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Good morning. Pretend for a moment that this is not, in fact, the Spring of 2012, but rather the Spring of 1982, now thirty years past. We’re in England. New Romance is budding. Rocky Horror is a’rockin’. The likes of Gary Numan, Spandau Ballet, and Klaus Nomi rule subterranean radio.
Under the banner of SHOCK, two young London lads with very excellent bone structure and pop ‘n’ lock skillz named Tim Dry (who would one day become Tik from the robotic mime duo Tik & Tok) and Richard James Burgess (who would go on to produce all manner of sophisti-pop) have joined forces with two young London lasses with very large hair and dovelike coos called Carole Caplin (who shall one day become far better known as the tormented fitness and fashion consultant to Tony and Cherie Blair) and Barbie Wilde (who is soon to be immortalized in celluloid as the creepyhot female Cenobite from Hellraiser II).
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“I said anything I wanted because I don’t believe in children, I don’t believe in childhood. I don’t believe that there’s a demarcation. ‘Oh you mustn’t tell them that. You mustn’t tell them that.’ You tell them anything you want. Just tell them if it’s true. If it’s true you tell them.”
With this post I run the risk of turning the top of Coilhouse into a memorial to my youth, but there’s really no helping it, I suppose. More sad news then, as it has been reported that author and illustrator Maurice Sendak died today, at the age of 83 due to complications from a recent stroke. Sendak was perhaps best known for his 1963 book Where the Wild Things Are. The book not only made his career but earned him the prestigious Caldecott Medal in 1964.
Mr. Sendak’s work was a staple of my childhood. I learned to read with the help of the Little Bear Books (written by Else Holmelund Minarik). My first exposure to Grimm’s fairy tales was through my mother’s copy of the collection he illustrated and I had a copy of E.T.A. Hoffmann’s Nutcracker which featured his artwork. His Mouse King terrified me.
And that is, above all, what I remember and respected most about his work, his willingness to scare the crap out of kids. There is a darkness and danger in his books, the same kind found in the stories of greats like Carroll and Baum, which seems mostly lacking from children’s literature now, something that Mr. Sendak seemed keenly aware of. Sendak wrote books that treated children like adults, like equals. Speaking to The Guardian last October, he said “I refuse to lie to children. I refuse to cater to the bullshit of innocence.” This refusal to sugarcoat his work was, undoubtedly, his greatest asset. It will be missed.
“I think every person has the ability to effect change. I think we’re often led to believe that it’s just celebrities [who] have some ability to effect change, but I think that what’s important for us to realize is that everyone of us affects the world constantly through our actions, through our every smallest action, through our every thought, our every word, the way that we interact with other people… we’re constantly affecting the world.”
~ Adam Yauch
(August 5, 1964 – May 4, 2012)
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“Today I give thanks to those who fought and died for my right to party.” ~@RichardRushfield
An official statement from the Beastie Boys:
“It is with great sadness that we confirm that musician, rapper, activist and director Adam ‘MCA’ Yauch, founding member of Beastie Boys and also of the Milarepa Foundation that produced the Tibetan Freedom Concert benefits, and film production and distribution company Oscilloscope Laboratories, passed away in his native New York City this morning after a near-three-year battle with cancer. He was 47 years old.”
MCA, we love you. You can’t, you won’t, and you don’t stop.
Fellow mourning comrades, you are warmly encouraged to post your favorite BB jam in comments.
The sprawling, quicksilver lyrics to this bilaterally symmetrical magnum LULZ opus have been posted below, because they’re… well, just read ’em. And weep bitter crimson diamonds. Ov Darqueness.
I’m not going to claim to understand the process by which French duo Lucie & Simon captured these images of cities like Paris, Bejing, and New York without people (save for a single figure). It involves using a “neutral density filter that allows for extra-long exposures, which removes moving objects like people and cars.” How that works or what a “neutral density filter” is, I really cannot say, however, the images produced speak for themselves (and are of much higher resolution on their site.)
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I lived in New York for a short time, years ago, and the effect of seeing it this empty is really stunning. The only time it ever came close to this when I was there was early in the morning, on my walk to work at 5:30 or so, and even then, it depended on the neighborhood I was walking through at the time and there were always a few cars. It’s eerie to see it looking so quiet.
A small sampling of work by Mexican illustrator and street artist Smithe. A small sampling because, were I not to limit myself I would, most likely, just wind up hoarding every piece of art on his blog and transposing it to this one, which is poor form, really, no matter how much you like someone’s portfolio.
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The cartoonishness of his style works well with the subject matter, making sure that the exploded anatomy found in many of his pieces retain an air of playfulness so as not to overwhelm the viewer with grotesquerie. His newer illustrations (specifically the bio-mechanical heads) feature more of a comic book feel, with their dark shadows and copious hatching. This seems like a departure (though, no less successfully executed) from his previous work which features a looser, more animated style. Either way, I am a fan.
Posted by Ross Rosenberg on May 1st, 2012
Filed under Faboo | Comments Off on Street Art By Smithe
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In addition to providing an overview of both the documentary and vogue ball culture (both past and present) the NPR feature includes testimonies from Big Freedia, Light Asylum, Zebra Katz, Del Marquis, and many others. A quick, great read. It’s also exciting to discover that the documentary –which has been, for decades, fairly difficult to track down a decent copy of– is now readily available on iTunes and Netflix Streaming.
The realm of Paris Is Burning: resonant and radiant as it ever was.
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If you’ve already experienced Will Sweeney and Steve Scott‘s animated psychedelic 2009 music video for Birdy Nam Nam‘s tune “The Parachute Ending”, look away. Or, hey, don’t. Because you know it’s trippin’ AMAZEBALLS and you probably won’t mind watching it again over a nice morning bowl of strawberries ‘n’ Special K.
Most Birdy Nam Nam-related things tend to be –in this blogger’s humble opinion– pretty thoroughly amazeballs. The BNN DJ crew is comprised of four fabulous Frenchmen known as Crazy-B, DJ Need, DJ Pone, and Little Mike. They joined forces in 2006 and has been steadily gaining notoriety ever since thanks largely to their novel and challenging style of music-making: they take thousands of samples gleaned from various sources, press all of the beats and patterns into towering stacks of vinyl, and then assemble/spin these kaleidoscopic collaged elements live. It’s bleepybloopy bonkersbrilliance.
Edmund Welles, 2010 press photo. Aaron Novik, Jeff Anderle, Jon Russell, and creative mastermind Cornelius Boots in the foreground.
Confession: I’ve been meaning to write a feverish and swooning rave-up of Oakland-based musician Cornelius Boots‘ absurdly beautiful and strange and intelligent and mischievous and sincere and meditative and heavy-as-fuck bass clarinet chamber music group, Edmund Welles*, for years now.
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It certainly isn’t for lack of reverence for Boots or his compositions that I’ve lagged. When suffering from blogger’s block, my editorial purview tends to be “when in doubt, crap it out.” But occasionally, there are those subjects that you can’t just casually hork up. You want so badly to do them every justice– to elevate and praise them to the highest and most lofty of misty, Middle Earth-worthy mountaintops. Boots’ ouvre definitely lives in that non-horkable category. Well, then! Having unburdened my guilty conscience…
Edmund Welles.
Yes, Cornelius Boots and friends make music that I want throw a parade for. Or, alternately, throw my frilly undergarments at. While his group Edmund Welles definitely is not everyone’s cup of tea, it’s 100% my cuppa, and hopefully, it’ll resonate with Coilhouse readers who also love waaaay-off-the-beaten-path-no-srsly-bring-your-machete-cos-we-be-bushwhackin’ music.
Edmund Welles […] has the distinction of being the world’s only original, composing band of four bass clarinetists, they invent and perform heavy chamber music. The bass clarinet has a five octave range and a huge span of tonal, melodic, and rhythmic capabilities.
Drawing virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal, the quartet’s sound is characterized by a thickness of tone, a density of texture, absolute rhythmic precision, and the extreme use of dynamic contrasts: a dense, pulsing sound capable of expressing and reflecting the full range of human emotions.
They ain’t foolin’. It’s a massive, meticulously structured bass reed sound like nothing else you’ve heard. (Parallels have been drawn between John Zorn’s more recent works and Edmund Welles, for sure, but Boots’ steez feels simultaneously more West Coast and Far East-steeped.) Weirdest Band in the World‘s assessment is pretty spot-on as well: “The bass clarinet is an inherently weird instrument. Put four of them together in one group, and it sounds like a chorus of demon cats in heat fighting over a chicken bone. A demon chorus whose eerie caterwaulings just happen to occasionally assemble themselves into passages from Pixies and Nirvana songs.”
In 2005, they put outAgrippa’s 3 Books, which offers up original compositions by Boots that reflect his abiding interest in the occult and his talent for interpreting uber heavy spine-crunching metal. (Hilariously, Boots calls this stuff an attempt to create “Muzak for conspiracy theorists.” ACHIEVEMENT UNLOCKED!) Additionally, there are Sepultura and Spinal Tap covers. Not to mention the most bewilderingly esoteric and brilliant liner notes you’ll find north of a Trey Spruance solo project. (Buy the goddamn CD. Seriously. No, seriously. Totally worth it.)
Edmund Welles’ second album is called Tooth & Claw, and it’s comprised predominantly of original composition that are as bizarre and heavy as anything Boots has ever written, but with more nuanced elements of avant jazz and modern classical woven into the dense sonority.
Horse head customer photo, uploaded by Amazon user Mike.
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From the same site that brought you disgruntled reviews of A Million Random Digits comes this bizarre collection of photos. “This mask imbues the wearer with super-human abilities … the power to make everyone around you feel akward and uncomfortable being first among them,” writes one reviewer of this mask on Amazon.
The “Accoutrements Horse Head Mask” customer gallery shows horse-headed people going about their daily lives: reading books to children, playing Scrabble, passing out from too much booze, camping, spelunking, and more. [via raindrift]
“It’s a shame that you can still find this kind of discrimination in America.” Uploaded by Amazon user Michael Genovese.
