From: John Young <jya-AT-pipeline.com> Date: Tue, 15 Aug 1995 11:12:49 -0400 Subject: Creepy, Sexual, Sadistic, A Joke The New York Times, August 15, 1995, pp. C15, C18. A Gift To Help Preserve Cultural Sites By William Grimes The World Monuments Fund has received a $5 million grant from American Express to identify the 100 cultural sites most in need of preservation or restoration. As part of an initiative called the World Monuments Watch, the fund will draw up the list next Spring and update it annually, with $4.5 million of the grant money to be channeled to selected sites or works over a period of five years. The "monuments" can be works of art, buildings, archeological sites, examples of vernacular architecture or man-made landscapes. This cultural version of an endangered-species list is intended to raise awareness of artworks and structures in immediate peril, and to entice potential donors to support restoration projects. It will also allow the fund to gather information more systematically, to move into new countries, particularly in Latin America and Asia, and to step up its role as an advocate for preservation. "We need to know more about what's out there," said John H. Stubbs, the director of programs at the fund. "We really worry all the time that we might be picking something that's not the highest priority. This will help considerably." Mr. Stubbs said: "Removal from danger could be something as simple as a lightning rod put on a wooden church in northern Russia so it doesn't catch fire in the next thunderstorm. It could be something as vast and complex as saving the ancient buildings along the Yangtze." Inclusion on the Monument Watch cannot guarantee salvation. But Ms. Burnham likes to point out that even lost causes are not necessarily lost. "If it was built in the first place by human beings," she said, "it can be conserved." [End] ---------- The New York Times, August 15, 1995, p. C18. Pope Review: Creepy, Sexual, Sadistic And a Joke [Photo] Ruth McArdle as Lady Galore of the Lords of Acid at Roseland. By Neil Strauss It was a joke, an art project, a rave, a sex club and a shallow gimmick all rolled into one leather-clad lump when two electronic dance-music bands, Lords of Acid and My Life With the Thrill Kill Kult, performed on Thursday night at Roseland. Billed as the Sextasy Ball, the concert explored the dark side of Lollapalooza, with slide shows of art that Senator Jesse Helms doesn't like, topless dancers, S-and-M shows, videos of violent films, a body-piercing booth and stalls selling everything from industrial-music records to rubber brassieres. Not surprisingly, the tour has been plagued by trouble since it began in June. Slides of artwork by Andres Serrano and others have been confiscated as pornography and dancers have been arrested for indecent exposure. On Thursday, however, the Sextasy Ball took place without a noticeable hitch. Other than speeding up their music and adding guitars to their sound, Lords of Acid haven't changed much since they released their first single "I Sit on Acid," in 1989. Probably the best-known song of the Belgian dance music known as new beat (a precursor to techno), "I Sit on Acid" is simple but effective, a flurry of pumping keyboards and shifting pitches locked into a loop of a female voice singing lascivious one-liners. On Thursday, the group's one-line lady was Ruth McArdle, or Lady Galore, who Performed as if she were a doll with a pull-cord that made her speak recorded come-ons. The key to the Lords of Acid performance was the set of devil's horns that Lady Galore and all the female dancers on the stage wore. The message was clear: in the band's musical world, women exist only as tempting portals to sin. It is this same B-movie female ideal that informed the music of My Life With the Thrill Kill Kult, a seven-year-old Chicago band that has one important thing in common with Lords of Acid: both bands released a concept album about sex in 1991. On record, My Life With the Thrill Kill Kult is one of industrial dance music's more interesting bands, with evocative film and television samples tucked strategically into a bed of disco beats, funky bass lines and growling vocals. But live, the group failed to convey its originality. Three female back-up singers and three male musicians played along with muddy backing tapes as Groovie Mann let his chest muscles ripple and snarled and rapped his way through trashy topics like stray teenagers, wild road trips, devil worship and "sex on wheels." By the end of the night the word sex had been stripped of all its meaning, conjuring as much concupiscence as a court summons. [End] --- from list nietzsche-AT-jefferson.village.virginia.edu --- ------------------
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