#In God We Trust Inc. EP

[savage-kult-of-gorthaur]

THE KIWIS NEVER KNEW WHAT HIT THEM -- SOME OF THE FASTEST IMPORTED HARDCORE ON NZ SHORES.

PIC(S) INFO: Spotlight on the "In God we Trust, Inc. 12 inch EP by American hardcore punk band DEAD KENNEDYS, jointly released in 1982 under the Stunn/EMI labels. This is the New Zealand first pressing manufactured and distributed by EMI Records Ltd for Stunn records. A very rare and reportedly one of the hardest world wide records to find.

Source: www.picuki.com/media/3243237276830231308.

[punkrockhistory]

43 years ago

"Nazi Punks Fuck Off" is the fifth single from the Dead Kennedys, recorded in June 1981 and later released on the In God We Trust, Inc. EP

[genericpuff]

hi, i know the episode came out weeks ago, but i wanted to talk about ep 277 and your essay on it. i thought it was very well thought out and had brought up lots of concerns abt apollo's other victims and the harm persephone caused to others that i just. hadn't really thought about myself because honestly this webcomic is a BLUR to me LOL. thank you for writing these insights and putting them online for others to read ! i think you manage to keep a respectful distance to rachel [1/]

Yeah, regarding how the SA was handled...

I think Rachel did exactly as well as anyone might have expected someone like her to write a plotline like that.

Honestly if Rachel really did want to do the arrow thing, I think it would have worked WAY better if she had used the arrow of hate. First of all, because it had already been established back in S2 when it was shot at him by Psyche, but ALSO because making it an arrow of love confirmed that Eros literally did what Apollo asked despite the fact that he's Persephone's best friend and should have been more suspicious of what he was going to use it for. Why not just do a bait & switch where Apollo is under the impression that it's an arrow of love but Persephone trusts in her friend and pieces it together that it's probably an arrow of hate? It would also payoff the whole "news crew being nearby" thing (as well as all the other gods that just randomly showed up) because uh oh now they all see his true nature and he can't hide behind his lies anymore!

After all, as I mentioned in my previous post about this (the one I believe you're referring to) it's not like there wasn't already foreshadowing that Apollo was going to fall on his own sword the way of Mr Waternoose from Monster's Inc, he was already showing signs of cracking under the guilt that he was feeling towards how he treated Persephone/Eris/Hermes/etc. so why did it have to be Persephone taking a massive risk by sticking him with an arrow of love that still doesn't fully explain why he would even suddenly be a changed man? Loads of people like Apollo think they're in love / define their infatuation as love so I don't see how an arrow of love would suddenly make him empathetic to her pain. Especially when, again, he still begs her not to make him confess, so the guilt he's feeling is still completely empty and unmotivated.

I will leave this with one final thing that I saw the other day that very much reminded me of the Apollo SA plotline and I think it rings very true for the misdirected conclusion of the plot itself:

One of the biggest issues of the Apollo SA plotline, at least in my opinion, is that it never really gets to the root of why people like Apollo exist. There absolutely were strong foundations for this - he's the son of a guy who's known for being a serial cheater, he's popular and egotistical and is used to women wanting him, etc. - but all of those foundations kind of fell to the wayside in favor of turning Apollo into just another boogeyman, especially to lift Hades up as a "good man" by comparison (when Hades himself also falls on this spectrum). But many people like Apollo aren't just random guys in an alleyway or conspiring with some "higher power" that's manipulating them, they're men who fundamentally do not understand consent and assault on the varying spectrums in which it exists from "SA just exists, oh well" passiveness to "I'm an actual monster who gets pleasure out of victimizing women" aggressiveness. I think there's a lot to discuss about how people like Apollo exist WITHOUT sympathizing with them, but LO manages to do neither - not only does it give us uncomfortable and unnecessary looks into the rapist's POV more than we get the victims, but it does it in a way that doesn't actually address the issue of how people like Apollo come to be, it's just "Apollo is the big evil boogeyman who raped Persephone". Not only does it not actually put enough focus on the victims, but it reduces the societal and cultural complexities of where Apollo's brand of egotistical entitlement comes from to just "some guys just be evil like that". Guys like Apollo don't just come out of the womb like that, they're often shaped into what they are by a society that both excuses them for awful behavior towards girls ("Boys will be boys!") and enables - if not outright encourages - them to objectify women as trophies that they're entitled to. Even the seemingly innocent and sentimental practice of "giving away a bride" at a wedding is rooted in these patriarchal systems, with the belief that a woman first "belongs" to her father before being "given to" her husband.

It's the part of feminism that often gets overlooked - it's not just about uplifting female voices and helping survivors speak up about and heal from SA, it's also about deconstructing and challenging the patriarchal systems that lead to SA victims being created in the first place. Sure, Apollo got sentenced to building temples in the Mortal Realm, but what is that actually doing to address the bigger topic of how men like him come to exist in the first place? Especially when it was also treated as a good thing for TGOEM to be disbanded, instead of, idk... reworking it into a women's support group for survivors like Persephone?

IDK, it's a very complicated subject that you can approach from a million different angles, I don't think that my criticizing it should outweigh the opinions of those who were satisfied with the punishment that was given to Apollo (my saying the SA plotline sucked doesn't mean you're not allowed to find your own validation in it) but I do think that, at best, Rachel ended the SA plotline the only way she could because she herself is just not equipped to tackle such broad subjects that require a lot more education, experience, and nuance than what she's capable of writing. There are definitely 1298423108 better ways that plotline could have been resolved, but not with Rachel Smythe at the helm.

And that's my many cents on that.

[industrial-horror]

"N**zi Punks F**ck Off" is the fifth single from the Dead Kennedys, recorded in June 1981 and later released on the In God We Trust, Inc. EP

[lordofmusicvideo]

Dead Kennedys remind you of the house special with "We've Got a Bigger Problem Now" from their 1981 EP In God We Trust, Inc.

[c-40]

A-T-3 133 Butthole Surfers - Bar-B-Q Brecht

Before Dinosaur Jr. Lou Barlow and J. Mascis had been in the hardcore band Deep Wound, Lou on guitar and J. on Drums. Deep Wound's self-titled EP comes out in 1983 but it wasn't until 2006 and the Almost Complete compilation that you could easily get your hands on this material in the UK. I love Dinosaur Jr. but I've never picked up the Deep Wound records, check out the 1983 EP here https://youtu.be/5rPO3hJw814

Something easier to find was...

Butthole Surfers debut EP put the ass back into Texas. Dead Kennedy's Jello Biafra was instrumental in the early career of Butthole Surfers (Hüsker Dü also, who I wrote about yesterday) and getting them onto record. Primarily a live band the Buttholes put on gigs that are written about as performance art, with projected films and onstage antics equal to the music, an inverse of stadium rock shows by bands they idolise. Haynes and Leary shy away from talking about the band in interviews, there are a lot of made up stories, but according to a reliable source (wikipedia) the debut EP began as a promise from Biafra (who ran Alternative Tentacles for DK's,) if the Buttholes could get someone to loan them studio time Alternative Tentacles would reimburse the studio when the EP was done. The Buttholes got Bob O'Neill, a studio owner in San Antonio, Texas to agree to provide the band with the time they needed to make the EP, the studio's engineer Joe Pugliese helping with production

"Sometimes it’s hard for me to even think of our music as music . . . It has been more of a platform to express ourselves, even though we don’t know what we are trying to express. I was pretty mad at the world for a while." - Paul Leary, guitar and occasional lead vocals

The result is chaotic, confrontational and adolescent (the record labels says it plays at 69 RPM). Bar-B-Q Pope begins like a Blue Öyster Cult record then has it's mood ruined by Leary squawking like a rooster, the effect is a kind of dissonance Brecht might even have approved of. The song is political, there's a saying "It’s the bigots prerogative to not use language seriously" here that is being flipped on its head to intentionally upset conservatives. Here 'the pope' is the catholic church, which stands in for all organised religion. In 1981 label mates Dead Kennedy's released In God We Trust, Inc which presents conservative christian political organisations, including think tanks, astroturf organisations, and lobby groups as criminal enterprises, a racket... today we might call it a grift. Check out Moral Majority on the In God We Trust, Inc EP, the difference between Moral Majority and Bar-B-Q Pope is Jello Biafra is holding up a black mirror and trying to use reason and argument where the Buttholes don't bother. The Butthole Surfers debut EP is sometimes called Brown Reason to Live. If this is the intended title or not is ambiguous and a whole book has been written about what 'brown' might mean (Merdre! as Ubu Roi would say) - Ween flew with the whole 'brown' thing, didn't they? - it's a tactic the tories are employing right now as they stir up hate against desperate people fleeing harm to find refuge in the UK. Facts, truth, reason get in the way of the tories objective. Braverman and Robert Jenrick have as much respect for meaning as they do the law when it gets in the way

Something that punk and hip hop share is cartoon violence intended to provoke pearl clutching conservative christians and liberals who are disgusted by cartoon violence more than they are people in rich countries living in poverty. It's argued just by being called Butthole Surfers the band will never sell out (I was saddened when Crazy Penis changed their name to Crazy P) but this underestimates the porousness of capitalism. I like this quote 'Haynes was asked whether, if given the chance to do it all over again, he would rewind the clock and make his career trajectory somewhat smoother by giving the band a more palatable moniker. "Yes," he replied, "I would name the band: I’m Going to Shit in Your Mother’s Vagina."'

Does this shake folk out of their stupor, probably not. Does it radicalise the youth, not enough

Butthole Surfers debut EP reached 21 on the UK indie singles chart. I found it around 1990/91, Piouhgd comes out on Rough Trade in 1991

[vmonteiro23a]

THIS IS OUR MUSIC: Dead Kennedys - "We've Got a Bigger Problem Now"

THIS IS OUR MUSIC: Dead Kennedys – “We’ve Got a Bigger Problem Now”

THIS IS OUR MUSIC: Dead Kennedys – “We’ve Got a Bigger Problem Now” Song from “In God We Trust, Inc.”, an EP by the Dead Kennedys, released in December 1981

[julio-viernes]

Monumental “Holiday In Cambodia”, mi preferida de Dead Kennedys en recuerdo de su baterista D.H. Peligro, fallecido a causa de un accidente doméstico. La subo aunque todavía no era parte del grupo, toca la batería aquí Ted (Bruce Slesinger), Peligro entró en 1981 para el EP “In God We Trust, Inc”.

Creo que esta canción, larga para el estándar de la época y estilo, tiene todo lo bueno, y cuando digo todo es todo (fuerza, rapidez, tensión, atmósfera) que se podía esperar o se le podía pedir al post-punk. En el fantástico primer álbum del cuarteto “Fresh Fruit For Rotting Vegetables” (1980).

[popculturebuffet]

Ducktales Reboot Reviews: The Dangerous Chemistry of Gandra Dee!

Fenton faces some of his greatest challenges yet: Gizmoduck’s soaring popularity and the possiblity of amour...  oh and the return of his arch enemy but that’s a standard tuesday for a superhero. It’s a Date, don’t let him trick you noooo, under the cut. 

I have to admit something first: I WAS going to cover the other two fentoncentric episodes before I got to this one, as a build up to this weekends episode. The problem though was I realized that this week’s episode is, via word of god, going to cover WHY Gyro hates Fenton , and thus I really can’t dig into Gyro’s behavior in both eps, especially Who Is Gizmoduck? where despite his rational fears of having funding cut, he’s still an uttershithead to fenton and I feel it’d be better served if I waited a little and did the ep sometime after saturday.  So with that bit of expostion you probably didn’t need out of the way: Dangerous Chemistry! This one is a personal faviorite of mine, to the point that when I was bored a week or two ago I watched this one just for fun, and probably will again. That’s not why i’m reviewing it: even if I hadn’t I would rewatch it and planned to for the ones I was going to review, it’s just dumb luck. And part of that is Fenton is one of my faviortes: Lin Manuel Miranda really brings his a game to the character, and the crew really fleshed him out, making him a really likeable, fun, and relatable awkward dork. Another reason is one that should be obvious if you saw my comics reviews when I in vain tried to review each dawn of x comic on a weekly basis before throwing up my hands at the sheer volume: I fucking love super heroes, and Who is Gizmoduck and this very episode are very good superhero stories that still fit well into the ducktales universe, as is the darkwing debut “The Duck Knight Returns!”. And finally the episode also has Huey in a major role and I love my red boy. So with all that stuff out of the way I can dive into the ep itself.  This one, as you probably know but I do like me my context, takes place in the second half of season. While Fenton did show up earlier for fellow instant classic “The 87 Cent Solution!”, he’s otherwise been absent this season. My honest theroy is, rather than Lin being busy, which while he sure as hell is he still squeezes the show in, it’s more a simple fact that season 2 is pretty damn stuffed: looking back at the episode count almost EVERY ONE ties into one of the major arcs of the season (Della’s journey home/struggle to fit into her kids life/ the moonvasion, glomgold’s bet with scrooge and louie inc), and those that don’t either bring in major new characters like the Cablleros or Drake, or touch on previous arcs: Last Christmas! touching on Dewey missing his mom while she’s still missing. Lena’s episodes bringing her back to the world of the living/introducing her sister, and then resolving her fear of magica for now and revealing where Magica’s been, and this ep checking in on fenton. There was just a LOT to do and get through, and Gandra was really the only time sesntive thing Fenton wise they had to absolutley do this season. So while it sucks, I do understand why they did it this way,  I do see why and hold no ill will over it.  And to the crew’s credit they used the fact Fenton had been absent cleverly and had a valid reason why we hadn’t seen him outside of one breif apperance: he’s busy. Simple as that. He’s been superheroing all this time: when we catch up with him he’s outright called burnt out by a c-list weather villian who looks like dr.doofnschmritz but lacks his awkward charm. He even uses the same pun twice. It’s also logical: his literal JOB is to be a superhero, it’s what he’s paid for, and given Duckberg seems ground zero for lunatics, it’s only natural ther’es a bakers dozens with techno gimmicks and costumes floating around trying to beat him up. He’s naturally exausted and i’ts made worse by two factors: His alter ego being all over the news, so even when h’es off work he can’t escape work, and being unable to do science.  And both are clever delimas: a lot of the usual superhero issues are non existant for fenton: while he’s bad at hiding his identity, the only person he really has to hide from is his mom, who we later learn at the end of the season already knows and has come around to it. His job isn’t in remote jeapordy because Gizmoduck IS the job, while he still has full acess to a lab to do the science work he’s always wanted. But he’s starting to see the price for doing the right thing: He’s spent so much time as Gizmoduck.. Fenton has nothing of his own. No time to do science, only two friends, and as a result is exausted and burnt out and yearning for a break.  So thankfully he’s taking one, and in another use of “time has moved on a bit because we didn’t have time for Fenton this season” he and Huey have gone from superhero and biggest fan to best friends. But I let it slide, partly because again the season is overstuffed dand i’ll likelky delve into that more when I get to this seasons arcs at some point, and mainly beause the two have a great dynamic: Huey is supportive, just wants his friend to be okay, and meshes with fenton perfectly: Their both big nerds who people tend ot ignore who get overly excited about science. But Hueys more openly confident while Fenton clearly lacks it at times. It’s a nice eb and flow I hope to see more of. 

HE and Huey are hanging out to do science and stuff, with webby tagging along because why not, and I absolutly love the gag of gizmoduck passing by, Webby not noticing at all and only finding out Fenton and Gizmoduck are the same person because Huey makes a rather big deal abotu the fact Gizmoduck just passed by and Webby is really smart and likes solving shit.  So we quickly get the rest of our setup: At the elctronics store, Fenton has a meet cute (which the juinor woodchuck guidebook of course has an entry on. ) with Gandra Dee, played by guest acress Jameela Jamil, better known from the good place and being the only one to point out “hey emil hirsch beat the shit out of the woman what the fuck” when quinten Tarantino cast him in the otherwise amazing film “Once Upon a Time In Hollywood”, who does a great job here. The two have some romantic tension as she calls fenton a suit and what not, he fires back he is good at sceincing and they schedule what may or may not be a date... with Fenton unaware that Gandra is a spy hired by mark beaks to get the gizmoduck passowrd and use her nanites merged with gizmotech to boost his strength. As you do.  The resulting episode is really damn good: Starting in the obvious place, Fenton and Gandra have a reall good dynamic: besides the obvious oppsoites attract thing: the modernized nerutoic nerd and the rebllious scientest there’s the nice contrast in who they work for: Sure Fenton works for a billionare who DOES use some of his and gyro’s work for fairly self serving things (and I didn't realize the universal solvant was a rosa thing first time around, I learned it between viewings, but it’s a nice mythology gag), but it’s been shown as far back as the pilot that’s he’s more than willing ot help all of duckberg, even if it makes a profit. WHy WOULD he stop gyro or fenton’s research for any reason? He funnels a ton of money into them simply beause he knows for every dozen failures something useful will come out of it and at most simply wants more treasure hunting gear, stuff both can whip up easily and for Fenton to spend most of his time as defender of the city, something Fenton wanted anyway. He’s a good boss... while the billionares Gandra’s working with, Bradford as we learned later and beaks in this episode.. are self serving scumbags who only want innovation for world domination and personal validation. By refusing to have ties with or trust anybody or put in the legwork to find an employer who would give her mostly freedom, she wants complete freedomf or her work in exchange for taking money from truly awful people. She’s no freer than fenton is and her hypcoricy is obvious, without making the character terrible in any way. As the kingpin once said in spiderman the animated series “the best strings are invisble”. While Gandra is well aware of who she’s working for she refuses to see the irony or the possible harm in her actions , and it’ll be intresting to see where her charcter goes from ehre.  As for Beaks, he’s a FAR better threat here than in the past episodes: I didn’t MIND him being a joke villian, though I was horribly disapointed, and he will likely be super dated eventually... but here it finds a nice ballance: While he’s still a whiny manchild, the breaking into the lab sequence is utterly delightful and shows that he’s NOT harmless. He’s at his best, like glomgold, when he’s either off to the side comedic relief, or a mixture of genuinely threatining and utterly moronic. His drinking 80 pounds of senstive chemicals turns him into the hulk and the resulting fight scnees are great, as is his confusion upon taking huey and webby hostage “I have your kids.. I think.. I don’t know how this family works” and his cries of “whose the looser now coach dad” are both funny and offerd our first peak into why he’s so screwed up. And his defeat while rediculous is clever, using his love of fame and his phone against him. Overall a much better showing than the past that so far has kept up into season 3: even if his plan backfired there and was for goofy reasons, it was here too, it only fell apart because he hired someone who hated him and underestiamated how much he’d pissed off graves last time. 

As for Fenton himself, the episod eis a great showcase, besides the before issues his manuvering around both the obvious date the kids set up for him (more on that in a second), and his genuine chemsitry and contrast with gandra are a delight.. as his his dad’s lesuire suit. On top of that the scenes wher ehe chews gandra out are a great bit of acting from Lin manuel Miranda, the hurt and fury in his voice coming through great.  To finish it out Huey is a delight this episode, showing himself to be a suprisingly good romantic for his age, serously violet won the lottery with this one, and while overenthsastic, i’ts still sweet and his friendship with fenton is genuinely heartwarming, as is what has to be the best line of the episode besides the beaks one above Huey: Fenton’s going to be devistated! Webby: (Annoyed) Or kidnapped by spies! Huey: (Dead serious) TWO BAD THINGS COULD HAPPENS! It’s a sweet dyanmic overall and the cherry on top of an utterly fantastic episode. Hopefully the momentum keeps up going into saturday. Until then, later days. Speaking of which.. WHY ISN’T THE WEEKENDERS ON DISNEY PLUS. God I shouldn’t be able to keep thinking of shows that are missing. Anyways, once again later days.  P.S. I almost forgot Launchpads great bit listing off all his exes and confriming that he’s probably bi. It was great. 

[savage-kult-of-gorthaur]

IN MEMORIAM -- BECAUSE JEFF WAS ALWAYS THE HARDCORE PUNK MANIAC.

PIC(S) INFO: Spotlight on American thrash metal band SLAYER, but especially the late, great Jeff Hanneman✝ rocking an "In God We Trust, Inc." (1981 EP) DEAD KENNEDYS band tee, c. mid '80s. 📸: Gene Ambo, various.

"This ["In God We Trust, Inc.] goes way back, we’re talking 1983/'84 here. Jeff Hanneman✝ from SLAYER brought a tape of it to rehearsal once and I was just blown away by the energy that that album had – the fire and the anger; the angst was just unreal. The DEAD KENNEDYS were a big inspiration, maybe not musically, but as far as energy was concerned and how to execute the music; the drive, the relentlessness of the record and the sound, it just has bite, it has this aggression that’s just like a damn race car, y’know? A ripped raw, aggressive sound. They inspired SLAYER in a lot of ways because we fed off it and we wanted to mimic that energy – not the songs, it wasn’t about copying them as a band, it was about delivering that same intense energy."

-- DAVE LOMBARDO on the energetic influence of the DK's "In God We Trust, Inc." EP on SLAYER's sound (interview with the Quietus, c. 2019)

In memoriam: Jeffrey John Hanneman (January 31, 1964 – May 2, 2013), whom departed our mortal plane on this day -- another legend lost.

Sources: www.kerrang.com/slayers-jeff-hanneman-made-beautiful-music-for-evil-people, www.kerrang.com/evil-never-dies-a-farewell-tribute-to-the-timeless-thrash-metal-genius-of-slayer, the Quietus, etc...

[punkrockhistory]

42 years ago

In God We Trust, Inc. is an EP by hardcore punk band Dead Kennedys, released in November 1981, and was the group's first record with drummer D.H. Peligro

#punk #punks #punkrock #hardcorepunk #deadkennedys #InGodWeTrustInc #history #punkrockhistory

[musicpromoapp]

D. H. Peligro, Dead Kennedys Drummer, Dies at 63

D. H. Peligro, Dead Kennedys Drummer, Dies at 63

Peligro made his recorded debut with Dead Kennedys on the 1981 EP In God We Trust, Inc., which famously marked the band’s first of many references railing against Ronald Reagan. The record also includes their iconic hit “Nazi Punks Fuck Off.” Peligro’s hardcore drumming style continued in a modified form on the band’s sophomore album, 1982’s Plastic Surgery Disasters, and on through their next…

[thegroubal]

Check out this listing I just added to my Poshmark closet: Vintage vinyl Dead Kennedys In God We Trust, Inc. EP record album 1981.

[forgotn1]

One of the reasons a lot of pop songs were so short was because they had to follow a label mandated "formula" to maximize airplay and try to manufacture a hit. 120 bpm, 2-3 verses, a simple catchy chorus, and a bridge, all under 3:00 minutes in length. It started in the 50s, but you can still see it in use today in many pop songs. The Beatles & the Beach Boys both followed this early in their careers, as did Britney Spears and the boy bands. The executives who mandated this definitely deserve to be arrested.

Artists who were allowed to follow their own path and create what they wanted (as opposed to what the label wanted) were never beholden to format limitations. That's why double albums exist. They made so much music for an album that it needed two records. Hell, there were some bands who made albums long enough to require two cassettes, which is saying something since cassettes could handle up to 120 minutes.

But then there was punk, which had short songs because they played so fast and recklessly that the song was over before you knew it. There were a number of punk bands whose albums were so short that the cassettes had the full album twice, once on each side. The Dead Kennedys' In God We Trust, Inc was an EP with 8 songs short enough to fit on one side of the tape. Instead of doubling it for the B side, the left it blank and had the message "Home taping is killing record industry profits! We left this side blank so you can help." printed on it.

I think it should be illegal to write a good song that’s under three minutes long. What am I supposed to do? Listen to it 84 times in a row?? Well I’m gonna

[everylanglyshirt]

DEAD KENNEDYS “In God We Trust, Inc.”

Interesting hint about Langly : he’s probably an atheist !

Even it’s pretty expensive, you can find this item right here :

https://www.ebay.com/itm/Vintage-DEAD-KENNEDYS-In-GOD-We-Trust-Inc-EP-Album-Cover-PUNK-ROCK-Tshirt-XL-/371386827261

Langly wore this tee shirt in the following episode :

The Lone Gunmen (s01e10) : Tango de los Pistoleros

[evolstak]

DEAD KENNEDYS IN GOD WE TRUST, INC. 12"EP STATIK 206 102 #LifeOfVinylEnthusiasm https://www.instagram.com/p/B5FZl3PD3xqASAJJVcKYfkGgZ7_h4SWEkkOP3w0/?igshid=j5pylhnnaeah