Comments from Phynqafis

    Although several posts are necessary to further explore and explain that which is Snufmeg, a recent discussion with Phynqafis, Himself, requires some attention. His overview of all matters Snufmeg is of the most curious and mysterious of phenomena, nonetheless occasional interchanges with his are enlightening.

   Most curious has been his comments upon the general reception of Snufmeg by the public at large. This covers productions as far from the core of the Sufmeg experience as the Raw Mommies to the inner core of Snufmeg, the Cheese Mites. How these comments in conversation came about was completely by chance. Excerpts follow:

   "The Spirit of Phynafis guides the body of work of all variants of Snufmeg. Can you give any further insight as to what that encompasses?"

   "The Spirit of which you speak can't directly be addressed, but, when examined in the various forms of worshipful expression, especially over time, the ideas become apparent."

   "You do understand how cryptic and possibly distancing such a sentiment can be, don't you?"

   "Well, of course! However, the Spirit is fully appreciated by dedication to the path of understanding. It has been made clear to me from many sources that when people come in contact with the expressions of Snufmeg, for example in the musical works of the Cheese Mites, people simply pass along and do not put the attention in to completely absorb the depth of the production. This is of considerable importance at any one point, and the fullness comes into view when done across all of the material."

   "Are you saying that any one piece of the greater body is as important as the entire body?"

   "In a way, yes! There are many who come to any aspect of Snufmeg and nibble, lack understanding, even intelligence, well, especially intelligence, and move along. Not only is it highly disrespectful, it is an eternal mark of stupidity and degradation to do so."

   "That could seem as an outlandish and arrogant statement to make."

   "Not at all. We have many who come, and spend a fraction of time, dismiss it. This is of no pain to us, mind you. It does, however, indicate incredible shallowness and, dare I say stupidity on the part of those who do so."

   "If I may, does that mean you are saying that a cursory dismissal of an surface esthetic is beyond a mere judgement call?"

   "Yes, exactly. We have people who out of hand dismiss. These are individuals who tread dearly in life of being considered beyond the outer limits of minimal value. By passing along, and not committing to investigation and acceptance, they have consigned themselves to a value of less than a virus or criminal."

   "That sounds harsh."

   "Not at all. If you take the time to give attention at all, you must dedicate to full attention, Only then can the full reward of the Spirit be granted. A chance perusal and subsequent dismissal essentially is a signature upon a warrant of terminal condemnation. I'm sorry, but that is the fact of the matter."

   "Couldn't the same be said for anyone else, though?"

   "Simply, no."

.​.​. and in the constellation Cheese Mite

   The mood is set at with "Overheard Discussion at a Cocktail Party, Part 1", and that mood is Snufmeg. This collection contains all the requisite elements for a Cheese Mites experience, and if you're a fan (and who wouldn't be?) then prepare to enjoy.

   After the drinks are served, the light banter fades and the lovely acoustic "It Can't Be Helped" breezes us in. It wouldn't be Cheese Mites without some good old Snufmeg cannibalization, and it happens with "Rockin'" which first emerged credited to Top o' the Mornin', on the "Graffiti Music" release, produced by Williwill. He remains at the controls for the haunting "A Different Lime Coloured Planet (w/Vocals)" followed by the smash hit "Vaguely Beatlesque."

   "Mutual Attraction", absorbed from Alternateen, makes another appearance, enshrining itself as a bone fide Snufmeg staple, in the tradition of "Vomit Your Senses", and "Pros Jam with Pros". A switch back to Williwill with the near Snufmeg Klassikal (oftentimes referred to as Cheese Mites Classical) style "Discovering the Hideout." Snufmeg Surf returns with the beautiful "Surfer's Breakup."

   True Snufmeg avant-gardeism is showcased with "March of the Flesh-Eating Ghouls" followed by the "The Dancing Bears' Theme", fully absorbed from the DBs. Snufmeg Klassikal takes a more deliberate turn with Johnny B Dub flexing the baton with "Etude in 3/4." The back and forth between Johnny and Williwill continues with the latter's "Is Rockabilly a Form of Microaggression?" in an experimental mood. We never do seem to get an answer to that age-old question!

   "Umbrella Man" mellows out the vibe, only to be shaken back to the Snufmeg Klassikal edge of "Spontaneous Boredom" with Williwill's characteristic production. The blurring of lines between classic Snufmeg avant-ism and Klassikal is further illustrated in "Cartooning", but takes an overt turn to the drawing-room crowd with "Aetood."

   The abrupt tonal change of the blistering "8 Pound Maul" shakes the listener from any notion that safe listening is how the album approaches it's end. A retreat to melancholy flows in with "Lost Surf." To close out the 40+ minute excursion, "It Can't Be Helped" returns with an instrumental version, in a style befitting a Vegas show!

Nice is Nice

    In keeping with the long standing tradition of releasing archival material, one album at a time, the installment "Nice is Nice" once again shows the Cheese Mites willingness to stylistically confound and amaze. This collection reflects one of the wider expanses of time from their now apparently and obviously prolific career, 1985-2015. This encompasses the tail end of American Snufmeg and, to date, nearly the entirety of the Universal Snufmeg eras.

   Notable are the two songs "My Bag Rock" and "Snufmeg Foam", both of which were dub treated and also included, and along with "Blood Beach" keep the Snufmeg Surf tradition alive. Filling out the toe-tapping enjoyment are Williwill's "The White House is Haunted" and "I Can't Leave You Alone", which thematically borrows heavily from his composition "Del Guidiche" (from "Songs for Fighting and Marching").

   The epic length (18+ minutes!) "Rap Symphony No. One in E Major", originally included on Graffiti Music, is included, and scattered throughout are "Clarity", "Darker Days Ahead", a remake of "My Existence in the Shrubbery of Phantoms", "June Duet", "7 Qs" and "Listen, I'm Talking" (which reprises the "Del Guidiche" motif) all upholding the Cheese Mites tradition in Snufmeg for experimentation and the avant-garde, though with a more accessible flair.

Raw Mommies

    It seems reasonable to devote this one post to the Raw Mommies above all other artists and entities, either directly or indirectly, in matters of Snufmeg. Officially begun during 1991, the Raw Mommies grew from several intersections of all the members, but from the perspective of Snufmeg, the collaboration between Johnny B Dub, Hinkney Gruesome and Scott. The (thankfully) brief career of DG&H solidified the relationship between Scott and Johnny, eventually slicing in Keith (Scott's brother) and fellow childhood friends Billy and Kevin.

   The career of the Mommies began with the release of "Raw Mommies" in 1993, although some sources dispute that placing it in '92 or even 1991. Regardless, the quickly developed into a somewhat regular combo in the New York City music scene during that era up to 1995-7. Before their eventual disbanding, Johnny had left, returned and left again, for undisclosed differences. Inertia seemed to be the only hindrance to further success, as the band couldn't seem to find traction for their seemingly niche style, playing to audiences rarely greater than 30 people, often to fewer than five.

   In 2013, the circumstances were presented to perform once again, and so did, to a crowd several times larger than all other performances combined! An oddity still due to the limit exposure of the one single album released on tape decades earlier. Although, excited by the event with discussion to capitalize on the perceived acceptance, no further forward motion was made.

Raw Mommies on Bandcamp

Raw Mommies Blog

Butterfly

    The Cheese Mites' album "Butterfly," released in 2016, is yet another in the ongoing list of productions which is comprised of archival material from the earliest "Universal Snufmeg" era (1989) to the very near present (2015). To date, it is one of the strongest collections in the post EIS era. Though not without experimentation and classic Snufmeg weirdness, the song craft in some instances is criminally overlooked by the public at large.

   To emphasize the song writing, however, will miss the Cheese Mites doing what they do best - confound. From the opening track to Williwill's brilliant "Color of Love" and "Mystery Girl", the Mites reveal that their compositional flair isn't merely accidental, as they were critiqued of earlier, but solidly building in deftness song by song. Willwill's production on both tunes reveals a mastery of both spatial appreciation and tasteful arrangement. "Mystery Girl"'s closing coda is reminiscent replication of the classic "Psychedelic Journey" updated but not demeaned by modern methodology.

   "A Nice Little Tea Room" and "Let's Have a Party Tonite" have been cannibalized into the Cheese Mites program, as referenced in other posts, but were originally credited to DJ Williwill on the 1986 (perhaps?) "Graffiti Music" compilation.

   Likewise, though originally attributed to the Dancing Bears, "Distinctive Sound", "Cricket" and "Anti-Shaving Protest Song" all bear unmistakable signature of classic Cheese Mites/Snufmeg fingerprints. Similarly, "Bop for the El" and "A Nice Home in the Country" were first presented as by the quickly and justifiably immolated Files Davis Quartet. Only "Que", "Black Sand Rock", "The Attic" and "Whirlwind" were penned under the flag of the Cheese Mites, with the second and last being recent additions to the Snufmeg Surf variety.

One Squirt

   Another diverse compendium from the Cheese Mites!

   One Squirt opens with a Snufmeg Surf instrumental, "The Epoxy Generation", which explores the surf mode which has been a relatively common style throughout the Cheese Mites' career. This was first explicitly explored in "Ridin' the Waves", also found in this collection. However, as any long-term fan of the 'Mites is aware, pigeonholing them as "surf" simply misses the wide extent of stylistic journeys to which they, and Snufmeg in a larger sense, are known. It is precisely that adept multiplicity of modes which signifies the spirit of Snufmeg.

   To that point, found here also are the avant-garde examinations such as the cleverly-named "Avant Garde Adventure", "Interlude" and "Carlisle", intermixed with the pop classic "Psychedelic Journey" and instrumentals like "Mist" and "Machine Eleven".
   Recorded at least two of the classic Snufmeg recording haunts, the Glen Mills House & Augsburg Central Studios from the mid-1990's through 2015.

 

A Cheese Mite Floats By

   The nineteen track "A Cheese Mite Floats By" compiles material recorded from 1995-2015, focusing exclusively on the Universal Snufmeg era and paradigm. Leading with "Another Day without You", the mode is set with a "throwback" lo-fi recording of haunting sparseness. Although details are sketchy, rumors indicate the song was recorded during the same session as "Is This Drum and Bass?" and "Five Dog Trail" (found on "A Snufmeg Fantasie in Broken Parts") at the Brooke Lane studios. 
   "Cyclone" is an early entry, from approximately 2012, in the Snufmeg Surf era, along with "Gorilla Me Timbers", captured at the Glen Mills House studio. "Monsta Bass" bass follows; another dance floor hit recorded at Augsburg Central, produced by DJ Williwill, wherein he deftly cuts in the signature motif of "Andalusian Holiday".
   "What Have I Done?" belies the 1995 liner notes start date. The overall style and sound are reminiscent of Lyle Studios sound. 

   "Singer", which provided the bridge for Raw Mommies "Cell Boy", "The Prevailing Mood and Tenor of Contemporary Thinkers" and "Corrugation Motif" all were from the same session at Glen Mills House studios. 

   Although Williwill's meticulous production of "Eight Arms to Hold You" and Johnny B Dub's rawer "My Girlfriend" achieved chart-topping attention, the stand-out hit is "Somewhat Like a Rolling Stone" led by Williwill's signature songwriting gift and production.

   Interspersed are Cheese Mites forays into quintessential avant-garde compositions such as "Clarinet Piano Generator" and "Etude in 6 Parts".

The Little Engine

    In the same manner that the Raw Mommies were only tangentially Snufmeg, Johnny B Dub's outside "project" (with Flip, who made an appearance with the Cheese Mites on "I Can Read About Any Book That Someone Gives Me") The Little Engine earned a place in the Snufmeg pantheon with this eponymously titled album from the late 1990's.

   Following the rise and fall of the Raw Mommies, Johnny B Dub continued with a more conventional musical approach, leading the Little Engine's songwriting credits with Snufmeg classics like "Far Away", "Pros Jam with Pros", "Smile, Baby, Smile", "Andalusian Holiday" and "Clarinet". Flip's contributions ("The Elixir" and "You've Given Up on Love") comfortably rounded out the collection. Guitar and voice were provided by the songwriters accordingly, confidently backed up on drums by the mysterious Z!

   Alas, the Little Engine enjoyed a brief career (under two years) with few performances captured. Sadder, still, whereas the Raw Mommies enjoyed a 2013 reunion, certain legal impediments have precluded Flip from enjoying a similar experience.

More on "Cultural Influences"

    By all accounts, the leveling critique that Snufmeg in general, and the Cheese Mites in particular lacked "cultural influences" would have been an arrow of existential ruination to those of lesser ability. However, the opposite proved true, as exemplified by the collection known as "The Sweet 17" by DJ Johnny B Dub.

   Operating in solo capacity from the Cheese Mites, DJ Johnny B Dub compiled original compositions and one unique interpretation of an iconic example of "classic rock" in Snufmeg style. Completed in the early 2000's, Johnny elaborated upon the stylistic adventure of the earlier compilation "Persuasion".

   The track list begins with the puzzling and curiously titled, "KDS". Often found off-putting, listeners who lack the requisite sense of adventure dismiss the entire collection based on this enigmatic compositional lead. Intended as an intentional object of deception into a world of atonal randomness, the title is code for "Kraftwerk Drum Solo", a joke lost on the casual listener. With that in mind, one is prepared for what follows in the technological foundation for the intersection of Snufmeg and the world of electronic dance music. Snufmeg triumphs in ways unimagined by the multitude of the blind wanderers of the EDM genre.

   DJ Johnny B Dub departs from the initial prank to deftly execute 15 more exquisitely crafted dance smashes, including the pounding "Down for the Day", an eight-minute orgasm of megged out butt-shaking ecstasy. The collection closes with a prank of classical Snugmegian form, the brief "Bye-ee", which ends before the ears have time to comprehend what has happened.

   By no means the end or even definitive collection of Snufmeg's championing of "cultural influences" (one can not overlook the typical mode of Snufmeg style as found in MCST & DJWW aka Snufmeg Kru), "The Sweet 17" displays the deft and brilliance expected from the Snufmeg family.

Snufmeg Radio is Here!

    Now you can enjoy a randomized selection of the Cheese Mites, DJ Williwill and more of the Snufmeg family of artists, 24 hours a day, with the occasional live program, online at -

https://zeno.fm/radio/snufmeg/

and, here - 

https://zeno.fm/radio/raw-mommies-radio/

My Existence in the Shrubbery of Phantoms

   This enigmatic collection of recordings, dated from the late 1980's or early 1990's, became an audio "object of wonder" to the Snufmeg community, and ultimately the world. From intense creative sessions, fueled assuredly by copious influences of snuff and nutmeg, DJ Williwill marshaled the artistic prowess of two lesser-known Snufmeg luminaries: Brian Fripe and the Master Cylinder, in a collaboration of dazzling innovation and mouth-watering brevity. 

   In under seven minutes, the trio weave aural insights of far-away terrains, distant planets and imaginary landscapes. Each tone poem a spectacular post-card. 

   The scarcity of output from either Fripe or the Master Cylinder only contributes to their mysterious and sublime place in the archive of the Snufmeg catalog.

DJ Lunar Canine - Dance SIngle

    In what can only be considered a business coup on a colossal, global scale, Williwill arranged for the release of the DJ Lunar Canine two song, 12 inch single consisting of a remix of the Cheese Mites' song "(She's My All Night) Penis Garage" and the original "The New Dance Music Craze."

   The remix of the Cheese Mite's classic is given faithful Snufmeg treatment. Most of the original recording is intact, until the point of tension in comprehending what is at play. A sudden change of course is established and the material is discarded for a juxtaposition against literal descriptions of Satanism (culled from radio personality, Dave Emory), as implied in the song, with canted beats and treatment in inimitable Snufmeg style.

   The B-side, "The New Dance Music Craze, takes the applied Snufmeg philosophy just as far afield. A pounding, thudding beat establishes the introduction, which over the course of the track morphs into stark and jarring stabs , evoking the suffocating isolation of modern times.

   Guaranteed to clear the dance floor of all but the most dedicated at your next celebration!

Rights and "Free" Music

   Recently, Snufmeg revoked access to songs on the FMA. 

   "We didn't want to seem mean, heartless or uncaring to those who enjoy rights-free access to Snufmeg music, but things are simply too chaotic for us," Phynqafis said. "We are, as you say, a boutique operation. We make art for the ears, which suit primarily our own aesthetic. If others enjoy it, we certainly do not want to stand in anyone's way. Our issue comes down to aligning all of our content under one manageable mode of care."

   It should be noted, he seemed under the more extreme effects typical of a heavy binge of Snuff and Nutmeg ingestion. A new Cheese Mites release is anticipated soon.

The Cheese Mites - Table Manners

   The "Universal Snufmeg" era was, and continues to be, fraught with confusion. Although Williwill and Johnny explored musical paths on separate continents, collaboration took on different forms, depending on factors peculiar to each particular instance. As a result of the bi-continental paradigm, much work was completed often under a variety of names, some of which manifest themselves enough to warrant their own legacy. Some of those include the Raw Mommies, Bulb, the Little Engine, solo DJ Johnny B Dub & Williwill, Speed Blimp, DJ Big Pretzel, DJ Lunar Canine, Brian Fripe, the Master Cylinder, Top Ranking Officials, Jerry Vile, Top o' the Mornin', and the Vanilla Penis Explosion. Others, such as Alternateen, Scrounger, the Snufmeg Kru, and the Danicing Bears found their material cannibalized by the Cheese Mites. The reason for much of the absorbtion was the overwhelming quality of what it "meant" to be the Cheese Mites, especially in light of the fact that much of it was, ultimately Johnny & Williwill. Collaboration took on the form of material being solely created by one or the other, and in the more traditional fashion of live or long-distance technological enhancement by both parties.

   "Table Manners" reflects the multi-dimensional approach to collaboration. The collection opens with the misanthropic "Invaders Have Landed on Martian Soil," originally intended for Scrounger in the late 1990's, and then for Alternateen shortly thereafter but reworked for the Cheese Mites by 2010. "Rock DIcks Melody" was intended for the Rock Dicks, but repurposed for the Cheese Mites in 2012. "And I Think of You" was a 1984 "American Snufmeg" era production, revealing a

   "Table Manners" takes on the "establishment" pomposity of modern, academic electro-acoustic music, in a way hinted at by the early Cheese Mites audio terror experiments. Owing a great debt to mid-Twentieth Century electronic music, "Table Manners," like "Between Spaces," "Front and Back," "New Man," "Stellar," and "Teeth" express the true spirit of electro-acoustic music in a way that utterly devastates the effete pretentiousness of the dreadful and uninspired creations from the SEAMUS/ICMA affiliated "hallowed halls" of modern accredited experimental drivel. The Cheese Mites reclaim electronic music from the precipice of the affected insular intellectuals and make it a near-folk music for the ages of electricy.

Bulb

The release of "Bulbs and Whistles" by Bulb (1990), is often overlooked for it's importance in the "Universal Snufmeg" era. Though a brief compilation of songs, it is both a forward and read-view-mirror nexus of artistic elements and personalities, like few other artificats in the Snufmeg catalog. The material iteself is comprised from some staples of the Snufmeg index: "The Truth Comes Out," "Pros Jam with Pros" and "Clarinet," all find new interpretions (and not the last time they are rendered), plus "Barriers." Notable, however, is the arangement of Johnny B Dub and Scott D, who later appear in the Raw Mommies. A special provocative guest appearance is made by DJ Williwill on "Pros Jam with Pros" with a vocal message of chastisement.

For further information on the Raw Mommies see https://rawmommies.blogspot.com/

Doug B

The early days of the post-1985 "Universal Snufmeg" era saw an expanse in the names of collaborators in the Snufmeg experience. From approximately 1990, Johnny B Dub briefly worked with Doug B to produce the "Charity" EP. An accomplished songwriter and musician, Doug contributed three songs for treatment in Snufmeg style, as exemplified in this collection. Recorded over several sessions, Doug's gifted creativity proved to be flexible enough for the forward/retro exploration which was becoming ever more developed in the growth of the Snufmeg environment.

Snufmeg in the Second Half of the 1980's

Snufmegology often references the totality of Snufmeg production in regards to two periods: those of the pre-1985 "American Snufmeg" and post-1985 "Universal Snufmeg" eras. The "American" period saw the origination of Snufmeg and the Cheese Mites, specifically, the "Universal Era" saw an expansion of not only the names of creators in and associated with Snufmeg, but a broadening of the aesthetic of what it means to be Snufmeg. While experts wrestle over the precise qualities which saitsfy to define it, the community of those who passed through the Snufmeg milieu grew as a result of the "Universal" experience. In this post, two wildly divergent examples of post-1985 Snufmeg production are presented. First, the one-off "reunion" of Sin for a re-working of the Snufmeg repertory classic "Vomit Your Senses." Second, is the Johnny B Dub production of Baritone's (the late Dwayne Francis) "Brownskin Girls" demo, which continues the trajectory established in the "Persuasion" collection in the previous post. Both recordings were undated, but most circumstantial evidence places them between 1987-1989.

Now Let's Have a Chat About "Cultural Influences"

   The marginalization of Snufmeg was, and continues to be, a worldwide conspiracy. From the onset, agents have sought to undermine and alienate the public at large from the near salvific creations under the banner of Snufmeg.
   At some point during 1983, a campaign was launched against the community in the form of psychological warfare. A concerted effort was made to destabilize and atomize the members. One such attack came in the form of casual dismissal of Snufmeg, but the Cheese Mites in particular, for failing to embrace "Cultural Influences." This became hotly debated and served to initiate severances amongst interested parties. It was eventually determined by Phynqafis Himself, after a prolonged forum of cogitation over Snuff and Nutmeg, he pronounced the best practice was to use such elements against the enemies of Snufmeg. The community soon enthusiastically accepted.
   What, however, was intended by "cultural influences"? The agents in the matter never revealed. But, by the guidance of Phynqafis a plan was concocted. What follows are examples from as early as 1983.
   This collection created and compiled by Johnny B. Dub, with the title "DJ" preceding his name, introduces the use of computers and synthesizers into musical mix. The results are generally taut and enjoyable in a way which differs from the traditional modes produced in Snufmeg.
   Of special note is the rendition of "Mutual Attraction." Like the selections included in "Themes, Motifs and Snufmeg," this song found itself covered by several Snufmeg related artists. Originally composed in (or around) 1985, the song has been found to be malleable enough to fit several stylistic interpretations.

Themes, Motifs and Snufmeg

   Culled from a thirty-seven year span of the Snufmeg Library, the album "Themes, Motifs and Snufmeg" explores the flowering of cogent and structured expression which lurked beneath the chaotic and harsh innovations from which Snufmeg, in general, and the Cheese Mites, in particular, sprang. Absent here are the loops and feedback. Echoes remain, but, then old habits die hard. The overall thread throughout is the presentation of versions of standards and others over the span of time.
   Opening the collection is "Echo Song." This version captures the 'Mites at the crucial time where customary song forms were phasing out the riotous tone poems. The thematic phrasing of this song was dominant in the early "freak-out" performances, archived in as yet undisclosed versions. For tracks 11 and 14, these renditions, from as late as 2005 (although other sources date it in 2015), showcase the depth and deftness exclusively of Williwill's guidance, as he recreates "Echo Song" with brilliance and beauty only hinted at in the original. Track 6 is listed as "Untitled," which was the working title until "Echo Song" simply sufficed. This version is orchestrated by Johnny B. Dub. What we encounter is a comparison of the unique voices or sensibilities when juxtaposing the version by Johnny versus those by Williwill. They serve to establish how the two approaches work together, as well as the identifiable idiosyncrasies, in creating the broad methods and conceptualizations of the music of the Cheese Mites and much of the Snufmeg catalog.
   The mono and stereo versions of "The Monkey's Gonna Get You," seek to pay respect in an homage to the "swinging Sixties." With an open, spacious production, the classic sound of early 60's hits is recreated, yet with Cheese Mites absurdity in a lyrical tale of alarm fitting for "Planet of the Apes."
   Occupying tracks 3, 7, 10 & 12, "Out in the Sun" was one of the first major structured works by the Cheese Mites, and penned by Williwill. Track 3 is ambitious in its production esthetic, incorporating echoed guitars and French Horns. Conversely, track 7, is a simpler, two guitar version, with an almost rockabilly modality to it. While track 10 most likely predates the "official" recording (track 3), it nonetheless stands as a valid version, revealing a looser feel, probably due to the development of the song's themes. Williwill commands the production on track 12, featuring a tighter rhythm section, snappier up-tempo beat, and cleaner production than the lads had to endure in the old days.
   Like "Out in the Sun," Williwill led the charge in professionally crafted pop masterpieces, and "Speak" was no exception. It contributed considerably in changing the course in Snufmeg, and for the Cheese Mites. Two versions are included here; track 4 from 1982, and a Johnny B. Dub produced remake (track 8) from around 2005. Though the latter version is cleaner, it does not possess the mood of the former.
   Finally, we have two versions (tracks 5 & 9) of "Pros Jam with Pros." Intended as a mock of "musicians wanted" ads, the song experienced iterations outside of the Cheese Mites, notably by Bulb, and The Little Engine (both to be examined in upcoming posts).

Video Collaboration with Fruzsi Nemes

Below is video art, "Metrometro," created by artist/film-maker Fruzsi Nemes, which includes The Cheese Mites' "Funk You" from "I Can Read About Any Book That Someone Gives Me".

https://vimeo.com/fruzsinemes