Sabtu, 29 Februari 2020

Marvel Years 12.03 - March 1972

Watch Movies TV -

This month a new comic begins, called Marvel Team-Up. It will run for 150 issues, up until February 1985, plus various annuals. However, I have made the decision to declare the series non-canon. This is not an arbitrary decision. My reasoning is as follows:

Marvel is all about continuity in a shared universe. Every hero meets and interacts with the other heroes. At the same time, their own personal stories develop month by month.

1. Marvel Team-Up was created as a second comic for Spider-Man, Marvel's most popular character. The problem is that all the personal developments in Spider-Man's life take place in his original comic, Amazing Spider-Man. The Marvel Team-Up stories are action adventures which add no emotional development to the character.

2. At the same time, no attempt is made to synchronise the stories with the comics of the guest stars, such as the Human Torch in this issue. If any stories just happen to "fit in" with other comics, it's by accident, not by design.

3. It's ridiculous that Spider-Man should just happen to meet other super-heroes every month.

Although I'm striking the whole series from Marvel canon, I might make exceptions for individual stories that tie in with important events in other comics.

I'm not saying that the comics in this series aren't good stories. The first issue is written by Roy Thomas, one of Marvel's best writers, and it's an excellent story.

If anyone disagrees with my striking of Marvel Team-Up from the Marvel canon, that's what the comments box is for. As the years progress, there will be more series that I consider non-canon, some of them even more controversial than Marvel Team-Up. Let's get a discussion going now.




Amazing Adventures #11

Title: The Beast!

Writer: Gerry Conway
Artist: Tom Sutton

Guests: Professor X, Cyclops, Iceman, Angel, Marvel Girl


The X-Men have been in limbo since their comic was cancelled two years ago. The last issue was X-Men #66. There have been occasional guest appearances by individual team members, such as Iceman in Amazing Spider-Man #92, but now one of the X-Men will appear in his own regular series. Amazing Adventures, which has contained stories about the Inhumans and the Black Widow until now, will feature the Beast.

In a flashback we see that Hank McCoy, the Beast, quit the X-Men shortly after X-Men #66. He went to work at an advanced laboratory on Long Island. Working alone, he develops a serum which will turn normal humans into mutants. He overhears a plot to steal his research. It would be too risky for him to fight the thief as a civilian, because it might reveal he's the Beast, so he swallows a vial of the serum himself, not knowing what will happen. Is he stupid? It turns him into a hairy creature, with powers similar to what he had before, but stronger.

He stops the theft, but he notices an overwhelming bloodlust. In addition, his inner monologue uses shorter words than he was accustomed to use. He wants to use an antidote to the serum within an hour, but he waits too long, and he's stuck in his hairy form.

My praises to Gerry Conway. This is the best story he's written so far. I'm also very impressed by Tom Sutton. His talents as an artist are improving.




Amazing Spider-Man #106

Title: Squash! goes the Spider!

Writer: Stan Lee
Artist: John Romita

Villain: Professor Smythe

Regulars: J. Jonah Jameson, Joe Robertson, Randy Robertson, Gwen Stacy, Harry Osborn, Mary Jane Watson, Flash Thompson, Dr. Curt Connors


The last issue ended with Professor Smythe watching Spider-Man unmask. No trouble. Peter Parker goes to his friend Dr. Connors' laboratory and makes himself a Peter Parker mask. Then he poses in front of one of Professor Smythe's cameras and pulls off his Peter Parker mask to reveal a Spider-Man mask underneath. Obviously the professor is dumb enough to fall for that ruse.


Mary Jane Watson continues to flirt unashamedly with Peter Parker, even when her boyfriend Harry Osborn is watching. How does Peter resist temptation like that?


Okay, Gwen Stacy is a beauty as well, and in a legs versus legs contest I'd call it a tie.

Flash Thompson is complaining about feeling bad since he returned from Vietnam. Is it PTSD or something more serious. I don't know. For some reason that I no longer remember I didn't read many Spider-Man comics in the early 1970's.

Professor Smythe offers the criminal underworld the use of his city-wide observation cameras. He has also built a bigger, more powerful Spider-Slayer, which he uses to trap or kill Spider-Man, whichever is easier.




Avengers #97

Title: Godhood's End!

Writer: Roy Thomas
Artist: John Buscema

Avengers: Captain America, Thor, Iron Man, Vision, Goliath, Quicksilver, Scarlet Witch

Villain: Supreme Intelligence, Ronan, Kree, Skrulls, Annihilus

Guests: Captain Marvel, Rick Jones, Nick Fury


Rick Jones fires rays from his head that drive Annihilus away. Then he floats towards the exploding area, clutching a rock. He thinks to himself that if he could fire rays at Annihilus, he ought to be able to free himself. So he concentrates, and he passes through a portal into the Kree homeworld.


On the Skrull homeworld, Captain Marvel destroys the Omni-Wave Projector (TM) that he was forced to build for the Skrulls. He says that the Krees use it for communication, but in the hands of non-Krees it's the ultimate weapon. Can anyone explain to me the logic in that?


Ronan sends his soldiers to kill the Supreme Intelligence. Rick Jones uses his imagination to create all the comic book heroes of the 1940's to fight against them, including Captain America and Sub-Mariner. Wow! After defeating Ronan's soldiers the heroes fade away. Then Rick Jones fires a blast through the universe that paralyses all the Skrulls and Kree. The Supreme Intelligence never wanted the war, and now he's stopped it by unleashing Rick Jones' potential. He says that all humans have this potential and will reach it at the end of their evolutionary path.

Rick Jones collapses under the strain. The Supreme Intelligence brings all of the Avengers, including Captain Marvel, before him. He tells Captain Marvel that he can only save Rick Jones by combining his life force with him, i.e. he must re-enter the Negative Zone. The Supreme Intelligence sends everyone back to Earth.

Almost everyone. Goliath is missing.


Nick Fury tells the Avengers that Warren Craddock was really a Skrull. He was the fourth Skrull who escaped in Fantastic Four #2.


I couldn't remember that far back, so I checked out the story. In this panel (and others) we see that there were four Skrulls on Earth.


But on the final page only three are captured and forced to turn themselves into cows. The fourth Skrull was never mentioned. Maybe it was a mistake made by the great Stan Lee. Maybe not. Whatever the case, Roy Thomas has elegantly explained what happened to him.


This is an announcement on the letters page. It's a sort of apology that Neal Adams didn't draw the issue. He ran into deadline problems, so John Buscema drew the issue overnight. That puts into context something I read in a comic fan magazine I read in the mid 1970's, not long after this. An interviewer said to Stan Lee, "What do you think about Neal Adams? He's Marvel's best artist". To this he replied, "No, he's Marvel's worst artist. He never finishes his drawings on time".




Captain America and the Falcon #147

Title: And beyond the hordes of Hydra

Writer: Gary Friedrich
Artist: Sal Buscema

Villain: Kingpin, Supreme Hydra (Richard Fisk)

Regulars: Sharon Carter, Countess Valentina, Nick Fury


The Kingpin is disappointed with Hydra's efforts to defeat Captain America, so he is about to destroy the whole Hydra base. His wife Vanessa begs him not to. The reason is clear when Captain America unmasks the Supreme Hydra: it's Richard Fisk, the Kingpin's son. He previously appeared as the Schemer in Amazing Spider-Man #85.


As we hear in Countess Valentina's inner monologue, she's in love with Captain America. She won't give him up to Sharon Carter without a fight, but she's willing to bide her time. How come Captain America has two beautiful women fighting over him? What does he have that I don't?

No. You don't have to answer that.

Captain America flies to Las Vegas to the hotel where Harold Howard, America's richest man, lives.

Why the name change? Marvel names the president and other top politicians in its comics, so why not Howard Hughes?

The Kingpin has kidnapped and replaced Harold Howard. Captain America has difficulty fighting him, but the Falcon arrives and together they win. Then a massive voice booms from the sky, claiming that he's the real head of Hydra, and he'll destroy Las Vegas if Captain America and the Falcon don't surrender.

I already know who it is. It should be obvious to Captain America fans, but wait and see.




Sub-Mariner #47

Title: Doomsmasque!

Writer: Gerry Conway
Artist: Gene Colan

Villain: Doctor Doom, Modok

Regulars: Diane Arliss, Cindy Jones


Namor lost his memory after the shock of seeing his father killed. I had to go back and check the issue. No, we don't read that he lost his memory. Gerry Conway forgot to tell us. This is a clumsy start to the story,but it improves as it goes along.

In Chicago Namor gets into a fight with a station guard. Not knowing his own strength, he throws a railway carriage at him, but an unknown onlooker saves the guard's life. A girl called Cindy Jones invites Namor into her apartment.

The unknown helper arrives. It's Doctor Doom. He appeals to him as one monarch to another to help him in a quest. Namor doesn't remember ruling Atlantis, but he believes Doctor Doom. First Namor and Cindy Jones are invited as guests to the Latverian Embassy in Washington D.C. Then they fly to New Orleans to retrieve a powerful weapon from the AIM headquarters that were destroyed in Captain America #133. Doctor Doom thinks that Modok is dead, but he's waiting for him, armed with the Cosmic Cube.




Fantastic Four #120

Title: The horror that walks on air!

Writer: Stan Lee
Artist: John Buscema

Fantastic Four: Reed Richards, Susan Richards, Ben Grimm, Johnny Storm

Villain: Air-Walker (Gabriel)

Regulars: Agatha Harkness

Guests: General Ross


Stan Lee is back in the house, writing another issue of the comic that started the Marvel Revolution back in 1961. This issue has a simple plot, but it's so well written, as only Stan Lee can do it.

I like the magazine that the Thing is reading. That reminds me, I need to broaden my mind as well. When was the last time I bought a girly magazine? It was so long ago that I can't remember. 10 years ago? Longer?

A well-organised gang attacks the Baxter Building to steal Reed Richards' inventions. They're easily defeated, but it wrecks part of the 35th floor, angering the landlord. Reed should sell a few inventions so that he can buy the building for himself.

Agatha Harkness warns the Fantastic Four that a deadly menace has arrived on Earth. There's someone walking in the air around the world. The Fantastic Four lure him back to the roof of the Baxter Building with a display of their power. The Air-Walker is unimpressed.


The Air-Walker goes down to the street and threatens the whole world.


After the Fantastic Four fight very ineffectually against him, he blows a trumpet to symbolise the end of the world. Stan Lee has been reading the last book of the Bible for inspiration.




The Incredible Hulk #149

Title: The Inheritor!

Writer: Archie Goodwin
Artist: Herb Trimpe

Villain: Inheritor, High Evolutionary

Regulars: General Ross, Major Talbot, Betty Ross


What's happened to Herb Trimpe's art on the splash page. The Hulk looks awful. He looks more like Shrek, who wasn't invented until 20 years later.


As you can see, Herb Trimpe's art improves later in the comic, but he's becoming too erratic.

A being falls to Earth who claims that he's the true owner of the Earth. His memories are weak, but he instinctively knows that if he's exposed to radiation he will remember more and become stronger.

The high radiation concentration at Project Greenskin in New Mexico attracts him. He smashes up part of the base, causing Bruce Banner to turn back into the Hulk.

By this time the creature, who calls himself the Inheritor, remembers that he was evolved with the assistance of the High Evolutionary. The Hulk met the High Evolutionary in Tales To Astonish #96, but the flashback to the Inheritor's creation takes place before the High Evolutionary's first appearance in Thor #134.


Do you remember this famous catch phrase by the Hulk? "The madder Hulk gets, the stronger her gets!" It was first used, in a slightly different form, in Tales To Astonish #70. It's not as catchy as "It's clobbering time", but it's a lot better than "Don't yield, back SHIELD".

The Inheritor is knocked into the radiation chamber. General Ross uses a radiation drainer on him that was built to neutralise the Hulk. The Inheritor devolves into a cockroach.




Thor #197

Title: The Well at the Edge of the World!

Writer: Gerry Conway
Artist: John Buscema

Villain: Mangog, Satrina, Kartag

Regulars: Odin, Sif, Fandral, Hogun, Volstagg, Hildegarde


Thor battles Kartag, the Keeper of the Twilight Well, and is finally defeated after a valiant fight. The three Fates appear, alternatively called the Norns, who we first say in Journey Into Mystery #102. They say that the fight was a test, and Thor has proved himself worthy of being given the water of the well. Kartag offers to help Thor in the battle against the Mangog. They return to Asgard, but the Rainbow Bridge has been destroyed, and Asgard is nowhere in sight. After sprinkling water from the Twilight Well on his hammer, Thor is able to fly to Asgard. It's been hidden in a distant world. Mangog is holding Odin's unconscious body and threatens to kill him.

Meanwhile, Sif and Hildegarde are travelling in a steamship.




Daredevil #85

Title: Night Flight!

Writer: Gerry Conway
Artist: Gene Colan

Villain: Gladiator

Regulars: Foggy Nelson, Karen Page, Black Widow, Ivan


Matt Murdock and Natasha Romanoff are on a plane returning from Switzerland to New York. Unknown to them, the Gladiator, who we last saw in Daredevil #63, is also on the plane with a few gang members. He wants to kidnap the plane and sell it to someone in South America.

Daredevil is forced to surrender when the Gladiator reveals that he has explosives on the plane. A friendly co-passenger called Nathaniel Taggart unties Daredevil, and Taggart defuses the bombs while Daredevil fights the Gladiator.


Stan Lee liked to write about love triangles, but Gerry Conway gives us a love square... or is it a love rectangle? Matt Murdock and Natasha Romanoff arrive hand in hand in New York, after a rough landing. Karen Page and her new lover, her agent Phil Hichok, are also at the airport. As soon as they meet, Matt and Karen fall into one another's arms.

This is an enjoyable story. Gerry Conway is maturing, although he still makes some careless mistakes.




Iron Man #45

Title(s): Beneath the armor beats a heart!
The Students and the Guardsman!

Writer: Gary Friedrich
Artist: George Tuska

Villain: Mr. Kline, Guardsman

Regulars: Marianne Rodgers


This is a single story split into two parts that have been given individual titles.

Iron Man defeats the Night Phantom robot with the help of a new power booster built into his armour. Deus ex machina? He's reluctant to use it, because the power surge might cause his body to reject his new artificial heart.

Marianne Rodgers says that she knows that Tony Stark is Iron man, and she loves him. This makes Kevin O'Brian jealous, and he prepares to battle Iron Man.

Meanwhile, the board of directors votes to remove Tony Stark as the president of Stark Industries.


This vote has been engineered by Mr. Kline. This comic is slightly out of sync with other stories. Mr. Kline is an android that was destroyed by Daredevil in last month's Daredevil #84.

Tony Stark is summoned to a board meeting the next day, but he's late due to spending time with Marianne Rodgers. In his absence an anti-war demonstration starts outside the factory. Kevin O'Brian attempts to stop the demonstration as the Guardsman. He uses his suit's repulsor rays against the demonstrators and badly injures three young men.

Tony Stark arrives as Iron Man and defeats the Guardsman. Iron Man asks for the demonstrators to remain calm, but the situation escalates.




Marvel Feature #2

Title: Nightmare on Bald Mountain!

Writer: Roy Thomas
Artist: Ross Andru

Defenders: Doctor Strange, Sub-Mariner, Hulk

Villain: Dormammu

Regulars: Wong, Clea

Special Guest Appearance: Roy Thomas, Jeanie Thomas


Doctor Strange is tempted to leave his physical body by an illusion of the Ancient One. When he wants to return to his body, he's blocked by a powerful spell cast by intruders. His body is carried away to be used at a ceremony in Rutland, Vermont. Dormammu, who we last saw in Doctor Strange #173, has promised to never come to Earth, and he's a man of his word, but he's willing to use a loophole. If he occupies Doctor Strange's body he's not coming to Earth in person.

Clea summons Sub-Mariner and the Hulk, who were fresh in Doctor Strange's memories. (No, I don't understand it either).


The story takes place on the night of the yearly Halloween Parade in Rutland. As always, Roy and Jeanie Thomas are in attendance. We saw them last year in Avengers #83.

Clea uses a pendulum to hypnotise the Hulk to turn back into Bruce Banner. That's a neat trick. Clea, Wong, Sub-Mariner and Bruce Banner travel to Rutland.

Bruce Banner turns back into the Hulk, just in time to battle Dormammu's followers side by side with Sub-Mariner. Doctor Strange's astral body was hiding inside Wong. He can enter his own physical body, because it's unprotected at the time of the ritual. Doctor Strange can defeat Dormammu, because he's weakened by being close to a portal to Earth.



Non-canon comics published this month:

Marvel Team-Up #1 (Roy Thomas, Ross Andru)

Conan the Barbarian #14 (Roy Thomas, Barry Smith)
My Love #16 (Gary Friedrich, Gene Colan)
Rawhide Kid #97 (Larry Lieber, Larry Lieber)
Sgt. Fury and his Howling Commandos #96 (Gary Friedrich, Dick Ayers)

Note: The plot for this month's Conan the Barbarian story was written by Michael Moorcock and features Elric. This is a multi-universe crossover: Robert E. Howard and Michael Moorcock meet in the Marvel Universe.

On the Big Screen: THE TRAITOR (Il traditore, 2019)

Watch Movies TV -
At age eighty, and after more than fifty years of filmmaking Marco Bellocchio is arguably the elder statesman of Italian cinema. In the 21st century he's become an intermittent chronicler of Italy's 20th century. His latest film is a companion piece with his 2009 Mussolini film Vincere and his 2003 Aldo Moro-Red Brigades picture Good Morning Night. The "traitor" of this one is Tommaso Buscetta (Pierfrancesco Pavino), Italy's answer to Joe Valachi: the first man who spilled the beans on organized crime in his country in a major way. This happened in the 1980s, after Buscetta, a career criminal and ex-con, decided to leave the business and move to Brazil, where he had done "business" before. Relatives who remain in Italy, including two sons, are killed in a Mafia war, while the Brazilian government accuses him of drug trafficking. The Brazilian government of the day didn't play around; they try to force a confession by threatening to throw Tommaso's wife (Maria Fernanda Candido) from a helicopter into the ocean. Whether he had anything to confess or not, Buscetta ends up back in Italy, where he decides that he has actual stuff to confess to crusading prosecutor and eventual martyr Giovanni Falcone (Fausto Russo Alesi). He becomes the star witness at the so-called Maxi Trial, which becomes the film's central spectacle. For non-Italians, the unusual trial procedures stand out, particularly allowing defendants to cross-examine witnesses. This makes possible dramatic confrontations between Buscetta and his former colleagues, who naturally call him a liar when they aren't heckling him as a cuckold from their cages in the rear of the vast courtroom. Buscetta holds his own in these encounters -- though he fares less well later when he lobs accusations at politicians who clearly can afford better lawyers than mafiosi can -- but he hardly can enjoy his victories when the bosses are convicted. He knows all too well that the Mafia's reach and memory are long. Exiled in an American witness-protection program, he retreats from New Hampshire to Colorado after a restaurant singer in a Santa costume serenades him in Sicilian dialect as if he were the coward Robert Ford. To the day of his peaceful demise he has to remain on guard, because he knows the Mafia like he knows himself....

Accustomed as U.S. audiences have become to expansive, seemingly comprehensive Scorsese-style chronicles of crime, Il Traditore can't help seeming incomplete no matter how well made and performed it mostly is. We're likely to become conscious of gaps or omissions as Buscetta clarifies his motives for informing. He tells Falcone and the judges at the Maxi Trial that he still considers himself a "man of honor" but that his peers, particular Salvatore Riina (Nicola Cali) were the true traitors to the traditional values of La Cosa Nostra by going all in on the heroin trade, regardless of its cost to their own families. Something can't help but seem missing when Buscetta repeatedly reiterates how Riina has ruined La Cosa Nostra, yet Riina has a relatively minimal presence in the film and we see very little of the "golden age" Buscetta idealizes -- which we definitely would see in a Scorsese epic -- before Riina took over. Rather than show this idealized past, Bellocchio challenges us to take Bruscetta's word for it or question his actual motivation. The director presents the past in non-linear fashion rather than giving us a conventional rise-and-fall narrative. The film's flashbacks aren't self-consciously narrated by Bruscetta, but arrive more like unfiltered memories, though one important reminiscence midway through the picture is interrupted and only taken up again at the very end.  An exception to the general rule is a flashback to the murder of Buscetta's sons, based on the testimony of a new informer who took part in the killing. This scene, and Buscetta's reaction to the testimony, suggest guilt over abandoning his children to almost certain death as the his ultimate motive, since his indifference to whether they joined him in Brazil belies his claim that his real family ultimately mattered more to him than the Mafia family. In the end, I think, Bellocchio is too careful to offer a perfect "Rosebud" explanation for Buscetta's "treason." He keeps a certain distance from his subject that is arguably European if only by comparison to Hollywood's insistence on definitive answers. Overall, I rather like Favino's performance for its comparative understatement. He makes Buscetta seem like a real person rather than an archetype. I don't know if Favino and Bellocchio have given us the "real" Buscetta -- alternate presentations seem possible -- but they did make me want to know more about the man, and that should count as some kind of success.

Jack in the Dark (1993) - Horror Video Game Review (PC)

Watch Movies TV -

Jack in the Dark is a weird beast of a game in that it is a very short experience that was created during development of Alone in the Dark 2 as a promotional tool. The game takes place in two different rooms and can be finished in under ten minutes.

It is Halloween and the child Grace Saunders finds herself trapped inside a haunted toy shop. There she discovers Santa locked up in a cage, and toys which have come to life, seemingly with a creepy jack-in-the-box as the cause of all the evil.


The tone here is kind of weird, it is very Christmas focussed despite taking place during Halloween. The puzzles you encounter all revolve around distracting the various toys blocking your way. One example is playing a toy drum to make some toys march into a toy box. The music is jolly, and aside from the evil jack-in-the-box there isn't much of a horror vibe. Also, judging by  how this one ends it really isn't canonical. Apparently the girl you play as is the girl who has been kidnapped in Alone in the Dark 2. To cement the fact this is a promotional game it ends with a series of screenshots from that second game.

This was a fun little experience, however it really isn't essential to play, as a curio it does its job. Even better is that it doesn't cost anything, it was an extra with Alone in the Dark. So if you are after a bite size bit of horror gaming then check it out.

SCORE:

Score Sample: John Carter (2012)

Watch Movies TV -Probably been too long since I mentioned Michael Giacchino on this blog, right? Right! So let's his score from the 2012 sci-fi adventure film John Carter another look. Through most of the 2010s Giacchino has been attached to Disney related film scores. Could be Pixar, Star Wars or even one off films like this one. Of course Disney wasn't hoping for a one off with John Carter, there were looking for their own Star Wars saga (before they bought Lucasfilm).

Unfortunately the film did poorly in theaters and with a budget that could almost fund mission to Mars itself, John Carter is considered one of the biggest financial failures in film history. Ouch. All that said, the movie is actually solid entertainment, with plenty of eye candy to keep a viewer engaged. Helping along with that is Michael Giacchino's score. Giacchino goes full adventure epic with his style. You'll hear all kinds of golden age influences in the score including a little Lawrence of Arabia in there. But you also have those kinetic Giacchino action tracks.

One of my favorites is Sad Than Pursues the Princess which just blasts along with action. But I also love the end titles which gives you a nice sampling of all the theme Giacchino crafted for the film. So enjoy both in this entry!



GIG REVIEW: mclusky* - Corner Hotel, Melbourne, January 15, 2020

Watch Movies TV -mclusky*
Corner Hotel, Melbourne
January 15, 2020

mclusky* don't do sentimentality (they also don't do capital letters, which is really fucking annoying).

They do biting irony, scathing wit, unintelligible yelling, obtuse absurdism, humourous anecdotes, sweary politeness, and catchy if often atonal rock music. But sentimentality is not a weapon in their impressive onstage arsenal.

But for 20 seconds on a Wednesday night in January, frontman Andrew "Falco" Falkous dropped the acerbic armour and admitted that mclucksy*'s recent Australian tour would most likely be the final time Aussies got to see this slightly modified version of the influential "Welsh" punk band grace a stage, and hinted that this made him a little sad.

(Are any of the band members even Welsh? They're frequently referred to as such, but Falco isn't Welsh. Is it just cos they formed there? Do I need to do research?)

With his guard down, Falco informed the crowd at The Corner just how special the Australian tour had been, and what it meant to be able to bring his old band* down under for what was probably the last time.

All bands say this kind of shit. But for a band for whom sentimentality is in short supply, it means something a bit more than the typical gig pleasantries. Speaking with Falco after the gig, he confirmed that he'd meant everything he'd said - that they might not be back again, and that it had been a bit emotional. I promised I wouldn't tell anyone that he'd gotten genuinely sentimental on stage, lest I ruin his famed persona as the kind of straight-talking non-bullshit-taking raconteur who's probably never cried at a good film.

Oops.

Look, he even fucking smiled on stage.
Anyway, this is a belated review that mainly aims to talk about how fucking good mclusky* is, just like that time I wrote a really fawning ode to Future Of The Left two months after the gig (and which Falco read and that made me unfeasibly happy).

Firstly, that asterisk. That's Falco's way of separating this version of the band, which features the hulking Damien Sayell of The St Pierre Snake Invasion on bass and vocals in place of original member Jonathan Chapple. Chapple's non-appearance appears to have been his choosing and not a result of any lingering animosity, which turned out to be a plus because Sayell is a fucking legend who plays a right-handed bass left-handed, enthusiastically dives into the crowd, happily sings a few numbers, and will honour a shout and buy you a VB if you buy him one.

He's an absolute fucking unit, this guy.
mclusky* were one of those bands that finished up just as they were getting dangerously good. Their wonderfully titled debut My Pain and Sadness is More Sad and Painful Than Yours was merely a warm-up for the good shit. Across two excellent subsequent albums - Mclusky Do Dallas and The Difference Between Me and You Is That I'm Not on Fire - released in 2002 and 2004 respectively, they hit their stride and found some modicum of success. Sadly, by the end of 2004, they were no more.


But as ways lead on to ways, things happened and they came back, albeit briefly it seems. Their second Corner show in Melbourne - the last of their Aussie tour before a quick jaunt around New Zealand - was fiery and funny. Brimming mostly with songs from ...Do Dallas and ...Not On Fire, it was wonderfully raucous and goddamit it looked like Falco was actually having fun.

They played all their "hits" - Lightsabre Cocksucking Blues and She Will Only Bring You Happiness being key among those - before finishing with their triple-j-endorsed favourite To Hell With Good Intentions. They even wheeled out a B-side (No Covers) in their 21-song set, with only There Ain't No Fool In Ferguson as a notable omission.



(Falco later explained he didn't want to play Ferguson because it didn't "sound as good as it should". Which is fair enough.)

Lachlan Ewbank from DZ Deathrays joined the band on stage for a couple of numbers, which was around the point Sayell decided to sing a song in the midst of the crowd. Shit went right off. It was just one of many joyous highlights of the night.

And that's one of the great things about mclusky* - they're joyous, in a darkly hilarious way. Their gigs and music are fun, despite lyrically plumbing the depths of humanity. You can't be a band with a song called Fuck This Band (and the merch to go with it) without a sense of humour. You can't sing about shitter bands than yours getting famous because they have better haircuts than you unless you can laugh about it. Otherwise you'd end up a miserable piss-wreck. And from what I can tell, mclusky* are not miserable piss-wrecks. They're a bunch of rock-music-loving fellows who still get a kick out of 15-year-old songs regarding cowboy killers, taking more drugs than touring funk bands, and other abstract notions that I haven't fully comprehended yet. And they still get said kick because these are good songs that sounds great when played live and are fun to play live. So why the fuck not?

I've never seen Falco refer to mclusky (with or without asterick) as "punk" - he talks about rock music a lot, but never punk (I'll stand corrected on this). But mclusky are punk in the best, truest, and funnest meanings of the word. And this is entirely because they aren't trying to be punk; they aren't trying to be anything. They're just being, and they don't take anything seriously outside of playing the songs properly and in tune.

Hopefully they'll be back. But if Falco's sentimental moment in Melbourne is anything to go by, they probably won't.

In which case, thank fuck for Future Of The Left.

This is a very good article about the mclusky* reunion.
As is this one.


Jumat, 28 Februari 2020

'Setting Emotional Boundaries Is A Must-Do For Your Sanity & Well-Being'

Watch Movies TV -



By Waiching 

A boundary is a limit defining you in a relationship with someone or something. They can also be physical or emotional, tangible or intangible; at work, the boundaries tend to fall into the emotional end of the scale. Work-related boundaries go much deeper: these define how much of myself is shaped by my career and work and in discovering and forging relationships with your coworkers, colleagues and managers.

Emotional boundaries are distinguishing your very own emotions from someone else's; what you will or will not allow and tolerate for your emotional state such as opinions, beliefs, behaviours and feelings, whilst not compromising to and being subject to the issues of other people. Learning how to filter and weed out what are considered to be my and their issues, the hugely negative  aspects, as well as implementing what you will and will not allow and accept.






Boundaries exist as a safe-haven to help protect ourselves by clarifying what is our responsibility, in addition to the other person's. Of them respecting my space and of myself respect theirs. Boundaries intend to preserve our physical, psychological and emotional energy, as well as one's personal and individual values and to maintain social dynamics in the workplace.

You are not responsible for the other person's happiness, emotions; one is not accountable for them, you can't change and put a stop to how they act and behave towards you and others, rather you need to take care of yourself and to put yourself and your needs first. If someone is having a bad day and s/he is taking their frustrations out on me, then that is their problem, their worry. Rather than to change them.

Once you put your foot down, people will respect you; when you have boundaries and people intend to challenge them when you put your happiness first, you know what's best for you. People of whom have good mental and emotional boundaries have a strong sense of identity and self-respect. They tell it as it is by saying ''no'' and not allowing others' moods and emotions easily influence or affect their own's.

Therein lies an emotional trigger, a massive red button, a thing that when pushed, sets it off that you and I become activated or are provoked by somebody else's comments and actions. These could be in the form of words, people, situations, opinions or the environment that you are in. When this happens, afterwards I withdraw from him/her, emotionally and keep a (physical) distance and give them space and refrain myself from having any contact with them until I feel ready and able to do so.

Feelings of guilt, that we feel obligated to him/her is something us people-pleasers do instinctively. We find it almost impossible to say ''no'' that we agree to things and say ''yes'', because we don't want to feel guilty and in letting these people down. We want to feel validated, respected, to be valued, appreciated, and I'd add understood as well. When really this isn't necessary.

There was one time at work last year whereby my emotional triggers got the better, or be it worse of me; I felt I was being dismissed by her, so I reacted instead of responding to the situation, and as a result, the outcome wasn't a good one by any means. Over time and to this day, in reflecting over the incident, it wasn't until I realised and identified where this emotional trigger came from that I sought to recognise why I reacted the way I did: she downplayed something I said. I felt as if I wasn't of worth, I was feeling ignored by her, I was trying to seek her 'approval', whilst she was practically speaking to pretty much anyone she was around. It left me feeling devalued, disrespected that in a separate incident, I lashed out in anger, which I deeply regret. I took on and was feeding on her pain and anguish as my own -, and in doing so, I broke down and struggled enormously with my emotions.



It taught me a valuable lesson... and that if I ever continued going down this path by reacting in situations, and dealing with emotional hurt through anger that leads to hatred, it would hurt me emotionally in the long run. Thankfully, and as of today, I have come to learn to control my emotions and by placing these boundaries to prevent myself from being emotionally wounded; to take myself out of situations or not say a word during times when I dreaded that s/he would say something stupid or rude to offend me or hurt my feelings. I had to acknowledge that by reacting to situations instead of taking the time to analyse, reflect and address them and by making it a personal thing against her, I wasn't being a good person: that I was being spiteful and selfish: two terms I dissociate myself with. 

Nowadays, when someone is being sad, angry, toxic, negative, I choose to remove or detach myself from their presence and with the boundaries set in place, there is a greater sense of relief and protection that I deem of worth that their words, actions can't and won't hurt me, or won't hurt me as much. I stay silent, calm and not react emotionally and focus on my job role and doing the work the best I can.


Thankfully, being empathetic and compassionate and kind keeps me connected, grounded and sane amongst the difficult and toxic people I am surrounded by and whose paths I cross throughout my life.

Life isn't always easy and straightforward as it comes with its sets of challenges, hurdles, difficulties, issues - though sometimes the most painful, stressful, difficult situations that occur and challenge us at work and in our personal lives, the mistakes we can't undo and the lessons we learn through by going through them can become the catalyst for thriving work and personal relationships, introducing and setting boundaries, healing, change within ourselves internally and externally, and especially making us become better human beings.