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Fanny and Stella: The two Victorian gentlemen who shocked England
06.18.2014
10:52 am
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Victorian England is sometimes thought as a stuffy, sexually oppressive, puritanical world, where one did one’s duty, where children were seen and not heard, and table legs were covered to prevent any lustful thoughts. But in truth, Victorian England was a world full of hypocrisy, where sex, poverty and crime were rampant.

The great parliamentarian and Liberal politician William Gladstone was notorious for his visits to brothels where he claimed he was attempting to “rescue” fallen women. Gladstone had been an habitue of London’s bordellos since he was in his twenties with his visits to prostitutes creating feelings of guilt and remorse which he expunged by flogging himself. When Gladstone became the British Prime Minister, he was known to have invited prostitutes back to number 10 Downing Street for a cup of tea and a reading of some uplifting passage from the Bible. Happily married and a father of eight children, Gladstone kept visiting brothels until he was 82 years of age, but by then he was just watching the young girls at work.

Though it was the Protestant work ethic that was outwardly promoted, Victorian Britain was obsessed with sex. In a survey of prostitution made in 1838, James Beard Talbot noted that there were 219 brothels in Edinburgh, 770 in Liverpool, 308 in Manchester, 175 in Leeds and 194 in Norwich. In London there were 5,000 brothels. To give an idea of scale, there were only 2,150 schools, churches and charitable institutions in the great metropolis at the time. If all Europeans are supposedly related by bloodline to Charlemagne, perhaps it could be argued that most Brits alive today are related to a Victorian prostitute.

Of course not all Victorians relied on prostitutes for sexual pleasure, some, as Nigel Cawthorne describes in his book The Sex Secrets of Old England, achieved considerable gratification through the use of dildos (or “dil-dols”).

Advanced varieties were on the market in Victorian England. There were double-ended dildos that could be used by two women at the same time. Others had two prongs that penetrated vagina and anus simultaneously. Another had an attachment for the chin. There was also an astonishing amount of literature advising young ladies on the correct usage.

Those who couldn’t afford a dildo were encouraged to carve a penis-shape out of a candle, but not to use a carrot (because of its hardness) or an eau-de-cologne bottle (because of the damage it could inflict). Bananas (if available) were okay.

Queen Victoria could just about believe that homosexual men existed, but didn’t believe there could ever be lesbians, as “Women do not do such things.” Of course, there was considerable sapphic sex in the olde queen’s day and long before, with women living together as couples. The most famous was John Ferren and Deborah Nolan, two women who married in 1747 and lived disguised as man and wife until Nolan died, and husband Ferren was revealed to be a woman. Many other women disguised themselves as boys and successfully served in the British army and navy, for example Hannah Snell (1723-92), Phoebe Hessel (1713-1821) and Mary Anne Talbot (1778-1808), who went from drummer boy to powder monkey.

But in Victorian times, one of the most infamous cases was that of “Miss Fanny Park” and “Miss Stella Boulton,” whose arrest and trial became one of the era’s most shocking episodes.
 
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Misses Park and Boulton had been seen attending the Strand Theater in London, where they flirted with the men in the balcony. This pair of seemingly attractive Victorian women were in fact two men, Thomas Ernest Boulton (Fanny) and Frederick William Park (Stella).

From an early age, Boulton had identified as female and was encouraged to wear dresses. He formed a friendship with Park and the two became a theatrical double act, touring as Stella Clinton (or Mrs Graham) and Fanny Winifred Park to mainly favorable reviews. They also began frequenting houses and theaters while dressed in women’s clothing. A third man, Lord Arthur Clinton, a respected Liberal politician and godson to PM William Gladstone, became a lover/husband to Stella.
 
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Boulton, Park and Clinton (seated).
 
In April 1870, Boulton and Park attended the Strand Theater dressed as men, there they changed their clothes, and re-appeared as the glamorous Fanny and Stella. Their flirtatious behavior attracted considerable male attention, as their biographer Neil McKenna explains Fanny and Stella: The Two Young Men Who Shocked Victorian England:

Fanny and Stella were hard to fathom. They had behaved with such lewdness in their box in the stalls as to leave not the faintest shred of doubt in even the most disinterested observer that they were a pair of hardened and shameless whores. And yet, close up, Stella was revealed as a beautiful, almost aristocratic, young woman who showed flashes of an innate, and most decidedly un-whorelike, dignity and grace.

One newspaper said later that she was ‘charming as a star’, another christened her ‘Stella, Star of the Strand’. And despite all the opprobrium that would later be heaped upon her, despite all the mud that would be slung at her and all the mud that would stick to her, she never lost the mysterious aura of a great and stellar beauty.

Mrs Fanny Graham, too, was clearly a woman of some education and breeding, and was certainly very far removed from your common-or-garden whore. Here in the saloon bar, it seemed harder to reconcile their obvious quality with the ogling, tongue-waggling, chirruping lasciviousness of the stalls. They spent half an hour or so in the refreshment bar.

Before they left, Mrs Fanny Graham, unaware that she was being watched, betook herself to the Ladies’ Retiring Room and asked the attendant there to pin the lace back to the hem of her crinoline where she had trodden on it. At a quarter past ten, Mr Hugh Mundell had been despatched in ringing tones by Mrs Graham to go and call for her carriage and soon afterwards the remainder of the party made a leisurely progress to the foyer and pushed their way through the noise and confusion of an emptying theatre to the waiting conveyance.

Just as the carriage was about to depart, one of the men who had been shadowing them all that evening jumped up and swung himself in through the door.

‘I’m a police officer from Bow Street,’ he said, producing his warrant card, ‘and I have every reason to believe that you are men in female attire and you will have to come to Bow Street with me now.’

These two young ladies were arrested and charged with “conspiring and inciting persons to commit an unnatural offence.”
 
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Clinton was named in the subpoena but it is believed he committed suicide rather than face the scandal, though it has also been suggested that he fled the country to live in exile. Fanny and Stella went to trial in 1871 (along with six others) and after a long, sensational trial, all were eventually found not guilty.

Neil McKenna’s biography on Fanny and Stella is published by Faber & Faber.
 
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Posted by Paul Gallagher
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06.18.2014
10:52 am
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Beastie Boys and the Butthole Surfers, live on NYC cable access TV, 1984
06.18.2014
10:32 am
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Beastie Boys & Butthole Surfers
 
Ah, 1984, back when hardly anyone knew who the Beastie Boys and the Butthole Surfers were, and even a lowly New York City cable access show like The Scott and Gary Show could snag them—because nobody else was booking them yet! This is some kind of retrospective episode of the show (lasting about 30 minutes) in which Scott Lewis and Gary Winter reminisce about some of the show’s most memorable moments. The Beasties appeared in January 1984, not long after their pranky single “Cooky Puss” had made the rounds, and the Buttholes’ appearance dates from October 1984—their first visit to New York. (They popped up on MTV the next day.)

The Beastie Boys were two solid years away from the release of Licensed to Ill, and if I understand their history correctly, they hadn’t really considered doing rap in any serious way yet. Meanwhile, the Butthole Surfers had a single solitary EP to their name when they appeared on the show.
 
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The Beastie Boys are frankly pretty terrible, prompting the thought that a lateral shift from feckless hardcore to feckless rap was a pretty good career move! Mike D. is in charge of the vocals, Ad-Rock is on the guitar, and MCA gamely tries to keep up on the bass. The drummer is Kate Schellenbach, who would later be in Luscious Jackson. Actually, Schellenbach probably has the best moves of anyone here.

How did I miss what an incredible ham/camera-hog Mike D. is? I don’t think I knew that before, I always thought that Ad-Rock was the hammy one. Well, there’s a reason that Mike D. has the mic here, and in the interview portion afterwards, he obstinately refuses to cede control to Scott, forgetting that he’s supposed to speak into the mic he’s clutching for it to function properly. (Side note: It was interesting to hear Mike D. confess that he attended Vassar briefly. I went to Vassar a few years later, and we would whisper this “rumor” that one of the Beasties had dropped out of Vassar…. this was all a couple years before Paul’s Boutique came out.)
 
Butthole Surfers
 
The best adjective for the Butthole Surfers segment is “sweaty.” The Buttholes’ segment is a salutary reminder of the effectiveness of using two drummers—man, that shit works really good. If you have two drummers going at it balls-out, you can flail around on the guitar and throw yourself all over the stage, and it’s going to sound good. (I think Kid Millions has already figured this out.) Also, disrobing is a viable strategy. Gibby has spectacular polka-dotted boxers, and supports someone named Gilbert A. Rodriguez for county treasurer. By the time they’d gotten to October, Scott and Gary had figured out how to superimpose images, so sometimes the footage of the band will fade to an image of a mushroom cloud or something, it’s all pretty rad. Afterwards, Scott asks the audience, “Where else are you gonna see the Butthole Surfers?” and receives the reply “Uganda,” in return.

The commonality between the two clips is obviously Scott’s lack of authority as the host, which is actually kind of charming.
 

Posted by Martin Schneider
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06.18.2014
10:32 am
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Watch Jean-Luc Godard’s lovelorn post-nuke short film, ‘The New World’
06.18.2014
09:45 am
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Godard fans usually swoon over Alphaville, his 1965 dystopic sci-fi romance noir, but not everyone knows about The New World, its 20-minute predecessor released two years earlier. The New World was one of four films from Ro.Go.Pa.G., an all-star collection of shorts featuring, Godard (the only Frenchman) and Italian directors Ugo Gregoretti, Pier Paolo Pasolini and Roberto Rossellini (the title is a combination of their names). Honestly, all of the shorts are great—Pasolini’s La Ricotta has Orson Welles playing a director reminiscent of Pasolini himself—but Godard’s is arguably the strangest and most lovely, with its non sequitur post-nuclear romance.

The plot is a little more cerebral than your average fallout dystopia: An atomic bomb explodes above Paris, but the city is left unharmed—or so it seems. Our protagonist begins to notice changes in his beloved Alessandra. She is flip, confused, and forgetful, as are other Parisians. What he first assumes are spurned affections turns out to be rapid changes in personality brought on by the bomb. Noticing the changes in himself as well, he attempts to chronicle this strange new world beset by a quiet disaster. 

Part 2 is here.
 

Posted by Amber Frost
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06.18.2014
09:45 am
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New Christian Music: Alien Sex Fiend live in Tokyo, 1985
06.18.2014
09:23 am
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In 1982, Nick Fiend and Mrs Fiend, with their comrades-in-weird Yaxi Highrizer and Johnny Ha-Ha, hit upon the idea of kitchen-sinking sleaze punk, gothic darkness, and industrial rhythms with a B-movie-cheap Grand Guignol performance ethos copped from The Cramps and Alice Cooper. They called this unholy alloy Alien Sex Fiend, and they’ve released over a dozen LPs, including genre essentials like Acid Bath, Maximum Security, and Curse Their morbidly kitschy vision would eventually spawn successful descendants in the likes of Marilyn Manson, Coal Chamber, and Mudvayne, but what those ‘90s bands gained by ramping up the theatrical slickness, they lost by not being any good.

In 1985, Alien Sex Fiend’s Tokyo tour dates were recorded for release as a live LP and a video, both titled Liquid Head in Tokyo. From the band’s 1997-looking web site:

Liquid Head In Tokyo was Alien Sex Fiend’s first totally live album—live with no overdubs of any kind (unlike many so-called “live” albums!)—and was initially released as a vinyl LP in July 1985. It was recorded over two shows on 17.01.85 at Tsubaki House in Tokyo during Alien Sex Fiend’s notorious sell out Japanese tour. The track “Back To The Egg” was specially written for the tour and is not available elsewhere, also included are Indie Chart top ten hits, “R.I.P.”, “Dead And Buried” and “E.S.T.”. In 1996 Liquid Head in Tokyo was re-issued on CD in both the UK & the US with the addition of 4 bonus tracks to the original 8 vinyl LP tracks, these were “Dead And Buried” (taken from the 12” single), “Gurl At The End Of My Gun” (from the 12” Ignore The Machine single), “New Christian Music” (10” RIP single version) plus “Wild Women.”

Alien Sex Fiend still exist today, and are still led by Nick and Mrs. Fiend. Their latest LP of new material is 2010’s Death Trip.
 

Posted by Ron Kretsch
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06.18.2014
09:23 am
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Why are these ‘Hellraiser’ VHS tapes being left at bus stop on London’s Old Kent Road?
06.17.2014
06:16 pm
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Three years ago, a VHS cassette copy of Clive Barker’s 1980’s horror film Hellraiser appeared on the top of a bus shelter on London’s Old Kent Road. When it was first spotted by Tom Wateracre, it led to his speculation that perhaps the film’s “antique puzzle box” (as discovered by Frank Cotton in Morocco) actually looked like this:
 
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Was it possible?

Had Tom really uncovered the portal to the world of the Cenobites, a hell where pain and pleasure is indivisible?

It’s a ghoulish thought, right?

But Tom wasn’t the only one to notice the Hellraiser video cassette…or its significance…
 

 

 

 

 

 

 
Some suggested it was a calling card for drug dealers, while others asked had anyone dared to retrieve the box, open it and view its contents?

If anyone had…they never replied…

The tape was becoming bleached and weather worn, but then one day…
 

 

 

 

 

 

 
But no, for Tom had uncovered a secret community…
 
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Strangely…that twitter account no longer exists…

And so the legend of Hellraiser on the Old Kent Road continues…

Read the Tom’s story here.
 

 
Via Time Out London

Posted by Paul Gallagher
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06.17.2014
06:16 pm
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At the point of impact: Visceral, violent photographs of fighting porcelain figures
06.17.2014
04:24 pm
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These fascinating energetic photographs of crashing porcelain figurines are by German photographer Martin Klimas. What I love about these is Klimas is able to capture the exact moment when something that was once inanimate is given life, action and violence. You can actually “see” the force and impact of the kick or the punch. Very clever.

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology.

You can view more of Klimas’ work at his website


 

 

 

 
More after the jump…
 

READ ON
Posted by Tara McGinley
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06.17.2014
04:24 pm
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Negativland invites you to remix their notorious ‘U2’ single
06.17.2014
02:12 pm
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One of the most notorious, brilliant, and amusing copyright news stories surrounds Negativland’s appropriation of Casey Kasem and U2, when they provocatively released a single with “U2” emblazoned in huge letters on the cover with the silhouette of a Lockheed U-2 spy plane (cover image is below). The song featured a hilarious recording of Casey Kasem getting frustrated over the pointlessness of enthusiastically introducing U2 to an American audience, eventually to a tinny backbeat of U2’s 1987 track “I Still Haven’t Found What I’m Looking For”—indeed, the track is listed simply as a cover of that song.

Island Records didn’t find the jape very funny. With Achtung Baby due to hit stores—readers will find this hard to remember, but U2’s status as a worldwide force was far more questionable before that album came out—Island sued Negativland with great alacrity and proved remarkably effective at gathering up as many of the extant copies as it could. Negativland soon countered with a book, Fair Use: The Story of the Letter U and the Numeral 2, that included a CD as well as documentation from all the legal wrangling. The whole thing was a masterful bit of culture-jamming, and for fans of out-there assholery before the widespread existence of the Internet, Negativland’s “U2” became a much-sought-after cultural artifact that proved devilishly difficult to find.
 
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Now, with the Internet and everything, it’s not hard to find at all, and since nether Island Records nor U2 probably cares much whether iTunes sales of Achtung Baby are affected anymore, Negativland has chosen this, the week of Casey Kasem’s death, to release the masters for today’s generation of culture jammers to fuck with. On Negativland’s website, “Hal Stakke, legal counsel of Seeland Records” has issued a press release after the demise of Kasem under the following title: “In Memoriam, Kemal Amin “Casey” Kasem (27 April 1932 – 15 June 2014): Negativland releases ‘U2’ tracks for remixing and reuse.” Here’s the content of the release:
 

One of the most beloved voices in music radio, Kemal Amin “Casey” Kasem, died on Father’s Day 2014 after a long illness, and also a very public family squabble over his continuing care. Negativland pays tribute to this broadcasting legend by reaching into its vaults and presenting what is perhaps Kasem’s best-known work, on Negativland’s long-unavailable U2 maxi- single, offering up for public consumption (and now, for creative reuse) what has been hidden from view for 23 years.

In 1991, Negativland’s “U2” single had one of the shortest releases in music history, squashed like a bug after less than ten days on store shelves, under legal fire from the Irish rock band U2′s music publisher (Warner/Chappell) and then-record label (Island). The history of this fracas was detailed in their 1995 book and CD release, Fair Use: The Story of the Letter U and the Numeral 2 (Seeland 013).

Now, instead of merely reissuing the U2 record itself, Negativland presents, for free digital download, the original un-mixed studio multi-track tape for re-mixing, re-purposing and re-inventing in whichever way the listener may choose. Negativland encourages the re-contextualization of this seminal work for whatever reason, whatsoever. In keeping with the working methods and philosophy of Negativland, and the Fair Use provision in U.S. Copyright Law (Section 107, http://www.copyright.gov/fls/fl102.html), the group offers up this raw material in the hopes that entirely new versions of the work are created and disseminated. Listeners/remixers are encouraged to post their creations in these locations: www.negativland.com and https://www.facebook.com/pages/Negativland/131759750185111.

 
If you want the masters, all you have to do is download them here. It’s all pretty exciting, although of course, it’s always possible that, to paraphrase Kasem himself, “Nobody gives a shit.”
 

 
via Slicing Up Eyeballs

Posted by Martin Schneider
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06.17.2014
02:12 pm
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Man who thought he was slapping an opossum actually slapped a porcupine
06.17.2014
01:41 pm
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Antonio Rodrigues Mororó, 50, from Rio de Janeiro, Brazil, was left with over 400 quills in his hand after trying to slap what he thought was an opossum which turned out to be porcupine.

Mororó was having a party at his house and a female guest said she was too afraid to enter his home because the animal was sitting near the stairs.

So, in a bid to remove it, Mr Mororó slapped the animal, resulting in him receiving a handful of quills. He was taken to the Emergency Unit of the local hospital and despite three shots of anaesthetic, the pain continued.

According to neighbors, “the porcupine is still living in the neighbourhood.”

You sir, that’s what you get for going around and slapping animals. I’m sure a loud clap or startling noise would have scared the wee spiky creature off just fine. The Internets shall forever remember you as “The Porcupine Slapper”!


 

 
Via Arbroath

Posted by Tara McGinley
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06.17.2014
01:41 pm
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Donning whiteface for Warhol: Dance tribute to ‘Drella’
06.17.2014
11:38 am
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Raja Feather Kelly
 
Last December the choreographer and dancer Raja Feather Kelly premiered an audacious and touching new “vogue-ballet” that honored two artists important to his work: pop artist Andy Warhol and choreographer Faye Driscoll. The title incorporated both of them; it was called “Andy Warhol’s DRELLA (I Love You Faye Driscoll).” Here is the tongue-in-cheek description of the show, somewhat in the manner of one of those interminable titles (including liberal capitalization) of a ... seventeenth-century scientific tract:
 

Andy Warhol’s DRELLA (I Love You Faye Driscoll) Is A Movement-Based Drag Performance Essay Inspired By Andy Warhol’s Alter Ego “Drella”—A Contraction Of Dracula And Cinderella, Envisioned By Warhol Superstar Ondine. Beyond The Focus On Warhol’s Legacy, Raja Feather Kelly’s Interest Is In Addressing His Concerns With Identity, Sexuality And Self-Worth. In His Vogue-Ballet, Kelly Creates A Surreal World; A Gender-Bending, Race-Shifting, Multi-Medium “Artsploitation” In Response To Today’s Consumer Culture, And Celebrity Worship. It Is The Latest In The Choreographer’s Warhol-Driven Series Leading To A Final Staging Of The Feath3r Theory Presents: ‘WHO’S AFRAID OF ANDY WARHOL?’

 
Raja Feather Kelly’s dance troupe is called feath3r theory, after a novel he wrote in 2008 while in Sydney, Australia.
 
Drella
 
In the early 1980s, Warhol famously took up the Polaroid camera as his medium of choice, producing memorable images of Debbie Harry, Dennis Hopper, Mick Jagger, Muhammad Ali, Sylvester Stallone, etc. He also turned the Polaroid on himself—but with a difference. Many of Warhol’s Polaroid self-portraits presented himself in drag, as a character named “Drella”—the name is a portmanteau of “Dracula” and “Cinderella,” made most famous by Lou Reed and John Cale in their Songs for Drella.

Among the most obvious descriptors for “Drella” would be “pale”—given the white shirt, white makeup, and platinum blond wig, it was only the bright red lipstick and tartan necktie that saved Warhol/Drella from blending into the white background altogether. So in a brazen move of identification, the African-American Kelly took up the semiotically charged method of blackface—well, “whiteface” in this case—possibly to alienate audiences mildly but, far more important, to forge a deeper connection with the nakedly performative essence of Drella.
 
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“Self-Portrait in Drag” (1981)
 
Warhol/Drella
“Self-Portrait in Drag” (1981)
 
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The word “vogue” is the giveaway here. Kelly’s intentions are so obviously benign, and the outcome so joyous, that nobody could object to it. Kelly’s term for it is “artsploitation.” As he says, “I don’t know art without Andy Warhol. ... I was born into the challenge of Andy Warhol.” If you think there might be a dodge going on here in the use of racially coded/offensive blackface, note that the slogan for the recent performances (June 5/6) at the Invisible Dog Art Center in Brooklyn was “Black by Popular Demand.”

If you’re in New York, keep an eye out for future performances of this exultant and challenging work; Kelly’s already brought it back once, he may do so again.
 
Andy Warhol’s DRELLA (I Love You Faye Driscoll)
 
Here’s a teaser for the performances at the Invisible Dog on June 5 and 6:


 
Here’s Raja Feather Kelly discussing the importance of Warhol on his artistic development:
 

 
via Hyperallergic

Posted by Martin Schneider
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06.17.2014
11:38 am
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Peter McDougall, the hard-man of British TV drama
06.17.2014
11:32 am
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Just A Boy’s Game

Though there is a mass availability of choice most of today’s television dramas are cut to the same unimaginative pattern. Indeed, there are computer programs to help writers “craft” their material to fit a dramatic template. These writers are helped by script editors trained to implement politically motivated agendas and then focus group administrators who screen the “finished” dramas to selected audiences to gauge their responses, influencing the creators to make changes accordingly. The producers are usually more concerned with maintaining this farce rather than allowing originality and talent to flourish. In other words, the writer is secondary, or is part of a team of “professionals,” performing dogs who bark for the needs of their employers. In a world of off-the-peg TV drama, truly original writing is a rare thing. 

Once, writing and writers were respected and allowed the freedom to create, to imagine, to write. One series, which allowed such freedom was the BBC’s Play for Today (perviously known as The Wednesday Play), which produced work by the likes of Dennis Potter, David Mercer, Caryl Churchill, Howard Brenton, Barrie Keefe, and Stephen Poliakoff. Play for Today offered imaginative, issue-based, social drama. One of the single most important writers to come out of this strand was Peter McDougall, whose plays put real working class experience on television for the first time—unfiltered from middle class agendas.
 
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Peter McDougall at his home in Glasgow.
 
McDougall once gave me the simple advice that every writer should heed:

“Write about what you know.”

That’s what McDougall did—he wrote from his own experiences, writing down on wee bits of paper stories, dialogue, he was at first ashamed to show anyone until one day when he was working as a painter and decorator in London, the actor and writer Colin Welland told him to write about his life. This Peter did: starting with his adventures as an apprentice boy twirling the baton on Orange walks, those sectarian parades where Protestants in Scotland and Northern Ireland celebrate Prince William of Orange’s victory over the Catholic King James II at the Battle of the Boyne in 1690. This he turned into the Prix Italia winning drama Just A Boy’s Game (1975), one of the most controversial plays ever screened on British television, as it questioned the brutality of sectarian violence then as now endemic in Scottish society. It was so controversial that the Glasgow police banned the filming of the drama;s central Orange walk from the from city in fear of “bloodshed on the streets.” The production was forced to relocate to more genteel Edinburgh to film.

Born in Greenock in 1947, McDougall left school at fourteen and started his working life in Glasgow’s shipyards, where he first met and worked alongside Billy Connolly. As McDougall has recounted, working in the shipyards was brutal, the conditions so cold in winter that skin stuck to the iron rungs on ladders. His experience in the shipyards and his knowledge of the people he worked alongside were incorporated into his most notorious drama Just A Boy’s Game (1979).

Just A Boy’s Game was a morally complex drama that starred singer Frankie Miller as the grandson of a local hardman, who wants to win his respect. The film was described by Martin Scorsese as Scotland’s Mean Streets, while playwright Tom Stoppard thought the script contained some of the best dialogue ever written. The play opens with a bloody razor gang attack in a small night club and ends with a brutal fight between Miller’s gang and an up-coming younger generation of thugs, before a powerful final scene between Miller’s character and his grandfather.

Not all of McDougall’s work is about violence—he wrote a beautiful, moving and funny drama The Elephant’s Graveyard (1976), a kind of modern-day ghost story, which starred Jon Morrison and Billy Connolly as two men running away from the own separate problems. He also wrote the powerful and harrowing drama on Edinburgh drug dealers and heroin addiction, long before Irvine Welsh’s Trainspotting, called Shoot for the Sun (1986), which starred Brian Cox and Jimmy Nail, and then a drama about the life of a US Navy shore patrol officer based in Greenock, Down Where the Buffalo Go (1988), which starred Harvey Keitel.

His last major drama, Down Among the Big Boys (1993), was originally intended as a three-part series focussing on different characters form the same story—a bank heist—which was eventually cut down to a single drama starring Billy Connolly and singer Maggie Bell.

McDougall still writes, though these days mainly plays for the stage, as TV wants dramas that will satisfy focus groups, advertisers and fit the constricting formatted structure of today’s programmes. Intelligence isn’t required, good writing isn’t required, and experience certainly isn’t necessary for today’s television dramas.

However, for those who are serious about writing, and serious about learning how to write, then this documentary on Peter McDougall will help supply the information and inspiration on how best to write.
 

 
Previously on Dangerous Minds
Peter McDougall’s classic gangland film ‘Just A Boy’s Game’ starring singer Frankie Miller

Posted by Paul Gallagher
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06.17.2014
11:32 am
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