Joss Whedon: "The Zomneys will come for all of us."

Joss Whedon, y’all.

“You know, like a lot of liberal Americans, I was excited when Barack Obama took office four years ago. But it’s a very different world now, and Mitt Romney is a very different candidate. One with the vision and determination to cut through ‘business as usual’ politics’ and finally put this country back on the path to the zombie apocalypse. Romney is ready to make the deep rollbacks in healthcare, education, social services, and reproductive rights that will guaranty poverty, unemployment, overpopulation, disease, rioting – all crucial elements in creating a nightmare zombie wasteland. But it’s his commitment to ungoverned corporate privilege that will nose-dive this economy into true insolvency and chaos. The kind of chaos you can’t buy back. Money is only so much paper to the undead. The 1% will no longer be the very rich, it’ll be the very fast. Anyone can run, fight, make explosives out of household objects or especially do parkour of any kind – you’ll want to stick with them, unless they read Ayn Rand.”

“Look, I don’t pretend to see the future. No one knows for sure if they’ll be the super-fast 28 Days Later zombies or the old-school shambling kind. But they’re out there, and they need brains. So, whether you’re a small business man just trying to keep his doors open, a single mom so concerned for her son’s welfare that she’ll run to embrace him when he’s clearly infected and going to bite her. Or a strung-out ex-military type, who’s been out there too long and is taking the kind of damn-fool chances that’ll get us all killed, you need to ask yourself, ‘Am I ready? Am I ready for the purity and courage of Mitt Romney’s apocalyptic vision?’ Mitt’s ready. He’s not afraid to face a ravening, rasping hoard of sub-humans, because that’s how he sees poor people already. Let’s all embrace the future, stop pretending we care about each other, and start hoarding canned goods. Because if Mitt takes office, sooner or later, the zombies will come for all of us.”

“Zomney – He Needs Brains”

“Paid for by the Committee to Learn Parkour, Like Really Soon, Like Maybe Take A Class Or Something.”

"Metamorphosis" by TwistedLamb and Malakai

TwistedLamb is a unique fashion blog curated by Mary Lee that’s been featured on Coilhouse many times before. Malakai is a fashion designer and artist who first appeared in Coilhouse 05’s feature on Tiffa Novoa. The two teamed up recently to style Metamorphosis, a fashion editorial shot by Julia Comita, featuring the Malakai’s new headdresses and leather accessories by Zana Bayne. The editorial premiered on the TwistedLamb blog.

Zentai suits, sculptural headdresses, mermaid tails, aerial silks, abandoned buildings, and some poised, incredibly flexible model-performers… what more could you ask for? See the entire fashion series here.

The Knife's New Album Will Feature Vocals By Shannon Funchess of Light Asylum!


Photo of Shannon Funchess by Grant Thomas for Bullett Magazine.

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IT’S ALL RIIIIIGHT. IT’S OKAAAAAAY. THERE’S SOMETHIN’ TO LIVE FOOOOORRR. PITCHFORK TOOOOOOOLD ME SOOOOOOO

It doesn’t appear that the Knife‘s long-awaited new record will come in 2012, as initially rumored. But here’s a nice little album factoid to tide you over, perhaps: According to aninterview she did with Dazed Digital, Shannon Funchess of goth-leaning electronic act Light Asylum will contribute vocals, which seems like a natural fit.

“I recorded with them after we left here last time, and in a couple of days I’m going to Berlin to record some more… They’re generic viaga canada totally sweet people!,” she said about a month ago.

Funchess also told No Conclusion that the track features lyrics written by visual artist Emily Roysdon. “Karin [Dreijer Andersson] and I sang the lyrics and created the melodies along with Emily as well, and Olof [Dreijer] and Karin produced the music.”


The Knife. Photo by Stian Andersen.

HOHMAIGAAHHD. So much squeeee, you guys. SOOOO! MUCH! SQUEEEEEEEEE! (Maybe even a little peeeeee.)

Previously on Coilhouse:

Indie Indigenous: Virgil Ortiz and the Changing Face of Native Art

Editor’s note: below is the final installment of a three-part series by Rachel “Io” Waters about contemporary native art and culture. The first two blog posts in this series, and the intro post, can be found here, here and here


Image from Virgil Ortiz’ Venutian Soldiers series

There is this notion of Native American art that permeates the collective psyche. Often the mental images evoked are those of pastel landscapes with painted horses galloping along sandstone cliffs or of noble maidens snuggling with wolves, created by artists whose only contact with native culure appears to come from Harlequin covers. It’s the type of art best reserved for the walls of Best Western hotels and 24 karat gold-rimmed collector’s plates. Pleasant. Bland.

Enter Virgil Ortiz, a painter, fashion designer, stylist and ceramicist from Cochiti Pueblo whose work challenges every notion of how native art should look. At once traditional and futuristic, whimsical and post-apocalyptic, Ortiz’s art transcends classification altogether.


From 2010’s Contortionista series which melds 19th Century Pueblo Munos figures with the sensual lines of modern Cirque performers.

With a reach extending far beyond the borders of his home state of New Mexico, Ortiz has created prints for fashion giant Donna Karan and continues to expand his own fashion line into the realms of clothing and accessories.

In August of this year, Ortiz premiered his latest project “Venutian Soldiers” during Indian Market in Santa Fe, NM. Inspired by “America’s First Revolution,” the Pueblo Revolt of 1680, Ortiz showcased a series of ceramic work and photography depicting an army of futuristic, indigenous superheroes outfitted with feathered gasmasks and latex loincloths.


Image from Virgil Ortiz’ Venutian Soldiers series

Renegade Biker-Druid King Arthur Says "Take No Shit."

Vice profiles Arthur Uther Pendragon, a UK biker-turned-druid who is best known for forcing the British Government to allow public access to the Stonehenge during the Solstice holidays. Arthur’s case was heard at the European Court of Human Rights, and it is thanks to him that over 20,000 people – “around one third tourists, one third pilled-up teenagers in sportswear, and one third neo-druids” – come to party in and around the ancient monument each summer.

According to Wikipedia, Arthur, née John Timothy Rothwell, used to belong to an outlaw biker gang called The Gravediggers. He became known as “King John” after throwing parties at a ruined castle in Odiham that was colloquially known as “John’s Castle,” but became known as “King Arthur” in 1986 after coming to believe that he was a reincarnation of the legendary monarch. In the Vice article, Arthur good-naturedly discusses his memories of 16th 6th century England, knighting Ken Kesey and Johnny Rotten, and how he came to be in the possession of the sword Excalibur.

His last quote in the piece is particularly epic: “Stand. Stand and be counted. If you believe it, go for it. No regrets. Fight for truth, for honor and for justice. Take no shit.”

[via Bryce Jamison]

Aja Lathan, Queen of Diamonds

WHOAH. Check out this sneak preview photograph of Aja Lathan as The Queen of Diamonds from a shoot for the San Francisco-based Five & Diamond collective by Allan Amato. Lathan is adorned with a breathtaking array of pieces crafted by various indie and alternative designers associated with the 5&D store/gallery:

Aja Lathan as The Queen of Diamonds for Five & Diamond / Photography by Allan Amato / Art Direction by Jessica Atreides / Styling by Ricardo Felix / Makeup by Medina Maitreya / “Pharoah” Headdress by Monica Wallway / Gold Neck Coil by Tawapa / Crystal Necklace by DUST / “Ruff” Ruched Scarf by Radio Cloth / Studded Bra / Axis Waist Cincher by Steam Trunk / Burlesque Skirt by Miss Be / Leather Gloves by Sparrow / Rings by Jungle Tribe / Shot at Purebred Pro Studios

“The Five and Diamond Design collective is a collaborative project created to promote local artists and designers while providing a resource to San Franciscans and beyond for unique, artistically designed apparel, jewelry and accessories.”

This shoot was obviously a massive group effort. (Bravo!) Keep an eye on 5&D’s twitter for more information about this shoot and other lovely stuff.

"I Haz a Catnip in Mah Head"

Pass the Cherry Garcia and load up OMGCATSINSPACE, because it’s time to “travel back to the Psychedelic ’60s with the new music video from Walter and the Wizards off the album Litter Trippin’…”


Via Si Spurrier.

Yep. This is an honest-to-pete advertisement created by JWT New York for the “revolutionary” Litter Genie® brand litter disposal system wot keeps ‘dem stinky cat pooz with their pesky mind-controlling brain parasites from harshing your mellow.

Thanks, Internet. No, seriously, thank you, for becoming even more insidiously infectious than T. gondii. That’s genuinely impressive.


I CAN HAZ FOAREVAR?!

The 1491s: Bastard Children of Manifest Destiny

Hollywood would have you believe that American Indians are a pretty humorless lot. Stoic, tragic, fierce, mystical, romantic? Sure. But funny? Somehow the notion never caught on and yet nothing could be further from the truth.

Though I was born too late to share a joke with my more culturally connected Mvskoke relatives in Poarch Creek, Alabama, I had the benefit of spending much of my childhood in an Ojibwa household where laughter reigned supreme. I never saw anyone cry over garbage being tossed by the roadside, but I’ve spent many evenings shedding tears of joy. Bawdiness and wit are, for many indigenous peoples, virtues which help hold communities together, ensure the survival of stories and traditions and offer healthy means to cope with frustration and heartache.

Perhaps no one sums up the native experience and debunks stereotypes more concisely or hilariously than the 1491s, an all-native comedy group that describes itself as “a gaggle of Indians chock full of cynicism and splashed with a good dose of indigenous satire.”

In the video below – set to a 1979 disco cover of the song “I’m an Indian Too” from Annie Get Your Gun – the 1491s tackle the ongoing obsession in pop culture with all things Indian, lampooning hipsters who sport headdresses and contrasting popular images of Indians with natives (and a few fans of native culture) at the Santa Fe Indian Market:


That’s yours truly at 2:06.

In other skits, presented after the jump, they poke fun at everything from “Twilight” to the Occupy Wall Street movement, cleverly highlighting its failure to incorporate the concerns of indigenous people.

Syncretize, Decolonize: First Nations Find a Voice Through Urban Music and Dance

It was a Thursday night in Albuquerque, NM, and on the floor of a small club on the outskirts of town a member of the Foundations of Freedom dance crew drew applause from onlookers. With his synthesis of moves culled from breakdance and traditions far older, the dancer transitioned from handspins to a kneeling archer’s position in one fluid motion. When the song – itself a hybrid of house and powwow music – finishes, the dancer straightened his shirt emblazoned with the image of a Playboy bunny sporting eagle feathers in place of ears.


A Tribe Called Red comprised some of the music at the event. The group, which emerged out of Canada in 2008, synthesizes powwow music and electronica into a genre known as “Powwow Step.”

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The club was packed with people predominately from New Mexico’s 19 Pueblos and from the Navajo (Diné) nation. Those who turned out were clad in intricately beaded jewelry, hand-painted Chucks and witty T-shirts which nodded to pop culture or made parody and political statement out of the stereotypes that so many non-indigenous Americans ascribe to when it comes to native peoples.

The party was one among dozens of music, art and fashion events surrounding the Gathering of Nations powwow held every April in Albuquerque, NM, where more than 50,000 individuals from more than 500 nations come to dance, sell their wares and mingle. But for most of those in the club that night, the powwow itself wasn’t the main event.


Patrick CloudFace Burnham (foreground) and Randy Barton create live paintings at a Gathering of Nations after party.

In fact, for many it represented just another means for non-natives to exploit native people. And while some would go to support friends and family, others declared the event fodder for the colonized and instead chose to attend native-organized counter powwows and Sacred Cyphers where musicians, painters and dancers could express themselves in their own spaces through a fusion of native song, hip hop and electronic dance.

Better than Coffee: Nakotah LaRance

Columbus Day has been rebranded as many things – from Indigenous People’s Day to Imperialist Day to Exploration Day. To celebrate this holiday, we’ll be publishing a three-part series of blog posts by guest writer and Coilhouse Issue 01 contributor Rachel Waters, a.k.a. Io, about modern native art and culture.

Io writes, “I’ve gotten pretty weary of the Diane Sawyer/Lisa Ling poverty porn about natives and I felt it was time someone focused on the massive renaissance of native art/music/dance as it relates to decolonization and forging a 21st century native identity which pays homage to the traditional whilst being thoroughly cutting edge. I mean, these guys are creating genres of music like Powwow-Step, creating really strong public art, mixing breakdance and grass dance and holding Sacred Cypher competitions with all native hip-hop and dance troupes.”

The first piece in the series is going up imminently. For now, enjoy this video of hoop dancer Nakotah LaRance dancing to a song by New York-based electronic duo The Knocks. LaRance, 23, is a six-time world hoop dancing championship winner who was just 19 years old when Cirque du Soleil discovered a video of one of his performances, and invited him to go on tour. In this video, Nakotah takes to the desert to perform a stunning dance routine. [via Io]