Cesare Canevari died six years ago but it went unnoticed by me.
I learned of his death yesterday when I landed on Canevari’s
(1977) via Last Orgy of the Third Reich Nazi Love Camp 27 (1977). God knows what brought me there.
So this morning I watched
(1970), the Matalo! Spaghetti Western directed by Canevari.
It’s a whole lot better than
Django Kill… If You Live, Shoot!  (1967), which I watched this January.
Matalo! sets itself apart by its psychedelic sequences, the silence, the lack of dialogue, the sound effects and the soundtrack by Mario Migliardi.
The full soundtrack is here:
Hardy Fox was the anonymous primary composer and producer for The Residents.
The Residents are an American art collective best known for avant-garde music and multimedia works and their composition “ Kaw-Liga“.
was released in 1986 and is a re-interpretation of the eponymous song by Kaw-Liga Hank Williams, replacing its original backing music with the bassline of Michael Jackson‘s Billie Jean.
I finished another
‘roman dur’ by Simenon, , one might say a rather unremarkable novel were it not for the fact that it makes one realize that it used to be possible to lead a L’Enterrement de Monsieur Bouvet double life, to disappear many times in one’s life and start all over again elsewhere without leaving a trace. And were it not of course that this is a Simenon ‘roman dur’ and this is the only ‘genre’ I currently enjoy, and have for a year or three.
L’Univers de Simenon, sous la direction de Maurice Piron avec la collaboration de Michel Lemoine
Wile researching this novel, I came across
L’univers de Simenon : guide des romans et nouvelles (1931-1972) de Georges Simenon (1983) by Maurice Piron and Michel Lemoine. It’s hard to believe that Michel Lemoine is the same person as the cult actor and director of French cinema of which I will post a photo.
Michel Lemoine in I Pianeti contro di noi (1962) – Romano Ferrara
‘The Move’ by Georges Simenon
(1967) is a The Move ‘roman dur’ by Belgian writer Georges Simenon.
I intend to read every roman dur by Simenon.
The Move is both a flawed novel and at the same time one of his more interesting ones due to its near total plotlessness and focus on psychological detail.
Its sub-theme is a criticism of the
anonymity of modern high rise, the lack of social control, a side effect of living in the banlieue, in the same vein as Jacques Tati’s films (1958) and Mon oncle (1967). Playtime
Its protagonist is an unwilling
Another of its themes is an exploration of
dark sexuality, a recurring motif with Simenon, such as in (1950). Un nouveau dans la ville
The Grotesque in Photography. Coleman, A. D. Summit Books, 1977.
The death of
Fakir Musafar led me to A. D. Coleman‘s study of the grotesque in photography.
Charles Gatewood directed Fakir Musafar’s , Gatewood also wrote Dances Sacred and Profane (1975) which was praised by Coleman, which led me to Coleman’s book Sidetripping (above). The Grotesque in Photography
is one of my favourite grotesque sensibilities.
I’d like to own this book. Can anyone tell me which photo is on the cover?
Fakir Musafar was the original modern primitive.
The clip: Footage of Fakir performing the sundance ritual in the film
. Dances Sacred and Profane
Fakir is featured from 2:35 onwards.
Research occasioned by the death of Adam Parfrey (see prev. post) brought to my attention that one of the writers who were often published by Parfrey, Mel Gordon, also recently died.
Mel Gordon was a theatrical historian. He wrote on 1920s Berlin, Grand Guignol, lazzi, Hanussen, Dada, drugs and Expressionism.
From left to right:
Adam Parfrey was an American writer, editor, and publisher whose work centered on unusual, extreme, or “forbidden” areas of knowledge. He is perhaps best known for (1989), which he co-edited with Bob Black. Rants and Incendiary Tracts
Rants and Incendiary Tracts (1989)
(1989, above) is an anthology of 56 pieces of Rants and Incendiary Tracts invective in the style of (1929) by Hugh Kingsmill. An Anthology of Invective and Abuse
Thanks to the death of Adam, I watched
(1955, above) The Hate That Hate Produced
By the way, can anyone illuminate me on the cover photo of
I finally hold a copy of
(1986) in my hand, a book on the oeuvre of French visionary architect Lequeu : An Architectural Enigma Jean-Jacques Lequeu.
It is a strange mix of
obfuscation and elucidation by its author Philippe Duboÿ.
It drew — among many other things — my attention to the
satirical vignette against Bertrand Chaupy (above), an engraving better known as the “turd engraving by Piranesi.”
Regarding the obfuscation in this book, Robert Harbison says in
The Built, the Unbuilt, and the Unbuildable (1993):
“Recently the idea has infiltrated academic consciousness that the eighteenth-century crank
Lequeu, one of the world’s fringiest paper architects, is really Marcel Duchamp inserting himself Trojan-horse-like into the musty tomes of the Bibliotheque Nationale, whiling away countless hours creating a large hollow space in which a few hundred pseudo-eighteenth-century beings can roost.”
See on elucidation and obfuscation the dictum by Cioran:
between the demand to be clear, and the temptation to be obscure, impossible to decide which deserves more respect.