Hitting the Skull Light: The Haunted Brady House and a New Song by the Snowman Electrical Band

brady house

Getting established

The premise of The Brady Bunch (1969-1974) is the grafting of two realities. As explained in the theme song, two families, one male and one female, are joined into the titular bunch. In this arrangement, harmony depends on the compression of personal space and identity. Episodes that involve the attic feature Freudian plot devices and reveal Oedipal tensions with occult overtones. The door to the attic is the rupture that threatens the structural logic and integrity of the house and the family inside. Continue reading

Tragic Hour- A Look Back at Halloween III: Season of the Witch

HALLOWEEN on Beta Max. Own it for just $52.99!

HALLOWEEN on Beta Max. Own it for just $52.99!

The early-to-mid-1980s was the golden age of the independent video store; it dovetailed neatly with the halcyon days of the slasher film, a graphic Horror sub-genre. It was also the era of Just Say No, Satanic panic, and “very special” episodes. What latch-key kid of the day wasn’t traumatized by the two-part “Bicycle Man” episode of Diff’rent Strokes? Danger was everywhere, especially for children.

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Faith Wilding: Exterminating Alien- Concurrent L.A. Shows at the Armory Center for the Arts and Loudhailer Gallery

Faith Wilding. Imago Femina #13, 1978, watercolor on paper in vintage frame, 20.5 x 16.5 in. (framed dimensions). Image courtesy of Loudhailer Gallery

Faith Wilding. Imago Femina #13, 1978, watercolor on paper in vintage frame, 20.5 x 16.5 in. (framed dimensions). Image courtesy of Loudhailer Gallery

Any tree surgeon or art historian will tell you that to understand the leaves, you have to examine the roots. There’s no way to discuss the work of inter-disciplinary, multi-media artist Faith Wilding without talking about history, and in light of Faith Wilding: Fearful Symmetries, her traveling retrospective currently on view at the Armory Center for the Arts in Pasadena and Imago Femina, an exhibition of 1978 watercolors at the Loudhailer Gallery in Culver City, there is no point in trying. Spanning more than forty years, hers is a body of work, that shapes, as much as it is shaped by, its contemporary moment. Continue reading

Limitless Snacks: Evan Desmond Yee’s “App Store” at Fueled Collective

#Filters by Evan Desmond Yee. photo by SoAM Studio

#Filters by Evan Desmond Yee. photo by SoAM Studio

In the 1970s there were television commercials for Reese’s Peanut Butter Cups that featured different kinds of people bumping into each other and contaminating each other’s snack. They can’t decide where to assign blame and eat the chocolate and peanut butter together anyway. Then, they agree that “the two great tastes go great together,” and the Reese’s Peanut Butter Cup is born. A candy for the times. Continue reading

Where Hookers Come From

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I was born and raised in Chattanooga, Tennessee, a damp valley where the air doesn’t move. The city has made the  national news at various times for its crisis-level pollution and then, once that got cleared up, for having really fast internet. Chattanooga is in the news again, this time because a sadistic coward and religious zealot murdered five United States servicemen, four Marines and a sailor, in a deranged, inarticulate frenzy before he was killed by the city police. You’ve heard about it. Continue reading

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