Acid Is Back!
Conjured by o~ SeMeN SPeRmS ~o on July 22, 2015
Stacia joined the band in 1971; however accounts vary as to how and why she began working with the band. Liner notes to In Search of Space indicate that poet and lyricist Robert Calvert recruited her for live shows; other sources state that she was a friend of Nik Turner, saxophonist and flautist for the band. In 2012, Turner told Mojo Magazine, “I met Stacia for the first time at the Isle of Wight… She said, “Can I dance with you?” and I said, “Yeah, but you must take off all your clothes and paint your body.” She took all her clothes off but unfortunately I didn’t have any body paint. That was like her audition.” In an interview in British music magazine Melody Maker, Stacia herself stated that she attended a show and, inspired by the music, got on stage and performed an impromptu dance to the band’s music. She immediately became an integral part of the live show after joining in 1971.
According to a 1974 interview in Penthouse, Stacia was six feet (183 cm) tall and “happily bisexual”. She regularly augmented her visual impact by performing topless or nude, her body decorated in iridescent or luminescent paint. In a 2007 BBC Four documentary, Lemmy described her as 6 ft 2 inches (188 cm) tall with a 52 inch (132 cm) bust and a bookbinder by trade. The same documentary said that she was working as a petrol pump attendant in Cornwall when she joined the band.
Stacia regarded what she did with the band as interpretive dance, and was an integral part of the early to mid-1970s Hawkwind show, particularly during the Space Ritual era. She left Hawkwind in 1975 after touring with them for the Warrior on the Edge of Time album. Her departure, along with that of Lemmy (who went on to form Motörhead) and Robert Calvert, signaled the end of an era; though Calvert, after a guest appearance with the band at the Reading festival, decided to rejoin the band full-time towards the end of that year.
Conjured by o~ SeMeN SPeRmS ~o on June 16, 2014
Cooper said in the liner notes of Fistful of Alice and In the Studio with Redbeard, which spotlighted the Killer and Love it to Death albums, that the song “Desperado” was written about his friend Jim Morrison, who died the year this album was released. According to an NPR radio interview with Alice Cooper, “Desperado” was written about Robert Vaughn‘s character from the movie The Magnificent Seven. “Halo of Flies” was, according to Cooper’s liner notes in the compilation The Definitive Alice Cooper, an attempt by the band to prove that they could perform King Crimson-like progressive rock suites, and was supposedly about a SMERSH-like organisation. “Desperado”, along with “Under My Wheels” and “Be My Lover” have appeared on different compilation albums by Cooper. The song “Dead Babies” stirred up some controversy following the album’s release, despite the fact that its lyrics conveyed an “anti-child abuse” message.
The album reached #21 on the Billboard album chart and two singles made the Hot 100 chart.
Johnny Rotten of the Sex Pistols and Public Image Ltd. called Killer the greatest rock album of all time. Punk icon Jello Biafra & The Melvins covered the song “Halo of Flies” on their 2005 release Sieg Howdy! Psychobilly musicians Mojo Nixon and Skid Roper covered the song “Be My Lover” on their 1986 release Frenzy. Power metal band Iced Earth covered the song “Dead Babies” for their 2002 release Tribute to the Gods. Guns N’ Roses (featureing Alice Cooper) covered the song “Under My Wheels” on The Decline of Western Civilization Part II: The Metal Years – Original Motion Picture Soundtrack
Conjured by o~ SeMeN SPeRmS ~o on July 20, 2013
Mr. Freedom is a 1969 film by the expatriate American photographer and filmmaker William Klein. Starring the popular French actor Delphine Seyrig, this anti-imperialist satirical farce has cameos by the well-known actors Donald Pleasence and Philippe Noiret, as well as the musician Serge Gainsbourg.
Like his previous film, Who Are You, Polly Magoo?, and reminiscent of the feel of much of Zazie in the Metro, in which Klein is credited as artistic consultant, Mr. Freedom features absurd characters, comical costuming, and exaggeration. The title character’s uniform is an odd assemblage of discarded football gear, face paint, and hockey gloves. The United States Embassy is a department store run by skipping models in spandex, proffering right-wing mercenaries and “Freedom Kits” of high-tech weaponry. Freedom training sessions are Dantian visions of rape and sadism. Every scene aims for the absurd, reaching both for comedic effect and political statement.
Filmed at the height of the Vietnam War and concurrently with the radical political upheaval of 1968 France, Mr. Freedom is a political farce, clearly sympathizing with national liberation and left wing movements. The title character, a stand-in for U.S. political and economic might, is a crude, cruel buffoon in the service of corporations. His rhetoric of freedom stands in cold relief to his actions, which are anything but democratic. The politics get a bit muddled with the characters of Mujick Man, Red China Man, and the FAF, but they would seem to be stand-ins for the Soviet Union, communist China, and the radical milieu of the 1968 uprisings, respectively. Mr. Freedom makes numerous left wing statements on the Cold War, and more specifically, the Vietnam War.
Conjured by o~ SeMeN SPeRmS ~o on March 31, 2013
Conjured by o~ SeMeN SPeRmS ~o on January 26, 2012