`POWERLESS HOMELESS'--PHOTOGRAPHER CHRIS KEELEY'S CAPITOL HILL ART EXHIBIT -- HON. TOM LANTOS (Extension of Remarks - November 02, 1990)
[Muhammad] Ali, Joe Namath and even Joe DiMaggio were tapped as potential talking heads for the all-pervading product, originally named the Short Order Grill. But Foreman, "he's kind of nuts, and he loves burgers," Boehm says, explaining his logic for choosing Gorgeous George. "I found out that he ate them before every fight!" About 70 million units have been sold since 1995, so does that make the Illinois-based innovator a bazillionaire? As a salaried employee of the grill's original manufacturer, Taiwan's Tsann Kuen, Boehm was entitled to a modest semimonthly paycheck—no more, no less. Foreman, on the other hand, received 40 percent of sales in exchange for lending his moniker and eventually sold his name outright for a beefy $127.5 million (plus $10 million in stock options).
Unlike other work that emphasizes sexuality and the idiosyncracies and weirdness of human existence, these images are ethereal, formal and emotionally void with an underlying theme of capitalism and control. "Wall Street" illustrates the message that perhaps money and high finance constitute the real obscenity of our age. The black and white concrete desolation of these photographs provide a set of visual metaphors for that most secretive perversion of all, high finance.
Excerpt from Interview with Lyle Tuttle
From Modern Primitives
RE/Search: How long has tattooing been around?
Lyle Tuttle: Some of the earliest heavily tattooed people were the Picts, a migratory people who roamed throughout Europe a few thousand years ago. On this continent various American Indian tribes tattooed themselves as well as body-painted themselves, particularly before going to war. If you came from a race that wasn't tattooed, and all of a sudden some guy jumped out of the bushes who was tattooed all over, you might be scared!
Tattooing has always been associated with warriors; it's possible that early man figured out that men who were tattooed had a better survival rate from wounds, because a tattoo is a wound-maybe it develops the antibody system...maybe tattoo wounds prepare the warrior for battle wounds. Tattooing: the first inoculation!
In Burma there's a legend about a king who lost his favorite concubine. Night after night girls were brought to him, and none of them pleased him. One night a beautiful young transvestite was brought to him, and the king, being drunk, was fooled. When he discovered the deception, he cut off the head of the procurer and proclaimed an edict that from now on all men had to be tattooed with "pants"!
I went to Samoa to get a tattoo because every Samoan I'd met-man, woman, or child-was enthralled with tattooing, had an ultra-respect for it. Tattooing was a way of deification, in a way. You can be born to a Chief's family, but if you don't have that tattoo, you can't even go into the Chief's chambers and mix kava, and your word means nothing.
Other excerpts from Modern Primitives:
I've been totally grooving out to the retro funk playlist on David Byrne's internet radio station all month, but keep forgetting to blog it. Here. This edition's disco-era theme, I'm told, is a byproduct of his work on a forthcoming musical that chronicles Imelda Marcos' Studio 54 years. "Here Lies Love," Byrne's collaboration with Fatboy Slim, is set to debut on stage in early 2006.
From Byrne's liner notes for the November playlist:
These songs may have been what folks were referring to when a certain portion of the population held up “disco sucks” banners in the 80s. These self-proclaimed music critics often stated that what bothered them was that these songs were made by machines (they often were, and proudly so) and therefore lacked sincerity or realness. I think what they were really afraid of was the fact that many of these songs emanated from a mostly Black and often gay subculture — a combination which was so unimaginably scary that its musical representation simply had to be fought off at all costs.
The songs are, as mentioned, proudly artificial studio creations. Linn drum machines and synthesizers abound, and there are no attempts to disguise, for example, the synthesizers as pianos or organs — they are made to sound all squirmy and slithery in reference to bodies on the dance floor — and elsewhere. And maybe linking these with the mechanical programmed beats was a way of taking the oppressive aspects of the modern world, a mechanized world controlled by distant suits (especially if you were stuck in the projects) and turning it on its head — using a thing that represented the worst of modern life and making it ecstatic and celebratory.