Joey Ramone and Eric Boucher (aka Jello Biafra) in Denver, Colo. 1977
Here’s a clip of the always witty, acerbic and insightful Jello Biafra on Canadian TV show The Hour.
I’ve known Jello since he was an 18-year-old hippie in Boulder, Colorado. He was one of the smartest kids I’d ever met with an incredible knowledge of rock and roll and a radical, edgy sensibility. At a time when most longhairs where luxuriating in the Rocky Mountain High vibe, Jello was busy inhaling vinyl and sniffing grooves. We first met in a used record store. I think he was buying some Roxy Music and T. Rex.
He was one of a handful of Boulder teenagers who supported my punk band in 1976. He’d help carry my group’s equipment at gigs so he’d get into clubs that had a 21-years and older door policy. I’m not sure but that might have gotten him into his first Ramones’ show when I opened for them in 1977 in Denver.
I’ve literally watched Jello grow from a brilliant kid into a brilliant adult. I love the fucker. He has stayed true to his core beliefs while many aging punks have sold out and played it safe.
I’m not going to go into the whole song and dance about how Playboy provided a forum for some of the most progressive thinkers and artists on the planet including Lenny Bruce, Robert Anton Wilson, Paul Krassner, Timothy Leary, Joan Baez, R. Buckminster Fuller, Jane Fonda, Muhammad Ali and many more. I’m not gonna tell you how I bought the magazine to read the interviews and fine fiction from writers such as Arthur C. Clarke, Gabriel García Márquez, Joseph Heller, Margaret Atwood, Jack Kerouac, Norman Mailer and Kurt Vonnegut. No, I’m not gonna tell you all about that because it won’t make any difference in anyone’s opinion of Playboy magazine. You’ve got your opinion, I’ve got mine.
Playboy and its creator Hugh Hefner have been polarizing people for the past half century. I happen to like Hefner and his magazine, though the nude spreads have rarely featured much that floated my boat. My taste in women rarely coincided with the picture perfect All-American, mostly white, women of Playboy. I was also never into the “Playboy philosophy” when it came to stuff like cars, fashion and cocktail culture. I never wore an ascot or cufflinks and I wouldn’t know the difference between a Cuban cigar and a dog turd or good champagne from Everclear and 7-Up.
What I dug about about Playboy is that it introduced my young Catholic-corrupted brain to the idea that sex could be fun and intelligence could be sexy. In retrospect, the nudity objectified women, but at the time, for me, it opened up a world in which women’s bodies were wondrous and beautiful. I may be one of the only teenage boys of the Sixties that didn’t use Playboy as jerk-off fodder. I gazed upon the full-bodied Playmates during breaks in reading the genuinely mind-opening interviews with some of my counter-culture heroes. There literally was nowhere else to get some of the insights that Playboy published (I wasn’t reading Evergreen or Paris Review yet). Between bouts of being battered mentally and physically at school by malevolent Nuns, it was liberating to come home, lock my bedroom door, and read about psychedelics, beatnik culture and the pleasures of the flesh in a girlie magazine. And the nudes did steer my thinking away from perceiving the human body as a vessel of sin and shame toward an appreciation of it as something delightful and fulfilling.
Here’s an interview with Hefner from the mid-1970s that was conducted for City University of New York TV show Day At Night hosted by James Day. I like Hefner’s belief in the liberating power of a healthy sex life. And I bet the Bunnies did too. I can’t recall any of Playboy’s models ever complaining about their jobs and several books have been written about and by them.
As we once again enter an era of prudishness, over-zealous political correctness and sexual repression, some of what Hefner has to say sounds as relevant as it did 40 years ago. While the bunny costumes may seem silly and dated, the truth is always hip.
DM favorite John Waters is having a new exhibition of his photographs and sculptures called Rear Projection at the Arthur Roger Gallery, 432 Julia Street, New Orleans, LA, from October 1st – 29th.
Mr. Waters will be present at the opening reception hosted by the gallery on Saturday, October 1st from 6 to 9 pm, and will lead a walk-through of his exhibition on Saturday, October 1st at 1 pm. Now how cool is that?
Rear Projection is a movie term for the process whereby a foreground action is combined with a background scene filmed earlier to give the impression the actors are on location when they are, in fact, working inside a studio. In John Waters’ latest work, this artificial and outdated visual effect is embraced and taken to extremes.
Using an insider’s bag of tricks and trade lingo, John Waters celebrates the excess of the movie industry. Word and image play permeate Waters’ work, and the movie industry and its various sleights of hand are a common target. Always ambitious and playful, some of the works are condensed narratives or “little movies” as Waters calls them. Waters wickedly juxtaposes images from films and television that he captured by photographing his television set as they play. His approach originated with a desire to retrieve stills from his own movies and developed into an appreciation for the overlooked and misrecalled.
Waters has said, “I’m concerned that people don’t remember movies; they remember stills that they’ve seen over and over in books so I try to photograph things in movies that you are never supposed to see. Really, it’s about writing and editing. I think up each of these pieces and then I have to go find the images that make a new narrative which many times is the opposite of or has nothing to do with what the director really began with.”
Born in London in 1922, Hamilton was determined to become an artist an early age, he quit school at 15, and studied art at night before entering the Royal Academy at 16. His studies were cut short by the outbreak of the Second World War, during which he worked as a draughtsman with engineers and scientists at EMI. After the war returned to the Royal Academy, but was expelled for “not profiting from the instruction”. He then attended the Slade College of Art for 2 years, from which he started working at the ICA, where he produced posters, leaflets and exhibit work.
In 1951, Hamilton curated his first exhibition, Growth and Form. This was followed in 1955 with the seminal Man, Machine and Motion, which examined human interaction with machine and environment, and how “the need to cope with technology provokes great art.”
It was at this time Hamilton met with Eduardo Paolozzi, who was already working on the collages which are now best associated with Pop Art. Hamilton joined Paolozzi in the loose grouping of artists known as the Independent Group, who gathered around the ICA.
In 1956, the Independent Group mounted This Is Tomorrow, an exhibition that is now seen as one of the most influential of the past sixty years - its resonance is still with us today. This was the show that announced Pop Art to the world - long before Warhol, who was then window dressing. As described by the Daily Telegraph:
This Is Tomorrow, a quasi-anthropological, partly ironic exhibition embracing the imagery of the embryonic mass media. In Hamilton’s words, the idea was to examine “our new visual environment — cinema, the jukebox, Marilyn Monroe, and comics — all these games with sound, optical illusion and imagery”.
His own small, dense, prophetic work Just What Is It That Makes Today’s Homes So Different, So Appealing? not only introduced the word “pop” into art (emblazoned on the muscleman’s phallic lollipop) but also anticipated many of the key images of the genre: the television; the Warner Bros billboard; the comic poster (Lichtenstein); the packaged ham (Rosenquist); the Motel bed (Oldenburg); and the Ford logo — Hamilton’s obsession with car design and engineering culminated in Hommage à Chrysler (1957). This was Pop Art, but not populist art. Hamilton called it “a new landscape of secondary, filtered material” – sophisticated art to be devoured by a mass audience.
The exhibition’s success gained him a teaching post at the Royal College of Art, where he influenced David Hockney and Peter Blake. He produced works such as Hers Is A Lush Situation (1958), in which automotive and female design are commingled; Pin-up (1961), with its mixed idioms, classical, modern, vulgar; and the sketchy, painterly collage-like rapture of $he (1962) – it was, he suggested, “a sieved reflection of the adman’s paraphrase of the consumer’s dream”.
In 1962, Hamilton’s wife, Terry, was tragically killed in a automobile accident. Hamilton quit Britain for the USA, where he became close friends with Marcel Duchamp. The friendship led to Hamilton curating a retrospective of Duchamp’s work at the Tate Gallery, London.
The association with Pop Art, led Hamilton to be hailed the “Father of Pop Art” a title he loathed. The association continued in the mid-sixties after he returned to England, and produced two of his most famous works Swingeing London 67, a portrait of Mick Jagger and Robert Fraser under arrest, which became one of the defining images of the 1960s. The following year Hamilton designed the cover for the Beatles White Album, which became his best known work.
The sixties also saw Hamilton influence another, younger generation of artists and musicians, most famously one of his pupils, Bryan Ferry and his band Roxy Music.
In the the 1970s, Hamilton had retrospectives at the Tate (1970) and the Guggenheim in New York (1973), both exhibitions subsequently toured Europe.
I saw one retrospective of his work during this decade at the Gallery of Modern Art in Edinburgh, which mixed his famous line drawings for James Joyce’s Ulysses, with his Pop Art, and silk screens. It was highly impressive, but more because of the intelligence on display, rather than any shared emotion inspired by the work. This may explain why Hamilton never really made the cross-over from critical acclaim to populist success.
The seventies saw Hamilton produce some of his most political work:
Hamilton had always been politically engaged, vociferously supporting the CND. In the 1980s he began a “Northern Ireland” trilogy: The Citizen (1981-83) depicted a “dirty protest” prisoner in the Maze; The Subject (1988-89), a self-righteous Orangeman; and The State (1993), a British soldier on patrol. Inevitably such politicised subject matter attracted criticism, though many considered the works merely naive oversimplifications.
Despite his advancing years, Hamilton continued to reinvent himself. In the 1980s he began working with computers: “I initially ventured into working with computers because I didn’t want to get left behind. I was approaching old age and aware of it, and I thought ‘I’m going to keep up with this’ and found out that I was ahead of everybody.” He designed two computers, the OHIO and the Diab DS-101, and increasingly used digital devices to manipulate images and create a dialogue between technique, technology and aesthetics.
The attraction of computers, he claimed, was that “you have the possibility of perfection. I’m after beauty — of composition, colour and tone.” It did not seem ironic that a man in his eighth decade was exploring technology with greater vivacity than almost any other artist: throughout his long career, Hamilton’s work anticipated almost every interpretative cultural theory, from Marshall McLuhan to the “Young British Artists”, and provided the most thorough engagement with mass media and technology this side of the Atlantic. Damien Hirst referred to Hamilton as “the greatest”.
Hamilton was appointed Companion of Honour in 2000; in 2006 he received the Max Beckmann Prize for Painting. A major retrospective of his work is due to travel to tour America and Europe from 2013.
Richard Hamilton married Terry O’Reilly in 1947; they had a son and a daughter. Rita Donagh, whom he married in 1991, survives him with the son of his first marriage.
Bonus clip, Richard Hamilton on Bryan Ferry and Roxy Music, after the jump…
A bold new vision of a sexual utopia where women rule and men are mere erotic playthings at the service of the Supreme Yoni has sprung from the fetid brain pan of former Scandinavian soccer champ and current cosmetics king Hans F. Hansen.
Ladies, that tingling sensation you’re feeling is not a hot flash, it is the flush of pride and sensation of empowerment that the mere mention of Hansen’s name instills in women the world over.
For decades, The Playboy Mansion has been a playground For Men where Playmates have entertained millions of guests with their bunny costumes, a genius concept perfectly executed by a once young and vivacious idealist. However, that once young man, along with his rabbit tricks, are now old, decrepit and stale. It is time for a new mansion, a new playground where women set the standard. The Hans F Hansen Mansion will be a place of Elegance and Mystery, where guests will reach a level of thorough entertainment not only through it’s intoxicating atmosphere, but also by the exotically beautiful, multitalented, and worldly Hans F Hansen Dames. Isn’t it time for change? We say YES.. It Is.
Among the many pleasures of Hansen’s mansion will be fat-free cookies!
THE MANSION of Hans F Hansen will be a beautiful and sophisticated environment for women, where only “Gentlemen” are welcome. Our mansion is unlike any other mansion of it’s kind because, although it is made up OF WOMAN, it is also made FOR WOMEN. If a man is allowed inside, it is only because he has made an oath to treat woman with respect and enjoy them as beautiful free spirits, not as objects whose sole purpose is to cater to or amuse him. This mansion is GENTLEMEN ONLY.
The Mansion is home to Hans F Hansen, The Hans F Hansen Dames, and many Exclusive Events, Celebrity Private Parties, and Charity Gala’s. This incredible space is not only a living quarters, and event venue, but it also serves as the bootcamp facility where the The Dames’ will learn to be Ultimate Power Woman - Poised, Worldly, Well-Spoken and Multi-Talented.
The Hans F Hansen Dames will grace the rooms of every Mansion event. Guests will be charmed and amazed as these women carry on political conversations, mix delicious drinks, and whip up batches of fat-free cookies!
With several rooms, each having it’s own theme, The Mansion also has a SECRET ROOM. This room is FOR SPECIAL MEMBERS ONLY. Unfortunately, we can not divulge the activities in which this room will be made infamous by a select few, but rest assured, you want an invitation.
The Mansion of Hans F Hansen, Elegant and Sexy, has an intoxicatingly serene essence of Venice that leaves one feeling uninhibited… longing for the next event…
Hansen has issued a challenge to Hugh Hefner that should send the adult entertainment industry spinning off its orbit:
Hugh Hefner’s superior has finally arrived – Hans F Hansen of Scandinavia. Is it possible for Hans F Hansen, founder of the sophisticated brand Below Your Belt, to create a new Entertainment Brand that will surpass the infamous Playboy Empire? Is it time for Hans F Hansen? We say YES… It Is.
The world of Glamour, Sexuality, Women, and Entertainment can finally evolve into something new. If you are a Visionary and a Believer, EVERYTHING is possible.”
The creator of BYB intimate shave cream ( perfectly hairless pubes for the “smooth generation”) and self-described “amalgam of Virgin Atlantic’s Sir Richard Branson and Gucci’s debonair Tom Ford” has a website where you can stay up-to-date on his progress in creating an Amazonian paradise.
Will Hefner’s already struggling empire survive Mr. Below Your Belt’s assault? You be the judge. Here’s Hansen in all his magnetic glory:
I’m sure most Dangerous Minds readers are familiar with how well The Wizard of Oz syncs up with Pink Floyd’s Dark Side of the Moon album. However, I dig Jeff Yorkes’ take even better. Yorke paired up The Wiz with Floyd’s “Brain Damage” and “Eclipse.” It’s a new spin.
Below, Dark Side of the Moon synced with Wizard of Oz.
Last night on the GOP Tea party debate on CNN, the assembled crowd of mouth-breathing, knuckle-dragging Neanderthalsfucking assholes dumb old white people cheered like braying assholes asses at the notion that someone uninsured should be left to die.
Here’s just one idiotic comment left on YouTube by a moron using the handle “nicpag9”:
Whoever posted this video needs to off themselves. People like you are what is wrong with this country and the reason it’s in the shape it is in now. No doubt you’ll be voting for Obama again. Too bad we can’t divide the country up into the idiot section run by Communists such as your self and the rest that just want to be left the hell alone for everyone with a damn brain. I’m sure the founding fathers would have no problem with that whatsoever.
No, my fren’ this country is in the state it is because of people like you… too damned dumb to understand the world around them.