This week we return for another round of Get Get Down. Per usual, Zebo and I man the decks for the night's festivities, playing everything from house to nu-disco, techno to electro and bass music and party tuneage of a whole bunch of different varieties. Music gets going at 11 and goes until 4am. There is NO cover. Be there.
In April of 2009, myself and DJ Intel launched the 'Bad Meaning Good' monthly movie event at The Burlington in Chicago. The idea behind the night is to screen cult classics, exploit movies, unintentional comedies and every other kind of film we collectively decide is so bad that it's actually good. In the ongoing search for the perfect 'Bad Meaning Good' film I've decided to take on a weekly (or AT LEAST once-per-week) blog entry in which I'll review, summarize and rate bad movies of every variety imaginable. The goal is to reach somewhere in the range of 75-100 posts within a year, at which point I'll look for a place to publish a first volume of 'Bad Meaning Good' reviews in book form. Stay tuned...
Summary:
The 1980 film 'Mother's Day' was directed by Charles Kaufman, brother of Lloyd Kaufman (co-founder of Troma Entertainment), and is to this day one of the most popular and enduring films in the entire Troma catalog. The film is essentially an exploit/slasher hybrid that was released at the height of the slasher film's popularity. Interestingly enough, it was apparently filmed at the exact same time as the original 'Friday The 13th', directly across the infamous 'Crystal Lake'.
The movie takes many a page out of the proverbial handbook of a number of films that predated it, namely those of 'Deliverance' (1972), 'Last House On The Left' (1972), 'The Hills Have Eyes' (1977) and 'I Spit On Your Grave' (1978). Its story revolves around three female protagonists, each mutually long-time friends from college who meet for a yearly get together and weekend getaway that, in this instance, goes catastrophically wrong in every conceivable way.
Once we've met our trio of soon-to-be damsels-in-distress and have gathered that they are to trek out to the wilderness for a weekend of camping and R&R, it's simply a matter of time before things begin to get messy and sure enough, that's exactly what things do. The girls are quickly abducted by a pair of well-worn hillbilly stereotypes who, at the behest of their criminally insane mother, attempt to torture, rape and kill the women in that very order (with varying degrees of success). We all know that hillbillies (or in this case somewhat more accurately, mentally-incapacitated hillbillies) have never had the reputation of being master strategists though and the tables are quickly turned on the villains when two of the three girls escape from the dilapidated pigpen of a house they're being kept in and seek revenge for the rape and death of their friend (which they were forced to view in all its explicit detail).
It's a simple set-up really: The first half of the film establishes our heroines and sees them go through a series of excruciatingly repulsive sequences of abuses; the second half sees them fight back.
How 'Bad Meaning Good' is it?
The movie scores some serious laughs at around the midway point when the mother directs her boys through a backyard, military-styled workout regimen montage sequence to the tune of a hilariously bad "Rocky Theme" rip-off. The movie also features a shockingly effective final act surprise which alone lends the entire film some additional degrees of humor and creativity that I, to that point, didn't think it had in it.
Those familiar with the films of Troma know it goes without saying that the acting and overall production value is laughably bad from top to bottom. This is the kind of film where everyone involved in its production is TRYING to make a bad movie and succeeding in triumphant fashion. Additionally, like a number of Troma's other films, 'Mother's Day' is exceedingly unpleasant to look at. The whole thing has a sort of "aura" of filth that permeates its visual aesthetic. Whether with regard to the sets, the make-up and gore effects or the general "look" of it, the movie will likely make you feel repelled and nauseated on a number of different levels. It's just gross.
When a film deals with taboo-shattering subjects like rape and torture in an exploitative way, it always helps to have those involved in its production on the same page with regard to its intentions so as to avoid any ambiguous messages about the moral implications of what's taking place on the screen. With that in mind, the folks involved in this movie all seemed to have their tongues firmly planted in cheek and though rape is undoubtedly never pleasant to watch, it in this case comes with a sort of implied inevitability that the film's baddies will in time be on the receiving end of their due comeuppance. 'Mother's Day', in other words, makes it abundantly clear that it is above all other things a comedy first and foremost.
'Mother's Day' was in no way as groundbreaking or memorable as 'Last House On The Left'. It was however, far more entertaining than a film like 'I Spit On Your Grave' and nowhere near as mean-spirited or sadistic. Overall, fans of exploit genre films should find this one worthwhile.
Just one week after the success of last week's Pilooski event, we'll be welcoming the folks of Passion Pit to Get Get Down for another go-round. This week we'll be featuring a set by the band's drummer Nate Donmonyer aka DJ Shuttle. Shuttle has built a growing reputation on the strength of releases for the might Ninja Tune label among many others. The event will function more or less as an unofficial post-party for the band's show at Logan Square Auditorium so if you're planning to go to the show, be sure to head over and see us when it's over. Rest assured, we'll be excited to hear what sorts of dancefloor business he has to play for us.
Additionally, we'll be featuring a set from our local friend and fave Kid Color, who'll be lending some more disco-leaning sounds to the proceedings.
Per usual, the doors will open at 11pm. The cover will only be $3 and we'll have $2 PBR's and $1 shots as our special. Shoot me a message if you need more info. If not, I'll see ya there!
Coming soon, on Monday October 5th, we'll be adding another very, very stupid chapter to the ongoing story of 'Bad Meaning Good'. This time around, we'll be showing the notoriously repulsive exploit-horror comedy 'Bloodsucking Freaks', an all-time favorite of mine and Intel's and one of the most outrageous movies you're likely to see in your lifetime.
What is 'Bloodsucking Freaks', you ask? Well, for both a plot summary and some background on the movie's production, you can have a glance at it's wikipedia page. Additionally, you'll find it on this short list of Filmsite.org's most controversial movies of all-time.
It deserves to be noted that this is undoubtedly one of the most disgusting, tasteless and morally bankrupt films you're likely to ever see and if you're one to be offended by that sort of thing, by all means, do not show up. Then again, if you're reading this, the chances are good that you don't fall into that category and if that is indeed the case, I would suggest that you absolutely join us for what is a positively hilarious and outrageously awesome exploit film experience.
Here's a pretty fantastic retro trailer for the film... My favorite line: "The show that will make anyone... Retch!." Haha. Good stuff:
... So I was watching 'The Wicker Man' for the first time this evening and got to the point in the movie where Britt Ekland performs an incredibly dated, positively ridiculous and unintentionally campy, naked karaoke version of a song called "Widow's Song" (see the photo above). It was one of those serious "What the fuck!" sort of moments and not just because it was so absurd but more because of the music itself. I was so completely astounded by how great the song was that I was compelled to instantly stop the movie and seek it out online. Upon further reading I came to discover that it is by far the most popular and recognized song that was recorded for the movie and for very good reason... It is one incredibly hypnotic and classically beautiful piece of music. Additionally, it appears the song has been covered by Doves, Isobel Campbell, Sneaker Pimps and a whole bunch of other people. With all of this in mind I'm surprised I've never heard it before.
Here's the original version of the song from the movie (You can see the original scene here... Trust me, it's hilarious.):
Tonight at Berlin we Get Get Down once again with myself and Zebo as your resident jocks of choice. Come on through and make a night out of it... Consider it your warm up for next week's Pilooski rager. Stats: No cover. 11pm-4am. $2 PBR's and $1 shot special. It'll be all kinds of awesome rolled up in a big bag of fun.
Will Kompakt's grasp of the quality control button ever loosen? I'm doubtful. Just for fun: A small glimpse at some of their recent releases...
CoMa - "Crystal"
I'm not sure what this video is about... As far as I can tell it's just an amateur video. The song is what's important though. This one's on heavy rotation right now.
Matzak - "Magneto"
I'm really feeling this one at the moment as well. It's a nice combination of straight 4/4 with a hint of swing-yness to it and seems like it could mix well with either style. It goes a whole lot of different places and I'm really struggling to either accurately describe it or summon valid references... Bottom line is I'd play it out though, for sure. Decide for yourself!
Gusgus - "Add This Song"
The Gusgus odyssey has been a very strange one. This band has very quietly been making music for over ten years now (I remember buying their first album when I was in high school on the strength of their "Believe" single and video). I've always found the band pretty hit or miss but their music is usually at very least interesting. This one definitely leans a little too far into Ministry of Sound territory for my tastes. But... That said, it definitely conjures memories of early, 'Dubnobasswithmyheadman'-era Underworld (in a good way). Kompakt needs to lend this one to a producer like Trentemoller and have him smash the fuck out of a big room take on it. It's relatively restrained as is but could be HUGE if placed in the right remixing hands.
Matias Aguayo - "Walter Neff"
This is easily my favorite track on the new 'Total 10' comp and one of my favorite current tracks period. This is one bad-ass motherfucking song. I don't know what to call it but to my ears it sounds like Kompakt beating DFA at their own game... And I LOVE it. It's strange and eccentric and oddly catchy and just awesome on a whole bunch of levels. Matias Aguayo scores again!
... And last but certainly not least, be sure to check out this interview with main man Michael Mayer in conjunction with the label's epic ten-year anniversary. Also, don't snooze on his 'Kompakt - The Early Years (1998-2004)' mix (at the bottom of the linked page) that he made to celebrate the occasion... It's SUPER propa. Congratulations, Kompakt!
A couple various things that have popped onto my radar of late:
This morning I read this article from last Sunday's New York Times Magazine about Spike Jonze and his nearly decade-long quest to bring 'Where The Wild Things Are' to the big screen. It's a really engaging piece worthy of a glance. Spike Jonze is an American original and over time I've grown to be a huge admirer of his work. Can't wait to see the movie...
Not sure how I managed to miss this super-slick, Richard X-produced Saint Etienne single but it's always nice to hear one of my favorite pop bands in top form and with this single they are indeed there again. I cant lie, this is an unmistakably Euro-centric piece of dance pop but when it's this well produced, I can't help surrendering to the sheer, unadulterated bliss of it all. Richard X is a great producer.
I recently found this ridiculously cool music project via James Holden's blog and instantly lost 15 minutes of productivity playing with it. A glorious waste of time, no doubt.
Last night I watched Persepolis for the first time and was absolutely awed and moved by it. What a great film. I can't believe it's managed to elude my grasp for as long as it has. For those of you who've never seen it, I would HIGHLY recommend it and give it my highest marks. It's that rare kind of coming-of-age story that is simultaneously beautiful and uncompromisingly real without ever resorting to any sorts of cliches or overtly sappy nostalgia. Go watch it.
The Stone Roses eponymous debut album has received the 20th anniversary reissue treatment. For me, that means that I will very soon be parting with money. 'The Stone Roses' is such a great record; what many (myself included) consider to be one of the very pinnacles of modern UK music. There's really nothing I could say about it that hasn't been said before. It's great. Go buy it.
This is my single favorite piece of music I've picked up in recent months. Who would have thought our man Sasha would be creating some of the most blissful sounds of 2009? What the fuck is this track anyways? I suppose it could be classified as some sort of prog-y, psych-derivative indie-pop but ultimately, I really don't care... It's just a great, great track. For my ears, this strikes the perfect balance between Border Community-styled prog-techno and the Mancunian sounds of the 90's. When that live acoustic bassline comes in over the hook it is just absolute chill-inducing bliss. I would pay top dollar to hear this on a beach in Ibiza at 5am but that's just me.
Anyways, I think that's about all for the moment. Yeah.
On Wednesday, September 23rd we'll be welcoming Paris's Pilooski to Get Get Down at Berlin. For those who've been sleeping under rocks for the past few years, Pilooski is the man behind some of the most enduring and well-received DJ edits in recent memory including (but certainly not limited to), his Franki Valli and Del Shannon edits; both of which I and just about every other DJ of discerning taste that I know played the ever-loving shit out of for the past two or so years. The man's got a real penchant for left-of-center, disco-informed oddities and has been building a steadily growing reputation for his fantastic DJ sets the world over.
We'll only be charging a $3 cover for the event and with that in mind, I defy any and all of you to come up with something cooler and more affordable going on in Chicago on that particular evening. Rest assured, the night's gonna be full of fantastic and colorful music and we couldn't be more excited about it.
In the meantime, here are some samples of the dude's editing brilliance. Have a look and give me a shout if you have any questions. Can't wait to see you there!
Big news to report on the DJ front... I've been pegged to play an opening slot for the much beloved DJ T. at Smartbar on the 30th of October and it's gonna be a wild one.
For those that don't know, DJ T. is a co-founder of the mighty Get Physical imprint out of Germany who are responsible for some of the best-received and most enduring techno and tech-house oriented sounds of the past decade. Now at 7 years old, the folks at Get Physical are riding the kind of musical hot streak that has proven undoubtedly their position as purveyors of some of the most refined, musical and consistently great sounds in the business. I for one wouldn't count on them slowing down any time soon and nor should you.
This should be a fantastic opportunity to get out and unleash some of my favorite big room music of recent times, as well as some of the more subversive and interesting stuff I've been hoping to hear come to life on a serious soundsystem. Best believe I'll be bringing my A-game.
More info to come but for now, here's the basics:
Friday, October 30
Get Physical welcomes...
DJ T
DINO G
POPSTATIC
Tickets: $10 before midnight, $12 after midnight
21 & over
Doors: 10pm / Show: 10pm
Feel free to get in touch with any further questions.
