When I was a senior in high school, shortly after turning 18 I hitchhiked from Iowa to Fairfield, California in November to stay with a friend and his mom and dad who worked for the editing department of The Saul Zaentz Company Film Center in Berkeley. I went with my friend’s parents to work a few times and saw a viewing of the documentary that this was in in their company theater in November 1993. I think the documentary can now be seen on RU-vid. This band had a menagerie of songs. Some were amazing, like this one, and some were, well, let’s say less than pleasant. But all of them had the spirit of punk: heart, soul and DIY creative motivation to make something happen rather than the apathy of waiting for something to happen.
I'm responding kind of late, but I'm pretty sure it's about the band. The song he references it in (El Scorcho) is all about a girl who's too cool for him (listens to opera, plays cello, doesn't know about mainstream bands like Green Day). It makes perfect sense that somebody like that would know about Half Japanese.
The only other thing I've seen by them is an interview where they say that the only 'cords/chords' you need for a guitar are the leads you attach to plug into an amp. So what's going on here? They're using guitar leads but they're also playing two guitar chords. Does this signify, in Half Japanese world, a progression or a sellout?
i like the studio version of the song quite a lot, but this makes it look (and sound) like the singer has a shoebox filled with unspeakable depravity buried in his closet. or someone who hangs out with children at the park when mommy and daddy aren't looking
The studio version is sang by Don Flemming, glad Jad didn't sing that version, his voice works more for the noisy stuff in the band's repertoire, it was nice they managed to at least get one of the most beautiful songs ever made by switching the singers
