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Hilarious photoshopped images of Trump & his ‘best people’


A portrait of our current president by Chest Strongwell.
 
I present to you a few of the best photoshop jobs I have seen in quite a while which also just so happen to poke fun at members of our current administration and other fascistic enablers and foul miscreants. Not all photoshopped images are created equal—and these images set the bar a bit higher if you ask me.

I don’t know much about Chest Strongwell outside of the fact that Strongwell is probably not really his real name (duh), he is a professional, left-leaning Internet troll, and a stay-at-home Dad claiming to have one thousand balls. I also know Chest has some sharp photoshop skills, and Republicans hate him, which I’m sure is just fine by Chest. At any rate, ole’ Chest has recently upped his online taunting directed at right-wing politicians with a few beautifully executed photoshopped images of 45’s “grab ‘em by the pussy” posse in the style of old-school KMart and JC Penny Portrait Studio photos from the 70s and 80s. Repulsive individuals such as Kellyanne Conway, Sarah Huckabee Sanders, and Vice President Mike Pence have never looked BETTER if you ask me.

So since I know we could all use a good laugh, please enjoy some of the best shopped-up images of some of the worst people in the world. God bless America, and god bless Chest Strongwell. Whoever you are.
 

Former mayor of New York City now acting as an attorney for Trump, Rudy Giuliani.
 

Senate Majority Leader, Mitch McConnell.
 

White House Press Secretary, Sarah Huckabee Sanders.
 

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Posted by Cherrybomb
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07.10.2018
01:13 pm
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Jello Biafra and his father interviewed at the ‘Frankenchrist’ obscenity trial
06.22.2018
08:54 am
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Jello Biafra in court, 1987 (via Heather Harris Photography)
 
In December 1985, a Southern Californian teenager named Tammy Scharwath bought the Dead Kennedys’ latest album, Frankenchrist, from the Wherehouse at the Northridge shopping mall. Then her mother saw the poster of H. R. Giger’s “Penis Landscape” included with the record and lodged a complaint with the Los Angeles city attorney, setting in motion a series of events that culminated in the breakup of the Dead Kennedys and a 1987 obscenity trial for singer Jello Biafra.

The hysteria that surrounded rap and rock music 30 years ago is hard to imagine today, now that the anti-smut crusaders have elevated Mr. Obscenity himself to the White House, but the incoherent language of the reactionary right hasn’t changed much: at one point during the trial, in an ecstasy of outrage, the prosecutor compared H. R. Giger to the Night Stalker, Richard Ramirez. (Biafra discusses the PMRC “porn rock” panic and recounts the whole ugly Frankenchrist mess from his point of view on his second spoken word release, High Priest of Harmful Matter.)

During the trial, the Canadian TV show The NewMusic sent correspondent Erica Ehm to Los Angeles, where she interviewed Jello and his father at the courthouse. How cool was Jello’s dad?
 

Posted by Oliver Hall
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06.22.2018
08:54 am
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‘How the World Went Mad’: A diagnosis of the confusing, topsy-turvy world of President Donald Trump

01howmad1.jpg
 
I could start with a nod to Franz Kafka’s Metamorphosis by writing:

“Rupert Russell awoke one morning from unsettling dreams to find the world had gone mad.”

But that isn’t quite right and doesn’t fully describe the situation that filmmaker Russell found himself when he awoke on the morning of November 9th, 2016, to the news that Donald Trump had been elected the 45th President of the United States of America. Russell described it better himself:

“I felt a sense of unreality. That I had woken up on a different planet than the one I had gone to bed on.”

Seemingly, the world had had gone mad overnight. But how had this happened? And what had caused this strange insanity?

Russell wanted to understand what the fuck had just happened. He also wanted to do something about this new topsy-turvy world, where the lunatics had taken over the asylum. He was finishing work on his documentary feature Freedom for the Wolf. Nick Fraser, the editor of BBC’s Storyville, had come onboard as executive producer. Fraser had also just launched a new venture, Docsville, and asked Russell if he would like to make some short films for this new platform.

On the day after the election, Russell had written a Medium post on being sane in insane places inspired by the work of David Rosenhan, in particular his famous experiment in which he entered an asylum claiming he heard voices. The doctors and nurses had diagnosed Rosenhan as insane, however, the patients quickly realized that Rosenhan was actually faking it.

Russell also “sketched out two more essays on madness under the new regime of (in)sanity”. He sent these along to Fraser as a possible idea for a series of animations called How the World Went Mad which would diagnose Trump’s election as a form of madness and offer up a possible cure. Fraser told Russell to go for it.
 
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The end result was a series of five short films explaining How the World Went Mad by which Russell asked the very pertinent question:

In a world gone mad who can you trust?

Beginning on that fateful morning in Fall 2016, Russell takes the viewer through a brief history of psychiatry, culture, and politics to explain how we have all ended up here. I contacted Russell to ask him about the making How the World Went Mad and what he hoped his diagnosis of our current malady would achieve.

How did you go about making ‘How the World Went Mad’?

Rupert Russell: I spent a month in the British Library going through histories and psychologies of madness. I picked out studies that could be linked together to form a narrative arc of the series: diagnosis, symptoms, transmission, epidemic, and cure. I turned the notes into scripts, recorded them, and sent the files to Dare Studio in Poland, who had worked on my last feature, who got to work on the animation. The rest is archival footage, which I trawled through.

The most arduous of which was finding out who the infamous “fat guy” that Trump tormented in The Apprentice was. When we locked picture, Alex Williamson composed a wonderfully off-kilter score and three sound designers at Unit Post created a soundscape of insanity filled with screams, explosions, and even orgasms.

The polemic for your films rests on the idea Trump is mad—what happens if he is not mad?

RR: The source of my anxiety, as I describe in Episode 1, “Diagnosis,” is precisely this question: What if Trump is the new definition of sanity and it is I who am in fact mad. The line between sanity and insanity has been a skipping rope throughout history, pulling people in and out of it. Gays, lesbians, and women have only recently escaped their 19th-century diagnosis as perverts and hysterics. The Trump/Pence victory signalled another swing of the rope. In their Handmaid’s Tale morality, these gender traitors deserve no voice in the patriarch’s definition of sanity—where only the male “commanders” are capable of rational judgements.

The insanity of this position should be self-evident. But too increasingly, it’s becoming the new definition of sanity. We are living through another reaction to social progress that has resurrected the same tropes and characters of the feminist backlash in the 1980s, which inspired Atwood’s original novel.

More diagnosis of ‘How the World Went Mad,’ after the jump…
 

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Posted by Paul Gallagher
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06.18.2018
10:02 am
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Here’s how to hack an election
06.13.2018
08:34 am
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Election hacking has been a pretty hot topic recently. Now that we know it is possible, you know, controlling the fate of a governed body through manipulated misinformation, we must acknowledge that it could happen again. Especially in a place like Manitoba, Canada.

The term “hacker” has been around for much longer than you think. The first reported case of an unauthorized entry into a private network was conducted on June 4th, 1903—by a magician. By this point on our technological evolutionary timeline, electromagnetic waves had been discovered and were being experimented with to communicate wireless messages. Italian engineer Guglielmo Marconi had gained much international attention for his accomplishment of the first successful wireless transmission across the Atlantic ocean (2,200 miles). Marconi claimed his methods to be impenetrable and Nevil Maskelyne, the skeptic British magician, sought to prove him wrong. During a very public demonstration at the Royal Academy of Sciences, Maskelyne tapped into Marconi’s signal, which was being broadcast from Cornwall, over three-hundred miles away. The hacked messages appeared in morse code on a projector screen and consisted of several jabs at Marconi and his “secure” network. Turns out, besides magic, Maskelyne was also employed by the Eastern Telegraphic Company, whose wired system would suffer from these new innovations to communication technology.

And then came phreaking. In the 1960s, it was discovered that one could “hack” into the public phone network through the manipulation of sounds. The most notable figure of the “phone freak” movement, which predates the personal computer, was a man who went by the alias of Cap’n Crunch. Mr. Crunch got his nickname from a toy whistle that came in specially marked boxes of the sugar cereal. When blown, the whistle could emit a frequency at 2600Hz, which, it was discovered, allowed a user to tap into nexus of the AT&T phone system and place free long distance calls. More advanced techniques of phreaking soon developed, through use of “blue boxes” that were built to replicate unique tones and frequencies. Before they started Apple, Steve Jobs and Steve Wozniak sold blue boxes to the hacker community. The first example of a fictional hacker in popular culture came with the Firesign Theatre’s 1971 comedy album I Think We’re All Bozos on This Bus where the main character causes an audio-animatronic Nixon robot to malfunction by asking it surreal and confusing questions.
 

Phreakers unite
 
2600: The Hacker Quarterly was started amid the phreaker scene in 1984. The seasonal publication, edited by a guy with the Orwell-inspired pen name of Emmanuel Goldstein, has served as an important resource within the hacking community as it has evolved over the years. Rather than focusing on the deliberately destructive and malicious tactics of hackers often portrayed in the media, 2600 benefits the less illegal intentions of the “grey hat hacker,” who is merely demonstrating his/her capabilities of penetrating into an off-limits system. In our complex digital world, the publication today has taken on more of an activist approach toward our digital and personal freedoms.

More of a dark-grey hat than anything, the Autumn 2007 issue of 2600: The Hacker Quarterly contained an article about hacking an election.

Continues after the jump…

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Posted by Bennett Kogon
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06.13.2018
08:34 am
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When Johnny Thunders endorsed Jesse Jackson’s presidential bid in song
05.18.2018
08:51 am
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Let it be said that I had this, at least, in common with Johnny Thunders: we both supported Jesse Jackson’s candidacy in 1988. I was just starting the fourth grade, and Johnny was getting ready to graduate from the planet Earth, but we were both willing to forgive Jackson’s offensive characterization of NYC as “Hymietown” and his prudish condemnations of “sex-rock.”

This video of Thunders’ impassioned plea to the American soul comes from September 4, 1988, the last day of the Hotpoint festival in Lausanne, Switzerland. The DNC had come and gone, with Bill Clinton’s windy nomination and Michael Dukakis’ narcotizing acceptance speech. No matter: Johnny Thunders still liked Jackson’s chances, and if he was discouraged by Dukakis’ nomination or Bush’s subsequent election, he gave no sign. He kept “Glory, Glory” in the set in 1989, and when he entered the studio in 1990, Thunders was still stumping for the Rev.

Here, weeks before the first broadcast of the Willie Horton ad, Johnny Thunders sounds like a schoolboy telling the Swiss festival crowd why he’s for Jesse Jackson. Then he “takes them to church”:

Okay! Well, I’m from America, and we’re having a presidental—presidential election. And I think, uh, the only person that I think is worthy of being a president of America is Jesse.

Oh, Jesse!

Oh, Jesse, Jesse Jackson!

Ooh, Jesse, Jesse, Jesse! etc.

More after the jump…

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Posted by Oliver Hall
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05.18.2018
08:51 am
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New book collects every issue of the Crass zine ‘International Anthem’


The ‘domestic violence issue’ of International Anthem, 1979
 
This deserves more press than it’s received: a new book collects every issue of International Anthem: A Nihilist Newspaper for the Living, including two never before published. The volume is an official product of “the publishing wing of Crass and beyond,” the venerable Exitstencil Press.

International Anthem was Gee Vaucher’s newspaper, but denying its connection to the band would be a challenge. Its 1978-‘83 run coincided, roughly, with Crass’s (as opposed to, say, Exit‘s), and the Crass logo sometimes appeared on the paper’s cover (see above). Eve Libertine, $ri Hari Nana B.A., Penny Rimbaud, G. Sus (aka Gee Vaucher) and Dave King contributed to its pages.
 

Gee Vaucher collage from International Anthem #2 (via ArtRabbit)
 
The book contains scans of the originals (“bad printing, creases, mistakes and all”), reproduced at full size. If it is good to buy quality art books, it is better to buy them directly from the artist. Buddhists call it “accumulating merit,” and they say you want to do a lot of it in this life, so you don’t have to come back as Eric Trump. Below, consume two hours of Crass programming broadcast on Australia’s JJJ Radio in 1987, featuring some Crass texts read in Australian accents and contemporary interviews with Gee and Penny at Dial House.

Help Gee Vaucher collect 20 million hand-drawn stick figures for her World War I project.
 

Posted by Oliver Hall
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05.17.2018
08:47 am
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Ulrike Meinhof’s teenage riot TV movie


“If you obey, they are happy because you are ruined. Then they are cool because they have crushed you.”
 
Right before she embarked on a campaign of left-wing terror, Ulrike Meinhof produced her screenplay for Bambule, a TV movie about the miserable lot of girls in a juvenile reform institution. It was supposed to air in 1970, but the broadcast was canceled after Meinhof helped the Red Army Faction bust Andreas Baader out of prison.

The title means “prison riot,” though apparently the bambule originated as a form of nonviolent prison protest, making a “Jailhouse Rock”-style racket by drumming on anything available. “You lousy screws!”

During one scene, the girls beat a frenzied tattoo on their doors. But in Meinhof’s own definition of the term, from a 1969 radio report (quoted in Baader-Meinhof: The Inside Story of the R.A.F.), there is no mention of noise:

Bambule means rebellion, resistance, counter-violence – efforts toward liberation. Such things happen mostly in summer, when it is hot, and the food is even less appealing than usual, and anger festers in the corners with the heat. Such things are in the air then – it could be compared to the hot summers in the black ghettoes of the United States.

 

(via ARD.de)
 
Meinhof based the screenplay on her conversations with girls at the Eichenhof Youth Custody Home, for which Bambule is not much of an advertisement. They had a prescription for teens like Monika, expelled from a convent for kissing another girl: discipline and work, with occasional breaks for obeying the rules. The only pleasures in Bambule are the small acts of disobedience available to teenagers. They smoke cigarettes, curse out a few fuckwords, write graffiti about LSD and hash, play the Bee Gees’ “Massachusetts.” All relationships with adults are characterized by violence, cruelty and exploitation; everyone over 20 is dead inside. It’s like watching an episode of Dragnet written by a militant leftist.

More after the jump…

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Posted by Oliver Hall
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05.11.2018
08:56 am
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Tricia Nixon’s wedding travestied by the Cockettes, 1971


via IMDb
 
Tricia’s Wedding, a 33-minute dramatization of the solemn rite that joined Patricia Nixon and Edward Cox in holy matrimony, was the first movie the Cockettes made. Per Kenneth Turan, it premiered at the Palace Theater in the North Beach neighborhood of San Francisco on the very day of the happy event, June 12, 1971. Not only is the Cockettes’ movie much livelier than the televised ceremony, it includes the all-too-brief screen debut of Tomata du Plenty, some five years before he formed the Screamers in Los Angeles.

Incredibly, the Cockettes’ movie was screened in the Nixon White House. In Blind Ambition, John Dean mentions watching it in the president’s bomb shelter underneath the East Wing, John Ehrlichman’s favorite spot for “monitoring” protests. There, Dean saw Tricia’s Wedding on the orders of H.R. “Bob” Haldeman:

I knew I wouldn’t use the shelter for monitoring demonstrations, although Haldeman had told me that that would be one of my responsibilities. The only time I ever returned there was for a secret screening of Tricia’s Wedding, a pornographic movie portraying Tricia Nixon’s wedding to Edward Cox, in drag. Haldeman wanted the movie killed, so a very small group of White House officials watched the cavorting transvestites in order to weigh the case for suppression. Official action proved unnecessary; the film died a natural death.

Continues after the jump…

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Posted by Oliver Hall
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05.10.2018
08:28 am
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Peter Gabriel’s curious and provocative ‘Mao’s Little Red Book’ 1980 tour program
05.02.2018
11:37 am
Topics:
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During Genesis’ The Lamb Lies Down on Broadway tour, Peter Gabriel told his bandmates that he’d be leaving the group at the conclusion of the tour. Two years later Gabriel began an adventurous and wildly successful solo career with the release of “Solsbury Hill.” Between 1977 and 1982, Gabriel released four probing, dark solo albums each bearing his own name and forcing fans to come up with nicknames for them, like “Scratch.” Robert Fripp played on the first three of these albums and actually produced the second one. 1980’s “Melt” is perhaps the best one of the four, featuring “Biko,” “Intruder” (which featured pioneering use of the gated drum effect), and “Games Without Frontiers.”

For the 1980 tour to support the third solo album, Gabriel decided to concoct a clever, subversive version of Quotations from Chairman Mao Tse-tung, also known as “Mao’s Little Red Book,” which had done so much to solidify Mao’s grip on power in the People’s Republic of China in the 1960s. This is what it looked like:
 

 
True to its name, it really was little; it was about the size of the palm of a person’s hand. The 1980 tour program suggested a dystopic work of fiction, echoing Orwell’s Nineteen Eighty-Four in the name of the tour, which was Tour of China 1984, thereby confusing historians for all time: The entire fun of the program, one might say, was that Gabriel was not touring China and it was not 1984. Basically it was all a mindfuck. The tour was limited to the United Kingdom and North America.

Durrell Bowman supplies a solid description of the 1980 tour in his book Experiencing Peter Gabriel: A Listener’s Companion:
 

The tour for Peter Gabriel III began in February 1980, was strangely billed the Tour of China 1984, and its shows began with the performers carrying torches through the audience and Gabriel arriving from the back of the hall like a weird creature, as the unusual drums and sound effects from the beginning of “Intruder” were being played. Presumably to match the tour’s bizarre totalitarian China parody, the band wore black, over-all-like jumpsuits and each audience member was given a program booklet made to look like the 1966 book Quotations from Chairman Mao Tse-tung. ... The booklet included Gabriel’s head superimposed over those of other individuals, as well as Chinese newspaper ads, political posters, and comic books.

 
On his SYNERGY website, synth player Larry Fast has a few pics from and comments about that tour, including the “boiler suits” while “they were still new and black” and his backstage pass—note the Chinese ideograms on the front:
 

 
Of the Mao parody, Gabriel posted the following comment on his website:
 

One of the things at that time was that a lot of bands were keen to get be the first to play in China. There was a lot of press about it. So I thought that I would do the tour merchandise for a fictitious Chinese tour and it was the Tour of China 1984. We used Chairman Mao’s Little Red Book which had had more copies of it sold, or at least distributed, than any other book, as the model for the tour programme. That was fun to do.

 
Gabriel has never played a concert in China, but in 1994 he did play Hong Kong Stadium on the Secret World Tour—but that was three years before the British gave up control over the colony, after which it became the “Hong Kong Special Administrative Region of the People’s Republic of China.”
 

 

 
Much more after the jump…....
 

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Posted by Martin Schneider
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05.02.2018
11:37 am
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Short-lived, almost-forgotten satire mag ‘Americana’ took a shiv to FDR’s America


 
We think of the era of below-the-belt satirical media with a left-wing edge as a thing that was more or less invented in the postwar era, particularly the 1960s and 1970s, as the rise of alternative newspapers ushered in a style of humorous, scurrilous, no-holds-barred sloganeering that was unafraid to transgress the usual borders of propriety. Before that, most of the good comps come from continental Europe, especially in the welter of strident and audacious movements that sprang into existence in the first decades of the 20th century, including surrealism, dada, and expressionism.

Not coincidentally, George Grosz, one of the leading lights of expressionism after World War I, was involved with a genuinely bracing and angry left-wing political magazine in the unforgiving terrain of the U.S.A. Its name was Americana, its editor-in-chief and founder was a colorful young man named Alexander King, and a host of publications such as The East Village Other, The Black Panther, The Berkeley Barb, and The Realist, whether they knew it or not, all owed Americana a great debt.

The imagery of Americana, unlike a lot of stuff that is more than eight decades old, still resonates. The images strike one as what might happen if the original editorial minds behind The New Yorker in the 1920s and 1930s were somehow given the task of publishing the International Times of the late 1960s and early 1970s, albeit with a modernist fibrousness to the art that The New Yorker mostly lacked. (Basically this means that Americana was, unusually, willing to be ugly if it achieved other aims.)
 

King as an older man in the 1950s, here with Jack Paar; photo taken during Paar’s stint as host of The Tonight Show
 
Publishing historians who track Americana cite it mainly for two things: its impressive roster of contributors and its exceedingly brief publication run. Americana existed only for 17 issues in the calendar years of 1932 and 1933, a moment when America was obviously in the throes of a catastrophic depression. While FDR tried to save capitalism from its own successes, Americana, consistently and with great vitriol, challenged the premise that capitalism was worth saving in the first place. To give an idea of what the folks of Americana thought of the likelihood of Roosevelt solving the problems of the working class, here is what Gilbert Seldes wrote in the issue following Roosevelt’s first election:
 

I will suggest to the editors of Americana that they reform. No more sadism. Only pretty pictures of sweet communists welcoming Trotsky back from exile; sweet capitalists washing the feet of the ten million unemployed, and sweet editors of liberal magazines smiling broadly at love triumphant.

 
In his book An Autobiography Grosz reminisced about editor King and Americana:
 

The only person who took me as I was was my friend Alexander King, who put out America’s first and only satirical magazine, Americana, and regularly published my things. He trimmed neither my wings nor my fingernails: “Scratch their eyes out, George,” he would say to me, “the harder, the better!”

 
Featuring names like William Steig and James Thurber, Americana did have a fair bit of cross-pollination with the aforementioned New Yorker. (King managed to run an interview with New Yorker grandee Alexander Woollcott in which the acerbic writer allowed that the New Yorker “is got out by a shiftless reporter with the help of two country bumpkins,” the latter two being non-East-Coast-ers Harold Ross and Thurber.)

In addition, Americana published contributions by E.E. Cummings and Nathanael West. Americana’s run coincided precisely with the West’s first great productive period, during which he wrote and published A Cool Million and Miss Lonelyhearts (The Day of the Locust arrived a few years later)—it’s not too much to say that Americana was an near-perfect periodical correlative for West’s corrosive fiction, and it’s not surprising that he found a warm welcome there. Americana was also an early venue for the work of Al Hirschfeld, who later became much more renowned for sticking the word “NINA” into the whiskers of Orson Welles and the locks of Bernadette Peters.
 

A remarkable editor’s note from Americana
 
Not surprisingly, King himself was from the Continent—he was born Alexander Koenig in Vienna in 1899. In his later years he became a talk-show personality and wrote several books which did very well. In its review of King’s 1960 book May This House Be Safe From Tigers, Time magazine summarized the author’s eventful life, with some affection, as follows:
 

an ex-illustrator, ex-cartoonist, ex-adman, ex-editor, ex-playwright, ex-dope addict. For a quarter-century he was an ex-painter, and by his own bizarre account qualifies as an ex-midwife. He is also an ex-husband to three wives and an ex-Viennese of sufficient age (60) to remember muttonchopped Emperor Franz Joseph. When doctors told him a few years ago that he might soon be an ex-patient (two strokes, serious kidney disease, peptic ulcer, high blood pressure), he sat down to tell gay stories of the life of all these earlier Kings.

 
It’s my impression, researching this topic, that there is just damn little out there about Americana, which is a real shame. However, the images of the publication have aged remarkably well in my estimation, still possessing the power to catch the eye and even to shock, whether it’s the casual yolking of the “modern messiahs” Stalin and Gandhi (!) or the unflinching presentation at the suffering of the destitute. Here is a representative sample of images from the magazine, but by all means there’s more here.
 

 
Much more after the jump…....
 

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Posted by Martin Schneider
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04.24.2018
10:21 am
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