Parlour Games is a series of stunning pen drawings by artist Sig Waller.
‘The drawings are based on some sixteenth century engravings called Theatrum Crudelitatum (Theater of Cruelty),’ Waller tells Dangerous Minds.
‘I’ve appropriated some of the imagery and drawn directly onto antimacassars and napkins. These cloths are generally used to wipe away and protect from grease and dirt and in this sense the series is about denial (personal or societal). Our capacity for cruelty and suffering is timeless, as is our ability to look away.
Waller studied Fine Art & Art History at London’s Goldsmiths College, before moving to Berlin, where she started her career as an artist under the alias Sig Waller’s paintings explore “the dark borders of our culture of excess, drawing attention to human destructiveness, human frailty and the delicate balance of life on Earth.”
Now based in Berlin and Brighton, Sig is planning her next artistic collaboration with her dead grandmother (using some of her sewing) and writing a book The Day the Women Stopped Listening.
Porno actor Ron Jeremy spoke at a church in Hudsonville, Michigan over the weekend to hundred of people who turned up for his talk, a double bill with California pastor Craig Gross, a minister who tries to help porn addicts.
Jeremy, who was raised Jewish, spoke briefly about his life in the industry; admitting he still works and has been with more than 2,000 women. Throughout the years, however, he has had several personal experiences that have brought him closer to God; one of them was surviving a car wreck with the late pastor/comedian Sam Kinison.
“The car didn’t hit a single tree. It was a forest…[the car] missed every tree at 60 miles an hour upside down,” Jeremy said.
But Jeremy holds the belief that pornography and religion can co-exist.
“I don’t think the Lord above has a problem with consenting adults, having consenting romance, for consenting adults to watch. Period. But again the whole sex outside marriage, The Bible has got a problem with that and that’s where me and most of the people here are never going to agree on that,” Jeremy said.
He added, “The vast majority of porn stars believe in God.”
Jeremy also played piano and harmonica for attendees.
I love it when the audience feigns shock and disgust on The Jerry Springer Show, all the while poking their snouts in the dirt like pigs looking for truffles.
Gwar and El Duce of The Mentors gleefully push the crowds’ buttons as they discuss “shock rock,” which is the musical equivalent of taking a dump in the punch bowl of pop culture and political correctness.
Some might find El Duce’s “rape rock” crosses the lines of bad taste into something more vile, but I think it’s pretty obvious that Duce’s trangressions are a form of performance art in which he’s embodying the worst expectations of the Parents Music Resource Center (PMRC) and testing the boundaries of free speech. It may be crude but it’s effective.
Three months after this episode of Springer was filmed, El Duce (Eldon Hoke) died at the age of 39, which adds a bit of bittersweetness to the title of one of his classic love songs “My Erection Is Over,” the lyrics of which were quoted during the 1985 Senate hearings on offensive language in rock songs.
I want me a sleazy slut
Who can give a tongue bath to my butt
My erection is over…it’s over, it’s all over
It WAS all over when El Duce was crushed by a freight train one night in April of 1997. Some say it was suicide, some say it was payback for making claims he was hired by Courtney Love to murder Kurt Cobain. Maybe it was an accident. Whatever the case, it’s the kind of shit the denizens of Springerville love to their cluck their tongues over.
1960s teen idol Lesley Gore leads the charge against Mitt Romney and the GOP—with some well-known indie female faces like Lena Dunham, Carrie Brownstein, Miranda July, Tavi Gevinson, Tracey Ross and more—with a wicked lip-dub protest version of her 1964 hit “You Don’t Own Me.”
It’s truly hard to believe that in this day and age women are still fighting to get this message across.
Mitt Romney and the Republican Party are determined to overturn Roe V. Wade. Romney has not supported equal pay for women (The Lily Ledbetter Fair Pay Act). Romney has vowed to defund Planned Parenthood. Romney has vowed to repeal the Affordable Care Act. Romney doesn’t want health care to cover birth control. Romney says same sex marriage should be banned with a Constitutional Amendment.
This election is shockingly close. Our safety is at stake. Our silence is consent and our vote is our voice. Let’s get active. Let’s get out every vote we can. Let’s make this election a mandate. A mandate to finally ensure women the respect, dignity and equality we all deserve! This is now. This is our call to action. Once and for all, let’s take back the power that is so inherently and naturally ours!
Russell Means (left) and Dennis Banks, at Pine Ridge Reservation at Wounded Knee in 1973, instructing occupants how to hold their ground against the US government
Russell Means will not be counted among the great civil rights leaders of the 60s and 70s “New Left” movements, and I doubt that he would want to be. Means was at the forefront of a new generation of native rights advocates, and their struggle was largely isolated from popular progressive discourse. He is best known for the armed occupation of Wounded Knee in 1973, when the American Indian Movement (AIM) took up arms and reclaimed Wounded Knee, the historical battle site and small town, for the Lakota Nation.
Political strife had plagued local tribal politics for years, and Means was perceived as a firebrand by many established leaders, some seen as overly-cozy with the U.S. government. AIM was very much a youth movement in inception, and the desperation felt by many of its members was rooted in what they felt to be ineffectual or corrupt leadership. Demanding justice for police brutality, extreme poverty, broken treaties, and the destruction of native land, AIM took up arms after efforts to impeach the standing Oglala Lakota Tribal President had failed. Means and others had participated in occupations before (Alcatraz, the seizing of the Mayflower II replica, and Mount Rushmore, to name a few), but the “Incident at Wounded Knee” wasn’t just a protest, it was a battle.
With Means as spokesman, nearly 200 men and women held Wounded Knee for 71 days; there was regular gunfire between the activists and the 50 U.S. Marshals. The shootout that ended the standoff resulted in the deaths of a U.S. Marshal and two activists. What followed was was a scattering of AIM members, some who were later convicted and jailed despite questionable evidence (Leonard Peltier), others, like Anna Mae Aquash, were killed under mysterious circumstances. Means was among the lucky, and went on to continue his activism, become more involved in tribal politics, and eventually write his autobiography, Where White Men Fear to Tread.
In an 1980 interview with Mother Jones, Russel Means reasserted his commitment to the cause, saying,
“I work primarily with my own people, with my own community. Other people who hold non-European perspectives should do the same. I believe in the slogan, “Trust your brother’s vision,” although I’d like to add sisters into the bargain. I trust the community and the culturally based vision of all the races that naturally resist industrialization and human extinction.”
Russell Means was resisting the colonists, not trying to break bread with them. It’s nearly unfathomable to consider 200 people taking up arms against the US government, holding a town hostage to demand basic rights, but this is what makes the legacy of AIM and Means so much more powerful in a sea of peaceful sit-ins and impotent political theater. When the youth of the tribal nation felt ignored by their leaders, they turned to a man who literally pissed on Mount Rushmore. When “peace and love” was the dominant narrative of the left-leaning, Russell Means and the American Indian Movement were attempting armed revolution.
Tonight as part of their ambitious month-long Nightmare City festival, Cinefamily presents a perfectly paired double bill:
THE SHOUT – 8:00pm
A gonzo gothic fantasy played straight, The Shout showcases Alan Bates as an unspeakably chilling dark stranger who emerges from the dunes of a sleepy English seaside village, to wreak havoc on an avant-garde composer of musique concrète (John Hurt) and his wife (Susannah York). Insinuating himself as an unwanted houseguest, Bates regales his hosts with tales the “terror shout,” his ability to shriek so penetratingly that any creature within earshot will be struck dead. As Hurt cannot resist this sonic novelty, and as York develops an irresistible desire for the lurking sorcerer, the narrative in impossible directions, while also finding time for extended synth montages, inexplicable role reversals, wild symbology, frame stories within flashbacks, and at least one false ending!
Dir. Jerzy Skolimowski, 1978, 35mm, 86 min.
JACOB KIRKEGAARD PERFORMS “LABYRINTHITIS” AND “THE VISITOR” (WORLD PREMIERE!) – 10:00pm
There is no better sonic pairing for The Shout than world-renowned Danish soundmaker Jacob Kirkegaard, who tonight brings us two astounding performances focusing on the reactivity of acoustic spaces, and phenomena usually imperceptible to the ear. Past “instruments” have included a geyser, a sand dune and the abandoned rooms of Chernobyl, but tonight, Jacob harnesses sounds from both the Silent Movie Theatre itself, and from our own inner ears! First is the impossibly cool LABYRINTHITIS, in which Jacob collects the frequencies resonating within his own ear canals, then processes and orchestrates them to tweak frequencies within the audience’s own eardrums.
Then, it’s the world premiere of THE VISITOR, commissioned exclusively for Nightmare City. With inspiration from Alvin Lucier’s pioneering “I Am Sitting in a Room”, Jacob will record the seemingly silent auditorium, play it back, record that, play that back, and so on. This looping condenses the aural space until it reverberates in a sonic invocation, making the Silent Movie Theatre (and perhaps the spirits of its “storied” past) speak to the audience in its own resonant tones. THIS IS SOME AMAZING STUFF!
Tomorrow night Cinefamiy presents The Hands of Orlac, the haunting 1924 silent German Expressionist horror classic directed by Robert Wiene (of The Cabinet of Dr. Caligari fame) with a live score by prepared piano maestro Hauschka.
And on October 28th, they’ve got a special event planned with composer Claudio Simonetti (the original keyboardist of Goblin) including a dinner, Q&A and a screening of Dario Argento’s Tenebrae struck from one of the world’s few remaining fully-uncut 35mm prints. More information at Cinefamily’s website.
Buy tickets here. Nightmare City is co-presented by The Woodshed Horror Company and Cinespia.