{"id":18714,"date":"2018-05-06T01:03:57","date_gmt":"2018-05-06T00:03:57","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18714"},"modified":"2018-05-06T01:03:57","modified_gmt":"2018-05-06T00:03:57","slug":"weekend-links-411","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2018\/05\/06\/weekend-links-411\/","title":{"rendered":"Weekend links 411"},"content":{"rendered":"

\"crowley.jpg\"<\/a><\/p>\n

The Temple of Love (1911\u201324) by Herbert E. Crowley<\/a>.<\/em><\/p>\n

\u2022 My film viewing in the 1980s involved a considerable amount of backtracking: watching any film noir that turned up on the TV while chasing the early works of David Cronenberg, and various “New Hollywood” classics on television or at repertory cinemas (when such things were still plentiful). Contemporary fare by comparison was often a lot less attractive, although I’d be waiting for new work from David Lynch and Nicolas Roeg while pursuing obscurities (usually the banned or censored) on videotape. Popular films seldom generated actual loathing but throughout the decade I nurtured a persistent hatred for the works of John Hughes, an animus that can still return today when I read yet another nostalgic article about his oeuvre.<\/p>\n

The monoculture of the 1980s was writ large on American cinema of the decade. From Arnold Schwarzenegger’s muscle-rippling actioners to John Hughes’s adolescent confections, bombastic, generally upbeat films characterised the decade of the yuppie.<\/p><\/blockquote>\n

Christina Newland<\/a> offers a welcome riposte to the pastel-hued retrospectives in a piece entitled “Reagan’s bastard children: the lost teens of 1980s American indie films”. While not exclusively teen pictures, I’d have mentioned three low-budget films written by Eric Red: The Hitcher<\/em> (1986), Near Dark<\/em> (1987) and Cohen and Tate<\/em> (1989).<\/p>\n

\u2022 The Temple of Silence: Forgotten Works & Worlds of Herbert Crowley<\/em><\/a> is a lavish (and costly) study of the strange comic strips and incredibly detailed drawings of Herbert E. Crowley (1873\u20131937). Mark Newgarden interviewed Justin Duerr<\/a> about rescuing Crowley’s art from undeserved neglect. I missed an earlier interview by Steven Heller with Temple of Silence<\/em> publisher Josh O\u2019Neill<\/a>. There’s more: The Wiggle Much<\/em><\/a> a Tumblr devoted to Crowley’s comic strips and other artwork. (Ta to Jay for the tip!)<\/p>\n

\u2022 Pandemic<\/em> is an interactive film by John Bradburn for The Science Museum. “A pandemic is causing heart failure\u2013how far will you go to create a pig\/human hybrid to provide donor organs?” The multiple choice begins at YouTube<\/a>; there’s also a behind the scenes feature<\/a> at the Museum blog, and a trailer<\/a>. Anyone who remembers a certain scene in Lindsay Anderson’s O Lucky Man!<\/em> may hesitate before playing.<\/p>\n

Given the plain palette of so much 1969\u201370 rock\u2014jammed-out bluesy boogie in the Canned Heat and Allman Brothers mode, nasal pseudo-country harmony singing \u00e0 la CSN&Y and their afterbirth\u2014it is tempting to imagine an entirely alternative history for rock. It\u2019s a parallel world where Fifty Foot Hose\u2019s Cauldron<\/em>, United States of America\u2019s self-titled album and synthedelic oddities from Syrinx, Silver Apples, Beaver & Krause and Tonto\u2019s Expanding Head Band were just the run-up to a giant leap into the electronic future.<\/p>\n

Simon Reynolds<\/a> in an excellent piece on one of my favourite musical sub-genres, electronic psychedelia<\/em><\/p><\/blockquote>\n

\u2022 The week in animated film: Emerald Rush<\/em><\/a>, a video for an extract from Jon Hopkins’ new album, Singularity<\/em><\/a>; Awaken Akira<\/a><\/em>, a short homage to Katsuhiro Otomo’s graphic novel\/film by Ash Thorp and Zaoeyo; Extra<\/em><\/a> (1996), a video by one of the Akira animators, Koji Morimoto, for music by Ken Ishii.<\/p>\n

\u2022 Tenebrous Kate<\/a> on The Powers of Darkness & The Powers of the Mind: The Legacy of Jacques Tourneur’s Night of the Demon<\/em>. Related: a look at the film’s shooting script and pressbook<\/a>.<\/p>\n

\u2022 At Dangerous Minds: John Gray<\/a>, the pre-Bosie lover of Oscar Wilde, and the man whose surname is memorialised in Wilde’s most famous creation, Dorian Gray.<\/p>\n

\u2022 Skewing the Picture: China Mi\u00e9ville<\/a> posts the full text of an essay from 2016 about the rural weird.<\/p>\n

\u2022 Share a pastrami sandwich with TED Klein<\/a> in Episode 65 of Eating the Fantastic.<\/p>\n

\u2022 More Hodgsoniana: The Land of Lonesomeness<\/em><\/a>, a short story by Sam Gafford.<\/p>\n

\u2022 At The Quietus: Barry Miles<\/a> on William Burroughs’ years in London.<\/p>\n

\u2022 At Dennis Cooper’s: Curtis Harrington Day<\/a>.<\/p>\n

\u2022 Night Of The Assassins<\/a><\/em> (1977?) by\u00a0Les Rallizes D\u00e9nud\u00e9s | Night Of The Earth<\/a><\/em> (1980) by Chrome | Night Of The Swallow<\/a><\/em> (1982) by Kate Bush<\/p>\n","protected":false},"excerpt":{"rendered":"

The Temple of Love (1911\u201324) by Herbert E. Crowley. \u2022 My film viewing in the 1980s involved a considerable amount of backtracking: watching any film noir that turned up on the TV while chasing the early works of David Cronenberg, and various “New Hollywood” classics on television or at repertory cinemas (when such things were … Continue reading “Weekend links 411”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[52,2,42,28,29,7,5,22,3],"tags":[9495,5674,370,1032,9489,3534,1375,2207,265,3109,117,9490,6998,9488,4299,8313,4835,1742,9493,9492,2719,9494,9498,9497,9501,9491,306,116,4075,4116,1216,1536,9500,6651,7722,5060,9499,1190,1951,9496],"class_list":["post-18714","post","type-post","status-publish","format-standard","hentry","category-animation","category-art","category-books","category-burroughs","category-electronica","category-film","category-gay","category-horror","category-music","tag-ash-thorp","tag-barry-miles","tag-beaver-krause","tag-china-mieville","tag-christina-newland","tag-chrome-group","tag-curtis-harrington","tag-david-cronenberg","tag-david-lynch","tag-dennis-cooper","tag-dorian-gray","tag-eric-red","tag-fifty-foot-hose","tag-herbert-e-crowley","tag-jacques-tourneur","tag-john-bradburn","tag-john-gray","tag-jon-hopkins","tag-josh-oneill","tag-justin-duerr","tag-kate-bush","tag-katsuhiro-otomo","tag-ken-ishii","tag-koji-morimoto","tag-les-rallizes-denudes","tag-mark-newgarden","tag-nicolas-roeg","tag-oscar-wilde","tag-sam-gafford","tag-silver-apples","tag-simon-reynolds","tag-steven-heller","tag-syrinx-group","tag-ted-klein","tag-tenebrous-kate","tag-tontos-expanding-head-band","tag-united-states-of-america-group","tag-william-burroughs","tag-william-hope-hodgson","tag-zaoeyo"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4RQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18714","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=18714"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18714\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}