Trish Murphy CD Release Party
October 16, 2003, Playland Skate Center
Featuring Trish Murphy, the Texas Rollergirls and K-tel Hit Machine

Trish Murphy put on a hell of an event to release her new album “Girls Get in Free.” In the true spirit of Austin, TX, she stepped away from the traditional release party at a record store or live music venue and rented out the Playland Skate Center. As the title suggests, girls under 18 got in free and for everyone else there was a suggested $5 donation at the door to benefit local teen-girl nonprofit GenAustin. Around 6:30 the Texas Rollergirls kicked off the festivities with an expo bout between the Hell Marys and the 2003 Champion Hustlers, followed up by a match between the Honky Tonk Heartbreakers and the Hotrod Honeys. As if the hard hitting action and cat fights of lovelies like Bunny Rabid, Sparkle Plenty, and Lucille Brawl was not enough, K-Tel Hit Machine belted out old 70s favorites, like “Saturday Night” by the Bay City Rollers, “I Feel like Dancin” by Leo Sayer and “Kiss You All Over” by Dr. John for an all skate complete with a raffle to skate with a roller girl. Trish hit the rink as well!

The belle of the ball, Trish Murphy, hit the stage to sing some songs from her new introspective album including “Thelma and Louis,” “The Trouble with Trouble,” and “Eternal Dream.” Pop with a country twang and lots of references to personal battles and landmarks, this album is sure to be a hit with girls young and old and how can the gents deny such a pretty young songbird.

Be sure to pick up your copy of “Girls Get in Free” and if you’re planning a CD release party any time soon, takes some cues from Ms. Murphy. Sports, non-profit support, FREE Beer, disco, roller skating with roller girls in short skirts, drama (loyal Hell Mary fan, Cliff, was taken was taken away in an ambulance with injuries to his knee)…the only thing they forgot was to shoot Trish Murphy out of a cannon and they may have done that in the parking lot after the show.

-text and images by beth sams a.k.a. the scarlot harlot

The Music of Andy Warhol

Andy Warhol is the grandfather of punk rock art. Maybe it’s the countless tabs, or the Butthole Surfers t-shirts, the little 45’s in Record Exchange, the loving friends, all these things. However, after one spin around the cozy gallery I was convinced that the printmakers and artists of today’s punk rock cum rock art are of a family tree which has Andy at the roots.

To begin with the silkscreen usage is a gimme. His choice to use a medium-screen printing-that was the strong-arm of advertisement predisposes his link to the flyer dependent punk scene. Without this integral link Warhol would not be nearly as related to the genre.

More importantly is Warhol’s use of transposing industrial imagery over the recognizable imagery of the pop culture. I’m talking about the Benday dots; technically used for half tones. Warhol grafted them on top of many of his subjects. Then there’s the big twist he added when he intentionally printed images off registration creating the shuddering, sloppy feeling of imperfect mass production. The combined effect set a precedent. Not that everything is dots and crookedness. There’s more.

Warhol broke the yolk of high art in reaction to the Abstract Impressionists who preceded the Pop Artists, and by breaking high art he took “art” to anyone who had a printing press, and gave the idea of “art” a new visage. Sure, printmaking and plastisol ink has been in art before Warhol and yes Lichtenstein and Rauschenberg helped put Pop Art in our heads. Thanks to Warhol the image of a cow’s head from the side of a milk carton becomes a piece worthy of using; more importantly a piece that places the viewer’s daily images in an artistic context. Add some hot pink and neon yellow and you have the smell of Kozik in the air. (Especially the later stuff when he lifted Vintage Porn, NASA shots and semiobscure B-movie actors for his Man’s Ruin album art.)

And if we want to talk about stark images of guns, harm’s way, and mortality again we have Warhol producing the seminal works. In his Death and Disaster series there’s the electric chair prints with enough space on the right hand side to have 4 bands, the date and club printed right on them. Then there’s the guns overlapping one another in various rotations. Without guns and punk I don’t think there would be an Emo’s. Warholesque LP’s that come to mind are the ultra-crass Feederz “Teachers in Space”, with a picture of the Columbia blowing up oriented in the center of the record and the words “Teachers in Space” running vertically on its borders. More recently and again where Warhol tread, is Unsane’s “Total Destruction”. It’s a full shot of the demolished grill of a car, from the head-on perspective, with blood spattered all over it.
Then there’s Marilyn Monroe and I have just one thing to say regarding Warhol’s influence on punk in this department: Who killed Marilyn?

Many albums and posters come to mind: Big Black’s emblem reproductions, Turbonegro’s lift from Pet Sounds on the cover of “Asscobra”, the Cows’ “Peacetika”, Don Rock’s work, any artwork depicting fascists, communist or dictator-like leaders. Warhol was there with Chairman Mao and a hammer and scythe.

Warhol also took pictures of everyone he ran with, celebrity to tranny, and then printed colored blobs onto them with squiggly line gestures, exaggerating and bringing forth his model’s features. The Mick Jagger in the AMA is absolutely cool!

After seeing “Cowboys and Indians” I had to think of the Surfer’s album “Psychic…Powerless… Another Man’s Sac” which is directly related to this style of line drawing over photographic image.

One final note, the Camouflage pieces are ultra neon and slick, my faves. One of them was recently reproduced as a sticker in U.S. Maples’ “Sang Phat Editor” EP and if you doubt Warhol’s ubiquity, take a look at the colorful cammies the Hot Topic 6th grader’s wear and you’ll probably note a connection. The Austin Museum of Art is displaying the Works of Andy Warhol until November 9. On Tuesdays the cover is $1.00. Take the chance to breathe it in. It’s an hour well

-Kevin Stack


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