The desideratum of needs no more of a defense for its existence than Jennifer Aniston's current love interest.
So, with that in mind, I caught up with some of the fairly recent horror films coming out of France; to see what, if anything, they say to me.
As Luis says in the video below, the recent Record Store Day (RSD) two Saturdays ago at Amoeba SF was off the hook, with records like the new Cypress Hill vinyl (RSD special release) and the Beastie Boys' "Mystery RSD" 12" attracting a lot of record collectors.
First up is GWAR or Joan Rivers, at the moment I don't know who I love more.
GWAR has always been near and dear to my heart as hometown RVA homeboys, familial connections notwithstanding, and as general criminal art-students against society, popularizing songs with lyrics like "this is your ass/ and I'm in it" and proliferating blood-stained concert tees as "you had to be there" tour souvenirs (including, ladies, your white undergarments which will forever be a faded shade of pinkish-red a.k.a. Like the fiercest of Drag Queens wielding a gaudy bauble of accessories, milady Joan Rivers, on the other hand, never fails to hypnotize me with her keen wit, fathomless fashion sense, talk show know-how and Dot Matrix/lady-robot realness in Mel Brooks' (via Disharmonic Variations), a truly collaborative effort by the one-man depressive black metal band Xasthur and ethereal folkie Marissa Nadler. Upon first spin, is easily recognizable as the best of Conner’s last few releases and will likely hold up as one of the touchstones in the Xasthur discography and beyond -- wherever Conner decides to go next.
] Legendary San Francisco drag queen Peaches Christ's alter ego Joshua Grannell has written, directed and is starring in the new film which is having its grand debut as a part of the San Francisco International Film Festival at the fabulous Castro Theater this Saturday!
The event will be marked with a star studded preshow, a la Peaches Christ's historic an This is a blacker than black black comedy -- full of thrills and chills as well as major laughs.
But in Falconetti, who plays Joan, I found what I might, with very bold expression, allow myself to call “the martyr’s reincarnation.” My attraction to repulsion occasionally yields a transgressive masterpiece, but, more often than not, it's just proof of a strong emotive fortitude combined with some twisted prurience that I never grew out of -- that is, a willingness to endure aesthetic defilement.