#dredd foole

[doomandgloomfromthetomb]

Mission of Burma - Walker Memorial Building, Massachusetts Institute of Technology, Cambridge, Massachusetts, February 14, 1982

Last week, I wrote a little about a new Dredd Foole archival release from the early 1980s, collecting Dredd's recordings with the Din — a band otherwise known as Mission of Burma. It's incredible, unhinged stuff, most of it previously unreleased. Recommended!

Foole and the Din's sole studio outing took place in early February of 1982, so I thought I'd check in on what Mission of Burma was up to around the same time. This is it! Did a bunch of MIT-ers go on Valentine's Day dates to see the band? Maybe (the band's label was Ace of Hearts, after all) though I can't imagine there was a lot of slow dancing going on during their intense, masterful set. The horrible truth about Burma? They fucking ruled.

MoB was in the midst of recording their classic Vs. LP in the winter of '82, so we get a fair amount of that new material, plus some more vintage tunes. I think my favorite is the absolutely majestic version of "Einstein's Day" here — hey, maybe you could slow dance to this one!

[whatsthesound]

Dredd Foole & The Din, “ Behind You” (1982)

Back in the day, Dredd Foole released just two albums and a single. But a label called Corbett vs. Dempsey is three-quarters of the way through a campaign to more than double that output.

For me, the unreleased studio recordings, like this from the first iteration of DD&TD that had Mission of Burma as The Din, are the attraction, but there’s plenty more….  

[cbcruk]

Dredd Foole & the Din - Songs in Heat (1982)

[shockyeahmiguelohara]

The post(s) I've seen on my dashboard discussing the explicit and weasel-y language used to describe Miguel O'Hara in the script for Across the Spiderverse, doesn't surprise me.

Doesn't surprise, but otherwise confirms what I was feeling about how they approached the character wasn't at all inaccurate.

And to top it all off, their language towards Gwen Stacy's father, or and cops in general (including Jeff Morales), is couched in the most blatant "good cops, bad apples" sentiment.

And, when you think about the fact that Miguel O'Hara's character was established and lives in a future where all of Nueva York is a Judge Dredd-type police state, and he is routinely attacked by said police? A script calling him an "animal" but asking the audience to capitulate sympathy for Officer Stacy, is some ole bullshit.

These fools really decided that, out of all the Spider-Man affiliated characters to use in their movie about Miles Morales, they were gonna pick the Spider-Man character whose entire narrative was antithetical to their storytelling.

And then on top of that, create a "utopian" Nueva York specifically to cast criticism on Miguel as a character, who is a cop-esque character hunting down a Black teenager.

I've seen the argument that if he'd been characterized as he was in the comics (leaning more towards whiteness than anything), the writer's sympathies might've been for him. I honestly don't think that'd be the case.

In a lot of ways, Miguel's character is defined by the fact that he is Mexican first before he's white. It's like how Miles was advertised as "Half-Black, Half Puerto-Rican" and that colored everything about Miles as a character was approached pre-Into the Spiderverse. Specifically what parts of his character weren't addressed.

I think you can make the argument of how Miguel was initially promoted to the masses in the 90s ("he's not the nice Spider-Man") carried with its some uncomfy ideas about Mexicans and aggression. (And now carries the consequence of allowing certain writers to mishandle him.)

His whiteness is his access to capital (his job, etc), his general outlook, most of which forms so much of his story. Oppositely, his status as "half Mexican" is typically only used or mentioned in passing. A way to highlight the poverty of his dysfunctional family.

(It doesn't have the presence of say, Miles' connection to his culture through his parents and his neighborhood in the Insomniac game and PS5 sequel.)

And then there's his choice of costume (an outfit he modified from a Dia de los Muertos shindig) and sarcastic references to his status as a biracial child.

His being a biracial Mexican man, and the dystopian future he lived in has always been a big component in framing him as the "take no prisoners" Spider-Man legacy character. But, for all the problems that come with how PAD approached in his titles, there was always context for Miguel's actions and his environment.

And I feel like Across the Spiderverse stripped Miguel of that nuance.

It's also why we ended up with Bendis', "Who cares if I'm Black? I'm also half-Puerto Rican!" speech from Miles in the comics back in 2015/2016.

[ihatetaxes99]

I've seen so many deconstructions of why BNHA stopped working at some point and I've seen a lot of them focusing on the somewhat iffy ethical implications.

Since the series is more or less over now, though, I think my biggest issue with it was that it stopped being fun. I don't really care if a series has questionable ethics or what have you. Hellsing is one of my favourite manga, and its protagonist spends the whole time slaughtering fools, many of them innocent. It almost makes a joke out of the idea that Alucard would ever consider any form of introspection and any time he even touches upon such thoughts, he quickly resumes blasting people's heads off with his handcannon. The series is dumb fun at the end of the day, and the protagonists basically get away with the awful things they've done, not as some sort of critique of society, but because vampires with big guns are cool, and everything about Hellsing is based on being cool.

BNHA's problem, conversely, is that it wants to have its cake and eat it too. It will divert entire pages to beautifully gory set pieces, characters and factions such as the MLA are based entirely upon how cool their aesthetic is and had to be quickly sidelined once they turned out to be way too powerful for the story they're in. It, much like Hellsing, has very limited thought put into the implications of its world and the characters' actions. Unlike Hellsing, however, it does make a half-hearted attempt at addressing them. The nature of child soldiers, the commercialisation of heroism, systemic abuse, all of this posturing about society's outcasts. It raises all of these questions and then limply dismisses them so that Shigaraki can go back to American History Xing people's heads into curb stones, and so that the heroes can rise up to this head-stomping and put an end to it. The audience kind of has to forget that the series itself has addressed the major issues underlying hero society, as best seen in how Endeavour flip flops from antagonist to protagonist depending on if the situation involves fighting bad guys or not. Quieter arcs like the sports festival and... Well, his own arc try to paint him as an extremely conflicted, broken man who tore his family apart, but as soon as there's a villain to fight, he returns to being Stock Good Guy #14, Subsection H: Slightly Gruff.

BNHA for a long time has wanted to be both introspective and dumb fun. I'd say that in its early years, it did a much better job of sticking to the latter, and it kept its satire in the background in a very Judge Dredd fashion. There's nothing wrong with being dumb fun, or with being a more introspective and deep series, but trying to be both is a fine tightrope to walk and ultimately, the manga just couldn't stick that balance.

Tl;Dr, I don't care if a piece of fiction is morally irresponsible or whatever, but the problem is when you half-ass trying to be something more aware and conscious, pardon my language.

[hollowlegacy]

König is shy and stumbles over his words every once and a while. But don’t let that fool you — he thinks you’re the most beautiful with your arms tied behind your back and underneath him.

★

| Oh Darling - Freddie Dredd |

[credit: Chris SDD]

[darkpeacemusic]

Creepypasta Headcanons: Theme Songs

Jeff the Killer - Numb by Linkin Park

Homicidal Liu - Never Too Late by Three Days Grace

Sully - I Can't Decide by Scissor Sisters

Randy - Psycho by Hardy

Keith - Stressed Out by Twenty One Pilots

Troy - Welcome to my Life by Simple Plan

Ben Drowned - Discord by The Living Tombstone

Jane the Killer - GRRRLS by AViVA

Mary Vaughn - Wrap Me In Plastic by Chromance

Masky - Hide 'n Seek by J-honny

Hoodie - Boulevard of Broken Dreams by Green Day

Toby - Freaks by Surf Curse

Kate the Chaser - Mad Hatter by Melanie Martinez

Charlie Matheson Jr. - Thanks for The Memories by Panic at the Disco

CR - Nowhere to Run by Stegosaurus Rex

Lulling Lauren - Secret by The Pierces

Cat Hunter - Kill the Lights by Set It Off

Third Base - Little Swing by AronChupa

Rouge the Prowler - Animal I Have Become by Three Days Grace

Wilson the Basher - Another Way Out by Hollywood Undead

Skully - Sleeping Powder by Gorillaz

Chris the Revenant - Where the Lonely Ones Roam by Digital Daggers

Slenderman - Come Little Children by Eurtan

Splendorman - Buttercup by Jack Stauber

Trenderman - Fashionably Late by Falling In Reverse

Tenderman - Death Bed by POWFU

Offenderman - Teeth by 5SOS

Zalgo - When You're Evil by Voltaire

Laughing Jack - Left Behind by DAGames

Eyeless Jack - Cannibal by Kesha

Doctor Smiley - Happy Pills by Weathers

Nurse Ann - Dark Horse by Christina Grimmie

Doctor Pain - Dr Sunshine is Dead by Will Wood and the Tapeworms

X-Virus - Drugs by Falling in Reverse

Dr. Locklear - God Syndrome by Madame Macabre

Lifeless Lucy - Cradles by Sub Urban

Lily Kennett - Dollhouse by Melanie Martinez

Sally Williams - Hide and Seek by Lizz Robinett

Sam Williams - Little Game by Benny

Lazari - Monster by Mia and Dia

Slendrina - Killing Butterflies by Lou Bliss

Nightmare Ally - Whisper by Evanescence

Vailly Evans - Control by Halsey

Lulu - Alice by Avril Lavigne

Nina the Killer - Pretty Little Psycho by Procelain Black

Kagekao - Aishite by Kikiuo

Clockwork - Lotta True Crime by Penelope Scott

Smile Dog - Lion by Hollywood Undead

Grinny Cat - Get Out Alive by Three Days Grace

The Seedeater - I Will Find You by Moikkz

Mr Widemouth - Cartman by SPBeams

Will Grossman - At The Huts of the Underworld by Korpiklaani

Laughing Jill - Carousel by Melanie Martinez

Jason the Toymaker - Hypnotic by Zella Day

Candy Pop - Balloon Animals by Madame Macabre

Candy Cane - Circus by Britney Spears

April Fools - Cirque by Sub Urban

Nathan the Nobody - A Match In Water by Pierce the Veil

The Puppeteer - Cigarette (duet) by Princess Chelsea

Emra - Bloody Mary by Lady Gaga

Zachary the Proxy - Hayloft II by Mother Mother

Sonic.exe - Monster by Skillet

Tails Doll - Can You Feel The Sunshine from Sonic R

Dark Link - Someone Must Get Hurt by She Wants Revenge

Herobrine - Andromeda by Dance With The Dead

Lost Silver - Game Over by Falling In Reverse

Glitchy Red - Haunted by Laura Les

Strangled Red - I Bet On Losing Dogs by Mitski

Oliver Henderson - Dumb Dumb by Mazie

Stripes - Limbo by Freddie Dredd

Rosie - Hollaback Girl by Gwen Stefani

Scarecrow Girl - Rät by Penelope Scott

The Skroll - Sarcasm by Get Scared

The Rake - Night of the Hunter by 30 Seconds to Mars

BOB - Six Foot Deep by Creature Feature

Bloody Painter - Heathens by Twenty One Pilots

Judge Angels - Look What You Made Me Do by Taylor Swift

Suicide Sadie - Goodbye to A World by Porter Robinson

Roadwalker - The Zombie Song by Stephanie Mabey

Zero - Everything Black by Unlike Pluto

Hobo Heart - My Demons by Starset

Dollmaker - Creepy Doll by Jonathan Coulton

Killing Kate - Not Nice by Megan the Stallion

Ted the Caver - Blood // Water by grandson

Frankie the Undead - Coming Back Down by Hollywood Undead

Evan - I Don't Care by Fall Out Boy

HABIT - Boogie Woogie Wu by Insane Clown Posse

Jeff Koval - Somebody's Watching Me by Rockwell

Alex Kralie - Pumped Up Kicks by Foster the People

Jessica Locke - No Surprises by Radiohead

Amy - If You Seek Amy by Britney Spears

Sarah - Sarah Smiles by Panic at the Disco

Seth - All I Wanted by Paramore

Screaming Dawn (oc) - I Hate Everything About You by Three Days Grace

Queen Blackheart (oc) - Bring Me To Life by Evanescence

[snugglyporos]

wait what did Neil Gaiman do, his work is often very optimistic and about the value of stories and power of dreams, in comparison to Moore's more cynical view

So I'm just going to say this reads like you've only experienced Gaiman's work second hand or through adaptations. His stores are not optimistic. In fact the theme that runs through most of his works is one of powerless resignation, wherein nothing really matters and most people are consigned to endless suffering due to the actions of other people who they'll never meet or get revenge on.

And that's pretty obvious if you take a trip down his catalogue, because he began his career working on Judge Dredd of all things.

That's not really a surprise. Gaiman, like many UK writers, had to deal with the magazines they had, and the reality is that most UK comics are darker, bleaker, and more violent. Ironically, for all the sex and violence in US media, it's the UK comics scene that ended up being far more lurid and violent, mostly due to them not having the US Comics Code.

But I digress. If you really wanted to boil down Gaiman to two works, it's Sandman and Lucifer, and neither is optimistic. Neither is any good, either. Yes, I can defend this, and it comes down to the fact that Gaiman can't stop masturbating to his own ego in regards to how smart he is.

Roughly 60% of a Gaiman comic is his espousing on nonsense. Well researched and smart-sounding nonsense, but nonsense. He also can't just be like everyone else; he has argued at length for example that characters like Dream aren't psychopomps. He can't tell you what they are, because any definition of a character like Death or Dream ends up being that of a psychopomp, but he's determined that they're different just because.

To read a Gaiman story is to be trapped in a lecture with an extremely boring person who apparently just read their first philosophy textbook. Sandman, in my view, might be the most overrated comic ever written, simply because it's protagonist is a giant pile of shit. The entire comic has him journey all over the universe to get his things back, only for him to remark that actually, he doesn't need them, and thus the entire comic has been a giant waste of time and you're a fool for reading it, because you wasted your time.

Lucifer is what happens when a writer thinks they understand theology better than they do, and rely heavily on theology in order to prop up their barely put together stories. Lucifer tries to pick up where Paradise Lost left off, but the end result is Lucifer getting what he wants and creating his own multiverse. Because you see, Lucifer is what Gaiman sees himself as, same as Dream; a person who is trapped by the conventions and designs of lesser people, and who shouldn't be restrained because he's simply smarter and better than they are.

Lucifer's story is one where a person does everything wrong and gets what he wants. Sandman is a story where a protagonist couldn't give a shit about being in a story and also gets what he wants.

But ultimately, most people don't really like either for the story. Most people like them because they fit a vibe. If all they were were empty headed nonsense that was artistically and emotionally appealing, then I would be happy enough to say that he's not one of the people who ruined comics, because he would already be suffering enough.

No, Gaiman's sin against comics is that he injected a whole host of esoteric nonsense into the mainstream. Now it's not enough to just have stories, you need everyone to have endlessly complex cosmological nonsense stapled onto it. Moore didn't add that, and Miller isn't capable of it. Gaiman added that.

The fact that every story in comics is now about 'the multiverse' and has cosmic implications no matter what is going on is because of Gaiman's popularity with Sandman and Lucifer. Others tried, he succeeded, and this success showed comic companies that they could go bigger, and as a result everything became a lazy mess.

Are you tired of confusing, barely coherent multiverse stuff? Blame Gaiman, who pioneered it all first in the modern context.

Gaiman's sin is that he brought all of this smart-sounding bullshit to the mainstream and he did it in the laziest way possible. Sure, he didn't do it out of spite like Moore and Miller, but he did it all the same. He probably felt he was elevating things, but the reality is that everything that came after has resulted in less coherent, less interesting nonsense.

And you can draw a fucking red line straight to him when it comes to making that a reoccurring theme.

His work is very much not for me (I'm sure you're shocked to hear that) but I get why people like it aesthetically. But he absolutely sinned when he opened the floodgates of esoteric bullshit, like Lucifer tempting humanity.

[therivershit]

Dredd Foole, Steve Albini, Sonic Youth, J Mascis, Forced Exposure benefit May 9, 1987

[roguetelemetry]

impromptu SY set at The Rat in Boston to benefit magazine Forced Exposure on May 9, 1987.  consists of two covers - performed on gear borrowed from Dredd Foole and the Din - Crime’s Hot Wire My Heart and The Stooges' I Wanna Be Your Dog

[cyanidetooth]

Alice Coltrane w/ John McLaughlin & Carlos Santana! Dredd Foole & The Din! Teach Me Tiger! Dead Heir! Ante Bellum! Nine Twenty Nine! Big Joey! God Burger! Momento Mori! Trenchfoot! Blackcats! Blistering Body Pus! The Signorinas! Out On Blue Six! The Skodas! The Frames! New Recruits! Sebastian's Men! Human Thurma! Las Mordidas! Econothugs! Gee Gee Decorator! Atul Desai! Gita Sarabhai! I.S. Mathur! Jinraj Joshipura! S.C. Sharma! plus a CHASER live session!

[doomandgloomfromthetomb]

Dredd Foole & The Din - We Will Fall (1983) / See God (1985/1986)

A whole lotta Dredd! The always awesome Corbett vs. Dempsey label continues its valuable excavation of the Dredd Foole & The Din (AKA The Greatest Band In Hell) archives with these two monstrous collections.

The 1983 volume captures the original group (which is essentially Mission of Burma with Foole as frontman) in at the end of their run/rope — indeed the live recording that makes up most of We Will Fall kicks off with a version of the Doors' "The End" that is alternately hilarious and terrifying. The set that follows delivers unhinged, blown-out, go-for-broke thrills, with the Burma Din following their leader straight into the heart of darkness. Apocalypse ... NOW?!

See God picks up the story a few years later, when Foole teamed up with Peter Prescott's Volcano Suns to keep the Din alive. Featuring radio broadcasts and proper studio sessions (alongside some vital live tapes), the two discs here see this iteration of the band becoming a bit more like a conventional band ... but just a bit. Foole's madcap energy couldn't really be tamed — check out the fully combustible "Heroin"-esque trip of "Believe" or the insanity of "Paralyze" for proof. Beautifully presented with extensive liner notes, you need both We Will Fall and See God ... no Foole-in'!

[w3ath3r-0f-sw34t3rz]

a mini hunter noceda-deamonne-etc playlist 🪺🩻🩸👁️🪦🪵🌀

hurt (oliver tree)

lost kitten (metric) "when you lie, i cover it up // when you hide, i cover it up // when you cry, i cover it up // when you're blind, i cover it up"

rät (penelope scott)

bird song (florence + the machine) (im sorry)

the family jewels (marina) "i can't break the cycle, am i just a fool? // falling down like dominoes, hit by family jewels // pass it down from kid to kid, the chain will never end // 'less i decide to go to it, will i see the end? // ooh, don't you find it strange? // only thing we share is one last name"

oh no! (marina)

kids (current joys)

skeleton appreciation day in vestal, new york (will wood and the tapeworms)

limbo (freddie dredd)

trouble (cage the elephant) "trouble on my left, trouble on my right // i've been facing trouble almost all my life // my sweet love, won't you pull me through? // everywhere i look, i catch a glimpse of you // i said it was love and i did it for life // i didn't do it for you"

dead girls (penelope scott)

i can't handle change (roar) "leave me alone // i can't help but repeat myself // i know it's not your fault // still lately, i begin to shake // for no reason at all"

boys will be bugs (cavetown)

[dreddbread]

Autobiography

Hey, I'm Dredd! I am new to Tumblr, and I thought of posting a short autobiography for my first post: Being born on April 3, 2005, I would always get excited whenever my birthday is coming, especially because I anticipate April 1, the April Fools Day. I would prank my friends before my birthday and it was so much fun. Looking back at my childhood, I did not have many friends other than my cousins. I was that one shy and timid little child who likes to hide behind his parent’s legs.

During my early years of elementary school, I was still the same shy and timid kid. I do not even remember anything in my second year of elementary school other than being dumb and not listening to class while waiting for the bell to ring so that I could go home. In third grade, I made my first best friend. We would always do things together like eating together during lunch time, doing schoolwork together, and going home together. That kid almost always asked me to share my food with him. That buraot. Sometimes I shared my food, and sometimes I didn’t. I even cried when he stole my favorite snack, but he gave it back. What a nice kid. Then, in fourth grade, I met another friend that I am still in touch with today.

A pandemic broke out. It was 2020 when the Covid-19 virus spread globally and everyone on Earth was advised to stay at home. I was debating whether or not I should enroll for my fourth year in junior high since I did not like the idea of online classes, but my parents insisted that I should still attend school because it would be a waste of one year, so I endured. The classes were more distant and distracting. Whenever a teacher asks a question to the class, an awkward silence would fill the atmosphere of the virtual classroom before someone finally unmutes their mic to answer the question.

I was happy to be informed that we would be physically attending school in my second year of senior high. I missed the feeling of sitting in an armchair while listening to the teacher in front of the class. The first quarter went smoothly, until we got to the second quarter. We were tasked to rehearse a stage play in one month. I did not mind the idea. In fact, I was excited for it, until our class chose me as the main character of the play.

We finished the performance before the time limit. Everything went smoothly to my surprise. I was so focused on the performance that I did not realize we were already done. We went back to our classroom after the play. “It’s over,” I thought. I felt empty—in a good way. It was the feeling of watching every episode of your favorite show and feeling like everything ended after you watched the final episode.

The biggest takeaway from my experience is that I should try everything that I can try before the opportunity goes away. I do not think I would appreciate our stage performance more if I was not the main character—except for the fact that we only had one month to rehearse. I was even bad at dancing and singing, but nobody really paid attention to that, at least. I realized that what matters is I tried. I tried to do something out of my comfort zone, and that led me to my growth as a person. Back then, I would play video games in a computer cafe right after school, and I would cheat on a quiz if I could. But, now, I know that I have to do every task with sincerity. What more will I learn about my life when I graduate out of senior high school?

What a long post, isn't it?

[jrcarchived]

haiiii ♥️ amber for the playlist thing?

All Alone- Freddie Dredd

Money Good- Megan Thee Stallion

Bichiyal- Bad Bunny

Everybody’s Fool- Evanescence

Royal- Deftones

[ohrenoir]

Dredd Foole + The Din - So Tough