Top-10 non-influential music acts

Preface: This began as a project on my personal Fakebook page on Thursday, May 7, 2020. It’s purpose was to think outside the box, presenting an interesting alternative to Fakebook’s cookie-cutter “10-day record challenges,” where you post an album cover per day, with no comments, and expect people to respond or to be interested.

Pictures need captions. Therefore I provided a few (and then some) with each image. It’s been edited slightly to fit this format & audience.

Day 1 of 10. In the name of originality, for the next ten days I will post one music act that had NO influence on me. This is harder than it may seem, especially when you go way back. We are often ignorant of what has influenced our culture, music & art. It has to be pretty bad, and thus culturally insignificant, to have no influence on me. Only the most empty & vapid timepieces make this list.

Head East’s Flat as a Pancake (1975) sucks so hard, and in so many ways. Did you know they were from St. Louis? That explains their band name, right? “Never Been Any Reason” was their payola driven AOR hit of their era. AC/DC’s worst Bon Scott song beats this shit by days. How about that title & their “artwork”? Yuck!!

Day 2 of 10 on shitty records which have NO influence on me. I’ll do a different introduction each day, because I have a LOT to say about bad music. For starters, it doesn’t get criticized enough. Pat & Debby Boone were reactionary popular figures who shilled for the establishment their entire professional lives. This is the antithesis of rock music. That is why this family duet sucks.

Pat Boone is everything I’m not, making a career by doing ‘palatable’ versions of Fats Domino & Little Richard classics, for rip-off labels like Republic & Dot Records, intended for square white folks who didn’t get rock & roll back in 1955. Then in the 1960’s Boone went into gospel, and later wrote books like Pray to Win: God Wants You to Succeed (1981).

On In a Metal Mood: No More Mr. Nice Guy (1997), Pat Boone revives his shtick by attempting to cover the genre from AC/DC to Zeppelin, from a 700 Club perspective. It is painful, pathetic & evil in intention. I wasn’t influenced by his sappy daughter Debby either. She was featured a lot on TV when her one big hit came out, and as a kid I always changed the channel or walked out of the room (in a hurry) when she started belting it out.

Day 3 of 10 on unlistenable & overindulgent music that has NO influence on me. In fact it repels me. Emerson Lake & Palmer was a 1970’s trio, that made triple album projects, and did a lot of trilogies. They even named an album Trilogy (1972), their fourth [!] record. Featured here is Works Vol 1 (1977), which clocks in at 87:23. Of course there’s a Works Vol 2 (1977), which adds another 43+ minutes to the musical onslaught– and completes the LP trilogy! All this rightfully earns ELP ‘Day 3’ on my un-influential list.

Honestly, the ELP acronym never did it for me. I think it should have been LPE. It probably wouldn’t have mattered much, as ELP proved there are lots of ways a bad idea can go wrong. PEL perhaps? Carl Palmer is an amazing drummer, but I liked Asia better with their one great hit “Heat of the Moment,” and so do 95+% of you. Greg Lake had worked with Robert Fripp in King Crimson, which shows you what the problem with ELP was. It’s Keith Emerson getting out of control with the heavy-handed pretentiousness. Lots of noodling, with not enough songwriting, translating into massive boredom for the listener. Zzzzzzzzzzz….

Day 4 of 10 on god awful records which have had NO influence on me. Rock operas suck, okay? Stryper combined hair metal with the King James version of the Bible, and it hurts my ears. Stryper was the leading “Christian rock” heavy metal band of its day, whose name is an acronym: Salvation Through Redemption Yielding Peace, Encouragement, and Righteousness. This band gives you a headache, just trying to remember its name.

S.T.R.Y.P.E.R. were there to take up the sword of truth in their battle against existential evil, in the name of Jesus Christ our Lord in Heaven. At least until the 1990’s. On the unsanctified flipside were KISS (Knights In Satan’s Service), AC/DC (After Christ/Devil Comes), and all the rest of us unredeemed sinners. And yet, Stryper fits in neatly with Bon Jovi & Dokken! And then there’s the moronic ‘Satanic backmasking,’ which Stryper, et al, joined the crusade against– with zeal. Do you get all that? For some instinctive reason, I never did.

Day 5 of 10 on musical posers I disregard. Twisted Sister were the New Jersey Dolls, ten years after. Stay Hungry (1984) put Twisted Sister on top, after a dozen years of hacking around & endless line-up changes. “We’re Not Gonna Take It” was their smash hit, with its ham-fisted MTV video, painfully parodying Animal House (1978). Now look at them yo-yo’s, that’s the way you do it, you play the guitar on the MTV. After taking in the earring & the make-up (yeah buddy, that’s his own hair), I was struck as kid by how OLD this band looked. You really felt the 1980’s sucking when Quiet Riot & TS were in their heyday.

Dee Snider was somehow appointed ambassador for modern rock music during the infamous PMRC Senate hearings in 1985, lending his deep thoughts on music censorship legislation. “We’re Not Gonna Take It” was one of the Parents Music Resource Center’s “filthy fifteen.” The 14 others, deemed dangerous to our minds by Washington elites were: Prince “Darling Nikki”, Sheena Easton “Sugar Walls”, Judas Priest “Eat Me Alive”, Vanity “Strap On ‘Robbie Baby'”, Mötley Crüe “Bastard”, AC/DC “Let Me Put My Love Into You”, Madonna “Dress You Up”, W.A.S.P. “Animal (Fuck Like a Beast)”, Def Leppard “High ‘n’ Dry (Saturday Night)”, Mercyful Fate “Into the Coven”, Black Sabbath “Trashed”, Mary Jane Girls “In My House”, Venom “Possessed”, Cyndi Lauper “She Bop”.

Sex, masturbation, violence, language, drug & alcohol use, and occult [!] were the official reasons for applying “parental warning” stickers to select performers’ records, tapes & CD’s. The PMRC was shut down in the mid-1990’s when it became hopeless for them, as every rap, rock & pop CD had ‘explicit content’ by their standards, rendering their warning labels ubiquitous, and thus useless. The PMRC had also become overwhelmed by backlash. Napster was next, and nobody in Washington, or the music industry was ready for that.

The PMRC was NOT a broad popular movement, as they wanted everyone to believe, but only four people– supported by corporate media hype. These “Filthy Four” were: Tipper Gore (Al’s wife); Susan Baker, wife of Treasury Secretary James Baker under Reagan/Bush; and Pam Howar & Sally Nevius, both wives of Washington big wheels. The PMRC was bi-partisan & well-connected. The MeToo campaign has deep roots in the US deep state.

Getting back to Dee Snider & Co…  there are at least a dozen better albums from 1984 than TS’s Stay Hungry. In any order: REM, Reckoning; U2, The Unforgettable Fire; Replacements, Let it Be; Metallica, Ride the Lightning; Pretenders, Learning to Crawl; Stevie Ray Vaughn & Double Trouble, Couldn’t Stand the Weather; Van Halen, 1984; Iron Maiden, Powerslave; Prince, Purple Rain; Madonna, Like a Virgin; Bruce Springsteen, Born in the USA, John Lennon & Yoko Ono, Milk & Honey.

There are three (3) questions which determine what you know about heavy metal, from fans who were there back in the day. 1) Roth vs. Hagar. 2) Night Ranger vs. Damn Yankees. 3) What are your two (2) favorite Black Sabbath, AC/DC, Van Halen & Iron Maiden albums– & why? The first two are gimmies, and scored by how quickly & assured your answer is. The third tells us what you know. Being wrong on either of the first two is immediate failure, and back to school. Those are the rules, ask anyone who knows.

Day 6 of 10 on horribly ugly attempts at making rock music, which had NO influence on me. What can I say about G.G. Allin that hasn’t already been said? Here’s one: Every fucking Nazi skinhead band glorifies G.G. Allin, or at least has been influenced by his shit. Freaks, Faggots, Drunks & Junkies (1988) is his ‘definitive’ record, with representative titles including: “Suck My Ass It Smells,” “Dog Shit,” “Sleeping in My Piss,” “Anti-Social Masturbator,” “Last In Line For The Gang Bang,” “Commit Suicide,” “Outlaw Scumfuc,” “Cunt Sucking Cannibal,” “Young Little Meat,” & “I Wanna Kill You.”

The most helpful documentary is: Hated: GG Allin & The Murder Junkies (1993), filmed up through his death by alcohol & heroin overdose. I refuse to post the link, because much of it is revolting pornography, but it’s on YouTube and has all the sordid details. I recommend viewing it on an empty stomach & showering afterwards, if you dare to watch. You’ve been warned. It’s no wonder G.G. Allin caught the attention of Geraldo Rivera, Morton Downey Jr, & Jerry Springer.

In short, this isn’t punk; it’s disgusting & sociopathic. G.G. Allin is the most despicable figure in music history. He never missed an opportunity to wallow in his filth & depravity. With the COVID-19 pandemic a reality in 2020, the legacy of G.G. Allin needs to be put in its proper perspective. The earthly life form he best compares to is E. coli. G.G Allin personifies excrement, which the rest of us must clean up, otherwise we’ll be destroyed too.

Day 7 of 10 on musical illusions I ignored. Here’s a straight-forward music question: Who were the Beatles? Obviously it’s John, Paul, George & Ringo, produced by George Martin. Fast-forward 20 years to an era of MTV & MIDI, and here’s a deceptive & complex question: Who is Milli Vanilli? Back then I didn’t care about Fab Morvan & Rob Pilatus, because I loved the Pixies, so I thought this Munich pop/R&B act was tame.

In the months after Milli Vanilli’s now infamous 1990 Grammy performance, after winning Best New Artist, their lip-syncing scandal broke, and this act was declared a hoax. Fans disowned their Milli Vanilli records when it was reported that all their hits had actually been sung by three no-names: Charles Shaw, Brad Howell & Charles Davis. So who is Milli Vanilli?

This becomes a murky question, so we need more background to answer it. Arista Records CEO Clive Davis, responded to the scandal by dumping the frontmen, Fab & Rob, while deleting Milli Vanilli’s entire album & song catalog, which had been worth hundreds of millions of dollars. Arista even offered fans a refund on their album purchase, with a return, something no one ever heard of– before or since.

This was a conscious attempt by industry mogul Clive Davis at damage control, as pop performers were being criticized, especially by grunge punks, for lip-syncing their “live” performances. Madonna, Janet Jackson & Paula Abdul (to name just a few) all used MIDI backing vocal tracks to boost their live performances, and allow them to dance more. My reaction to all this at the time was, “If their fans are too stupid to not be aware of this, then they deserve to be ripped off.” I still feel the same way.

So who is Milli Vanilla? Frank Farian was a German songwriter & producer, and the brainchild of Milli Vanilli. Farian had done this type of band image manipulation, a decade earlier with “Daddy Cool” by Boney M, an American disco & Euro-pop hit in 1976. It has over 154 million views on YouTube, so it’s not unknown or forgotten. Boney M was presented as a young, black Caribbean soul group; but really it’s fat, white Frank Farian singing & putting it all together in the studio with session players. Then he hired the people you see in this video to act as the band. This technique has been ‘standard practice’ in Euro-pop since its inception in the late 1970’s.

Anyways, Frank Fabian did this with Milli Vanilli from 1987-90. The real tragedy was that two naive kids, who were models & could break dance, but barely spoke English, were manipulated into being frontmen for a huge musical hoax, which made both Frank Fabian & Clive Davis millions. But none of these Milli Vanilli facts or events are documented in Clive Davis: The Soundtrack Of Our Lives (2017). This ‘documentary’ spends about 30 seconds on Milli Vanilli, and interviews none of the principals.

Clive Davis, who is portrayed throughout the film as having the “magic ear” for spotting talent & always doing his homework, claims he didn’t know Milli Vanilli was a lip-synced act. Anyone can now see that this Clive Davis propaganda piece (available on Netflix) was made to get him & Whitney Houston into the R&R HoF, and it worked, as both are 2020 inductees. When magic like this happens to artists under Davis’ wing, they’re supposed to look into the nearest camera, and in a full-throated voice ejaculate, “Thank you, Clive!!” Call it a nod of respect to the Black Hand.

In many ways, Frank Fabian & Clive Davis were Milli Vanilli. They are the version of this act which I despise most. Today, Fab Morvan & Rob Pilatus are rightfully seen as victims of the industry. Rob Pilatus couldn’t handle the shame of it all, and died of an alcohol & prescription pill overdose at age 32 in 1998. Fab Morvan cleaned himself up, learned English, took singing lessons, and figured his way around a music studio & live stage.

I’ve had to do a lot of research for this list, and much of it has been tedious & draining. I’ve dug into the lives of performers & their associates, many of whom I really didn’t have much interest in, all to figure out the truth, as best I could. But there have been moments of joy & rapture. Patrick Bet-David’s Untold Stories of Milli Vanilli is a very revealing interview with Fab Morvan, posted two months ago, which answers a lot of questions that had lingered, so I highly recommend it. Also, see this linked video above from November, 2018, which brought tears to my eyes. Fab Morvan always wanted to be a singer, and he finally proves he can do it. That is the Milli Vanilli I can respect.

Day 8 of 10 on non-influential music figures. If you’ve ever looked though used record bins around flea markets, in thrift stores, and at Goodwill & Salvation Army locations, then you have seen Mitch Miller records– alongside Mantovani, Ray Conniff, and everything else no one wants. Mitch Miller records just sit there forever, flipped past without a second thought by everyone who is looking for good records. If you took all the Mitch Miller records, in all the used record bins, you’d have tens of millions of Mitch Miller records that no one wants. How did this happen?

Most people flipping through these bins have no idea that Mitch Miller was the most powerful person in the American music industry from 1948-1963 as head of A&R, first at Mercury, then moving to Columbia Records in 1950. Mitch Miller decided what America heard, by controlling the output of the largest & most prestigious post-WWII record label. This included stuff like setting the music of Charlie Parker to no-name big bands with strings, gimmicky songs & arrangements for artists such as Frank Sinatra, Tony Bennett, etc; causing many stars to eventually leave Columbia. Mitch Miller loved military music, music for kids, and of course Christmas music. All this gets categorized under the catch all– easy listening.

Mitch Miller hated rock & roll, passing on Elvis Presley (RCA), Buddy Holly (Coral), and the Beatles. In January 1958 Mitch Miller told NME, “Rock ‘n’ roll is musical baby food. It is the worship of mediocrity, brought about by a passion for conformity.” When the Fab Four signed with Capitol in November 1963, that was the last straw for Mitch Miller as head of A&R at Columbia. He was removed, and set out to pasture as a consultant at moldy Decca Records.

This is when Clive Davis took over at Columbia. For comparison, Clive Davis was able to survive his “drugola” scandal in 1973, where Mitch Miller disappeared, because Davis still had industry connections. Clive Davis was retained by Columbia Pictures, and started Arista Records in 1974. Staying connected to the Black Hand allows him to remain powerful through today, as an industry tastemaker & gatekeeper.

Drugola in one paragraph: gangster Pasquale Falcone created a fictitious trucking company to bill false invoices to Columbia Records, with the cooperation of David Wynshaw, who was Clive Davis’ hand-picked protoge as new head of A&R, when he became President of Columbia Records. This is how heroin was transported from Montreal to New York. It was busted in 1973 by the FBI & RCMP, in a joint operation. The heroin & cash were used to bribe radio programmers & DJ’s as “pay for play.” There was a HUGE cover-up, as this went all the way up to the Commission– meaning the governing body of the American mafia. It got sensational & political for awhile, then it disappeared. Clive Davis was convicted of tax evasion, but never served jail time. In 1986, CBS Records & Gambino family associates were again federally arrested, celebrities were made, etc– but that’s another long paragraph.

Long before karaoke, there was the NBC television series, Sing Along with Mitch (1961–1964). You will feel at least 50% whiter after watching any episode– or your money back. Led by Mitch Miller conducting his all-white, all-male choral group, viewers were presented with lyrics at the bottom of the black & white television screen, and encouraged by Mitch to sing along. Above is a famous clip where Johnny Carson joined Mitch Miller & the Gang for a sing-along of “Mary Lou”, the 1926 classic by Abe Lyman’s California Orchestra. Bob McGrath from Sesame Street was also in the chorus.

There were aspects of minstrel show in Sing Along with Mitch. Leslie Uggams was a regular, who is most recognized by Generation X for portraying Kizzy Reynolds in the television miniseries Roots (1977). In 1954, Leslie Uggams (age 10) made a record for MGM, which included a reworking of the song “Santa Baby” as “Uncle Santa,” with words unsuitable for a child. As you can see in this video above, Leslie Uggams’ face has been whitened, and she’s wearing a bad wig to hide her nappy hair. That’s the type stuff an ‘outsider’ had to deal with from Mitch Miller & the Gang.

Day 9 of 10 on non-entities who were blown up & then crashed badly, and thus had zero influence on me. This is the Leif Garrett edition, and I Feel the Need (1978). For me, Leif Garrett was the quintessential disco rebel teen idol, far outstripping Donny Osmond, David Cassidy, Shaun Cassidy, Willie Aames, AND Adam Rich. Leif Garrett was a modern prototype, that Justin Bieber modeled, perfected & conquered two decades later. For reference, New Kids on the Block is the cultural midpoint between these two titans of teen.

Being a “teen idol” means you can’t play an instrument, write songs, or sing. Just smile & be a heartthrob, and the producer will take care of the rest. Seeing this album cover again, brought back memories for me of seeing Leif Garrett on a cover of a magazine, on TV, or in a poster some girl had pinned up. I would always look at it for a bit, and then say to myself, “This guy really thinks he’s hot shit.” And for awhile he was.

Leif Garrett was best remembered by the young girls for his mane, and by many young boys for his two-part episode on “CHiPs” titled “Roller Derby 1 & 2.” September 22, 1979– the S3 premiere of Ponch & John riding around, never having to draw their guns from their holsters, meaning it was a big television event for all of us. Both episodes were boring let downs, with Leif Garrett’s whiny acting, followed by his weak & pretentious singing. Viewing in retrospect & knowing what we know now, it appears he’s on coke & quaaludes the whole time. A few months later, just five days before his 18th birthday, Leif Garrett crashed his Porsche 911 while high on booze & pills. The result was his closest friend, Rowland Winkler, 19, being paralyzed for life. Career to off.

Being a heroin addict and never recovering, means you get screwed out of royalties. In 1998, Leif Garrett said in an interview, “My former record label was bought out. The label was started by me … meaning my music started it, funded it. And then it was bought out by some company that released the [Leif Garrett] Greatest Hits Collection. Not only have I not seen any royalties from that, but they wanted me to promote it — the compensation being a couple of CDs.”

VH1’s Behind The Music on Leif Garrett covers what you need to know, including how to pronounce his name. It’s Lāf, long ‘a’. Since I was a kid, I had been one of millions who had been mispronouncing it as ‘leaf’. How about you? This leads to a question. What kind of ‘performer’ lets his name get mispronounced over & over? What follows is my best answer to that.

This was a kid who was made an offer anyone would have jumped at– to be a rock star– and had no idea what he was being led into. As I have discussed previously, the music industry is run by sharks who hook artists (and everyone else) on drugs (or whatever), so they can steal the money. That’s what I hate most about music– the corrupt industry element. Record executives don’t make hits, it’s songwriters & performers who do that, with help from good producers. The lesson in this instance is that this kid should never have been hyped the way he was, because he could never live up to it. And BTW, who were the supposed ‘adults in the room’ on his behalf? Being over-hyped made his crash that much harder. He would be much better off today, if he had never been made a star. That’s the sad tale of Leaf Garrett.

Day 10 of 10: Everything I have written up to this point has been to prepare you for this murky, murky question. Who is Pussy Riot? Short answer: Pyotr Verzilov & Nadezhda ‘Nadya’ Tolokonnikova. What follows is a long explanation, that can’t be any shorter to retain its completeness & coherency. Pyotr Verzilov is a Russian-Canadian artist, activist, and the driving force behind Pussy Riot. He surely works for/with Canadian, US & UK Intelligence Services. Pyotr Verzilov masterminded “A Punk Prayer” in February 2012, which was a “performance” at Moscow’s Cathedral of Christ the Saviour, where they bum-rushed the altar for about 30 seconds, and jumped around punching the air, while their media crew shot video & took photographs. Previous performances consisted of Pussy Riot doing their ski-mask-air-guitar-with-no-drums dance routine in public, with music blasting through loudspeakers, while their video cameras rolled. That’s how early Pussy Riot videos were made.

Five women were arrested for the “Punk Prayer,” and this was how Pussy Riot was introduced to the world, as a feminist punk band fighting Putin’s totalitarianism. Pyotr Verzilov was there for all these “performances,” and he produced “A Punk Prayer: The Video,” then released it on YouTube. All of a sudden, three clueless girls, two Russian & one Ukrainian: Maria Alyokhina, Yekaterina Samutsevich, and Nadezhda Tolokonnikova, were caught in an covert intelligence propaganda war between Russia & the West.

Those three women in Pussy Riot were the only ones who were convicted in 2012. The two other women never had their names released. What explains that? The most logical explanation is that at least two members of the original Pussy Riot were Russian agents who had infiltrated the group. Keep in mind, Vladimir Putin originated in the KGB of the Soviet Union, and maintains close connections in Moscow. Pussy Riot was considered subversive, so they would be a target for infiltration.

It’s the ‘Russian agent’ narrative that explains the early release of Yekaterina Samutsevich, Maria Alyokhina, Nadezhda Tolokonnikova in late 2013, as this whole spectacle had become an embarrassment for Vladimir Putin, and the Sochi Winter Olympics were in February 2014. Releasing these three girls early from prison allowed them the freedom to protest outside the event, which they did. But the truth is, Pussy Riot was a much more powerful symbol for their reactionary causes when they were behind bars. There they could play martyrs, which is easy for women with the right connections these days.

Pussy Riot got REALLY connected while in prison. Pyotr Verzilov, who was then married to Nadezhda Tolokonnikova, became a representative & dealmaker for Pussy Riot on the international stage. He made contacts with human rights organizations such as Amnesty International, who took up the cause. Barack Obama supported Pussy Riot covertly through the CIA, while Noam Chomsky became a big booster in 2016. Musical celebrities including: Madonna, Paul McCartney, Kathleen Hanna (Bikini Kill/Riot Grrrl founder), and the Red Hot Chili Peppers, all got in line & expressed support for Pussy Riot.

Pyotr Verzilov then created Pussy Riot’s news website MediaZone, which is surely a CIA/MI6/CIS (Canadian Intelligence Services) front, through which all Pussy Riot content is now made & distributed. In 2014: Nadezhda Tolokonnikova, Maria Alyokhina, Yuri Andrukhovych were each recipients of the prestigious Hannah Arendt Prize, which comes with a generous endowment & privileges you don’t know. In 2015, Pussy Riot appeared on S3/E3 of House of Cards, the ground-breaking Netflix series, where they are in the episode, and ‘perform’ through the end credits. It’s not clear whether Pussy Riot was paid to be on House of Cards, or the other way around; or who made the deal, and for how much?

Above is the official Pussy Riot ‘cover album’ titled, America’s Greatest Hits: Rockin’ in the Free World (2016). Nowhere [!] can you find who the actual musicians are, but there is no bleeping way it is any of the people who claim to be Pussy Riot. The copyright on YouTube is listed as: ℗ 2016 Simply Media TV Ltd. Every Pussy Riot ‘cover’ here sounds like American session musicians, singing in American accents. Yet, ‘Nadya’ still has a deep Russian accent in the Pussy Riot video “Make America Great Again,” linked below, and released in October 2016. This is straight ahead US pop production. Opening line, “Does your vagina have a brand? Let your vagina start a band!” This banality is what is referred to in the corporate media as “pussy power.”

If you read all the Wikipedia biographies on Pussy Riot’s members, you’ll notice very little personal data is given. It is noted that many have email addresses & phone numbers which keep changing, making them difficult to find, and impossible to interview. Also, none of the women play a musical instrument. I’ve never seen a band that personally shunned the media so efficiently, yet got so much industry hype.

Pussy Riot has no songs that anybody remembers, or puts on their play list. They don’t even have an album of their own songs [!]. You can hear all of Pussy Riot’s songs in less than an hour on YouTube, which is their primary distribution channel. And yet, Pussy Riot has 289 links on Wikipedia as of this publication. For comparison, Adele, the biggest female musical superstar of the past decade, has 280. There is no innocent explanation for that. Pussy Riot reeks of provocation.

Pussy Riot has been turned up in-our-face, on every social media platform & search engine including Fakebook, Twatter, Yazoo! & Goggle. Pussy Riot is like MeToo– it’s a campaign. Since 2012, Pussy Riot has called themselves a ‘collective,’ but really they are a pool of assets, for deep-state covert psy-op campaigns. Someone else makes the music, and tells them what to say & do. Then they get dressed up & do it, while a media team films & produces it. Just like Frank Fabian did with Milli Vanilli.

Let’s talk more in detail about the music of “the most famous Russian punk band.” There are two distinct phases of the Pussy Riot campaign. The ‘punk’ period from 2011-2013, which can be called “Barrack Obama Pussy Riot.” That’s the anti-Putin anarchist version, that sang (screamed) in Russian, and projected a punk sound. Who actually played on these songs is still a mystery to most of us, but it surely wasn’t any of the girls purported to be Pussy Riot. Nadezhda Tolokonnikova screaming, and that’s it; and she has no clue Pussy Riot’s “Death of jail, freedom of protest: Kill the Sexist” is a rip-off of the Cockney Rejects “I’m Not a Fool”. There’s just no way.

“Black Snow” is an example of “Hillary Clinton Pussy Riot,” which has defined their ‘sound’ since ~2014. It’s kiddie electronica pop, looping a lame melody of “London Bridge is Falling Down” between Russian rapping. Pussy Riot’s “Pong!” (2018), is a strobe-light effect video, that literally is meant to abuse your eyes. Hillary Pussy Riot does that a lot. Their sound is now defined by a host of unknown pop producers such as: The Minister of Soundalikes, Desi Mo & Leikeli47, MARA 37, Vic Mensa & Junglepussy, and CHAIKA. “Organs” is an electronica Pussy Riot mood piece, by their favorite producer– David Andrew Sitek.

The Pussy Riot ‘pitch invasion’ at the 2018 FIFA World Cup finals (FRA v CRO) in Moscow, shows how shallow, yet well-funded this campaign is. Police uniforms were provided to Pyotr Verzilov, and three young models: Veronika Nikulshina, Olga Pakhtusova, and Olga Kurachyova. For clarity, this is Hillary Clinton Pussy Riot. The babes were filmed in a plush hotel room before the game, reading badly from scripts obviously written by someone else. This ‘new & improved’ Pussy Riot looked as if it had been custom tailored & outfitted by Louis Vuitton. There is always heavy security at an event like that, so how Pyotr Verzilov obtained police/security uniforms remains a mystery. How they had time to make it all fit so nicely, is yet another.

Usually that’s a serious offense, impersonating a police officer at such a high-profile event, but these four hooligans were sentenced to only 15 days imprisonment. A few months later, in September 2018, it was reported that Pyotr Verzilov had been hospitalized in critical condition at a toxicological department in Moscow. Doctors at the clinic suggested either an overdose, or poisoning with anti-cholinergic drugs. A few days later, Pyotr Verzilov was flown to Berlin, Germany, where he recovered. No proof of poisoning was ever presented, but this does happen to double agents, and to enemy agents who cross powerful autocrats on their own turf one too many times. Pussy Riot has been conspicuously quiet ever since.

Yesterday, I Googled: “Pussy Riot tour dates,” clicked where I was supposed to– and this official scheduler came up. It says Pussy Riot just had a concert in Phoenix, AZ on April 15, 2020– in the middle of the coronavirus pandemic shutdown. If you check this Phoenix venue’s website, the Crescent Ballroom, its calendar displays that every event in April was CANCELLED.

It is also alleged by Pussy Riot that they ‘rocked’ Santa Fe, NM on April 14, 2020; and Austin, TX on April 12, 2020. They have more ‘shows’ coming up, so check them out. And if you ever wondered what fake reviews look like, check all theirs out. Get there quickly, as all this will be taken down soon after this publication. That’s how they operate, so that’s what these screenshots are for.

A “live” Pussy Riot show can be compared to a void & lifeless version of Andy Warhol’s Exploding Plastic Inevitable. But instead of Chelsea Girls (1966) being screened silently on the wall behind, while the Velvet Underground performed, and everyone’s mind was being blown; today it’s a video of each Pussy Riot song projected with the soundtrack, So what it is, is Nadya lip-syncing in a ski mask, doing a pale imitation of Nico.

Pussy Riot was the only modern ‘band’ I covered in this list. They are the polar opposite of my artist persona Ric Size, and therefore have NO influence on me. I fight Pussy Riot with everything I’ve got, because I know how evil they are. In comic book terms, Pussy Riot is my arch-enemy. Every article on Pussy Riot is remarkable, this one included, in that they all spend an inordinate amount of time discussing everything except music. Pussy Riot ‘fans’ are not kids. They are post-modernists, de-constructionists, anarchists, situationalists, and every other variant of pseudo-intellectual nonsense that supports bourgeois ethics.

Day 11 of 10–  Postscript: This one goes to 11. Looking at stuff you don’t like with an open mind does one of two things, both of which are healthy. It either: 1) confirms what you already thought, meaning you can now dismiss it more assuredly; or 2) it blows-up a bias which led to a misunderstanding, and lets you discover something wonderful outside of your normal comfort zone.

That is what I discovered with this ‘bad top-10’ list. I have my biases like everyone else, and to be fair, I have to put them aside to prove to myself what is truly wretched & offensive. In the process, I blew up a few personal misconceptions on performers, who don’t deserve to be mentioned with the above-listed ‘bad 10’. I also learned a lot & laughed some, and I hope you did too.

This is all meant to illustrate how there can be serious artists in every significant musical genre, but they can remain hidden from you– for whatever reason. But if you always keep looking, it will eventually find you. For instance, I’m now an Abe Lyman & the California Orchestra fan. I have Mitch Miller to thank for that, and that’s a measure of redemption for him.

Take the best from each genre, and be fearless. There are lots of genres in the world that we don’t know. Respect yourself, by killing your idol worship, so you can always be true to yourself. Listen, because music is everywhere. Knowing where the bottom is (or at least having an idea), helps with genres, and I’ve shown to you here– across many styles & eras. Never forget that it’s a rough & dirty business.

Identifying all the major artists in any significant genre is the quickest way to understand it. Just for reference, Miles Davis needs at least five albums for a meaningful illustration, and that’s just a rough sketch. That’s how much substance is there. You can’t omit what is essential, because it’s disrespectful. All genres inter-relate, on a higher level, and so on. It helps to use you head when you follow you heart.