July fourth Toilet YouTube footage

Ladies and gentleman,
We have started uploading vids from our massive
archive dating back 13 years!
July Fourth Toilet is a musically performative project
I’ve been heavily involved in as a founding member
where our mandate is to always have a differently
themed show!
Lots of info in the sidebar of the links provided.
And here with recordings:
www.myspace.com/julyfourthtoilet

Now if we can just find a label to put out our second
album that is one third hard driving basement boogie,
one third faux Eastern but 10000 miles up experimental
instros, one third wonky ballads, one percent je ne
sais quoi, and zero bullshit.
Sample clips:
Cosmic Metharthasis:

Deep Sea Diver:

Destroyer cover:

Tribute To Sept. 11th:

More videos found here on our YouTube page:
http://www.youtube.com/user/JulyFourthToilet

Feel free to comment!
Ruv,
Robert

Popeye Vol. 1: “I Yam What I Yam” by E.C. Segar

Popeye Vol. 1: “I Yam What I Yam” by E.C. Segar
Art Out Of Time: Unknown Comics Visionaries 1900-1969, edited by Dan Nadel
Review by Robert Dayton

Two thousand and six was a profoundly great year in comics for initiates and novices alike and let’s hope, as our eyes gaze heavenward, that this is a signifier of what is to come in 2007 and beyond. One needn’t be bound and shackled by the mires of comic geekdom to appreciate these fine objets d’art. Proof of this pudding can be found in Popeye Vol. 1: “I Yam What I Yam” by E.C. Segar.

What many of us know of Popeye is a mere bastardization faded through Xerox visions. Possibly the closest anyone got to the original template was Robert Altman’s Popeye movie (a box office bomb and near career destroyer) with its’ sprawling seaside ruddiness and great songs by Nilsson and Van Dyke Parks! Natch that this book’s intro is by Jules Feiffer, cartooning legend and screenplay writer of that movie. The original Popeye was crusty and, at first, only incidental. This volume starts at the beginning of Popeye but the real beginning was years before. When E.C. Segar began his Thimble Theatre newspaper strip in 1919 it was little more than a comic take on adventure serials, damsel in distress kinda stuff. Eventually genre parody gave way to propelled flights of whimsy, stereotypes dissolved as Segar developed true characters and archetypes to propel these continuing misadventures, such as Olive Oyl and her brother Castor Oyl One day in early 1929 Popeye just plunked down into frame unforgettably. Then after a few months Popeye disappeared back into the ether. He wasn’t gone for long. Readers wrote in, they needed Popeye, a spark was struck, something had stuck, a comic anti-hero that caught permanent fancy in the publics’ twinkling craw.

The strip was brilliant and Popeye just fit. Segar already honed the slang and jargon of the day but with Popeye it was even further skewed mutterings of verbiage. Thimble Theatre was like ergot laced barnacles, comedic character interaction with a beating bandaged heart, rough and tumble gags laced with depth, and elements of the fantastique with such wild characters as the wish granting Whiffle Hen and the eerily menacing Sea Hag. Most importantly, Thimble Theatre was funny.

By the time of Segar’s death in 1938, the Fleischer studios had already been producing a few very impressive Popeye cartoons in their own right, where fleeting moments from the strip (spinach, Brutus nee Bluto) became permanent mainstays. Outside of the creator’s vision these tropes landed on the screen and into other merchandising friendly elements of popular culture.
With this new volume from Fantagraphics, gregariously steel yourself for the real Popeye, the original ancient scrolls that stem right from just before his first appearance and continuing onwards chronologically. This Popeye defied the conventions that were later to be thrust upon him by the non-Segars, the lesser lights. This big bound collection is a pure antidote for depression, especially if one veers towards surliness or cynicism though wide-eyed naivetes can easily enjoy it as well. And this is just Volume One of a proposed six volume set (Volume Two, due next year, introduces Wimpy!)!

Designed by Jacob Covey, the hardcover package features a cut out word balloon title-it is literally cut out of the hard bound cover. It’s just stunningly put together. Fantagraphics have utilized computer technology to render these strips in crisp glory; the full page colour newspaper strips are lush, soft washes. As such an integral part of comics history, these strips should always be in print. Before this, one had to desperately seek out Fantagraphics’ previous reprintings from the early 90’s, those unassuming volumes –even in soft cover- were less economical and not as advanced in design and lay out. This book is a steal at approximately thirty dollars, an investment of joy.
A few years back when I was seeking those earlier inferior volumes, my travels led me to Olympia, Wa- known also by its’ other name as Indie Rock Hell- where there exists a great comic shop called The Danger Room. The two proprietors would often argue about which was the greatest newspaper strip of all time: Thimble Theatre or George Herriman’s Krazy Kat, both are on their Top Two lists anyways so it is a microscopic yet enjoyable argument. If you want to add fuel to that hierarchical debating fire there are some wonderful reprints of Krazy Kat also available. I still pledge allegiance to Thimble Theatre. This volume does not reprint too many of the strips before Popeye’s arrival on the scene but if one is curious issue 271 of the Comics Journal reprints a terrific fifty page Thimble Theatre adventure.

Before I take leave of you I should mention another must have book that had me giddy as a schoolgirl’s first ride on a pony. Entitled Art Out Of Time: Unknown Comics Visionaries 1900-1969 and edited by Dan Nadel, this book pleases the palates of both comic know-it-alls and future junior initiates as well with overlooked works by those who slipped through the cracks whilst expanding the form. And absolutely no super heroes to speak of. Just sweet delirium tremors. Seek it out. It will cause you to float in space.

Sun City Girls- Jacks Creek

So like a month or three back this Vancouver based mag called The Nerve wanted to do a primer on what they call “Cozmic Country” and asked me to recommend some records and artists for it. So I did. I reprint them here one by one, and if savvy enough, day by day:

Sun City Girls- Jacks Creek (1994)
Upon release this album was reviled by the more avant hipster snob crowd. As time passes, its

Everybody Loves A Nut

So like a month or three back this Vancouver based mag called The Nerve wanted to do a primer on what they call “Cozmic Country” and asked me to recommend some records and artists for it. So I did. I reprint them here one by one, and if savvy enough, day by day:
Johnny Cash- Everybody Loves A Nut (1966)
Rumour has it that Johnny Cash was so hopped up on amphetamines for this, his

Lee Hazlewood/ Porter wagoner- What Ain’t To Be, Just might happen

So like a month or three back this Vancouver based mag called The Nerve wanted to do a primer on what they call “Cozmic Country” and asked me to recommend some records and artists for it. So I did. I reprint them here one by one, and if savvy enough, day by day:
Small Image

Lee Hazlewood- Cowboy in Sweden (1970)
Apparently it was Hazlewood

Michael Nesmith and his Second National Band: Tantamount To Treason Volume One

So like a month or three back this Vancouver based mag called The Nerve wanted to do a primer on what they call “Cozmic Country” and asked me to recommend some records and artists for it. So I did. I reprint them here one by one, and if savvy enough, day by day:

Small Image

Michael Nesmith & The Second National Band- Tantamount To Treason Volume One (1972)
Anyone familiar with the songs this wordy wordsmith (

Rawlinson End movie

Why does the movie “Sir Henry At Rawlinson End” get such a bad rap amongst average film goers and even some die hard Bonzo Dog Band fans alike? (tho it was well received critically upon release)
Being a huge fan of Vivian Stanshall, he’s one of my Personal Style Gods, I went into this hard to find film suitably wary, yet left thinking that this is a perfect cinematic hallmark of whom some call the last of the British Eccentrics.
Everyone in the room of fifteen people that I was in truly enjoyed this movie and some had never even heard of Vivian Stanshall.
Who was Vivian Stanshall? Impossible to encapsulate. Moustachioed drinking buddy of Keith Moon and member of The Beatles’ favourite band The Bonzo Dog Band. I regard The Bonzos as the greatest rock band of all time. Yes, they were funny but they were also nuanced and handy with a ballad, truly witty and catchy songsmiths that made things explode onstage. Their pastiches and wild dandyisms predated glam.
(Just read a great quote in a 1973 ish of Creem yesterday that really helps to solidify this theory: “Melody Maker’s Chris Welch is probably right when he says that if they had stuck together a few more months, they would have been the kings of Glam-rock. That’s the breaks.”
VIVIAN STANSHALL:
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Stanshall later created a certain mythology around a mad aristocratic family that meandered in a crumbling castle named Rawlinson End. Representing the hazy decline of The British empire that he performed as radio plays regularly on John Peel’s show.
The movie was written by Stanshall who also plays a small role. One may recognize some familar faces if you’ve seen a few British films…
No real rising or falling action, it’s just a strange snapshot of ghost exorcisms, prisoners of war on the manor, etcetera, there is a plot or few in there! Incredibly witty, many of us wanted to view it again to catch all of the jokes and goings on. “If I had all the money I’d spent on drink I’d spend it on drink!” Utterly loony.
This movie is completely unmarketable and delightful. A perfect visual representation of the Rawlinson End mythos.
When the director was asked why he filmed it entirely in sepiatone he didn’t reply. The answer is obvious.
Reccommended for fans of Guy Maddin and fans of British comedy of which this should be placed highly in the pantheon of.
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“Scarface: Def Jam Presents Origins Of A Hip Hop Classic”-pffffft…

I have been make illustrations for the next issue of Cinema Sewer (www.cinemasewer.com). These illos are for an article on movies that have had their so-called strong dialogue edited for televison by being dubbed differently in strange ways. As research I have been revisiting movies like Blue Velvet (still great), Ghostbusters (yes, Dan Aykroyd was funny once!), Pulp Fiction (yawn), and Scarface (still great). The Scarface had alot of great bonuses including a short that highlighted the edited and altered for TV version (“Where’d you get that scar? Eating pineapple?”). Another short was on Scarface’s influence on hip hop. It was utterly pointless and ridiculous having to hear all these rappers hype up Scarface, the obviously unlikeable character who’s, er, actually quite a bad man. Yet still they give him props for coming from humble beginnings, having bling, blah blah blah. An idiotic rapper actually named himself Scarface! I’d really like to do a short feature like that one but have it be hip hop tipping its’ hat to “Henry: Portrait Of A Serial Killer” including having a rapper named Henry talk about how the character influenced him. “He came from such humble beginnings.” “He never took no for an answer.”

The Outraged Husbands

And to what pleasure do we owe this 25 cent treasure found all seven inches of in a Powell Street furniture store, hmm? With its’ aquamarine logo that relays label name Psi Records, a trident jutting out betwixt the two words. The label address is 1747 W. 3rd Ave., Vancouver, B.C. The printed phone number of 732-3761, when called, knew no knowledge of this record, catalog number 101. Year unknown. The group was The Outraged Husbands. The song “Zeus Creation” is the sounds of a group of men boisterously chanting along with marching band style orchestration, “We are the men of the nation, we like the ladies in their place, so we say down with the women’s liberation and up with Zeus Creation! We like the girls who wear bikinis, cool chicks are never ever cold…”
What follows next is an endless litany of household chore commands and how, after all that, the women must “look like a doll” when they get home. The song signs off with, “Men! Wonderful men! Sensational men!” And applause. It all clocks in at one minute and fifty four seconds. Flip the record over and it’s the exact same thing. Was this song a tongue-in-cheek response to Women’s Lib or was it a satire on the misogynist response to Women’s Lib? This record seems too out and out ridiculous to be made as a fear based reaction to equality. Still, who or what was this mysterious Zeus Creation?
One large question remains: who made this record?