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Sunday, Jun 1, 2008

It was what we did every Saturday night. Before we discovered dating, drugs, and delinquency, the pre-adolescents of the ‘60s and ‘70s sat down in front of the boob tube with complete parental guidance and gave Carol Burnett and her merry band of parody pranksters 50 minutes of our undivided attention. We would wade through the endless shots of Lyle Wagner’s chin, tolerate Vicki Lawrence’s Mini-Younger-Me version of the star attraction, and the lunatic fringiness of latter addition Tim Conway, just to see…him. And the minute Harvey Korman walked out onto the soundstage, we were prepared. You see, the classic straight man with an unusual executive presence, was the most unpredictable aspect of Burnett’s sketch satire.


The other formidable individual in Korman’s career also got his start in television. But thanks to an Oscar for his hilarious The Producers, Mel Brooks rapidly became a film farce icon. Looking for someone to fill the frequently difficult role of comic villain, he tagged Korman to essay the partr of evil railroad tycoon Hedley Lamarr in Blazing Saddles. For those used to seeing the comedian every week, his turn in the controversial classic was a revelation. Gone were the unintentional snickers and moments of sketch stretch ad libbing. In there place was a fiery farcical turn as the only man who could sentence innocent people to death while simultaneously humping a knickknack. Brooks was so impressed he brought Korman back for High Anxiety, History of the World Part 1, and Dracula: Dead and Loving It.


By the time he entered the hospital with a ruptured abdominal aorta four months ago, Korman was resigned to a life out of the ultra bright limelight. While he and Conway would still tour with a stage show that relied heavily on their Burnett days, the 81 year old was no longer in his prime. His health had been shaky for years (he even joked about it in interviews) and the emergency surgery resulted in a protracted stay, and by the time he passed away on 30 May, he had been through the medical mill. Several operations and the usual “complications” meant that humor had lost one of its heavy lifters. In the world of second bananas, Korman wasn’t just the tops, he was the surefire sweetest of the bunch.


He was born in 1927 to Chicagoans Cyril and Ellen Korman. In kindergarten, he started acting. By the time he was 12, he had turned professional, landing a gig on a local radio show. All throughout high school and up and during his service in World War II (he was a Navy man), Korman was desperate to perform. Upon his discharge, he moved to New York, took the occasional odd job, and began the painful process of auditioning. When nothing turned up after several years beating down Broadway, he moved to Hollywood. There, among the burgeoning broadcasts of early television, he found his variety show niche.


The venerable Danny Kaye gave Korman his big break. In 1964, he became a regular on the versatile star’s TV series. It was the kind of recognition the 37 year old was dying for…and it worked. Three years later, Carol Burnett came calling. Over the next 11 years, Korman would win four Emmys (he was nominated for a total of seven), bring home a Golden Globe, and share the small screen with individuals soon to become undeniable TV myths. Burnett’s show was part burlesque, part social satire, part movie/pop culture parody, and the rest of the genre’s sensational shtick all rolled into one. Korman was a genius as short form free-for-all, and yet he hoped he could make the leap to motion pictures. Turns in mediocrity like Lord Love a Duck, Last of the Secret Agents, and The April Fools didn’t help his quest.


No, it took Brooks shrewd eye to give Korman the roles he required to break out. Hedley Lamarr remains Saddles most surreal creation, a fourth wall breaking bad guy who sees greed and goofiness as shared positive attributes. He has no trouble trouncing his own reputation both as a character and as a performer (Korman has a classic line about destroying his chances for a Best Supporting Actor nomination for how arch and over the top he is) and he does it all with a snicker and a smirk. While it wasn’t that big of a stretch from what he was doing with Burnett and company every week, Brooks typically gave his casts a more profane playground within which to romp. It was perfect for someone as sly as Korman.


High Anxiety offered another type of weirdo, this time the dominated asylum administrator Dr. Charles Montague. He delivered a delightful turn, even if Brooks’ obsession with aping Hitchcock frequently undermined the film’s overall funny business. Perhaps Korman’s most memorable moment for the writer/director was as the catty Count De Monet in History of the World Part 1. Few will forget his most memorable retort to a traveling companion, “Don’t get saucy with me, Béarnaise.”  While it was a minor cameo in a wildly uneven movie, Korman made the sequence solely his. Yet after showing up in the deadly dumb Dracula spoof, he never got a chance to work with Brooks again. As he aged, Korman became a frequent guest star in episodic TV, as well as an accomplished voice over artist. The latter wasn’t that big of a leap - kids in the ‘60s had adored his take on the Flintstone’s friendly alien advisor, the Great Gazoo.


Korman, for his part, was always unsure of his stardom. In conversations later on in life, he would joke about leaving the Burnett show, about the hubris of thinking he could go it alone, and the failure he felt when proposed solo sitcoms or showcases went nowhere. There were times when he seemed angry about all the attention to his work in sketch comedy, as if somehow he was being reduced to a certain satiric stereotype. He never badmouthed those who he worked with, and was respectful (if slightly resentful) for the backwards glancing. Yet when CBS aired a reunion of sorts in a celebrated flashback show from 1993, rating were through the roof. It both validated and confused the comic. Even up until his death, Korman seemed convinced that major mega-celebrity was just another casting call away.


By the time the millennium rolled around, Korman was in his mid-70s. He made a couple of appearances in cartoon-related product, and spent some time reminiscing for those inevitable “whatever happened to” nostalgia shows that VH-1 and TV Land specialize in. He maintained close ties with Conway, and stayed in touch with Burnett and the rest throughout the years. In a recent piece, Brooks complimented his former fiend, saying that no one could sell a straight line like Korman. While he made life on the set complicated (Mel couldn’t keep his directorial demeanor whenever Harvey was vamping), he was a necessary element in Saddles/Anxiety‘s success. Yet for many, Korman will always be Mother Marcus, the gigantic Jewish mother, or the hapless bumpkin Ed, married to the shrill, insufferable Eunice. Yes, every Saturday night, we sat waiting to see what Harvey Korman would do next. It was always worth it.


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Sunday, Jun 1, 2008

The most revolutionary thing about punk wasn’t the music, though it’s hard to imagine that ‘70s listeners were ready for the Ramones/Sex Pistols style of cacophonous crash and burn. And it definitely wasn’t the fashion, since safety pins and bondage gear were nothing more than the flairs and love beads of a differing era. In some ways, it was the attitude, even if every generation finds a way to rebel against the authority they feel are strangulating their future. No, the true ‘white riot’ came within the DIY dynamic, the notion that this style of music provided an open door for anyone with drive and a desire an outlet to be heard. All they had to do was pick up an instrument, learn to play it (optional), and bring the noise.


Of course, not everyone followed the three chord slam. There were bands that believed punk’s power awarded them the opportunity to express themselves in whatever manner they saw fit. All throughout England, pockets of post-movement music were making that distinction. The kids of Sheffield channeled their German synth heroes, while Coventry discovered the jazzy Jamaican skank of ska. In Manchester, birthplace of the industrial revolution, two schoolmates were looking to mimic the Buzzocks’ buzzsaw pop. After recruiting a pair of like minded locals, Warsaw was born. Eventually, they’d sack their drummer, rename themselves after the prostitution section of a Nazi concentration camp, and take to the stage as Joy Division. The rest, as they say, is rock and roll mythology.


What happened when singer Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook, and percussionist Stephen Morris entered the studio to record with lunatic producer (and noted drug addict) Martin Hannett pushed the providence into legend. The tragedy that turned the remnants of the act into New Order sealed such a folklore fate. Now, two new films hope to uncover the truth about the entire Joy Division experience, from the no nonsense approach of the business, to the over-romanticized suicide of Curtis. Each one takes a diametrically opposed look at the story, and yet each reaches the same conclusion - Joy Division was the moment when punk truly reached its purpose.


In 2007 Grant Gee, noted for his excellent on the road overview of Radiohead’s rise to fame during the promotion of OK Computer (Meeting People is Easy), turned his sights on the seminal foursome for Joy Division, his amazingly in-depth documentary of their rise and rapid fall. That same year, photographer (and longtime fan) Anton Corbijin made his feature film debut with a biopic of the band he once worked with. Control contains the truth mirrored in fictional flashes, the focus more on Curtis as a person than as a rock and roll symbol.


When viewed side by side, they become something quite surreal - a combination of companion pieces that both verify and violate the very terms of a biography. We get swatches of history inside a spiraling attempt to expose a perspective-plotted accuracy. Thanks to Genius Product, the Weinstein Company, and their new Miriam Collection DVD division, we are treated to a pair of perplexing, important films that fulfill the mandates of the genre while peeling back the layers of lies and fables.


Though it tends to wear it’s artiness on its work shirted sleeve, Joy Division is still a wonderful first person tell-all. Utilizing as many living participants as possible - only Hannett and manager rob Rob Gretton, both of whom died of a heart attack, and widow Deborah Curtis fail to show - we get the preamble to the band’s story. Sumner, Hook, and Morris maintain a very stiff upper lip, shrugging off suggestions that they are in any way complicit in the death of their mate, while several people suggest, including former Factory Records chief Tony Wilson, that Curtis could have been helped had anyone really been paying attention. The punk philosophy, which can best be described as the two fingered salute in UK gestures - is evident throughout the documentary. Gee goes overboard with the odd illustrative tags and flashback referencing, but the chance to see the actual players speak for themselves is valuable in and of itself.


So are the varying versions of what exactly happened. In Control, director Corbijin does a delicate job of demystifying Curtis’ suicide. We never see it, but we witness every personal detail beforehand. Many of the incidents mirror the stories we hear in Joy Division, yet without the ability to see a fictional Ian in action, the sadness still sounds emblematic. But Control countermands this. In Sam Riley - who really does do a magnificent job of playing our tragic hero as a human being - Corbijin discovers a veritable clone, someone who is capable of channeling Curtis onstage as well as bringing a similar intensity to his normative life. Both movies make it clear that Joy Division’s success never translated into the typical music biz trappings. Curtis and his mates always needed money, and one former acquaintance guesses that, in total, each only earned about $2500.


Since Control comes from Debbie’s side of the story - it is based on her 1995 autobiography Touching from a Distance - Curtis’ affair with diplomatic liaison Annik Honoré is given short shrift. In Joy Division, it feels like a fully formed relationship, the actual participant present and pleading her case. But Control treats the whole issue as a selfish, indulgent act by a man confused as to what he wanted and a woman who was more or less a glorified groupie. It’s not an issue of great love, but of lust complicated by epilepsy and the medication Curtis took. It’s not the only odd juxtaposition between the two films. Peter Hook, who does condemn his own actions in Joy Division, is portrayed as a slightly homophobic prick in Control. What few lines of dialogue the character has center around the name “Buzzcocks” and other random criticisms.


Corbijin’s decision to film in black and white definitely adds to his position. Thanks to the monochrome, there is a gravity in how Control depicts its events that Joy Division can’t quite match. It’s as if imagines are battling words for authenticity. As a filmmaker, this former video music master has the chops. There are times when Curtis and his bandmates look like the men of mystery and ethereality as history has held them out to be. At other instances, Manchester looks like a big gray garden, concrete taking the place of anything natural or organic. Corbijin does go back to his previous career when handling some of the musical material. Compared to the live performances seen in Joy Division, he argues for his ability to capture the very essence of the stage experience.


In fact, one could easily see the two films fused together to turn into the type of epic tell-all that John Lydon perfected with his masterful book Rotten: No Irish, No Blacks, No Dogs. In said tome, the former Sex Pistol presented the facts of his life as he saw them, and then allowed others to write their own commentaries contradicting/complementing his tales. While Joy Division lays down the basics, Control creates a more emotional version of the band’s story. Corbijin is not really interested in the machinations of rock and roll. The concert scenes are amazing, but manager Rob Gretton is more comic relief than window into that world. We never learn how Hannett made Unknown Pleasures in his own oddball aural imagine, or why the band went along with that decision. Indeed, the documentary focuses far more on how the music was made than why.


Of course, that’s the major question of Curtis’ life. How did a civil servant, well read but rather unmotivated, married too young and yet quite comfortable with his domestic situation (at least initially) become the darker, more dour Jim Morrison of his generation? Where did his disconcerting laments about alienation and depressive come from? Joy Division suggests that Manchester itself, a dying industrial giant desperate for a rebirth, may have been the motive. The rest of the band considered it pretty bleak. Yet Control contains sequences that suggest a relatively happy Curtis. Once he is diagnosed with epilepsy however (still a vastly misunderstood disease in the ‘70s) it seems to fuel a forgotten set of pains. Both may be catalysts, though they are probably more guesses than anything else.


Both DVDs dive deep into the details, presenting extended interviews (on Joy Division) and commentaries from Corbijin (on Control). Band participation is explained, metaphors are drawn up and explained, and anecdotes fill in the blanks. Of the two presentations, Control is more complete, since it offers a making-of featurette and some additional conversations with the filmmaker. Gee is nowhere to be found in the Joy Division supplements, in what must be a clear case of a director believing his film speaks for itself. Visually, both movies look great, and as they do with most of their packages, Genius never scrimps on the technical specifications.


Yet one will definitely walk away from Joy Division and Control with more questions than straight answers. Some might even argue that after seeing Curtis in such a flawed light, his muse may no longer matter. The band certainly seems timeless, and still their songs do preach to a much more insular and uninviting world. For better or worse, post-millennial culture is too junky and juvenile to be in tune with such angular doom. As seminal albums of punk’s harrowing hangover, Joy Division’s Unknown Pleasures and Closer are indeed outstanding. They resemble nothing of their time, or the future to come. The story of how these records were made still remains something ephemeral and vague. But thanks to these two incredible films, Ian Curtis can finally rest in peace. The burden of his legend seems lost now - and he probably would have wanted it that way. 


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Saturday, May 31, 2008

To the typical narrow-minded Westerner, martial arts mean one thing and one thing only - lots of mindless violence choreographed in a sensationally surreal manner. We want to see butts kicked, heads roll, and any other variation on said slam bang theme. Some understand the philosophy behind the fisticuffs, recognizing the second half of the nomenclature categorization for the supreme mental and physical skill it is. Others just want to see stuff hurt. In their latest releases as part of the exceptional Dragon Dynasty Collection, Genius Products and the Weinstein Company dig deep into the seminal Shaw Brothers vaults to bring out two terrific titles. One will satisfy the audience’s bloodlust. The other will provide a more pragmatic, respectable approach.


On the honor side of the issue rests Heroes of the East (1979). A wonderful starring vehicle for Gordon Liu, the famed 36th Chamber of the Shaolin icon, this fast paced free for all is actually two very distinct films in one. The first follows Ah To, our immature lead, as he faces an arranged marriage. After seeing that Kung Zi, his soon to be wife is not the Japanese kid “with the runny nose” that he used to know, he leaps into the wedding with wide-eyed optimism. The minute he learns his spouse is a seasoned martial artist, practicing several differing styles, their relationship starts to deteriorate. Eventually, their battles send Kung Zi back to Japan, and into the arms of her former teacher. Demanding a challenge, the greatest fighters of the island nation head to China. There, they prepare to take on Ah To to prove, once and for all, whose kung fu is the best.


This makes for a very unusual experience. On the one hand, the war between Ah To and Kung Zi is like a battle of the sexes set inside a weird proto-wuxia world. Clearly meant as a comment on the paternalistic nature of society and the pig-headed way men treat women, Kung Zi’s strength doesn’t lie in her skill set - it comes from her determination. She refuses to back down, even when propriety and social status would suggest otherwise. That this turns into a life or death struggle between her teachers and her husband reflects the importance of respect and tradition within Asia. The only reason Ah To confronts his wife is to command the tribute he thinks he deserves. The only reason Kung Zi allows her instructors to stand for her is that, as an insulted spouse, she requires defending. This leads to the second half of the film, a fascinating overview of various martial arts styles.


Director Lau Kar-leung, who helmed 36th Chamber, has a spectacular way with action. His editing only intensifies the already intricate choreography, and he manages to build drama and suspense within every carefully controlled composition. The differing aspects of each fight - two are merely brute force beat downs combined with wits while the rest involve differing instruments/weapons of destruction - means that the premise never grows tired. We even get a side sequence where Ah To visits a local drunken master (Kar-leung in a classic cameo) to get a handle on this more restrained talent. Naturally, the last contest between our hero and noted ninjitsu Takeno (a wonderfully intense Yasuaki Kurata) is epic, taking place in the lush Hong Kong countryside and making use of everything from jagged cliffs to local streams.


Purists, who believe martial arts are marginalized by the reliance on blood and vengeance, will adore Heroes of the East. It allows for the exquisite sanctity of each craft to be preserved while awarding the viewer with brilliant balletic action. To this end, Dragon Dynasty’s new DVD release should really satisfy said fanbase. The image offered is excellent, colorful and clean while preserving that famous “Shaw Scope” aspect ratio. Similarly, the label’s main Hong Kong cinema expert, Bey Logan, is back with another insightful and detailed commentary. Add in a tribute to Kar-leung, an interview with the always interesting Gordon Liu, and a breakdown of the differences between Japanese and Chinese fighting styles, and you have a wonderful set of supplements to an equally engaging film.


Come Drink With Me (1966), on the other hand, returns us to the classic criminals and wanton warlords of the genre’s best - and bloodiest - efforts. After a particularly gruesome ambush, the son of the local governor is kidnapped by a band of ruthless thugs. They want to work out a trade - their equally vile leader for this royal relative…and they won’t take “No” for an answer. Instead of talks, the mercenary Golden Swallow (a luminous Cheng Pei-Pei) shows up to negotiate a release. But these criminals are in no mood to bargain. Instead, they threaten our heroine. With the help of local goofball Drunken Cat, she learns the vulnerabilities of the clan, and strategizes a way to break into their temple hideout and free the captive.


Drenched in ample arterial spray and stylized to the point of poetry, Come Drink with Me is often pointed to as the inspiration for Ang Lee’s contemporary classic Crouching Tiger, Hidden Dragon. While many of the stunt setpieces are the same - a rooftop chase, a barroom brawl, the use of certain weaponry - this 1966 showcase is far more grounded. We aren’t dealing with myths and legends here. Instead, celebrated director King Hu keeps us firmly set within the fertile feudal terrain of lawlessness and frontier justice. Golden Swallow is really nothing more than your standard Clint Eastwood knock-off, a lone vigilante working out her own form of judge, jury, and executioner amongst the populace of China’s countryside. She may be able to fly like an eagle, but she’s all human…and all killer.


No, where the film finds its flights of fancy is in the character of Drunken Cat. Played with expert aplomb by Yueh Huo, he’s the kind of teacher who sits by a waterfall and forces the current to curve with only the power of his own will. He sings songs with lyrics that just so happen to be the directions to the bad guy’s hide out. He’s labeled a renegade and rogue, but his actions have the justification of right vs. wrong, honor vs. greed and disobedience. Every time he is onscreen, Drunken Cat leaves the viewer exhausted. He is conniving and convincing, wooing the ladies, swigging down wine, and working with abandoned orphans. He may sound too good to be true, and indeed, director Hu seems to steal some of Swallow’s story to give this amazing messianic figure more screen time. Along with the geisha faced villain in the piece, who seems lifted out of a much more contemporary film, Come Drink with Me is as much of its time as it is timeless.


For this DVD version, Dragon Dynasty continues with its perfected preservationist bent. Shaw Scope is once again expertly handled, and the digital packaging provides a wealth of extras. Most exciting is the chance to hear Cheng Pei-Pei reflect on this film. She is present for both the commentary with Logan and a solo interview. Both features are fabulous. So is the Yeuh Ho Q&A. He goes into great detail about his training, his interpretation of the character, and where the drunken master comes from in martial arts lore. As with all the releases by this label, the end result is something very special indeed. It’s the kind of contextual complement that really aids in our appreciation of these genre classics.


Of course, both films will still cause quite a conundrum among the typically bifurcated fanbase of the Hong Kong action film. On the one hand, Heroes of the East is pure skill, nothing but create kung fu executed by seminal big screen masters. Come Drink with Me, however, has vile hoodlums hacking away at little children, torrents of blood gushing up into their face as they destroy another life. One movie celebrates the discipline within the practice. The other centers squarely on death. If you can handle both dynamics, you are in for a very rare treat indeed. As with many of the movies featured by Dragon Dynasty, and the work of the Shaws, Heroes of the East/Come Drink with Me is a potent, masterful combination.


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Friday, May 30, 2008
Armageddon in Retrospectby Kurt VonnegutPenguinApril 2008, 240 pages, $24.95

Armageddon in Retrospect
by Kurt Vonnegut
Penguin
April 2008, 240 pages, $24.95


And So It Goes: Kurt Vonnegut, Jr. was a friend of mine. Not that I ever met him, but he was a friend of mine all the same, because he did for me what friends do. He got me through rough patches of my life with his absurd humor and simple decency. When no one else’s words seemed to offer me anything, his were always there. Reading Vonnegut, I could always hear a voice, feel a human presence beyond mere style, beyond glib wordplay. Kurt Vonnegut was my friend, and your friend too.


Armageddon in Retrospect (Penguin USA, 2008) is a new collection of previously unpublished works by Vonnegut on the one-year anniversary of his death, and while it’s not exactly the treasure-trove his fans might have hoped for, this assortment of essays and short stories on the theme of war is still Vonnegut, and even the least of his works contain amazing stuff.


War was always a preoccupation for Vonnegut, its horrors and pointlessness and capacity to make otherwise rational people behave in nonsensical ways, and these elements are doled out in full and equal measure in this collection. Of particular interest to Vonnegut, and a running theme throughout most of his work, is the issue of capitulation—to what degree do we allow ourselves to be parties to war by doing nothing? In one story Vonnegut envisions a future without conflict, a condition so anathemic to the human condition that time-travel technology is used in order to seek it out. In another, an old couple in a Czechoslovakia freed from Communist rule finds themselves equally persecuted by an American occupying force for not having risen up against the last regime. A family man in Norman England has to choose between a cushy berth as his feudal lord’s tax collector and the example he must set for his son, despite his nattering wife’s excitement over better living through the scraps from the Normans’ table.


The defining moment in Vonnegut’s life was witnessing the firebombing of Dresden, Germany as a POW, an experience he attempted to write out through his seminal novel Slaughterhouse-Five (1965), but which provides fodder for several of the stories here. Unlike many posthumous collections, this one doesn’t quite have the feel of the author’s heirs plundering the bottom of a discard trunk, though the absence of any dates assigned to these stories does make one wonder just how long Vonnegut, a shameless anthologizer of his own work, allowed these to gather dust and why. Still, the collection is worth reading for the stories, the inclusion of Vonnegut’s final piece of writing, an address he was about to give at Indiana University when he had the accident that took his life, and son Mark Vonnegut’s eloquent and apt tribute to his father’s life and work. Vonnegut’s best? No. But in a world made the worse for losing Kurt Vonnegut’s voice and spirit, we’ll take what we can get. After all, he was our friend.


Originally published 14 May 2008 at Flagpole.


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Friday, May 30, 2008
Fans can’t be faulted for nostalgia, which begs the unanswerable question: if the gory backstage drama had not pushed them apart, could Veruca Salt have continued to make it work?

Not sure if any band quite captures the waiting-to-exhale extended moment of semi-innocence that was the mid-90s (you know, the post-grunge, post-Reagan/Bush, pre-9/11, pre Bush/Cheney era when casual Fridays were infiltrating offices everywhere and music—as always, for better or worse—reflected the times in a sort of holding pattern that mixed ennui with an always unfashionable optimism) than Veruca Salt.


To recap: what was the appeal of this band? Irresistible melodies? Check. Smoking hot, sexy singers (who also played better than passable guitar)? Check. Utterly ingenious band name? Check. Glorious debut album title? Big check. Most folks recall “Seether”, as well they should; it was their big hit and a truly infectious piece of pop perfection. But as anyone who did—and still does—worship at the altar of American Thighs, it needn’t be belabored that Veruca Salt was most assuredly not a one-hit wonder. Among the better moments, “Forsythia”, “Number One Blind” and especially the almost-too-good-to-be-true “All Hail Me” (how about another shout out to the days when music videos were actually capable of being almost as great as the songs that inspired them?). All in all,  pretty ideal fodder for a one-and-done minor masterpiece.


But the dream was not dead, yet. A tide-us-over EP, Blow It out Your Ass It’s Veruca Salt, featuring the delectable “Shimmer Like a Girl”, found Veruca Salt poised for real superstardom—for whatever that’s worth. Their shot at glory came in ’97 with the (once again, brilliantly titled) Eight Arms To Hold You (incidentally, the working title of the Beatles’ album Help!), which had the addictive single “Volcano Girls”. The rest of the album wasn’t terribly shabby, either, but, it seemed (unfairly? impossibly?) their moment had already passed. And so, while the album didn’t do badly, it didn’t quite put them over.


What happened next is truly difficult to believe, particularly if you saw the doe-eyed adoration Louise Post and Nina Gordon obviously had for one another—as late as ’97 during interviews (check out youtube): a combination of bad blood, ambition, stolen boyfriends and terrible timing resulted in best friends on the wrong side of that thin line between love and hate, not to mention rock and roll cliché. Gordon set off on her own and in the summer of 2000 released Tonight and the Rest of My Life, while Post pulled a David Gilmour and retained the brand name. Almost simultaneously, the “new” Veruca Salt put out Resolver (another Beatles reference and another incredibly inspired album title, particularly considering the content within).


The results, predictably, separated fans into two camps: those who thought Tonight and the Rest of My Life successfully proved that Nina Gordon was the true talent in Veruca Salt, and those who felt that she sold out. Conversely, there were fans who insisted that the new albums made it clear that Post was the soul of the band and the one who rocked. Even in 2000, it was immediately obvious to me which album was superior (Resolver, by far)—Post picked up the banner and crawled with it. Time has been less kind to Gordon’s overly polished, ultimately safe and brazenly ambitious (not in the good sense of the word) project, while despite—or because of—the considerable warts and rough edges of Resolver, it retains an immediacy, daring, and furious venom that eight years has scarcely cooled off.


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