[peel] Digest Number 206

Stuart Mackie StuartM@...
Fri Apr 28 17:18:50 CEST 2000

>>	Exterminator. Do people feel it was worth the hype? I certainly do
>>maybe it was a bit over the top). It's actually quite interesting loads of
>>my friends who don't normally buy anything other than stereophonics albums
>>have bought it/borrowed my copy.

>That's good in that it maybe doing some sort of crossover ande encouraging
>people to listen to other sounds. But for me what I've heard of this album
>disappoints - the reviews cite Cabaret Voltaire, PIL and DAF* as major
>influences. If this was true I'd probably have bought a copy! But it sounds
>too mainstream to be, which is why those 'Phonics fans like it I guess.
>By the way, you're all well-travelled inteligent people. Can anyone tell me
>where the 'kill all hipies, subvert normality' thing comes from? The Secret
>Goldfish used this on (the much superior!) Punk Drone a coupe of years ago
>so it's clearly from a film or something.

I agree the Secret Goldfish track is superior. Those great slogans appear to
come from a Dennis Hopper- directed film
'Out of the Blue':.....

"After Easy Rider, Hopper could do anything he wanted. He went to Peru to
spend millions of studio money and two years filming and editing The Last
Movie, a sort of drugged-out Western epic that won best feature at the
prestigious Venice Film Festival but that was dead-on-arrival in U.S.
theaters. The Last Movie, which has rarely been screened since, almost
ruined Hopper's career, and indeed, it was doubtful he would direct again. 
His return to the director's chair - nine years later with Out of the Blue
was unexpected. Hopper, who signed on to act in the film, was given the
reins shortly before shooting commenced, and he changed the film's focus
from a psychologist played by Raymond Burr to the coming of age of one of
his patients, a troubled adolescent played by Linda Manz. The film, which
might be accurately subtitled "Where Punk Comes From," tapped into
late-Seventies/post-Vietnam feelings of youth alienation and the bankruptcy
of adult authority. 
Out of the Blue opens in the past, as a prepubescent "CeBe" Barnes (Manz)
rides in the cab of a semi with her truck driver father Don (Hopper). CeBe
and Don flirt while they drive, with a physical intimacy that is perhaps a
bit uncomfortable (or a bit too comfortable). They sing "Teddy Bear," and
Don asks his daughter, "Am I as sexy as Elvis?" Preoccupied with CeBe, Don
doesn't see a full school bus stalled in the middle of the road ahead, and
he plows into it. The film depicts this excruciating event from inside the
bus, shows kids running to the door, screaming, just as the truck makes
contact. At the point of collision, CeBe wakes up. It is a memory revisited
in a dream: It's five years later and CeBe has entered adolescence. 
Don has been in prison for the last five years because of the crash and is
about to be paroled. While he's gone, CeBe, who has discovered punk with a
vengeance and who builds a shrine to Elvis in her bedroom, hangs out in the
mangled cab of the truck, deserted in a field, only the CB radio working.
Using the handle her father gave her, "Gorgeous," the pre-teen girl
indiscriminately harasses truck drivers, filling the airwaves with
propaganda by dead-panning a litany of pet slogans: "Disco sucks," "Kill all
hippies," "Pretty vacant," and "Subvert normality." "

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