This week in 1995, Pamela Anderson was hard at work on her action flick “Barb Wire.” The new Mrs. Tommy Lee swapped her “Baywatch” one-piece and life preserver for a black ensemble and machine guns. In her role as a bounty hunter/nightclub owner, Anderson also had to learn to kickbox. All the activity, the stress involved in starring in a movie, the long working hours and a change in director resulted in the actress suffering a miscarriage.
“Eighteen-hour days … ugh, it’s very difficult. So challenging. It’s really, really hard. Now I’m newly married and I just wanna spend time with my husband.”
While Anderson said she was no novice when it came to handling firearms, fully automatic weapons were something she needed to bone up on.
“I’ve gone to target ranges before, but nothing like I’ve been shooting for this movie,” she explained. “I went to the target range and it was pretty funny because there were people lined up there, people were shooting and training and all of a sudden I came in with a little dress on and little platform shoes and I was firing fully automatic weapons. People were coming over going, ‘What is that little girl over there doing?’ ”
Moby’s album Everything Is Wrong was a recent arrival on the scene.
The album saw his techno move beyond the heavy dance grooves of speed metal,
hip-hop and house and blended in a little blues, classical and pop flavor. MTV News caught up with him to talk about how he was finding himself and his music in uncharted territory.
“I don’t think it is a techno album,” Moby said. “I think most of what I’ve done in the past few years has been dance-oriented and techno … but suddenly with this album I was able to make something for people to take into their home and represent the different types of music I’ve been involved in for the last 20 years.”
Moby wanted to continue to challenge the boundaries of techno and push it further away from its conventions.
“Culture doesn’t need to be so segregated,” he said. “When you watch MTV you have really disparate types of music right next to each other: heavy metal, Janet Jackson next to Metallica next to Nirvana next to Snoop Doggy Dogg next to whatever. And I think that’s wonderful and I think that’s the way culture works in most people’s lives and I wanted to make a record that reflected that.”
White Zombie were riding high on the critical success of their recently released LP Astro-Creep: 2000, which the band co-produced.
“We’re not really one of those bands that can just go in and the producer tells you what to do,” frontman Rob Zombie said. “They either work with you or they get fired. There’s really no other way to do it.”
“It’s always been like that with this band,” bassist Sean Yseult added. “We’re going on 10 years now and we’ve always done everything from scratch.”
“We have complete control over everything we do,” Zombie said. “I always find it kind of strange when people make a record, write a song, whatever, and then they just hire some stranger to come conceptualize the whole thing for them. It’s kind of bizarre. I always hear bands say, ‘Oh yeah, we never even thought of that when we wrote the song,’ but that’s the way it’s being presented to the world so it’s kind of stupid.”
White Zombie knew that, while touring in support of Astro-Creep: 2000, one thing they wouldn’t be doing to fill their downtime was songwriting.
“We never write on tour,” guitarist J. said. “Those are the kinds of bands where there’s a resident genius who does everything, who just locks themselves in the hotel room to write songs, but we’re not like that. We have to all get in a room and yell at each other ’til it’s done.”
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