Via Root Blog…
On his return to Mexico in the late-’60s, Jodorowsky started writing and drawing a subversive weekly comic strip (”Panic Fables”) in the right-wing newspaper The Herald.
“For four or five years every Sunday I drew a comics page, a complete story,” he told me in 2003. “But it was very basic. When I saw [cartoonist and future Jodorowsky collaborator] Moebius making the drawings, I stopped. And I never make any more.”
Here are some sample pages via http://fabulaspanicas.blogspot.com/—go there to see larger jpgs…
(This week’s collage — double-click for fullscreen + scroll)
A scene-by-scene recap of this week’s episode by DJ Visitation Rites:
Scene 1, Off Air
In which DJs Ivy Meadows and Visitation Rites arrive at the Newtown Radio studio ready to set up but are hypnotized by a 25-minute bongo-laden siren dirge — Dreamcolour’s “Spiritual Celebration” — at the tail end of Sunday Brunch with Chocolate Bobka. Unbeknownst to them, the song spills fifteen minutes into the beginning of their set.
Scene 2, Aside
Meanwhile, Peter Pearson, Derek Muro, and Lorna Krier of Brooklyn’s Love Like Deloreans steal away from their home base — a renovated closet space in Bushwick containing some 20 synthesizers — load half of them into a Volvo station wagon, and appear at the station door, successfully breaking the spell that has been cast over Ivy Meadows and Visitation Rites.
Scene 1, On Air
Still haunted by the specter of the siren from Act 1, Ivy Meadows and Visitation Rites attempt to reproduce their experience by layering ambient musics from lands as far and wide as ‘70s Germany, early 21st Century Northampton, and present-day Canada into a single organic continuum.
Scene 2, Aside
In which Love Like Deloreans set up all seven of the synthesizers they brought in the drowsy blink of a Sunday afternoon eye, causing Ivy Meadows and Visitation Rites to suspect that that they too possess supernatural powers. Love Like Deloreans do their best to assuage their fears, suggesting that they are simply “putting the punk back in punctuality.” Exeunt Chocolate Bobka.
Scene 1, On Air
Love Like Deloreans perform the first half of their in-studio. Dancing, Ivy Meadows and Visitation Rites attempt to document the event through Blackberry photos, Tweets, and a FlipCam.
Scene 2, On Air
Love Like Deloreans pause to participate in and informal Q&A with Visitation Rites, touching upon their origins as a group, their cohabitation of the classical world and Brooklyn DIY, their roots in New York minimalism and ‘70s Kosmische, and why the best way to listen to music is while traveling cross-country.
Scene 3, On Air,
Love Like Deloreans perform the second half of their in-studio. Dancing resumes. Ivy Meadows films an excerpt of their set through the anamorphic lens of an oddly shaped water bottle, the results of which can be seen below.
Download: Arthur Radio Transmission #11 with Love Like Deloreans 3-28-2010
This week’s playlist…
“YOUR BRAIN IS A CRAZY GUY”
Visionary Poly-Artist ALEXANDRO JODOROWSKY talks with Jay Babcock about psychomagic, shamanism, video games and Marilyn Manson—as well as his spirit-bending films and comics.
originally published in Mean Magazine #6 (Dec ’99-Jan ’00)
A man holds all the universe within him; and art is his view of it. But in the work of some artists spiral vast galaxies of meaning and imagination that dwarf by many magnitudes the plebian earthbound work of others. Seventy-year-old Alexandro Jodorowsky—post-Surrealist filmmaker, author, puppeteer, Tarot expert, post-Jungian psychological theorist, playwright, novelist—is one such artist.
Screen Jodorowsky’s El Topo or The Holy Mountain, read The Incal or Metabarons comics, or listen to one of his interviews or lectures, and you encounter a one-man spiritual multiculture at play: the anthropological erudition and enthusiasm of Joseph Campbell roughhousing with an outrageous artistic sensibility that begins at Bunuel, Beckett and Breton and ends in some psychedelic sci-fi super-space: the kind of man who can screenwrite ”He lifts up the robe and draws a pistol” and then comment Talmud-style in the margins, “I don’t know if he draws it from a gunbelt or from his unconscious.”
Unfortunately, for all but the most clued-in and hooked up in the English-sqawking world, most of Jodorowsky’s artistic and philosophical output of the last 30 years has been tantalizingly unavailable: films have gone unissued on video, comics and other written work have gone untranslated or dropped out of print. But, finally, at the turn of the century, the situation is changing.
Jodorowsky’s “lost” 1967 film Fando & Lis has been reissued on DVD by San
Francisco-based Fantoma Films (who have generously included a director’s
commentary track by Jodorowsky and the excellent, full-length ’95 French
documentary La Constellation Jodorowsky), The Holy Mountain has been released for the first time (legally) on video, and, perhaps most
significantly, the U.S. branch of Humanoides Associes has begun an
ambitious program of printing English-language editions of Jodorowsky’s
prodigious graphic novel output.
So the time seemed right to give the endlessly aphoristic, giddily profound Mr. Jodorowsky the kind of forum in American publications he enjoyed in the early ’70s when El Topo and The Holy Mountain were consecutive midnight movie successes and the Chilean-born director was regarded by many surviving counter-culture types (John Lennon, Peter Fonda and Dennis Hopper among them) and journalists as The Guy Who Just May Have the Answer.
We rang Alexandro in Paris at midnight recently to find out what he’s up to, what he’s thinking and get him to reflect a bit on his long and storied career, even if he once said, “As soon as I define myself, I am dead.”
That said, let us attempt a synopsis for the new initiates.