Word: primal
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Dates: during 1990-1999
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That's the anarchist's primal goal: to replace central government with the sort of self-sufficient, egalitarian collective now aborning at 918 Virginia Street, a largely vacant building on the edge of downtown Seattle. The "squat" popped up two weeks ago as a protesters' crash pad. About 100 people a night sleep there. There's no power or water, but organizers have set up a kitchen and security and toilet systems. House rules hang on one wall: NO ILLEGAL DRUGS, NO ALCOHOL, NO WEAPONS and so on, ending with NO VIOLENCE...
...Depends on your definition of naked. Last year during the primal scream I participated in running wearing a suit and tie to make a statement about modern society in the sense that which of us is truly naked. It was sort of a "Where's Waldo" thing, this person amongst all the naked, in a more literal sense, people...
Hundreds of works are on view, all of the Whitney's rooms and corridors crammed with pieces dating from AbEx to those practically yanked off the walls of today's downtown galleries. Yet nowhere is the primal battle pitted so bluntly as in the opening salvos on the top two floors of the show. First is Pollock's Number 27 (1950), its swooping marks scraping away the recognizable shapes of the world, implying in the skeins of paint a web of pure energy, limitless and deep. Its yellows and pinks, its muted greens and blacks are autumnal; a pure buzz...
Mogwai have always been one of the most accessible bands in the post-rock camp, in no small part because they're as much rock as post-. While they've progressively shed the structures of the traditional rock song, they don't abandon the primal guitar/bass/drums combination, and they've been influenced as much by the Smiths and the Pixies as by My Bloody Valentine. Their newest release presents four new compositions and two tracks previously released on the import-only No Education = No Future (F**k the Curfew). A more restrained, ambient Mogwai emerges here: on four...
...Intimate History of Killing, Joanna Bourke asserts that when ordinary men and women are freed from conventional social constraints, they find intense pleasure in the act of killing and that the structure of war allows for primal joy and even erotic satisfaction in intimate combat. Although Bourke writes lucidly and engagingly and argues with evident conviction, she comes up short on the evidence that would be necessary to support her daring claims...