The Junky’s Christmas

Christ­mas, William S. Burroughs-style. The Junky’s Christ­mas, a clay­ma­tion mir­a­cle writ­ten and nar­rated by William S. Bur­roughs. Pro­duced by Fran­cis Ford Coppola.

Sud­denly a warm flood pulsed through his veins and broke in his head like a thou­sand golden speed­balls. “For Christ’s sake,” Danny thought, “I must have scored for the Immac­u­late Fix!”

The Junky’s Christ­mas — William S. Bur­roughs, F.F. Cop­pola — 1993 short from alexey l on Vimeo.

There is no inten­sity of love or feel­ing that does not involve the risk of crip­pling hurt. It is a duty to take this risk, to love and feel with­out defense or reserve”
— William S. Burroughs

After a shoot­ing spree, they always want to take the guns away from the peo­ple who didn’t do it. I sure as hell wouldn’t want to live in a soci­ety where the only peo­ple allowed guns are the police and the military.”

William S. Burroughs

Santa Claus vs The Devil!


This movie is like Santa Claus Con­quers the Mar­t­ian’s insane cousin. They obvi­ously tried to make this as appeal­ing to small chil­dren as pos­si­ble, but if any kid wasn’t creeped out by it I’d be sur­prised. Nearly every­thing about this is such night­mare fuel.

A bizarre flick from Mex­ico trans­lated by K. Gor­don Mur­ray for children’s mati­nees, in which Santa Claus is the envy of the CIA and avoids child labor laws by keep­ing his slaves in an orbital cas­tle over the North Pole. Cur­rently #44 on IMDB’s Bot­tom 100 of worst films, beat­ing out “Santa Claus Con­quers the Mar­tians” by a wide margin.


The rea­son this movie was made, some say, was to bring the con­cept of Santa Claus to Mex­ico. At the time, Mex­ico had their own Christ­mas cel­e­bra­tions which were more reli­gious than sec­u­lar. The idea was that if Santa Claus was intro­duced to Mex­ico, it would help toy mar­ket­ing and increase sales. And it worked!

The movie got lost in obscu­rity until the 90’s when “Mys­tery Sci­ence The­ater 3000″ res­ur­rected it, mak­ing it a cult classic.

This is the Christ­mas spe­cial for the psy­cotronic generation!

Magnetic Movie

mag_movie_3 mag_movie_6

The secret lives of invis­i­ble mag­netic fields are revealed as chaotic ever-changing geome­tries . All action takes place around NASA’s Space Sci­ences Lab­o­ra­to­ries, UC Berke­ley, to record­ings of space sci­en­tists describ­ing their dis­cov­er­ies . Actual VLF audio record­ings con­trol the evo­lu­tion of the fields as they delve into our inaudi­ble sur­round­ings, reveal­ing recur­rent ‘whistlers’ pro­duced by fleet­ing elec­trons . Are we observ­ing a series of sci­en­tific exper­i­ments, the uni­verse in flux, or a doc­u­men­tary of a fic­tional world?

Seven Easy Pieces by Marina Abramović


For Seven Easy Pieces Marina Abramovic reen­acted five sem­i­nal per­for­mance works by her peers, dat­ing from the 1960’s and 70’s, and two of her own, inter­pret­ing them as one would a musi­cal score. The project con­fronted the fact that lit­tle doc­u­men­ta­tion exists from this crit­i­cal early period and one often has to rely upon tes­ti­mony from wit­nesses or pho­tographs that show only por­tions of any given performance.

The seven works were per­formed for seven hours each, over the course of seven con­sec­u­tive days, Novem­ber 9 –15, 2005 at the Guggen­heim Museum, in New York City. Seven Easy Pieces exam­ines the pos­si­bil­i­ties of rep­re­sent­ing and pre­serv­ing an art form that is, by nature, ephemeral.

About the pub­lic … I do not want the pub­lic to feel that they are spend­ing time with the per­for­mances, I sim­ply want them to for­get about time.” Marina Abramovic, 2005


Filmmaker’s Orig­i­nal State­ment writ­ten in Feb­ru­ary 2006:

The film of Seven Easy Pieces by Marina Abramovic is about the per­form­ing body and how it affects vis­cer­ally the peo­ple who con­fronts it, looks at it and par­tic­i­pates in the tran­scen­den­tal expe­ri­ence that is its pri­mary affect. From an art event to a social phe­nom­e­non, the seven per­for­mances became the talk of the town because it cre­ated among the vis­i­tors a sense of sub­li­ma­tion like prayer. The film attempts to reveal the mech­a­nisms of this tran­scen­den­tal expe­ri­ence by just show­ing the performer’s body liv­ing the events inscribed in each pieces with details that out­line the body fragility, ver­sa­til­ity, tenac­ity and unlim­ited endurance.

The fas­ci­na­tion comes from the rev­e­la­tion of the phys­i­cal trans­for­ma­tion of Marina Abramovic”s exposed body due to the rig­or­ous dis­ci­pline of being there on dis­play each day for seven hours with­out any restric­tive bound­aries. The relent­less progress of time is revealed each day by the acoustic of the build­ing with its waves of crowd that roll like an ocean and mar­vel at the performer’s stead­fast­ness with respect­ful silence. That the performer’s required dis­ci­pline had to be so dif­fer­ent from one piece to the next is one of the mys­ter­ies. How the atten­tive audi­ence feed into the art and Marina’s aes­thet­ics is what is explored. It is as if a monas­tic urge attracted the mys­tic among us view­ers that were there to par­tic­i­pate. And the film, by focus­ing on Marina’s minute changes and strains along the long seven hours of each piece, explores in a sys­tem­atic way a body with­out limit and increases the aware­ness of how par­tic­i­pa­tory body art is.

The film will be 90 min­utes long and fol­lows the lin­ear­ity inscribed in the week event, from body pres­sure, audi­ence par­tic­i­pa­tion and con­fronta­tion in the first three pieces to the cer­e­mo­nial in the last four pieces as mapped out by Marina Abramovic’. It is only after the fact that the film viewer will real­ize how much the project con­cept enlight­ens us on aes­thet­ics that priv­i­leged phys­i­cal expe­ri­ence over rea­son, process over iconog­ra­phy and tes­ti­fies to the power of audi­ence par­tic­i­pa­tion over pas­sive spectatorship.

God Bless Tiny Tim

Tiny Tim was pop music’s most eccen­tric and sin­cere per­former. He was more than a musi­cian, or an enter­tainer. He was a direct link to the music of days gone by, and in Mar­tin Sharp’s words he was “The Eter­nal Troubadour”.

To call him any­thing other would be ignor­ing the fact that he poured both his heart and soul into every per­for­mance, be it for ten peo­ple or ten thou­sand. How­ever, Tiny Tim wasn’t with­out his fair share of per­sonal demons. He con­stantly strug­gled with a love for alco­hol and an obses­sive pas­sion for women, and there are many instances where both his desires and devo­tion to Jesus seem to present a man with men­tal instability.

But it is these imper­fec­tions, com­bined with his ever-present humil­ity and over­all good humor, that fully round out the man and make him all the more believ­able and human.


New­com­ers might be per­plexed, but it is unique and inspir­ing, as it cap­tures his human­ity, hilar­ity, and belovedly twisted lifestyle. It’s not dif­fi­cult to imag­ine that Tiny Tim was an off-stage weirdo, but it’s grat­i­fy­ing to see it chron­i­cled for pos­ter­ity, while real­iz­ing he actu­ally exceeded expectations.

Tiny Tim deliv­ers. The jaw-dropping effect of his act is the type of expe­ri­ence that stays with you for­ever. Few artist today have the courage to be as dif­fer­ent and off-beat as he was. So if you did not have enough with the film on the top, watch the fol­low­ing short video of another aston­ish­ing per­for­mance of our hero.

The fol­low­ing film, part doc­u­men­tary and part col­lage, “Mar­tin Sharp’s Street Of Dreams” is an amaz­ing and mag­i­cal look at the one-and-only Her­bert Khaury (a.k.a. Tiny Tim), as well as a look at Sydney’s own Luna Park and the infa­mous Ghost Train fire (an inci­dent which killed seven people).

Never released on this side of the globe, this Aus­tralian, self-titled “musi­cal mir­ror maze” is one of the more jaw-dropping odd­i­ties ever. Lets just say that you are in for a treat.


Treatise on the Steppenwolf

The “Trea­tise on the Step­pen­wolf” is a book­let given to Harry Haller which describes him­self. It is a lit­er­ary mir­ror and, from the out­set, describes what Harry had not learned, namely “to find con­tent­ment in him­self and his own life.” The cause of his dis­con­tent was the per­ceived dual­is­tic nature of a human and a wolf within Harry.

The trea­tise describes, as ear­marks of his life, a three­fold man­i­fes­ta­tion of his dis­con­tent: one, iso­la­tion from oth­ers, two, sui­ci­dal ten­den­cies, and three, rela­tion to the bour­geois. Harry iso­lates him­self from oth­ers socially and pro­fes­sion­ally, fre­quently resists the temp­ta­tion to take his life, and expe­ri­ences feel­ings of benev­o­lence and malev­o­lence for bour­geois notions. The book­let pre­dicts Harry may come to terms with his state in the dawn­ing light of humor.

David Lynch: Consciousness, Creativity and the Brain

The inside story on tran­scend­ing the brain, with David Lynch, Award-winning film direc­tor of Blue Vel­vet, Twin Peaks, Mull­hol­land Drive, Inland Empire (film­ing); John Hagelin, Ph.D., Quan­tum physi­cist fea­tured in “What the bleep do we know?;” and Fred Travis, Ph.D., Direc­tor, Cen­ter for Brain, Con­scious­ness and Cog­ni­tion Mahar­ishi Uni­ver­sity of Management.