Tomi Ungerer was a French illustrator known for his children’s books, as well as his satirical and erotic work for adults.
I attended an interview with Ungerer in 2014 and wrote this small piece in Dutch after the occasion and also did a post on Tumblr[1].
I’ll never forget the moment at he end of the interview when he started singing “Die Gedanken sind frei” and many of the German-language invites joining in.
Fornicon (1969) [above] is a collection of 60 prints of scenes of funny machine-aided sadomasochistic male domination. When I say machine-aided, think Rube Goldberg machine. Box sets of these prints are being sold for as high as 3,000$. Books can be had for as little as ten dollars.
Ungerer’s humor is quite like that of Roland Topor.
Some people don’t make the news when they die. Among them this gentleman.
William Hamling was an American publisher of pulp and erotica, in a time when publishing books could still be dangerous (it has not been dangerous for the last fifty years of so, at least in the west). His financial backing for the case Redrup v. New York against Robert Redrup, a book seller who sold Hamling’s risqué paperbacks was instrumental in abolishing obscenity censorship in the United States.
Page 26: From left to right, advertisements for A History of the Blue Movie, The Damned, Ann and Eve, Move, Threesome and Eugenie. Page 27: “Excerpt: Thus, the actual nationwide percentage accounted for by “G” and “GP” films is probably significantly greater than the projection, and “R,” “X,” and unrated sexually oriented hybrid films probably account for less of the national market than indicate.”
Both its editor Earl Kemp and Hamling himself were sentenced to one year in prison for “conspiracy to mail obscene material,” but both served only the federal minimum of three months and one day. Incredible if you come to think of it (and strange also, considering that the Redrup case supposedly abolished obscenity censorship).
I would have thought a complete version of this grand example of détournement to have been available by now, disappointingly so, this is not the case.
Dick Miller was an American actor (Gremlins, The Little Shop of Horrors, Death Race 2000) known for his films with Roger Corman. He later appeared in the films of directors who began their careers with Corman, including James Cameron and Joe Dante.
He was, in the words of Cult Movie Stars (1991) a “scene-stealer in low-budget horror films”.
Above is the enormously amusing film The Little Shop of Horrors (1960, above) in which Miller plays a carnation-eating (“I’m crazy about kosher flowers”) regular customer of the florist in which the film is set.
Minute 34:48 has Jack Nicholson come in as a masochistic client to the dentist. That scene was later done by [1] with Steve Martin as the dentist and Bill Murray as the client.
I’ve seen quite some films with mister Miller, all entertaining, unassuming and unpretentious.
Makavejev is one of those filmmakers of whom I’d like to see everything. I remember renting Sweet Movie (1975) on videotape with its episode of Viennese Actionism.
Makavejev is also the filmmaker who made a portrait of my hero Wilhelm Reich (W.R.: Mysteries of the Organism, 1971) which I have never seen but which I am about to see in the YouTube version above. Quickly scrubbing through it, I noticed that the backdrop for the promotional poster of W.R.: Mysteries of the Organism (A lady sticking her arm triumphantly through an empty picture frame, to her left stands a chair with a white rabbit on it. The backdrop is a striped wall) which is used on Film as a Subversive Art (1974) can be seen at 31:19.
Update: The YouTube version above appears to be uncensored, even the penis plaster caster scene is without the hippie-like flowers it usually comes with.
Sometimes I can’t even remember just how I stumbled upon something. Maybe it was a suggestion by YouTube that brought me into contact with Bernard Parmegiani maybe it was something I was reading. I just can’t trace it. However it may be, I stumbled upon Parmegiani simultaneously with his connection to Walerian Borowczyk. Parmegiani did the soundtrack for at least three of Borowczyk’s films: Les Jeux des Anges (1964), Docteur Jekyll et les femmes (1981) and Scherzo infernal(1984). I’d seen Scherzo before but I had not seen Les Jeux des Anges[1] nor the Jekyll film. You can watch the Jekyll film over at YouTube[2] in an English version with Dutch subtitles.
Neither had I seen that holy grail of transgressive cinema The Beast (way up there with Le Sexe qui parle by Claude Mulot and The Image by Radley Metzger, both from the same year) which you can see here[3] in a dubbed Spanish version. An uncut version, it appears. You can read its British censorship history somewhere online, it’s extensive. Both Docteur Jekyll et les femmes and The Beast are obsessed with large beast-like phalli. In the case of Jekyll ripping open the abdomen of its victims, in the case of The Beast as seen in copulating horses (with gorgeous shots of dripping horse vulvae) and of a bear-like-constantly-ejaculating huge hammer-shaped penis raping and making love to Sirpa Lane.
As for Parmegiani’s art music. I listened numerous times to the incredible piece De Natura Sonorum[4] (1975) which is really remarkable at being soothing while appearing chaotic. I can’t get enough of it. Caribou mentions it in his Caribou 1000 and apparently it has been of some influence on Aphex Twin. From what I know of him, that may be true.
Finally, at 4:40 of Chants Magnétiques[5] (1974) you can hear ASMR bits. For those of you unfamiliar with ASMR, it stands for autonomous sensory meridian response. ASMR-sounds are sounds that give goose bumps and cold chills.
I mentioned King Mob Echo in my previous post on Rita Renoir[1]. It’s the magazine of the English Situationist offshoot wich ran for five issues in the period 1968-70.
Its historiography seems to be incomplete.
King Mob Echo first issue
The first issue depicts and image of the Fantomas serial which Wikipedia[2] lists as of the Barrabas film.
Unidentified Fantomas film still, the caption above reads “77. Feuillade, Fantomas, 1912”.
However, if you look closely at the image, you will see that the caption reads “77. Feuillade, Fantomas, 1912”. The Barrabas film dates from 1920 so it seems unlikely that the still stems from that film. The film, which lasts more than five hours, is here, I just don’t have time to watch it. Can anyone tell us from where this still is taken? It is also on the cover of Fantomas: The Corpse Who Kills (2008).
Secondly, and here’s a little mystery I solved myself, there is the caption, a citation by Karl Marx:
Rosa Luxemburg’s corpse, photo from ‘Lipstick Traces’
Thirdly, there is the case of the photo of Rosa Luxemburg’s corpse. I’ve known this photo since I read Lipstick Traces, featured in their section on King Mob, but I would very much want to find out where this photo was first published.
Via research on the King Mob Echo magazine, which led me to Chris Gray which led me to Conrad Rooks which led me to Chappaqua (in which Rita had a part), it has come to my attention that Rita Renoir has died.
Rita Renoir was a French exotic dancer, sex symbol, nobrow figure and actress.
German writer Edgar Hilsenrath is best-known for his novel The Nazi and the Barber (1971), the story of a German SSmass murderer, who after the war assumes a Jewish identity and escapes to Israel and becomes a zionist. The story is told from his perspective and describes the atrocities he committed.
![[2]](https://upload.wikimedia.org/wikipedia/commons/7/77/Barrabas.jpg){kind=link}