ABKCO Films presents legendary director Alejandro Jodorowsky in a rare New York appearance with a Halloween screening of The Holy Mountain at MoMA:
Jodorowsky will introduce his visionary 1973 cult film The Holy Mountain, which famously played for sixteen straight months at New York’s Waverly Theater, at “An Evening with Alejandro Jodorowsky” on Monday, October 31, at 7 PM. The program serves as a coda to the exhibition of Jodorowsky’s work that was organized at MoMA PS1 earlier this year by Klaus Biesenbach.
Jodorowsky will take part in an onstage conversation with Klaus Biesenbach and Joshua Siegel.
The Holy Mountain is a surreal and picaresque satire depicting the journey of a Christ-like figure, the Thief, to a symbolic mountain that is said to unite Heaven and Earth. Playing the character of the Alchemist both on and off screen, Jodorowsky immersed his actors in months of preparatory spiritual and occult exercises, and was also responsible for the costume, set designs and for co-writing the musical score.
The second of this week’s seasonal mixtape treats, and this one is quite a departure from yesterday’s Disco Argento mix. Ave Satanas is (as the name would suggest) a compilation of Satanic rock from the late Sixties and early Seventies, that could be considered the roots of what we now know as black metal, though at the time it would have been classed as psychedelic. It was compiled by one DJ Goatface Killer, better known as Russell Elder from Glasgow’s Mono music emporium.
There are culty groups aplenty on Ave Statanas, like Germany’s Lucifer’s Friend, Chicago’s Coven (pictured above), Leicester’s Black Widow and the original Iron Maiden (not to be confused with Bruce Dickinson’s lot). The music represents a time when rock was getting heavier, drugs were getting harder and post-hippy culture was getting darker, hence the inclusion of extracts from both Anton LaVey’s “The Satanic Mass” and Bpbby Beausoleil’s score for Lucifer Rising. It’s also unlikely that you’ll hear the word “Satan” uttered so much in the course of around 80 minutes - below is the tracklist featuring the year and country of origin of each track:
01. ANTON SZANDOR LAVEY (USA) / THE SATANIC MASS (EDIT) (1968)
02. ANTONIUS REX (ITALY) / NON FIAT VOLUNTAS TUA (1974)
03. BLACK WIDOW (UK) / IN ANCIENT DAYS (1969)
04. COVEN (USA) / BLACK SABBATH (1969)
05. BULBOUS CREATION (UK) / SATAN (1969)
06. THE RATTLES (GERMANY) / THE WITCH (1968)
07. THE GHOST (UK) / NOW YOU’RE DEAD (1970)
08. THE GUN (UK) / RACE WITH THE DEVIL (1968)
09. THE CRAZY WORLD OF ARTHUR BROWN (UK) / FIRE (1968)
10. ROKY ERICKSON & THE ALIENS (USA) / WHITE FACES (1977)
11. LOLLIPOP SHOPPE (USA) / YOU MUST BE A WITCH (1967)
12. DUFFY (UK) / JUDGEMENT DAY (1971)
13. BEDEMON (USA) / CHILD OF DARKNESS (1973)
14. LUCIFER’S FRIEND (UK / GERMANY) / LUCIFER’S FRIEND (1970)
15. IRON MAIDEN (UK) / GOD OF DARKNESS (1969)
16. AFFINITY (UK) / THREE SISTERS (1970)
17. SAM GOPAL (UK) / THE DARK LORD (1969)
18. BOBBY BEAUSOLEIL (USA) / LUCIFER RISING PART II (1972)
BONUS! The original video for “The Witch” by The Rattles:
Yes, there is one rogue track from 1977 on the mix, care of Roky Erickson and The Aliens, but I’m sure we can all let that oversight slide. After the jump, audio clips of some of the tracks featured on Ave Satanas…
One Hundred & Forty Characters is a project by the brilliantly talented and award-winning photographer Chris Floyd, in which he takes pictures of people he follows on Twitter, including comedy genius Graham Linehan, the ever wonderful Miranda Sawyer, Caitlin Moran and Peter Serafinowicz:
In July 2010 I decided to begin photographing people that I follow on Twitter. The idea for this came at a moment when I realised I had not seen or spoken to any of my best half a dozen real and actual friends for over a month. Some of those people on Twitter I communicate with several times a week, in bursts of 140 characters or less, and yet I had never met any of them. As we are now well and truly living in a digital age I am aware that this state of being is only going to deepen and the traditional forms of friendship, although they will not go away anytime soon, are going to have to make more room for the new way of doing things. Where Facebook might be considered as the place in which you tell lies to all the people you went to school with, I had begun to think of Twitter as the place where you tell the truth to all those that you wish you’d gone to school with. The project rolled on indefinitely for almost a year but when, one day, I counted up the number of subjects to date and came to a number in the mid one hundred and thirties, I immediately knew where this had to end. So here they are. My new friends. 140 characters. No more and no less.
“I like this picture because it represents my whole family. Although there’s only me and my son in it, he’s wearing a T-shirt that says Smiley on it, which is my husband’s name; and I’m five months pregnant with our daughter. So there’s four people in there, not just two.
“I look quite mad in it, which I like too. That crazy, rictus grin: I was hot, and fat, and tired and my son was playing up. The only solution was to turn him upside down and make him laugh. I notice that in another one of the 140 Characters pictures, another small boy is being held in the same way. It’s a default solution for boys, it makes them normal again, like rebooting a computer, or reprogramming Buzz Lightyear to his factory settings.”
“The beauty of Twitter is that it is only as useful as the person who is using it wants it to be. It is such a simple and flexible service that everyone who uses it does so in a different way. Not only that, but it’s a meritocracy. Not only that, but Karma seems to have something to do with it. If you use it for good, you will be rewarded, if you use it for evil, you will be blocked. As a result, it’s leading to some remarkably civil conversations between ideological enemies. If the inventors of Twitter never win a Nobel Prize, they wuz robbed. Because as far as I’m concerned, they have enabled us all to take a major evolutionary step at a crucial moment. At a time when the human race faces not one but several extinction threats, we suddenly get the ability to talk to one another.”
4 more from ‘One Hundred & Forty Characters’, after the jump…
Look familiar? After the horrifying events Tuesday night at Occupy Oakland that saw Iraq War veteran Scott Olsen, 24, severely injured in a clash with police, this short documentary clip about 1932’s fabled “March of the Bonus Army” seems like particularly timely viewing.
This amazing photo was taken at an Elizabeth Warren volunteer meeting last night in Framingham, Mass. and posted by Daily Kos reader ndrwmls10.
Scott Brown is so fucked. I’m sure he must know it. Although Brown is my #1 favorite Republican—not that this is saying very much, of course, because I hate all Republicans—I won’t be sorry to see him go…
Slovenian philosopher Slavoj Žižek poses some interesting questions in a new essay titled “The Violent Silence of a New Beginning,” which was prepared from the remarks he made at Occupy Wall Street on October 10th (video of that below).
This except from the full essay, which you can read at In These Times, discusses answering conservative’s hollow critiques of the OWS movement:
The direct conservative attacks are easy to answer.
Are the protests un-American? When conservative fundamentalists claim that America is a Christian nation, one should remember what Christianity is: the Holy Spirit, the free egalitarian community of believers united by love. It is the protesters who are the Holy Spirit, while on Wall Street pagans worship false idols.
Are the protesters violent? True, their very language may appear violent (occupation, and so on), but they are violent in the sense in which Mahatma Gandhi was violent. They are violent because they want to put a stop to the way things are done — –but what is this violence compared to the violence needed to sustain the smooth functioning of the global capitalist system?
The protesters are called “losers” — but the true losers are on Wall Street, bailed out by hundreds of billions of our money.
They are called socialists. But in the United States, there already is socialism for the rich.
They are accused of not respecting private property — but the Wall Street speculations that led to the crash of 2008 erased more hard-earned private property than if the protesters were to be destroying it night and day. Think of the tens of thousands of homes foreclosed.
They are not communists, if communism means the system that deservedly collapsed in 1990. The communists who are still in power run the world’s most ruthless capitalist system (China). The success of Chinese Communist-run capitalism is a sign that the marriage between capitalism and democracy is approaching a divorce.
The only sense in which the protesters are communists is that they care for the commons—the commons of nature, of knowledge—that are threatened by the system.
The protesters are dismissed as dreamers, but the true dreamers are those who think that things can go on indefinitely the way they are, just with some cosmetic changes.
The protesters are the awakening from a dream that is turning into a nightmare. They are not destroying anything. They are reacting to a system that is gradually destroying itself.
We all know the classic scene from cartoons: The cat reaches a precipice, but it goes on walking, ignoring the fact that there is no ground under its feet; it starts to fall only when it looks down and notices the abyss. What the protesters are doing is reminding those in power to look down.
Read more of “The Violent Silence of a New Beginning” by Slavoj Žižek at In These Times