Artist and political activist, John Douglas’ Homeland Security work is a chilling series of provocative photographs taken of the artist himself holding M16s naked and then duplicated on a computer. Sporting an M16 and nothing else, Douglas becomes a ?
I have a short article in the Calendar section of today’s Los Angeles Times. It was clear to me when I read what my editor there, Dean Kuipers, added to my original draft that he, too, was a big Firesign Theater fan:
The Library of Congress called the Firesign Theatre “the Beatles of Comedy” when its 1970 album “Don’t Crush That Dwarf, Hand Me the Pliers” was selected for the National Recording Registry.
An apt comparison, considering that, along with contemporaries Monty Python in Britain, the searing and psychedelic satirical troupe helped invent a literary brand of album comedy that lodged itself in the culture of college students across the country. The group paved the way for later arrivals such as Cheech & Chong, “Saturday Night Live” and Second City.
Celebrating the 40th anniversary of one of its most popular characters, detective Nick Danger, Third Eye, the four-man troupe makes a rare local appearance next week, performing Oct. 14 to 17 at the Barnsdall Gallery Theatre with a new show, “Forward Into the Past.”
Now that the whole Kanye-Gaga thing’s been derailed, I’ve got an open date on my “vulgar spectacle” calendar. Maybe it’s just me, but when I first stumbled across these two grinning mugs, the closing lines of George Orwell’s Animal Farm came to mind: ?
And the hits just keep right on comin’ here at Dangerous Minds.net, yesiree Bob! This next little gem is an all singing, all dancing recruiting video for a meat processing company in Fiji. Look how happy you would be if you worked here!
This commercial appears on videos that you rent in Fiji.
How many times in your life have you seen a choreographed dance routine that included carcasses?!?! Don’t answer that…
WARNING: THIS SONG WILL STAY IN YOUR HEAD ALL DAY LONG AND IS NOT RECOMMENDED FOR VEGETARIANS!
From The Boston Globe, “Earlier this week, 1.5 million people filled the streets of Berlin, Germany to watch a several-day performance by France’s Royal de Luxe street theatre company titled “The Berlin Reunion”. Part of the celebrations of the 20th anniversary of the fall of the Berlin Wall, the Reunion show featured two massive marionettes, the Big Giant, a deep-sea diver, and his niece, the Little Giantess. The storyline of the performance has the two separated by a wall, thrown up by “land and sea monsters”. The Big Giant has just returned from a long and difficult - but successful - expedition to destroy the wall, and now the two are walking the streets of Berlin, seeking each other after many years apart. I’ll let the photos below tell the rest of the story.”
We, the Shamanic Cheerleaders, use the term “Shaman” with great respect for the profound and diverse legacies of healers and mystics throughout the world. We do not claim to be Shamans. We recognize the value and universal nature of Shamanic healing techniques, including their use of intentional song, dance and energy work to promote personal and community healing. We have developed our own unique performance style that has not originated from any one direct lineage but is more a fusion of a wide range of healing and performance modalities.
“After divining, the shaman must address the problems that were uncovered. This is where the shaman may become a trickster. through puns and clever jokes, shamans distract their clients, opening them up to participating in the hard work of admitting some responsibility for their problems. If a patient recognizes her part in creating an illness, for example, she can empower herself to relieve it. In shamanism as in other aspects of life, humor heals.”
quoted from ‘The Woman in a Shaman’s Body’ by Barbara Tedlock, Ph.D.
Time Piece is nine very weird, sort of beatnik minutes of fast-paced, scattered imagery and sounds all set to the beat of a hi-hat. He makes music out of everyday sounds. So you get tapping, tick-tocks, footsteps, drumbeats, car zooms, whistles, screeches, pogo sticks, high heels, typewriters, on/off switches, dings, buzzes, bowling balls, elevators, champagne pops, zippers, dogs panting, rocking chairs, beers opening, tea kettles, crackers, coughing, and a shot of Henson painting an elephant pink. The only word used in the whole thing is ?
I couldn’t be a bigger fan of Japanese director, Hiroshi Teshigahara, or recommend more highly his Criterion-collected films from the 60s: Pitfall, Woman In The Dunes, and The Face of Another. Teshigahara has a wonderful way of capturing landscapes, and, much like Antonioni, uses them to suggest some aspect—usually existential—of the human condition.
That being said, I find his documentary on Antonio Gaudi, stunning to watch as a tone poem of sorts, but lacking in terms of providing much context for the Catalan architect. You can check out the complete documentary over at Ubu, titled, simply, Antonio Gaudi, but I just recently stumbled upon a more illuminating point of entry for the architect.
Ken Russell, the British director of such films as Tommy, Women In Love, and Altered States produced his own “film essay” on Gaudi in ‘61. Sidestepping his usual “lurid” mode, Russell’s doc provides all the historical/biographical context missing from Teshigahara’s. Not surprisingly, Russell’s short also accompanies the Criterion reissue of Antonio Gaudi.
For Russell’s take on some truly fantastical buildings, Part I of his film essay follows below with a link at the bottom to Part II.
For what seems like days now I’ve been waiting for the official unveiling of Kobe’s true-to-scale statue of one of my childhood cartoon heroes, Gigantor (Tetsujin). Like many of the stories I gravitated to back then, it was about a boy and his subservient robot.
More memorable than the cartoon, though, was Gigantor’s American theme song, whose cover by The Dickies was celebrated both here and in the UK. You can watch their live version here, but in honor of the big guy’s unveiling, why not check out the original?