Leader of the music group The Ugly Janitors of America, John Trubee has given his life to entertain the unwashed masses by way of recorded music, prank phone calls, poems, cartoons, and evocative performances.
Best known for creating the most famous song poem of all time, the 1984 novelty track "Peace & Love" (more commonly known as "A Blind Man’s Penis"), recorded by Ramsey Kearney. The country-western track penned by Trubee is one of the most deranaged dada/surrealist recordings of all time.
The Ugly Janitors of America, Trubee released the cult favorite 1984 album The Communists Are Coming to Kill Us! which contains prank calls, vile noises, and experimental jams. The record is disturbing, hilarious, and thought provoking all at once.
Trubee's crank calls are perhaps the most influential avant-garde phone pranks to have been recorded, with Longmont Potion Castle citing Trubee as one of his biggest influences. Trubee's pioneering efforts in the genre can be found on his Call to Idiots cassettes Vol. 1 - 4.
Trubee is still producing quality entertainment that can be found, and purchased, at the link below, or if you'd rather avoid the middle man, please paypal 25 USD per LP desired to [email protected] or write to:
SANTA ROSA, CA 95402
“Boyd Rice is a black pimp.” —Charles Manson “Boyd Rice was my mentor." —Marilyn Manson “Boyd is an iconoclast!” —Anton LaVey, Church of Satan “Boyd Rice could be the next John F. Kennedy or Jesus Christ.” —Kim Fowley “(Boyd Rice) is a bad influence.” —Der Spiegel Referred to by some as “The most dangerous man alive”, Boyd Rice (c. 1956) is a pioneering American artist, occultist, prankster, mystic, social critic, archivist, and provocateur whose impact & influence has penetrated nearly every level of global underground culture; a remarkably brazen and polarizing figure who has courted endless controversy worldwide over a span of more than four decades. Rice initially came to prominence in the 1970s as one of the founders of the “Industrial Music” genre and as one of the first artists signed to Mute Records. He quickly gained a reputation for starkly ritualistic live performances that were regarded as being the most abrasive, minimalistic, dangerous, and blisteringly high volume concerts ever staged. As early as 1980, he was already being hailed as “The Godfather of Noise”. Since then, Rice—a high school dropout raised in a Southern California trailer park—extended his creative pursuits to innumerable fields including visual art, film, literature, photography, acting, interior decoration/design, and culinary arts (taking first prize in the 2012 Denver County Fair Jello molding competition) among other things; something of a Renaissance Man for an age of decadence and decline. In his own words: “My life is a testament to the idea that you can achieve whatever the hell you want if you possess ...
In sterquiliniis invenitur. Can truth, redemption, and meaning be discovered in the places we least want to look? Listen to Caleb Jackson Dills and Evan Philip Lipson attempt to find out by interviewing notorious scat and zoo pornographer Ira Isaacs, director of modern cinematic classics such as Hollywood Scat Amateurs No. 7. Ira Isaccs (c.1951) is a self-described shock artist who was sentenced to four years in federal prison in January 2013 after being found guilty of five counts of selling and distributing obscene materials. Some might be surprised to learn that obscenity remains to be a punishable offense in the United States. Obscenity is not simply a relic of a sexually repressive past in which it was used to challenge provocateurs such as Arthur Miller, Lenny Bruce, William S. Burroughs, Allen Ginsberg, and Robert Mapplethorpe. Rather, some still face penalties for advancing over the abstruse and ever-shifting imaginary line in the sand drawn by the Department of Justice. What makes an artist an artist, and who gets to determine what constitutes as art and what doesn't? How does one go about finding models willing to consume excrement on camera? Is there validity to shock as an artistic medium? Join us tonight in THE EXILE HOUR as we seek to get to the bottom of these questions and more. ...
Rev. Fred Lane (c. 19??) is a simultaneously enigmatic and notorious persona who is responsible for creating what is arguably the most obscure, strange, darkly comedic, psychotic, perplexing, and uniquely American music that has ever been recorded. The collected works of Fred Lane constitute an improbably rare body of music that brazenly rides the line between order and chaos; taking the listener into realms that are all the way out, and yet somehow oddly (and perhaps unsettlingly) familiar. It is a music that is impossible to penetrate the mystery of and exists outside of conventional time in a universe all of its own. The intrepid few that miraculously stumbled across these rarefied recordings have largely become rabid & cult-like fanatics. One especially obsessive lifelong fan even created a Rev. Fred Lane documentary that took over 19 years to complete. Remarkably, Fred Lane and his swinging ‘pataphysical cult from an alternate dimension (SEE: Ron ‘Pate’s Debonairs featuring Rev. Fred Lane + Fred Lane and his The Hittite Hot Shots) only performed TWICE in their entire existence. All of the band members were credited on the albums with fake aliases created by Lane, with monikers such as Dick Foote, Omar Bhag-dad-a, Dimples LaCroix, Ron ‘Pate, Abdul Ben Camel, Cyd Cherise, Shep Estrus, E. Baxter Put, Whitey Stencil, “Bill” The Kid Dap, and Motor Hobson. Several bizarre and fantastical rumors surfaced over the years, some claiming that Lane had become a demented recluse and/or nazi living in a pyramid and constructing sculptures out of vegetables. Were any of the rumors true? Was it all some kind of elaborate ruse? Probing deeper into the story of Rev. Fred Lane, one discovers that the character ...