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

TODAY IN NETWORK AWESOME MAGAZINE


by Chrisaphenia Danai Papagrigoriou
Dec. 12, 2017

In order to fully comprehend Christoph Doering’s “3302” as a piece as well as a (oh yeah) narrative movie, we want to get inside this particular cab he drives through Berlin, so let's take a time machine to the early 80’s. 

It’s 1979 in Berlin. The wall is proudly up and the youth proudly scatter in whatever direction they want. If “no future” is actually a point in time, this is it. Not decisively against everyone and everything but rather narcissistically hedonistic...

Chrisaphenia Danai Papagrigoriou

by Thomas Michalski
Dec. 12, 2017
Watching an Otis Redding performance is like witnessing a force of nature, as if he’s channeling directly that very powerful, ineffable thing that gives soul music its name. The voice that pours out of him doesn’t describe an emotion, it is an emotion, a raw transference of yearning loneliness or excited passion, whatever the song calls for. It’s so organic, so unfettered, like a man possessed, that it hides another aspect of Redding’s live show, which is that a lot of thought and preparation and work went into it. It’s not contrived by any means, the feeling in he brought to the stage is 100% real, it’s palpable in every breath and every jerky movement, but it took years of consciously honing his craft to be able translate it to an audience in a way that they could understand...
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 Josh Klimaszewski
Dec. 11, 2017

In 1961, Adolf Eichmann pled for his life before the Jerusalem District Court in Beit Ha’am and an international television audience. As the world scrutinized a man indicted for crimes against humanity, the former SS lieutenant insisted that he only a “transmitter” of fascism. Nobody believed it. 1 Eichmann pled not guilty by reason of superior orders, claiming that he was innocent because he was a soldier; he was simply following orders. The superior orders plea was the same defense pled at the Nuremburg trials 16 years earlier--it was always the same. As people across the globe watched this trial unfold, the morality of Eichmann became global spectacle and disseminated into the public domain, creating hard questions. If everyone was following orders, then who was responsible for the Holocaust, both legally and morally? Eichmann and the other chief engineers of the Holocaust committed horrible acts against humanity, yet the responsibility for genocide must diffuse beyond its officers and into the populous. How could the German people let this happen?

Josh Klimaszewski is a line cook by day and a scholar by night. He has a completely useless bachelor's degree in art history.  His favorite part of the Internet is how Wikipedia does all the citation work for you. He keeps himself entertained by making comics and playing in a punk band with his scuzzy friends. 


by David Selden
Dec. 8, 2017
There is something about the Theremin, both its sound and the manner of its playing, that is almost comedic. An all-electric musical saw, its over-familiar, spooked warble has become a staple of B-movie sound effects. A "good vibration" quickly reached for as shorthand for the uncanny, curdling quickly into cliché or cute eccentricity. The Theremin was and is however the sound of the future, albeit the sound of the future as first heard in the technologically-optimistic Soviet Russia of the 1920’s. Whether in Miklós Rózsa’s scores for Spellbound and The Lost Weekend, Bernard Hermann’s work inThe Day the Earth Stood Still (or indeed Jimmy Page’s diabolic dabblingsiii) the eldritch tones of the Theremin have served the movies well as a signifier that something is amiss...

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 Lindsay Long
Dec. 4, 2017
The perilous streets of Mexico have long been notorious for brutal street gangs, and the Intrépidos Punks prove to be only one more example of such a sinister society. With police brutality, rape, and vandalism this Mexploitation hell ride wastes no time cutting to the chase. Before the spray-painted intro credits even have a chance to dry, sexy nuns wielding guns stage a bank heist. Fleeing the scene, they are met with a group of leather clad, fro-hawked bikers and take off to the sound of a sick Sweet Emotion-esque theme song. Punk isn’t just a costume it’s a way of life for these savage cretins who kill time and brain cells partying hard or terrorizing the streets on their customized cycles...
Currently holdin’ it down in the dirty south city of Atlanta, Network Awesome contributor Lindsay can be found frequenting house parties, punk rock shows, seedy thrift stores, or glued to her computer screen unearthing the endless gems today's internet offers. A self-proclaimed fan of all things vintage, including the nudie mags of yesteryear, she possesses an insatiable appetite for anything visually mind-blowing or just totally tasteless. Notorious B.I.G. sums her up best with a line from ‘Gimme the Loot': ”Dangerous. Crazier than a bag of f*@#$%g angel dust.”