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Rock legend Ian McLagan this week on ‘The Pharmacy’
10.16.2014
12:37 pm

Topics:
Music
Pop Culture

Tags:
The Pharmacy
Ian McLagan


 
Gregg Foreman’s radio program The Pharmacy is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

This Week:

Ian McLagan of The Small Faces and Faces. He’s also played with the likes of Bob Dylan, The Rolling Stones and Nikki Sudden.

Topics include:

The original Mod scene, joining Small Faces and the formation of The Faces when Steve Marriott departed to form Humble Pie and Rod Stewart and Ron Wood joined after leaving The Jeff Beck Group; destroying Holiday Inns from coast to coast, playing on Some Girls with the Rolling Stones and the origins of that distinctive “rooster” haircut sported by Rod, Ronnie and Mac…
 

 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.

Set List:

Intro
Come on Children - Small Faces
Tainted Love - Gloria Jones
Intro 1 / 25 Miles - Bill Doggett / Rx
Conversation Ian McLagan Part 1
My Baby Loves to Boogaloo - Don Gardner
Own Up Time - Small Faces
The Girl Can’t Dance - Bunker Hill
Jerkin’ the Dog - The Mighty Hannibal
Here Comes the Judge - Pigmeat Markham
I Can’t Believe What You Say - Ike and Tina Turner
Intro 2 / Hot BBQ - Brother Jack McDuff / Rx
Conversation Ian McLagan Part 2
Bad ‘n’ Ruin - Faces
Bert’s Apple Crumble - The Quik
Rip It Up - Little Richard
Night Time - The Strangeloves
The Wig - Lorenzo Holden
Almost Grown - Small Faces
Bring Down the Birds - Herbie Hancock
Intro 3 / The Point - Mac Rebennack / Rx
Conversation Ian McLagan Part 3
Look For Me Baby - The Kinks
Do the Whoopie - Sugar Pie DeSanto
The Boo Boo Song - King Coleman
Don’t You Want My Lovin’ - The Orlons
You’ve Got Me Uptight - Evie Sands
Out In The Street - The Who
Intro 4 / In The Midnight Hour - Billy Preston / Rx
Conversation Ian McLagan Part 4
Big Bird - Eddie Floyd
Keep On Keepin’ On - Nolan Porter
My World is Empty Without You - The Supremes
Heatwave - Martha and The Vandellas
I’m Rowed Out - The Eyes
Green Light - The Equals
Down Home Girl - The Rolling Stones
Red Beans and Rice - Booker T & the MG’s
Intro 5 / Soul Dressing - Rx / Booker T & the MG’s
Conversation Ian McLagan Part 5
We’re a Winner - The Impressions
I’m The Face - High Numbers
Out of Sight - James Brown
Intro 6 / Grits - The JB’s / Rx
I Gotta Dance to Keep from Crying - Smokey Robinson & The Miracles
Outro

 
You can download the show in its entirety here.

Posted by Tara McGinley | Leave a comment
Böat of debauchery: Inside the Motörhead ‘Motörböat’ cruise
10.16.2014
11:37 am

Topics:
Heroes
Music

Tags:
Motörhead

Motorhead Motorboat inflatable doll can fly!
 
I had heard rumors that the Motörhead “Motörböat” cruise ran out of booze before the trip was over. Of course that’s not shocking news when you’re talking about a boat full of hard-drinking headbangers, Lemmy Kilmister (who despite his recent health issues has switched out his beloved Jack Daniels for vodka because it’s “better for you”) as well as various other metal bands that love their party liquids.

I have to admit, I hate boats almost as much as I hate planes. I detest relinquishing control of my own trajectory to another human being and I have no desire to be stuck on what many consider an enormous floating toilet. That said, the only thing that could likely get me on a boat would be if Motörhead got on it with me, then blew my face off with a live show and there was no risk of the bar going dry. That and I’d really like to hang out with the folks in the photos that follow, including Lemmy who’s looking pretty healthy these days. Be advised that a few may be considered NSFW (you did notice the photo at the top, right?), but this is Motörhead we’re talking about.

All photos by Dana “Distortion” Yavin.
 
Motorhead Motorboat cruise inflatable doll goes swimming
 
Motorvampire Motorhead Motorboat cruise
 
More after the jump…
 

Posted by Cherrybomb | Leave a comment
Here be monsters: Incredible illustrations from ‘De Monstris’ (1665)
10.16.2014
10:32 am

Topics:
Books
History

Tags:
monsters
De Monstris
Fortunio Liceti

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Fortunio Liceti (1577-1657) was an Italian philosopher, doctor and scientist. He studied medicine and philosophy at the University of Bologna before becoming a lecturer of logic at the University of Pisa and then a professor of philosophy at the University of Padua. Liceti was omnivorous in his interests writing books on mathematics, philosophy, astronomy, genetics and disease. He was friends with Galileo and the mathematician Bonaventura Cavalieri, who once remarked that Liceti was such a prodigious scholar that he produced a book a week. It’s certainly true that Liceti did have a rather impressive output of scientific and philosophical texts during his life ranging on subjects as diverse as the immortality of the soul, gem stones and the causes of headaches (which he thought were the microcosmic equivalent of lightning).

His most famous work was De monstrorum causis, natura et differentiis (Of the causes of monsters, nature and differences) that documented the many “monstrosities” and deformities reported in nature. The book chimed with the public’s interest in “monsters” and “freaks” and Liceti documented all of the stories of man-beasts, mermaids, wolf children as well as the physical abnormalities he had witnessed (co-joined twins, multiple-limbed children, hermaphrodites and alike). Liceti did not consider these “monstri” as abnormal, but rather as attempts of nature to fashion life as best as possible, in the same way an artist would create art with whatever materials were available.

It is said that I see the convergence of both Nature and art, because one or the other not being able to make what they want, they at least make what they can.

He was also the first to posit the idea that fetal disease could lead to abnormalities in children.

De monstrorum causis, natura et differentiis was first published in 1616 without illustrations, a lavish illustrated second edition was published in Padua in 1634, with a further edition De monstris (or what you might call the mass market edition) was produced in Amsterdam in 1665. It is from the last edition that these incredible images are from.

A PDF of De monstris is available here.
 
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More illustrations from ‘De monstri’ after the jump…

Posted by Paul Gallagher | Leave a comment
The Muppets go Situationist

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I doubt I’ll be able to watch The Muppets again without quotes from Guy Debord popping up unannounced in my noodle. These magnificent images are the work of artist and writer Amy Collier, who posted them on Toast where she gives some explanation of her work in the comments:

Oh look! I found some history about Guy Debord’s “The Muppets”:

Though the name “Guy Debord” is now synonymous with two things: Situationist philosophy and The Muppets, this pairing of passions was not as easily reconciled as you might think. “I had to fight really hard not to be pigeon-holed as a Marxist theorist in the puppeteering community,” Debord once said. “They told me ‘Kids don’t want to hear about how the concrete life of everyone has been degraded to a speculative universe, Guy.’ I said ‘How about we let the children decide that?’”

Decide they did.

Years later, we remember him as both a Marxist visionary who criticized societies where modern conditions of production prevail in which all of life presents itself as an immense accumulation of spectacles, and the beloved man who brought Kermit, Miss Piggy, as well as many other characters into our hearts.

You can read the rest of it here and now I can’t wait for On the Passage of The Muppets in Rather Brief Unity of Time.
 
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More of Guy Debord’s Muppets, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Descent Into The Maelstrom: Scorching Radio Birdman live set from 1977
10.16.2014
09:50 am

Topics:
Music
Punk

Tags:
Radio Birdman


 
You can make a case that Radio Birdman is the most important Aussie band ever. You have to deal with AC/DC, of course, but there are plenty of philosophical tacks that can get you there. You have to deal with their contemporaries The Saints, who are of similar importance in Australia (and of course, there’s always the Birthday Party…). This week saw the Australian release of this ass-kicking 8-disc Radio Birdman box set (7 CDs, 1 DVD)—fortunately, there’s a helpful guide to help you navigate its riches.

Radio Birdman famously named themselves after misunderstanding Iggy’s vocals in the Stooges’ song “1970” off of Fun House.  (The words they misunderstood were “radio burnin’.”) In 1977 Radio Birdman played the Marryatville Hotel in Adelaide, video for which is supplied below—the description says HD, but more importantly, it’s a multi-cam gig. As you’ll see, the place was packed to the gills, and vocalist Rob Younger is pretty much climbing up the walls with energy. I really like his two-fisted approach to holding the mic, actually two mics duct-taped together, it completely gives him a signature look. The songs are broken up by some interview segments which were obviously done after the gig. Keybs guy Pip Hoyle gamely parses the distinction, probably far more salient in 1977, between “energetic” and “aggressive” for the interviewer.
 

 
As terrific as this quarter-hour of footage is, it isn’t the Radio Birdman show I’d give my left arm to see. As Dave Thompson explains in his book Alternative Rock: “Another now-legendary show found them playing the Lions Club in Armadale, to a hall full of pensioners who were as puzzled by the band as the band were by them. Radio Birdman played three songs before they were asked to stop, for fear of killing the feebler members of the audience.” Now that must have been a show to see…. I guess that one isn’t about to pop up on YouTube, huh.

About halfway through the video, a caption pops up with the words “Rocturnal, May 9, 1978,” prompting some questions about whether the Marryatville Hotel/1977 designations are accurate. Fear not. Rocturnal signifies the TV show that aired the footage, according to Thompson: “Further proof of Radio Birdman’s status was supplied when one of their Adelaide gigs was filmed by ABC’s Rocturnal show.”
 

Track listing:
What Gives
Descent Into The Maelstrom
Burn My Eye
Search and Destroy (Stooges cover)

 

Posted by Martin Schneider | Leave a comment
Grandma’s ceramic figurines get a grim makeover
10.16.2014
07:37 am

Topics:
Art

Tags:
Black metal

Black metal nun by Coffin Collector
Black metal nun
 
I have once again been sucked back into the weird, weird world that is Portland, Oregon. And this time shit has gotten grim. Portland-based artist Tom LaBonty says that after spending so much time as a “forager” in thrift stores rummaging around for ceramic figures (like those “precious” Hummels your grandmother would slap you over if you touched hers), the idea “dawned on him” to start giving the heartwarming pieces black metal makeovers. And the rest as they say, is history. The results, especially when it comes to Tom’s treatment of religious-themed statues are so metal it hurts my neck just to write about it.

Notable inhabitants of Tom’s collection include a nightlight featuring hot-rod enthusiast Jesus outfitted with a pair of satanic wings and, a ceramic little Dutch boy hauling a bunch of body parts in his buckets instead of milk. Prices range from $10 - $70 per piece over at LaBonty’s Etsy store, Coffin Collector.

Your grandmother might not approve but WHO CARES?
 
Ghoulish Dutch boy by Coffin Collector
Ghoulish Dutch boy
 
Little grim girl by Coffin Collector
Little grim girl
 
Black metal raindrops by Coffin Collector
 
More after the jump…
 

Posted by Cherrybomb | Leave a comment
Krautrock for Athletes: What 70s East German Olympians just might have listened to while training


 
I have to admit, they had me going there for a while…. I thought it was real. I stumbled on the Bandcamp page for the Kosmischer Läufer project two days ago, courtesy of WFMU, who blandly supplied no information about it. The site purported to be the “secret cosmic music of the East German Olympic Program, 1972-1983.” (Kosmischer Läufer means “cosmic runners.”) Volume 1 came out last year, vol. 2 this week.

So I’m listening to these tracks of magnificent 1970s-style German electronic music and taking in the backstory of one Martin Zeichnete, an apprentice sound editor for DEFA (Deutsche Film-Aktiengesellschaft) who, starting in 1972, was transferred to the Olympic training music project, that is, to compose music for East German athletes to train to. Having furtively imbibed the forbidden Western tones of Kraftwerk and Neu! in his hometown of Dresden, Zeichnete managed to smuggle in some avant-garde ideas to the project and generate some pretty sweet Musik that (just by chance) would be tailor-made for the discerning hipster of 2013. Volume 1 represented a program that “should allow the average runner to complete a 5 kilometre run at a reasonable pace. Included are 3 minute warmup and warm down pieces.”
 

 
My knowledge of German came in handy, here. There was a puzzlement or two to clear up. The name “Zeichnete,” which means “drew” or “sketched,” isn’t an entirely convincing surname for a German national. The story of being scarily apprehended by the Stasi authorities, only to be suddenly transferred to the Olympic training department, seemed far-fetched. The titles were an absolutely perfect imitation of what the contemporary English speaker would want them to be—“Mausi Mausi,” for Chrissake? “Flucht aus dem Tal der Ahnungslosen” means “Escape from the Valley of the Clueless” and really, that’s a great title in any language and perhaps more to the point, a clue to anyone taking all this retro guff too seriously. The only real problem with it all was that sizable gap between 1989 and 2013. Where were these tracks all this time? What had taken Zeichnete so long? Why was he staggering the releases? Why did some of the tracks sound so perfectly like what a Stereolab-influenced electronic music nut would generate today, given the chance?

More to the point, the whole thing was beginning to seem a bit ridiculous.
 

 
Turns out, these fine tracks of faux 1970s e-music had been introduced in a (successfully funded) Kickstarter last year launched by one Drew McFadyen of Edinburgh. (This blog says there’s more than just one person behind it, but I couldn’t discern anyone’s name but that of Mr. McFayden.)

Sehr witzig, mein guter Kerl!

In any case, instead of the most marvelous musical find of this or the last century and an incredible artifact of the Cold War, we have a excellently rendered simulacrum of same. It’s a hoot if you’re in the mood for some free tracks to listen to on Bandcamp or YouTube, but the files can also be ordered on iTunes or Amazon (links to individual tracks are below). Unfortunately, as often happens with Kickstarters, the original run of LPs is sold out. (If you’re listening, Unknown Capability Recordings, remember me if you ever do a future pressing!)

You can read an interview with the fictitious East German, Martin Zeichnete—it’s worth reading, they did a very good job with it. The reference to Andreas Pavel’s Stereobelt was just the right touch.
 

Track listing:
Kosmischer Läufer: The Secret Cosmic Music of the East German Olympic Program 1972-83, Vol. 1

1. Zeit zum Laufen 156 (Time to Run 156)
2. Sandtrommel (Sand Drum)
3. Die lange Gerade (The Long Straightaway)
4. Tonband Laufspur (Audio Tape Running Track)
5. Ein merkwürdiger Anschlag (An Unusual Attack)

Kosmischer Läufer: The Secret Cosmic Music of the East German Olympic Program 1972-83, Vol. 2

1. Zeit zum Laufen 172 (Time to Run 172)
2. Morgenröte (Dawn)
3. Flucht aus dem Tal der Ahnungslosen (Escape from the Valley of the Clueless)
4. Die Kapsel (The Capsule)
5. Die Libellen (The Dragonflies)
6. Mausi Mausi (Mausi Mausi)
7. Walzer der roten Katze (Waltz of the Red Cat)
8. Der Hörraum (The Listening Room)
9. Für Kati (For Kati)
10. Weltraumspaziergang (Spacewalk)

 
Here are a couple of the videos, cleverly sync’d up to some bitchin’ footage of East German athletes in their former glory:

“Die Libellen”:

 
More after the jump…

Posted by Martin Schneider | Leave a comment
You stepped in something: Smiling poop emoji shoes
10.16.2014
06:28 am

Topics:
Amusing
Fashion

Tags:
shoes
emojis
poop


 
How much would you pay for a pair of shoes covered in feces? $50,000? $100,000? Money is no object for a thing of such value, but you don’t need to break the bank to snag a pair of these… er…. shitty kickers! Betabrand has almost met their crowdfunding goal for a run of cute sneakers adorned in a “discreet” poo emoji print (only $70.40 for a pledge, a discounted rate for fine footwear covered in cute crap, right?). Sure, sure, but you’re walking around in permanent poo-shoes already. Isn’t pattern kind of… pretty? A tessellation of turds!

Fecal fractals, if you will.
 

 
Also, apparently these shoes are made from some kind of space-age material… if you’re into that sort of thing. I would remind you that NASA is responsible for the success of Tang, and to quote Buzz Aldrin, “Tang sucks.” Toilet humor and cute footwear however, is timelessly great, according to anyone who matters. If you still gotta, here are the specs, the video below lays out the case for a decidedly unshitty pair of crap-covered shoes.
 

 
Via Betabrand

Posted by Amber Frost | Leave a comment
‘Oh Mummy! Oh Daddy!’ The Residents’ first show as The Residents, 1976
10.16.2014
06:08 am

Topics:
Music

Tags:
The Residents


 
This photo, reproduced in Ian Shirley’s Meet The Residents: America’s Most Eccentric Band!, first piqued my curiosity about the 1976 show the Residents had played in mummy costumes. (Or did I first see it in Twenty Twisted Questions?) I read Meet The Residents in 1993, and a few years passed before I learned this had technically been The Residents’ first show, that the show had taken place at a celebration of the Berkeley store Rather Ripped Records’ fifth anniversary, and that the performance had been titled “Oh Mummy! Oh Daddy! Can’t You See That It’s True? What The Beatles Did to Me, I Love Lucy Did to You!” There was not even a rumor of any recording of this show, and it seemed so mysterious and significant to me that, at one point in my life, I would have parted with vital organs just to hear a tape.
 

 
Now, of course, thanks to the miracle of science, anyone can hear the whole show for free on YouTube. There is even a snippet of footage a mouse-click away. No surgery required. (If memory serves, the minute-and-a-half clip was first released in 2006 as an “easter egg” on the DVD that came with the Kettles of Fish on the Outskirts of Town box set.)

The untight performance (cut them some slack—they are playing their instruments while totally swathed in bandages) includes a bit of “Six Things to a Cycle” from Fingerprince, but the performance as a whole is closer in spirit to The Third Reich ‘n’ Roll. The Eye Guys demolish “Satisfaction,” “It’s My Party,” “Wooly Bully,” and “Wipe Out” before treating the audience to an extended version of their own “Kick A Cat” from Meet the Residents.

A description of the show from residents.com:

Oh Mummy! Oh Daddy! was a special show put on for the fifth anniversary of Rather Ripped Records on June 7th, 1976. The Residents were joined by Snakefinger and Zeibak in performances of short versions of Satisfaction and Six Things to a Cycle from Fingerprince. For this show The Residents wrapped themselves up in bandages like mummies and Snakefinger dressed as a giant artichoke. These costumes proved to be a problem, though, as the foursome had rehearsed without them and when they took to the stage they found that it was rather difficult to play their instruments in such restrictive outfits.

Aside from that small oversight, the concert was planned out very thoroughly. Amazingly enough all the music was performed live, except for some pre-recorded backing vocals from the Pointless Sisters who couldn’t attend the performance in person. In addition to Snakefinger’s guitar and The Residents on an assortment of marimbas and xylophones, the band included Don Jackovich on drums and Adrian Deckbar on violin. Vileness Fats’s Arf & Omega put in an appearance performing Kick a Cat.

Bay Area readers, the Exploratorium is presenting the Residents’ Eskimo tonight!

A short video clip of “Oh Mummy! Oh Daddy!”:

 
Audio of the complete performance:

Posted by Oliver Hall | Leave a comment
Noted poster artist dragged into local election fracas over charges of anti-Semitism
10.15.2014
01:45 pm

Topics:
Art
Books
Politics

Tags:
Derek Hess
Kent Smith
Mikhail Alterman


 
Amazing the trouble that a reaction-baiting local TV news segment can work up, isn’t it? In Euclid, a small city to the east of Cleveland, Ohio, the race to send a representative to the state house in Columbus recently got a healthy injection of political punk art—not always the most welcome addition to a candidate’s resume. The controversy stems from a book that one of the candidates wrote in 2008, a book of good old-fashioned pamphleteering called Please God Save Us. The text of the book is by current Euclid school board member and possibly future state representative Kent Smith, and the art is by renowned master of the punk rock poster idiom, Derek Hess.

On September 22, a markedly one-sided news segment by political reporter Tom Beres on local station WKYC all but accused Smith of being a virulent anti-Semite—over a book that has nothing to do with Jews or Judaism—because Hess (not Smith), in order to land a specific point about specifically extremist brand of Republican thinking—incorporated a modified swastika in some of the images. Predictably, it isn’t all that difficult to get the vox populi tut-tutting if you show an older voter a picture of a swastika and refuse to explain the full context. The WKYC segment explains that Smith is listed as an author of a book that does have a weird kind of swastika-ish symbol on the cover and then cuts to some older women saying (and this is a quotation), “I find it very disturbing, I find it insulting,” etc etc. Basically a respectable TV station said “Boo!” to some random shoppers in a retail mall and got them to say “Eek!”
 

 
Kent Smith finds himself in a tough race with Republican Mikhail Alterman and Independent Jocelyn Conwell, a race that would be a shoo-in for the Democrat if not for some gerrymandering shenanigans from 2010 that put portions of impoverished (read African-American) East Cleveland and predominantly affluent and Jewish Beachwood into the previously unified 8th district of Euclid. Alterman is an interesting guy, a former metal DJ at WRUW, the radio station of Case Western Reserve University—hey wait, don’t you reckon Alterman has to have purchased more than a few pentagrams in his day? Does that make him unfit for office? (For the record, Cleveland.com, the online presence of the Plain Dealer, enthusiastically endorsed Kent Smith on October 3, saying that Alterman is “armed with lots of ideas but some don’t make sense.”)

I spoke with Smith on Sunday evening. He insists that there isn’t anything to the charges, reasoning that the book has been in circulation for a while without anyone objecting to any anti-Semitic content: “Mr. Alterman and the Ohio Republican Party are not objective book critics or art reviewers,” said Smith. “The reason they are offended by the positions taken in the book is because those positions run counter to their Far Right, Tea Party agenda for Ohio and this nation. Please God Save Us has been in circulation since 2008 and not one professional, impartial reviewer found it to be antireligious or anti-Semitic.”
 

 
The fuller context you need to know is as follows: Kent Smith is a responsible and accountable representative of his community; the book was an expression of Democratic anger directed at the extreme right wing of the Republican Party, and Smith is being branded an anti-Semite for images he did not draw in a book that has zero to do with Judaism. But more to the point, the book has been out for six years now. It was conceived in 2006, not long after the bitter defeat of John Kerry, when liberal anger over the excesses of the Bush administration was at its peak. The book was released on July 4, 2008, the heady days of Obama’s first presidential run, and received positive notices from many quarters, including the Boston Globe, the San Francisco Weekly, Real Detroit Weekly and Juxtapoz. The book received national coverage for a brief period, and to be frank, nobody said diddly squat about any anti-Jewish sentiment in the book. Kent Smith has run for office several times since then and the issue has never come up because it’s completely clear that the charges of anti-Semitism are utter nonsense.

The book has ten chapters, which tackle themes like opposition to creationism, opposition to fossil fuels, opposition to the Iraq War, support of stem cell research, and a few other topics like that. Where’s the substance to the anti-Semitism charge? Alterman threw a stinkbomb into the middle of the race as a kind of Hail Mary pass, but the tactic reeks of desperation and threatens to sully Kent Smith.
 

Kent Smith and Derek Hess
 
And what of Derek Hess, self-described “superhero + overrated artist” (the verbiage comes from his own website). Angry, oh so angry, intemperate, irresponsible Derek Hess? Come now, this is rank silliness. Hess is a gifted graphic artist of whom it can safely be said that moderation is not his strong suit. But who really gives a tinker’s damn about the political agenda of Derek Hess? He’s not running for anything. He’s an internationally acclaimed artist whose work the Louvre in Paris has calledune remarquable série d’affiches” (a remarkable series of posters); the museum has acquired some of Hess’ posters. Derek Hess is not an amateur, he’s not a crank, and he’s not a joke. If anything, the decision of Derek Hess to choose Smith as a co-author can only reflect positively on Smith.
 

Mikhail Alterman
 
Let’s talk about the “swastika.” It isn’t really a swastika, to begin with. You can see it on several of the images on this page—it’s a swastika that Hess has (rather cleverly) modified with some care to make a specific point. In the book, which probably nobody involved in this whole fracas has even read, Hess explains that the symbol in question, which variously appears on a U.S. flag where the stars would normally be and as a kind of elongated cudgel, is a “Crosstika,” elaborating further that the hideous red Republi-creature is holding a “half swastika, half cross” that is designed to “create blind faith and allegiance, much as the swastika was used by Nazi Germany.”  In other words, Hess is linking the swastika with the extremist right wing, which makes sense insofar as the original Nazis were an extreme and hyperconservative reaction to left-wing/collectivist political groupings like Marxism, socialism, and so forth. In other words, Smith and Hess aren’t advocating anything at all with respect to the stupid swastika.
 

 
One might ask, what is Mikhail Alterman’s objection to anti-fascist art? Why is he hostile to outspoken denunciations of fascism or movements that bear some similarities with fascism? Does every political objection have to take the form of “candidate X” strayed within 1000 feet of “annoying object Y”—is that where all thought processes have to end? Does anyone, Alterman included, really want a world like that? I’m pretty sure the answer is no.

As Smith said to me, “Neither Derek Hess nor myself are anti-religious – any religion. But we both strongly disagree with Republican Party positions on the economy, environment, going to war over trumped up claims and faulty intelligence, freedom to marry and women’s reproductive rights.  Please God Save Us is a rebuke to the Far Right and I do not back off from what I wrote.”
 

 

Posted by Martin Schneider | Leave a comment
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