#proto slinger

[adokle]

Various posters for various movies of various age. Wonder in any of the various Sonic characters would be partial to any of these in particular.

[savage-kult-of-gorthaur]

"MOTÖRHEAD WAS A SPECIAL TIME FOR ME. I MEAN, WE WERE LIKE BROTHERS. WE WENT THROUGH SO MUCH SHIT TOGETHER."

PIC(S) INFO: Spotlight on a group portrait of English rock and roll band MOTÖRHEAD during the band's "Overkill" era, c. spring 1979. 📸: Motorcycle Irene, Kevin Cummins, Fin Costello??

OVERVIEW: "One Saturday well before noon in the winter of 1976, the guitarist, irritable and cranky, got up to see who had disturbed his rest. Had he known who was waiting for him on the other side, his mood would have brightened considerably.

“There’s a knock at my door, and I say, "What the fuck is this?"" recalls Clarke. “And so I go to the front door, and Lemmy [Kilmister] is standing there, and he’s got a bullet belt in one hand and a leather jacket in the other. And he hands them to me and he says, "You’ve got the gig.""

Clarke was as surprised as anybody to hear those words come out of Lemmy’s mutton-chop framed mouth. Just like that, he’d been hired to play alongside Larry Wallis as a second guitar slinger for MOTÖRHEAD, then a dirty, brash wild bunch of rock and roll outlaws dead set on building the fastest, loudest chopper of grimy, rumbling, vice-ridden proto-thrash metal nastiness that anyone had ever seen, and nobody would dare categorize it as street-legal. Before Clarke could recover from the shock, however, Lemmy was gone.

“And then he turns around and walks off (laughs),” said Clarke. “So I’m standing there in me underpants holding a bullet belt with this leather jacket, and I just say, "Oh, fuking great!" I mean, I really was over the moon."

A week earlier, Clarke’s mood wasn’t so elevated. His audition for these holy sonic terrors had ended rather unceremoniously with him slipping out the door before things got worse.

“I did the audition with them,” remembers Clarke. “And Larry came down, because Larry, who was in the Pink Fairies, was the guitarist then. And he wasn’t getting on with anybody. He didn’t even talk to me. He just came in, plugged in and played the same song for half an hour. And I said, ‘Oh, bloody hell. I haven’t got this gig, have I?’ And he and Lemmy went outside and they were having words, and it’s all getting a bit tense. So I packed up me guitar and I went home, and I left Phil [“Philthy Animal” Taylor, the band’s drummer] and them there to play on. I paid the bill on the way out, though (laughs) for the rehearsal. And then I didn’t hear anything.”

That is until Lemmy showed up on his doorstep. Soon after, Wallis would leave, having rejoined a reunited Pink Fairies lineup that intended to get back to touring. All that remained then was Lemmy, “Fast” Eddie and “Philthy Animal” – the classic Motorhead lineup that would shake the earth from 1977 through 1982 with rumbling, fire-breathing touchstone LPs "Motörhead" (1977), "Overkill" (1979), "Bomber" (1979), "Ace of Spades" (1980), "No Sleep ‘til Hammersmith" (1981, a live album that reached #1 on the U.K. album charts) and "Iron Fist" (1982), the threesome’s swan song.

“Those were great days, man. They were great. I mean, there were some tough times, obviously. MOTÖRHEAD was a special time for me. I mean, we were like brothers. We went through so much shit together,” said Clarke."

-- BACKSTAGE AUCTIONS, "You've got the gig": MOTÖRHEAD 1976-1982," "Fast" Eddie Clarke looks back on his time in the band, by Peter Lindblad

Sources: www.pinterest.com/pin/372813675373369766, The Telegraph, & http://backstageauctions.blogspot.com/2012/06/youve-got-gig-motorhead-1976-1982.html.

[warsofasoiaf]

Hello! If a group of fantasy kingdoms (circa 1400s) came together, and made a proto-geneva conventions, what do you think would be included? Thanks!

There were actually a few sort of proto-treaties that you might want to research that would have examples of what you are looking for. The 989 Peace of God, for example, forbade violence against noncombatants who couldn’t defend themselves, groups included children, virgins, and widows. The Church also attempted to ban the use of "slingers and archers” on Christians at the 1139 Second Lateran (it was permitted against non-Christians, which would presumably also include heretics). If these kingdoms are coming together, you might want to look into something wherein rules for conduct are laid out like how the Amphictyonic League were able to set the rules of battle.

Problem of course, is enforcement. 

Thanks for the question, Sir.

SomethingLikeALawyer, Hand of the King

[kartiavelino]

Boy George has a new album — and a zen take on his crazy life

Boy George flaunts mermaid make-up and vixen eyebrows, however you’ll by no means catch him with a trout pout. Regardless of his apparent love of artifice, the pop star frowns on overfilled lips and eerily frozen foreheads. “I’m horrified on the manner gorgeous, lovely persons are disfiguring themselves to allow them to appear to be another person,” the gregarious 57-year-old Tradition Membership frontman tells Alexa, backstage earlier than a packed live performance outdoors Chicago on the band’s world reunion tour. “After I consider all of the laborious work I’ve accomplished to get individuals to be people — and now all people desires to have this bizarre look that’s simply boring. And sure, I’m making a judgment!” he proclaims, bursting into boisterous laughter. “There was a image of [Lady] Gaga the opposite day actually trying fishy and I made a remark on Twitter. It wasn’t essentially about her, I simply assume that persons are attention-grabbing due to their defects and their facial character.” As the primary multi-racial band with an overtly homosexual singer, Tradition Membership has at all times serenaded self-acceptance. Now, because the multi-platinum British band prepares to drop its first album in almost 20 years subsequent month (referred to as “Life”), that ethos nonetheless resonates. “Our message has at all times been: For those who really feel disenfranchised or left of middle, we’re the one-stop store for that,” says the “Karma Chameleon” and “Do You Actually Need to Damage Me” crooner, whose shiny crimson and black stage eye shadow makes him appear to be he went a few rounds with Tyson Fury. “You don’t should be completely different to be attention-grabbing, however there’s nothing unsuitable with being completely different. Being completely different is a reward.” Clothes: Boy George’s artwork work was translated into customized seems to be by costume makers in London; Hats: A Little one Of The Jago; Footwear: Alexander McQueenRankin As nonconformist as George has at all times been, he stays true to his sound. “It wasn’t the intention to write down a pop document, however I believe we simply can’t assist it,” he says, referring to Tradition Membership’s catchy new tracks, just like the reggae-inflected “Let Anyone Love You.” “It’s simply in our nature: We like melodic songs and we would like them to get to the purpose as rapidly as attainable.” George Alan O’Dowd (as he was born), grew up in southeast London, the third of six youngsters in a noisy, working-class Irish Catholic clan. “I attempted in useless to be like different youngsters,” he writes in “Take It Like A Man,” his dishy 1995 memoir. “I couldn’t disguise my female nature.” The self-described “pink sheep of the household” was expelled from college at 15 for truancy. By then, the David Bowie and Marc Bolan fan had bleached his spiky hair white and was decked out in paint-spattered togs strewn with chains, pins and padlocks. Within the early 1980s, George shaped Tradition Membership with Jon Moss (drums), Mikey Craig (bass) and Roy Hay (guitar-keyboards). His proto-punk look advanced into a freewheeling androgynous model: Cleopatra make-up, pirate garments and ribbon-tied dreadlocks topped with giant, colourful hats. The soul-meets-reggae-plus-funk-and-country band went on to promote greater than 100 million singles and 50 million albums, successful the 1984 Grammy for Finest New Artist. At its peak, a sighting of the long-lasting group and its flamboyant diva may trigger a close to riot. ‘There was a level in my earlier life after I undoubtedly felt tremendous trapped by who I used to be. I bought bored of that, so I modified.’ However inside a few years, the pressures of fame had taken a toll. Riven by character clashes and the top of George’s secret love affair with Moss, the band broke up in 1986. As soon as a leisure drug consumer, the singer grew to become a full-fledged heroin addict. Though he went on to turn out to be a profitable solo artist, DJ and co-creator of the West Finish and Broadway musical “Taboo,” through which he had a position, his profession was stymied by a number of arrests, group service and jail time (for assault and false imprisonment). However on March 2, 2008, he lastly bought clear. Right now, he’s a Buddhist who doesn’t eat meat and avoids sugar and strife. “I’m a excellent particular person! I dwell on macadamia nuts and kale!” jokes the performer, who co-authored the 2001 macrobiotic “Karma Cookbook.” “I eat very clear. I’m at all times experimenting with fasting, and attempting one meal a day, extra to see if it impacts my normal equilibrium.” His legendary snark has even subsided. Up to now, the word-slinger shaded Madonna and dissed George Michael. Right now, he praises Prince. The reformed George is chatty, self-aware, surprisingly cautious to not be catty and virtually — however not fairly — earnest. “After I was youthful, being bitchy was about defending myself,” he explains. “I’m quippy, fairly than bitchy. If I’m tweeting one thing, I don’t need to be merciless.” Aware George can be a lot kinder to himself. Whereas within the ’80s he may need gone clubbing after a live performance or closed down a lodge bar, the older and wiser George works out and rests up. He describes his pre-show routine as “fitness center, hang around, yoga, watch crap TV, watch issues on the web. Strive and see town if it feels acceptable.” Clothes: Boy George’s artwork work was translated into customized seems to be by costume makers in London; Hats: A Little one Of The Jago; Footwear: Alexander McQueen.Rankin At dwelling in London, he can hop on the bus or take the tube incognito, which fits him. “As soon as I’ve bought the glad rags off and a pair of sun shades on, I’m just about not bothered,” says the hit-maker, who’s draped in free black layers. “You get the odd one who will clock you — my voice provides me away and my eyes undoubtedly give me away. Generally I believe I ought to be extra mysterious, but it surely’s simply not the street I’ve taken.” It’s a distinction from the raucous ’80s. “Again then, you have been kind of a prisoner of your movie star,” he remembers. “I didn’t like all that screaming and operating after you. If someone was a mad, marauding fan, they might discover a manner of attending to you. There’s a little extra calmness now. “I’ve sort of been on a actual journey with the entire fame factor,” he provides. “There was a level in my earlier life after I undoubtedly felt tremendous trapped by who I used to be. I bought bored of that, so I modified. I’m far more comfy with being a figment of different individuals’s creativeness!” Though he’s seen as swaggy, George swears he’s not a slave to luxurious labels. “I’ve been sporting a lot of my very own artwork on my garments and portray stuff,” he says, holding up a black shirt with childlike drawings on it — much like the customized items he rocks on this picture shoot. “I don’t care about garments, however I additionally love them. That’s fairly Gemini, isn’t it? “Loads of excessive style is about sporting cash,” says the sometime-designer, who based his B-Impolite line in 2005 and modeled for Dior final 12 months. “It’s about saying, ‘Look how costly I’m, I’ve bought this purse!’ I’m not that sort of shopper. I believe that individuals can get fairly judgmental. Particularly in style, the unsuitable earrings can topple an empire.” Feels like a pair he’d need to put on. Photographs: Rankin; Clothes: Boy George’s artwork work was translated into customized seems to be by costume makers in London; Hats: A Little one Of The Jago; Footwear: Alexander McQueen. Share this: https://nypost.com/2018/09/11/boy-george-calls-out-plastic-surgery-fans-who-disfigure-themselves/ The post Boy George has a new album — and a zen take on his crazy life appeared first on My style by Kartia. https://www.kartiavelino.com/2018/09/boy-george-has-a-new-album-and-a-zen-take-on-his-crazy-life.html

[slovenlyrecordings]

A ton of reviews just in courtesy of Terminal Boredom (they still hate 10" records):

ANMLS s/t LP Chilean street punko's who love to shout together - a lot and often. Reminiscent of 80's Spanish language boot-stompers Cicatriz, Eskorbuto and the like, but with added filth-blown guitars that are left tryna' cut through layers of amp cone dust and a seeping to the surface 70's rock cockpunch. The hardcore leanings and gang vocals calm a tad as the sides play on and I'm starting to hear echoes of John Reis riffage in the aptly titled "Instrumental" and the flip's opener, "V'amanos De La Ciudad". Thanks to "Pirata" they practically give you an Oi anthem at the end. Sort of a shock to see Slovenly head in this direction, as I'd expect the band to hook up with Lengua Armada, Sorry State or some other stateside stable of cellar dwellers. Is Ruleta Rusa still active? These cats should team up with them for a US stretch. Either way, I have no real knowledge of international hardcore (outside of Italy), so I'm gonna' shut up now and let you dig in on your own.(RSF)

The Cavemen "Nuke Earth" LP "Nuke Earth" is the third time these sleaze-Zealanders have been found rifling through the rubbage bins of garage shock past to toss a full platter. The best tracks within float to the surface - kinda' like pull tabs or smoke butts floating in the fetid water of a gas station squeegee bucket - and scramble about, attempting to create something along the line of a budget-punker's K-Tel collection. These cavemanish boys crank things off with "Lust For Evil" a tune that's got one boot planted firmly in the Oblivians camp and the other can be found kicking the 'Tards squarely in the gonads. Leather-jacketed riff warriors, hopped up on CPC (get it?!) and unleashing dueling leads and hostile vibes aplenty. "Janey" lightens things a tinge with some boozy balladry and organ rottens the rock during tunes like "Batshit Crazy" and "Concrete Town" in a way that could bring both Lost Sounds lovers, Spits fanatics and tattooed MCD car-show greasers lovingly together for a sock hop. Duster-huffers will rejoice to the dum-dum Dictator clunk of "Chernobyl Baby" and "Thug" which reeling in a meaty Gizmos/Penetrators spew. "Dont Wanna Hang" strips veneers in guitar frazzle and New Bomb Turk velocity. It's like having the Las Vegas Shakedown start up again, right there on your very own turntable! The parts may be aftermarket, but there's gonna' be some paunchy yet pleased turkeys around these forums real soon. (RSF)

ぐうたら狂 Gūtara KYŌ s/t 10” Damn, this here is a firecracker! What lies within these grooves are obliterated Teengener-ized riffs, and demented psycho-wails, all walloping upside the punk velocity of something akin to prime 80's Gauze. "Drive" got a lead that's reminiscent of a garage slop take of an old Soundgarden tune (I'm dead serious!) and it's pokin' out of a deteriorating Stalin bootleg. "Daydream" and "It's Gotta Be You" ride along hardcore gallops, rendered futile due to some of the gnarliest production filth since Tim Kerr was knob twisting. The shining light in all this scree would be the soulful belter "Romance" that kicks off the flip. This gold star doom rocker features strained crooning and a truly putrid solo that's - of course - blown all to snuff. It wouldn't feel outta' place on that 'Tokyo Flashback' sampler at all. Fo' real tho' - this platter could clear the sinuses of the most jaded of High Rise fan. Hell, Gutara Kyo is good enough to make me overlook the fact these songs are pressed up on the lamest of all formats (the dreaded 10") with a goddamn dumb 45 hole. Hey Pete, knock it off! All snark aside, I'd still tell folks to buy this, even if it was only available on floppy disc. Scum Stats: 100 copies pressed up on red and black splatterwax.(RSF)

Hand & Leg s/t LP Greek duo doing their best impersonation of that gluey/Krauty/fuzz-buzzy sound that the French has dominated for the past decade. This co-ed bass and drums act strips their music down to the bleached bone, leaving the sorta' repetitive weed-wacker chops and threadbare beats that Wire fans should froth over. Standout tracks like "Dogshit Country" lighten the low plod load a smidge, letting the high strings shine as if Godheadsilo was taking on a Volt tune. "Bloody Hole" closes us shop in a full two minutes of tone drone and irritated wail before the "song" proper takes flight within a spattered cacophony of pie-plate thwack and chanted vocals. Soothing to one's skull as This Heat. Dig yer feet in the sand, people. Scum Stats: 100 on clear vinyl.(RSF)

Häxxan "The Magnificent Planet Of Alien Vampiro II"" LP Nasally Israeli psych-boogie, for the moderne youth market. The press release mentions playing with Ty and them Fuzz comparisons are pretty on point in these here grooves. They also trot out bratty, childlike pop tantrums that should speak to the Burgerooligans that follow these updates as well. What you mostly get on this is quiet/loud dynamics pushing out a Black Angels/Frijid Pink hybrid. There's quite a bit of local flavor in their guitar pyrotechnics, so world-beat freaks and psych aficionados should perk up. Most of it makes for a fine fried background rock, but nothing is really sticking to my maw. A couple of tracks do stand out - "Circle Of Quantum" and "Snakes In My Hair" - both nearly seared my eyebrows off like the best moments of C.A. Quintet "Trip Thru Hell" with swirling, woozy leads and vocals lost in the arid desert wind. The whole ride is easy to digest and makes for decent afternoon accompaniment, but gotta' say I wanted more like those two aforementioned tracks. Better than the countless Ty & Dwyer clones we've had to weather so far. Better than the King Gizzard knock-offs to come. Let's just be happy today.(RSF)

Νόμος 751 (Nomos 751) s/t LP Electroshok-rockers that clatter along like a Grecian Metal Urbain. Drum machine robot riddims and twisted rockabilly riffs fighting against various space trash splatter and the occasional Spits-take on skate punk. There's a Grande Triple Alliance vibe rippling underneath that's hard to shake as well as more than a couple nods in the early Red Mass direction I use to enjoy (long before that act stank it up with Mac Demarco's hair-footed guest spots). I should ramble more about the tracks involved, but my janky-assed computer's 'bout to crash for yet another twenty minute interval - so I'm just gonna' go pogo about like some metaloid mutant instead. Give 'er a go!(RSF)

Proto Idiot "Leisure Opportunity" LP How the hell did the Hipshakes connection escape me?! Proto Idiot is way less Oblivian and way more Adverts than the 'shakes ever were. This here's a jagged pop-gone-puke to tunes like "Better Way Of Life" and "Angry Vision" - the sorta' stuff Jaytard did solo and that Useless Eater kid slung about. Comparisons to Devoto-era Buzzcocks seems apt, and there's a tad of 'Chairs Missing' up in here too. Honestly, either this is a love letter to the entire UK punker past catalog or I'm just an asshole who thinks so 'cuz of the English accent. Hey - it's the GG King Of The UK! Still, I'm perplexed that I never knew the Hipshakes were related. I'm bad at this game. I'd way rather party with this Proto Idiot than those stuffy shirted Protomartyr's out there. Good Fun. 'Nuff said. Scum Stats: 100 on green vinyl.(RSF)

Subsonics "Flesh Colored Paint" LP In this time of reunions around the corner for every wang-dang-doodle of a band that falls under the Budget Rock blanket, it shocks me to no end that Atlanta's Subsonics have never even given up. I've evidently been in the dark for nearly a decade (Sorry Slovenly/Sorry Subsonics.) as "Flesh Colored Paint" is their eighth full length. The band continues to do what they do best - muggy southern stomp filtered through Marc Bolan flutter and a Cramps-ian cha-cha heel strut. This sorta' glitter shimmer fits snugly nestled in the crotch region, somewhere between American Death Ray, Danny & The Darleans and so on. They've always been in my peripheral and I've witnessed them bring quite a solid live revue in my times, but they've never seemed tough enough to break me during my boozy-fueled heyday. NOW - on the other hand - being older, wiser and actually warming up to the voice of Brian Ferry - this stuff is pretty damn sharp! I'm fully locked down on the track "Begging Hands" here, which proves beyond any doubt that these swingers are as big of fans of Radley Metzger's 'Score' skinflick as I am. Elsewhere they beat on the traps like a Black Time light, less set on grate and more on the grind. "Die A Little", "Cold Cold World" and "In The Black Spot" ride in the Velvet's lil' Reed wagon, possibly playing at the wrong pitch. "I Must Be Poisoned" and "I'm The Most Popular Boy In Town" are cut from the same girl group worship and sequenced catsuit that Kid Congo stitches together with his Pink Monkey Birds. "Permanent Thaw" fires off that Black-Angels-Death violin scrape along its woozy train track clack and tunes like "Why Should Anybody Care At All" feature squirrelly, ragged soloing, as if front-mouth and string-slinger Clay Reed was dry humping his gee-tar on the studio floor (and chances are, he did). A good party platter for the red eyed sect. Now while we're at it, let's wax up them early WorryBird CDs!(RSF)

The Monsieurs "Deux” LP Knowing how much I loved Tunnel Of Love - one of the finest bombastic blowouts to cross my blurred vision in the early aughts - I feel like a lamestain for sleeping on this act for so long. Well, I fixed that over the past few months. Here I am, warming by the fire during this wintry bluster and ingesting another fine Andy MacBain release. Between this stuff and the Andy California EP, he's keeping Slovenly's Gladiators on the garbage rock radar (not that they ever really fell of it in the first place). The opener "Burning Flame" and "I Will Run" are straight up crash/bang shards of garage violence and if you said to me these were lost Tunnel Of Love tracks, I wouldn't argue it one bit. Things chill and take pop-ier turns within tunes like "Suburban Girls" and "At The Hop". Not saying cutesy levels of pop, but there's a definite whaff of catchy albeit retched perfection ala' Nobunny or Ramones girl group grabs. The femmes on deck keep Andy's cock-swingin' machismo at bay, adding great touches of Toody-esque back ups, forceful fuzzed power chords and abusive can bashing. "Get Right Get Ready" is rears a Karp riff and shoves it, clawing smack into the face of some delirious Dollrod slop. That's not a bad place to be - crawling around in a metallic Danny Kroha muck. Wrapping this fast lil' fucker up is "My War", which brings all the above elements to a broil, splattering about like a scorched Love cover turned beat-punk brat psych and going gloriously wrong. A wooly ride. Will ride again. Scum Stats: 100 copies on orange.(RSF)

[lydiakirtoncop2]

Sex positive radical art and feminism in the 70s-80s

Sex positive artists in the global context of the 70s and 80s pushed hard against the sexism and censorship of a patriarchal art world whose oppression meant that many of their careers were in flux. Take Penny Slinger, for example, whose photobook containing sexual iconography was seized and burnt by British customs in the early 70s for being 'too overt'. A similar instance happened to Betty Tompkins at French customs which forced her to stop exhibiting for three decades. Marilyn Minter was even told her Porn Gridpaintings were 'too bad' for a Bad Girls exhibition in the late 80s. Tracing and celebrating the existence of these artists is Frieze London's new themed section Sex Work: Feminist Art & Radical Politics – an exhibit of nine solo presentations from artists working at the extreme edges of feminist practice during the 1970s and 80s, all sharing a focus on explicit sexual iconography combined with radical political agency.

The section draws on the research and work of independent curator Alison Gingeras, and, among others, features Marilyn Minter, Natalia LL, Judith Bernstein, Renate Bertlmann and Mary Beth Edelson. "I was thrilled yet surprised when Frieze approved the idea. I think it certainly reflects a shift in socio-political attitudes in art culture for sure. First of all, feminism is not a monolithic movement. There are many different types of feminism and I think because feminism has been a hot-button subject, there are a lot of debates around gender – so it’s very timely."

Sex Work pays homage to the timelessness of feminist art, reminding us how prevalent issues faced 30 years ago still are today. "For me, this exhibition is very personal and urgent in the sense that I live in a proto-fascist country where we now have a president who can 'grab them by the pussy' and whose daughter can sell books called Women Who Work to use corporatised feminism. I think it’s important to remind people – especially millennial women who have warmed to the whole label of feminism but don't know its history."

Below, we speak with Gingeras about the context, power, and importance of four artists included in the show.

MARILYN MINTER

“Marilyn Minter deserved to be in the show because of her history: she was not embraced when she first started working. For example, she made these Porn Grid paintings and went to exhibit them in a show called Bad Girls but when the curator did a studio visit, she saw the paintings and told Minter that she was too bad for Bad Girls.

While pornography is only one click away now, people are still threatened when its made by a woman. If Richard Phillips were to make that painting, people would think, ‘oh that’s out there’, but a woman as the author of that painting is another story. If you read the reviews from the shows where those works were featured, she was just dismissed with people saying, ‘Oh, this just looks like a Tom Wesselmann’: they didn't even engage with the subject matter – so, it’s still very important. Even the whole feminist discourse against pornography and this puritanical strain of feminism is something that those paintings continue to challenge. And Porn Grid is only a sliver of Minter's output. She just had a huge exhibition at the Brooklyn Museum. I really admire her activism and all of the money she has raised, for example for Planned Parenthood. She has become an incredibly important and unifying figure for all of us.”

NATALIA LL

“Feminism is not a monolith and it was really important for me to include a seminal Eastern European artist, given that our western notions of ‘feminism’ did not operate in the same way in Communist countries. Natalia LL was an essential protagonist in the Neo-Avant Garde in Poland (and Eastern Europe). As co-founder of the PERMAFAO artist-run space in Wrocław, she embodied a feminist agency in the Polish People’s Republic. That said, there were still 'red lines' that could not be crossed within the sometimes more open attitudes toward radical art practices in Poland at the time.

Warsaw based Lokal 30 is showing a series of 'intimate photography' by Natalia in which she used the medium as a 'permanent record' of her life. Natalia’s Intimate Photography (1968-69) became performances-for-the-camera as it documents sexual intercourse between two lovers. The series was censored when it was first shown at PERMAFAO in the early 70s; it also became a manifesto of a new (Polish) feminist sexual agency – something that is still revolutionary in our day.”

RENATE BERTLMANN

“Renate Bertlmann was a part of Austria’s political feminist movement, contributing to key journals and collectives such as AUF, yet she was also shunned by many of her more mainstream feminist colleagues in part because of her use of the phallus in her work, as well as her work on pornography. As the WACK exhibition (at MOCA in the late 1990s) demonstrated, early feminist consensus was that vagina-centric iconography was politically kosher, whereas any work that directly confronted the phallus or representation of penetration was considered too out there, too incorrect, and possibly even reinforcing the patriarchy they supposed to critique.

Bertlmann was censored and ignored for decades for a multitude of reasons. Working in Vienna with the long shadow of the male-dominated Aktionists performance artists of the 60s (a generation before her) and with the legacy of Freud ever looming, she was dismissed a 'phallus addict'. Always deploying humour as well as aesthetic experimentation, Renate’s work deals with a range of sexualities and desires – as well as the politics of gender relations. Her use of pornography as a theme and source material was seen as 'shocking' in its day, but perhaps this has more to do with a still deeply misogynistic culture responding to a woman artist who defiantly asserts the power of sex to her own ends. I think it is reductive to receive Renate or any of these artists in Sex Work as facile provocateurs – it’s their revolutionary agency (and that agency’s deep discursive ramifications) which make them so compelling today.

MARY BETH EDELSON

“Mary Beth Edelson is a founding member of New York's A.I.R. Gallery as well as the Heresies Collective. She’s been a political activist on various feminist and diversity issues her entire adult life – her history with these radical, iconic groups, that have taken the lead in artistic and political struggle. She is a quintessential artist whose history bridges the divide between European and American feminisms of the 70s. It is interesting that she exhibited with several of the European artists in the section like Renate Bertlmann and Birgit Jurgensen in the 70s.

In the 70s, Edelson inhabited the 'goddess' figure as a means to assert and personify feminist agencies within the archetypes of visual culture (both in eastern and western iconology). While she was accused of essentialism by certain (male) critics when she was making this work, I find her retort brilliant and more relevant than ever today: "patriarchy profits from the nature/culture construct because the dichotomy works to keep in place treatment of the sexes as they have been historically polarised with a reimposition of rigid notions of male and female.” The conceptual underpinnings of this series not only speaks to the history of radical feminist discourses, it also prefigures numerous ideas coming from queer theory and the LGBTQIA liberation movements.”

[kartiavelino]

Boy George calls out plastic surgery fans who ‘disfigure’ themselves

Boy George flaunts mermaid make-up and vixen eyebrows, however you’ll by no means catch him with a trout pout. Regardless of his apparent love of artifice, the pop star frowns on overfilled lips and eerily frozen foreheads. “I’m horrified on the approach gorgeous, lovely persons are disfiguring themselves to allow them to seem like another person,” the gregarious 57-year-old Tradition Membership frontman tells Alexa, backstage earlier than a packed live performance exterior Chicago on the band’s world reunion tour. “Once I consider all of the exhausting work I’ve performed to get individuals to be people — and now everyone desires to have this bizarre look that’s simply boring. And sure, I’m making a judgment!” he proclaims, bursting into boisterous laughter. “There was an image of [Lady] Gaga the opposite day actually trying fishy and I made a touch upon Twitter. It wasn’t essentially about her, I simply assume that persons are fascinating due to their defects and their facial character.” As the primary multi-racial band with an brazenly homosexual singer, Tradition Membership has at all times serenaded self-acceptance. Now, because the multi-platinum British band prepares to drop its first album in almost 20 years subsequent month (known as “Life”), that ethos nonetheless resonates. “Our message has at all times been: In case you really feel disenfranchised or left of middle, we’re the one-stop store for that,” says the “Karma Chameleon” and “Do You Actually Need to Damage Me” crooner, whose shiny pink and black stage eye shadow makes him seem like he went just a few rounds with Tyson Fury. “You don’t must be totally different to be fascinating, however there’s nothing improper with being totally different. Being totally different is a present.” Clothes: Boy George’s artwork work was translated into customized appears to be like by costume makers in London; Hats: A Youngster Of The Jago; Sneakers: Alexander McQueenRankin As nonconformist as George has at all times been, he stays true to his sound. “It wasn’t the intention to put in writing a pop document, however I believe we simply can’t assist it,” he says, referring to Tradition Membership’s catchy new tracks, just like the reggae-inflected “Let Any person Love You.” “It’s simply in our nature: We like melodic songs and we would like them to get to the purpose as shortly as potential.” George Alan O’Dowd (as he was born), grew up in southeast London, the third of six kids in a loud, working-class Irish Catholic clan. “I attempted in useless to be like different youngsters,” he writes in “Take It Like A Man,” his dishy 1995 memoir. “I couldn’t cover my female nature.” The self-described “pink sheep of the household” was expelled from college at 15 for truancy. By then, the David Bowie and Marc Bolan fan had bleached his spiky hair white and was decked out in paint-spattered togs strewn with chains, pins and padlocks. Within the early 1980s, George shaped Tradition Membership with Jon Moss (drums), Mikey Craig (bass) and Roy Hay (guitar-keyboards). His proto-punk look advanced right into a freewheeling androgynous model: Cleopatra make-up, pirate garments and ribbon-tied dreadlocks topped with massive, colourful hats. The soul-meets-reggae-plus-funk-and-country band went on to promote greater than 100 million singles and 50 million albums, successful the 1984 Grammy for Greatest New Artist. At its peak, a sighting of the enduring group and its flamboyant diva may trigger a close to riot. ‘There was some extent in my earlier life once I positively felt tremendous trapped by who I used to be. I obtained bored of that, so I modified.’ However inside just a few years, the pressures of fame had taken a toll. Riven by character clashes and the tip of George’s secret love affair with Moss, the band broke up in 1986. As soon as a leisure drug person, the singer grew to become a full-fledged heroin addict. Though he went on to grow to be a profitable solo artist, DJ and co-creator of the West Finish and Broadway musical “Taboo,” by which he had a job, his profession was stymied by a number of arrests, neighborhood service and jail time (for assault and false imprisonment). However on March 2, 2008, he lastly obtained clear. At the moment, he’s a Buddhist who doesn’t eat meat and avoids sugar and strife. “I’m an ideal individual! I stay on macadamia nuts and kale!” jokes the performer, who co-authored the 2001 macrobiotic “Karma Cookbook.” “I eat very clear. I’m at all times experimenting with fasting, and making an attempt one meal a day, extra to see if it impacts my basic equilibrium.” His legendary snark has even subsided. Up to now, the word-slinger shaded Madonna and dissed George Michael. At the moment, he praises Prince. The reformed George is chatty, self-aware, surprisingly cautious to not be catty and virtually — however not fairly — earnest. “Once I was youthful, being bitchy was about defending myself,” he explains. “I’m quippy, moderately than bitchy. If I’m tweeting one thing, I don’t wish to be merciless.” Aware George can also be a lot kinder to himself. Whereas within the ’80s he might need gone clubbing after a live performance or closed down a resort bar, the older and wiser George works out and rests up. He describes his pre-show routine as “gymnasium, hold out, yoga, watch crap TV, watch issues on the Web. Try to see town if it feels applicable.” Clothes: Boy George’s artwork work was translated into customized appears to be like by costume makers in London; Hats: A Youngster Of The Jago; Sneakers: Alexander McQueen.Rankin At house in London, he can hop on the bus or take the tube incognito, which fits him. “As soon as I’ve obtained the glad rags off and a pair of sun shades on, I’m just about not bothered,” says the hit-maker, who is draped in free black layers. “You get the odd individual who will clock you — my voice provides me away and my eyes positively give me away. Typically I believe I must be extra mysterious, nevertheless it’s simply not the highway I’ve taken.” It’s a distinction from the raucous ’80s. “Again then, you had been type of a prisoner of your movie star,” he recollects. “I didn’t like all that screaming and working after you. If any person was a mad, marauding fan, they’d discover a approach of attending to you. There’s slightly extra calmness now. “I’ve sort of been on an actual journey with the entire fame factor,” he provides. “There was some extent in my earlier life once I positively felt tremendous trapped by who I used to be. I obtained bored of that, so I modified. I’m rather more snug with being a figment of different individuals’s creativeness!” Though he’s seen as swaggy, George swears he’s not a slave to luxurious labels. “I’ve been sporting numerous my very own artwork on my garments and portray stuff,” he says, holding up a black shirt with childlike drawings on it — much like the customized items he rocks on this photograph shoot. “I don’t care about garments, however I additionally love them. That’s fairly Gemini, isn’t it? “Lots of excessive style is about sporting cash,” says the sometime-designer, who based his B-Impolite line in 2005 and modeled for Dior final 12 months. “It’s about saying, ‘Look how costly I’m, I’ve obtained this purse!’ I’m not that sort of shopper. I believe that folks can get fairly judgmental. Particularly in style, the improper earrings can topple an empire.” Appears like a pair he’d wish to put on. Photographs: Rankin; Clothes: Boy George’s artwork work was translated into customized appears to be like by costume makers in London; Hats: A Youngster Of The Jago; Sneakers: Alexander McQueen. Share this: https://nypost.com/2018/09/11/boy-george-calls-out-plastic-surgery-fans-who-disfigure-themselves/ The post Boy George calls out plastic surgery fans who ‘disfigure’ themselves appeared first on My style by Kartia. https://www.kartiavelino.com/2018/09/boy-george-calls-out-plastic-surgery-fans-who-disfigure-themselves.html