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Virginia

DAWN OF THE DOOTZ

The Dootz Does the Dootz 45 sleeve

If you can imagine it, there once existed a bizarre cross between American punk's Legendary Stardust Cowboy, the author of the histrionic "Paralyzed," and rockabilly's the Phantom, who won our hearts with the mysterious "Love Me."

His name was the Dootz, and he singlehandedly created a stylistic blend that can only be described as mutant American primitivism. This radical sound, born in the early '80s, was downright psychotic to the point of being transcendental.  It was the creation of one David Frey Johns, who had spent most of his life singing to records in his room and wailing in friends' showers, hoping one day to be heard in a social context.

As a child David Johns was called "Duke" by his father, a nickname that eventually evolved into "Dootz."  "My dad and I used to sing together when we went to church," the Dootz once told me, "but we had our own version of 'Onward Christian Soldiers.'  Everybody else was singing it the right way.

Johns' earliest musical influences were typical--Elvis, the Beatles, Buddy Holly--but he was especially devoted to James Brown and Jackie Wilson, two performers who possessed an intense emotional style both on record and in performance.  At times, the future Dootz even considered himself more of a soul singer because he could reach deep down and pour himself inside out with feelings from real-life experience.



Church in the Wildwood: LESTER "ROADHOG" MORAN AND THE CADILLAC COWBOYS

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SNOWBOUND With TOMMY ROE

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CRUISING WITH DINO

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POPKRAZY AUTOVLOG #2

Dean Martin sings "Memories Are Made of This" as the autumn leaves rush by reminding us of the better days behind and ahead

A Treasury of Dean Martin album cover



POPKRAZY AUTOVLOG #1

Skeeter Davis sings "The End of the World" as the desolate landscape of Waynesboro sucks up dying shopping malls and hopeless bikers

Skeeter Davis promotional photo  Popkrazy

Image of Skeeter Davis courtesy of Last FM

 



TO HELL WITH TEXAS....

vintage movie poster for The Virginian

Great Moments In Pulp Fiction, Continued:
 
"The Virginian's pistol came out, and his hand lay on the table, holding it unaimed.
And with a voice as gentle as ever, the voice that sounded almost like a caress,
but drawling a little more than usual, so that there was almost a space between each word,
he issused his orders to the man Trampas:
'When you call me that, SMILE!'"
 
from Owen Wister's The Virginian, 1902, dedicated to Theodore Roosevelt.