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voytecs
Great White Dope
Dołączył: 31 Paź 2006
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Nie 14:46, 06 Sty 2008
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Żeby nie zakładac nowego tematu, to zamieszczam to tu. I nie cieszcie się z nagłówka - to jest sprzed Hefty Fine. Ale i tak warto przeczytac.
THE BLOODHOUND GANG IS BACK,
AND THEY’RE BETTER THAN EVER…
I know your asking how in the hell do we do this. Well we've been around for a while and I guess owning a magazine doesn't hurt either. We love to put bands in great situations especially when they are as cool as the Bloodhound Gang. A lot of our shots are exclusive never before seen. Maybe in the near future this will be you.
The Bloodhound Gang just doesn’t give a damn. That is to say, collectively, their music reflects the attitude of “Fuck You, Fuck This, Fuck It All.” Another way of saying it can be reflected in what is probably the quintet’s credo – “No reason to live but we like it that way” (a phrase that appears on the “Hooray For Boobies” CD jacket). Their music is asinine, appealing to the basest of human, juvenile instincts. They are raunchy, lewd, vile and degenerate. Through their lyrics they manage to offend everyone: they are racist, sexist, homophobic, culturally insensitive, totally politically incorrect, anti-social, ignorant, nasty, wretched, sordid. They even attack their own ilk. They have no greater aspirations and have no intentions of evolving into a better band. They hate their fans, and their fans fucking hate them. Their fan base is a bunch of miscreants, misfits, socially-ill adjusted, sadomasochistic individuals. Even their official website – which serves as their freakin’ fan club – is dubbed the “Bloodhound Gang Cyber Hate Club” (www.bloodhoundgang.com).
Guess what? Sign my ass up! I am now a member of that fan base, and love everything repulsive about the BG. Despite it all, or perhaps because of it, they put on one awesome live show. Their extreme irreverence is real, and it plays great. Their genuineness comes through, even on their recordings, and their authentic and honest shitty disposition brings back the joy of being campy and trashy. It is a beautiful thing.
Ahhh – but that is just the surface. Though, collectively, they appear to be one thing, upon closer inspection something else is revealed. As with analysis, if you separate the current BG into its component parts, what emerges is a much more complex picture. As individuals they are: a creative genius who may be emotionally lost and disconnected and who would probably prefer living on the dark side of humanity; a big, brutish mulatto buck who is a self-described “hillbilly, redneck, cracker”; a purportedly trailer trash “wigger” who seems uncomfortable with his boy band good looks; a reformed sexually deviant perv who is now a devoted family man; and a chap who has literally come back from the depths of hell – put there by feverish substance abuse which began when he was in little league. That is to say that bassist Evil Jared Hasselhoff (“The rest of the guys in the band are fags”), DJ Q-Ball (“I’d rather be in Wu Tang”), drummer Willie The New Guy (“I have done a lot of drugs”), guitarist Lüpüs Thünder (“We get porn channels in the bus, but we never really watch them. It seems a bit gay to watch porn with a bunch of men”), and lead singer Jimmy Pop (“My favorite color is navy blue”), as individuals, are much more than their stupid, silly, communal public personas.
Thank God, the public only gets to see the sum of the parts. Together they are the shit and absolutely much more fun.
Now listen more closely to the music, and what you hear are complex analogies that herald American modern pop culture, a mélange of musical styles and genres and cultural references that can either leave you laughing, gasping, or just dumb-founded, clueless and happy.
But wait a minute… Maybe I should go back for a moment and answer an important question:
Who the Hell Are These Assholes?
Remember the Bloodhound Gang? Remember their imbecilic 1999 smash hit “The Bad Touch?” You and me baby ain’t nothing but mammals, so let’s do it like they do on the Discovery Channel…
Yeah you remember. That song was written by frontman Jimmy Pop late one night while perusing cable. That song was their biggest hit, catapulting them into the national and international spotlight, giving them a glimpse at the good life. It landed them guest appearances on national media like “The Tonight Show” and “Howard Stern”, and a video on MTV. It allowed them to buy houses and cars. It led to outrageous unprotected sexual encounters with tarts from all over, including women they could never have hoped to get with in high school. It led to worldwide tours. And then the band got completely burned out and went into hibernation. The music died. There were no rehearsals or recordings or creative brainstorming sessions.
The success had not come overnight. The band had been together, in one form or another, since 1993. The only original founder who remains is the creative force of the group –
Jimmy Pop. According to their official bio – a posse of (Philly) suburban homeboys came along called the Bloodhound Gang. Unable to crack the threshold of single digit ticket sales required to get booked at anything remotely resembling a club, the original Bloodhound Gang rocked the "extra room" at Evil Jared Hasselhoff’s house every other weekend for Schlitz, Marlboros, and a chance to hand out their first demo tape, the appropriately titled "Just Another Demo." That lasted until one evening when the first floor caved into the basement.
Over the years the personnel of the band has changed more than some hobos change drawers in a lifetime. Among the, uh, musicians who have swelled BG’s ranks are Blue, Bubba K. Love, Byron, Daddy Long Legs, Foof, Lazy I, M.S.G., Piddly B, Skip O'Pot2Mus, Slave One, Tard-E-Tard, and White Steve.
The band released their second demo tape, entitled "Hitler's Handicapped Helpers" in April of 1994, and landed themselves a record deal with Cheese Factory Records. By November of that year, "Dingleberry Haze" was put out as their debut. The website notes Though it sold well over a hundred copies, success still managed to evade the group.
BG signed with Columbia Records in March of 1995 and released their first full-length EP, "Use Your Fingers." The bio continues: Hopeful that their years of effort were finally on the brink of paying off, the Bloodhound Gang, which at that point consisted of Jimmy Pop, Daddy Long Legs, M.S.G., Skip O'Pot2Mus, and Lüpüs Thünder, hit the road once again in the United States of America. Disgruntled by a confused promotional campaign on the part of Columbia Records that resulted in paltry album sales and developing a growing interest in things not typically associated with the Bloodhound Gang such as money, Daddy Long Legs and M.S.G. left to formulate their own assault on the music world in the form of Wolfpac. Determined to persevere on their tour of the United States of America, Jimmy Pop, Skip O'Pot2Mus, and Lüpüs Thünder scrambled to reform the band. To fill out some of the empty space on stage the Bloodhound Gang recruited Evil Jared Hasselhoff, the unemployed bass player from Skip O'Pot2Mus' former band, and Tard-E-Tard, a clerk from the local convenience store.
Though ticket sales increased with the record deal, record sales did not. By the end of their pitiful little tour BG was once again without a label. They also lost Skip O'Pot2Mus.
With a December tour of France quickly approaching and a desire to further explore the utilization of live instrumentation that was experimented with on "Use Your Fingers," Lüpüs Thünder, a death metal nerd at heart, discovered that playing simple bar chords on the guitar behind a white guy rapping was even easier than playing Slayer covers. Evil Jared Hasselhoff, who had first met Jimmy Pop while attending Temple University, revealed that he could not only play extremely simple bass lines, but that his party favor of eating live mice was, in those days before "Survivor," something of a novelty when performed on stage. The undersized Spanky G, another former member of Vaginal Bloodphart, was brought on board to play the drums. To replace Tard-E-Tard, D.J. Q-Ball, who belies his suburban middle class upbringing by having a full mastery of Ebonics (…a full mastery of the turntables would probably have been more useful), stepped up to the turntables.
By March, 1996, BG consisted of Jimmy Pop, Lüpüs Thünder, Evil Jared Hasselhoff, D.J. Q-Ball, and Spanky G. The five went back into the studio and (as the bio states) …after three months of chain-smoking, binge-drinking, and girl-swapping, “One Fierce Beer Coaster” was released under the former Cheese Factory Records, now called Republic Records. That summer, the Bloodhound Gang embarked on yet another tour of the United States of America. Word spread quicker than Ricky Martin's legs in a hot dog factory that the Bloodhound Gang was kicking ass (minor not major) and by October, "One Fierce Beer Coaster" was re-released on Geffen Records. The album’s success was almost impressive, and led to the group’s first “real” American tour (not quite promoted successfully), and their first stint in Europe. Maybe it was the Italian wine, the German beer, or the Dutch heroin, but the Old World crowds embraced the Bloodhound Gang. After several months in Austria, Belgium, Denmark, France, Germany, Iceland, Italy, the Netherlands, Norway, Spain, Sweden, Switzerland, and the United Kingdom, the Bloodhound Gang then came through Australia, Japan, and New Zealand. In October, they went back for more.
The bio indicates that after a year of exchanging S.T.D.s with porn stars, BG put out their most recent release, “Hooray For Boobies” (2000). Shortly after the album was recorded, pixie sized drummer Spanky G quit the group. The Bloodhound Gang was left with a space to fill on stage. A month of open auditions narrowed the field down to three talented young finalists. After several hours of The Magnum P.I. Trivia Championship, The Great Hot Dog Eating Challenge, and The-One-Hundred-Push-Ups-In-One-Hundred-Seconds-Competition, Willie The New Guy was the only finalist who didn't tell the band to go fuck themselves. The fact that Willie The New Guy had a really cool rock and roll problem was an unexpected bonus. And so the make up of the band today.
As aforementioned, an exhaustive and emotionally draining tour left the band spent, and they are just now coming out of a two-year hiatus. Surprisingly to some, however, BG is still riding a successful crest. To date the band has sold over five million albums. Recently thrust back into the public eye by the appearance of their song “Fire Water Burn” in the Michael Moore documentary “Fahrenheit 9/11,” BG is experiencing a resurgence of their notoriety and popularity. At this moment they are back in Europe touring, after an extremely successful trio of sold out performances in Philadelphia. They are also supposed to soon release another studio album. The public is waiting with bated breath.
Perhaps because their music is so eclectic, or perhaps a lot of booking agents don’t know what the hell they are doing, BG has performed with a dazzling, dizzying array of bands. To date, they have played over five hundred live performances throughout Europe, South America, Canada and the U.S.A., with such varied artists as 3 Doors Down, 311, AC/DC, Afghan Whigs, Aerosmith, Beck, Better Than Ezra, Black Eyed Peas, Blink 182, Blondie, Bon Jovi, Brandy, Chemical Brothers, George Clinton and the P-Funk All-Stars, Crash Test Dummies, Creed, Cypress Hill, Everclear, Faith No More, Flaming Lips, Godsmack, Macy Gray, Enrique Iglesias, Insane Clown Posse, Jewel, Jimmie's Chicken Shack, Tom Jones, Montell Jordan, Limp Bizkit, Marilyn Manson, Ricky Martin, Matchbox 20, Metallica, Mighty Mighty Bosstones, Alanis Morissette, Naughty By Nature, Nine Inch Nails, N'Sync, Oasis, Offspring, Outkast, Papa Roach, Pet Shop Boys, Pharcyde, Iggy Pop, Queens Of The Stone Age, Lou Reed, Smashmouth, Stone Temple Pilots, Sugar Ray, Third Eye Blind, Tina Turner, Wallflowers and Weezer.
Obviously, as you might expect, some of those pairings didn’t go so well. There was the time, for example, when an outraged black audience threw chicken wing bones and watermelon rinds on stage – in protest. Or the time certain BG members tried to induce cornball Justin Timberlake to get blitzed before a show.
What I don’t get is how anyone could not be impressed, seduced even, by their stage performance…
These motherfuckers have actually won awards (granted – in Europe) for Best Live Performance. To experience a BG performance is to know that there is a God, one who (thankfully) freely allows evil and iniquity to spawn. It’s all good.
One Big Reason Why We Love BG (Aside From the Obvious, Of Course…)
Because their performances are fabled, breeding all types of urban legends. Some are true, some are not.
Like the one about the wedgie and the tampon. It used to be standard practice for the band to give willing audience members a souvenir with lasting effects – wedgies so rough that they would feel like they had just been busted up the ass by Long Dong Silver without lube. One such party girl from Providence, RI claims that the wedgie she received was nasty enough to send her tampon into the recesses of her bloody vagina, causing the feminine hygiene product to be lost in the netherworld. “Not true,” asserts Evil Jared. What really happened? BG members speculate that the bitch got drunk, then got fucked, and forgot to remove the plug. “It’s not our fault,” states Evil J. “She needs to blame some dude up in Rhode Island.”
And then there is the one about Jimmy Pop and Evil Jared throwing up, and then regurgitating said throw-up, back and forth into each other’s mouths. This one is true. Now this is what I’m talking about! It is refreshing to see artists who are not playing the diva role and will do whatever it takes to give the people what they want. (By the way, when asked did he swallow, Pop was insulted, stating, “That would be nasty.”)
It is that kind of unselfish fan devotion and appreciation that endears us so.
But society had to step in to repress our heroes, and now, BG is functioning under a series of restrictive mandates, imposed through high powered insurance policies, various international civil and criminal laws, prohibitions on certain public conduct, a couple of arrests and lawsuits.
Due to these constraints on their creative expression, the performance I saw at Philly’s TLA in July didn’t contain any of these shenanigans. Quite frankly, the BG doesn’t even need them. Their dynamic performance changed this reporter from a reluctant concert-goer (one who did not want to spend an evening around a bunch of dirty, unwashed, drunk and high juvenile delinquents) into a “very, very” unlikely groin grabbing groupie who just wanted a piece of Jimmy Pop. And I probably could have got some too.
Jimmy Pop will give a little sometin’ to anyone who wants it bad enough. Jimmy Pop also has an affinity for making out with guys on stage. The night I attended the show he put his tongue down the throat of one very disgusting Don Vito, a member of the MTV “Viva La Bam” family. Ugh. Jimmy knows he risks contracting something that could hurt him one day, but he’s cool with it because he’s cool like that.
BG for Dummies… Check the Lyrics Stupid!
And now – for the piece de resistance! The music. On the surface what may appear to be the most scurrilous and nonsensical words are actually almost brilliant in their composition. All emerging from the warped mind of Jimmy Pop, one either gets it, and ergo really gets it – or doesn’t get it and still gets it anyway.
Confused? Let me try to explain. If you are open to it, rather you get the double entendres and clever, witty commentaries on modern life or not, you are going to enjoy BG music.
And how could you not. Their repertoire contains a little something for everybody, which makes it kind of hard to classify them.
They can rock as hard as Mettallica, be cultural thieves (in a bad way) like Limp Bizkit, be cultural thieves (in a good way) like The Beasties, play punk-pop as good as Green Day, play gay disco music that would turn out any homo club, or do enjoyable, satirical covers and samples of hip-hop and R&B. At the TLA performance they actually did a cover of Outkast’s groundbreaking “Hey Ya” – but Jimmy Pop said that “he definitely was not going to be shakin’ it” He then proceeded to make derogatory remarks about Beyoncé and Lucy Liu.
Because of their motley style, I am tempted to call them pop rockers. Only problem is that their objectionable material and filthy antics kind of preclude them from that category. So be it. For those of us who know – and for the scores who don’t know – we know that it is just feel good, debaucherous party music played by unskilled musicians who just want to earn a few bucks and live comfortably. Nothing more, nothing less.
Unless you get it. Get it? The intelligencia (of which I am one) definitely gets it.
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