Indiana state Republican Rep. Phil Hinkle, the hapless gay marriage opponent who made headlines earlier this month when he hired an 18-year-old rent boy via Craigslist using the email address from his legislative website, is resisting pressure from fellow Republicans to resign. Hinkle, who clings to the fig-leaf he’s not gay (why even bother with this nonsense?), has already been stripped of two committee chairmanships he held, but he’s not budging. Via The Indy Star:

State Rep. Phil Hinkle admitted Tuesday that he paid a young man $80 to have a good time. But Hinkle insisted he isn’t gay and doesn’t know why he did it.

He said that he understands why he’s being stripped of his committee chairmanships and that he won’t seek re-election. But he said he will not resign, despite House Speaker Brian Bosma’s call Tuesday to do so.

And he said he did nothing illegal with—or to—the young man and that he himself was the victim of a crime. But he said he would not file a police report.

—snip—

Hinkle’s version of what happened that night in Room 2610 at the JW Marriott hotel differs greatly from the version provided by the young man and his sister.

Kameryn Gibson, the 18-year-old who said he was looking for a “sugga daddy” in the Craigslist posting, told The Star that he tried to leave the room that night and called his sister Megan after Hinkle identified himself as a lawmaker. He also said Hinkle tried to keep him from leaving, exposed himself and then—after his sister arrived—offered them $100 cash, an iPad and a Blackberry to keep quiet.

Hinkle’s version: He never exposed himself and never offered anything to the Gibsons to keep quiet. Instead, he said, Kameryn Gibson stole those items when Hinkle was in the bathroom.

“These people,” Hinkle said, “are lying through their teeth.”

Kameryn and Megan Gibson stood by their story Tuesday.

 
Before there was CGI, there was Jim Henson’s animatronics masterpiece The Dark Crystal. I remember seeing this as a little kid and totally having my mind blown with all the fantastic creatures, detailed sets and elaborate costumes. This 1982 behind-the-scenes documentary on the film shows just how much hard work and dedication was used in making this cult classic.
 

 
Previously on Dangerous Minds:
Cable gets synopsis of ‘The Dark Crystal’ very, very wrong

Parts II and III after the jump…

 
As if it wasn’t weird enough that Laurie Anderson’s “O Superman” got to number 2 on the British charts in 1981, here’s a really strange dance routine by Zoo from Top Of The Pops to accompany the vocodered, beatless wonder. YouTube uploader Sambda says:

“A spectacularly bad dance routine. An extreme example of “Top Of The Pops” choreographer Flick Colby’s habit of taking all lyrics (including obvious allegories) at face value. So we have to have a judge, a mom-and-dad etc. I suspect the only reason Superman himself didn’t appear was down to a rights issue.”

I think he may be onto something. It’s also worth watching for Peter Powell’s bizarre chain-mail sweater at the start:
 
Laurie Anderson - “O Superman” Top Of The Pops 1981
 

 
In what what has to be one of the most tasteless exploitations of the World Trade Center tragedy and the legacy of the more than 3000 people who died on September 11, 2001, Lieb Cellars on Long Island is offering a commemorative 9/11 bottle of wine for $19.11. As a New Yorker and someone who knew people who died on that date in that place, I can’t begin to describe how utterly disgusting I find Lieb Cellars grotesque attempt to profit from a national nightmare.

As of 2009, more than 800 World Trade Center rescue and recovery workers have died since 9/11—and cancer has killed at least 270 of those heroes, new data show. The figures also show that 33 WTC responders committed suicide.

Lieb Cellars says somewhere between 6 - 10% of sales will go towards the National September 11 Memorial Museum. Considering that most sane people wouldn’t uncork their product if it contained liquid gold, I can’t imagine Lieb Cellar’s charitable contribution amounting to much more than cab fare from Times Square to Ground Zero.

Anthony Bourdain’s reaction to the 9/11 wine was short and sweet, he tweeted:

“Holy Fuck! What kind of piece of shit would create such a product?” 

Queens city councilman Peter Vallone asked “What’s next? A 9/11 pastrami sandwich?”

As we get closer to the 10th anniversary of 9/11, we should probably expect to see more shameless attempts to profit from morbid merchandising.

 
Yep, what it says: 500 peeps in 100 secs by Eran Amir.

500 people holding more than 1,500 (!!!) developed pictures all around Israel, creating a smooth music video within their hands.

(Best viewed not on full screen).

Impressive.
 

 
Hardly ground-breaking but, Associated Press has released this footage of today’s earthquake in Virginia.

An auto store in Virginia was filming a commercial when the 5.8 magnitude earthquake hit. (Aug. 23)

 
With thanks to Iris Lincoln
 

 
I first met Peter Boyd Maclean about twenty years ago, when he was about 12, or so it seemed, as he was precociously young and at the same time incredibly wise, and most annoyingly Talented with a capital ‘T’. He had arrived from the ether to work at the Beeb as a top director / producer, having made a splash on that TV earthquake known as Network 7. He was funny, witty and always made work fun. I recall at the time Peter had just “Shot the shit” out of some island to placate his over-zealous exec, who repeatedly demanded “Pictures! Coverage! More pictures! More coverage!” every 10 minutes by ‘phone, fax and pigeon post. Since then m’colleague, has gone on to greater achievements and awards and hairstyles of interesting description.

He also made this rather super documentary on Punk, 1-2 FU with Jonathan Ross taking a personal odyssey through the music of his youth. It’s quirky, orignal, and has an impressive line-up of the punk bands who most effected the TV showman, including Steven Severin, Ari Up, The Damned, Adam Ant, etc. Like the best of Peter’s work, F-U 12 takes an original approach to a subject, rather than the usually biblical reverence of “In the beginning was Punk and the Punk was with…” etc. Of particular note here, is Jonathan’s bus tour of London’s punk clubs, and his rendition (as in torture) of “Anarchy in the U.K.”

Now here’s more of the same from the official blurb:

1-2 FU

Jonathan Ross presents the ‘Memoirs of a Middle-Aged Punk’ in this authored documentary charting the rise and demise of the most nihilistic movement in the history of British music.

Jonathan delivers a fast and furious rant confessing his passion for punk and the lasting effect it’s had on everything, from music and fashion to art and television.

As a forty-something whose life has been defined by punk and all the anarchy it stood for, Jonathan sets out to discover if punk really changed the world or was it all overblown hype?

To fully explore the legacy of punk, Jonathan gets a Mohican and grabs Captain Sensible to join him as he transports an open-top bus full of punks on a tour around London’s most notorious punk hotspots.

Finally, it’s Jonathan Ross as you’ve never seen him before when he fulfils his ultimate punk fantasy performing with Vic Reeves as The Fat Punks for one night only.

 
If I wrote something this good when I was young, I think I’d read it now with real satisfaction:

WHY RIOT ?

BECAUSE us girls crave records and books and fanzines that speak to US that WE feel included in and can understand in our own ways.

BECAUSE we wanna make it easier for girls to see/hear each other’s work so that we can share strategies and criticize-applaud each other

BECAUSE we must take over the means of production in order to create our own moanings.

BECAUSE viewing our work as being connected to our girlfriends-politics-real lives is essential if we are gonna figure out how we are doing impacts, reflects, perpetuates, or DISRUPTS the status quo.

BECAUSE we recognize fantasies of Instant Macho Gun Revolution as impractical lies meant to keep us simply dreaming instead of becoming our dreams AND THUS seek to create revolution in our own lives every single day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things.

BECAUSE we want and need to encourage and be encouraged in the face of all our own insecurities, in the face of beergutboyrock that tells us we can’t play our instruments, in the face of “authorities” who say our bands/zines/etc are the worst in the US and who attribute any validation/success of our work to girl bandwagon hype.

BECAUSE we don’t wanna assimilate to someone else’s (boy) standards of what is or isn’t “good” music or punk rock or “good” writing AND THUS need to create forums where we can recreate, destroy and define our own visions.

BECAUSE we are un willing to falter under claims that we are reactionary “reverse sexists” and not the true punk rock soul crusaders that WE KNOW we really are.

BECAUSE we know that life is much more than physical survival and are patently aware that the punk rock “you can do anything” idea is crucial to the coming angry grrrl rock revolution which seeks to save the psychic and cultural lives of girls and women everywhere, according to their own terms, not ours.

BECAUSE we are interested in creating non-hierarchical ways of being AND making music, friends, and scenes based on communication + understanding, instead of competition + good/bad categorizations.

BECAUSE doing/reading/seeing/hearing cool things that validate and challenge us can help us gain the strength and sense of community that we need in order to figure out how bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, anti-semitism and heterosexism figures in our own lives.

BECAUSE we see fostering and supporting girl scenes and girl artists of all kinds as integral to this process.

BECAUSE we hate capitalism in all its forms and see our main goal as sharing information and staying alive, instead of making profits of being cool according to traditional standards.

BECAUSE we are angry at a society that tells us Girl=Dumb, Girl=Bad, Girl=Weak.

BECAUSE we are unwilling to let our real and valid anger be diffused and/or turned against us via the internalization of sexism as witnessed in girl/girl jealousism and self defeating girltype behaviors.

BECAUSE self defeating behaviors (like fucking boys without condoms, drinking to excess, ignoring true soul girlfriends, belittling ourselves and other girls, etc…) would not be so easy if we lived in communities where we felt loved and wanted and valued.

BECAUSE I believe with my whole heart mind body that girls constitute a revolutionary soul force that can, and will change the world for real.

Kathleen Hanna’s “The Riot Grrrl Manifesto” was originally published in “Bikini Kill” fanzine issue #2, 1991.

Below, Bikini Kill perform “Suck My Left One” live in a clip from the 1994 UK video zine “Getting Close To Nothing.”
 

 
After the jump, a recent Kathleen Hanna interview…

 
Another stellar only-in-Los Angeles evening courtesy of the mighty Cinefamily, with a live appearance by French music great Jean-Claude Vannier, arranger of Serge Gainsbourg’s Histoire de Melody Nelson and so many other classics.

“Vannier’s string and choral arrangements have a total sense of OTHERNESS and are indeed unlike anyone else’s.” — Tim Gane, Stereolab

If you’ve ever in your life heard French pop music from the last four decades that moved you, then you’ve been touched by the genius of Jean-Claude Vannier. JCV’s not only responsible for arrangements for virtually every Gallic pop star of note (from Gainsbourg to Francoise Hardy, Michel Polnareff, Brigitte Fontaine, Jane Birkin and Gilbert Becaud, to name but a handful), but also for several startling and wholly unique albums under his own name, and countless French film and television soundtracks to boot! Jean-Claude’s done it all, has collaborated with all, knows everyone in the whole of French music — and (can you believe it?) will be with us live on the Cinefamily stage, for an in-depth Q&A moderated by Andy Votel of Finders Keepers Records that takes us on a guided tour of his impeccable career. You’ll also see clips from films Jean-Claude has scored, his early-’70s work with fashion maven Yves St. Laurent, and you’ll hear some exclusive tracks from Jean-Claude’s two new LPs on Finders Keepers. No tried-and-true music fan can go without missing this one-of-a-kind special night!

Make sure to see Jean-Claude Vannier, appearing with Beck, Sean Lennon, Mike Patton, and more at the Hollywood Bowl on the Serge Gainsbourg Tribute, Sunday, August 28!

Co-sponsored by B-Music
.
Below, watch Jean Claude Vannier’s “L’Enfant La Mouche Et Les Allumettes” accompanying early 70s Yves Saint-Laurent fashions:
 

 
I like this idea: “connect the street gum” to create graffiti portraits. BTW, this was spotted in SoHo in New York City.

(via Wooster Collective)