#transgressive

[putall]

Cosey Fanni Tutti, 1977

[pandoraprynne]

Ericaannataylor’s Virginia Slims 120s Print Ad Modeling Debut

The Wonderful @ericaannataylor was Gracious enough to allow me offer this humble tribute to Her Gorgeousness.

Here’s Erica’s Transgressively Sexy original image.

I’ve uploaded two versions of my image edit:

~ My imagined contemporary print ad, and

~ The base image without the graphic overlays if Erica would be OK with someone animating it.

Pandora 💜

[disease]

ANDRES SERRANO / “PISS CHRIST” / 1987 [cibachrome print, silicone and plexiglass | 60 x 40″]

[thatcinemascreencapguy]

Morvern Callar (2002) directed by Lynne Ramsay

[postpunkindustrial]

Re/Search

Here is a (nearly) complete collection of Re/Search books mostly on PDF.

Enjoy the Ballard. Learn about early Industrial culture. Be baffled by their attempt to cash in on the Swing trend of the early 2,000's. Be annoyed that they were partially responsible for extending Boyd Rice's career by decades. Marvel at once was and might possibly still be transgressive.

You can get it all from my Google Drive HERE

[gouldblogger]

Soon after my father's attack of lunacy, my mother, at the end of a vile scene to which her mind subjected her in front of me, suddenly lost her mind too. She spent several months in a crisis of manic-depressive insanity (melancholy). The absurd ideas of damnation and catastrophe that seized control of her irritated me even more because I was forced to look after her continually. She was in such a bad state that one night I removed some candlesticks with marble bases from my room; I was afraid she might kill me while I slept. [.......] I never linger over such memories, for they have long since lost any emotional significance for me. There was no way I could restore them to life except by transforming them and making them unrecognizable, at first glance, to my eyes, solely because during that deformation they acquired the lewdest of meanings.

GEORGES BATAILLE in a post-script for Story of the Eye / Histoire de l'œil (1928), trans. by Joachim Neugroschel

[dustedmagazine]

The New Eves — The New Eve Is Rising (Transgressive)

The New Eves raise a bracing ruckus, imagining a primordial world ruled by empowered, unincumbered women.  Their sound can be summed as primal  chamber punk, the rock instruments of guitar, bass, drums and voice augmented with slashes and swoops of violin and cello.  The band’s four members chant apocalyptic poetry against an unrelenting thump, their songs full of art but not softness.

The New Eves use folk imagery and modal chords in their songs, but punch things up with pounding rhythms and an irrepressible spirit of DIY.  None of the women—Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mager (bass, vocals) and Ella Oona Russell (drums, flute, vocals)—had ever been in a band before.  Farrar learned violin specifically so that she could play it in The New Eves.  So, while opener “Astrolabe” drones and haunts and harmonizes like a pre-industrial dirge, it also pummels.  Throbs of cello and fiddle, thwacks of drum land like battering fists, as the vocals keen and swirl. 

What’s interesting about The New Eves is the way they recontextualize pastoral folk to make it more accepting of women.  For instance, in “The New Eve,” cellist Nina Winder-Lind chants a stirring re-imagination of the Eden myth, a sensual, self-determinative version in which Eve ends up not banished from the garden, but the instrument of its propagation. 

Consider how visceral these images are, and how far from the church’s cowering, self-loathing version of Eve.  “The new Eve is curious and free/ she eats what she wants to eat/ every fruit from every tree/ she devours guiltlessly and thick red fruit blood run down her hungry mouth/and thick red fruit blood run down her naked thighs/ the new Eve is not ashamed when she bleeds/ the new eve spits out the seeds from the fruit of the forbidden tree and then she plants them carefully, nurturing an orchard of apple trees.”    

Likewise taut, propulsive “Highway Man,” shifts the perspective of an old poem, giving the woman loved by the highway man her own agency, her own lust, her own violence.  The song is fantastically engrossing, hitched onto a galloping, headlong beat, wreathed in tone-morphing vocal harmonies and scrawled at the margins with wild permutations of violin.  Even harmonica-drenched “Mary” reconfigures the Madonna myth to make its central figure—even embodied, as here, in a wooden icon—into an architect of her own story. 

The world has been getting darker for women lately, as religious zealots of every stripe conspire to lock them back into the old cells: continual childbirth, servitude, ignorance.  The New Eves aren’t going down easy, though, and we shouldn’t either.  Here’s an album to keep you strong as the lights go out everywhere.

Jennifer Kelly

[lesbianlitfilmacademia]

Ginger Snaps, 2000. Directed by John Fawcett, script written by Karen Walton (Orphan Black, Queer as Folk).

"Out by Sixteen": Queer(ed) Girls in Ginger Snaps is an article published in 2011 by the University of Toronto Press, as Volume 3, Issue 1, of the Jeunesse: Young People, Texts, Cultures journal.

The above article is an examination of the transgressive subtext in the film Ginger Snaps, focusing on an interpretation of the relationship between Ginger and Brigitte Fitzgerald, exploring themes such as sexual orientation, gender and lycanthropy that are present in the text inasmuch as is allowed within the text to be spoken about - and more interestly, what is not.