Three Seekers (2009) by Kelly Louise Judd.
• Kevin Sessums talked to Elizabeth Taylor in 1997 about Tennessee Williams, her AIDS activism and related matters. Other related matters: Catholics lead the way on same-sex marriage and Mahatma Gandhi was in love with a German body-builder named Hermann.
• Cray porn (the computer, that is) at Barnbrook Design as the CD package for Interplay by John Foxx and The Maths is unveiled.
• Michael Rother and Friends Play the Music Of Neu! A stream of an hour-long concert from August 2010.
One of the tragedies of drug prohibition is that we have never developed a culture in which young people can learn how to use powerful drugs properly from older, wiser and more experienced psychonauts. I count myself lucky to have encountered such good teachers to guide me with such drugs as LSD, psilocybin, DMT, MDMA and mescaline.
Dr Susan Blackmore on using LSD.
• Another Dispatch in a World of Multiple Veils, a new release by Arkhonia.
• Micromachina by Scott Bain “examines what makes the insect world tick”.
• Down with art!: the age of manifestos. Related: The Manifesto Manifesto.
• John Patterson: “We’re all living in the future as seen by Philip K Dick.”
• Music To Play In The Dark: A Wake For Peter ‘Sleazy’ Christopherson.
• Albert Einstein, Radical: A Political Profile.
• Was “God’s Wife” edited out of the Bible?
• Porn made for women, by women.
• Hallogallo (1972) by Neu! | Opa-Loka (1975) by Hawkwind | Jenny Ondioline (1993) by Stereolab | Hallogallo (1997) by Porcupine Tree.
Remember her for her incomparable beauty, her great performances in great films, the camp confections like Cleopatra and Boom, and years of activism on behalf of gay people:
There is no gay agenda, it’s a human agenda. Why shouldn’t gay people be able to live as open and freely as everybody else? What it comes down to, ultimately, is love. How can anything bad come out of love? The bad stuff comes out of mistrust, misunderstanding and, God knows, from hate and from ignorance.
It would also be remiss of me (since no obituaries will be tasteless enough to mention it) if I didn’t note her presence at the heart of one of the more notorious novels of the past fifty years. I often used to wonder whether anyone had told her about Crash. Not that she’d want to know about it if they did; who would be eager to read detailed plans for their own horrific death? But it was her status as a 20th century icon, the nonpareil of film stardom, that made her the perfect choice as the focus of Vaughan’s obsessions in Ballard’s novel.
• Elizabeth Taylor: a career in clips
• RIP Elizabeth Taylor: A Ballardian Primer