RE/Search Publications’ Modern Primitives (Vale and Juno 1989) changed countless lives, bringing what had been a localized and niche set of body modification practices, aesthetics and philosophies out of San Francisco to a global audience, dominating scholarly and popular discourse around body modification subculture for more than a decade afterwards. The voice of Fakir Musafar dominates the book. This article argues that modern primitives as Musafar defines them never really existed (and never could have existed) in the terms he suggests, and goes on to address an important sub-strand within Modern Primitives almost entirely ignored by critics and commentators, who have read the book as generally representative of the body modification culture as a whole. With specific reference to contributors such as infamous tattoo artist Don Ed Hardy who do not frame their practice in ‘primitive’ terms, the article concludes with a study of an alternative account presented by Vale and Juno’s book: body modification as artistic practice.
This article focuses on the work of enigmatic female gonzo director Mason, and examines her filmic negotiations of genre convention within the mainstream American gonzo industry. Close analyses of her films reveal a rich, textured set of filmic strategies which complicate conceptions of what mainstream gonzo pornography looks like and how it functions. This article presents an overview of her career to date, examine the articulation of her relationship with her female performers, and discusses her authorial tropes. It asks how her films differ from those we might have come to expect from male directors, and I question how we might account for her female gaze (as both producer and consumer) upon extremely hardcore scenes. In particular, I seek to demonstrate that as Mason navigates, negotiates and negates a variety of gonzo conventions, her work is best understood as a series of responses to the norms of her chosen genre.
I censured those people who preferred to be in the house of gluttony than that of the Lord. After this very sermon, Bentz Juncker got drunk … and ridiculed me with dishonourable words [accusing me] of frequenting hidden dens myself … by which he meant the common house, where the sexton lives, school is held … and where the commune meets to deal with public business. ( Johann Jacob Hürsch, minister of the parish church of Neuenegg, 1658, in Kümin, 2007 Despite the archetypal uncertainty of any tales told by 'a man in a pub', public houses have always functioned as spaces that have facilitated learning. Beat Kümin's Drinking Matters: Public Houses and Social Exchange in Early Modern Central Europe (2007: 174) presents the alehouse, pub and inn across early-modern Europe as a space where communities gathered for 'socio-cultural relations' of all kinds, from discourse, education and politics, to commerce, celebration and the administration of justice and, as can be seen in the flabbergasted exasperation of Neuenegg's minister, these hidden dens often functioned not only as sites for bawdy, Bacchanalian boozing interspersed with topical political gossip, but also as schools: places of formal and informal education, learning and common purpose. In a recent interview with the Sunday Times Magazine to promote the New College for the Humanities, philosopher AC Grayling declared: 'There's room in an undergraduate's life for more. There's too much slack. They could certainly spend less time in the pub' (Glass, 2012). But I respectfully disagree: I simply don't see any necessary contradiction between time in the pub and time spent engaging with learning -the two are not mutually exclusive. I might even be extraordinarily happy if my students were to spend more time in the pub, as long as they were making good, sensible, scholarly use of their time whilst they were there.Tourism, sexology and homosexuality in Curt Moreck's Guide to 'Depraved' Berlin (1931) (Camilla Smith, University of Birmingham)
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