sexta-feira, 28 de novembro de 2014

Powerpop in NY * 2005


Amanda Lepore In New York



Credit: 
Arnaldo Magnani / Contributor
 NEW YORK - MARCH 12: (EDITOR'S


NOTE: NUDITY) (ITALY OUT, NY DAILY NEWS OUT, NY NEWSDAY OUT) Transvestite Amanda Lepore (L) walks with Sponge Bob (reportedly photographer David LaChapelle) away from the Mercer Hotel for the opening of LaChapelle's new show 'Stars and Prostitutes' at Peitch Projects Gallery March 12, 2005 in New York City. (Photo by Arnaldo Magnani/Getty Images)



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Amanda Lepore - My Hair Looks Fierce - YouTube

www.youtube.com/watch?v=0SstxSdpdFM








Madame Jojo shut the doors

White Heat interview: ‘We’re being robbed of our cultural heritage’ 

Legendary Soho club Madame Jojo’s shut suddenly last week, making the seminal White Heat night homeless. We ask the promoters: where to now?




    Everyone who ever stumbled down the stairs at Madame Jojo’s on a Tuesday night has a ‘this one time at White Heat…’ story. The night became legendary for hosting live acts (The XX, Adele and Lordeamong them) just before they became superstars, and for transforming seamlessly from gig to disco as soon as the last band had played. It was crucial to London’s music and club scenes: one of the very last great nights out in Soho.
    But last week we found out that Jojo’s, which has been a celebrated fun palace since the ’60s, had lost its licence. The official reason is a violent fight between the venue’s bouncers and a member of the public, but it’s hard to ignore the fact that Westminster Council have approved a planning application to turn the site into yet another blandly ugly row of shops.
    As well as the loss to the gay and cabaret scenes in London, its closure means the end of almost a decade of weekly White Heat nights at the venue. We spoke to the night’s resident DJs and promoters, Matty Hall and Marcus Harris, about White Heat’s past and future.

    Do you see a pattern in the recent closures of venues, including Jojo’s and Buffalo Bar?

    Marcus: ‘We’re being robbed of our cultural heritage right now. The sheer number of venue closures in the last five years is unbelievable: so much has been taken in the name of regeneration. Regeneration for who? Islington has more than enough wine bars – it doesn’t need another one, and definitely not at the expense of something as precious as the Buffalo Bar. It’s cultural sanitisation and a hatred of independence. I find it really upsetting.’
    But what can London clubbers and gig-goers do to stop that trend?Marcus: ‘In the case of the Buffalo Bar, local MP Emily Thornberry has stepped in to try and put some weight behind a petition to prevent the eviction. It might work. She’s not the most popular person right now, but the people of her constituency are lucky to have an MP who would even touch that. And one thing that anyone who likes music can do is just get out and see a band. People are listening to more music than ever before, but they’re not experiencing it. A massive part of music has always been the community, and that’s more needed now than ever.’
    How has White Heat changed since 2005?
    Marcus: ‘When we started we were a punk night, then an indie night, then an electro night and now we’re sort of a mutant disco/house night. Music is always in a state of flux, and if you run a night you have to be a part of that change – and perhaps there’s an element of nights like White Heat guiding it.’

    ‘Madame Jojo’s was a weird place, and what we did really chimed with that’

    And how has the London club scene changed?
    Marcus: ‘Everything has changed! Most of the venues that were around when we started simply don’t exist any more. Club nights will always come and go, but it was sad to see nights like Trash and Durrr disappear – they were the nights that influenced us. There’s also been the massive shift from bands to DJs: people definitely don’t seem to like spending as much of their money on seeing bands.’
    How did you first end up running an indie night in a cabaret bar in Soho?Matty: ‘Soho was a no-brainer back then. Nowadays you’d start a clubnight somewhere east, because that’s where people are used to going out – back then it was Soho. We’d been running White Heat in Mayfair since 2003, but we had to move and Jojo’s seemed the obvious choice. I think the first show was The Long Blondes on April 19 2005.’
    What made Madame Jojo’s the right venue?Marcus: ‘It was such a beautifully sleazy space, and I think that fit perfectly with White Heat’s Tuesday-night hedonistic “fuck the rest of the week” attitude. I also think that venue gave us the freedom to experiment musically: it was a weird place and what we did really chimed with that.’
    What was the best live show you put on at the venue?Marcus: ‘One night a hen party wandered into White Heat whilst Zebra Katz was playing. He demanded a chair for the bride-to-be, sat her down in the middle of the dancefloor and proceeded to give her a lap dance whilst rapping through the rest of his set.’
    And the biggest night?Marcus: ‘Cyril Hahn. The club was completely full and there was a roadblock outside to get in. The venue erupted when he started playing: all you could see was faces and arms tangled together in euphoria.’
    Do any punters particularly stick in your memory?Marcus: ‘There used to be a cyber goth known as “White Heat Dancing Guy”, who would come down every Tuesday and do raunchy stripper dancing above the dancefloor. After about five years of this, he suggested we start paying him. I think he eventually got barred, but I don’t think he’d have been there at all if we were at any other venue.’ 
    Will White Heat continue somewhere else?Marcus: ‘We’ve been doing this for over ten years. Unless all the bands stop playing in London or one of us goes deaf, I can’t see us stopping any time soon. White Heat has been there for me my whole adult life – it means everything to me to keep it going.’
    Book now for the White Heat NYE Party at The Lexington on Dec 31

quarta-feira, 26 de novembro de 2014

A Visual History of Body Art

A Visual History Of Body Art From Around The Globe


BODY ART IS PRACTICED IN ALL WORLD CULTURES. HERE, A SURVEY OF DESIGNS FROM MAORI FACIAL ENGRAVINGS TO PRISON TATTOOS TO GAY PRIDE INK.




Whether it’s the Sanskrit Om symbol tattooed on a yoga teacher’s back, the ‘50s pin-up girl inked on Amy Winehouse’s bicep, or the ancient Celtic cross on a policeman’s arm, contemporary western body art tends to borrow designs from different locales and eras throughout history.


Body Art, out this month fromThames & Hudson, reveals the historical origins of many designs you might see while walking around the giant body art gallery that is the contemporary western city. It spans from Australian and African traditions of scarification to Russian prison tattoos to Tupac Shakur’s "Thug Life" stamp. Writes art historian and anthropologist Nicholas Thomas in the book's introduction:

We cannot but recognize a paradox: we think of the body art we choose to bear as an expression of our identity, yet the motifs and styles that we typically adopt are not anchored in the places and communities in which we have grown up. Rather, they are the products of more or less distant cultures and epochs. In some cases, such as the Gothic imagery associated with heavy-metal music, they have been embraced and revalued, not once but several times. We are all familiar with retro fashion in clothing, furniture, and design, but it is important to remember that nothing can be the same as it was. The images that are being reintroduced, that abound in popular culture, that appear on the bodies of celebrities, may be old or second-hand, but their meanings and our motivations are new.
that the meanings and motivations behind various body art forms range from signifying criminal identity, seen in the prison tattoos of a former high-ranking gang member; to signifying a woman's obedience to her husband, seen in the patterned scarification marks on the torso of a Bena woman in a Nigerian village; to signifying gay pride, seen in the body paint of revelers at the Sydney Gay and Lesbian March of 1988. Click the slide show for a survey of the ways humans have inked, pierced, branded, and otherwise modified their flesh from prehistoric times to the present.
Body Art is available from Thames & Hudson here for $22.








domingo, 16 de novembro de 2014

Bethany Morris / British youth culture


bethany morris photographs real british youth culture
At only 23-years-old Bethany Morris is the Manchester based photographer whose life experiences have already hugely shaped her aesthetic. She grew up in a small, lifeless town in rural Cheshire, where she met the ‘love of her life’ age 13 and fell pregnant with his child before he abandoned them.


sábado, 15 de novembro de 2014

HOWL . Allen Ginsberg



“I saw the best minds of my generation destroyed by 
madness, starving hysterical naked, 
dragging themselves through the negro streets at dawn 
looking for an angry fix, 
angelheaded hipsters burning for the ancient heavenly 
connection to the starry dynamo in the machinery of night, 
who poverty and tatters and hollow-eyed and high sat 
up smoking in the supernatural darkness of 
cold-water flats floating across the tops of cities 
contemplating jazz, 
who bared their brains to Heaven under the El and 
saw Mohammedan angels staggering on tenement roofs illuminated, 
who passed through universities with radiant cool eyes 
hallucinating Arkansas and Blake-light tragedy 
among the scholars of war, ” 











Walk on the Wild Side




Walk on the Wild Side" is a Lou Reedsong from his 1972 second solo album Transformer. It was produced by David Bowie. The song received wide radio coverage, despite its touching on taboo topics such as transsexualitydrugsmale prostitution and oral sex. In the United States, RCA released the single using an edited version of the song without the reference to oral sex.
The lyrics, describing a series of individuals and their journeys to New York City, refer to several of the regular "superstars" at Andy Warhol's New York studio, The Factory, namely Holly WoodlawnCandy DarlingJoe DallesandroJackie Curtis and Joe Campbell (referred to in the song by his nickname Sugar Plum Fairy). Candy Darling was also the subject of Reed's earlier song for The Velvet Underground, "Candy Says".

Holly came from Miami, F.L.A.
Hitch-hiked her way across the U.S.A.
Plucked her eyebrows on the way
Shaved her legs and then he was a she
She says, "Hey, babe,
Take a walk on the wild side."
Said, "Hey, honey,
Take a walk on the wild side."

Candy came from out on the Island
In the back room she was everybody's darling
But she never lost her head
Even when she was giving head
She says, "Hey, babe,
Take a walk on the wild side."
Said, "Hey, babe,
Take a walk on the wild side."
And the colored girls go
"Doo do doo do doo do do doo..."

Little Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York City's the place
Where they said, "Hey, babe,
Take a walk on the wild side."
I said, "Hey, Joe,
Take a walk on the wild side."

Sugar Plum Fairy came and hit the streets
Looking for soul food and a place to eat
Went to the Apollo
You should've seen them go, go, go
They said, "Hey, sugar,
Take a walk on the wild side."
I said, "Hey, babe,
Take a walk on the wild side."
All right, huh

Jackie is just speeding away
Thought she was James Dean for a day
Then I guess she had to crash
Valium would have helped that bash
Said, "Hey, babe,
Take a walk on the wild side."
I said, "Hey, honey,
Take a walk on the wild side."
And the colored girls say,
"Doo do doo do doo do do doo..."


segunda-feira, 10 de novembro de 2014

Zygmunt Bauman - "Hipotecamos o futuro"



'Nós hipotecamos o futuro', critica sociólogo polonês Zygmunt Bauman

Entrevista de Zygmunt Bauman ao Milênio da Globo News em 16/01/2012.

Zygmunt Bauman avalia as crises e os protestos que se espalham por diversas capitais da Europa e do mundo. Entre causas e efeitos, ele sugere uma radical mudança de comportamento da sociedade como possível solução para o grave problema mundial.

Democracia de consumo / por Luli Radfahrer





Democracia de consumo
10/11/2014 02h00

Uma nova ideologia toma conta do mundo. Camuflada na ordem política, econômica e social, sua proposta coloca em risco boa parte das instituições modernas.

Ela é a transformação do cidadão em consumidor. Parece questão semântica, mas na verdade reflete uma mudança radical, mais discreta do que a tradicional divisão entre "direita" e "esquerda".


A sociedade contemporânea foi transformada em um grande mercado. Políticas econômicas enfatizam o consumo, tratando a população como massa desprovida de ideais, capaz de interagir apenas através da compra. A mudança é tão abrangente que alguns propõem a educação de direitos do consumidor nos currículos escolares. Não tardará para que sugiram a substituição da declaração dos direitos do homem pelo código do consumidor.

(In)felizmente não se pode resolver a saúde pública ou a estagnação econômica através de compras, buscas no Google, verbetes na Wikipédia ou consultas ao fórum público do Facebook. É preciso tomar atitudes complexas,
muitas vezes amargas, com resultados duros a curto prazo. Nenhum consumidor gosta disso.

Não é por mau caráter, mas por apatia. Ninguém vê problemas em escolher o produto mais sustentável, desde que não custe mais caro, venha de um fabricante confiável, seja aprovado pelo grupo, não requeira esforço para
comprar ou usar e funcione pelo menos tão bem quanto o convencional. Ou seja, desde que se possa transferir a responsabilidade pela decisão. Ao focar no interesse imediato de um consumidor apático, a sociedade
privilegia o conforto a curto prazo à custa de um futuro incerto. E o mundo não melhora.

O que se vê nas redes sociais desde 2013 é a reação a uma administração pública tomada pelo marketing, em que partidos tentam vender políticas como pacotes, baseadas em pesquisas de mercado e acompanhadas de uma publicidade assertiva e agressiva. No palanque do Twitter, a satisfação está garantida em 140 caracteres ou menos.

Boa parte da culpa desse comportamento está na Publicidade, uma indústria perniciosa, onisciente, onipresente e em busca da onipotência. Há tantos anúncios que é praticamente impossível escapar deles. Em suas mensagens, formas variadas de vender, sorrateiramente, coisas de que ninguém precisa, em vez de buscar descobrir o que é necessário para estimular verdadeiras mudanças de comportamento.


A publicidade arrogante, malandra e paternalista desdenha a sociedade, desrespeita diferenças e insulta a inteligência de seus interlocutores, para não mencionar sua privacidade ou individualidade. Já dizia o Filósofo Mick Jagger, "estou dirigindo meu carro quando aparece um homem no rádio com informações inúteis que deveriam estimular minha imaginação. Não me satisfaço, por mais que tente".

A Guerra Fria acabou faz tempo, ninguém imagina o retorno de ideologias totalitárias que forcem a decisão do indivíduo. Mas é preciso buscar uma versão melhor, mais virtuosa do capitalismo.

Os valores de consumo são anacrônicos no mundo conectado. Novas tecnologias trazem novas moedas e novos padrões de comportamento e pensamento. A configuração padrão do mundo digital é participar, não
receber. Colaboração, compartilhamento e produção descentralizada são as novas formas de propriedade, contestando a noção de "consumidor".


A Kodak faliu por acreditar que o marketing era mais importante do que a pesquisa, mas poucos parecem ter aprendido a lição. Empresas precisam relembrar as razões por que surgiram, normalmente para suprir necessidades do seu público, não de seus acionistas, e criar decisões de gestão compartilhada. Partidos políticos precisam respeitar o julgamento, a inteligência e a capacidade da população de participar de projetos compartilhados, em vez de receber, passivamente, pacotes fechados.

É preciso resgatar a cidadania das armadilhas do consumeirismo. Quebrar a ideia de mundo amoral, desmoralizado, que se faz da sociedade contemporânea. Isso demanda maturidade, representada em um pequeno desconforto na busca de um futuro melhor, e não o contrário.



por Luli Radfahrer é professor-doutor de Comunicação Digital da ECA (Escola de Comunicações e Artes) da USP há 19 anos. Trabalha com internet desde 1994 e já foi diretor de algumas das maiores agências de publicidade do país. Hoje é consultor em inovação digital, com clientes no Brasil, EUA, Europa e Oriente Médio. Autor do livro 'Enciclopédia da Nuvem', em que analisa 550 ferramentas e serviços digitais para empresas. Mantém o blog www.luli.com.br, em que discute e analisa as principais tendências da tecnologia. Escreve às segundas no site de 'Tec'.







quinta-feira, 6 de novembro de 2014

The best new movies on Netflix UK


First he gets his kit off on stage, next he stars as gay beat poet Allen Ginsberg. On paper it looks like Daniel Radcliffe is trying too hard, when in fact, he’s proving himself to be one of our finest young actors. He’s brilliant playing Ginsberg at college in 1940s New York.

A murder in 1944 draws together the great poets of the beat generation: Allen Ginsberg, Jack Kerouac and William Burroughs.



Director: 

John Krokidas 
Writers: Austin Bunn (screenplay), Austin Bunn (story), 1 more credit »

Stars:

Daniel RadcliffeDane DeHaan, Michael C. Hall |See full cast and crew






Dance Queen Brendan Jordan • Seconds of Fame / Insta-fame / Digital Celebrity



















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