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Welcome to SeeDarkly Sunday DisCOVERies:
a weekly exploration of goth, industrial, & dark alternative cover songs!
First time here? Click here for details from first entry.

I'll admit what I'm about to present is on the out-most fringe of anything goth, industrial, or even dark. It's downright upbeat, fun, and I am barely able to justify it on the basis of its sound. However, even KMFDM once did an entire soundtrack to a video game of the titular wall-crawling webhead, so I feel certain many in the darker subcultures can appreciate this tune spun from IDM/trip hop as frankly one of the (ahem) "superior" covers of the theme. So face front, true believers! Next weekend may bring us a heroic homecoming, but this one brings you the theme that introduced the mighty marvel to motion media!

Urgess - Spider-Man Theme (Paul Francis Webster and Robert "Bob" Harris)

Spider-Man, the first ever animation series to feature the character, debuted on the ABC network's Saturday morning cartoon line-up on September 9, 1967. It was preceded by a single season of The Marvel Super Heroes cartoons that featured Captain America, Thor, Iron Man, Hulk, and Submariner, with no appearance of Spider-Man in any episode. Co-creator Stan Lee has said he originally hadn't thought about animating Spider-Man until the Grantray-Lawrence Animation producers came to him with the idea because they were actual fans of the character. "Smiling Stan Lee" & "Jazzy Johnny Romita" were credited as the show's story and art consultants. The theme for the series was developed and recorded by lyricist Paul Francis Webster and composer Robert "Bob" Harris who used an uncredited array of twelve vocalists on the track from the Billy Van Singers and Laurie Bower Singers.
After the Spider-Man cartoon debuted, Marvel celebrated achieving status as the top-selling comic publisher at that time, no doubt in part due to the show's reach to new readers. The cartoon series changed production hands to Krantz Films after the first season. Its original run lasted for a total of three seasons and spent many years after in syndication. There have been eight subsequent Spider-Man cartoons (with another series scheduled to air sometime this summer) and none have used any version of the original theme, though the theme performed by Joe Perry of Aerosmith for the 1994 Spider-Man series seemed to take some inspiration from the original.
The theme was used again in all three of Sam Raimi's Spider-Man films: covered by a couple of street musicians, Michael Bublé, and a marching band, but only in its original form for the credits in the first of the trilogy. The theme also appears as Peter Parker's ringtone in the second of the two recent "Amazing" films. Michael Giacchino, composer for the soundtrack of the upcoming Spider-Man: Homecoming film (opening next weekend), has revealed on twitter that his score will include an orchestral version of the theme as well.
Apart from its use in the film and television media, the theme has also been covered by punk-rockers The Ramones and the campy lounge singer Richard Cheese.

Ugress is the cinematic-electro brainchild of Norwegian musician, Gisle Martens Meyer. Meyer released his first full-length studio album after making a name for himself as a touring concert performer. Resound, which features his instrumental cover of Spider-Man as its first track, was released on September 9, 2002, exactly 35 years after the cartoon first aired! It seems that this version may have been taken entirely or in part from live performances and cleaned up in post-production. Given the timing, it's possible Meyer had been performing the theme live following the 2002 summer release of the Spider-Man film and after significant crowd response decided it should be included on the album, but there's really nothing to confirm that theory. Beginning with a sample of the orchestral fanfare that accompanied the original show's title, Meyer's version sounds like an eclectic assemblage of world instruments with roots in eastern musicality and trip-hop style. It captures the heart of the theme while giving it an energetic dance rhythm designed to make you move. Because if Spidey has taught us anything, it's that action is its own reward.

The Cover:

The Original:

Next week:
Second Sunday Slowly returns to its regularly scheduled time slot. Remember how the feature last week expressed a desire to shove the sun from the sky? The upcoming downtempo darkwave cover also revolves around seeing less of the sun.

Comments, suggestions, discussions, etc... welcome!
(You do NOT need a Dreamwidth account to comment, but all comments are screened for spam prevention.)

Summer heat is putting half my gigs on hiatus so my next is at the end of this month. When details are available, you can find them on my schedule. ^_^

Explore the darkness,

Previous DisCOVERies

Jun 25 - Sirus - My Own Summer (Deftones)
Jun 18 - Null Device - What's On Your Mind (Pure Energy) (Information Society)
Jun 11 - Marilyn Manson - I Put A Spell On You (Screamin' Jay Hawkins)
Jun 04 - Siouxsie Sioux - These Boot Are Made For Walkin' (Nancy Sinatra)
May 28 - :wumpscut: - All Cried Out (Alison Moyet)

Directory of All Previous DisCOVERies
seedarklyxero: SDXeroEye with glow (Default)
Welcome to SeeDarkly Sunday DisCOVERies:
a weekly exploration of goth, industrial, & dark alternative cover songs!
First time here? Click here for details from first entry.

Two things I haven't done on this blog: featured live recorded covers or spoken with any confidence about the overall direction of DC Comics and their films. On the latter point, I think DC TV has gotten far more right than DC films have, films which I have boycotted seeing in theaters. However, in a couple of weeks I'm going to give Wonder Woman a chance and I hope I'm not disappointed by it as I have been by the previous DCEU films. There does sound certainly like there's reason to be hopeful this time.
I only mention it at all because one fun promo for the film (now at the box office) featured members of the female cast of Supergirl (again, TV being what DC does well, I'm a fan) including Lynda Carter (TV's Wonder Woman circa 1975-9) as her character, President Olivia Marsdin. The song in the promo (in fact the promo's whole theme) focuses on this super-heroine's iconic footwear and that song has been covered in concert in recent years by someone we could call fairly the "Wonder Woman of Goth":

Siouxsie Sioux - These Boots Are Made For Walkin' (Nancy Sinatra)

Nancy Sinatra's debut album, Boots celebrated its 50th anniversary last year, having been released in March 1966. Its first single, These Boots Are Made for Walkin', was released just the month before. It was written by the album's producer, Lee Hazelwood, who originally intended to record it himself (and later did.) Sinatra convinced him it required a younger, more feminine approach. In later years she said "when a guy sings it, the song sounds harsh and abusive, but it's perfect for a little girl." (She was 26 when she recorded it.) Hazelwood thought of it as not much more than "a party song" and "a joke" but in her voice it went on to be an international smash hit. In the 70's Sinatra said she regretted the success of this bit of psychedelic country go-go pop because it tied her to the "hard" image of its lyrical story and she felt that "wasn't her" because she was "as soft as they come."
Nevertheless, she inspired over 200 different covers of These Boots Are Made for Walkin' by a wide array of artists, including the likes of Boy George, Crispin Glover, David Hasselhoff, The Fixx, Kon Kan, Megadeth, Operation Ivy, Nick Cave with his first band The Boys Next Door, Former Bad Seeds members Anita Lane and Barry Adamson, and KMFDM.

Siouxsie Sioux, a post-punk amazon in stature by way of her legacy more than her size, began her solo career apart from the Banshees in 2004. Her 2009 concert DVD release of Finale: The Last Mantaray & More Show was recorded live on September 29, 2008 at KOKO in Camden Town, London. As the name suggests, it was the last show of her tour in support of her 2007 album, Mantaray. While not on any album, Sioux's adoption of Boots into her live performances may well have been inspired in part by her 2007 divorce from former Banshees band-mate, Budgie, but other than the coincidental timing, there is little on which to confirm that theory. It is also possible that she may have been sitting on the idea of doing the song from when she and Morrissey collaborated on a single in the 90's. Morrissey had sent Sioux a tape containing tracks by female singers he was considering they cover for their duet. It's said several songs by Nancy Sinatra were on that tape but it's not clear which. (They ended up picking Interlude by Timi Yuro instead.) Sioux is reportedly working on her next album so there's the chance it could include a studio recording of the cover.
Sioux, who turned 60 last weekend, and Sinatra, who turns 77 later this week, both happen to be Geminis - the priestess and the princess, sisters under the sign, immortal inspirations to generations of musicians, and all while wearing bad ass boots!:

The Cover:
(this recording may not actually be from the DVD or where it claims either, but it's the only source available for now.)

The Original:

Next week:
I'm far more a fan of Scarlet Witch and I've been, ahem, "spellbound"... in a manner of speaking. So for a special person and a special occasion I'm swapping the weeks of the usual Second Sunday Slowly and Third Sunday Throwback features this month to bring you some shock-goth from the 20th century.

Comments, suggestions, discussions, etc... welcome! (You do NOT need a Dreamwidth account to comment, but all comments are screened for spam prevention.)

I spin twice this month but the info and links to get details and RSVP will be updated on my schedule in the next day or two, for those local enough to join the fun.

Make Mine Marvel, d(^_^)b

Previous DisCOVERies

May 28 - :wumpscut: - All Cried Out (Alison Moyet)
May 21 - Sisters of Mercy - Gimme Shelter (Rolling Stones)
May 14 - Torso - Nijinski [Nijinsky] (Daniel Darc)
May 07 - Faderhead - SexyBack (Justin Timberlake)
Apr 30 - Forevel - It's No Good (Depeche Mode)

Directory of All Previous DisCOVERies
seedarklyxero: (Darkest American Xero)

Following the recent news regarding the upcoming releases of Marvel's Astonishing X-Men #51 & DC's Earth 2 #2,
The Gutters offered this insight:

This issue has actually been annoying me. My annoyance comes not from the fact that these story lines are being presented (I'm actually collecting one of them)... but that the NEWS of these story lines has been presented in a manner that feels more like DC & Marvel playing a game of one-ups over the issue, and all following (and probably in reaction to) the news that Obama came out in support of gay marriage.
It's not a damn race to see who can appeal more to the GLBT community. It's an issue about rights and respect.
Telling a story that deals with that issue organically would be great. Jamming it down our throats that they have characters who are gay just to get the day's headline felt hollow and more like they were concerned with upstaging the other guy.
( M- "Our gay character is an X-man." DC- "but ours is "iconic."" M - "oh really? well ours are getting married!" DC - "pfft. ours is Green Lantern...{but not the one anyone cares about}")
It feels forced, unnatural, and kind of offensive in the manner they're approaching it. As if somehow if they don't do it RIGHT NOW before the other guys, their readers won't buy it. And I don't mean "buy it" as in "accept it as believable" but "buy it" as in "make purchases and consume the product in a manner that makes the books collectable and makes the companies more money."
They SHOULD make the believability of the stories the priority.
Don't get me wrong; having positive comic book stories about prominent heroes who are gay is fantastic! But I think Marvel's & DC's overall behavior about it has been abysmal and horrid. It's a bit of a disappointment.
So if anyone is feeling "apathy" in the way this satirical toon attached describes, I can hardly blame them. DC & Marvel  would've impressed me more by telling the story and THEN letting it become news because it was newsworthy. Instead they're just fighting to keep fan-attention focused on themselves by forcing it into the news. What's bold about that?

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I'm such the proud comic nerd.

Remember THIS recent blog entry?

Now read this this article released today...

Admittedly, I was wrong to some degree since it didn't happen in the last issue of Civil War but instead in issue 25 of Cap's own book.
But the way all the titles crossed-over for this major storyline, the story wasn't going to be over when the last issue hit the stands until all the players finish the story in their own titles.

So, Captain America is dead... Kennedy-ed even.
It's a good thing they recently brought Bucky back.
I wonder why...
(would it be so he can wear the suit and give us a new Captain America?
Let's just say I'm calling it now.)

The thing is, I'm not a Captain America fan. Never have been.
What I think is so interesting is how the message of this story was so driven by today's headlines it couldn't be more obvious what Marvel is trying to say about our country and its current leadership. It's pretty reflective of our times, and to some degree how much story writing in comics has matured over the years.

Someone should write a paper.
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I'm not prone to blogging in general but I need a place to put these theories down, so when it happens next month... I can say "I called it" in true Colbert-esque fashion.

The superheroes of the core Marvel Universe have been splintered by a Superhuman Registration Act, sponsored by Iron Man (who has some secret plan regarding the act we've yet to see revealed) and opposed by Captain America. The Act is the government's response to a tragedy caused by superhumans that led to the destruction of a school and the deaths of hundreds of children.

The last issue of the Civil War series comes out in February.

In it, I believe Steve Rogers a.k.a. Captain America will die.

My reasoning for this has little to do with clues left in the story itself. It's primarily because of the solicitations Marvel releases to preview their line  3 months in advance.If you check out those previews you'll see a number of key points among all the "Classified Information" they have littered across most of their titles.
* As of February they stop promoting any new issues of Captain America past issue 25.(except that they promote the same issue a second time in early March.)
* In April, they are releasing 3 supplemental titles to the Civil War series with the "not actual" sub-titles of "Fallen Son" and details that suggest the hero who dies is "one the most beloved characters in the Marvel Universe."
*Also in April, they are releasing the second update to their most recent Official Handbook of the M.U. A-Z series... and for some reason they think it's important to include "a massive 8-page Captain America profile!"

Does the finality of killing Captain America reflect something of what is going on in the real world as a propaganistic and iconic message warning us of the dangers of fascism or worse?
As with all major comic characters killed in the course of the past few decades, (Superman, Green Lantern, Jean Grey, Colossus, etc...) they will find a way to bring him back, eventually.
But at no time has killing a comic book character spoken so directly about current events in the real world.
So as a symbol, Captain America, for all that he represents, is likely to die so Marvel has a martyr for their message.
'nuff said... for now.


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DJ Xero, Operative of SeeDarkly™

September 2017

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