50 Shades of Earl Grey: a man’s love affair for HOT BLACK-TEA.
monday, february 4th
charlie’s kitchen | cambridge, ma
$5 | 9pm | 21+
Kenneth Anger, James Franco and Brian Butler
Occult artist / musician / filmmaker Brian Butler will be performing Aleister Crowley’s “Bartzabel Working” tonight, Tuesday, December 4, at the L&M Arts gallery space in Venice Beach, CA. This occult ceremony is part of the gallery’s current “Martian Chronicles” theme exhibit and will employ custom robes made in the original A∴A∴ (Crowley’s magical order) designs and a circle, altar and triangle fabricated in vivid colors. Actor James Franco will also participate in the ritual.
In conjunction with the current exhibition For the Martian Chronicles, L&M Arts is pleased to present The Bartzabel Working, a performance by filmmaker and artist Brian Butler. Based on a ceremonial evocation of the spirit of Mars, first written and performed in London in 1910 by the famed British occultist Aleister Crowley, the ritual later became part of Los Angeles history in 1946 when Jet Propulsion Laboratory rocket scientist and Crowley protégé Jack Parsons conducted his own version of this rite, with the intention of placing a martial curse on a pre-Scientology L. Ron Hubbard.
For his reinterpretation of this historical performance, Butler will conjure Bartzabel, the spirit of Mars, evoking the site that was once home to the late sci-fi author Ray Bradbury and currently comprises L&M Arts. The ritual will have Butler as Chief Magus, leading a cast drawn from his upcoming feature film King Death and featuring Henry Hopper as Assistant Magus, Noot Seear as Magus Adjuvant, and James Franco as Material Basis, the vessel though which the spirit of Mars manifests.
The performance will take place tonight (Tuesday, December 4th) at 8:30pm, followed by a reception with tunes courtesy of DJ & artist Eddie Ruscha.
Butler’s work has been shown at LAXART, in Portugal, Greece and in China. He recently performed with Kenneth Anger at the Museum of Contemporary Art (MOCA) in Los Angeles as Technicolor Skull.
“The Martian Chronicles” exhibit, honoring the work of sci-fi author Ray Bradbury, runs through January 5, 2013
(story stolen from Dangerous Minds)
This one was (obviously) in the week leading up to Halloween. The long all-PTV3 set is because I’m pretty sure this was right after Lady Jaye died.
-Christopher Walken “The Raven”
-John Carpenter “Halloween Theme”
-Goblin “Phenomena” from Phenomena Soundtrack
-Blood Feast “Blood Feast Movie Trailer”
-Todd Gallant “Halloween Sound Effects”
-The Order of Retribution “Dirge of Paradise”
-Burning Star Core “When the Tripods Came” from Operator Dead…Post Abandoned
-Biyi Amez “GooDoo”
-Current 93/Nurse With Wound “Disintegrate Blur 36 Page 03” from Bright Yellow Moon
-Cannibal Holocaust “Cannibal Holocaust Trailer”
-Goblin “L’alba dei morti viventi” from Dawn of the Dead LP ALBUM
-Return of The Living Dead 2 “Return of the Living Dead 2 Trailer”
-Coil “Hellraiser Main Title” from Gold Is the Metal
-Vaporous Apes “Yaje (live in studio)” from Unreleased
-PTV3 “Milk Baba” from Heaven is Invisible, Hell is Her/e (2007)
-PTV3 “Hookah Chalice” from Heaven is Invisible, Hell is Her/e (2007)
-PTV3 “Lies and Then” from Heaven is Invisible, Hell is Her/e (2007)
In 1975, Genesis P-Orridge and Cosey Fanni Tutti consumed blood, semen and piss onstage in the UK. Government officials labeled them “the Wreckers of Civilization.” A female sex worker, Cosey examined “how men and women interact in a sexually charged/volatile manipulated situation” by fearlessly, shockingly putting her body on display. This was the beginning of industrial music, a genre rooted in taboo and transgression.
The tradition continued. In 1985, Coil’s cover of Tainted Love addressed the AIDS crisis at a time when huge stigma still surrounded the discussion. The release of the single constituted the first AIDS benefit in music history. In 1988, Skinny Puppy spoke out passionately about animal rights through a series of live shows that involved animal blood and graphic, distressing portrayals of vivisection. During the Siege of Sarajevo in 1995, Laibach’s NSK diplomatic passports literally saved lives by enabling people to escape from the war zone at a time when Bosnian passports weren’t considered valid. The giants of industrial used subversive tactics to challenge audiences and create new awareness.
But something happened. Once industrial music had fully transitioned from avant-garde venues into nightclubs, the stench of Axe body spray began to dominate the subculture as a certain douchey, bro-tastic vibe emerged. Where the goth/industrial scene had once existed as a safe haven for artists, weirdos, outcasts, geeks, dreamers and rebels, a disturbing trend of sexism, racism and anti-intellectualism is driving people out.
This trend gained significant traction in 2011. That March, Combichrist, a band infamous for songs such as “Shut Up and Swallow” and lyrics such as “all you feminist cunts you know that you want it”, released a music video called Throat Full of Glass, in which band members force captive gangster girls to strip at gunpoint before using them as human shields during a shootout. Similarly, Nachtmahr’s Can You Feel the Beat shows a bevy of interchangeable, uniformed, corseted lady soldiers at the beck and call of the solo musician, Thomas Rainer, who is styled after Downfall Hitler (minus the cheeky humor of Hipster Hitler or the high-art totalitarian whatthefuckery of Laibach). After one of his officers is captured by a Middle Eastern-looking villain (way to mix your shitty metaphors!), she is interrogated and beaten savagely. Then, a bag is placed over her head and she is “seduced” by the villain’s henchwomen into changing allegiances. After her rescue and return to Nachtmahr HQ, she is killed after the Nachmahr character suspects her of betrayal. (A scathing analysis of the entire music video can be found here).
But the rapey, murdery vibe isn’t limited to these two bands. Faderhead’s 2012 music video Fistful of Fuck You features an arcade game that lets the main character eliminate drag queens. In Suicide Commando’s 2009 Die Motherfucker Die, an aging Johan Van Roy spends the majority of the video alternately dragging scantily-dressed girls across the floor while they kick and scream, or sitting in a dirty bathtub surrounded by female corpses. Rammstein (who, in the past, have created more thoughtful fare) recently did a photo series with Eugenio Recuenco in which naked women are dismembered and eaten. And the ever-classy Hocico has a song called Ladykiller (Don’t Rape the Dead Girl).
No wonder women in the industrial scene report feeling marginalized, ridiculed, sexualized and disrespected. In an email interview with Coilhouse, Amelia Arsenic of industrial band Angelspit writes, “I feel the bands that are very popular in industrial at the moment mainly comprise of pretty bro-ish dudes singing about ‘manly’ things like guns and being violent with girls.” Like many of her compatriots in this music scene and others, Amelia says that she’s commonly mistaken for a merch girl or the girlfriend of somebody in the band. “One thing I’ve noticed is that I get a lot of questions from guys asking me if I know anything about the technical side of music. Most people think the guys do the writing and the girls just sing!” In Amelia’s video tutorial on semi-modular synths, the number of sexual/disparaging comments is high… even for YouTube.
Read more at Coilhouse…