Weekend links 74

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Johnny YesNo video cover, 1983. Design by Neville Brody.

Being a Cabaret Voltaire enthusiast of long standing it was good to hear last week about the imminent reappearance of Johnny YesNo, an hour-long film by Peter Care for which the Cabs provided the soundtrack. Mute Records will be releasing Care’s debut on DVD in a set which includes two versions of the film together with two music CDs. I never got to see the original release on CV’s VHS label, Doublevision; for most of the 1980s I didn’t even have a colour TV never mind a video recorder so I missed all CV’s videocassettes aside from Gasoline In Your Eye. The new edition will be available in November. Brainwashed has a list of the contents while The Quietus posted a clip from the new “redux” version. (And before anyone tells me it’s on YouTube…yeah, everything is on YT in shitty quality and barnacled with the misanthropy-inducing drivel which passes there for comment. If I’m going to watch something for the first time I’d prefer it to be on a shiny disc, thanks.)

• The world has noticed Terrence Malick again following the release of The Tree of Life. Malick’s second feature is returning briefly to UK cinema screens, an event which prompted David Thomson to ask Is Days of Heaven the most beautiful film ever made?

• This week in imaginative art: S. Elizabeth on The Fantastical Fairy Tale Art of Sveta Dorosheva, AS Byatt on the strange paintings of Richard Dadd (there’s another Dadd article here), and Rick Poynor on Chris Foss and the Technological Sublime.

Ethan Hein demonstrates how Alan Lomax came to have copyright control over many songs he had nothing to do with simply by recording traditional music.

Visual Vitriol:  The Street Art and Subcultures of the Punk and Hardcore Generation, a book by David Ensminger.

• More Club Silencio: Inside David Lynch’s Paris nightclub and a gallery of photos.

Histoire un-Naturelle, selected works by Ruth Marten.

Come hither: The deceptive beauty of orchids.

Facsimile Dust Jackets.

• More Peter Care: Just Fascination (1983) by Cabaret Voltaire | Sensoria (1984) by Cabaret Voltaire | Rise (1986) by Public Image Ltd.

The recurrent pose 43

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Not had one of these posts for a while but the theme still seems inexhaustible. The cute dancer above is Mathieu from a set I linked to earlier by Jean-Philippe Guillemain.

Below there’s a pose that’s closer to Flandrin’s original, complete with seascape and a no doubt uncomfortable rocky perch. This one is from a set of photos by Tony Patrioli at Homodesiribus, and was a tip from Mexicology. (Thanks!)

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Elsewhere on { feuilleton }
The recurrent pose archive

Thom Ayres

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Mr Ayres is a blogger at Form is Void, an occasional commenter on these pages and also a photographer with a keen eye for detail and the occasional outbreak of alarming taxidermy. I especially like the architectural pieces, and I never tire of seeing rusted surfaces and flaking paintwork (one of the best things about growing up in a seaside town). There’s a lot more to be seen here, and at Thom’s Flickr pages.

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Continue reading “Thom Ayres”

Weekend links 71

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Manuel Orazi (1860–1934) was one of the best of the many Mucha imitators. An untitled & undated posting at Indigo Asmodel.

The mob now appeared to consider themselves as superior to all authority; they declared their resolution to burn all the remaining public prisons, and demolish the Bank, the Temple, Gray’s Inn, Lincoln’s Inn, the Mansion House, the Royal palaces, and the arsenal at Woolwich. The attempt upon the Bank of England was actually made twice in the course of one day; but both attacks were but feebly conducted and the rioters easily repulsed, several of them falling by the fire of the military, and many others being severely wounded.

To form an adequate idea of the distress of the inhabitants in every part of the City would be impossible. Six-and-thirty fires were to be seen blazing in the metropolis during the night.

An Account of the Riots in London in 1780, from The Newgate Calendar.

In a week of apparently limitless bloviation, a few comments stood out. Hari Kunzru: “Once, a powerful woman told us there was no such thing as society and set about engineering our country to fit her theory. Well, she got her way. This is where we live now, and if we don’t like it, we ought to make a change.” Howard Jacobson: “One medium-sized banker’s bonus would probably pay for all the trash that’s been looted this past week.” Meanwhile Boff Whalley complained about the predictable misuse of the word “anarchy” by lazy journalists.

• For further historical perspective, a list of rioters and arsonists from The Newgate Calendar (1824), and an account of the looting in London during the Blitz.

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From a selection of works by Max Walter Svanberg (1912–1994) at But Does It Float. There’s more at Cardboard Cutout Sundown.

• NASA posted a gorgeous photo from the surface of the planet Mars. Related: Astronomers have discovered the darkest known exoplanet. Obliquely related: Julio Cortázar’s From the Observatory, a prose poem inspired by the astronomical observatories at Jaipur and New Delhi, India, receives its first English translation.

The Advisory Circle is still in a Kosmische groove. Not Kosmische at all, Haxan Cloak’s mix for FACT has Wolf Eyes, Sunn O))) and Krzysztof Penderecki competing to shatter your nerves.

• The wonderful women (and friends) at Coilhouse magazine are having a Black, White and Red fundraising party in Brooklyn, NYC, on August 21st. Details here.

• Sodom’s ambassador to Paris: the flamboyant Jean Lorrain is profiled at Strange Flowers.

Empire de la Mort: Photographs of charnel houses and ossuaries by Paul Koudounaris.

The Craft of Verse by Jorge Luis Borges: The Norton Lectures, 1967–68.

• Jesse Bering examines The Contorted History of Autofellatio.

Robert Crumb explains why he won’t be visiting Australia.

The Crackdown (1983) by Cabaret Voltaire.

Jean-Philippe Guillemain’s dancers

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Mathieu by Jean-Philippe Guillemain.

A collection of male dancers pose beside the usual complement of agency models in the portfolio of French photographer Jean-Philippe Guillemain. Are all European dancers this attractive or does he just have a good eye? See the others on his site.

Previously on { feuilleton }
Danseur Noble
The tights have it
Torero
Eonism and Eonnagata
Tiger Lily
Chris Nash
Peter Reed and Salomé After Dark
Felix D’Eon
Dancers by John Andresen
Youssef Nabil
Images of Nijinsky