Agreed. Between the GBV stuff and Pollard's solo releases, I'm gettin' too old to trawl through it all.

I really doubt it, @avclub-4f18f486a356810b3ef8008243bcba7a:disqus . But maybe if you ask real nice, like Mr. Rogers, someday I will be. However, at the risk of disappointing you, I will not have an Adam Ant poster on my wall. And DEFINITELY not a giant framed one. That's a bit hardcore, even for me.

I don't think the Ants were looking specifically for a teenage audience at first. Adam Ant had been in "proper" punk bands prior to the Ants, and he was kinda filthy in his first incarnation (like, not "teenybopper sexy", but grown-ass man, pervy filthy). He was part of that whole punk fetish scene which was not meant…

Your timeline's a bit off - when it comes to the specific playbook used by the New Wave/New Romantic artists of the '80's, Adam Ant pretty much wrote it. The five-point-plan for musical domination, outlined in your earlier post, was pretty much the opposite of what was happening in the UK at that time. The Sex…

Not that I know of. Though I would be curious to meet anyone who actually has a giant, framed Adam Ant picture on their wall in the year 2013.

Hey, don't mention Cookie Puss, alright?!? We haven't spoken in a while…it's complicated….

If someone did write that bio, I'd totally read it. I'd actually love for him to eventually write his story himself, as I know he's contributed to other historical accounts of the punk era and always has a lot of interesting info and perspective to add to them.

"It is a shame that revisionist hipsterism has brought us to the place where we have to pretend that hearing "Goody Two-Shoes" doesn't make us want to stab our eardrums with ice picks." First off, "revisionist hipsterism" assumes that one declares their musical preferences based on some desire to be a hipster. But for…

Don't forget the part where he appropriates the musical styles of other artists for his own songs. Although, hearing Double Dutch still puts a smile on my face.

Don't forget the part where he appropriates the musical styles of other artists for his own songs. Although, hearing Double Dutch still puts a smile on my face.

Adam Ant didn't quite make the 80s his bitch. He made MTV his bitch, and he made a lot of us trembling teen girls his bitches (I was 13 when I first saw him, and I would've taken him over all of Duran Duran any day of the week). But for having been only one of the fleet of New British Invasion acts that washed ashore…

Michael Jeter, in shabby drag, doing a bastardized tabletop
version of Ethel Merman's "Everything's Coming Up Roses" in Gilliam's
The Fisher King. I have a lot of love for that sequence for
some reason - still gets me every time I see it:
http://www.youtube.com/watc…

I've never seen Fury, but from reading this post I'm immediately reminded of von Trier's Dogville for some reason. That one was tough to watch and yielded mixed results for me, in terms of whether it was worth sitting through. But I may have to give Fury a try anyway. I'm intrigued.

@avclub-22eda830d1051274a2581d6466c06e6c:disqus “I also wish Wayne
Coyne would stop being Psychedelic Gene Simmons and just make some good music again.”

Yes.

That kid on the album cover does not look happy. Wonder who put a bug up HIS ass. Sheesh.

Happens to the best of us, @avclub-c1fe85b855c6d045b827f74a1e2c3fd7:disqus - and after 40+ years, I can see how that whole "sunny day" refrain might blend right in to the background for ya. For someone like me who just visits the Street, but doesn't actually live there, it's somethin' special though.

Far be it from me to disagree with the venerable Cookie Monster, but I think Cookie's pal Kermit has this one hands down. The themes from both Sesame Street and The Muppet Show are among the happiest, bestest TV themes evah.