Thursday, April 14, 2011

Some Unexpected Motivation.

Dear Internet,

Though it's (hopefully) common knowledge among all y'all dearest Readers of mine that my musings here are purely recreational, casual, not meant to garner fame or fortune—hence the sporadic posting, ample ampersands, & ubiquitous use of terms like "fuck" & "donkey balls"—I do still enjoy, on occasion, perusing my viewership statistics. Blogspot is kind enough to provide this feature—"Stats"—that tells you your number of views, search terms through which people have found your page, even from what country & operating system these hits originate (in my case, a bizarrely high influx from PC users from Denmark).

More often than not, the information is banal, perhaps worth a giggle, but today—well—let me just say this: you know you're doing something right when your three most-searched terms to date are, in order, "gigantic breasts," "famous serial killers," & "Iggy Pop bleeding from chest."

So, in conclusion, thank you, Danish porn surfers. You love me. You really, really love me.

Hearts, donkey balls, & truly gigantic breasts,

P.S. Stay tuned for some reckoning on two upcoming TV series...

Today's Headphone Fodder:

It's no secret that Richard O'Brien (AKA, the guy who comes out of the toilet in Spice World—or, for those not living in my brain, Riff Raff) wrote a number of Rocky Horror's songs prior to the play's inception, before Brad & Janet & Transylvanian transvestites—which means that, though they work seamlessly enough within the musical, they also sound especially fantastic when performed by a band, stand-alone & punked out. (Please, for the love of all that is holy, check out The Rocky Horror Punk Rock Show—mentioned previously here.) "Superheroes" is definitely one such song—that two-step wail of the guitar, lyrics brimming with neo-Nietzchean angst—&, at least in my mind, the shouting of "stumble, stumble, fall!" after each line of the second verse, as besooted Janet can't quite keep her footing in the post-rocket mansion ruins. What the cover does so brilliantly, though, is bring this sentiment to a boil—implicitly beg you to dance through the bleak pronouncements, thrash to the bitter end—to stumble-stumble-fall, hard, with intent.

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