By Christopher Hitchens
Hitchens on Orwell:This isn't a biography, yet I occasionally consider as though George Orwell calls for extricating from a pile of saccharine capsules and wet hankies; an item of sickly veneration and mawkish overpraise, hired to stultify schoolchildren along with his unbearable rightness and purity. this sort of tribute is frequently of the Rochefoucauldian kind; suggestive of the payoff made through vice to advantage, and likewise of the tips performed through an uneasy conscience.What [Orwell] illustrates, by means of his dedication to language because the associate of fact, is that "views" don't really matter; that it issues now not what you think that, yet the way you imagine, and that politics are really unimportant, whereas ideas have a manner of putting up with, as do the few irreducible people who preserve allegiance to them.Others on Hitchens:"I were requested even if I desire to nominate a successor, an heir, a dauphin or delphino. i've got made up our minds to call Christopher Hitchens."-Gore Vidal"Christopher Hitchens's writing has sweep and aptitude. he's actual the place others are only dutiful, unpredictable the place the tendency is to head for the cliché. in brief, brilliant."-Edward W. Said"May his pursuits cower." -Susan Sontag
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But artistically, I feed more off of the strippers I know. Despite, or maybe because of, AIDS, it's really fashionable to be sexually outrageous again, to fuck everything. : Are you familiar with Jorg Bungereit's films? Parts of his Nekromantikand DerTodesking both seem to use Thrust In Me as a starting point. KERN: "I haven't seen any of his stuff, but I have a Nekromantikt-shirt a friend gave me. People always talk about influences, but I'm not too sure. : There are some stylistic similarities (particularly regarding I Hate You Now), but the Kuchars' films are much less intense, more humorous.
Getting his act together, initially as a performance artist of the more visceral kind, he attracted the attention of Ms. Lydia Lunch, then a vocalist with Teenage Jesus. The fiercest of America's post-punk acts wanted to get famous, and get famous fast. (Bowie and Iggy, and all their lurexed, mascara'd contemporaries). Kern and Lydia were naturals together. An artistic (pardon the profanity) union made in Hell. What Kern gained from an alliance with the formative "noise rock" bands was a coterie of individuals who shared the same obsessions, who weren'tafraid of being identified with psychosis, violence, playful nihilism, and, of course.
Was also directed by Kern). Only here, it's a case of style over content - hardcore sex & violence won't get any would-be Nirvanas onto night-time MTV. The disturbing 'sex & death art' aspects have been adopted by the current industrial noise bands, whose sonic attacks owe much more to experimentalists like Throbbing Gristle and Einstandze Neubaten than any of Kern's contemporaries. America's Skinny Puppy and Frontline Assembly, along with Brit pioneers such as Coil and Jouissance, enhance the nightmare worlds of their music with video representations that verge on the obscure, but rarely resist the urge to throw in a shocking image and wake up the audience (Skinny Puppy, current ~ 44 Nihilist Cinema Part I nabobs of the scene, have formed an occasional partnership with young horror movie maker Jim Van Bebber, much along the lines of Kern's work with Lydia Lunch, Foetus, and Sonic Youth).
Why Orwell Matters by Christopher Hitchens