In menstrual night
When red is black
And Christus crawls
From Mary’s crack
In menstrual night
When red is black
And Christus crawls
From Mary’s crack
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!”
“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|
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!
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?
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.
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.
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.
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.