I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Ryk McIntyre
Sept. 21, 2014
There is a little-known story from the history of The Monkees, the band that were a bunch of TV executives' answer to the overwhelming popularity of The Beatles. They were initially hired just to sing the songs and be the faces of the show. Over time, the band wanted to show they were more than pretty faces/actors and started demanding to play on their own songs, as well as perform live as a real rock ‘n’ roll band. So, out they went on tour.

Now, whoever put the tour together picked an opening act that had started to gain acclaim in England and, on the basis of that, wanted to play in America. All the promoter knew was this was Pop music too. So imagine the scene when, in front of an audience of mostly young teen girls and their parents, Jimi Hendrix is doing his opening spot, complete with guitar humping and...

Ryk McIntyre is a Multi-Hyphen sort of person. Poet, critic, performer, workshop facilitator and co-host at both GotPoetry! Live (Providence) and Cantab Lounge (Cambridge,MA). He's been living in RI for the past 6 years, with his wife and daughter. Ryk has performed his work at Boston's ICA, NYC's New School, Portsmouth, NH's Music Hall and Lollapalooza, to name just a few. He has toured the US, performing in countless Poetry open mics and festivals.  He turned down Allen Ginsburg once.

by David Selden
Sept. 20, 2014
In Zwartjes’ Living (1971), the camera swoops and pursues the bourgeois male and female protagonists (the filmmaker and his wife, Trix), who seem haunted by it -- rarely meeting its gaze or each others. The camera floats, rising and falling in a queasy dance as the women’s heel descends on a floor plan. This scene, in a minimal, perhaps unfamiliar apartment, is strangely reminiscent of Herk Harvey’s, Carnival of Souls or Lynch’s White and Black Lodges. The phased organ score and the deathly makeup, the carefully colour coded set, contributing to a deep sense of unease...

After a long international career exhibiting video installation and photography, David Selden renounced the art world in favor of the far less superficial drag scene and became intimately involved with a number of notorious London fetish clubs. ‘Retiring’ to Berlin in 2007 having run out of pseudonyms, he has written about music for Dorfdisco and about art for Whitehot Magazine as well as contributing numerous catalogue essays and translations for a variety of publications and websites. His misadventures in the world of anti-music can be endured at affeprotokoll.tumblr.com

by Thomas Michalski
Sept. 20, 2014
While the conventions may change somewhat from culture to culture, the appeal of a good scary story is universal, and nobody knows that better than the film industry. The major production centers, from Hollywood to Bollywood, crank out horror flicks in droves, and for smaller markets the genre provides a convenient path to international attention, but, curiously, there are places where monsters and mayhem are in short supply, particularly Norway. Granted the country hasn’t always had a booming movie business; in 2011, after a century of filmmaking, they had made about 900 titles altogether, a number American studios easily surpass in just two or three years, but even proportionally speaking big screen horror has historically not been a big priority for Norwegians, to the point where 1958’s Lake of the Dead (De Dødes Tjern) stood for decades as inarguably the best horror film the nation had ever produced, simply because it was the only one...
Thomas Michalski is a writer and radio host from Milwaukee, Wisconsin. You can keep up with his comings and goings over at http://www.voodooinspector.com/

by Jake Goldman
Sept. 17, 2014


The passing of Andy Kaufman in 1984 left fans and critics alike with unanswered questions. There are few interviews that exist with Kaufman, and with, it's impossible to tell if Kaufman was using the opportunity to perform in character. What we never understood about Kaufman, though, was his true intent as an artist. Was he chiefly concerned with being a provocateur, constantly probing audiences, taking them to the edge? Or, was there a distinct message behind his comedy, one that hoped to change minds and hearts?

Ultimately, I think it’s best that we don’t fully know the answer. If the main conceit of his comedy was simply to get a rise out of people, we’d view him as an annoying hack, less concerned with the inherent humor in his pieces than the chaos his work created. If it were the other option, that his comedy had a distinct and pointed message, we might view him as an arrogant dude who saw his own art in a category all its own (though, it certainly was and always will be)...


Jake Goldman is a writer and a teacher. He lives in New Haven, Connecticut.  Occasionally he writes songs.  If you are so inclined, check out Internetdogfist.com for words and Otsego.Bandcamp.com for music.

by Brian Correia
Sept. 17, 2014

When looking at any type of art, whether it be painting, film, music, or anything else, there is often a tendency to attribute the quality, power, and who knows what else to just one artist that we deem the mastermind – the painter, the director, the songwriter. Even if it's very clearly a collaboration, we're often way more comfortable pinning it to the name that's cooler or better known. The reason for this is difficult to pinpoint. Maybe it really is a valid way to look at things, or maybe it's just easier that way. Every once in awhile, though, a project comes along that is a pure collaboration in the truest sense of the word; a project that would be radically different if not for the involvement of several diverse minds. Appalachian Spring is such a project and the product of a dancer/choreographer, a composer, and a sculptor: Martha Graham, Aaron Copland, and Isamu Noguchi, respectively.

Martha Graham might be called the Great American Dancer, if there is such a thing. The “American” qualifier may not even be necessary. Quite simply, she is one of the most influential dancers slash choreographers of all time. Unfortunately, the best way to describe Graham's impact may be to compare her to others (and crib from her Wikipedia article): Graham is to dancing as Picasso is to painting, as Stravinsky is to classical music, or as Frank Lloyd Wright is to architecture. Which is to say, she completely and radically redefined the possibilities and peoples' expectations of the form...

Brian Correia is a budding computer scientist and aspiring writer from Boston, Massachusetts who couldn't decide which hip-hop lyric to put in his byline. The top three, in no particular order, were as follows: “cooler than a cucumber in a bowl of hot sauce,” “spiced out Calvin Coolidge loungin' with six duelers,” and “I got techniques drippin' out my buttcheeks.” He is on Twitter (@brianmcorreia) and Tumblr (brianmcorreia.tumblr.com) like the rest of the kids.