Happy 75th Birthday, Killer!

Jerry Lee Lewis turns 75 today. I got to see him play this weekend at the Fox Theater in Pomona. Somebody filmed some great footage of him. The guy looks every fucking minute of his 75 years, but considering how he lives, it's amazing that he's even alive. There was a great piece on him in Playboy a couple years ago, and it said he was still doing two- and three-hour sets. I guess it's caught up with him a little bit, he only did about 10 songs, but a great time none the less. Opening bands were Rev. Horton Heat and The Head Cat, which is Lemmy from Motorhead doing rockabilly covers with the drummer from The Stray Cats and the guitarist from The Rockcats.

I Wish I Could Stop Posting Political Rants Like This One

You know what I hate listening to? People complaining about politicians like they're some kind of seperate species or something. Politicians are just employees. Like any employee, they will say or do anything to keep from being fired, or to hopefully get promoted. So when you complain about politicians not listening to The American People, you're in denial. This is a democracy. Whatever problems this country has, they are caused by politicians listening to their constituents. The deficit, for instance. We have a huge deficit because we DEMANDED a huge deficit. We want low taxes and high spending. The state of California is bankrupt for precisely because people get mad when one of two things happen: their taxes go up or spending gets cut. That's just the truth of the matter. And then we act like this is all the politicians' fault. These people who are protesting the massive deficits at the Tea Party rallies? Seriously, this is one of the deepest cases of denial I've ever seen.

I mean, look, it's no secret why we have a huge deficit. We have a huge deficit because we had massive tax cuts with no spending cuts to balance them out. Then we invaded a country with no mechanism to pay for it. Then we invaded another country FOR NO FUCKING REASON! Then we had MORE FUCKING TAX CUTS!!! Oh, and somewhere along the way we got a new Medicare prescription drug benefit with no mechanism to pay for it. And it's all well and good to say that you hold Bush as responsible as Obama now that there's no consequence for saying so, but these people STILL support all the bad policies that got us here. If Obama started proposing deep cuts to defense, they'd be calling him a traitor surrendering to the Muslims. And we already know that they have no interest in cutting Medicare. Aside from the fictional Death Panels, the Medicare cuts were the biggest concrete objection to Health Care Reform. And they explicitly state that they want no more taxes, and would prefer more tax cuts. So I'm sorry, if your platform is deficit reductions without raising taxes, cutting defense or cutting Medicare or Social Security, YOU ARE FULL OF SHIT.

Look at the federal budget. There are only three items that are big enough to make a serious difference: Social Security, Medicare/Medicaid and Defense. EVERYTHING ELSE adds up to maybe 40% of the budget. The Republicans are trying to convince everyone of a pile of absolute bullshit: that they can balance the budget by eliminating unpopular programs. Earmarks, foriegn aid, PBS, the NEA, the Department of Education, something vaguely called "welfare" (which certainly doesn't include unemployment or other benefits for hard working white people)--and don't get me wrong, we'd probably be better off ending some of these programs--they all amount to approximately Jack Shit. Even farm subsidies, which I was under the impression were pretty massive, are a relatively insignifigant portion of the budget. Social Security, Medicare/Medicaid, and Defense. That's it.

And here's the GOP's Pledge to America: "With common-sense exceptions for seniors, veterans, and our troops, we will roll back government spending to pre-stimulus, pre-bailout levels, saving us at least $100 billion in the first year alone and putting us on a path to balance the budget and pay down the debt." Get that? Common sense exceptions for Seniors and Our Troops. Fair enough, we don't know the specifics of what those phrases mean, but I know what it sounds like to me. "Above all else, the primary obligation of the federal government remains providing for the common defense against all threats foreign and domestic. We offer a plan to keep our nation secure at home and abroad that will provide the resources, authority, and support our deployed military requires, fully fund missile defense, and enforce sanctions against Iran. We will keep terrorist combatants in Guantanamo Bay not in our local jails and courtrooms. Our borders are a vital part of our security, so we will act decisively to ensure that the federal government fulfills its constitutional duty to protect our citizens and our Nation, working closely with our state and local governments." Gee, that all sounds kind of expensive...

So you can talk whatever shit you want to about the President. He passed a health care reform bill that has created an environment where it may be politically possible to make some serious cuts to Medicare. So he's done more to reduce the deficit than any of these stupid Republican cunts in congress.

Bonus reading: Conor Friersdorf on The Shortcut to Serfdom.

30 Years of Rotting Vegetables

Another anniversary worth celebrating: The Dead Kennedys' debut album, Fresh Fruit for Rotting Vegetables dropped, according to Wikipedia, some time in September 1980. It was an extremely important album for a certain time, place, and mindset. Almost everyone I knew who was into punk in high school had been introduced to the genre through this album (well, along with Never Mind the Bollocks, Here's the Sex Pistols). And, as often happens with insular scenes, it's very popularity made it suspect. This album, and particularly the "hit" "Holiday in Cambodia," was the punk album that people who weren't really that committed to punk all listened to, or at least were aware of, and as a result, by 1984 it was considered the height of poseurdom to mention the Dead Kennedys, the equivalent of showing up to a Jesus Lizard show in 1992 wearing a Green Day t-shirt. This was, of course, a ridiculous situation. DK deserved to be the most popular hardcore band! They wrote great, catchy, memorable songs with hooks sticking out of them on all sides. They had a great frontman with a distinctive voice, writing memorable lyrics and presenting an iconic image (he always kind of reminded me of The Joker). They had great album covers (thanks mostly to the collage artwork of Winston Smith). There was every reason for them to be the stars of the scene. (This is one of the reasons I like blogging about this stuff. Would anyone born even 5 years before or after me be aware of the cultural signifigance of the Dead Kennedys at that particular moment? Could research of the record of sales or media coverage bear it out?)





Take the albums opener, "Kill the Poor." With it's marshall intro and it's ridiculously catchy chorus, it's a song that grabs people's attention. "Accessible" was kind of a dirty word at the time, but a song like this being accessible meant that more people were exposed to Jello Biafra's radical (and somewhat incoherent) politics. At the time I first heard DK, I was deeply into Alice Cooper, and I took songs like "Kill the Poor" and "I Kill Children" as cousins to Alice's songs like "Dead Babies" and "I Love the Dead," purely designed to shock and offend the audience.* But after a while, the lyrics sink in, and I realized that there was an idea behind this shock. "KtP" is an update of "A Modest Proposal" for the Reagan era (and yes, I realize Reagan hadn't even been elected in September 1980), and it doesn't spare the feckless left ("Jane Fonda on the screen today/Convinced the liberals it's OK/So let's get dressed and dance away the night"--I love that internal rhyme, "Fonda on da"). Liberals get some of the harshest blows from Jello throughout the album, from "Holiday in Cambodia"'s caustic portrait of priveledged college students who wear their liberal causes like fashion accessories, to "California Uber Alles" which imagines Jerry Brown becoming president and instituting a totalitarian rule where people are forced to do yoga at gunpoint (following Reagan's election, they would rewrite the song to be about Ronnie as the far-less-funny "We Got a Bigger Problem Now." In the early 90's, Bay Area rappers The Disposable Heroes of Hip Hoprisy rewrote it again to be about governor Pete Wilson).

Jello's politics are not exactly the most mature or coherent. He seems to be some kind of anarchosocialist who believes the government should not exist, and should heavily tax and regulate business.** But he's the right guy for the job--you don't want a reasonable moderate writing your punk songs, you want a guy that wants to lynch his landlord and release chemical weapons at the country club. By the time the second album rolled around, Jello's paranoia becomes comical, and by Frankenchrist, he can no longer seem to contain his rants in accessible pop songs, and ends the album with "Stars and Stripes of Corruption," 7 minutes of catchy hooks like "Budget's in the red? Let's tax religion" and "Why not more arts and theater in schools instead of sports?" Eventually, he just started doing "spoken word" performances, which were basically nutty political rants, and releasing them as 3-disc albums. The guy had a lot to say. But on Fresh Fruit, he manages to squeeze his views into kick ass punk rock songs.





With all the rad politics the album is built on, one of my favorite tracks remains "Stealin' People's Mail." It's such a ridiculous song, pretty much the only one Jello wrote on the album that isn't hammering some political point home (there is that brief reference to "Checks to politicians from real estate firms"), and it just ROCKS. It sounds great on a mix tape, whiplashing from whatever song precedes it.

To my ears, Fresh Fruit is the perfect punk rock record. It almost feels like everything that had come before was paving the way for this record, which takes the best aspects of all previous punk bands and bonds them together through a mysterious alchemy.

One of the hallmarks of the hardcore era was shitty recording, since none of these bands were backed by major labels, and many of them were just small town kids with no idea what the fuck they were doing in the studio. Fresh Fruit is a great example of this, the sound being pretty awful in a way that actually makes it sound better. It's way too treble-y, the guitar pushed into the red, the sound overly compressed. It's not a "warm" sound by any means. But it's exactly the sound this music needs, making everything sharper, harsher, emphasizing the attack. It's as unpleasant a sound as the subject matter. Meanwhile, you've got the band playing ridiculously fast for the time. Within a couple years, this album would sound quaintly old fashioned next to Minor Threat or DRI, but for 1980, these guys are playing FAST.

By the way, their second LP, Plastic Surgery Disasters, is just as good. Maybe even better, in fact, with amazing full on punk songs like "Terminal Preppie" and "Forest Fire" on the A side, and some really cool extended prog-punk pieces like "Riot" and "I am the Owl" on the flip.





*This turns out to be true--Jello was a huge Alice Cooper fan, and acknowledged that he was consciously trying to write horror songs in the Alice Cooper/Black Sabbath tradition, but he decided that, instead of writing about vampires, he'd write horror songs about cops.

**It's fun to try to make out coherent philosophies from the angry young'uns of the early 80's. Sometimes you get these odd trains of thought that make sense, but are completely off the political grid. Bay Area band Code of Honor, for instance, advocated California seceding from the union to escape Reaganomics, making them one of the few leftist voices for state's rights.

Where the White Women At

Red is White, Blue is Black, Green is Asian, and Orange is Hispanic, and each dot is 25 people. Data from Census 2000.

Have you seen this map of L.A. showing the racial makeup of the city? This fascinates me for several reasons. My view of L.A. is that it's pretty much unsegregated. As I experience life in L.A., it seems to be a place where White, Latino and Asian (Armenian, too...they should really be on this map!) people are all living together and interacting. Sure, I know that there are large enclaves of Asians (San Gabriel Valley), Latinos (East L.A.) and Honkeys (West side), but it really feels like a melting pot. The exception is black folks, who are around, but seem to be in smaller numbers in my part of the city. Black segregation in the area broadly called South Central L.A. is a stubborn holdover from an earlier era.

But this map shows a much more segregated L.A. than I thought I lived in. At least until you compare it to Detroit, or Jacksonville, or even NYC.

The maps are from this guy, double hat tip to LA Taco and Obsidian Wings.

Do the Kirk!

The Voodoo Idols' "Do the Kirk" 7" is posted here. Primo Florida swamp punk. I posted their Temptation LP a while back.

Psychedelicatessen Radio, Episode 4: Best Friends!

Download or stream it here!

Chris-n-Bobbie are joined by our longtime friends Sally Mullins and Vargus Mason. I think this is the best episode yet. It's the longest, clocking in at an hour and fifteen minutes, but I left a bunch of hilarious stuff out. I am still on a bit of a learning curve about hosting. I think there were a few times here where I stepped on our guests' punchlines. I need to be more like Johnny Carson, and no when to hold back.

I also need to mention, near the end I brought up the topic of "who is more fucked up, actors or comedians?" This is a conversation starter I've been using for a while now. My belief is that, while all creative types (artists, writers, musicians, whatever) are a bit nuts, it's really actors and comedians who are the worst, but I can't really decide which group is more fucked up. This conversation went in a direction I didn't really mean it to go, so I just want to clarify that I have great respect for what actors do. The fact that I can't even figure out how they do it, or what they're even doing, only increases my respect. Also, I think Arnold is a pretty decent governor. Actually, I think of him about the same way I think of Obama--he's doing the best he can with the disaster that got handed to him.

Anyway, here's some Sally:



And here's some Vargus:

Those Who Can't Write Burn

Is some idiot in my home state burning the Quran today? It seems he's not going through with it, but really, I don't care whether he does or not. It's a stupid action, but one that neither picks my nose nor breaks my concentration. Burning books is a form of self expression. It may be the lowest, stupidest form of expression, but it causes no physical harm to anyone.

This is the thing I think a lot of people don't understand about the principle of Freedom of Expression. We don't get a vote on how other people express themselves. It's nobody else's business where a group of Muslims chooses to build their community center, and it's nobody's business what book this idiot chooses to burn. In both cases, it has no effect on anyone other than the people participating in the event.

It irks me that these two things have been connected together, as if there is some equivalency between people a group of Americans choosing to build a house of worship in their own neighborhood and a bunch of assholes choosing to burn someone else's sacred book to prove that their God has a bigger dick than Allah. It doesn't just irk me, it infuriates me that anyone would make that analogy. But that's also sort of the point. The First Ammendment applies equally to Muslim Americans and Asshole Americans. It protects Klan rallies just as it protected Martin Luther King and Malcolm X. It protects Milk Squirtin' Hos 13 just as it protects Lolita and Ulysses. Indeed, in all cases, it can't protect the latter unless it protects the former.

And the best thing about Freedom of Speech? It makes idiots easy to spot. There are so many people that I know I don't have to go through the trouble of trying to communicate with because they've been allowed to demonstrate what brainless assholes they are.

I also object to the idea that the burning of the Koran is a bad thing because it will inspire fundamentalist violence against our troops, which is essentially blaming the victim. I don't doubt that images of Americans burning the Koran will inspire fundamentalist violence, but the responsibility for that rests on the individuals who commit the violence. This practice of infantilising the Muslim world, as if they are incapable of reason, is as racist as the book burning itself. Besides, you can never tell what will set religious fundamentalists off. It could be something as seemingly innocuous as a man wanting to marry the person he loves, or a woman choosing to terminate her pregnancy. We can't build our society around worrying about what the looneys out there will do. No, if insulting and demonizing another's religion is bad, it's because insulting and demonizing another's religion is bad. The end.

PROFESSOR DAVID HUXLEY’S LABORIOUS, LICENTIOUS SPOTTED-LEOPARD LABOR DAY FILM QUIZ

Once again, thanks to Dennis for the questions.

1) Classic film you most want to experience that has so far eluded you.

I've been trying to find this musical that Danny Peary writes about in his Cult Films book, called Dance, Girl, Dance. I've never heard of it outside of Peary's book, and it doesn't seem to be on DVD. They showed it on TCM last month, but I was out of town, and my TiVo had deleted it by the time I got back.

2) Greatest Criterion DVD/Blu-ray release ever

My favorite is probably Fear and Loathing in Las Vegas. Beautiful cover, three great commentaries, insane amount of extras, even the menu is cool! I like the Dazed and Confused disc too. Honorable mention: Beastie Boys Video Anthology.

3) The Big Sleep or The Maltese Falcon?

Awww...I'll give it to Falcon, cuz it has Peter Lorre, Sidney Greenstreet, Elisha Cook, and the script more or less makes sense. Close, though.

4) Jason Bateman or Paul Rudd?

I think Bateman is used for evil more often. Actually, even without that factor, I think I just like Rudd better. They're both everymen, but Rudd is an everyman with character.

5) Best mother/child (male or female) movie star combo

I'm sure there's a great answer that I'll think of once I hit "publish."

6) Who are the Robert Mitchums and Ida Lupinos among working movie actors? Do modern parallels to such masculine and no-nonsense feminine stars even exist? If not, why not?

There are certainly actors as "masculine" as Robert Mitchum today: Russell Crowe, Mickey Rourke, Danny Trejo. Of course, Crowe is boring to watch (imo), and Rourke and Trejo aren't exactly traditional leading men, so they're not perfect analogies, but let me ask you this: who was like Robert Mitchum in Robert Mitchum's day? Nobody, that's who!

7) Favorite Preston Sturges movie

I really like The Great McGinty. It's like a slightly more cynical version of Mr. Smith Goes to Washington. I really need to see it again, because I can't remember much about it other than I really enjoyed it.

8) Odette Yustman or Mary Elizabeth Winstead?

I barely know Yustman, so Mary Elizabeth Winstead it is.

9) Is there a movie that if you found out a partner or love interest loved would qualify as a Relationship Deal Breaker?

No. Glass houses, glass houses...

10) Favorite DVD commentary

The RZA's commentary (with Andy Klein) on 36 Chambers of Shao Lin. Actually, no, the commentaries on the Evil Dead movies are my favorites for being both extremely entertaining and informative about the ins and outs of making a low-budget horror movie. Gilliam's commentaries are always great, too.

11) Movies most recently seen on DVD, Blu-ray and theatrically

Theatrically, That's Exploitation documentary with Lenny Bruce's gangster film Dancehall Racket at the New Beverly. Lenny's film wasn't as great as I'd hoped (it's not really A LENNY BRUCE FILM, but it does have the most footage of Lenny on film that you can see outside of that one performance where he just reads his court record).

In regular release, Scott Pilgrim. On DVD, we had the projector out last night watching Pagan Island (got bored and took it out about halfway through), Black Dynamite and Frank Zappa's Dub Room Special.

The night before, I rewatched Shortbus. There's one really old guy in it playing a character that's apparantly based on Ed Koch. He only has about 5 minutes of screentime, but he just fucking KILLS IT. I looked him up, and it's the same guy that plays Rabbi Marshak in A Serious Man.
12) Dirk Bogarde or Alan Bates?

Pass.

13) Favorite DVD extra

The shitty cartoon version of Mr. Incredible and Frozone on the Incredibles disc.

14) Brian De Palma’s Scarface— yes or no?

Oh hell yeah! Sheer over-the-top lunacy. Even if you don't like it, you should be glad it exists just to get that stuff out of the gangster movie genre's system. It gives the target audience exactly what they want, so that Scorsese or whoever doesn't have to make their gangster movies that nuts. Besides, without Scarface, there would be no MTV Cribs.

15) Best comic moment from a horror film that is not a horror comedy (Young Frankenstein, Love At First Bite, et al.)

"Unscrewing" the dead body in The Abominable Dr. Phibes.

16) Jane Birkin or Edwige Fenech?

Pass.

17) Favorite Wong Kar-wai movie

Only seen a couple, but I love In the Mood for Love. Kind of dreading writing about it, though (assuming I continue with my Best of the 00's list). I'm not sure I'm up to the task.

18) Best horrific moment from a comedy that is not a horror comedy

Everyone is going to say Large Marge, aren't they? I might say the scalping in Nurse Betty, but is that really a comedy?

19) From 2010, a specific example of what movies are doing right…

That they're letting Edgar Wright do whatever the fuck he wants, and that most movies are still not in 3-D.

20) Ryan Reynolds or Chris Evans?

I don't think I like either one of them.

21) Speculate about the future of online film writing. What’s next?

The next generation will begin publishing their blogs as photocopied fanzines. This will be done not so muh for an appreciation of the printed page, but to give their writing an ironic "retro" feel.

22) Roger Livesey or David Farrar?

I'm just passing on all these.

23) Best father/child (male or female) movie star combo

Walter and John Huston, on opposite sides of the camera in The Treasure of Sierra Madre.

24) Favorite Freddie Francis movie

The Straight Story (as cinematographer--I haven't seen any of the films he directed, never having been that big a Hammer buff).

25) Bringing Up Baby or The Awful Truth?

Hmmm, never seen TAT.

26) Tina Fey or Kristen Wiig?

I really dislike Kristen Wiig. Her characters are too broad, to the point of being grotesque (I have a similar problem with Amy Sedaris and the British show Little Britain). Having said that, though, I enjoyed Wiig in Whip It, and over the last couple decades I've noticed that generally nobody comes off well on SNL. I mean, Horatio Sanz is hilarious. He was on SNL for years without doing anything noticably good. Kevin Nealon is great on Weeds. How many seasons was he useless on SNL? Even Will Ferrell was rarely funny on SNL. So who knows, maybe Kristen Wiig is great outside of that horrible studio.

27) Name a stylistically important director and the best film that would have never been made without his/her influence.

Every time I watch a Sam Fuller movie, I realize how much modern directors take from him (for good reason), especially Tarantino. I know Tarantino steals from everybody, but on the most basic level, the way he writes dialogue, structures a scene, sets up a shot, Sam Fuller is really the main influence. Best movie that would not exist without Sam Fuller: Seijun Suzuki's Youth of the Beast.

28) Movie you’d most enjoy seeing remade and transplanted to a different culture (i.e. Yimou Zhang’s A Woman, a Gun and a Noodle Shop.)

I'd like to see Battle Royale set in the world of Glee and High School Musical. I just saw in Entertainment Weekly that the Zhang Yimou movie is real--I thought Dennis had made that one up!

29) Link to a picture/frame grab of a movie image that for you best illustrates bliss. Elaborate.



This is not entirely for the obvious reasons. Just that environment, the restaurant on the sparsely-populated beach, lit by Christmas lights, seems so inviting. That's where I want to live. I used this scene as the model for my backyard tiki bar.

30) With a tip of that hat to Glenn Kenny, think of a just-slightly-inadequate alternate title for a famous movie. (Examples from GK: Fan Fiction; Boudu Relieved From Cramping; The Mild Imprecation of the Cat People)

It's not a movie, but I've always wondered if Hemingway's story would be as well regarded if it had been called "The Old Man and the Fish."

Songs I Used to Think Were Awesome, Part 11

My favorite Judas Priest song. I'm noticing that a lot of the Songs I Used to Think Were Awesome (this one, "Swords and Tequila," "Crash and Burn") are basically the same song, or at least have that same intro pattern. I used to be a huge Judas Priest fan when I was about 13-15. Then I sort of grew out of them. I guess there is no other band that I was that into for an extended period of time, that I then completely disowned. They just happened to be sitting on the fault line when my aesthetic changed. Stuff like AC/DC, Aerosmith and Van Halen I stuck with, because they made fun rock-n-roll records that really swung. Judas Priest, by the time I was 18, just seemed very stiff and way too slick. I heard a lot of what I disliked about a band like Rush in Judas Priest. As the concept of "heavy" got replaced by "noisy" in my vocabulary, they began to feel weak. To put it another way, the best rock-n-roll feels like driving fast with the top down on a summer night. Judas Priest feel more like the fetishized sports car itself, all slick, gleaming chrome, polished fiberglass and precision machinery.

Now? You know, I really kind of gave up on this whole idea of dividing music up into "good" and "bad." Music is like a great cathedral, and it doesn't really make sense to go through the cathedral saying "this brick rules!" and "this brick fucking sucks!" So sometimes, I'll be in the car with the classic rock station on, and a song by Journey or Boston will come on, some shit that I've always hated, and I find myself turning the volume up. Why not? I mean, I can't imagine I'd ever go out and buy a Journey record, but I can't really see harboring much animosity toward them.



Maybe this process started in college, where my roommate David made me listen to Depeche Mode and New Order and shit, and eventually I got to appreciate the stuff. Again, it's still not really my cup o' tea, but it's fine music, and the key to getting into it was getting to know David, what made him tick, and hearing it through his ears. So I have no real problem with Journey or Boston now, because I can hear them from the point of view of a Journey fan. Journey are great at being exactly what they are, and Boston are great at being Boston. Even Yes, a band that still irritates me, have their own thing going on, and it's cool. I mean, I happen to think The Stooges made some very enjoyable music, and Yes, uh, didn't, but I no longer believe there is some idealogical justification for my taste. It was kind of necessary that Yes had to exist, to be part of The Great Cathedral. And Judas Priest? I reckon they're pretty damn great at being Judas Priest.

There's probably some subtext there as well. At the age of 13, I was, like most boys of that age, very insecure, and doubtful that I was sufficiently masculine. There was probably a reason why I made a big deal out of the fact that I was into AC/DC and not Journey. I don't want to make too much of this--fact is, I genuinely liked one over the other--but surely there was some message about myself that I was desperate to tell people. As I got further into my early adolescence, there's a progression, as Aerosmith and Van Halen gave way to Black Sabbath and Iron Maiden, bands that were more and more repressively "masculine" and aggressive. I probably dug Judas Priest because they were making the most masculine music I could imagine. I mean,come on, if I were gay would I be listening to something as badass as Judas Priest?

Ahem...

Anyway, check out the feedback on this bad boy. I kinda like how Rob Halford uses his voice almost as another guitar. Motherfucker had some pipes on him.

Psychedelicatessen Radio, Episode 3: Geek Love

Download it here!

On this episode, Chris-n-Bobbie talk about geek shit with fellow geeks Jake Scherzer, Javier Palenzuela and Ed Shannon. We also go into way too much detail about our sex life. I fucked up a little in my job as audio engineer, so Jake ends up being too quiet, but an enjoyable listen none the less.

As always, theme song by The Coconut Monkeyrocket, but we used a different track this time, because it's Bobbie's favorite ("Pump Up the Valium", from Jason's first cassette release, ULTRA RARE BOOTLEG SHIT, DUDE!).

Javier Palenzuela:


Ed Shannon:


And, pertaining to our discussion, here's an example of the early incarnation of Daffy Duck:


And here's an example of the later incarnation (embedding disabled). Learn all about Custer's Revenge here.