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 Audra Puchalski & Hannah Ensor
Jan. 19, 2017

Electra Woman and Dyna Girl might as well be sisters, that’s how close they’ve become.  It’s not just their wrist-boxes that keep them related, close, akin.  No sex, but what if Spider Lady, while disguised as Electra Woman, seduced the real Electra Woman? Who would love whom? And for what qualities?

Knowing Frank’s middle name is tantamount to devotion, to walking on coals or remembering an anniversary, though for Spider Lady it’s an anti-anniversary, it’s every time she went out on a first date and called and called and when the date finally picked up, the date said, I’m not interested.  It’s your declamatory attitudes and the flap of your arms. Dates can be so unfair, they come in with some really firm idea of what they’re looking for (e.g. convex or concave belly) and if you’re not it, not that thing, then you must be an impostor...

Hannah Ensor and Audra Puchalski live in Ann Arbor, Michigan, where they where they cackle & move their hands around, go to breakfast and get everything they want, discuss potential running shoe acquisitions, and then fall asleep suddenly even though they are not both quitting coffee. They also enjoy watching lizard dramas, like real, live lizards having drama with each other. Audra and Hannah are the co-founders of the journals Yes?Yes. and its subsidiary, The Horse Review.

by Kerry Flint
Jan. 19, 2017

George Kuchar, with over 60 films and 100 videos now to his credit, was a pioneering experimental filmmaker most admired for his ability to make films on a shoestring budget. Along with his brother, Mike Kuchar, he made 8mm and later 16mm experimental films as part of the burgeoning underground avant-garde film scene in the 1960's. The Kuchars were key figures in 1960’s underground cinema and inspired many filmmakers including John Waters, Andy Warhol, Kenneth Anger and Stan Brakhage. What made Kuchar so distinctive was that he was influenced by commercialisation but at the same time also managed to embrace the brave new attitudes of the 1960’s counterculture.

Born in 1942, Kuchar grew up in the Bronx and was greatly influenced by Hollywood melodrama and by his trucker father’s penchant for trashy television and novels. George and his twin brother set out to replicate the fantasy of Hollywood in their own low-budget films. The Kuchar’s films are garishly over the top and regularly described as 'camp', a term penned in 1964 in Susan Sontag's  seminal essay, “Notes on Camp” in which she sought to define an increasingly prevalent cultural trend, described as ‘a sensibility of passionate extravagance'. Kuchar's films were central to this trend, offering audiences a series of over the top scenes in which the overacting forefronts the film's superficiality...

Kerry is a Writer, Stylist, Digital Consultant, Editor, Blogger and Vintage Dealer based in London. Kerry writes for and edits a number of publications alongside managing Marketing Campaigns for Fashion clients, Digital Consultancy and offering a creative input to a variety of campaigns and projects. Also a published Poet and Vintage Fashion dealer Kerry spends her spare time on Market stalls and writing the blog www.tricky-customers@blogspot.com.

by Thomas Michalski
Jan. 17, 2017
During the war years, Walter Ruttmann made propaganda films for the Nazis. The only reason I jump into this essay with that troubling fact is that most summaries of the German experimental filmmaker’s storied life try to slip it in at the end, as if they’re saying it under their breath. His work for the Third Reich raises a lot of questions, both biographical and philosophical, among them why Ruttmann didn’t flee the country like so many of his peers, how much culpability filmmakers and artists who glorified Hitler share in his crimes, and can a work of art be formally, aesthetically appealing even if it’s content is abhorrent. Due the limits of space and to preserve my own peace of mind, we’re not going to go too deep into those hefty topics (and besides there’s plenty of ink spilled over them already in regards to Leni Riefenstahl, whose Triumph of the Will Ruttmann co-edited). Instead, it seems a better use of our time to look further back, before Hitler’s sweeping rise to power, when Ruttmann was making a very important (and very un-fascist) series of films...
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 Brian Correia
Jan. 14, 2017
There are artists who are meticulous. They prefer to perfect and manicure their art before showing it at what they consider the exact right moment. They erase the sketch marks, increase the fidelity, prune and primp until they have what they consider a well-polished, finished product. These artists showcase their work deliberately. They stick to what they know. Their experiments, if they experiment at all, are carefully considered. Artists like this may go years without releasing anything, and when they finally do, it is an event. Jeff Keen may have been one of these artists...
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 Nathaniel Hoyt
Jan. 11, 2017

Back when I was a recent transplant from the deep suburbs to Boston, I worked at a Trader Joe's. While working there I wore a stupid shirt, tried not to cut yuppies with the box-cutters, and generally despised everything about the place. However, I did become friends with some charming weirdos who, like me, got a job there thinking it'd be a bunch of misfit freaks like ourselves. We were partly right: there were a lot of freaks, but behind all the team cheer and tacky Hawaiian shirts stood a rigid corporate infrastructure (of course), managed by ex-military drill sergeants, and overlorded by a remote dynasty of German billionaires, whatever hope we harbored that this was different from any other for-profit business was steadily abandoned. Not that there was any great hope to begin with, merely a passing wish that maybe there existed a part-time job requiring no experience that wasn't indentured slavery to a run-of-the-mill evil corporation.

The disillusionment brought us together. I befriended a tall, Nordic-looking neurotic named Mike. One day Mike picked me up after our shifts were over, saying we were going to see this crazy band called Psychic TV. I'd never heard of them, and from Mike's description I was having a hard time understanding what it was I was going to see. That's the first time I'd heard the name Genesis P-Orridge – a name I still find hilarious, and place in the hallowed pantheon of great adopted punk names like Jello Biafra and Lux Interior. My interest was downright piqued...

Nathaniel Hoyt is an inconceivably complex system of sentient organic materials dedicated to eating poorly and playing video games frequently. He has a Tumblr account that he doesn't quite know how to use, which you can view at dedolence.tumblr.com, although admittedly there's probably better ways to waste company time. As a do-er of many things, feel free to seek Nathaniel out if you have any things that need doing, like bicycle fixing, coffee making, artwork drawing, or opinion giving. END COMMUNICATION.