Dangerous Minds pal, Chris Campion writes from Berlin:
“With all the sensitivity you’d come to expect from the creator of The Day The Clown Cried.”
Witness the enigmatic short “BOY” made in 1993 by Jerry Lewis. Part of a portmanteau film produced by UNICEF with different filmmakers (Jean-Luc Godard made one, too). Here’s what Temple of Schlock had to say about it:
BOY is the story of the only white Jewish-looking kid in an otherwise all black world. In school, the teachers applaud the efforts (all excellent) of the other students, but Boy cannot excel. His teacher seems to be teaching the entire class, but it appears that Boy just can’t grasp the lessons. For this, he is ridiculed and humiliated by all.
That the entire scene (and the remainder of the film as well, except for one line at the end) is pantomimed recalls a similar scene from THE PATSY (1964)—a flashback to Lewis’s character being humiliated at a school dance by all the other students. Ahhh, that old Lewis bag of psycho-autobiographical tricks sure comes in handy.
In the end, the punchline is that Boy’s family is black, too. I have no idea what the fuck this is really all about and I doubt anyone else does, either. No one save for Jerry Lewis himself, that is. Presumably it would have to mean… something, wouldn’t it?
Greg Martin Auctions is offering this beautiful vampire killing kit. A perfect Christmas gift for the vampire hunter in your life.
Extremely rare antique ivory vampire killing kit, consisting of an ornate ivory-mounted Christian cross integrating a steel, spring-loaded, .41 caliber single-shot percussion pistol, the center mounted with an ebony shield surmounted with a 8-pointed crown, the tips made from tiny semi-precious red stones. A ruby red five-pointed star adorns the center. The vampire pistol is contained in an ivory case, together with steel dagger blade which attaches to the end of the cross, an ivory cleaning rod, ivory powder bottle, and cap and ball supply. The entire case is made from fine elephant ivory and each element is engraved with letters representing the contents. According to consignor, this was reportedly one of four matching kits. By tradition, this example was brought back from Germany after WWII by one Sergeant Glen Pendelton who liberated it from a German museum in Berlin. A rare and very unique firearms curiosa.
Size: 4-3/4” X 3-5/8” X 1-5/8”.
Condition: Very good. One small ivory lid missing. Light wear and patina overall. Crown missing two stones.
Estimate: $4,500 - $6,500”
Through the cunning use of motion detectors and ye olde MAX/MSP software, composer Alexander Schubert and violinist Barbara Lüneburg create quite the arresting spectacle. Greatly expanding the vocabulary of the lone fiddler to nearly god-like proportions, every gesture of the performer is amplified and extended both visually and sonically. It works.
Icky and yuck. A statue without glowing eyes will cost you $24.95.
ceramic statues are 10 inches tall with a fine gloss glaze. The blood drop logo is applied after the glazing process. The blood drop signifies our blood heritage and the sacrificial blood of Christ that redeemed us from our sins. These are hand poured one at a time and then kiln dried and glazed twice over a 32 hour period and are of excellent quality.
The statue comes with or without lighted eyes and makes a nice display item and is also great as a gift or collectors item. The Lighted Statues come with on/off switch and light bulb.
Hikikomori is a term used to describe individuals who have chosen to withdraw from social life, often to an extreme degree of isolation. The word literally means “pulling away, being confined,” and was first used by Japanese psychologist, Dr Tamaki Saitō in his study of sufferers. Dr Saitō believes the cause of the problem lies within Japanese history and society, as there has been a cultural tradition that celebrates the nobility of solitude. This together with the fact that until the mid-nineteenth century, Japan had cut itself off from the outside world for two hundred years.
Dr Saito points to the relationship between mothers and their sons, and has shown how most hikikomori sufferers are male, often the eldest son. “In Japan, mothers and sons often have a symbiotic, co-dependent relationship. Mothers will care for their sons until they become 30 or 40 years old.” This dependency causes the sufferer to be unable to interact with the outside world, and often he will escape into the fantasy world of computer games and on-line activities.
According to Dr Henry Grubb, a psychologist from the University of Maryland, hikikomori is specifically Japanese, as there is “nothing like it in the West.” Part of the problem stems from Japan’s subservient and passive/aggressive culture. Most consider hikikomori a problem within the family, rather than a psychological illness.
Recent Cabinet Office statistics in Japan, put the number of hikikomori at some 696,000 nationwide, making it a national social problem.
The Cabinet Office recently announced that an estimated 696,000 youths nationwide are hikikomori, shutting themselves inside their homes for six months or longer. According to the same report, 1.55 million youths claimed they could sympathize with the inclination to isolate oneself from society. It looks like for the time being, the government will claim the official figure for hikikomori as approximately 700,000.
In reality, the estimated population of hikikomori varies from year to year. According to Health, Labor and Welfare Ministry surveys conducted between 2002 and 2005, the number of affected households was an estimated 410,000 in the first year. The number continued to fall in subsequent years, with a 2005 figure of 260,000 households.
Over the years, there have been many reports of Hikikomori sufferers becoming violent. In 2000, “a 17 year old hikikomori sufferer left his isolation and hijacked a bus, killing a passenger. Another kidnapped a girl and held her captive in his bedroom for nine years.”
Hikikomori - The Silent Sufferers looks at a selection of hikikomori sufferers, examining their lives and how they and their families cope.
‘Hikikomori - The Silent Sufferers’ continues plus bonus clip after the jump…
R. Couri Hay talks with Divine, John Waters, Mink Stole and David Lochary at Anton Perich Studio, formerly ‘The Factory’, in 1975. This must be a promo outing for Female Trouble. The video quality leaves a lot to be desired, but this is 58 minutes of pop culture history and well-worth watching. Waters is amusing as always, Divine looks Garboesque, and it’s rare to see see David Lochary and Mink Stole being interviewed. Rich kid R. Couri Hay was a contributor to Warhol’s Interview magazine and gossip columnist for The National Inquirer in the mid-to-late 1970’s.
Carts Of Darkness is a fascinating film in and of itself but when you factor in the fact that its director, Murray Sipple, is a quadriplegic the film enters the realm of the astounding.
I have not always relied on a wheelchair for my mobility. As an able-bodied person I was a high school quarterback, dedicated mountain biker, skateboarder, and a snowboarder. I lived in Whistler, B.C and directed five independent action sport videos that were pre-“X-games” and pre-“mainstream extreme”. I set down deep roots in a short period while living in the mountain community; and traveled internationally filming snow and skateboarding. That lifestyle/ dream was destroyed in 1996 when a high-speed motor vehicle accident compounded by an emergency room error rendered me a quadriplegic. Throughout the following eight years, I continued to hope that my life could still somehow include my passion for filmmaking. Eventually, I was able to renovate a home in North Vancouver that became a model of accessibility and independence. But outside the comforting accessibility of this new home, my vantage point was largely limited to flat pathways, accessible public buildings, and shopping centers. I learned to drive a van which extended my freedom, but my limited hand dexterity made it difficult to work a camera like I had before. So in spite of solid gains in the direction of freedom and mobility, I found myself largely retreating from the dream of returning to filmmaking. The next few years were chiefly spent adjusting to my disability and trying to ignore the craving to make films. I discovered the story behind Carts of Darkness when I was grocery shopping one evening. I noticed some loud individuals who were cashing in bottles. I had a romantic vision that both of our lifestyles were stereotypes to the passing customers: the drunken and comically disordered bottle returners, and me, wheelchair-bound and precarious in my adapted vehicle. When I approached the men with the idea to make a film, a world was revealed to me I had never expected to discover in my own neighbourhood. Murray Sipple
Carts Of Darkness documents the lives of ‘bottle-pickers’, the hardships they endure, and their method of letting off steam thru the extreme sport of shopping cart racing.
Grandpa Woodstock hosts his show ‘The Flower Power Hour’ from wherever he might be at any given time, whether it’s a box or a cave in Arizona. I like him. This old flower child is a perennial. An American sadhu.
He has a Facebook page. You can check it out here.
“I will continue to spread peace and love for the rest of my life.”
Even if peace comes I still won’t stop.”
I like the way Grandpa schools that young fuckin’ punk hippie.
“Now you wanna lay on Grandpa’s bed and smoke the bowl all day.”