‘PERVERSE PREACHERS, FASCIST FUNDAMENTALISTS AND KRISTIAN KIDDIE KOOKS’: INSANE CHRISTIAN CULT VIDEO
“He’s a rewarder of those who seek him. Some say God is a punisher, but do you know what we do with child abusers today? We put child abusers in prison if we find out about ‘em. God is not a child abuser! God is a good god. Why don’t you just say that out loud with me right no? God is a good god, you always remember that! God is not gonna do you harm… (pause) There is a judgement coming someday…”
—“Mrs. Hook” from The Christian Pirates cable access show.
That pretty much sums it up in a nutshell.
One of the more perplexing things on exhibit in “Perverse Preachers, Fascist Fundamentalists and Kristian Kiddie Kooks” is the clips from the no budget “Christian Pirates” cable access show where godless children are forced to “walk the plank” by one-legged Captain Hook and they sing songs about hoping that Satan gets paralyzed and has to use a wheelchair. There’s Jimmy Swaggart’s tearful confession of whore mongering (a masterclass in fleecing the faithful with the “I have sinned” ploy). A Jim and Tammy Faye Bakker press conference. There’s a lot of asking for money, natch, some racist Bible prophecy, preaching against something one of them calls “Marxism” and a “joyous” man with hands growing from his shoulders who, er, counts his blessings. It’s not just Christianity that takes a beating here. New Age beliefs are lampooned and there’s even an appearance by Queen Uriel from the nutty Unarius Academy of Science.
“Perverse Preachers, Fascist Fundamentalists and Kristian Kiddie Kooks” was produced by a Boston-based zine called Zontar. It came with an attached pamphlet that you can see reproduced here. Aside from being a masterpiece of video folk art (YES, this should preserved and elevated to museum status) it’s one of the single best things ever to get stoned and watch. I guarantee you’ll be blown away by “Perverse Preachers, Fascist Fundamentalists and Kristian Kiddie Kooks” (and if you’re not, you’ll be issued a full refund...)
Collection of Vintage Buttons
We do a Deep Dive into the groundbreaking artwork of Yayoi Kusama
A vital part of New York’s avant-garde art scene from the late 1950s to the early 1970s, Yayoi Kusama developed a distinctive style utilizing approaches associated with Abstract Expressionism, Minimalism, Pop art, Feminist art, and Institutional Critique—but she always defined herself in her own terms. “I am an obsessional artist,” she once said. “People may call me otherwise, but…I consider myself a heretic of the art world.” Kusama was born in 1929 into a well-off but dysfunctional family in Nagano, Japan. Largely shielded from the horrors of World War II, she was, as she has claimed, nevertheless scarred by her mother’s cruelty, her father’s infidelities, and her family’s discouragement of her interest in art making. She started painting at the age of 10 when she began experiencing the visual and aural hallucinations that would plague her, while also fueling her creativity, for the rest of her life. She has maintained that her “artwork is an expression of my life, particularly of my mental disease.” After a stint studying traditional Japanese painting in Kyoto, Kusama left school and moved to New York in 1958. There she felt she could pursue her art unfettered—and make waves. “When I arrived in New York, action painting was the rage…” she reflected. “I wanted to be completely detached from that and start a new art movement.”3 She began by making large-scale monochromatic paintings, for which she quickly gained critical attention. By the 1960s, the prolific artist was producing paintings, drawings, sculpture, Happenings, installation, fashion, and film. In 1969, she founded Kusama Enterprises, a commercial outlet selling clothing, bags, and even cars. These products feature her singular aesthetic, characterized by her liberal use of polka dots and dense, repeating patterns to create a sense of infinity. In 1973, Kusama returned to Japan. Two years later, seeking treatment for her obsessive-compulsive neurosis, she entered a facility where she lives and works to this day. She continues to produce paintings and sculpture, and, in the 1980s, added poetry and fiction to her range of creative pursuits.
See link below that goes to the Deep Dive Page