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 Jason Bigelow
Dec. 3, 2016
The son of documentary filmmaker Sol Korine, throughout the past decade, Harmony has achieved renown in independent film, music and art. He burst on the scene in 1995 - at the age of 22 - with his movie KIDS, which explored the lives of several New York City teenagers growing up in the age of AIDS. He followed this up with the equally controversial cult hits 'Gummo', 'Julien Donkeyboy' and 'Ken Park.' This collection follows his parallel short film career...
Jason D. Bigelow lives in Europe,where he is  currently watching 1000 films in a year and hunting Soundtracks: He can be found here: http://bloodmania.tumblr.com/archive

by Robert Ham
Dec. 2, 2016

My musical interests are perverse enough that when I heard about the existence of a grand opera surrounding the 1972 diplomatic visit by then-President Richard Nixon to the People's Republic of China, I was immediately intrigued.

I can only imagine what it must have been like for the music writers of the world when John Adams' work finally premiered at the Houston Opera in 1987. I would hope that a similarly perverse curiosity piqued their interest, fascinated by how the people behind the project—theater director Peter Sellars, composer John Adams, and librettist Alice Goodman—would pull it off.

Sellars was already known in the theater and opera community for his challenging stagings of famous works. During the '80s, he had overseen productions of Mozart operas that were removed from their original settings and placed in contemporary society. Don Giovanni was transplanted to Spanish Harlem, with costumes straight out of a '70s Blaxploitation film, and the most famous aria in it being performed while the singer simulated shooting heroin...

Robert Ham is a writer based in Portland, OR where he's a regular contributor to Willamette Week and The Oregonian. You can also read his work in Alternative Press and self-titled magazine. He likes black-capped chickadees and Chinese noodles.

by CremasterFanatic.com
Dec. 1, 2016
Cremaster 2 (79 min, 1999) was the first project Barney shot on HDTV (all of the Cremaster “films” are shot on video and then transferred to 35mm film for theatrical projection). The film cost about 1.7 million dollars to produce. An enormous amount of footage was shot -- estimates range from 17 to 30 minutes of tape for every minute used in the final edit (Hollywood films usually shoot at a ratio of 12:1).

The story of Cremaster 2 is loosely based on the life of Gary Gilmore (played in the film by Barney). Gilmore, born a Mormon, was sentanced to death for killing two men in Utah (a gas station attendant and a motel clerk) while on parole from a 12-year armed robbery sentance. Gilmore’s execution was the first in the US in a decade and attracted a lot of attention in the media. He did not appeal his death sentance, choosing instead to face execution by firing squad. Gilmore’s execution was a public relations nightmare for the Mormon Church: although both men he killed were Mormons, by choosing to make a “blood atonement” for his crimes Gilmore was absolved of his sin and entitled to all of the benefits of his Mormon baptism. Barney says he was drawn to Gilmore’s story because it, “was like a version of the whole ‘Cremaster’ dilemma, of a character in conflict with his destiny.” Gilmore’s story was the subject of Norman Mailer’s book The Executioner’s Song (Mailer, himself, appears in the film acting the role of escape artist Harry Houdini), parts of which form the foundation of Cremaster 2.

Within the Cremaster Cycle, Cremaster 2 represents the next first stirrings of gender difference. The idea of conflict between the sexes is explored using the metaphor of the queen bee and her drones (the beehive is also a symbol of Mormonism, signifying the importance of the collective over the individual, and appears on the Utah state flag). Another important motif in Cremaster 2 is the two-step. The dance is used as a metaphor for doubling back, Gilmore moving back through his own conception to Houdini’s metamorphosis...
CremasterFanatic.com is compiled and maintained by artist Eric Doeringer.

by Brian Correia
Nov. 30, 2016
To paraphrase Charlie Murphy, disco is a hell of a drug. Disco, that sparkly spin on (or bastardization of, depending on how attached you are to the Black Flag patch on your chained-out bomber jacket) rhythm and blues, pretty much had the whole world dancing in the 1970s. The mirror balls flew high, the bass-lines bumped, and the floors lit up1. Everyone from your dad to Liza Minelli was boogie-oogie-oogie-ing until they just couldn’t boogie no more. The epicenter of this movement, if you could get in, was Studio 54. The drug of choice was, of course, cocaine.
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.

by Ryk McIntyre
Nov. 28, 2016
I owe Disco an apology. I suspect that a lot of people my age do, and rightly so. Myself, I went to High School with Disco and I am shamed to say that I was kind of a bully. I gave Disco crap all the time, and while Disco brought some of that upon itself, what with the way it dressed and the subject matter of its almost hypnotic way of speaking to us of the boogie and of oogie, and the dancing... like it was an end in and of itself.

Watching this collection of music show appearances and proto-videos, puts payment on the rallying cry of the mid to late 70s: Disco Sucks! From the Big Apple Band’s “Get Away” it’s clear there was a level of musicianship that redeems the usually perfunctory lyrics (often about getting down and achieving a level of funkiness hitherto unseen) and makes similar music today seem so anemic and cold by comparison. “Oh sure,” you say to yourself, “old men always think the past was better than now!” Well, in this case, it’s true, 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.