) for Beatles publicity, and could I come over tomorrow lunchtime for a little brown rice with John.

Image via Wikipedia

Mina: Oh Happy Day 1972 (Oh, Giorno dell felice)

Uploaded by mrjyn

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Zosolved! JIMMY PAGE, 666, A.C.

Jimmy

Page

ZOSOlved


In 1918, Aleister Crowley, the British occultist and so-called "wickedest man in the world," composed a lyrical essay on absinthe and aesthetics titled "Absinthe - The Green Goddess". He wrote his essay (according to legend, while waiting for a female companion) in the Old Absinthe House in New Orleans. "Art is the soul of life," he proclaimed, "and the Old Absinthe House is the heart and soul of the old quarter of New Orleans." Aleister Crowley: La légende DEA l'absinthe Uploaded by mrjyn page & crowley: l'histoire du "ZOSO" *Uploaded by mrjyn* Aleister Crowley’s The Equinox of the Gods (p. 253): Notice the first statement — "So is O" matches Page's "Zoso". and Now 666 = My Name, = The number of the Beast. dracula ? ???Wermut???L'absinthe d'histoire Uploaded by mrjyn Jimmy Page Uploaded by resistant_c-maj	JIMMY PAGE "ZOSO" MATCHES CROWLEY'S 666 In 1971, Jimmy Page bought Boleskine House, Crowley's former hunting lodge and Scottish retreat. Jimmy Page's daughter was named Scarlet Lilith Eleida Page, born March 1971. The Scarlet Woman was, "a technical term complementary to that of the Beast for the office held by any directly inspired female medium of the gods." Furthermore, Crowley used one of the names "Lilith" for his first child. The Old Absinthe Bar in New Orleans (located at 400 Bourbon Street) was rumored to have been the set-up or at least the inspiration for the cover scenes of In Through the Out Door. Led Zeppelin was known to be fond of New Orleans’ French Quarter. Crowley also held a certain fondness for the Old Absinthe House as he recalls, "I took a room conveniently close to the Old Absinthe House, where one could get real absinthe prepared in fountains whose marble was worn by 90 years’ continual dripping." The Old Absinthe House inspired Aleister Crowley’s essay "The Green Goddess". Today, if you go to the Old Absinthe Bar there is a picture on the wall of Jimmy and his ex-wife, Theresa fennell, supposedly accompanied by a story of how they met there. Jimmy Page--what the CANCAN? Uploaded by mrjyn
An original holograph draft by Aleister Crowley of the poem "La Legende de l'Absinthe" (here called "L'Absinthe") published in The International (New York, October 1917) under the pseudonym Jeanne La Goulue (a famous Moulin Rouge dancer painted by Toulouse Lautrec). This same poem was quoted by Crowley in his subsequent essay: "Absinthe - The Green Goddess". The verso of the manuscript sheet contains a fragment of the text of "The Green Goddess".	Aleister Crowley and the Green Goddess
Jimmy Page and Lori Maddox aka Loritning, Lori Mattix Born: 1958 Los Angeles, California, USA Lori Maddox was part of the wild Hollywood teenage groupie scene in the early 1970s. She reportedly lost her virginity at age 13 to David Bowie and Angie Bowie. One of her best friends was Sable Starr, who was the unofficial queen of the scene at the time. Lori, who was also known as Lori Lightning and Lori Mattix, wasn't as experienced as Sable, but Lori also became a regular at famous Hollywood groupie hangouts, like the Rainbow Bar & Grill, Rodney's English Disco, the Continental Hyatt House (also known as "The Riot House"), and the Whisky. Like Sable, Lori was often featured in Star magazine (a short-lived '70s magazine, not the Star magazine that's currently a tabloid), which often had articles detailing the activities of music groupies. Lori was 14 years old, she met a man who would change her life: Jimmy Page, guitarist of Led Zeppelin. Jimmy first spotted her when an associate of his showed Jimmy a picture of Lori. Jimmy was intrigued, and when Led Zeppelin stopped in Los Angeles on their 1972 tour, Jimmy immediately tried to get together with Lori. Even though Jimmy was dating groupie Pamela Des Barres at the time (back when she was known as Pamela Miller, aka Miss Pamela of the GTO's), Jimmy pursued Lori relentlessly. Lori has said she was still a virgin at the time and she was afraid of Jimmy at first. But Lori has contradicted herself by reportedly saying that she wasn't a virgin when she met Jimmy. Because of her groupie activities before she met Jimmy, it's more likely that she wasn't a virgin by the time she got together with him.

I’m gonna cut your head off and put it on the wall, so you won’t eat no more hot dogs--Hasil Adkins

Hasil Adkins: (DOC. Part 1 of 3)

Uploaded by mrjyn

HASIL ADKINS: RIGHT OF PAINTING

The decapitated heads of various girlfriends. “I’m gonna cut your head off and put it on the wall, so you won’t eat no more hot dogs.”

Chicken walk ghost — a reference to his song “The Chicken Walk.”

Mars bars. They come from Mars—another of Adkins’ favorite nutritional sources.

Hasil’s dog,“Whacky”, wearing his master’s glasses.

Hasil’s home-made guitar.

Hasil’s father.

Lithium

Rebel Yell booze.

Officer Duncins—Hasil’s real-life nemesis and frequent arresting officer, subject of a song of the same name.

Hasil Adkins

29apr1937—26apr2005
R.I.P.

Hasil Adkins

HASIL ADKINS: CENTER OF PAINTING

		Hasil’s dream of “eatin’ commodity meat on the moon.” Commodity meat is cheap canned meat popular among poor rural people.

	Joe Coleman's favorite psychobilly musician, Adkins developed his unique, multi-instrumental playing technique as the result of a wild misconception. Growing up in a tarpaper shack in Madison, West Virginia (where he still resides in a trailer), Adkins would listen to band music on the radio and hear the announcer identify the group as, say, the Louis Armstrong Band. Adkins would then assume that all the instruments were being played by Louis Armstrong. Not only does Adkins simultaneously perform on at least three instruments (drum, harmonica, guitar), he also writes all his own material and is one of the most prolific--and original--songwriters in America. His subjects range from eating commodity meat on the moon to the local sheriff who is the bane of his existence. Adkins performed at Coleman's 2000 wedding and provided the soundtrack for the Joe Coleman documentary, R.I.P.: Rest in Pieces.
		Drunken hallucinations of hot-pants sirens.

A documentary film, The Wild and Wacky World of Hasil Adkins, is due for release this fall, one of two upcoming films to feature the inventor of the Slop, the Hunch, and the Chicken Walk.

Deuce of Clubs: How did you come up with your sound? It's so different from anything else I've ever heard.

Hasil Adkins: What I done, I learnt to play, you know, by myself and everything, and I just, you know...well, what I'm doin is, you know, what's in my mind and stuff. I don't—what it is, I don't play to no beat, you know, like 2-, 4-beat, or 6-, 8-, or 12 & all that. You know. Ain't nobody can play with me. You know, I just play what's in my mind, you know. Change when I get ready, go up and down. I've tried a lot of bands, but you know, I can't do—well, in other words, if I go up they go down or somethin, if I go down they go up, so...

Sometimes I listen to your records and I think, How is he doing all that? So you're working the drums with your feet?

Do what now?

You're working the drums with your feet, then?

Yeah, I play drums, bass, & lead, & rhythm, harp—you know, harmonica—around your neck. I can play organ & piano with my elbows. I'm riggin' that up now. I can play about anything, but I gotta get it all rigged where I could get to it, you know, so I can play it all at the same time.

That's the thing I find hard to understand. For example, the song "The Slop"—

Do what now?

Your song, "The Slop."

Yeah?

You can hear the guitar playing, and then there's drums, and then there's also, sounds like, what is that—spoons? You're playing the spoons?

Yeah.

How do you have that rigged so you can do that all at one time?

Well, I just get it all, get it all close where I can get to all of it & everything, you know, at the same time. Put the harp around my neck, you know, then I play the lead. What I do, I play lead, rhythm, & I don't know how many different things on the guitar, and I play the drums, hi-hat—& I play 'em with my hands, too, at times, you know.

I read in Kicks magazine that there's a documentary film you're in.

Yeah, yeah.

Do you know what the name of that is?

It's The Wild and Wacky World of Hasil Adkins. They're gettin ready to start distributin' now. We worked on that, I don't know, they got a whole bunch they're comin out with, you know. The first one they're comin out with, I got some of it here now, but I guess it'll come out some time this Fall.

Who exactly is making that film?

Well, I think it was the whole [unintelligible] shop, one of the main ones. There's a whole bunch of 'em, on out in L.A. & Kentucky, uh, just different ones. But the main doin's of it is out in Kentucky. They're havin a time with distributin it, now. Course the ones wantin to distribute it, you know, are wantin too much money. But I think they got it worked out now, got it worked out where...it's out in Chicago, I can't think of the name, but there's a big distributor out there. They seen it & they wanna, you know, distribute it across the world & everything, get it out there where people can buy it & everything. If it would sell. They been workin on it for a while. But I think they got it straightened out now.

So is it pronounced hassle or hazel?

Hassle.

Oh, I thought it was Hazel, 'cos you're The Haze.

I know, everybody... nah, it's "hassel," what it is. Everybody call me—well, not everybody—most of 'em call me "Hazel," but I mean, you know, after they get to know me or seen me or somethin, why, you know, [I] tell 'em....

Ah. Cos you've got a brother named Basil—or is it "bassle"?

Do what now?

Your brother's named Basil or Bazel?

Uh, well, they call him both things, Basil & Bazel, but his real name's Basil. But they call him Bazel.

Okay. Now I also read somewhere that you had lectured at a college—where was that?

Do what now?

That you had given a lecture at a college.

Yeah, uh, in Louisville, Kentucky.

How did that come about?

That's when we was makin this video stuff. They went all over the place makin it. And they was wantin to know, at the college, how I got started playin and how do I do everything—you know, all that.

Was that a lot of fun?

Oh yeah, yeah. Kids wanna know everything, they did.

Do you still play live much?

Yeah. Well, I been workin here at home for a while now, I got a lot of [ ] stuff to do & everything. I could be workin 'bout eight nights, if I wanted to, but it gets old, you know, like that. I'm gonna play Charleston, I guess, Saturday night. Could be Friday Night. Friday or Saturday night, one of the two.

Wow, I wish I was out there! I'd like to see you play. So you going to be touring around any more, you think?

Oh yeah, yeah.

Think you're ever going to get out Arizona way again?

I just got back from Chicago ... huh?

You think you'll ever get out Arizona way?

Uh, yeah, they're workin on something, get out through Arizona, and I think San Francisco, L.A. I been to L.A., about a year ago now.

Wow, I wish I'd have known that.

Yeah. And I'm goin off of that, uh—well, this record'll be out pretty soon. I don't know what they're gonna call it yet. I.R.S. Records—you hearda them, ain'tcha? Miles Copeland?

I.R.S.? Yeah.

I cut about two albums for them.

Oh really? I only have your albums that were on Norton. Also a Dutch import.

Yeah. Well, I don't know, Capitol's gonna be—A&M Records, I know you know of them—them & I.R.S. Records, they all know each other, and get together, so they're gonna get—they'll put it over when they get it out. They been workin on it. So I went out there almost a year ago or somethin, cut, I mean, two or three albums' worth. So they been workin on it, you know, gettin it all...

Do you keep in touch with Miriam and Billy [from Kicks Magazine and Norton Records] at all?

Oh yeah, yeah, I talked to 'em, oh, I don't know, 'bout a week & a half ago, somethin like that.

How many songs have you written?

I got over 7,000 all the way written. I don't know just what now, 7,000-&-somethin. I got it marked down out to the house out there.

If you had to pick a favorite, what would it be?

It'd be hard. Well, they're gettin ready to come out with this one—well, it's been out, but it was, you know, way back, on a small label—a love song, "She's Gone," one of the first songs I ever wrote. The number six song I ever wrote, I wrote it way back when I was young. And if I had to pick, I would pick that. There's been so many. I like that "She Said," but ... there's so many to pick from.

Besides The Cramps, do you know of other bands who have recorded your songs?

Yeah, well there's been—I can't think of all of 'em, but I know you know of The Cramps.

Oh yeah.

And Percolators—you ever hear of them, outta Germany?

The Percolators, yeah.

They recorded "Chicken Walk." It's doin good, what they told me. They just come out with it. And there's been ... if I had all the names here, I don't know how many, there've been all kinds of groups, you know. Now there's another group, I don't know who they belong to, I can't think of their name. I know it but I can't, you know, it's hard...

What kind of guitar are you playing these days?

Yamaha.

How many guitars have you had over the years?

You mean how many I've got?

How many have you had altogether, do you think?

Oh Lord, I ... it'd be up in the thousands. I've got about forty now, forty-five, something like that.

What kind of equipment do you use to record yourself when you're playing at home?

Well, I've still got—have you heard of that movie they're comin out with, Tear It Up? They got Elvis, Carl Perkins, Chet Atkins, man, you name it, they got everybody! I guess it'll be out sometime this Fall with it. Honest, they come & interviewed me about six hours' worth. "We gonna want you in it!" you know. They gotta little bit of everybody in there. Well, the first tape recorder I had—that I recorded "She Said," you know, a lot of songs on that. I've got the same thing here now. Not the same one, but the same kind. Looks just like it & everything. 3M company made it. I been gettin all kinda mail from fans all over the world wantin me to record more at home. That's what I'm tryin to get done now. I bought me a trailer to tear it all out & put a studio in it, & I'm doin pretty good with it. I got a lot more to do to it, get it all lined up the way I want it. It's about a forty by ten trailer. Forty feet long, ten feet wide.

I have to ask you this: what exactly is "commodity meat?" What does that mean?

You mean commodity meat? Well, see, way back in the place of welfare, what they call it now, or "Human Services" & all that, you know, they changed all the names, but way back there they had that what they called the DPA—that's Dependent Children of Americans—and they used to give out, well, peanut butter, commodity meat, you know, the government give it out, commodity is what it was. Surplus stuff from the Army men, or all that kinda thing when they got back [after World War II], and they would give so much of that out every month for the people that's on welfare—well, it ain't welfare, now, but what it was, same thing, only different name. And they would give 'em so much, like, powdered milk, powdered eggs, & cheese, & peanut butter, commodity meat, uh, I don't know, just a little bit of everything. But that commodity meat is good, man!

Is it beef, or what?

Uh, you eat it.

No, I mean is it beef, or pork, or what?

Oh, it was pork, and...I think they had two different cans, I think one of 'em was beef and one of 'em was pork.

Is it kind of like Spam?

Yeah, yeah. Somethin similar to that. But that beef was something like the old-timey barbecues used to buy, you know, the barbecue sandwich. It taste just like you couldn't tell it. I mean, it looked just like it & everything. To me it's just like that barbecue they used in the real stuff, they made it. It was good. Real good!

It's interesting that you bring up barbecue, because what we do in every issue of our magazine, we have some famous person give us a barbecue recipe. Do you have a barbecue recipe you could tell me?

No, I, uh...I like all kinds of barbecue stuff, you know. But I got no recipes for ya.

How about if you make one up? You know, how you fool around with human heads, and that kind of stuff?

Oh yeah. Well, I'm workin on more of them now. Like "This Ain't No Rock & Roll Show," or "I Need Your Head," or, you know, "We Got A Date." Stuff like that?

Yeah!

I really made them up back in the fifties for a joke, you know, kinda all us kids runnin around together, you know, girls & boys & stuff. I don't know, I just had the recording stuff set up, so I just done it, really, for, you know, just bein doin somethin, you know, have somethin to do. And then they took off, man, they loved it! I get letters, I got letters from every place in the world, man. So if they like 'em that good, you know.... Every place I go & sing 'em—I just got back from Chicago a couple weeks ago, put a show on over there, it went over great out there. I had to do one of 'em out there, & people tell, you know, what they think of it, how they like it, & any of them songs with screamin' & hollerin', all that stuff, "cut your head off"—they love that! I really done that, you know, really, just to be doin somethin, 'cos back when I was young, all us girls & boys, we'd get together at night & run around along about ten, eleven o'clock at night, until. From about four or five in the evenin. And we all played, screwy things, you know, jokes & stuff. I just picked it up, a little bit from here & there, and sat down a-doin it just to be doin it. I never meant to put 'em out or anything. But after it got to Europe & then they wanted to put 'em out, & then after the people went & buy 'em, they wanted more of 'em. I've got a lotta them I made up back then, & then I've gotta lot I made up now. From the way they're goin with them, I got stuff what's fifty times worse than what they are! So they really should like the others coming in behind 'em!

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