News vis M. S. le Despencer, thanks!

Best lead to a new article EVER, right?

Smithsonian’s National Museum of African American History and Culture, which will open its doors at in 2015, has acquired Parliament’s Funkadelic Mothership (the second incarnation, that is — the first having long-since departed for other galaxies).

The legendary stage prop will serve as a crucial building block of the museum’s permanent display permanent music exhibition. Via Funk Music News:

When the band lowered the Mothership from the rafters of the Capital Centre in Landover in 1977, the response was rapturous. Not only was it instantly stunning — it felt like a cosmic metaphor for the sense of possibility that followed the civil rights movement.

That symbolism isn’t lost on the Smithsonian.

“With large iconic objects like this, we can tap into . . . themes of movement and liberation that are a constant in African-American culture,” says Dwandalyn R. Reece, curator of music and performing arts for the museum. “The Mothership as this mode of transport really fits into this musical trope in African American culture about travel and transit.”

It will be exhibited alongside other artifacts from American music history — Louis Armstrong’s trumpet, James Brown’s stage costumes, Lena Horne’s evening gowns. But it will be the only spaceship.

YES!! “Free your mind and come fly with me… it’s hip! On the Mothership. Swing down, sweet chariot, stop, and let me ride…”

Happy Friday the 13th! A lucky day for us, to be sure– in addition to Ross’s regular installment of the FAM, Coilhouse is proud to present NERVOUS96, a new, suspenseful, next-to-silent retro sci-fi short by director Bill Domonkos.

Inspired by original musical seance recordings by longtime ‘Haus favorite Jill Tracy, and the deliciously spooky violin of Paul Mercer, Domonkos has taken vintage footage and repurposed it to present the tale of a frantic, lonely woman, increasingly overwhelmed by debt and uncertainty in a world where technology has become increasingly invasive, even menacing. His “complex chiaroscuro style marks a marriage between silent-era special effects master George Méliès and the digital age.”

“Single white female. Lonely, Seeking soul mate. Humanoid preferred…”

From the NERVOUS96 press release:

Known for his distinctive craft of manipulated archival footage combined with 2D and 3D computer animation, special effects, and photography, Jill Tracy fans best know Bay Area filmmaker Bill Domonkos for the multiple award-winning “The Fine Art of Poisoning,” and his collection of acclaimed videos for legendary masked band The Residents.

“The Fine Art of Poisoning,” (set to Jill Tracy’s seminal song) has become a cult favorite, garnering praise from Clive Barker, Guy Maddin, writer Warren Ellis, and well-over 100,000 views on YouTube, and a recent screening at London’s famed National Gallery.

Domonkos was completely inspired by pianist Jill Tracy and violinist Paul Mercer’s “Musical Séance,” a poignant live project that employs the duo’s astonishing channeled improvisations. Domonkos meticulously crafted excerpts from actual séance recordings to create the emotional voice of the “NERVOUS96″ character.

Here ’tis:

NERVOUS96 from Bill Domonkos on Vimeo.

(Click those arrows on the right to watch it full screen.) The musical score for NERVOUS96 is also available for download on Bandcamp. Congratulations to Domonkos/Tracy/Mercer on this sharp and toothsome indie triumph.

A glimpse of the Helpless Corpses Enactment film shoot. Photo by Meredith Yayanos and Gooby Herms.

Click here to download a free Coilhouse Magazine PDF: Lives Transformed Through the Power of Confusing Music: Nils Frykdahl on Art and Kinship.

With solemnity, gratitude and a touch of sorrow, Coilhouse must acknowledge that Sleepytime Gorilla Museum, the most gloriously unclassifiable American band currently in existence, is about to call it quits. After a dozen relentless years of composing, recording, touring and performing some truly jaw-dropping music, the Oakland-based vanguards will play four final shows later this week in California: one in San Diego on April 7th, one in Los Angeles on April 8th, and two in San Francisco, both on April 10th (the evening show sold out, so they added a matinee).

Throughout the late nineties and all of the aughts, the legendary DIY road warriors of SGM crisscrossed the continental United States two, sometimes three times a year (and later on, toured Europe). Arriving at venues like a cheerful doomsday circus in their beautifully renovated vintage Green Tortoise bus, the curators entertained audiences with everything from puppet shows to Butoh dance to passionate readings of Italian Futurist manifestos. Flustered reviewers and reluctant converts, determined to pigeonhole SGM, labeled the avant-garde act as everything from neo-RIO (Rock in Opposition) to avant-prog metal, to grindcore funk theater, to, in the words of one concertgoer, “Satanic Anarchic Viking Shit”. But none of these descriptors come anywhere near encapsulating the band’s eclectic sound, style, or ethos. Not even close.

SGM on tour, 2009. Photo by Olivia Oyama.

The quintet has penned lyrics inspired by the Unabomber, James Joyce, madness, stroke-stricken baby doctors, love, death, cockroaches, and the end of the world. They have employed strange, esoteric contraptions from various folk traditions as well as several homemade instruments, such as the Viking Row-Boat, the Wiggler, the Spring-Nail Guitar, and a brutal, seven feet long piano-stringed bass behemoth called The Log. They have developed stage shows with stark lighting and elaborate costumes, sporting tooth black and spiked leather gauntlets and bonnets and bihawks and military khaki and antique lace nighties. They have sung lilting post-modern folk melodies. They have delivered face-melting blasts of pure, untrammeled metal.

They have rocked harder, more intelligently, and with more unabashed strangeness than anyone else around.

They will go down in legend.

Take comfort in knowing that these final shows won’t be the very last we’ll hear/see of them–the band has a comprehensive live DVD compilation in the works, as well as short film called The Last Human Being, and a final album. (We’ll be sure to announce all of those here when they’re released.)

Photo of Nils Frykdahl by Mikel Pickett.

In honor of the band, and to give our readers another peek at the variety of stuff we cover in the print magazine, Coilhouse is offering this free PDF download of our interview with Nils Frykdahl of Sleepytime Gorilla Museum (as well as Idiot Flesh, Faun Fables, and several other acts) printed in Issue Three, summer of 2009.

Frykdahl is a fascinating artist with a lot of delight and wisdom to share. That goes for all of the curators of SGM, truly. (Nils, Dan, Carla, Matthias, Michael, Shinichi, Frank, Moe! et al: Thank you. Thank you. Thank you. Lots of love, and best of luck with all of your future endeavors.)

Click here to download a free Coilhouse Magazine PDF: Lives Transformed Through the Power of Confusing Music: Nils Frykdahl on Art and Kinship.

Author and gourmand Eli Brown is writing the first-ever ethnic cookbook of Tre-Mang, a small Atlantic island you’ve definitely never heard of.

Around the turn of the 20th century, the islanders of Tre-Mang celebrated a complex and lively heritage, and prepared some truly mouthwatering traditional cuisine: moist cakes, savory side dishes and breads, frothy pâtés, fresh compotes, hearty chowder pies, and much more. Tre-Mang’s people and dishes also happen to be figments of Eli Brown’s imagination. The Alameda, California-based storyteller readily admits that his entire manuscript is an elaborate, loving fabrication.

Fruitless attempts to sell his “real recipes from an imagined island” to timid publishers have prompted Brown to create a Kickstarter campaign. He is going to produce and print his cookbook on his own:

After several prominent publishing houses told me that my latest work was “too lovely and literary to make it in this market” and “exciting and unlike anything we’ve seen. We’d take it if we knew how to market it” and etcetera, I’ve been forced to reconsider my place in the writing world. It would be one thing if I had been rejected because the work needed improvement. But to be told I was writing as well as I could, but that the industry had no place for my particular works, well, that was a shock. It’s a strange conundrum: Editors love my writing—marketing departments reject it on sight.

We all know that the literary industry is sinking, or, as my younger brother so succinctly puts it, “has auto-cannibalized itself.” And so we are left running about trying to catch crumbs from an ever shrinking pie. (This is why we don’t mix metaphors; a sinking, auto-cannibalistic pie should be avoided at all costs.)

I am not willing to surrender. I believe that if editors love my work, readers will, too. And so I’m turning to the grass roots. [...] I’m starting a Kickstarter campaign! I’m combining my love of fiction with my love of cooking. The result is an ethnic cookbook based on the cuisine of a culture that doesn’t exist.

The Feasts of Tre-Mang is a most delightful and nourishing premise from yet another internet crowd-sourcing pioneer. Check out this interview with Brown for more background information, and click here to support his Kickstarter drive in its final days for as little as one dollar. (Or as much as $550… and be crowned an Honorary Governor of Tre-mang!)

Pamatala Jad-zum: Storm Chowder Pie.

Michael Hansmeyer’s incredible construction. Via E. Stephen, thanks!

Fast Co Design has posted a fascinating article and slideshow called The World’s Most Complex Architecture: Cardboard Columns With 16 Million Facets. An intrepid builder named Michael Hansmeyer has been using complex algorithms invented by Pixar and jaw-dropping handicraft to create a cardboard column that looks a bit like a cross between a honeycomb and a Beksinski painting and a Dubai skyscraper and the most fractalicious, psychedelic fever dream imaginable:

When people mistake photographs of your physical prototypes for computer renderings, you know you’ve achieved something amazing. That’s exactly what happened when Michael Hansmeyer showed off his “computational architecture” column, created by iterating a subdivision algorithm over and over again and then fabricating it out of cardboard.

Hansmeyer’s column stands nine feet tall, weighs about 2000 pounds, and is made out of 2700 1mm-thin slices of cardboard stacked on top of wooden cores. It contains somewhere between 8 and 16 million polygonal faces — too complex for even a 3D printer to handle, according to Hansmeyer. “Every 3D printing facility we spoke to turned us down,” he tells Co.Design. “Typically those machines can’t process more than 500,000 faces — the computer memory required to process the data grows nonlinearly, and it also gets tripped up on the self-intersecting faces of the column.”

But Hansmeyer’s prototype is very real — in fact, it can even support weight, and the designer wants to experiment with more robust materials so that he can actually start building real structures with his “computational” architectural forms. So how did Hansmeyer actually get this thing out of his computer and into the real world? Take a look at this slideshow to find out.

Australian animator/musician Damon Gameau and his cutting-edge team of cut n’ pasters just won top prize at the 2011 TROPFEST for this adorable (not to mention highly addictive!) animated shout-out to the animal kingdom.

Via Ariana, ‘cos she’s awesome.

There are plenty of other incredible indie shorts on TROPFEST‘s YouTube channel, go check ‘em out.

Wiki defines “Quirkyalone” as “a neologism referring to someone who enjoys being single (but is not opposed to being in a relationship) and generally prefers to be alone rather than dating for the sake of being in a couple.”

How To Be Alone by filmmaker Andrea Dorfman, and poet/singer/songwriter, Tanya Davis.

The term was coined by girlzine badass-turned-magazine maven Sasha Cagen while she was standing with several other single, unsmooched friends on a Brooklyn subway platform on New Year’s Eve back in 1999. “She expanded the concept into an essay in the first issue of her magazine To-Do List. When the article was republished in the Utne Reader in 2000, Cagen was surprised by the fervor of responses from readers who felt their lives had been validated by her work. As a result of these responses, Cagen opted to expand her essay into a 2004 book, titled Quirkyalone: A Manifesto for Uncompromising Romantics.”

The first International Quirkyalone Day was held on February 14 in 2003 as an alternative to Valentine’s Day, and a more genuine, generous “celebration of romance, freedom and individuality” Eight years on, Cagen has this to say:

The saccharine-sweet quality of Valentine’s Day, that fills us with expectation and often tends to make us feel disappointed whether we are single or in a relationship, struck me 8 years when I launched International Quirkyalone Day with parties in four cities. The flagship party was in San Francisco. In our second year, the party got so big the fire marshalls came, but then they wanted to party, too.

IQD is for everyone, because couples as well as singles needed a liberating alternative holiday to celebrate the joys of connection: to yourself, to your mate (if you have one), to friends, family, passions, and so on.

…I take this opportunity to wish all of you the most alive and fresh Quirkyalone Day ever! I invite you to do something new Quirkyalone Day, shake up your world a bit by visiting a new spot in or outside your town, take a class, take a chance and make a new friend (and I don’t mean on Facebook). Rearrange your furniture, try a new recipe, dance alone in your underwear for an hour. At the least, buy yourself some daisies. Chosen for their natural, sunny quality, they are the official flower of the quirkyalone movement.

And above all, love thyself.

Cheers to all you lovely Quirkyalone celebrants out there. Savor this day.

From a seasoned shoestringer’s standpoint, this music video for Lovett’s “Eye of the Storm” is just so impressive and inspiring:

Via James Sime.

Also worth watching is this short making-of documentary, detailing how the production team managed to pull everything together on next to no budget. “It was just a group of folks who got together and made this through sheer will.”

Wow. Huge admiration for musician Ben Lovett, director Christopher Alender, producer Kris Eber, animator Wes Ball, and their entire crew. UR DOIN’ IT RIGHT.

Daredroid, Pseudomorphs, Fragilis and Intimacy.

Anouk Wipprecht creates garments that move, breathe, and react to the environment around them. Wipprecht started with a background of fashion, theater and dance, but a growing interest in interaction design and electrical engineering inspired her to develop clothing that appeals as much to the DIY/tech crowd as it does to fans of haute couture. “Instead of the body having to give a purpose to a design” Wipprecht said in a recent interview with Fashioning Tech, she’s interested in developing “design [that] gives a purpose to the body.”

Wipprecht has crafted projects such as Intimacy, a set of garments that become transparent when in proximity of each other, Fragilis, a dress that evokes the heart and veins through lighting and motion, and Daredroid, a cocktail-making robot dress equipped with IR sensors that administers booze through pneumatic control valves. More projects can be found on her site. Here she is discussing Pseudomorphs, her self-painting dresses:

Over at Instructables site, maker  j_l_larson writes, “I have noticed a strange inequity between the poseability of girls and boys dolls.  Most of the female dolls have stiff arms and legs, which permit them to do little more than model clothing.” To rectify matters, Larson created a step-by-step tutorial for modifying girls’ dolls so that they can actually do stuff. Lisa Wade of SocImages adds, “scholars have noted that ‘action figures’ and ‘dolls’ tend to be pose-able and non-pose-able, respectively, reflecting the idea that boys are encouraged to be active agents and girls passive objects.” The tutorial is a great way to examine this issue, and the disembodied in-between shots are works of art in their own right.

Wheeeeee! The finished product.

Previously:

• Circuit Bent Decapitated Barbie Head
• Margaux Lange and Barbie Vivisection
• The Furby Gurdy Man Comes Singing Songs of Love