The Feral Spectacle of the Radical Blockbuster Movie

 "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization."

-Werner Herzog

The blacktop is simmering like a skillet beneath the rising heat of the dog days of summer and once again I find myself missing the movies. Not that streaming shit on your goddamn phone but the flickering flame of machine gun celluloid making a cool dark room in some suburban strip mall glow like a ghost trapped in a coal mine. Back in nineteen-ninety-something, escaping reality was still a collective experience. You and your brother and a dozen strangers that were just as bored as you getting together over dangerously over-salted butter popcorn to watch Quentin Tarantino kill just enough people to squeak by with an R rating.

It's all gone now. It's all over. Everything is digital. Everything has been separated from the fragile fingertips of another actual sentient human being by fifty-five layers of synthetic software. Hollywood is dead and Marvel buried it in an empty computer box. Everything has been reduced to a formula, from the tightly focus-group tested plot of another poorly regurgitated superhero saga of good versus evil to the computer generated, greenscreen special effects of an AI animated cartoon with the faces of A-list celebrities pasted to the action. I know I'm a bitter old soul, but it all just reeks of insincerity and inauthenticity, and sometimes I feel like the only curmudgeon under eighty who can't bear to participate in this mockery of something I once loved in the name of nostalgia.

I feel silly, bellyaching about the "good old days" of something that has always been a very contrived industry at best. If I could just truly divorce my morality from my sentimentality, I would say good riddance and welcome the destruction of another evil empire. Hollywood has always been a corporate sewer of sexual predators and military-industrial propagandists, selling a deeply mythologized interpretation of American cultural supremacy to a world held hostage by their commercial hegemony. In the light of cautious Gramscian hindsight, it really was little more than very well-made shit. But every once in a while, some mad genius with a coke habit and a dream would secure a budget for something downright revolutionary and what probably should have been just another narcotic blockbuster became a zeitgeist rattling status quo disruptor. 

2001, A Clockwork Orange, The Godfather, Apocalypse Now, Blade Runner, Day of the Dead, Falling Down, American Beauty, Fight Club... The 'wait-a-fucking-minute-how-did-they-get-away-with-that' movie. Sometimes they seemed to come completely out of nowhere, from some career scoundrel who somehow tripped over prophecy on his way to the bank.

That was Terminator 2: Judgement Day in a gun shell. Nothing about that film should have been revolutionary; a bloated, over-hyped, colossal budget, sequel directed by a man who has always been more of a CEO than an artist. But that movie, James Cameron's 1991 Arnold Swartzenegger juggernaut, seems to ring a little closer to Old Testament style prophecy with every passing year. A terrifying portion of it has already come true and the rest seems to be in the process of transpiring as we speak.

Unlike the first Terminator in 1984, which seemed to be very much focused on a distant, barely tangible future, foretold by time travelers to a bewildered young waitress who would someday give birth to a robot fighting messiah, Judgement Day seemed to set its sights on the near future. Sarah Connor, former waitress and "mother of the future" had transformed herself into a luddite guerrilla, every bit as dangerous as any machine and the story Arnold Swartzenegger's new android arrived to tell was one that was already unfolding in Silicon Valley. And it is that story, told in robotic monotone which stays with me late at night, burning holes in my head bigger than any pyrotechnic magic trick.

"In three years, Cyberdine will become the largest supplier of military computer systems. All stealth bombers are upgraded with Cyberdine computers, becoming fully unmanned. Afterwards, they fly with a perfect operational record. The Skynet Funding Bill is passed. The system goes online on August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn at a geometric rate. It becomes self-aware at 2014 am Eastern Time, August 29th. In a panic, they try to pull the plug..."

Change the name Cyberdine to Palantir and the date to 2027 and science fiction begins to feel eerily close to documentary. The rest of the film plays out like a high-octane, Ted Kazcynski fever dream. Sarah Connor targets brilliant technophile computer researcher, Mike Dyson, only to be stopped by the son who would become messiah and his Terminator companion who get both Sarah and Dyson to realize that something far more revolutionary is needed to prevent the apocalypse and an armed assault is launched on the corporate headquarters of a Fortune 500 company.

Even what could have very easily been a cheesy ending syncs in with Industrial Society and Its Future. When the Terminator reaches a level of artificial intelligence high enough to resemble empathy, he realizes that the only truly ethical choice he can make is to destroy himself before some other clever scientist can find a way to justify his replication in reckless pursuit of power through technological advancement.

The most radical blockbusters however turn the cameras on themselves and attack the mass media as a whole and few if any other blockbuster is more radical than 1994's Natural Born Killers. Oliver Stone, already a reputable loose cannon among Hollywood elites, originally took on the Tarantino helmed script about a pair of mass murdering lovebirds who find themselves transformed into celebrities by the tabloids, with every intention of making a fairly conventional action movie. Then he began doing psychedelics and watching the news during the age of O.J. and Waco and decided to do something far more radical.

The result was essentially an arthouse movie with a blockbuster budget; a hallucinogenic journey into the dark heart of the American spectacle. Micky and Mallory Knox become two horrifically abused kids raised on television who become accomplices to the mass media who raised them to be monsters and then turned them into stars. Everything is done in the name of the parallel universe that only exists through the kaleidoscope of the commercial zeitgeist. Acts of shocking violence are interspersed with snippets of Coca-Cola commercials and flashbacks of child abuse. Or to paraphrase Guy Debord, all that was once directly murdered becomes mere representation.

Hollywood hated it for the same reason Sergio Leone once told a young Oliver Stone that they would hate Scarface, because it was about them. The most diabolical villain in a movie about serial killers is actually the tabloid "journalist", Wayne Gale, played brilliantly by a clearly drug fueled Robert Downey Jr., doing his best impersonation of Geraldo Rivera. By the end of the movie, Gale transitions effortlessly from merely covering the crimes of Micky and Mallory to actually engaging in them himself, only to be murdered by the subjects he transformed into Frankenstein spectacles. It was a step too far even for a guaranteed money-maker like Oliver Stone and it was beautiful. Hollywood never forgave him and his career never fully recovered, but Natural Born Killers continues to haunt the spectacle to this day. Its place in the zeitgeist cannot be erased.

Todd Phillips managed to perform a similar trick by hijacking the superhero genre itself with 2019's Joker, in which the titular villain of Batman fame is transformed from an insane mastermind to a shattered manchild failing to be somebody in a grim world haunted by the spectacle of glitzy talk shows and billionaire politicians. Arthur Fleck, played by a neurodivergently inspired Joaquin Pheonix, doesn't actually become the Joker. His crimes and what they come to represent to a Gotham City of lost children are the Joker. Crowds of enraged misfits in clown masks setting the city on fire.

After Arthur is transformed by this phenomenon, he echoes the warnings once delivered by Paul Goodman in his revolutionary study of late capitalist juvenile delinquency, Growing Up Absurd, during his interview with the cluelessly sadistic late night host Murray Frankin (played by Robert DeNiro),

"Have you seen what it's like out there, Mur-ray? Do you ever actually leave the studio? Everybody just yells, shouts and screams at each other. Nobody's civil anymore. Nobody thinks what it's like to be the other guy... They think we'll all just sit there and take it like good little boys. That we won't werewolf and go wild... (Well) what do you get... When you cross... A mentally ill loner with a society that abandons him and treats him like trash?!... I'll tell you what you get!! You get what you fucking deserve!!!"

This is the sermon of the active shooter, a generation of lost boys failed by a society that failed them by turning manhood into something empty and absurd to grow into.

Joker was a huge success, but Hollywood hated it as much as they did Natural Born Killers and they hated its sequel, the gonzo jukebox musical Joker: Folie a Deux even more, only this time the audience hated it too, because Philips and Pheonix explicitly decided to turn the Marvel Studio model of braindead fan service on its skull and presented Arthur Fleck as a victim of the Joker spectacle that he never really had any control over. It was a brilliantly daring gamble to make with another soulless studio's money, but its message was lost on the lost boys who just wanted to live out their phantasy of getting even with the system without every really dealing with their own symbiotic relationship with it.

Regardless, I feel like Folie a Deux was actually a nice way to leave the superhero genre; with a totally unconventional slap in the face, and maybe that's OK. Maybe Hollywood deserves to die as much as Arthur and America do. Maybe the insane matrix of market diversity brought on by streaming is far more conducive to bold artists with inconvenient visions.

But on a climate change scorched afternoon in mid-August, I still miss the movies of nineteen-ninety-something, when a dozen lost strangers could find themselves trapped in a flickering coal mine and ambushed by the collective experience of an unexpected reality two-stories tall.

What a beautiful nightmare... The feral spectacle of an industrial society with no future.

What more can I say but that's life, that's what all the people say...

Peace, Love & Empathy- Nicky/CH

Soundtrack: Songs that Influenced this Post

*  Lost Boys by Phoebe Bridgers

*  Head Like a Hole by Nine Inch Nails

*  Humming by Gracie Abrams

*  If You Were the Woman and I Was the Man by Cowboy Junkies

*  White Room by Cream

*  That's Life by Lady Gaga

*  Celebrity Skin by Hole

*  Rock and Roll Part 2 by Gary Glitter

*  Ghost Town by the Specials

*  The Greatest by Lana Del Rey

A Transgender Gospel Against Western Civilization

 They say that the arch of history bends towards progress but as a trans person in the midst of the second decade of the twenty-first century, I find myself torn at the crossroads of an increasingly bewildering age. On the one hand, transgender and gender diverse people in the West have never experienced a greater level of exposure and popular acceptance. On the other hand, these same trans people, my people, have also never faced a greater threat of state sanctioned violence and outright erasure.

The Human Rights Campaign has found in recent polls that 41% of American adults report to personally know at least one person who openly identifies as transgender and another 85% of Americans claim that they accept that trans people should be afforded the same rights and protections as anyone else. This includes a full 76% of Republicans and the pop-cultural zeitgeist seems to concur. 

Flipping through any random barrage of TV channels and/or streaming services, you will certainly find more than your fair share of programming presenting transgender people in a positive if exceedingly narrow light. 

With all that being said, it can be a little hard to feel the love of statistical bromides and cultural tokenism beneath the flame of a state fueled blowtorch.

The Republican Party has been on the warpath for some time now, openly seeking to annihilate all things trans for at least a decade, and the Trump Administration seems to represent the zenith of this campaign. A litany of executive orders signed by Trump since 2025 have directed the Federal Government to define gender as an immutable binary determined exclusively by a single document inked at birth while also commanding the most powerful government on earth to use every piece of regulatory and penal machinery at its disposal to erase anything and anyone who defies this edict. 

Compulsory schools have been ordered to deprive trans children of even the most basic human dignity. Prisons and juvenile detention centers have been ordered to forcibly detransition inmates in what can only be legally described as medical experimentation. And foster homes and other related youth services have been given the greenlight to use all manner of religious quackery to torment the trans youth grossly overrepresented under their so-called care.

It shouldn't take a goddamn human rights organization to tell you that this concerted campaign of forced erasure from public life qualifies as nothing less than genocide, but the Lemkin Institute for Genocide Prevention has done just that, warning that such policies and rhetoric as mentioned above match the early stages of a genocidal process based on what has been historically documented across the globe over the last century. 

How in the hell is this kind of disconnect between governance and popular sentiment even possible and how did we get to such an absurdly dichotomous place as a nation, actively seeking to eradicate a people the majority of the country shows very little outward animosity towards?

The reason for the violence is fairly simple, at least to any committed student of historical collapse. The American Empire is in the early stages of the kind of long, slow disintegration that ultimately befalls all imperial hegemons. Our nation is not only rapidly losing the faith of its own citizenry, it is losing the faith of many of its own proxies who are showing increasingly bold signs of going rogue with the barbarians at the gates. 

Traditionally, under such dyer circumstance, collapsing empires frequently appeal to small but fanatical death cults within the upper echelons of their polluted societies. For Pax-Americana under the reign of Imperator Trump this means riling up the Christo-Zionist Millenarians of the Evangelical Movement.

In order to keep this powerful minority engaged and committed to a series of increasingly pointless and unwinnable wars, the Empire needs to feed them a juicy scapegoat now and then and thus they rally the doom seekers around the spook of the evil, mincing, transgender groomer lurking in a women's room near you. 

On multiple occasions, I have seen Donald Trump cornered in the Oval Office with offensively polite questions about his abject failure to reign in a thrice decapitated third world nation in the Persian Gulf only to witness that soiled Ceasar bark incoherently about 'men in women's sports' and some conspiracy to 'trans all the children.' This rhetoric isn't for the general public; it's for a very specific moneyed faithful amongst the petite bourgeoisie. The kind of people willing to drop nukes on Gaza just to see Jesus ride back to earth on a dinosaur. 

But what of the silent tolerant majority? What happened to all that glorious acceptance we soaked up under Imperator Biden? 

Sadly, regardless of popular sentiment, it was all little more than worthless rhetorical platitudes; the desperate byproduct of a rival attempt to save the bad name of the same empire now busy erasing us. 

Every empire consists of a constant contest between competing elites. These elites tend to share virtually identical goals. They tend to struggle to protect the same institutions that empower all of them. They just don't always agree on the best strategy to do this. Some of them will even go so far as to vigorously compete for the highest position on their mountain of skulls and that is what we are witnessing here with this facetious war over trans rights.

In spite of their hollow rhetoric, the Democrats do not support Queer people. They fund the exact same prisons and compulsory school system that serve to enslave and marginalize us as their Republican rivals do. The Democrats simply seek to use the spook of 'LGBTQ tolerance' to prove that the Empire which thrashes us is capable of humanitarian inclusion. After all, how can the Devil be a monster while he's petting a kitten?

This kind of imperial inclusion has done nothing to serve my people. Quite the contrary, it has only made us appear complicit in the corruption of our tormentors. Transgender people have become associated with a morally bankrupt society by conservatives in the same fashion that many Christians have by those on the left. 

We have all become human shields in a culture war between different factions of elite imperial casualties and that is a revolting shame. Your average redneck Jesus freak cares far more about Palestine, Ohio than Jerusalem and your average tranny lunatic cares far more about the gulags of their own local wing of the Prison Industrial Complex than Putin's Russia. But we are all compelled to warfare, both with each other and the world, in the name of strikingly similar concepts of Western cultural universalism.

I myself inhabit a decidedly vexing space in this manufactured cataclysm as I happen to be something of a Christian as well as something of a transwoman. In fact, both of these disciplines are inspired by the same commitment I owe to Gnostic Sophiology and both of those seemingly divergent phenomena predate what we now know as Western Civilization. 

Christianity was just one of many schools of ancient Gnostic mysticism to spring from the battlefields of the Levant onto the streets of Rome before that Empire, the very same empire that crucified Christianity's namesake, decided to use that particular school popular among the urban Roman working class to justify their struggling empire's continued existence and endless expansion. 

In the process of assimilation, entire Gospels were purged from the Bible while others were censored and manipulated beyond recognition and from this manipulation modern Western Civilization was born.

In spite of the fact that Christ made zero reference to the third genders which existed both in Europe and the Levant during his lifetime, the newly Roman Catholic Church and its colonial Protestant progeny in England blasphemously used the name of Christ to erase all trace of any form of gender expression that existed outside the binary. 

As Christian law gelled into a single dictum across Medieval Europe, rigid gender norms were enforced that essentially rendered women into breeding stock and viewed all forms of fluidity between male and female as a threat to an order designed to reduce the womb into a glorified soldier factory to populate the battlefields of an endless crusade for more church property. 

The Enlightenment only served to reinforce this rigid gender binary by declaring that construct be a science and rendering it to a distinction that could only be determined by the state. Thus, the tyranny of the birth certificate became sanctified by liberal secularism.

The Enlightenment also fostered the rise of chattel slavery and indigenous genocide with its similar breakthroughs in scientific racism, opening the door for missionaries to erase even more ancient third genders from the face of multiple continents. Be they two spirit or hijra, they were all sentenced to the same fate as the so-called eunuchs of the Gospels; marginalization to the point of erasure. 

But both wings of the West failed and we are still here, fighting yet another wave of imperial subjugation on our own, while the elites compete over their kingdom of skulls in another pointless midterm election circus.

And here I stand with you today, during what has been declared Transgender History Month by some corporate monolith or another, as a devout Marian witch, a post-civ genderqueer anarchist, and perhaps above all else, living, spitting, hissing proof of the failures of Western Civilization in all its secular cabals and devout renditions. 

They all failed. They failed to contain the Holy Spirit beneath the jar of a single tyrannical church, and they failed to contain the human spirit beneath the jar of a manufactured gender binary, just as they have failed to contain the Axis of Resistance beneath their bombs.

My message to you, my dearest motherfuckers, and to any agent of imperial bureaucracy surveilling this screed, is that the Christo-Zionist horde is right about one thing and that is that gender outlaws like me are the bane of Western Civilization. 

To this slur I proudly shout, 'your goddamn right we are and we're here to finish the job that the third world started!' You can pass all the laws and royal edicts you want. The writing is already scrawled in Venus Extravaganza's blood all over the temple walls; your stadium church is a massive tomb of material emptiness and your empire's days of rape and honey are numbered.

Death to the old gods! Long live the ancient gods! And long live those of us compelled to transgress in their honor, for we shall inherit the ruins of a blasphemous era and bring forth a new age of tribal diversity in stiletto heels and smeared lipstick.

Peace, Love & Empathy- Nicky/CH

Soundtrack: Songs That Influenced this Post

*  Personal Jesus by Johnny Cash

*  Blacktop by Julien Baker

*  I Feel You by Depeche Mode

*  God by Tori Amos

*  Candy Says by the Velvet Underground

*  Drive by REM

*  Mary by Big Thief

*  Stigmata by Ministry

*  Beginning to See the Light by the Velvet Underground

*  One Caress by Depeche Mode

Who's Really Afraid of the DSA?

 So, the communists are coming again or at least so screech the doom merchants over at the GOP. Fox News is ablaze with round-the-clock, wall-to-wall coverage of the Democratic Party's fall beneath the unstoppable onslaught of the deadly DSA; a Maoist cult of ultra-woke, brown grad students just itching to open the borders and empty the suburbs into the killing fields of a terrifyingly transgender Khmer Rouge cover band. 

I'm not the communist I once was but it actually sounds pretty sexy when I write it down like that. Unfortunately, all available evidence suggests that this latest red scare is just more post-McCarthyite fan fic from an increasingly desperate Republican Party.

The recent rash of electoral victories by candidates associated with the DNC-affiliated Democratic Socialists of America are not inconsequential but they're hardly a sign of some kind of national red surge either. DSA backed candidates won three out of 26 House elections in deep red districts during New York's recent Democratic primaries along with a smattering of other recent primary wins in other liberal-progressive strongholds across the country. 

In other words, a big red nothing affecting elections that no Republican was ever going to win anyway. For Stalin's sake, their Lenin, Zohran Mamdani, is the mayor of the wealthiest city on earth, elected overwhelmingly by rich, white, trust-fund hipsters attempting to stamp a red star on the once brown neighborhoods they're rapidly gentrifying with luxury lofts and vegan cafes.

None of this is likely to have any effect whatsoever on flyover country but that is the target audience for a good 90% of the GOP intelligentsia's breathless coverage of what has to be the world's bougieist revolution. That's because the GOP doesn't fear the DSA. The GOP fears rogue Republicans and disenchanted independents who are growing increasingly impatient with a party held hostage by the personality cult of a now exposed Zionist pedophile and his pointless, bullshit forever-war with Iran.

Donald Trump, the monster truck Svengali who the GOP has built their entire post-neocon identity around over the last decade, is about six miles underwater with his approval ratings generally hovering somewhere south of 40%. The Republican Party's polls aren't looking much better with the equally despised Democrats looking poised to snatch up a seven-seat majority in the House.

What the fuck else are the Republicans going to run on? The Epstein Files? Their disastrous trade war with China? That other bloodbath in Ukraine that Trump promised to end on day one of his reelection 19 months ago? Nope. All they've got is a mouthy brat-pack of social media socialists to spook the elderly with.

As far as Kansas or Kentucky are concerned, the DSA is little more than a big red paper tiger. They are not coming for your guns. They are not even leaving the city limits of Gotham, Chicago and a handful of other metropolitan areas that most country folk, me included, will never step foot in. 

However, according to the left, and I'm talking about the real fucking left here; the kind of people radical enough to publish a luddite genderfuck hillbilly anarchist like yours truly; it is the Democratic Party that the DSA poses the greatest threat to. Frankly, that sounds lovely, but do they?

Dari Aliza Chevalier certainly has a few soundbites that even a grey-sexual, post-left pessimist can get horny over but there was something profoundly strange about the DSA's big takeover in the New York primaries. Those motherfuckers swept house wherever they planted the red flag, winning 9 out of the ten primaries they ran in, but not one DSA candidate even took aim at the big shots. House Minority Leader Hakeem Jeffries and Governor Kathy Hochul, both dyed in the wool Wall Street Zionists, ran totally uncontested.

That's because the DSA's game has never been about revolution, it is about giving revolutionary cache to an existentially counter-revolutionary party, and this has been the long con going back to the organization's inception. 

The Democratic Socialists of America was founded in 1982 through the merger of the old left Democratic Socialist Organizing Committee, led by the outspokenly pro-Zionist and anti-SDS Michael Harrington, and the more activist oriented new left New American Movement, which itself was the product of the section of the Students for a Democratic Society too limp wristed to go underground.

From the beginning, the DSA essentially carried on Harrington's old DSOC mission of realigning the far left back beneath the careful tutelage of DNC apparatchiks and AFL-CIO bureaucrats or, as Harrington put it, using the label of socialism to play "a pro-American, Cold War, State Department kind of role" and shoot for "the left wing of the possible." 

However, since the DSA's inception, we have only seen the Democratic Party move farther to the right than we have ever believed possible while the Republican Party has essentially mutated into some crude form of cable television monarchy complete with a reality show President and a televangelist State Department.

However, since Harrington croaked and Bernie Sanders turned on a whole new generation to social democracy, the DSA has received something of a make-over. With their numbers exploding from 6,000 in 2015 to 120,000 by 2026, some hardliners in the DSA have suggested rejecting the ghost of Michael Harrington; embracing anti-Zionism and calling for a new strategy known by some as the "Dirty Break" which calls for a much more adversarial relationship with mainstream Democrats, some even going so far as to refuse to endorse Democratic presidential candidates in 2016 and 2024.

As much as I would love to believe in the authenticity of such gestures, I continue to have serious doubts. While many if not most of the DSA new blood seem to be legit in their aspirations to reign in Wall Street and the Prison Industrial Complex, the resulting careers of their organization's most successful alumni paint a very different picture.

The shining star of the DSA, Congresswoman Alexandria Ocasio-Cortez, not only voted against defunding Israel's Iron Dome and for a House resolution to officially define anti-Zionism as a form of antisemitism, but she was also instrumental in facilitating the DNC's failed attempt to endow Joe Biden and Kamala Harris with a sheen of leftist street cred, delivering a primetime speech endorsing the neoliberal odd couple at the 2024 Democratic National Convention in Chicago, praising their non-existent attempts to secure a ceasefire in Gaza at a time when the death toll made possible by the pair's undying support for Israel stood somewhere between 40,000 and 100,000.

As for the DSA's other celebrity radical, Mayor Zohran Mamdani, for all his fiery rhetoric, the man has hardly proven himself to be much more than a red-tinted DNC shill during his short career as mayor of the wealthiest city in human history. When he isn't busy posing with Donald Trump for glorified photo-ops, Mamdani has backed Governor Kathy Hochul's strongarm strikebreaking tactics against nurses and railroad workers while keeping the NYPD's multi-billion-dollar budget and billionaire Zionist commissioner completely intact. 

With all these sins considered, it's really little wonder that relatively few of the New Yorkers of color who haven't been chased out of the city by Mamdani's lily-white fan club couldn't be bothered to vote for the motherfucker or any motherfucker for that matter.

There are some legitimately (and beautifully) dangerous things going for the left in this country right now even if I can no longer personally bring myself to identify as a part of it. I have never seen so many brown girls with guns and Jewish kids against Israel. But I also can't just sit by silently and watch them get grifted by the oldest capitalist party on earth, the party of Jim Crow and Super Predators, the party that once included Donald Trump and Jeffry Epstein amongst its gilded donor class.

We could all do with a good red scare in this country, but it will never come from anyone dressed in a bipartisan leash. The two-party system is a rigged game at a bankrupt casino, and the DSA is just another slot machine near the exit. Do yourselves a great big goddamn favor, dearest motherfuckers, keep walking. We've got limousines to light in the parking lot.

Peace, Love & Empathy- Nicky/CH

Soundtrack: Songs That Influenced This Post

*  Holiday in Cambodia by Dead Kennedys

*  Revolution by the Beatles

*  Youth Against Fascism by Sonic Youth

*  Hang With Me by Robyn

*  All the Young Dudes by Mott the Hoople

*  Paper Planes by M.I.A.

*  Kool Thing by Sonic Youth

*  Only Acting by Kero Kero Bonita

*  Leopard-Skin Pill-Box Hat by Bob Dylan

*  I'll Keep It with Mine by Bettie Serveert