Thursday, July 30, 2015

Gig #82: Sampler: Buffy Sainte-Marie

'Illuminations, released in 1969, was the sixth album by Buffy Sainte-Marie. Though most of the tracks did away with the backing she had used on her previous two albums, Illuminations had a completely different sound from anything she had previously done. From a basis of vocals and acoustic guitar, Sainte-Marie and producer Maynard Solomon used electronic synthesisers to create a sound that was much more experimental music than folk. Indeed, Illuminations was the first quadrophonic vocal album ever made.' -- ekr

Little Wheel Spin and Spin
'In contrast to her first two albums which were entirely acoustic with occasional use of her distinctive mouthbow, parts of Little Wheel Spin and Spin added electric guitar by Bruce Langhorne and string arrangements by Felix Pappalardi, or feature fellow Native American performer Patrick Sky on guitar with Sainte-Marie. This served to pave the way for Sainte-Marie's stylistic experiments on her remaining Vanguard albums, where she covered territory ranging from country to rock to experimental music.' -- ArtMusic

Now You've Been Gone for a Long Time
'Her previous album Illuminations having sold so poorly as to lose Vanguard a considerable sum of money, the label placed considerable pressure on Sainte-Marie to come up with something that would sell in larger numbers. To this effect, She Used to Wanna Be a Ballerina was recorded with guitar from Ry Cooder and Neil Young and assistance from the latter's backing band Crazy Horse. There was also a change in focus of the material: covers of contemporary songs, which she had almost never recorded before, accounted for five of the eleven songs. Vanguard boss Maynard Solomon, who had produced her first five albums and most of Illuminations, surrendered production duties completely to Neil Young producer Jack Nitzsche, who was later to marry Sainte-Marie.' -- Chronology

He's A Keeper Of The Fire
'On her misunderstood and gradually revered album Illuminations, American composer Peter Schickele provided arrangements to "Mary", "Adam" and "The Angel", whilst the four tracks "Suffer the Little Children", "With You, Honey", "Guess Who I Saw in Paris" and "He's A Keeper of the Fire" were her first work to be not produced by Vanguard boss Maynard Solomon. Instead, they had a stripped-down rock sound and were produced by little known folk-jazz songwriter Mark Roth. Bob Bozina played guitar, John Craviotta drums and percussion and Rick Oxendine played bass.' -- New Weird America

'Buffy Sainte-Marie's It's My Way is one of the most scathing topical folk albums ever made. Sainte-Marie sings in an emotional, vibrato-laden voice of war ("The Universal Soldier," later a hit for Donovan), drugs ("Cod'ine"), sex ("The Incest Song"), and most telling, the mistreatment of Native Americans, of which Sainte-Marie is one ("Now That the Buffalo's Gone"). Even decades later, the album's power is moving and disturbing.' -- Allmusic

Suffer the Little Children
'School bell go "Ding! Dong! Ding!" / The children all line up / They do what they are told / Take a little drink from the liar's cup / Mama don't really care / If what they learn is true / Or if it's only lies / Just get them through the factories / Into production / Ah, get them into line / Late in the afternoon / The children all come home / They mind their manners well / Their little lives are all laid out / Mama don't seem to care / If she may break their hearts / She clips their wings off, they never learn to fly / Poor Mama needs a source of pride / A doctor son she'll have/ No what the cost to manhood or to soul / Sun shine down, brightly shine / Down on all the land / Shine down on the newborn lambs / A butcher's knife is in his hand.' -- BS-M

'After the very modest success of her previous album She Used to Wanna Be a Ballerina, Vanguard again teamed Sainte-Marie with renowned pop session musicians in its effort to improve sales and the amount of money she was making for the label. Although the album itself fared little better commercially than its predecessor, only spending seven weeks on the Billboard Top 200, an extensive promotional campaign by Vanguard and extensive AM radio airplay saw the closing track, a cover of Mickey Newbury's "Mister Can't You See", become Sainte-Marie's sole significant commercial success in the States, spending two weeks in the lower reaches of the Top 40 in late April and early May 1972. However, Sainte-Marie was very upset with Vanguard's extensive promotion of the single and this was one reason why she only recorded one more album for the label before moving to MCA in 1973.' -- Wiki

Now That the Buffalo's Gone
'"Now That the Buffalo's Gone" is the first song from the 1964 album It's My Way! by Canadian First Nations singer-songwriter Buffy Sainte-Marie. The song's title refers to the near-extinction of the American bison and serves as a metaphor for the cultural genocide inflicted by Europeans. A classic folk protest song, "Now That the Buffalo's Gone" has a simple arrangement with guitar and vocals by Sainte-Marie and bass played by Art Davis. The song is a lament that addresses the continuous confiscation of Indian lands. In the song, Sainte-Marie contrasts the treatment of post-war Germany, whose people were allowed to keep their land and their dignity, to that of North American Indians.' -- Biocritics

Guess Who I Saw In Paris
'Buffy Sainte-Marie's album Illuminations is as prophetic a record as the first album by Can or the psychedelic work of John Martin on Solid Air. The songs here, while clearly written, are open form structures that, despite their brevity (the longest cut here is under four minutes), break down the barriers between folk music, rock, pop, European avant-garde music and Native American styles (this is some of the same territory Tim Buckley explores on Lorca and Starsailor). It's not a synthesis in any way, but a completely different mode of travel. This is poetry as musical tapestry and music as mythopoetic sonic landscape; the weirdness on this disc is over-exaggerated in comparison to its poetic beauty. It's gothic in temperament, for that time anyway, but it speaks to issues and affairs of the heart that are only now beginning to be addressed with any sort of constancy.' -- Allmusic

My Country Tis of Thy People You're Dying
'"My Country 'Tis of Thy People You're Dying" is Buffy Sainte-Marie's statement-in-song about Indian affairs. "My point in the song is that the American people haven't been given a fair share at learning the true history of the American Indian. They know neither the state of poverty that the Indians are in now nor how it got to be that way. I try to tell the side of the story that's left out of the history books, that can only be found in the documents, the archives and in the memories of the Indians themselves."' -- BS-M

'Coincidence and Likely Stories was the thirteenth studio album by Buffy Sainte-Marie but her first for sixteen years, during which time she had been raising her son and working on the children's television show Sesame Street. The album itself was largely recorded at Sainte-Marie's home before being sent to producer Chris Birkett for the final production and mixing in London. The album showed her continuing with the electronic music she had first developed on Illuminations and the tribal themes seen on Sweet America, her last pre-retirement album. Although the album received some very favourable reviews and was often seen as her best work since Illuminations, it failed to make any impression in the United States.' -- collaged

The Incest Song
'Word is up to the king's dear daughter / And word is spreading all over the land / That's she's been betrayed by her own dear brother / That he has chosen another fair hand / Many young man had a song of her beauty / And many a grand deed for her had been done / But within her sights she carried the child / Of her father's youngest, fairest son / Tell to me no lies / Tell to me no stories / But saddle my good horse and I'll go and see my own true love / If your words be true ones, then that will mean the end of me.' -- BS-M

The Dream Tree (performed by Owen Pallett)
'On its initial release, Sainte-Marie's Illuminations was an utter disaster commercially, failing to get anywhere near the Billboard Top 200 and being deleted and largely disowned by Sainte-Marie within a few years. However, in more recent times Illuminations has acquired a fan base quite distinct from that associated with any of Sainte-Marie's other albums. In addition to being cited as a favourite album by a number of famous musicians, a number of critics have seen its twisted, eerie soundscapes as laying the grounds for the evolution of gothic music as well as having an influence on New Weird America. In 2000, just before Vanguard re-issued it on CD, The Wire magazine listed Illuminations amongst its 100 Albums that Set the World on Fire While No-One was Listening.' -- collaged

Universal Soldier
'Buffy Sainte-Marie wrote "Universal Soldier" in 1962, a time when people fretted over missile gaps, Khrushchev and the H-bomb. Vietnam was still a couple of years off the American radar. She had been writing songs in college while studying Oriental philosophy. She hadn’t considered music a career. She wanted to be a teacher, a vocation still close to her heart. At the time, she wrote songs without thinking anyone would hear them. Then she got the record deal. Universal Soldier was released in 1964. It wasn’t long before the song became the anthem of the anti-war movement, despite the fact it was pretty much banned on U.S. radio. “It’s about the personal responsibility of all of us, ” she says of the song which is now in the Canadian Songwriting Hall of Fame. “Because we can’t blame just the soldier for the war, or just the career military officer, or just the politician. We have to blame ourselves too since we are living in an era where we actually elect our politicians.”' --

God Is Alive, Magic Is Afoot
'The greatest Canadian song, well I mean, I think the greatest song period of all time, is "God is Alive, Magic is Afoot" by Buffy Sainte-Marie and Leonard Cohen as it appears on Buffy’s album, Illuminations, and anyone who says otherwise is mistaken. It’s the best song that’s ever written. It’s kind of like a mission statement from Cohen himself, just underlining his sort of three sides: his Jewish upbringing and his, you know, Buddhist inclinations as an adult, and his sort-of Christian monoculture that kind of binds him all together with Buffy’s own sort of Cree history in this kind of ecstasy in which she performs it, the mantra-like qualities it takes on and added to that is just the innovation of the tape-loop effects — actually I’m not sure if it’s the tape loop or if it’s a Buchla but maybe it’s a combination of both. It’s technically innovative, it fits into both of their oeuvres, so it’s the summit of the mountain. Yeah, there’s really no song that touches that song that I’ve ever come across.' -- Owen Pallett


p.s. Hey. ** Bernard Welt, B-ster. I can't guarantee this is the real me, and, besides, 'real' ... wha?! Well, that is all very interesting. I don't know that Robin Williams film. Should I correct that? I think the only movie I've liked him in was 'Secret Agent'. Maybe. Don't hold me to that. I think we will be hunting for perfect pastries in a mere couple of hours, so I suppose I will save everything else I can of to say until then apart from saying, yes, you did blow my mind. Because that's easier for me to admit in print than vocally. ** David Ehrenstein, If you were speaking in part to me, I do know that Straub film, yes. Excellent film. ** H., Hi. Lovely reaction to Ben's post, thank you! I'm glad that you're glad you invested your time in the new Ashbery book. He released a new poem, I think onto the internet/social media, a couple of days ago on his 88th birthday, and it's a beauty. ** Steevee, Hi. Look forward to improving myself a little via your new interview. Everyone, Here's Steevee's interview with Stevan Riley, the director of a new documentary on Marlon Brando, and it's on the site of the excellent magazine Filmmaker to boot. Man, you should really invest in an external hard drive and back up your stuff regularly. It would save you a lot of stressing out about that. ** Kier, Hi, Kier! Hi, buddy boy! Yay (said at the top of my lungs in a volcanic voice)! About the new apartment! Wow, so do you move in on the first of the month, meaning in two days? Oh, wait, you said beginning of next week, so, yeah, soon enough. That's exciting! Give us a new house tour when you're in the house! Please? I'm glad your work is good with and without electrical fences. Yeah, you did say you're going to see Iceage! If you talk to them, say hi to Elias for me. Things are good here, the usual very busy. I think we finished the new film script, and we're going to show it to some trusted people now for reactions. Doing early grunt work promo blah stuff re: our film's premiere, which I've been ordered not to talk about until it's official. Starting on the script for Gisele's puppet TV show that Zac and I are writing. Other stuff. Things are good. Well, we should definitely eat Indian food together, of course! Mater paneer is amazing. The two main ingredients are mater (peas) and (paneer) Indian cheese. It's all thick soupy and spicy and orange colored. Here's a picture. You eat it with rice on the side and, in my case, cheese naan, which is, as you can imagine, seriously yum. When you visit Paris, Zac and I will take you to our favorite vegetarian Indian restaurant, and we will feast ourselves sick, or at least faux-sick. Hugs galore! ** _Black_Acrylic, Thank you so, so much again, Ben! It was supreme. And thank you even more than ever so much for the Belgian New Beat Day (!) which I will set up very soon and then let you know the launch date of. You're the best, Ben!  ** Thomas Moronic, Morning, T. Have you gotten that new charger yet? Wait, it's 9 am. Soon? Almost? Yep, agreed about sci-fi fantasy, although I don't mind it and even am kind of drawn to that stuff sometimes in movies for some reason. Hm.  ** Chris Dankland, Hi, Chris. Loved the book reviews. I noted and will soon be all over the books there that I didn't know and/or haven't read yet. Zachary G. is rather private about stuff, yeah, so who knows? I was reading stuff about that new Drake thing yesterday. I don't think I've ever even heard Drake, which is pretty weird, I guess. Maybe it's his name. The name seems so wholesome or something. My day yesterday wasn't bad. Work, a bit of a coffee and walk, more work, not bad. How was yours, man? ** Misanthrope, 'Americans don't like soccer': generalizing much, ha ha? Maybe you're right, in the grand scheme of things, but everybody I know in the States other than you who's into sports at all is mostly only into soccer. And a bit of basketball. And a little baseball. Well, or I at least manage to fake knowing when you're joking. But, no, I think I do know. In person, it's easy 'cos you put on your 'joke' face when you joke. You do. It's subtle, but it's there like the light in a lighthouse. ** James, Awesome about your excellent cover! I'm excited to see it! I am excited for the film's premiere, but there's a bunch of shit-work we have to do now to get ready for that vis-à-vis promo materials and blah, but so it goes. ** Cal Graves, Hi, Cal. Yeah, sure, that makes sense totally. I don't know why my imagination isn't very tweaked by sci-fi lit. It's weird. I was quite into Cyberpunk, or the best of those books, back when it was happening, though. The literary canon makers are boring and anal in the bad way and as conservative as the bad justices on the Supreme Court. Their imaginations suck. They will die lonely and forgotten, ha ha. Way yum Indian food there. I want some. But today will be all about hunting down scrumptious French pasties with and for visiting pal/d.l. Bernard Welt. I have an itinerary. I-bought-this-really-cool-and-ugly-cigarette-lighter-yesterday-that-looks-like-it's-covered-in-snake-skin-but-isn't-ly, Dennis. ** Okay. Today I am devoting a gig post to the very, very, very great Buffy Sainte-Marie whose work seems to be really weirdly undervalued these days for reasons that I simply can not understand. Anyway, I hope you enjoy. See you tomorrow.

Wednesday, July 29, 2015

_Black_Acrylic presents ... Martin Kippenberger - The Happy End of Franz Kafka’s ‘Amerika’ Day

Since I first saw his work back in my student days, the German artist Martin Kippenberger has been a big influence on me. I was always sympathetic enough to his fabled ‘bad boy’ persona but the art itself has a specific tone, a brand of humour that I find key, and as a student poring over his oeuvre in the art school library I felt I’d found a kindred spirit. In 2006, a couple of years after graduating, I took the train down to London with my Mum to see the Kippenberger retrospective at Tate Modern. That show included his magnum opus, the 1994 installation The Happy End of Franz Kafka’s ‘Amerika’, which is an overwhelming, dizzying experience. I hope this Day can manage to give a sense of it.

Martin Kippenberger (25 February 1953 – 7 March 1997) was a German artist known for his extremely prolific output in a wide range of styles and media, superfiction as well as his provocative, jocular and hard-drinking public persona.

The Happy End of Franz Kafka’s ‘Amerika’ (1994) explores the fictional utopia of universal employment, adapting Kafka’s idea of communal job interviews into an artwork. The installation consists of a diverse assortment of objects and furniture, assembled to suggest a playing field for conducting mass interviews. There are over 40 tables and twice as many chairs, from classics of twentieth-century design, such as chairs by Arne Jacobsen and Charles Eames, to worn-out tables bought in flea markets, remnants of previous Kippenberger exhibitions, and even work by other artists.

Based on Kafka's novel 'Amerika', Kippenberger re-imagines the final scene of the unfinished book and suggests an alternative ending. At this point in the story the lead protagonist Karl Rossmann (after traveling across America) applies for a job at 'the biggest theater in the world' where 'every one is welcome' and 'whoever wants to become an artist should sign up!' Claiming that he also never finished reading the book, Kippenberger approaches the unfinished condition of the novel as an open possibility for an uncharacteristically 'happy ending’.

The wide variety of tables and chairs present an abundance of possible meanings and outcomes for Karl Rossmanns interview at the theater, whilst suggesting a range of personalities and psychological types. Although an installation, the work becomes a comment on the importance of communication, relationships and dialogues. Fundamentally the social processes involved in an artistic practice.
Jack Brindley

Kippenberger wanted to supply a happy ending to Franz Kafka's unfinished novel, Amerika. The Kippenberger solution took the form of a sprawling installation, which provides the high point of the Tate Modern retrospective. An arrangement of about 50 chairs and tables stands on a green mat imprinted with the lines of a football pitch. The assorted furniture - including 20th-century design classics, chairs and tables "adapted" by other artists as well as refashioned by Kippenberger himself - is arranged as though for interviews. In Kafka's novel, the protagonist applies for a job advertised at "the biggest theatre in the world". "Whoever wants to become an artist should sign up," the advert invites.

Kippenberger's desks and chairs are implausible, uncomfortable settings, each a sculptural tableau in its own right. There are Eames chairs and Jacobsens, a table set with jars of body parts (on which filmed talking heads by artist Tony Ousler are projected), chairs set with African carvings, desks with Kippenberger's own paintings stashed underneath, a metal table rimed in thick paint and gloopy silicon. Standing amid it all are rickety, concentration-camp-style watchtowers and a lifeguard's tower. Unfortunately, viewers won't be able to wander within the installation, but will have to be content to observe from the stadium bleachers at either side, like spectators at the big game.

Most alarming of all are the motorised ejector seats that whir perilously around a circular track, in orbit of a gigantic model of a fried egg. It is all, of course, a model of the art world, but it looks like a torture garden. I imagine Nicholas Serota and Tate Modern director Vicente Todoli strapped in, being whirled around at unimaginable G-forces. I think Kippi would have liked that. It would have made a Happy End.
Adrian Searle

Kippenberger and the MOMA show make the best cases for themselves with “The Happy End of Franz Kafka’s ‘Amerika’ ” (1994), a vast installation in the museum’s atrium. The work represents the recruitment center for the Nature Theatre of Oklahoma, where Kafka’s immigrant hero applies for work, as a warren of office furniture and bizarre objects on an abbreviated soccer field. There are thrift-store and classic modern chairs (an Eames, a Gehry), similarly miscellaneous lamps, concentration-camp and lifeguard watchtowers, and a carrousel of two cockpit ejector seats around a sculpture of a fried egg. Bleachers are provided from which we may gaze our fill at nothing happening. It makes stirring sense for Kippenberger, a paladin of uncalled-for gestures, to identify with the disconcertingly upbeat “Amerika,” so at odds with Kafka’s signature tales of dread. I can think of few other artists so richly deserved by their times. For that very reason, whenever I go to contemplate a contemporary art work for pleasure, it will not be a Kippenberger.
Peter Schjeldahl

At the centre of gravity of Kippenberger’s oeuvre is the installation organized around a closed book, ‘The Happy Ending of Franz Kafka’s Amerika’ (1994). Notoriously, Kippenberger never finished his reading of Kafka’s novel, but relied on a colleague’s account of the closing chapter. In some ways, this is entirely appropriate, since Kafka did not finish his work on the text, and in any case, he had not visited the settings he described, fabricating an America of the imagination based on received ideas of the United States. The vast array of chairs and tables that predominate in the installation recalls the scenario in Kafka’s immense ‘Nature Theatre of Oklahoma’, where the offer of total employment involves a series of humiliating job interviews. Kippenberger’s simulation of a received version of Kafka is inflected by the recent history of the movement of labour and the ubiquity of immigration centres, all organized ultimately around the interview situation. If the twentieth century starts with Manhattan as the location for the imagined opportunities of economic migration, it ends with the cross-border traffic of Kippenberger’s Europe, in which one interview leads to another in a process that involves the re-making of the self as a permanent condition. Whether this condition has the potential for reanimation or diminution is clearly an open question: the ‘happy ending’ has not yet been written.

Postmodern desire is for received ideas of the desirable, relayed mechanically by a culture industry whose keenest observer and most tenacious parasite was the incorrigible Martin Kippenberger.
Rod Mengham

Although most of Kippenberger’s oeuvre tends toward the creation of a vast, interconnected artwork, The Happy End of Franz Kafka’s ‘Amerika’, 1994 is unique in that it might be considered his masterwork and the culmination of his achievement. Based on Kafka’s novel Amerika, the installation re-imagines a section of the book when the protagonist Karl Rossmann, having travelled across America, applies for a job at the ‘biggest theatre in the world’. ‘Everybody is welcome!’ proclaims the call for employment, ‘Whoever wants to become an artist should sign up!’. Kafka never completed the novel, which he abandoned writing over ten years before it was posthumously published in 1927, and Kippenberger claimed that he never finished reading it, hearing the story second-hand from a friend. The unfinished condition of the book leaves open the possibility, unusual in Kafka’s fiction, for a ‘happy ending’.

The Happy End of Franz Kafka’s ‘Amerika’ explores the fictional utopia of universal employment, adapting Kafka’s idea of communal job interviews into an artwork. Kippenberger described the situation depicted in his installation as ‘a circus in town, looking to employ reliable hands, helpers, doers, self-confident handlers and the like. Outside the circus tent, in my imagination, there would be tables and chairs set up for job interviews’. The installation consists of a diverse assortment of objects and furniture, assembled to suggest a playing field for conducting mass interviews. There are over 40 tables and twice as many chairs, from classics of twentieth-century design, such as chairs by Arne Jacobsen and Charles Eames, to worn-out tables bought in flea markets, remnants of previous Kippenberger exhibitions, and even work by other artists.

The Happy End of Franz Kafka’s ‘Amerika’ is Kippenberger’s most complex work, presenting the viewer with an overabundance of possible meanings. At one level, the installation refers to the competition between artists and constant judgements within the art community. Yet the variety of furniture also suggests a range of personalities and psychological types, and the interview format reflects the artist’s belief in the fundamental importance of relationships and dialogues.
Jessica Morgan

In Martin Kippenberger’s epic installation The Happy End of Franz Kafka’s ‘Amerika’ (1994) a roomful of unmatched desks and chairs are arranged on a green sports ground, with bleachers on each end. The piece takes its title from Kafka’s unfinished last novel from 1927, which ends with its protagonist applying for work at the Nature Theatre of Oklahoma after reading an advertisement stating: ‘Whoever wants to be an artist should sign up’. Kippenberger’s installation was an effort to complete Kafka’s work without fixing it to a single narrative; each desk represents a job interview, to be carried out by Kippenberger and his colleagues, collected and published. The Happy End… is a concept, but it also signifies a performance, of every job applicant and every artist, and the capacity to reinvent the same subject with each performance.

Although viewers were kept off the actual ‘Amerika’ installation, the bleachers allowed access to the imaginary interviews. From a distance the absurdity of the process, and of those repressive cultural conventions that engender it, begins to focus. From the laughter of the condemned comes, always, the funniest joke.
Natalie Hatted

Kippenberger's late masterpiece The Happy End of Kafka's Amerika takes the modern working world as its subject. In the unfinished Franz Kafka novel Amerika (or The Man Who Disappeared) the protagonist is looking for work. The poster that leads him to an absurdist interview taking place on a grand scale reads, "At the racecourse in Clayton, today from 6 a.m. till midnight, personnel is being hired for the Theatre in Oklahoma! The great Theatre of Oklahoma is calling you! It's calling you today only! If you miss this opportunity, there will never be another! Anyone thinking of his future, your place is with us! All welcome! Anyone who wants to be an artist, step forward! We are the theatre that has a place for everyone, everyone in his place! If you decide to join us, we congratulate you here and now! But hurry, be sure not to miss the midnight deadline! We shut down at midnight, never to reopen! Accursed be anyone who doesn't believe us! Clayton here we come!"

In Kafka's work interviewers evaluate interviewees in an expansive environment. We know that the questions do not regard whether the potential worker has pursued a work which will clear a space for play which will lead to freedom. We know the questions are of the kind determining whether the potential worker will be of the sort that will suit the needs of the interviewer. Kafka's protagonist makes the claim of being an engineer just to get the process over with. So here Kippenberger creates a sculpture that presents a seemingly endless array of interview tables and chairs--not at a racecourse but on a soccer pitch--and this diversity, a wild diversity shared by all the work's constituting elements, is itself a demonstration of play, a demonstration of freedom, which takes as its subject not enforced servitude but voluntary servitude. Some freedom is not only work but revolt.

To make the association of work with servitude or bondage clear, Kippenberger has placed on the edge of the sports field observation towers of the kind one would find in a prison or concentration camp. The towers emphasize that there is a direct relationship between the enforced servitude of the concentration camp and the voluntary servitude of the workplace. Work will not set you free if it is not your work.

Not only do the disparate designs for the chairs and tables (some found junk, some design classics, some hand made, some made by other artists--Tony Oursler and Jason Rhoades included) suggest a subversion of the standardized interview process so does the very design of the field. The use of the sports field as the ground for the sculpture emphasizes that there are rules to the game of servitude and Kippenberger's work insists on directing our attention to the absurd rules of the interview process in Kafka's Amerika. The goal areas are not laid out in the proper places for a standard soccer field. The should be across from one another at each end of the longest part of the field. Instead they are across from one another at what would be the midpoint of the field so that they are as close together as they could be. This negation of the design becomes revolt. The revolt itself, as discussed, is the result of play.

Goldstein says, "Kippenberger embraced failure as a generative strategy." Looking at The Happy End of Kafka's Amerika this failure can be reevaluated.
Erik Bakke


p.s. Hey. Today the honorable artist of view and sound Ben Robinson who also just happens to be the no less honorable d.l. _Black_Acrylic would like to fasten your interest and attention span to this major work by the always fascinating, late and much missed visual artist Martin Kippenberger, and it seems to me that he has done a stellar job with no small amount of help from Kippenberger's talent, naturally. Why don't you get to know what's up there through _B_A's finessing lens and then tell _B_A what happened to the inside of your head when you did that? Thank you. Thank you ever so much, Ben! ** David Ehrenstein, That is indeed a fine film. As you can imagine, I went out of my way to keep JT Leroy out of that hoaxes post for the obvious reasons, but yes, indeed. ** Bacteriaburger, Wow, hey there Natty! Really great to see you, man! How are you? ** Douglas Payne, Hi. The Sandy Hook truthers are definitely among the weirdest of the weirdly believing folks out there. I imagine the psychology-inclined would have quite the field day with their internal lives. I wrote you this morning. We seem to be in the final stages of nailing it down. Yes! Hm, if I were to pick a favorite Almodovar film off the top of my head, it seems that, having now briefly scoured my memory, I would end up making the kind of non-idiosyncratic choice of 'All About My Mother'. That's interesting -- a friend in Paris just urged me to watch Polanski's 'Venus in Furs' not two days ago. Will do asap. Thanks! No, I'm behind on current movies right now other than things I've watched online in relation to making posts about filmmakers here. Like I said, 'Jurassic World' was garbage. I want to see the new Noe, 'Love', but everyone I know says it's not good. You? ** Thomas Moronic, Hi, T. Great thoughts on hoaxes. Yeah, a great hoax creates a really exciting and kind of ideal collaborative relationship with the susceptible. You know how interesting that is for me. Thinking of my novel as immaterial triggers in the form of a material objects is really big in my stuff. I think a really good hoax is like a cross between an art form and dissertation maybe. I like when they use 'the facts' to create their whirlpool. The obvious and classic example of a great hoax for me was the 'Paul is dead' hoax, so intricate and persuasively using the same real material used to create the 'Paul is alive' 'truth'. The David Icke-style ones don't interest me much -- the ones that rely on the Illuminati and the paranormal and shape-shifting and stuff, but I've never been a huge fan of science fiction. I like the ones that persuasively make you go, like, 'Oh, shit, I think that ashtray is actually a diamond mine!' Awesome about the great reaction to your novel! Sweet! Dude, if RS doesn't want it, or even if they do, there are plenty of other options out there. ** Cal Graves, Hi, Cal. I'm good, thank you very much. Funny you ask about the film because just last night we received confirmation that our film will have its world premiere at a really good festival here in Paris in early September. As soon as the details are worked out, we'll make a formal announcement and release the teaser trailer and stuff. So, yeah, we're happy. If memory serves, the Kosinski novel I liked the best is one that doesn't get mentioned that much: 'Cockpit'. I think I'll have that zoo under my belt by, at the very latest, a week from now. Indian food, yum. My fave is Matar Paneer? Oh, with Cheese Naan on the side. What's yours? I-guess-a-failed-experiment-is-better-than-resting-on-one's-laurels-ly, Dennis. ** _Black_Acrylic, Hi, Ben. Ha ha. Thank you again and again for the great post today. I am bowing to you and high-fiving you and shaking your hand and giving you the Turner Prize all at the same time. I'll go read that story you linked to. Thanks. Thank you, thank you about the impending Belgian New Beat Day! In addition to all of the above, I'm also drooling. Sorry about the drool part, ha ha. ** Steevee, Hi. Oh, wow, that Leary/CIA thing really doesn't seem plausible at all. As far as I know, it's the 'lesbian' thing that was the hoax part. Good morning to you, sir. ** Michael_karo, Thanks, pal! That's completely out to lunch about the current day flat earth believers, and it's really beautiful too. What a curious head space to use as an escape from the mindfuck of post-tech reality. Government conspiracy believers are so boring. Those theories are like the hoax equivalent of plagiarism or something. ** Bill, Hi. Thanks, man. Yeah, the East German krautrock tapes and the fake electronic music composer thing were my favorites, push comes to shove. Music seems like a really good place in which to base a hoax. Music just inherently creates a smokescreen element or something. I remember 'Fake'. I think I might even have gone to it once, or I might be thinking of one of Steve's other ventures. That guy was/is amazing. Oh, that's interesting about the 'rigid,' explicit' structure. Huh. I'm not sure I understand how that problem raised its head in the piece, but, if you redo it and end up uploading it, maybe that'll solve the mystery. Good luck getting it as perfect as you want by Saturday. ** Misanthrope, If only, right? Yeah, I've read a little about the Hulk controversy thing. I don't know. I'm waiting to see how it coagulates. ** James, Hi. I am familiar with the Hughes bio hoax. I almost included it. It's funny or something because I thought, that one's too obvious, but now that you bring it up, I realize that no one under the age of whatever has any idea about it.  Oops! Thank you! ** Okay. Be with Ben and Martin until further notice, thank you. See you tomorrow.

Tuesday, July 28, 2015


In the 1970s and early ’80s, the East German Olympic program employed the electronic composer Martin Zeichnete to create workout soundtracks for the GDR’s teams — shimmering, motorik pulse-music that, in combination with a top-secret doping program, would aid the athletes in their goal to become the ultimate Menschen-Maschinen. Now, Edinburgh’s Unknown Capability Recordings has collected some of Zeichnete’s work as Kosmischer Läufer: Cosmic Music of the East German Olympic Program 1972-83. In an interview published in Slow Travel Berlin, Zeichnete discusses how he was influenced by West German artists like Kraftwerk, Cluster, and Neu!; he discovered the music — banned in the GDR — by listening to Düsseldorf radio broadcasts he managed to pick up in his native Dresden. As an amateur runner, he had the idea that hypnotic, repetitive music might help athletes focus. When, in 1972, the German-Brazilian inventor Andreas Pavel introduced the Stereobelt, a predecessor of the Walkman, Zeichnete knew how to make his dream a reality. Strangely, a Google search for “Martin Zeichnete” only turns up links related to the compilation; a Google search for German-language documents returns no results at all. (Indeed, “Zeichnete” — which is also the third-person preterite of “to draw” — doesn’t appear to be a common German surname, although “Drew” does happen to be the name of one of the label’s founders.) The interview published in Slow Travel Berlin turns out to have been published on by Unknown Capability Recordings, the label responsible for the anthology, back in February. Neither interview includes photographs of Zeichnete, and he doesn’t appear in a series of promotional videos for the release. And the more you listen to the music, the more it begins to sound both too pristine, given the tapes’ alleged age, and too stylistically perfect in its aping of Neu! and Kraftwerk.

Very strange and bizarre footage which purports to show a weird stick-insect type creature, crawling down some buildings in Russia.

A girl who was reported to have died after being hit in the head with a shovel is still alive - despite a hoax death article being posted on the internet. Last week, a video of a girl getting hit in the head with a metal shovel generated a whopping 500,000 views in the first two days of being uploaded online. Rumours circulated on the internet soon after that the teenage girl suffered serious head injuries and dropped dead while she was watching the movie Mean Girls at home. The clip shows two girls called Miranda and Emily fist fighting over Emily's boyfriend, who threatens her rival with an air soft gun which shoots plastic BBs. Instead, when Miranda charges at her, Emily picks up a metal spade and throws it at her with full force. It hits Miranda in the back of the head, who then falls on the kerb, cracking the side of her skull on the road which leaves her unable to hear out of her right ear.

Wrestling is fake

Cast your mind back to 2003 and you'll remember two Russian pop stars who dressed in school uniforms, sung about being lesbians and snogged on stage a lot. Yes, we are talking about t.A.T.u. and their Number 1 single "All The Things She Said". Speaking on Russian TV, one half of the duo, Yulia Volkova, said that she would not accept her son as gay, because men are made to have sex with women and make babies and anyone who doesn't is wrong. "Yes, I would condemn him" she said, "because I believe that a real man must be a real man. God created man for procreation, it is the nature. The man for me is the support, the strength of... I won't accept a gay son." But before you get on your high horse and say that fake lesbian Yulia doesn't like gay people, she also says being homosexual is still "a little better than" killing people. "I just want my son to be a real man, not a fag," she said. "I believe that being gay is all still better than murderers, thieves or drug addicts. If you choose out of all this, being gay a little better than the rest."


In 2009, a strange Facebook account appeared out of nowhere and friended people en-masse. The name on the account was Junko Junsui, and she had a message for anyone willing to listen. Thus began a strange mystery that would continue for years to come, as countless people across the internet became enamored of Junsui, her story, and the shadowy organizations she claimed were hiding in plain sight. Some people actually accepted the seemingly random request, and, upon investigating further, found that Junko was not just a friendly Russian beauty, as her profile initially made it seem. Rather, she appeared to be a part of a weird alternate reality game involving a terrorist group called ‘The Junsui,’ Russia, and private military companies—all of which were warring with one another across the internet. Many found untangling Junko Junsui’s web to be a thrill, which makes sense: the confusing premise seemed as if it was lifted straight out of a Metal Gear Solid plot. Shadowy organizations, corrupt governments, overzealous groups defined by genetic modification, a huge conspiracy: Junko Junsui delivered on all fronts. But more than that, people found the entire thing disturbing, too. One of the most notable early clues in the ARG led players to discover video clips of a woman trapped inside of a room. If there was a “puppet master” behind it all, that person seemed particularly antagonistic toward people who participated. Junko Junsui is said to have became irate in her Facebook posts whenever people posted her communications on forums, sometimes allegedly outing anonymous participants who believed they were just playing a game. In the end, there was no grand conspiracy. There were no terrorist groups, and no shadowy government organizations. There was only a slick game that got out of hand, and players that desperately wanted to believe in something.

This photo, taken by Jim Templeton, shows his daughter sitting in a marsh in the north of the UK. However, what makes this photo interesting is the fact that Templeton claims there was no one standing behind his daughter when he took the picture. It is clear to see that in the photo, which Kodak have examined and confirmed has not been tampered with, there is a figure which seems to resemble a ‘spaceman’ in full astronaut clothing. This has lead to many ‘believers’ claiming that Solway Firth, the location the picture was taken, could be an area of ”space-time displacement” that allows ‘non-Earthlings’ to be seen and captured on film. The most likely explanation is that photographer’s wife is stood in the background, with her back towards the camera and her blue dress appearing white due to overexposure.

In 1770, an astonishing robot was unveiled that possessed the artificial intelligence needed to defeat any human players in a game of chess. Nicknamed “The Turk,” this animatronic chess champion was created by Wolfgang von Kempelen, and it toured Europe and America until it was destroyed in a fire in 1854. That’s when it was revealed it wasn’t a robot at all, but an elaborate hoax, with a human chess master hiding inside The Turk all along.

Irena Kolokov was caught off guard when she turned up to meet her boyfriend, Alexey Bykov, 30, but found what appeared to be a horrific car accident when she arrived. "We'd arranged to meet at a certain place, but when I arrived there were mangled cars everywhere, ambulances, smoke, and carnage," Kolokov told Orange News. "When I saw Alexey covered in blood lying in the road, a paramedic told me he was dead, and I just broke down in tears." His face covered in fake blood and his head wrapped in gauze, Bykov staggered up to his love, who was so distraught that when her boyfriend approached her she shoved him off while crying uncontrollably. "I wanted her to realize how empty her life would be without me and how life would have no meaning without me. I think it worked," he said.

This is a Moon Melon, scientifically known as asidus. This fruit grows in some parts of Japan and it’s know for its weird blue color. What you probably don’t know about this fruit is that it can switch flavors after you eat it. Everything sour will taste sweet, and everything salty will taste bitter, and it gives water a strong orange-like taste. This fruit is very expensive. It costs about 16000 JPY (which is about 200 dollars).

Naked Came the Stranger is a 1969 novel written as a literary hoax poking fun at contemporary American culture. Though credited to "Penelope Ashe", it was in fact written by a group of twenty-four journalists led by Newsday columnist Mike McGrady. McGrady's intention was to write a deliberately terrible book with a lot of sex, to illustrate the point that popular American literary culture had become mindlessly vulgar. The group wrote the book as a deliberately inconsistent and mediocre hodge-podge, with each chapter written by a different author. The book was submitted for publication under the pseudonym "Penelope Ashe" (portrayed by McGrady's sister-in-law for photographs and meetings with publishers). The publisher, Lyle Stuart, was an independent publisher then known for controversial books, many with sexual content. According to Stuart, he appropriated the cover photo (a kneeling nude woman with very long hair down her back, photographed from behind) from a Hungarian nudist magazine. By the end of the year, the book had spent 13 weeks on the New York Times Best-Seller List. As of May 2012, the book's publisher reported the book had sold 400,000 copies.

A 1931 photo in the Berliner Illustrirte Zeitung showing the US Navy airship "Los Angeles," blown by a gust of wind, lifting a ship into the air.

Erik Nordenankar's self-portrait – which straddles the entire globe – was allegedly created by tracing the route taken by the specially-primed case on its 55-day journey around the world. The artist claimed he gave the case to DHL, the package delivery firm, with exact co-ordinates detailing the stages of its tour. When the package was returned to Stockholm he claimed he downloaded the GPS's route memory to produce the enormous drawing above. It is composed of a single 110,00km-long line that passes through six continents and 62 countries. But after bloggers pointed out holes in Nordenankar's claim, DHL confirmed to the Telegraph that the artwork was an "entirely fictional project".

Michael Jackson is alive

Memorial Strangeness

Michael Jackson This is it backwards

Michael Jackson is alive proof not fake not scary

Michael Jackson Death Hoax - LaToya's best slip ups


In June of 1972, a woman appeared in Cedar Sinai hospital in nothing but a white, blood-covered gown. Now this, in itself, should not be too surprising as people often have accidents nearby and come to the nearest hospital for medical attention, but there were two things that caused people who saw her to vomit and flee in terror.The first being that she wasn’t exactly human. she resembled something close to a mannequin, but had the dexterity and fluidity of a normal human being. Her face, was as flawless as a mannequins, devoid of eyebrows and smeared in make-up. From the moment she stepped through the entrance to when she was taken to a hospital room and cleaned up before being prepped for sedation, she was completely calm, expressionless and motionless. The doctors thought it best to restrain her until the authorities could arrive and she did not protest. They were unable to get any kind of response from her and most staff members felt too uncomfortable to look directly at her for more than a few seconds. But the second the staff tried to sedate her, she fought back with extreme force. Two members of staff had to hold her down as her body rose up on the bed with that same, blank expression. She eventually fought herself free, causing serious injuries to the staff members, then walked out of the hospital. There was never a sighting of her again.

A living Wooly Mammoth shot by a German camera man in 1943 while being transported to Siberia.

It seems almost incredible that Ursula Bogner’s musical talents should have remained undiscovered until now. Yet in view of her biography, this might have been just as inevitable. It was on a flight to Vilnius that I met Sebastian Bogner, Ursula’s son, who told me he was on a business trip for a pharmaceutical company. The usual small talk soon led to the topic of his mother Ursula, who also ‘liked to play around with synthesizers’, albeit purely on an amateur level and in a dedicated music room fitted especially for this purpose in the parental home. In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, we only found individual tracks of pieces recorded on a four-track-recorder – in these cases, I had to recombine the separate tracks to recreate the original piece. Unfortunately, I could not involve Ursula Bogner in the mixing process as she passed away in 1994. Invoking the original’s authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD/LP are such ‘reworkings’. All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even ‘poppy’ side. Naturally, my own preference played a part in the selection process. All my personal favourites made it on the CD/LP, and whenever I listen to this collection, I invariably succumb to the titles’ light-hearted nonchalance. This might leave many hours of undiscovered gems, but a further compilation is already in the works.


Donald Charles Alfred Crowhurst (1932–1969) was a British businessman and amateur sailor who died while competing in the Sunday Times Golden Globe Race, a single-handed, round-the-world yacht race. Crowhurst had entered the race in hopes of winning a cash prize from The Sunday Times to aid his failing business. Instead, he encountered difficulty early in the voyage, and secretly abandoned the race while reporting false positions, in an attempt to appear to complete a circumnavigation without actually circling the world. Evidence found after his disappearance indicates that this attempt ended in insanity and suicide.

We found out recently, through conducting customer surveys, that the crust is overwhelmingly the most popular part of the pizza experience, and also that the majority of Domino’s devotees crave extra crust once they’ve finished their meal. These findings, along with our love of surprising people and pushing boundaries, led us to the Edibox. With every future Domino’s delivery, you’ll see the Edibox upgrade option: double the dough to enjoy alongside double the glorious garlic and herb dip. And the best bit? You won’t have to fight to fit that square box into a round bin – this is a waste-free dining experience.

When three young men in Georgia claimed to have run over an alien in 1953, they caused a media frenzy. The 2ft hairless, creature with eerie, dark eyes was quickly confiscated and taken to Emory University to be examined. Experts revealed it was in fact a Capuchin monkey that had been made to look alien by having its tail cut off and fur its removed with depilatory cream. It was then the boys confessed that they'd come up with the idea over a card game. One of them bet his friends $10 he could get himself in the local paper within a week. He bought the poor monkey at a petshop, gave it a lethal dose of chloroform before removing its hair and tail.

Nat Tate was an imaginary person, invented by writer William Boyd and created as "an abstract expressionist who destroyed '99%' of his work and leapt to his death from the Staten Island ferry. His body was never found." Boyd published a book about Nat Tate as a real biography. Gore Vidal, John Richardson (Picasso's biographer), and David Bowie were all participants in the hoax. "Nat Tate" is a combination of the names of two London art galleries, the National Gallery and the Tate Gallery. Boyd and his conspirators set about convincing the New York glitterati (social elites) that the reputation of this influential abstract expressionist needed to be re-evaluated. Bowie held a launch party on April Fool's Day eve, 1998, and read extracts from the book, while Richardson talked about Tate's friendships with both Picasso and Braque.

Ashley Casey Martin reportedly posted photos of herself with what appeared to be injuries — or at least what she thought appeared to be injuries. What she posted with the photos led to her post going viral. In fact, the use of makeup (in particular, black eyeliner and shadow) appears to be more than a little obvious. In fact, it looks similar to the eye makeup used by at least one member of the band The Misfits. Are they her inspiration for this harebrained hoax?

This incredible video of an eagle swooping down and snatching a toddler with its talons from a Montreal park has been watched more than 1.2 million times. Social media verification experts at Storyful point to evidence of fakery, including Twitter user @thornae’s animated GIF showing inconsistencies with the eagle’s shadow. New Statesman writer Alex Hern also points out that “there is the slightly odd motion of the child after the eagle lets go of it. Not only does it carry on going up — which would just be momentum — but its ascent actually speeds up a bit before falling.”

While cleaning up after the 1959 Tulare County Art League exhibit in Visalia, California, a group of janitors and maintenance men remarked to each that they could make "modern art" that was just as good. So the next year, they set out to prove it. They took a piece of scrap metal from which holes had been cut for door latches, and they painted it black. One of the group remarked that the metal vaguely resembled the shape and size of a cat. So they titled the piece "Peterfid Tomcat" — deliberately misspelling the word "petrified." And as a finishing touch, they put a $350 price tag on their creation. Then they snuck their piece into the display area of the exhibit. Its presence raised no eyebrows. In fact, it was promptly awarded a ribbon for merit.

This photo shows the Cooper family sitting around a table, just days after they had moved into their new family house in Texas. What the family was unaware of is that when the photograph was developed, the image of what appears to be a falling body emerged in the left hand side of the room. Although the photo has been cropped, hence the family not appearing in the centre of the image, it was examined by experts, and deemed to be genuine. But as film was so expensive in the 1950s, it was common for people to re-use film. This meant that two separate images could be developed on top of one another.

A video apparently showing an cocky Italian teenager lying under a speeding train has tuned out to be a fake. The 26-second YouTube clip shows the prankster seemingly lying down on tracks in Perugia, Italy, before goading an oncoming locomotive as it races towards him. Seconds later he lies flat on the track as the train appears to whizz over him at high speed.

In September, 1726 Mary Toft began to give birth to rabbits. The local surgeon, John Howard, responded to her family’s summons and hurried to Mary’s house where, to his amazement, he helped her deliver nine of the animals. They were all born dead, and they were actually rabbit parts rather than whole rabbits. Nevertheless, this didn’t lessen the amazing fact that she was giving birth to them. Then, when a famous London physician, Sir Richard Manningham, threatened that he might have to surgically examine Mary’s uterus in the name of science, she wisely decided to confess. She explained that she had simply inserted the dead rabbits inside her womb when no one was looking, motivated by a desire for fame and the hope of receiving a pension from the King.

Since his suicide in 1991, the literary reputation of Jerzy Kosinski has continued to sink. At one time he was one of the most promising writers on the American scene, pounding out three hits in a row-the cult classic The Painted Bird, Steps (winner of the 1969 National Book Award), and Being There (filmed in 1980 with Peter Sellers in the starring role). With their grisly violence and a sexuality bordering upon the sadomasochistic, the books raised Kosinski into the ranks of America's celebrity class. He appeared repeatedly on The Tonight Show with Johnny Carson, played the role of Lenin's stooge Grigory Zinoviev in Warren Beatty's film Reds, posed for the cover of the New York Times Magazine, and presented the Oscar for screenwriting in the spring of 1982, watched by 600 million people. Even as his star was ascending, however, Kosinski was all but finished as a writer. His last six books became progressively more trivial, self-absorbed, and unreadable; and there drew closer the day of his exposure as a literary fraud. In June 1982, the Village Voice revealed that Kosinski (for whom English was a second language) had made extensive use of translators and collaborators to write all his books, and then had concealed the fact. George Reavey, a poet who was embittered by his own lack of literary success, complained to anyone who would listen that he wrote The Painted Bird. But Reavey was only one of several who could have made the same complaint, and not only about The Painted Bird. Being There so closely resembled a prewar Polish bestseller called The Career of Nikodem Dyzma as to deserve the charge of plagiarism. Kosinski never fully recovered from the Voice's expose. The remainder of his life, as he himself said, was spent running from it.

Are certain of the fake actors of the Sandy Hook hoax directly connected to the Rockefeller cabal? They are, regardless, all fakes and hucksters, that is those who claim that the event was real and testify to the same. There are no exceptions. All the people involved at the most crucial levels in Sandy Hook are actors playing a pre-determined role.

This photo seems to depict a man in what would be described as modern-day hipster clothing – in 1940s Canada. Sceptics were quick to attack the image, claiming it must be photoshopped, however, after much research it was confirmed that copies of the same picture are kept at the Bralorne Pioneer Museum in British Columbia, Canada. So is this guy a time-traveler or just a very modern looking 1940s man? Well its hard to tell. His clothes, sunglasses and modern looking camera could all have technically been made in 1940, however, historians have said it would have been extremely unusual to see a man walking around looking like this at the time. Kodak have confirmed that small cameras, like the one our ‘hipster’ appears to be holding were available in 1940, however were rare due to their high cost.

Benjamin Vanderford is a 22 year old banker who in his spare time enjoys video art, as well as music; Ben is also known as The Great White Hype on the label Record Label Records. He is an experimental freestyle rap artist, who records all his rapping in one take Last August, Vanderford was seen being decapitated on a tape which was quickly picked up by an Islamic website and then disseminated around the net and western media. The fact that the entire event was staged by a group of San Francisco friends was only made apparent when Reuters showed up at Ben's apartment complex. For his side, Ben faulted the mass media for publicizing the stunt without first verifying that the video was genuine.

John Ernst Worrell Keely was a US inventor from Philadelphia who claimed to have discovered a new motive power which was originally described as "vaporic" or "etheric" force, and later as an unnamed force based on "vibratory sympathy", by which he produced "interatomic ether" from water and air. Despite numerous requests from the stockholders of the Keely Motor Company, which had been established to produce a practicable motor based on his work, he consistently refused to reveal to them the principles on which his motor operated, and also repeatedly refused demands to produce a marketable product by claiming that he needed to perform more experiments.


p.s. I'm going to see if I can do the whole p.s. while holding my breath. ** Bernard Welt, As told you in person, I passed the poem along to Zac and he loved it and said thank you very much. I had a bad feeling that gif might be from 'American Horror Story'. Everyone, Bernard Welt thinks you might be interested in this record of Bowie covers by Lea DeLaria. ** Damien Ark, I have no idea where that gif came from. ** David Ehrenstein, Yes, an exploding sheep. I will send Zac that link and message, thank you. ** James, The 'ha ha' was the only comedic part. Zac didn't have a birthday cake, as far as I know. Thank you for thanking me. ** Etc etc etc, Thank you. Your piece on Kendrick Lamar and black postmodernism was/is excellent. Everyone, etc etc etc aka Casey Henry has written a piece on Kendrick Lamar and black postmodernism for Los Angeles Review of Books and you will be more knowledgeable and grateful for that personal improvement if you read it. Thank you. ** Thomas Moronic, I will tell him, and thank you. ** Steevee, Good luck with that. I'll pass your HB along, thank you. Everyone, here's Steevee's review of the Israeli film THE KINDERGARTEN TEACHER. ** _Black_Acrylic, Thanks, Ben. ** Chilly Jay Chill, Thank you very much. Yes, I'm very interested in that Criterion edition of 'The Thin Red Line'. I've read reports/reviews of the new Malick re: its screening at the Berlin film festival, but I don't know anyone who's actually seen it. ** Cal Graves, Hi. Thanks. Does she put on a big show? I would think. No, still haven't visited the zoo. It was too hot. Now it's not, so I will. Failed-at-holding-my-breath-a-long-time-ly, Dennis. ** Chris Dankland, Thank you, Chris. I really, really appreciate that. I don't know that emoji poetry site, but, yes, I'll be there. Thank you. He was? A hoax? No surprise, I guess. That is a depressing and depressingly not at all surprising bit of news re: prisons. I like your new short book reviews. I too am desperate for a new Zachary German book. Is there something in the works, do you know? Everyone, Chris Dankland has written short reviews of the books he has read this year on Dankland and they're very good and informative so I recommend you read them. ** Misanthrope, Joe Mills as executor, scary. No Hulk Hogan day in the pipeline. I'll pass long your birthday salute. ** The post today introduces itself, I'm sure. Bye.