#bizarre festival 1996

[lust-x-life]

Iggy Pop - Live Bizarre Festival - Aug.17 1996 (Exclusive WDR 2023 HD 10...

[notafraidofredyellowandblue]

hope this is the right link for it, quality is really good ❤️

New pastime unlocked: watching the bizarre festival 1996 concert and seeing how many times Paul and Richard gaze at eachother

[haverwood]

Nick Cave & The Bad Seeds: Bizarre Festival 1996 1996

[endlich-allein]

Till ❤️ Bizarre Festival, Cologne, Germany, 18-08-1996 © Werner Siess

[marta-diablo]

Any small child catching sight of Noel Fielding of The Mighty Boosh in his clown gear would vow never to go to the circus again. Fielding’s torso is encased in a green felt globe, his hands protruding helplessly from the bottom. From beneath lurid make-up, he flashes a deeply unsettling grin, as if auditioning for the role of a psychopathic killer in Test Card: The Movie. “I’m just popping out for some coffee,” he deadpans. “Does anybody want anything?”

His Booshmate Julian Barratt, who currently looks like the victim of back-alley gender reassignment surgery, brushes his new blond tresses away from his face and sighs. “What a job, eh?”

When the duo decided to pose as the pair from the 1970s TV test card, it didn’t take long to decide who should play which part. If you want make-up and a manic grin, Fielding’s your man. He arrives at the studio resembling a time-travelling glam-rock star: pointy boots, snug red trousers, tight T-shirt, pendant shaped like a Flying Vee guitar, alarming bone structure. In one episode of their TV series, Barratt tells Fielding, “Look at you - feather cut, the pointy features. Put you in the 1950s, you’d be imprisoned for being a witch. They’d lock you in a trunk!” He’s probably right.

Barratt carries himself like someone trying to elude capture. It’s this wary unease that defined his performance as misanthropic style journalist Dan Ashcroft in Nathan Barley, Chris Morris’s Channel 4 comedy series. Morris wanted Dan to be someone who “wasn’t really comfortable in his skin”. I ask Barratt if Dan is a version of his own personality and he looks mildly wounded. “Not really, no. There were elements of me - it’s sometimes painful to be around people who are annoying - but Dan was a bit of a tit. I didn’t really like him.”

The Mighty Boosh have already completed two successful BBC series and are currently working on a third. Fielding, 33, thinks comedy is about allowing people to feel young again. “When you’re really laughing, you feel like a little kid and nothing matters. Everyone’s trying to feel as free as they were when they were kids.” Barratt, 38, seems to regard comedy’s inner workings as an imponderable mystery. “You still don’t know why you’re funny, do you?” Fielding says. “Not really,” Barratt sighs.

After almost a decade of working together, the pair are obviously close. When the camera’s not pointed in their direction, they huddle on the studio sofa in earnest conference punctuated by giggles. There is much to discuss: “We’ve got so many things we want to do and we need a basket to put them all in,” explains Barrett. “A structural basket.”

Fielding has a different metaphor. “We know when we’ve got enough ideas. If we haven’t and we try to write, it’s a bit weird. It’s like loading a gun and not having enough bullets.”

They first met in 1996, when Fielding went to see Barratt doing stand-up in High Wycombe. There had been less auspicious nights. Barratt recalls, “I ran off stage at my first gig. Halfway through it, I forgot my lines and didn’t know what to do, so I just ran out of the building down towards a lake. I was going to throw myself in, but the compere came out and said, 'No, it’s going well, come back and finish the gig!’ ”

The two share enthusiasms (Captain Beefheart, Monty Python, Mr Benn) and Barratt launched their collaboration by asking Fielding if he wanted to write the new Goodies. “We wanted to be a gang rather than a sketch troupe,” he says. From the start, their combination of absurdist wit, far-fetched narratives and bizarre musical interludes was the stuff of cult success. Audiences either entered their world and found them the funniest thing around, or they didn’t get them at all. “We used to have to convince people we were funny,” Barratt says, “and it didn’t always work.”

It did, however, work well enough to earn them nominations or awards at three consecutive Edinburgh festivals. A radio series followed and they finally made it to the nation’s TV screens in 2004. Earlier this year, they returned to touring. They get offers all the time, but having got this far on their own idiosyncratic terms, they have no desire to work according to anyone else’s.

“If Tim Burton called up and said, 'I’m making a film about two white Americans who go and become Red Indians’, I’m sure we’d jump at the chance,” Fielding says. “But if it’s, 'Do you want to be in this sitcom that’s a bit like Coupling?’ I’d rather shoot myself.”

When did you first find something really funny?

Noel Fielding: My nan used to look after me in the summer holidays and she had a cat with one eye. It used to walk into walls and tables. I used to think it was hilarious. It was a slapstick cat.

Who are your comedy inspirations?

Julian Barrett: I loved the Goodies’ sense of adventure.

NF: The Young Ones was the first thing I really liked. I was so young I didn’t really know what students were. I just thought they were some men who lived in a house.

What’s not funny?

JB: Cancer?

NF: It can be, though, can’t it?

JB: Yeah, sometimes a tumour will make me laugh.

When did you last laugh?

NF: I laugh all the time. I’m slightly simple. I went to a festival in Cambridge last weekend and there were men standing on a wheelchair and getting their friends to push them down a muddy hill and really hurting themselves. One of them had a fur coat, a dress underneath, massive boots and a witch’s hat. It was so stupid that everyone was laughing at them. It was quite freeing, actually.

What’s the funniest thing that’s ever happened to you?

NF: Once I got stuck in a suit of armour. I had to be a knight in Al Murray’s show for two minutes. I had a gig afterwards and there was no one there backstage, so I couldn’t get out of it. I had to run next door and do the gig in a suit of armour. Al thought it was the best thing ever. “You should do that every night! It’s brilliant!” he said.

What’s the secret of comedy?

JB: The secret of comedy is don’t grow up. That’s why some comedians are a nightmare, because they never grow up.

Tell us a joke

NF: You stop hearing proper jokes when you’re a comedian. I’m always slightly disappointed by real jokes. There’s a lot of pressure to understand them and laugh at them. Occasionally we come up with a proper joke by accident and we almost apologise.

· The Mighty Boosh debut live DVD is released on November 13.

x

[clarabowlover]

Shirley Manson (Bizarre Festival)

only happy when it rains

Garbage 1996

[beforethepoison]

garbage - my lover's box | live bizarre festival, 1996

[dloindustries]

Garbage: Stupid Girl, Live Bizarre Festival 1996

Happy Birthday Shirley Manson

[abigailvonah05]

Artist Research #1: Joel Sternfeld

Introduction/Background: 

Joel Sternfeld was born on June 30, 1944 in New York City and is an American fine art photographer. He began taking photos in 1970 after earning a Bachelor's degree in Art at Dartmouth College. Before becoming a photographer he also studied the color theory of Johannes Itten and Josef Albers. As a photographer,  Sternfeld is concerned with capturing the moments of American utopian/dystopian life. To do this, he focuses on people of all backgrounds, all experiencing a wide range of emotions. This makes most of his photos up for interpretation by the audience as to what identity the people in his photographs possess? Through Joel Sternfeld’s work, “he contributed to the establishment of color photography as a respected artistic medium” (Moma, wikipedia).  

Notable works: 

Joel Sternfeld has many works that have solidified himself as an impactful artist in the world of photography. These works include American Prospects (1987), On This Site (1996), Stranger Passing (2001), and Sweet Earth (2006). The two works that will be discussed are American Prospects and Stranger Passing. In his project, American Prospects, he focused on photographing American Identity in a “thought provoking yet humorous manner” (Huxley-Parlour, Biography). This was done by capturing people in places that require an implied narrative. His use of color for this project intensifies the reality of everyday life in America making this project all the more thought provoking. Similarly in Stranger Passing, Sternfeld photographs people in the middle of a circumstance that is up for interpretation. One picture from this project that stood out to me was of a woman pumping gas. However she was wearing very colorful and extravagant clothing which causes viewers such as myself to make presumptions on who she is and why she’s wearing such bizarre clothing at a gas station? Having presumptions about the subjects in this project is exactly the type of response that Sternfeld expects and wants. He expects this response in order to beg the questions of, “What happens when we encounter the other in the midst of a circumstance? What presumptions, if any, are valid? And what, if anything, can be known of the other from a photographic portrait” (Augustine, 2012)?

Awards/nominations: 

Joel Sternfeld has earned a total of 10 awards so far in his life. This awards consist of the following: 

2013, Montgomery Fellowship 

2004, Citigroup Photography Prize, in association with Photographers’ Gallery, London, England

1990–1991, Prix de Rome

1987–1988, Shifting Foundation Fellowship

1985, Grand Prize, Higashikawa International Photo Festival

1983, American Council for the Arts Emerging Artist Award

1982, John Simon Guggenheim Memorial Foundation Award

1980, National Endowment for the Arts Photographers Fellowship

1980, New York State Council for the Arts Creative Artist Public Service Fellowship

1978, John Simon Guggenheim Memorial Foundation Fellowship

Personal thoughts: 

Although I am no photographer, I am an interior designer and I can see myself using much of Sternfeld's objectives and goals to enhance the quality of my own work. For example, I have a greater understanding of the way an image can communicate to an audience; sometimes more than words can. Just through looking at one image, presumptions and information can be discovered which communicates a strong message. I can use this with Interior Design by taking note of the structure an interior space has, the position of furniture, and where the overall design draws people’s eyes to give people a message of its purpose without the use of words. I respect and admire Sternfeld’s ability to do that and I hope to be able to do that as well in my own work. 

Sources: 

https://www.moma.org/artists/5656

https://huxleyparlour.com/artists/joel-sternfeld/

https://www.joelsternfeld.net/bio

https://store.luhringaugustine.com/products/stranger-passing

[maxhellfrogwarrior]

Croaking with Cult Appeal: An Exploration of Max Hell Frog Warrior

Released in 1996, Max Hell Frog Warrior, also known as Toad Warrior, is a film that defies easy categorization. A low-budget blend of martial arts, science fiction, and post-apocalyptic themes, it has garnered a devoted cult following over the years. This essay delves into the film's unique qualities, analyzing its narrative, characters, style, and impact on pop culture.

A World Gone Toadally Wrong: The film throws viewers into a desolate future where an experimental serum has transformed most of humanity into grotesque toads. The lone survivor, Max Hell (played by Scott Shaw), a stoic samurai-inspired warrior, emerges as the hope for the remaining humans. His mission: to rescue Dr. Trixi T, the creator of the serum, and find a cure.

Beyond B-Movie Clichés: While the plot might sound like a B-movie trope, the film surprises with its self-awareness and absurdist humor. The dialogue is peppered with witty one-liners, and the action sequences, though low-budget, are executed with surprising energy and choreography. Max Hell, despite his stoic demeanor, exhibits moments of dry humor and genuine heroism, making him a surprisingly endearing protagonist.

Cinematic Frog Stew: The film's visuals are a bizarre amalgamation of influences. The post-apocalyptic landscape is a wasteland of abandoned drive-in theaters and dilapidated gas stations, evoking a sense of forgotten Americana. The costumes range from Max Hell's samurai garb to the villainous Mickey O'Malley's (played by Joe Estevez) flamboyant suit, adding to the film's offbeat aesthetic.

Cult Status and Legacy: Max Hell Frog Warrior never achieved mainstream success, but its low-budget charm and offbeat humor resonated with fans of B-movies and cult classics. Its unique blend of genres, quotable dialogue, and memorable characters earned it a devoted following. The film has been screened at midnight movie festivals, inspiring cosplay tributes and fan art.

Beyond the Croaks: The film's enduring appeal lies in its embrace of camp and its refusal to take itself too seriously. It serves as a reminder that entertainment doesn't always have to be high-budget or follow conventional formulas. Max Hell Frog Warrior's success lies in its ability to be both ridiculous and strangely compelling, offering a unique cinematic experience that continues to entertain and inspire cult movie enthusiasts.

Further Exploration:

This essay is just a starting point. Consider delving deeper into specific aspects of the film, such as:

The film's satirical commentary on environmentalism and technological advancements.

The influence of other cult classics and exploitation films.

The film's portrayal of masculinity and heroism.

The enduring fandom and its creative expressions.

[endlich-allein]

Old New ! "Loud irony? A dangerous spectacle with dark aesthetics for sure: TILL LINDEMANN (RAMMSTEIN) 1996 at the Bizarre Festival, Cologne." @ nics_stage

[zigratbites]

Bizarre Festival 1996

The quality is crap because footage from the 1990s, but I had to share Richard’s silver skirt in action. That split goes quite high...

[notafraidofredyellowandblue]

Yep, it's that time again!

💥POLL TIME💥

Favourite (not the best) Rammstein show-

Völkerball (Nimes)

Live in Paris

Live Aus Berlin

Madison Square Garden

Hurricane Festival 2013

Bizarre 1996

Bizarre 1997

NOW CHOOSE! 😈

Okay, as we didn't have a poll all week (getting withdrawal symptoms here 😊) we'll do that one first and after that i'll say which is my fave 🥰

[derwahnsinn]

Just Till Lindemann, breathing.

(x)

[besmirchthis]

“seize the throne, seize the mantle seize the crown, cause i am what i am what i am what i am”

nick cave & the bad seeds, ‘loverman’ (*)

[xmanicpanicx]

The evolution of the “Weisses Fleisch” dance

0:01-0:26 Bizarre Festival, Cologne, 1996 0:27-1:04 Philipshalle, Dusseldorf, 1997 1:05-1:34 Live Aus Berlin, 1998 1:35-2:04 Big Day Out, Sydney, 2001 2:05-2:35 Pledge of Allegiance Tour, 2001 (Can we appreciate Schneider’s drumming here please?) 2:36-3:07 LIFAD Tour, ? 3:08-3:43  LIFAD Tour, 2009