Excerpts from Electric Degeneration, Degenerate Press' semi-weekly e-zine, free and ad-free. A full episode contains sections for music reviews, upcoming events, blasphemy, classifieds, and anything else we feel like saying. If you'd like to subscribe just contact us.
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Iíve been packing and running errands and checking things off
my To Do list and, coincidentally, putting off the ezine over and over until all
else had been taken care of.
ďThe newspapers! Sir they are the most villainous Ė licentious Ė abominable Ė infernal Ė Not that I ever read them Ė no Ė I make it a rule never to look into a newspaper.Ē
Philip Henry Sheridan, from The Critic
If you know me, or have read Degenerate Press efforts for any period of time, you know I have more than a few hobbies Ė metal sculpting, geeky gaming, car remodeling, eating all the pork I can get my teeth on, drinking all the rum and whiskey I can before liver failure, consuming massive quantities of porn Ė itís a wonder I get around to Degenerate Press at all.
As youíve read, lately Iíve been whoring myself out to print publications for money.
Sure, it pains me to pare down my sometimes verbose ramblings to the bare bones, which are further whittled away to fit into the miniscule word counts given me by the Editors on Mount Olympus.
But it pays.
This new effort has forced me to reevaluate my use of time. Thereís just not enough time in the week to do everything I WANT to do, much less everything I want to do in addition to everything I have to do to keep a roof under my head and my belly full of pork!
Something has to go, and that something is Degenerate Press. Fuck it, yíall ainít payiní and the T-bird needs a new pair oí seats. Professional journalism has me by the gas tank.
So Iím headed to NYC this weekend with other journalists, degenerates, slackers and hangers-on. When I get back Iíll be searching for other print outlets with even the most feeble pay per word Ďcause even a little per word is better than nothing.
So hereís the last Electric Degeneration. Wish it were spectacular, going out with a roar rather than a whimper. But if I had time to roar this week, Iíd have time to keep whimpering along.
Meh. At least the Prophesy section is thick and meaty this week.
See you in the funny pages!
Last week I saw V for Vendetta, another graphic novel turned movie. This one takes place in London in the not-too-distant future. Itís a tale of revenge and rebellion against a government gone a bit mad with power. Iím not sure Americans are ready to deal with images of people in orange prison garb being tortured for information about their accused fellow terrorists, intermingled with a plot to blow up a massive building by these terrorists, when itís the terrorists who are the heroes. Frankly, mainstream America doesnít seem to like art that actually makes them think, particularly about important, difficult topics. Vendetta tries, perhaps a bit too hard and heavy-handedly, to do just that. Natalie Portman does a fair job portraying the innocent bystander caught up in the plots Ė both the terroristís and governmentís. The visuals arenít bad either. Itís no Sin City, but it beats the hell out of Fantastic Four.
A while back I caught a sneak preview of the film Lucky Number Sleven. No, thatís not a typo, itís one of those clever titles thatís supposed to catch your eye. The film has some obviously Tarantino-influenced style but lacks his consistently comical handling of characters and events. It also shares some of Tarantinoís too-clever dialogue in moments, sometimes straying into stinky cheese noir. These are distractions to what couldíve been a nice, dark study of violence and vengeance. Instead, itís a bit uneven in places, but itís still interesting to see Josh Hartnett start off with his usual cute boy persona gradually turn into something entirely different. Bruce Willis doesnít bring much to the film, but Ben Kingsley and Morgan Freeman make fun, contrasting villains. If you donít mind a fair amount of graphic violence and a few naked breasts, you might like the twists and turns in this flick. Director Paul McGuigan was in the theater afterwards, taking questions from the audience. McGuigan pointed out that the scenes take place mostly indoors in the same couple of apartments, thus his gratuitous use of gaudy wallpaper to liven things up a bit.
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