{"id":1428,"date":"2008-10-20T01:13:20","date_gmt":"2008-10-19T15:13:20","guid":{"rendered":"http:\/\/slackbastard.anarchobase.com\/?p=1428"},"modified":"2008-10-20T01:13:20","modified_gmt":"2008-10-19T15:13:20","slug":"more-nasty-american-psycho-boy-80s","status":"publish","type":"post","link":"https:\/\/slackbastard.anarchobase.com\/?p=1428","title":{"rendered":"More Nasty American Psycho Boy ’80s!"},"content":{"rendered":"

More ’80s<\/a>. Wisconsin’s finest Killdozer<\/a> perform the original ‘Nasty’, later covered by Janet Jackson:<\/p>\n

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‘American Psycho’ \u2013 the musical<\/a>
\nChris Green
\nIndependent.co.uk Web
\nSeptember 27, 2008<\/p>\n

With his shockingly gory novel American Psycho<\/em>, Bret Easton Ellis examined the decadence and greed of Wall Street workers during the Ronald Reagan era through the eyes of a self-professed homicidal maniac. Now a musical theatre version is to be created for Broadway…<\/p>\n

The novel contains a number of lengthy chapters in which the main character waxes lyrical about his favourite musical acts of the era, including Genesis, Whitney Houston and Huey Lewis and the News<\/a>. The prominence of Eighties music in the book is assumed to have inspired the Broadway version, and will undoubtedly influence its score, although the project will have to secure the rights to any tracks that it wishes to use…<\/p><\/blockquote>\n

GENESIS<\/a><\/strong><\/p>\n

Patrick Bateman<\/em>: Do you like Phil Collins? I’ve been a big Genesis fan ever since the release of their 1980 album, Duke<\/em>. Before that, I really didn’t understand any of their work. Too artsy, too intellectual. It was on Duke<\/em> where Phil Collins’ presence became more apparent. I think Invisible Touch<\/em> was the group’s undisputed masterpiece. It’s an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don’t you, uh, dance a little. Take the lyrics to ‘Land of Confusion’. In this song, Phil Collins addresses the problems of abusive political authority. ‘In Too Deep’ is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I’ve heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins’ solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like ‘In the Air Tonight’ and ‘Against All Odds’. Sabrina, don’t just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is ‘Sussudio’, a great, great song, a personal favorite.<\/p>\n

WHITNEY HOUSTON<\/a><\/strong><\/p>\n

Patrick Bateman<\/em>: Did you know that Whitney Houston’s debut LP, called simply Whitney Houston<\/em> had 4 number one singles on it? Did you know that, Christie?
\nElizabeth: [laughing] You actually listen to Whitney Houston? You own a Whitney Houston CD? More than one?
\nPatrick Bateman<\/em>: It’s hard to choose a favorite among so many great tracks, but ‘The Greatest Love of All’ is one of the best, most powerful songs ever written about self-preservation, dignity. Its universal message crosses all boundaries and instills one with the hope that it’s not too late to better ourselves. Since, Elizabeth, it’s impossible in this world we live in to empathize with others, we can always empathize with ourselves. It’s an important message, crucial really. And it’s beautifully stated on the album.<\/p>\n

Hugh Anthony Cregg III AND THE NEWS<\/a><\/strong><\/p>\n

Patrick Bateman<\/em>: Do you like Huey Lewis and The News?
\nPaul Allen: They’re OK.
\nPatrick Bateman<\/em>: Their early work was a little too new wave for my tastes, but when Sports<\/em> came out in ’83, I think they really came into their own, commercially and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He’s been compared to Elvis Costello, but I think Huey has a more bitter, cynical sense of humour.
\nPaul Allen: Hey Halberstram.
\nPatrick Bateman<\/em>: Yes, Allen?
\nPaul Allen: Why are there copies of the style section all over the place, do you have a dog? A little chow or something?
\nPatrick Bateman<\/em>: No, Allen.
\nPaul Allen: Is that a rain coat?
\nPatrick Bateman: Yes it is! In ’87, Huey released this, Fore<\/em>, their most accomplished album. I think their undisputed masterpiece is “Hip to be Square”, a song so catchy, most people probably don’t listen to the lyrics. But they should, because it’s not just about the pleasures of conformity, and the importance of trends, it’s also a personal statement about the band itself.
\n[raises axe above head]
\nPatrick Bateman<\/em>: Hey Paul!
\n[he bashes Allen in the head with the axe, and blood splatters over him]
\nPatrick Bateman<\/em>: TRY GETTING A RESERVATION AT DORSIA NOW YOU FUCKING STUPID BASTARD! YOU FUCKING BASTARD!<\/p>\n

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More ’80s. Wisconsin’s finest Killdozer perform the original ‘Nasty’, later covered by Janet Jackson: ‘American Psycho’ \u2013 the musical Chris Green Independent.co.uk Web September 27, 2008 With his shockingly gory novel American Psycho, Bret Easton Ellis examined the decadence and … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[6,11],"tags":[],"class_list":["post-1428","post","type-post","status-publish","format-standard","hentry","category-history","category-music"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p6AyE-n2","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=\/wp\/v2\/posts\/1428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1428"}],"version-history":[{"count":0,"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=\/wp\/v2\/posts\/1428\/revisions"}],"wp:attachment":[{"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1428"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/slackbastard.anarchobase.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}