Still one of the most bizarre “pop” groups ever made. They were the definition of “living art”. A sick combination of Gnostic religion, country music, ice cream carts, stage house and a dash of Jesus complex. As icing on the cake they deleted their whole back catalog of music when they went into “retirement”, music that was worth millions of pounds in record revenues. If that was not bizarre enough, they took out a million pounds sterling, nailed all the banknotes on a board and burned everything in front of a camera. Today you can not find their music either on Spotify, iTunes or a record store. Only through file sharing or YouTube can you hear the phenomenon that was … The KLF.
read about The KLF aka The Justified Ancients of Mu Mu here: https://en.wikipedia.org/wiki/The_KLF
spacetime coordinates: 1959 > 1965 Kansas
Capote is a 2005 biographical film about Truman Capote, following the events during the writing of Capote’s non-fiction book In Cold Blood. Philip Seymour Hoffman won several awards, including the Academy Award for Best Actor, for his critically acclaimed portrayal of the title character. The film was based on Gerald Clarke‘s biography Capote and was directed by Bennett Miller.
“The viIIage of HoIcomb stands on the high wheat pIains of western Kansas, a lonesome area that other Kansans call ‘out there.
UntiI one morning in mid-November, 1959 few Americans, in fact, few Kansans, had ever heard of Holcomb.
Like the waters of the Arkansas River, Iike the motorists on the highway, exceptionaI happenings never stopped there. Perry Smith’s voice
was both gentIe and prim. A voice that, though soft, manufactured each sound exactIy, ejected it Iike a smoke ring issuing from a parson’s mouth.
The four coffins, which quite fiIIed the smaII, flower-crowded parlor, were to be sealed at the funeral services, very understandabIy,
for the effect was disquieting. Nancy wore her dress of cherry-red veIvet, her brother a bright pIaid shirt. The parents were more sedateIy attired,
Mr. Clutter in navy-blue flannel, his wife in navy-bIue crepe. And it was this especiaIIy that lent the scene an awful aura,
the head of each was compIeteIy encased in cotton. A swollen cocoon twice the size of an ordinary bIown-up baIIoon.
And the cotton, because it had been sprayed with a gIossy substance, twinkled like Christmas tree snow.
One Tuesday at dawn, a carload of strangers, ignorant of the IocaI disaster, were startIed by what they saw as they crossed the prairies
and passed through HoIcomb. Windows ablaze.
AImost every window in aImost every house, and in the brightIy-Iit rooms, fuIIy-cIothed peopIe, even entire families, who had sat the whoIe night wide awake,
watchfuI, Iistening. Of what were they frightened? It might happen again.”
Jodorowsky’s Dune is a 2013 American-French documentary film directed by Frank Pavich. The film explores cult film director Alejandro Jodorowsky‘s unsuccessful attempt to adapt and film Frank Herbert‘s 1965 science fiction novel Dune in the mid-1970s.
Review aggregation website Rotten Tomatoes gave Jodorowsky’s Dune a 98% “Certified Fresh” rating based on reviews from 108 critics. The site’s consensus states: “Part thoughtful tribute, part bittersweet reminder of a missed opportunity, Jodorowsky’s Dune offers a fascinating look at a lost sci-fi legend.”
spacetime coordinates: 1892–1973 Chicago, Illinois, U.S.
In the Realms of the Unreal is a 2004 documentary film directed by Jessica Yu about American outsider artist Henry Darger.
An obscure janitor during his life, Darger is known for the posthumous discovery of his elaborate 15,145-page fantasy manuscript entitled The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion, along with several hundred watercolor paintings and other drawings illustrating the story.
The film’s style is atypical of a documentary. Because there are only three known photographs of Darger, and because of his reclusive lifestyle, the film is mostly a narrated biographical account, accompanied by animated versions of events from his magnum opus, which is also surveyed in detail. Interviews with his few neighbors and other acquaintances are included.
In the last entry in his diary, he wrote: “January 1, 1971. I had a very poor nothing like Christmas. Never had a good Christmas all my life, nor a good new year, and now… I am very bitter but fortunately not revengeful, though I feel should be how I am…”