Showing posts with label pizzagate. Show all posts
Showing posts with label pizzagate. Show all posts

Tuesday, September 5, 2017

My Five Favorite Things About Taylor Swift's "Look What You Made Me Do" Music Video (in GIF form!)

Dissecting and deconstructing the latest music video from the undisputed Queen of Pop ... in fully animated pictorial form!


By: Jimbo X
JimboXAmerican@gmail.com
@JimboX

August 27, 2017 - a date that will live in eternal infamy. For those of you somehow out of the loop, that was when Taylor Swift debuted the spooky, cryptic video for "Look What You Made Me Do," the first single off her upcoming album Reputation. And to say that it was a watershed moment for contemporary pop culture is a gross understatement. I mean, shit, when was the last time you remember the unveiling of a music video being such a big deal? You'd have to go back to 1991 when Michael Jackson debuted the video for "Black or White" - you know, the one where Macaulay Culkin is the kid and George Wendt's his dad and there's that entire six minute breakdown where MJ bashes a car with a crowbar and keeps grabbing his balls before turning into a panther, for some reason - on Fox to find a music video reveal as heavily hyped as Swift's latest. And needless to say, it did not disappoint

The media frenzy started a couple of days before MTV's annual Video Music Awards (i.e., literally the only time all year the station actually plays music videos) when Tay Tay released a typographical, animated video on the YouTubes that just featured the song's lyrics laid over a bunch of crappy looking Clip Art montages. Naturally, it broke page view records and every radio station in the country was spinning the damn song on the hour. But what really made this one something culturally transcendent was the mystery surrounding the meaning and intent of the lyrics. Within minutes of the preview video going live scores of people were already online trying to decrypt the song like it was The Da Vinci Code or something. Was it a thinly veiled jab at arch rival Katy Perry? An oblique "fuck you" to Kanye West and the Kardashians? Some sort of Illuminati mind control claptrap tied to PizzaGate? EVERYBODY had their own theory on what "Look What You Made Me Do" was really about (complete with some wayward individuals accusing the laconic chorus of ripping off Right Said Fred's "I'm Too Sexy," when anyone with a working set of cochleas can yell you it's clearly ripping off 2 Live Crew's "Me So Horny" instead) and it made even the most jaded and apathetic media consumer at least somewhat curious as to what the full music video would reveal. In short, it was one of the most brilliant marketing ploys the music industry has pulled in a LONG time. This was no longer just another video being released; it had become a bona fide transcendent cultural experience, like the Mayweather/McGregor boxing bout or Starbucks' limited time only Unicorn Frapuccino.

To be fair, I haven't really been following all the Taylor drama over the last year or so, but one 20-minute dissertation from my GF filled me in on all the details of the whole "phone-gate" controversy with Kim K and Kanye - a pivotal piece of intel that makes the conclusion of the video (in which multiple incarnations of Taylor bicker back and forth about all the other Taylors being fake, manipulative and shallow) so much cattier and sassier. While there's a lot of stuff to digest and over-analyze, there were five things about the music video for "Look What You Made Me Do" that I found particularly interesting, and as a public service to the denizens of Internet-land, I've decided to isolate 'em in easily redistributable animated GIF form for more pageviews  - I mean, to give you a better comprehension of the audiovisual subtleties of the short-form film ...

Zombie Taylor!

And just like that, my opinion on necrophilia did a total 180...

Right off the bat the video hits a high note, with the sudden emergence of Taylor Swift's "reputation" crawling out of the grave in full Evil Dead makeup. It's a really deft directorial decision and gets about as far away from the goofy, wholesomeness of "Shake It Off" as they could have without stocking the video with ACTUAL Faces of Death footage and the whole thing is just tremendous pro wrestling booking 101. You want to recast yourself as something dark, ominous, edgy and pointedly threatening? Shit, you might as well go all in and transform yourself from something that looks like this to something that resembles the goddamn Castle Freak. We're barely 20 seconds in and we just KNOW this new incarnation of Taylor ain't taking shit from nobody no more; WWE executives, take note - THIS is how you frame the initial setup for an effective heel turn in the post-Facebook era. And yes, I will just come out and say it - even as a desiccated, reanimated corpse with black ooze foaming out of her mouth, I'd still tap it.

The Diamond Bath!

Yeah, it looks all fun and hedonistic - up until the first gemstone gets stuck in your cooter.

Well, if you need a good visual metaphor for opulent indulgence, I guess taking a page out of Scrooge McDuck's playbook and literally bathing in precious jewels is a pretty good way to get the point across. I like how her appearance here kinda' sorta harks back to the video for "Blank Space," making for a nice touch of continuity. She just looks so psycho bitchy and seductive at the same time, like you KNOW she'd kill you mid-coitus like Doogie Howser at the end of Gone Girl, but damn it, you'd beckon her sultry siren song regardless. Also, I dig how her makeup toes a 50/50 line between classic and trashy. I mean, just look at those razor sharp, blood red finger nails - those things aren't for showing off at ritzy galas, they're for manually milking prostates behind dumpsters and we all know it. Then there's that brief clip at the very end of the sequence, where she takes a bite into a big diamond necklace, which you just know had to taste pretty gross. I don't care HOW many times they wash that shit, there ain't no way you're getting the smell of African dirt miner off those things; I really hope Tay Tay is up to date on her shots after pulling such a biologically perilous stunt.

Tea Snakes!

Yeah, they probably should've spent a little less money on the wardrobe budget and just a wee bit more on the snake CGI ...

Don't ever say Taylor can't act. Her mannerisms in this video are fucking Lillian Gish-like, conveying so much emotion (primarily, cerebral ill intent) with just the slightest of facial twinges. With her leggy red dress and hair pulled back behind her ears she almost seems to radiate a semblance of coyness, perhaps even submissiveness. But like that one serial killer from that old ass HBO special that used to squeeze-spray poison into people's faces, that reserved demeanor belies absolutely sociopathic rage. It's just so incredibly subtle, but you can tell she's thinking downright evil thoughts. And what better way to make that blunt as a sledgehammer than by putting her on a royal throne, covered in snakes that feed her tea and start jiving whenever she punctuates her sentences with exclamation marks? Yes, it is incredibly on the nose, but you know what? Sometimes, you just gotta say "fuck you, subtlety, fuck you right in the ass," and I, for one, am glad Tay Tay and company took the very low road on this one.

An Homage to The Silence of the Lambs? 

In the original video, I hear she ate Katy Perry's liver with some fava beans and a nice chianti.

With everybody on the Internet analyzing and interpreting the video for hidden messages and clues into Taylor's psyche, I'm really surprised no one has picked up on this possible allusion yet. So there's this part in the video where Tay-Tay is inside what appears to be a giant golden birdcage. It seems innocuous enough, but at the very end of the clip we get the quick zoom-in above. Does this particular sight remind you of anything? Watching Swift nom-nom on champagne and lobster inside a circular panopticon while flanked by seven armed guards, I can't help but be reminded of the sequence in The Silence of the Lambs where Hannibal Lector has din-din inside a similarly shaped cell, also surrounded by police personnel. Does this mean there's a deleted scene somewhere where Taylor bites off a dude's tongue, pepper sprays another dude and wears his chewed off face to facilitate a getaway? My, we can only hope.

Be Still My Heart - GOTH TAY-TAY!

Sorry - I'm too busy fapping to come up with a pithy caption.

All guys have their specific aesthetic quirks regarding the female form (read: unapologetic fetishes) and my stylistic weakness has always been goth chicks. So imagine my sheer jubilance when halfway through the video Tay-Tay abandoned the bright red lips and flowing evening gowns for first-suicide-attempt black lipstick, clinically-depressed-high-schooler onyx nail polish and full body fishnet stockings! Even better, her gyrations and kinda-sorta Aquanet-overkill coif are eerily, eerily similar to the interpretive dance moves and ozone-depleting hairdo of Angela in the first Night of the Demons movie. Unfortunately, it looks like they cut out the part where she chewed off a fat dude's tongue or sucked face with a blonde bimbo wearing too much pink lipstick - but hey, she has to leave something for the next single, don't she?

I don't care if she's wearing lipstick made out of AIDS blood - I'd still snog her.

Of course, there a lot of other highlights from the video that are probably worth symbolically examining, but I'll let you draw your own illusions to what Taylor really means when she positions herself in front of a giant, crucifix-like "T" and starts kicking earlier iterations of herself into the hypothetical abyss, or the real message behind the part where the paparazzi snap photos of her behind the wheel of a crashed car while she's holding a Grammy and looking suspiciously like Katy Perry. Those thinly veiled messianic delusions and fuck yous to competing pop princesses aside, I think "Look What You Made Me Do" is just a flatout tremendous video and the perfect pop cultural burnt offering to officially kickoff the Halloween season. I absolutely LOVE how Taylor is embracing the heel role in the video - personally, I haven't seen someone do such a fanciful job of playing up their pseudo-megalomania since Hulk Hogan joined the N.W.O. back at Bash at the Beach '96.

Indeed, there is a very weird totalitarian vibe I get from the video, almost as if Tay Tay is channeling her inner Ilsa, She-Wolf of the S.S. Seeing as how Swift is the kind of gal who likes to shitpost on 4Chan and hang out with dudes who wear swastikas on their shirts, it wouldn't surprise me one iota if she was secretly a total nihilist or maybe even a proponent of The Dark Enlightenment (do note that she was pretty much the only major female singer who DIDN'T spend all of last fall deriding Trump and figuratively fellating Clinton on the campaign trail ... how interesting.) Don't let her (relatively) desexualized, family-friendly appearance fool you, her pop songs are anything but lighthearted "take thats" to her romantic rivals - indeed, they are actually Iliads dedicated to her own cerebral barbarism. In a way, I almost feel as if Taylor is secretly embarking upon the plot of God Bless America in real life, only instead of shooting up the live finale of American Idol herself, she's slowly but surely molding an entire generation of 14-year-old girls to utterly despise liberal pop culture icons like Katy Perry and Kim K. Like Ah-nold in Pumping Iron, she's an absolute master of psychological warfare; shit, just by standing next to Lena Dunham in a posed photo, she literally makes her (possible) ideological rivals look like literal retards. Like The Joker in The Dark Knight, maybe the past ten years have been carefully plotted out as part of some impossibly grandiose scheme to decimate the pop music landscape, and this darker, edgier Tay-Tay is just the first metamorphosis before she turns into a full fledged anarchic powerhouse. From some jailbait country cutie that wore too much lipgloss and always said thank you to a red-lipped crossover pop-tart to a futuristic militarized music video vixen in fetish gear to a vindictive mass media empress, there's really nowhere else she can go that doesn't involve overthrowing entire conglomerates or throwing genre adversaries out of helicopters.

If Red represented Taylor's transition from country to pop and 1989 represented her ascension from pop novice to pop queenpin, the next logical step is that Reputation will represent her full-blown immersion into cult of personality politics. In that, the music video for "Look What You Made Me Do" could indeed foretell a major, MAJOR shift in the causa sui of Swift's career.

While other pop stars want to be bigger than Madonna, Tay-Tay wants to be bigger than Mussolini. And hey - if her critics are going to call her an "obnoxious Nazi Barbie," what better way to get 'em back than by transforming herself into an actual fascist? Forget bubblegum pop - if the darker, more sinister tone of "Look What You Made Me Do" is any indication as to what the rest of Reputation resembles, methinks Tay-Tay's about to drop the world's first Buchenwald pop album. Hey, don't say I didn't warn you, either - I KNEW that girl was trouble when she walked in.

Monday, September 4, 2017

Book Review - 'It' by Stephen King (1986)

Just in time for the new movie, how about we take a look back at the 30-year-old, thousand page-plus tome that inspired it? 


By: Jimbo X
JimboXAmerican@gmail.com
@JimboX

I don't know how it happened, but revisiting a huge-assed literary horror classic of yore has become a de facto Halloween rite here at The Internet Is In America, and since there's that newfangled It movie coming out in theaters, I reckon it was a most opportune time to give you folks my thoughts on - what else? - the original 1986 Stephen King novel. 

People use the term "cinder block" to describe lengthy books all the time, but fuck it, this thing really is a cinder block. The paperback version is roughly the same width as a tissue box and about as heavy as an honest to goodness brick. The one I checked out was more than 1,200 pages long, and since it was used it also smelled like someone pissed on it and then blew menthol cigarette smoke all over it to ward off evil spirits. So yeah, it's not exactly what you would call a quick read - in fact, it'll probably take you a couple of months to churn through everything, even if you do skim most of the motherfucker. 

So, in the proud tradition of Cliffs Notes, here's the official Jimbo X abridged readers guide to Stephen King's It ... please, do enjoy. 

Alright, so it's 1957 in Derry, Maine. It's raining like a motherfucker and it reminds the narrator of the floods from 20 years ago, and this one dude who got swept 25 miles downstream and got his penis eaten off by fish. So Stuttering Bill and Georgie are making a paper boat and arguing about which one of them has the "brownest a-hole." Georgie takes the boat outside, it goes into the sewers and enter Bob Gray, a.k.a. Pennywise the Dancing Clown, who makes Georgie smell all sorts of circus scents (peanuts, cotton candy, animal turds, etc.) in the storm drain. Then the clown rips the kid's arm off and he dies. 

Flash forward to 1984. These three kids confess to killing a gay dude because he won a paper hat at the fair. The youngest kid says there was a clown in the canal at the time of the homicide, and wouldn't you know it, the cop is the brother of the boy who found Georgie's body a quarter century ago. There's some exposition about a gay bar in town and graffiti reading "stick nails in eyes of all fagots (for god)" and the surviving victim says he also saw a clown in the canal, with thousands of balloons in his hand. His boyfriend was apparently stabbed in the lung and testicles and a big chunk was taken out of his armpit. The detective coaches the witness to NOT bring up the clown during the trial and one of the kids gets sent to Shawshank (yep, that one) on manslaughter charges, even though all three kids wind up walking free on appeal. 

Cut to Atlanta, where we join this really rich Jewish couple doing Jewish things, like kvetching about country club policies and watching Family Feud. The husband gets a mysterious phone call and slits his wrist in the bath tub, writing the word IT on the tiles in his own blood. 

Then we meet Rich Tozier, this DJ in L.A. deemed "the man of a thousand voices." He reflects on getting chased by the local bully, Henry Bowers, when he was a kid. He tells his producer he has to stay in Derry because he made a promise to his friends when he was ten to come back if ... well, something happened. He returns to his childhood home. He takes out some hidden money, thinks about Georgie being killed and pukes in a toilet. 

Next we're introduced to Ben Hanscomb. He's a world famous architect, and he's really distraught over something in a bar in Omaha. He drops some lemon juice in his nostrils to do some huge shots of wild turkey. He tells the bartender he used to be fat as a kid and shows him an "H"-shaped scar carved in his chest by Bowers and his gang and then he drives off drunk into the night.

Now we meet Eddie Kaspbrak. He lives in Long Island and he's packing a ton of prescription drugs in his overnight bag and needs a shot from his asthma inhaler. His wife is fat and overbearing, just like his mama. He reflects on this one time his mom yelled at the gym coach in elementary school and embarrassed the shit out of him. His wife (who easily outweighs him by 100 pounds) wants him to stay and tries to coax him with food but he tells her she has to drive Al Pacino (yes, that Al Pacino - he owns some kind of limo service) and he thinks about all the times his mom complained about the Jew York Times and warned him about taking foot X-rays in the shoe store.  

Beverly Marsh is our next character. She's a fashion designer living in Chicago with an alcoholic White Sox fan named Tom Rogan who beats the shit out of her for smoking too much and describes her vagina as "an exquisite oil," and seeing her pummled face with makeup running down it makes him hard. She gets a call from Mike Hanlan (we'll get to him in just a bit) about it returning. She immediately packs her bags and gets into a belt-and-mirror-shard-fight with her husband. She escapes penniless and makes her way toward Derry.

And here's Bill Denbrough, the brother of the kid who got his arm ripped off at the beginning of the novel. He's now a rich as fuck horror writer living in the U.K. with a chain-smoking actress. He talks about his college professor failing him and then sending a story off to get published in some pulp mag. Basically, he wrote a book about his dead brother's fear of a monster in the basement, but he isn't canonically cognizant of such. Hanlan rings him up and he tells his wife about Derry and his dead brother and uh-oh, he starts stuttering again.

Now we catch up with Mike Hanlan, the local librarian in Derry, who is writing an unauthorized town history book subtitled A Look Through Hell's Backdoor (also, he's black - trust me, this will be very, very important a little later on in the book.) After rambling about a turtle for a couple of pages, he lays out his thesis that every 27 years, some majorly bad shit happens in town, and after finding out about the clown sighting in the gay murder case in tandem with a couple of child murders happening over the last few years, he thinks ... well, something is up. "Derry always had shitty luck," the book-within-a-book tells us. Entire settlements of villagers disappeared, this one time a guy ate mushrooms and killed his entire family, Chris Benoit-style, another time another dude went nuts and started nailing dudes' dicks to cabin walls, etc. Oh, and then there was that one Easter egg hunt explosion where 82 children got blown to kingdom come, and they were still finding kindergartner guts in the maple trees three weeks later. The murder rate is six times the New England average, Hanlan says, and how peculiar it is that missing children cases have spiked all of a sudden ... 

We return to Ben, who's on a midnight flight from Omaha to Maine. He falls asleep and has a dream about being in the fifth grade back in 1958. It's the last day of school and he's in love with Beverly, but he's fat and has to wear baggy sweaters because all the other kids make fun of his he-titties. He recounts this one time he stole beer and soda from some kids playing baseball, cashed it in and used to buy candy and then goes on a spiel about how that fat dude from Highway Patrol was his role model. Then he reflects on hiding in the library to avoid getting beat up by Bowers' gang, then he starts thinking about all those child murders leading to a citywide curfew. He recounts a dream about seeing a clown in a vacant field and writing a love haiku to Beverly, but en route to deliver it the bullies caught him and tried to carve their names into his stomach. He escapes and sends Bowers flying down an embankment, kicking him in the balls for good measure. He hides in a sandy pit while the bullies continue pursuit. Then he starts thinking about a mummy-clown chasing him in the winter. He wakes up and sees Bill and another kid almost having a nearly fatal asthma attack while receiving yet another beating from the Bowers' crew. 

Then we flip on over to Bill on a Concord, sitting next to a fat guy who keeps elbowing him. He thinks about his old bike and ridding to the store to get his pal Eddie's inhaler medicine while Ben stayed with him (see, it's carrying over from Ben's dream - try to pay close attention, will 'ya?) So Bill gets the medicine (later, we learn it's just water) and he makes Eddie and Ben laugh by doing an impersonation of Bowers without stuttering once. He also advises Eddie to buy chocolate milk and spill it on himself so his near-sided mom won't know he got beat up. Bill goes him and he flips through an old photo book of Georgie. One of the pics winks back at him and blood starts pouring out of it. Then the narrator tells us about this guy named Richard Macklin being charged with beating his stepson to death with a hammer and how his older brother went missing and his body was never recovered. Anyway, Macklin eventually committed suicide. Then there's this passage about this other missing kid named Eddie (but not that Eddie) who was attacked by his dead brother's zombie ... who then turned into the fuckin' Creature from the Black Lagoon and killed him.

Back to Hanlan. He says he fond the bloody pocket knife of the kid who got killed by the Creature by the canal. He reflects on this one time his dad made him sit in a "torture chair" meant to punish vagrants, and this one time a giant bird attacked him in the abandoned iron works. 

Now we through it to the still living Eddie. He's driving through Boston to Derry, thinking about Ben's silver dollars. He has a flashback to the gang completing a dam back in the day and Bill freaking everybody out with his tales of the bloody picture book. Then he talks about his mom's rank lobster salad farts and this one time a syphilitic hobo chased him and tried to suck his dick for a dime. Then Ben and Eddie recount different instances of getting chased by mummy-clown-lepers, and then an Irish cop makes them take down the dam and then they all take bets on whether or not Neil Sedaka is a negro. The kids go into Georgie's room and find the photo book. Some pictures taken in the 1920s come alive and Richie has his hand slashed by something when he tries to touch a moving picture. Bev, Rich and Ben then go see I Was a Teenage Werewolf and get into a fight with Bowers' gang. Ben hits Henry with a trash can shot like Haystacks Calhoun while Rich talks to Ben using a stereotypical slave's voice. Bill and Rich then travle to an abandoned house and crawl under the porch with a slingshot and a real pistol and find this one room filled with coal. Then the kids are attacked by a shadowy monster in a Derry High letterman's jacket, which turns into the werewolf from the movie they watched earlier. Bill blows its skull off with the pistol then Richie scares it by doing an impersonation of the Irish cop and throwing sneezing powder at it ... which, for whatever reason, fucks the wolf up more than the bullet wound. Then it turns into the clown, chases them on their bikes and the boy narrowly escape certain death.

Now we turn to Bev, sitting in a plane reflecting on getting money from one of her feminist writer friends. She thinks about going to Derry and recounts her love for Bill (who she thinks wrote her the haiku Ben sent here), then she remembers being a girl and hearing voices in the bathtub drain, which periodically erupted in blood geysers only she could see. She reminisces on this one time she and her friends bought frappes and shot pennies by the drug store and this one time a dude with a lisp called her mom a whore. All the other kids help her clean up the invisible blood in the bathroom, then Stan goes into an empty house and sees dead teens everywhere and he has to read the names of a bunch of birds to open a stuck door (yeah, don't try to make sense of any of this shit just quite yet.) Bev runs a tape measure down the bathtub drain, and when she pulls it out, yep, it's all bloody and staff.

Time for Mike's second dispatch. The date is Feb. 14 1985 (hey, Valentine's Day, what are the odds.) He talks about his dad experiencing racism in the Air Force and seeing a giant bird with balloons tied to its wings the night of a night club fire in the 1930s. Then he wakes up, sees balloons with his face on it and gets royally freaked the fuck out. 

Now we arrive at the reunion proper. The gang (they called themselves "The Losers") meet at a restaurant called Jade of the Orient to catch up. Ben talks about his coach grabbing his he-boobies as a catalyst for his weight loss and Mike says he learned about Stan's suicide because he subscribes to the newspapers in all of his friends' current cities of residence. Then Mike starts talking about nine recent child murders in town and Bill begins stuttering again. He says a hermit who drinks paint thinner was picked up by the cops as a suspect, but everybody at the table agrees that IT has returned. Mike says IT also made them successful, except for him, because he never moved. They talk about infertility and sperm donation and Rich does a Mr. T impersonation. Then their fortune cookies arrive and they all have icky stuff inside 'em, like blood, crickets and eyeballs. 

Then Ben goes back to the library and the clown calls him a fat little fuck and does a minstrel show impersonation, complete with copious use of the n-word. Then he turns into Dracula with literal razor blade teeth and shakes invisible blood all over the place. Next, Eddie walks around a baseball field and reminisces on the good old days, then the zombie of a kid killed in 1958 shows up wearing a moldy Yankees uniform. Then other zombie classmates rise out of the diamond and chase him (including that one leper from when he was kid.) He runs for a bit and passes out in town. Meanwhile, Bev visits her old apartment and an old lady showing her around turns into the witch from Hansel and Gretel, eats some cookies, drinks out of a cup with JFK's face on it and it fuckin' winks at her. Then her dad's spirit emerges and yammers on and on about how badly he wants to rape her. Then he turns into clown, shucks and jives and Bev narrowly escapes from his clutches. Elsewhere, Rich reflects on a giant Paul Bunyan statue and being chased through a toy store when he was a kid. He has hallucinations about the statue coming alive and trying to kill him, then he wakes up, walks around Derry, talks about Iron Maiden and The Crawling Eye, sees the marquee at a theater for the "All-Dead Rock Band" and the statue turns into Pennywise. He threatens to give Rich prostate cancer, and Rich scares him off by using - and this is a direct quote from the novel - "a jiveass nigger voice" and calling the clown "a white face bunghole." Then Bill talks to a Boy Scout eating popsicles in the sewer, finds an old bike in a second hand store, grills a few burgers and repairs his new ride (which he names Silver after his old childhood bicycle.)

So Henry Bowers is in the loony bin for killing his dad in 1958. He's also suspected of killing EVERYBODY back in 1958. The moon turns into Pennywise and tells him to go to Derry and kill all the surviving kids. He then gets whacked over the head by a guard with a roll of quarters and passes out. Then the ghost of his dead friend (who was killed by Frankenstein - more on that later) shows up at night and the ghost of an inmate's mother (who was cannibalized a couple of decades earlier) attacks him, then the clown shows up with a Doberman head and attacks a guard, facilitating his escape. Meanwhile, Tom Rogan finds Bev's feminist writer friend, calls her a "bra-burning bitch" and beats the shit out of her until she tells him where his runaway wife is. He hops aboard the first flight to Derry, buys a car out of the want ads, switches plates and gets a hotel beside Bill's wife, who is all worried about a union actress not doing a stunt for a film adaptation of one of her husband's movies.

So yeah ... this pretty much explains everything.

And that's our cue for another Hanlan dispatch. He talks to an old guy who was around when bank robbers came to Derry and pretty much the entire town came out to shoot the shit out of them ... including some guy in a clown suit who didn't cast a shadow, for some reason.

Time for another flashback to 1958. The Bowers family blames the Hanlan family for ruining their chicken business, so Henry feeds their pooch poisoned beef, calls him "a nigger dog," ties him up and watches him die. He goes back home and tells Daddy Bowers what he did and he gives him a beer for his efforts. Then Bill's dad tells him the sewer system blueprints in Derry were stolen so nobody really knows how to get out of there. The kids do some research and determine the clown is probably a manitou (or possibly a glamour, a tallus, an eylak or maybe even a loup garou.) Bill talks about the Himalayan "ritual of child," where a holy man tries to bite off a demon's tongue. We learn Bowers' dad got all fucked up in the war (presumably, World War II) and sleeps with a sword he said he took from a Jap but he really bought it in Hawaii. Then the Losers club goes to the dump to set off some fireworks and they run into a deaf guy who runs them off into the woods. Then the Bowers gang, armed with firecrackers, attack Mike. Bowers tells him he killed his dog so Mike calls him "a honky chickenshit bastard." Then he finds some coal and starts bombarding the gang until they retreat. Eventually, Mike makes it to a gravel pit where the Losers are hanging out and the ultimately hold off Bowers and company with an allied rock/firecracker strike.

Now we're back in 1985. Mike goes to get a beer out of a cooler and finds an 11-year-old Stanley's head waitin' for him in the deep freeze. It turns into the clown's head and balloons reading "Derry niggers get the bird" start pouring out of it. 

And that's a signal for a flashback to '58. Mike recounts his testicles getting goose pimples when he saw the clown at a parade and then he tells the other kids about seeing a giant bird that looked like something out of The Giant Claw. The kids break out the photo album again. They see a photo of a juggler they assume to be Pennywise in human form. Of course, the pictures start moving, and what do you know, there's the clown from a couple of photographs from the 1800s. He jumps out of the pics and changes form several times - a werewolf, a mummy, etc. - to scare the living shit out of the chilluns.

Alright, back to 1985 again. Richie says he is so giddy right now, it's like being on coke (and trust me - that's something Steve King knows plenty about.) Then he has a flashback to the "smoke hole" and starts crying about his eyes being on fire, and you guessed it, it's time to go back to 1958 once more. Bill tells the rest of the kids about this Indian smoke hole ceremony to drive out evil spirits or some shit like that and they all think it's just a dandy idea. So they start a bonfire under their clubhouse and the kids try to see who can stomach the most the smoke the longest. Whoever toughs it out the longest is supposed to have some kinda' prophetic vision. It comes down to Mike and Rich. They pass out and wake up in some kind of wasteland, where they see a spaceship that turns into IT. Bev revives both of them. Mike and Rich try to explain what they saw as some kind of immortal force that lived underground, but they just can't put into proper words.

And since everybody else in the damn story is having flashbacks, Eddie figures he might as well have one, too after he sees a bunch of balloons telling him asthma medicine causes lung cancer. He reflects on this one time the local druggist said his inhaler medication was just a placebo and he got attacked by Eddie. I mean, real fucked up - rocks were ground into his face, his arm got broken and he wound up in the hospital. There, he had visions of IT and his friends come and visit him after hours to tell them how good they're getting at slingshot practice

It's still 1958, if you're wondering. Bev is sneaking her way through a junkyard when she finds the Bowers gang lighting their own farts. Then Patrick Hockstetter tries to jerk off Henry, so he punches him and runs off so Pat can start beating off in front of a broken fridge. Well, needless to say, this Pat kid is a real crazy sumbitch, who thinks he is literally the only real thing in the universe. Oh, and his favorite afterschool activities include smothering his brother with a pillow and stealing pets and trapping them in old kitchen appliances until they die and masturbating to their pain. He opens the junky old refrigerator and he's attacked by flying leeches shaped like pom-poms that suck the blood out of his eyeballs. They drink so much of his plasma the narrator says they "explode like water balloons" (the explanation for all this, and really, 85 percent of the book: King's aforementioned coke addiction). Eventually, one of the leeches tries to latch on to Bev, but she wards it off with her slingshot. She later brings the rest of the Loser Club to the dump, where Pennywise has written a warning in blood. Bill freaks out and calls IT "a whore-maker" and the kids decide to share a group hug during the middle of a sudden hailstorm. 

Then the kids makes some silver bullets and crawl underneath the spooky ass Niebolt house again (it's where Rich used the sneezing powder and Irish cop accent on the werewolf earlier.) Ben sees a girlie mag and the woman on the cover winks at him and then little green elves attack everybody (remember - King's cocaine addiction is the answer to all of your questions) and IT turns into a werewolf again and Bev kills it with her slingshot. Then the kids wonder aloud where their supernatural powers are coming from, which is our cue to revisit the future of 1985.

Oh, the 1980s. Back when you could end your novel with an elementary schooler gangbang and nobody batted an eyelash.

Mike is drunk and writing about the Silver Dollar Lodge ax massacre of 1905. Yep, Pennywise was there, too. Mike conjectures IT eats kids because their childhood faith fuels him or some such mess. Then Rich cuts his hand on a brown beer bottle (why King stresses the bottle's color so much, I've no clue) and starts freaking out, and then Bev thinks about that one time her daddy chased her down the street for asking one too many questions about Pennywise, until to run straight into the clutches of the Bowers gang.

Flash forward to 1985. Mike gets attacked in the library by a switchblade-wielding Henry. He stabs Henry with a letter opener and tries to call the police, but Pennywise answers the phone and calls him "a nigger" and "a coon." 

Back to Bev as a child. She momentarily escapes from Bowers by kicking him in the balls.

Now back to Bev as an adult. She and Bill go to a town house and have S-E-X. You know, with their penises and vaginas and whatnot. 

Now we flashback to Ben hiding from the Bowers gang.

Now we flash-forward to Henry walking through an old seminary building, congratulating himself for (thinking) he greased Mike. 

FLASHBACK AGAIN to Henry reflecting on "Bob Gray" mailing him a switchblade, and the moon commanding him to stab his daddy in the neck with it.

FLASH-FORWARD AGAIN to Henry getting a ride from one of his dead childhood friends (his name is Belch, if you need it for bonus trivia/autism points) riding in a pimped out Plymouth Fury. He gives him Henry a sheet of paper with everybody's room number on it. Henry says he's sorry he ran off when Frankenstein killed him (I promise you, we're getting to that.) Then Belch, in the clown's voice, tells him to get 'em and disappears. Henry goes to Eddie's room, knocks on the door and prepares to stab him in the throat, but before we find out what happens ...

...we flashback once more. The kids talk about the diet discrepancies between Jews and Catholics and a story about a kid who supposedly shit Jesus blood in the Sunday School commode (gee, you think this Stephen King guy has some scatological issues he needs to work through?) and then we flash forward...

...Henry attacks Eddie, but Eddie dodges the blade and stabs Henry with a broken Perrier bottle in the stomach. Which means we have to - you guessed it - flashback again...

...to when the kids went to the barrens and had rocks thrown at them by the Bowers gang. The Losers run to the pumping station and individually go down the sewer pipes to evade their tormentors. Which is our cue to flash forward to...

...Tom having nightmares about killing his father and going into the sewers with the Bowers gang. He wakes up, sees a mysterious balloon and hears Pennywise's disembodied voice tell him - well, something. Then Audra - who is just a few doors down from Tom at the Derry DoubleTree - has a dream about being - has a dream about being 12-year-old Bev and starts hearing "we all float down here" coming out of the bathroom tub, then Pennywise shows up on the TV screen and starts splashing blood everywhere. She runs out of the hotel and - LOLOOPS - right into Tom Rogan.

Eddie calls up Bill and Bev and asks them what to do with Henry's body and the agree to not call the cops. Instead, they call the library and a cop answers and tells them Mike is seriously injured but still alive. They and Richie hop in Eddie's limo and Pennywise comes on the radio and starts playing a ghastly message from Georgie. They go to the barrens and find Audra's purse and decide to enter the sewers to find her.

Next, there's a passage that comes about as close as anything to describing what IT is and its motivations. Apparently it's been around since the beginning of all-time, alongside this "stupid turtle" that went into its shell years ago (yeah, I know that's abstract as fuck, but hold it in the back of your head - it's an important plot point to remember heading into the climax.) IT says humans are the best food because they have dreams and fears and stuff. But IT is also pissed the kids almost killed it and that was the first time IT ever felt pain and made IT think for the first time that maybe it wasn't alone in the universe. So now, naturally, IT wants revenge

Up next, the book does that thing where it keeps alternating between time lines, so for the sake of simplicity, I'm just going to put the year beside the passage so you'll have a (slightly) easier time zigging and zagging your way through everything:

1958 - The kids go into the sewer and find Patrick Hockstetter's mutilated body. 

1985 - IT talks about the children's fears being the purest and the perils of shape-shifting. Then IT says it's going to send a nurse with a drug problem to kill MIKE in the E.R. The gang finds two of Bowers' friends' skeletons and Audra's wedding ring.

1958 - The kids are still exploring the sewers and get attacked by the monster from The Crawling Eye. Eddie, with a broken arm, fights off the monster by telling IT that his asthma inhaler is "battery acid, fuck-nuts!"Then the kids fight off a giant bird and come to a door with strange marking on it, surrounded by the bones of children. Each child interprets the mark as some other subconscious fear. Then they enter the lair of IT.

1985 - The Derry church bells, which usually ring at 5 a.m., don't chime. Heavy rains start coming down. A man gets electrocuted and a sewer back-up leads to women getting killed in exploding toilets, as a nurse with a needle full of something approaches Mike at the hospital. Bill encounters the evil ghost of Georgie and the other convince him to fight it off. Mike knocks the nurse out with a glass, and the rest of the kids (err, adults) see IT in its final form - a 15-foot tall spider pregnant with something so terrible, it made Stan kill himself on sight

1958 - Bill runs into a giant, trans-dimensional turtle described as having "galaxies" for toenails. He explains that his great cosmological purpose is to watch the universe while the great cosmological purpose of IT is to eat the universe, and that there is some other force in the "macro verse" he calls "dead lights" that created both of them. Then Bill tells the kids how to defeat IT with their mind, and they telepathically bring its web crashing down. Still, they wonder if IT is truly dead as they begin scurrying out of the sewer. 

1985 - IT grabs Bill. Rich sees Audra and Tom caught in its web. He starts using his voices to fuck with IT and he enters some sort of transdimensional arena. Eddie screams "shut up, ma!" and shoves his aspirator down IT's through and IT bites his fucking arm off and he dies. Meanwhile, Derry gets rocked by a hurricane as a drunk janitor sees blood and hair coming out of bar taps, an old Irish cop has a stroke and dies, the local shopping mall explodes and a doctor gets decapitated by a sewer lid. 

1958 - The kids can't find their way out of the sewer. All of a sudden, Bev takes her pants off asks which of the boys wants to take a crack at he first. Yeah, you read that right. 

1985 - Ben starts stomping on IT's spider eggs and Bev reflects on being abused by her daddy...

1958 - ...long story short, King spends the next five pages describing Bev getting gangbanged by the rest of the group, all while she thinks about birds and flying and shit. Also, Ben may have shot his sherbet during the ordeal, and they fact nobody thought this shit was utterly depraved and tried to get it banned from book stores - hell, the publishing company didn't even try to get King to excise the scene, for crying aloud - is all the proof you need that the eighties were indeed degenerate as all fuck. In case you were wondering, King has gone on record saying he "wasn't really thinking of the sexual aspect of it" when he penned the scene, adding that "times have changed since I wrote that scene and there is now more sensitivity to the issue." Yeah, whatever you say, President of NAMBLA, Maine Chapter

1985 - There's a flood sweeping through Derry as the kids kill IT by literally crawling through its stomach and punching its heart out. Meanwhile, the entire city collapses into a sinkhole. The Paul Bunyan statue collapses, the police chief is killed in a freak accident, etc. A photographer for the local newspaper takes a picture of the Losers as they emerge from the sinkhole and the caption simply reads "SURVIVORS" because I think that's ironic or something. 

In the postscript, Ben and Bev move in together in Omaha, Richie resumes his DJ career in L.A. and Mike is still having nightmares about IT not being over and journaling about it (alas, we never hear anything about Eddie's grieving family - kind of a big oversight there, ain't it, Mr. King?)Audra is catatonic, so Bill moves into what's left of Derry after the floods. He rides through town on his bike one more time and Audra wakes up with no memory of what happened. Then he says he might write about all this shit one day, and this book is finally over.

...so, uh, can somebody check on Big Steve to see if he hasn't become full blown retarded by now?

And there you have it, kids - all 1,200 pages of It condensed into about 5,000 words. All in all, it's a pretty enjoyable read and one of the more accessible King cinder blocks out there, and since there's no way any movie or TV mini-series can fit in all those minute details about children being gruesomely murdered by Universal Monsters characters and running trains on each other next to some subterranean dookie pipes, it's certainly a more unnerving undertaking, as well.

We'll see if the new movie is closer in spirit to the book than the 1990 mini-series - which, considering the MPAA's more relaxed regulations, would seem to suggest that it will be, even if it does swap out the 1950s setting for the Stranger Things-esque 1980s backdrop. It's a pretty safe bet we'll NEVER see a few things from the book in live action form, though, so reading the original novel is pretty much the only way you'll ever experience the undiluted affect of King's cocaine-fueled neurosis. 

Is It worth a read this Halloween season? Eh, as long as you're able to polish off 50 pages a night and don't mind lengthy passages describing discontinued candy and old episodes of Highway Patrol in absurd detail, it's not a bad way to churn through those sleepless autumn evenings. Maybe it ain't as good as American Psycho, but it's probably a bit more enjoyable than Hannibal - and it's sure as hell a better read than anything those overrated hacks Anne Rice and Clive Barker have ever shat out, so really, what do you got to lose here - well, besides about 10 to 20 hours of your free time and by proxy, your life - anyway?

Thursday, August 3, 2017

VHS Review: Let's Have Fun! At The Slush Puppie Factory (1996)

All I can say is, holy shit, I can't believe somebody uploaded this to YouTube...


By: JimboX
JimboXAmerican@gmail.com
@JimboX

Here's something I thought I would NEVER see in this lifetime.

Picture it: the year 1996. As a morbidly obese fifth grader, I was no stranger to the Slush Puppie (which, perhaps demonstrating the Mandela effect, I could've sworn was actually called a Slush Puppy.) For those of you out of the loop, the Slush Puppie was (and still is) a fairly popular convenience store staple here in the States. Basically, it's this giant metal tub of sugary pulped ice paired with a station containing about eight or ten squeeze bottles of various artificial flavors. The gist of it is, you get a paper cup, you fill it with the syrupy ice, and then you start topping it with different hued (and flavored) fluids. Naturally, the trick was figuring out which combination was the best. Is blueberry and pina colada the best mix, or should I go with raspberry and watermelon? Of course, you could always mix in ALL the flavors, which invariably would produce this weird, turd-black coagulation that tasted like sour grape. Or - as I was prone to - you could just fill up the cup with all of that high fructose corn syrup ice, say to hell with the flavor add-ins altogether and slake on it like a hummingbird at a nectar feeder. To say this was one of my favorite childhood memories would be an understatement; growing up in the mountains of Appalachia, sometimes that extra-extra-large cherry Slush Puppie was the only thing standing between me and death via heat exhaustion during many a 100-degree Georgian summer. 

Like every other kid-targeted consumer exploitation con job, though, the makers of Slush Puppie weren't above cajoling the wee folks into hoarding proofs of purchases, which, in this case, were called Paw Prints. Well, in the mid-1990s the company ran a promotion where if you saved up an absurdly high number of Paw Prints (I honestly can't remember how many, but I assure you it was a preposterous sum) and mailed them to the company headquarters in Cincinnati, they would send you a "free" VHS cassette showing off what the Slush Puppie factory was like. Naturally, I assumed it would be a pretty straight-laced pseudo-documentary showcasing the mixing bins and how they come up with the ideas for flavor add-ins - essentially, something you'd see on the Food Channel or something. Alas, I never saved up enough Paw Prints to acquire the damn thing, and just a few days ago ... for literally the first time in 20-plus years ... I thought about the promotion and decided to do a little bit of Internet sleuthing. And as it turns out, somebody has actually uploaded the whole damn video to the YouTubes, which, in and of itself, is something of a "lost media" miracle. But that, dear readers, isn't the shocking thing. Oh, no siree, Bob. Remember how I thought it was going to be a painfully basic, employee-safety-training-video-caliber production? Lord almighty, was I wrong in the most wonderful way possible. This thing - clunkily titled Let's Have Fun! At The Slush Puppie Factory - is actually an high-fructose-corn-syrup-spawned acid trip of pure, uncut, undiluted nostalgia and marketing incompetency, and my life is now a thousand times more valuable for having witnessed all of it with my own two eyes.

The opening shows off the Madacy Video logo (which, as fate would have it, is very reminiscent of the intro for the WWF's line of Colosseum Home Video productions.) We then take a tour of a CGI factory, chock full with all sorts of pastel and neon colored doodads and trinkets, while poorly green-screened kids pretend to surf over make-believe imagery. A crappy, corporate rock anthem plays, commanding "everybody, let's have fun" at the Slush Puppie factory, because "you've got an invitation to a cool explanation for everything under the sun." Well, that's a bit ambitious - if not absurdly overbroad - ain't it? 

The kid cast is introduced, as well as the unofficial alternate spokes-dog, Axle, as well as "special guest" Dinky G. Gush. From there we cut to a random general store. The guy in the giant dog costume asks cool white teen guy K.C. (which, presumably, stands for Koochie Creamer) why the room is so cold and he responds by telling him he's doing super important cryogenics research and shit. K.C. says he's invented something that will make children the world over ecstatic. And no, it isn't (as Axle suggests) chocolate-flavored toothpaste or electric roller blades. Anyhoo, he mixes some jugs of chemicals together and they blow up in his face. Then the dog tells him the beverage he's trying to create already exists and it's called a "Slush Puppie," which, for some stupid ass reason, this K.C. knob has never heard of before. 

Naturally, K.C. is so gobsmacked by Axle's revelation that he makes it his life's work to find out the secret to making Slush Puppies, a'la Plankton and his Sisyphean journey to determine the secret ingredients behind the Krabby Patty. Alas, Axle says only MR. SLUSH PUPPIE himself knows how to do that, which leads to our first song and dance number, in which he recounts all the fictitious dogs he admired growing up. This eventually results in even more puppet dogs joining in on the chorus, blurting "Slush Puppie, he really is cool. Slush Puppie, so cool and so pure." Also, Axle says the thing he likes best about Mr. Slush Puppie is the big "S" on his chest, but the way he pronounces it, it sounds just like he's saying "big ass" and you will laugh your ass off and probably rewind the tape five or six times to rehear it. 

After that drags on for about five minutes, Axle talks about how bad he wants to visit "Mount Slushmore." K.C. suggests they go visit the Slush Puppie factory so they go turn on a jukebox that actually doubles as a teleportation pod. Fuck, this lame-ass white nigga' can figure out how to make interdimensional travel work, but he can't figure out how to make a homemade Slurpee? 

Alike Pee Wee's Playhouse, pretty much every inanimate object on the tape sings or talks or blurts out poignant life advice, and this teleportation jukebox is no different. It eventually sends them to the top of an icy mountain, and they ski down the green-screened slopes. Meanwhile, three kids just waltz on in to the lab and start drinking mysterious fluids just lying around the place, because why not? They find this gigantic pile of telephone parts and the sassy black girl chastises the white boy for not knowing how the hunk of junk works. Then they jack into this thing called the "Axle Link" which allows them to spy on K.C. and the dog through a CRT screen. So, yeah, in addition to mastering teleportation, this K.C. fucker also managed to create Skype 20 years before Skype existed. But that raises the question - how ARE the kids able to see K.C. and Axle and talk to them when there's no camera present to record the people on the other line? Maybe there's some sort of drone-like apparatus with a camera and a microphone that follows them around and has some sort of SATlink functionality and ... wait I minute, am I actually trying to help these people with their plot holes now? Well, fuck that, and hard

"I said black lives matter, you honky muthafucka!"

After that the kids start meddling with K.C.'s computer and the white boy tries to take credit for figuring out how it works and then the black girl elbows him right in the ribs. Of course, nobody acknowledges this for the juvenile hate crime it is, and I, for one, am shocked and appalled. Then the white boy drinks K.C.'s mom's denture water, because he's one stupid cracka'. Then a projection of the formal Slush Puppie mascot pops up out of nowhere and all the kids just marvel at it like the Vision of Fatima. Now, is that technically breaking the fourth wall or is it supposed to be canonical? I mean, they already have teleportation machines in their world, so hologram technology by comparison should be pretty fucking simple to pull off, I guess. 

Then the little white girl steals K.C.'s mom's teeth, which is only slightly less disturbing because the teeth are those wind-up chattering novelty toys. That still doesn't negate the inherent creepiness when she drops the teeth in the white boy's popcorn, though. Not even a little bit. 

So the kids go to a movie theater and watch this "documentary" called The History of Kool and holy shit, it's pretty much the long-lost forerunner of the "Don't Hug Me I'm Scared" videos. Even better, it uses stock footage of kids playing Game Boy and random heavy metal music video clips and even a few seconds of some old bitch playing an accordion. And just wait until you see the puppet penguin holding a lava lamp in slow motion. That shit'll mess you up real good

In the movie inside our movie, a rat puppet shows up and tries to sell a penguin puppet a disco ball mood ring and a pair of platform shoes. Then it turns into a pastiche of an old detective movie, with the rat calling his co-star "penguin face" over and over. Then the penguin starts talking about the Slush Puppie ingredients - namely, water, sucrose and fructose. He even explains how they're culled from sugar and corn. Not only does it make the drink sweet, he says, it also helps it from coagulating. Lucky us, that leads to another damn song, complete with the kids in the theater RAPPING along to it. Man, and I thought that time that one black kid almost drowned on Nickelodeon GUTS was the cringiest thing I've ever seen in my life...

Believe it or not, this song might be even worse than the first one. "To be cool, it's gotta' be frosty, to be cool, it's gotta' be new," the chorus goes, "to be cool, it's gotta' be tasty, to be cool - YEAH! - it better not crunch when you chew." They do get bonus points, though, for using a couplet that rhymes "yuppie" with "puppy." The white boy says the movie was so bad that he wishes he had kept the receipt, and then the black girl says the rat reminded her of him, which is OK because it was socially permissible to treat white males like shit even back then. We cut back to K.C. and Axle, who have now infiltrated the factory. White boxes are everywhere, and for some reason, I just can't shake the grand finale of Child's Play 2 from my head. There, they find a TV and a giant disembodied head named Gush starts talking to them. He says he's a "Super Long Range Ultra-Scanning Helper" (hey, look at that acronym!) which means he's basically just a glorified tour guide.

Are we 100 percent sure this isn't the same guy always hawking shit on QVC?

So the double-chinned, David Venable look-a-like starts singing a song about high fructose corn syrup while images of giant metal vats are juxtaposed with images of kids singing and shit. "If I don't have a Slush Puppie, I might throw-uppy," Axle remarks. Goddamn, that dude is a fucking addict and all these motherfuckers should feel ashamed not getting him treatment. 

The disembodied head says the "recommended dose of Vitamin C" is the Slush Puppie's greatest secret. And here I was, thinking it was the fact Pajet sticks his dick in the mixer every night when the store's empty. We've got some images of people in plastic hair nets bottling up bright red juice and putting them in boxes on a conveyor belt. Then Axle has a fantasy about meeting the REAL Slush Puppie, who as fate would have it, is really just some fat-ass, bush-headed employee in a bright blue sweater. Fuck him for giving our spokes-pet false hopes. Fuck him right in the ass.

Hey, what do you know, it's time for ANOTHER song. This one is actually kinda' catchy, and all in all, I can't really say that disembodied head guy has that bad of a singing voice. Per the diddly, boxing juice constitutes "a major modern miracle, the making of a Slush Puppie," which is pretty goddamn self-exalting, even for propaganda aimed at people who poop in their pants. And it is here, at the fucking 24-minute mark of the tape, that we FINALLY catch a glimpse of one of those iconic Slush Puppie dispenser units. K.C. and Axle find Mr. Slush Puppie's office, but the sign says he's out to lunch. This makes Axle depressed and he cry-sings while K.C. fiddles with some flavor add-in knobs. After K.C. pushes a few levers in a special sequence, the Slush Puppie magically materializes out of thin air RIGHT THEN AND THERE.

Axel sees the Slush Puppie and immediately passes out from excitement. Mr. Puppie doesn't talk, but he does give K.C. a signed, laminated poster and an envelope containing the "secret of Slush." Then the disembodied head makes a few more references to The Wizard of Oz and Star Trek and then K.C. and Axel are teleported back to the lab. The kids, the nosy little shits they are, ask them if they've figured out the "secret of Slush" yet. K.C. opens the envelope and finds a riddle. "It starts with the ingredients only the best," it begins. "We test each batch, we taste we test, but the secret regretting is one you can't see, it's found in you, its found in me." The white boy thinks it's "guts," and then the little white girl tells him it's "love." And that's our cue for the show closer, a song about loving Slush Puppies (well, what the fuck else would it be about?) that sounds suspiciously similar to Fleetwood Mac's "Don't Stop Thinking About Tomorrow." The kids break out saxophones and K.C. even cuts a mean guitar solo at one point. "You've got to love, can't help it but to drink it up real fast," the tune goes, "you've got to love a Slush Puppie for its simple recipe." Wait, that shit don't rhyme at, like, all. 

And that's the end of the tape, kids. The credits roll over CGI factory cogs and at the very, very end there's a stinger featuring the silhouette of a fat, bald guy telling the kids they did a good job, with the letter "JAVFMAJ" on the bottom left hand corner of the screen. Hmm ... any clue what that could stand for? I'm guessing it's either "Jack Ass Virginians Fuck Many Albino Jaguars" or "Japanese Americans Vibrate Frequently Manufacturing Apple Jacks," but there's an outside chance I could be wrong on both accounts ... but probably not

Uh, no homo, my nigga'.

Since there's no IMDB page for the video, it's pretty hard to figure out who did what and what they've been up to since. Apparently, the TV head guy is named John Duncan, but there are so many people with the same name out there that making heads or tails out of who is who is kinda' pointless. I can tell you, however, that it was directed by a fellow named Gregg Page and written by three people. Again, IMDB is no help here, so if any of you people have done anything major with your lives since, please drop us a line and provide us with some scintillating deets on how awful it was shooting this shit. Come on, there has to be some great stories about working on this one - or at least, some nice anecdotes about how much Slush Puppie they would let you drink on set for free. 

Speaking of Slush Puppie, some of the interior factory shots were indeed filmed at the actual Slush Puppie factory in Cincinnati (which can be seen more in-depth in this isolated clip from that one Food Network show hosted by the dude from Double Dare.) Sadly, it doesn't reside on top of a snowy mountain like in the movie, which makes me all shades of disappointed, though.

That said, apparently the company that made the video, Pro-Kids Productions, is STILL around and pumping out material in the Nashville area. Interestingly, who is listed as the CEO of said production company? Well, it's none other than "Gregg Page," who I can only assume is the same guy credited with directing the infamous Slush Puppie propaganda. And I can only fathom the kinds of things he witnessed making this thing - if copious amounts of crystal meth and human trafficking wasn't involved, i'd be shocked to high heaven. 

It's a cliche to say something "speaks for itself," but in the case of Let's Have Fun! At The Slush Puppie Factory, there really isn't anything I can add to the discussion. It's so beyond the realm of comprehension that it kinda' becomes metaphysically above meager human criticism. It's simultaneously the least important thing man has ever created and the most significant contribution to human civilization in all of history. It's both profoundly pointless and immeasurably insightful, a complete waste of magnetic tape and a transcendent cultural high water mark. It's something that should either line a landfill or become the worship object of a mad cult, and I'm still not entirely sure which is which. Even now, I don't know if I should piss all over this tape or praise it as my new God.

That's what truly great art does to you, you know. And although it may take a few millennia for everybody else to recognize it, this VHS oddity from the 1990s is indeed a priceless relic of human existence. It might be garbage today, but mark my words ... in the year 30,559, our robotic alien overlords will consider this a historical object more valuable to understanding what human beings were really about than the Magna Carta or the pyramids combined, I guaran-damn-tee it.