https://superiorbelly.org superiorbelly Wed, 08 Oct 2025 20:11:27 +0000 https://superiorbelly.org en https://superiorbelly.org/HPS Fri, 30 Jul 2021 20:31:43 +0000 superiorbelly https://superiorbelly.org/HPS BEING AND SHOWTIME&nbsp; ReVIEW ! ReViewer: Beverly Fresh Artist Object of Focus: Being And Showtime by H. Peter Steeves Nature of Repetition: In the ReView I will re-experience notions of time explored in “The About Time Show” (Chapter 6 of Being And Showtime) which repeats and extends Edmund Husserl’s Phenomenology and Time-Consciousness. I first became interested in using common language to disorient the audience in a 2015 iteration of my traveling one-man show called “MR. MDWST.” From 2017-2019 I further explored how language can dislocate time through guttural chanting, repetition, and call and response in “Wild American Dogs Big Time Traveling Tent Revival,” another performance project. Reading Steeves’ chapter on time revived and deepened my interest in the potential of vocal performance to confuse time and space and inspired me to compose “Ode to H. Peter Steeves” and to resurrect my own examination of time through a newly created series of multi-modal, multi-dimensional performances re-presenting Steeves’ investigation in new forms of action. This ReView will lead Performance Philosophy audiences to re-experience notions of time by intentionally disorientating through an expanded ReView format and the performance of language thus disrupting our shared experiences of time. ! &nbsp;ReVIEW OUTLINE The collection of performative lectures that comprise Being And Showtime by philosopher H. Peter Steeves shows us that to be alive is to perform, and that there is no true, singular, or authentic state of being but rather a constantly shifting series of performances dependent upon a given context. Each chapter and the very form of the book itself convey the “to-ness” of performance —a deliberate target which gives the performance meaning. In picking up the book, we physically begin to embody this concept as we engage with the book and become aware of ourselves performing the role of reader. Further, the form of the book initiates us to do something physical with the book itself (flipping, smelling, scratching, peeling etc.) and eludes a passive reading experience. Throughout, Steeves jiggles conditions and continually poses unexpected demands from this dual performance (both author and audience/readers) and the context (the book and the lecture). Expectations are destabilized and the default constraints of both viewership and format are loosened, freeing us to experience things anew—concurrently intellectual, emotional, and entertaining. In my review I will animate Being And Showtime through three distinct modes of performance and their respective contexts: 1) The Rogue (role/performance), Video (context) 2) The Existential Disc Jockey (role/performance), Pirate Radio Broadcast (context) 3) The Alternative Scholar (role/performance), Multimedia Web Page (context)&nbsp; ︎BUY YOUR COPY OF BEING AND SHOWTIME OR FIND OUT MORE︎ <img width="600" height="401" width_o="600" height_o="401" data-src="https://freight.cargo.site/t/original/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" data-mid="115125117" border="0" src="https://freight.cargo.site/w/600/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" /><img width="600" height="401" width_o="600" height_o="401" data-src="https://freight.cargo.site/t/original/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" data-mid="115125117" border="0" src="https://freight.cargo.site/w/600/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" /> <img width="600" height="401" width_o="600" height_o="401" data-src="https://freight.cargo.site/t/original/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" data-mid="115125117" border="0" src="https://freight.cargo.site/w/600/i/0bfb952c6631ae27d784a741309964654146b09b916ea3777f703d9b9ea4eace/peter-animation-2.gif" /> Using Firefox? Try this out:Click Tools —&gt; Browser Tools —&gt; Web Developer Tools, and have a look at the HTML and CSS code working behind the scenes for this webpage.Are you on Chrome? Try this out:Go to those three little dots stacked in a line near the top right of your browser —&gt; More Tools —&gt; Developer Tools — and see what makes this page tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick tick .&nbsp;<img width="1120" height="1128" width_o="1120" height_o="1128" data-src="https://freight.cargo.site/t/original/i/e198f0b0e4eb6467cb535a39bcf83ae39b9b8a605358d334613d6e2e1344d592/clock.gif" data-mid="131404596" border="0" data-scale="91" data-draggable src="https://freight.cargo.site/w/1000/i/e198f0b0e4eb6467cb535a39bcf83ae39b9b8a605358d334613d6e2e1344d592/clock.gif" />No now no now no now No now no now no now No now no now no now No now no now no now No now no now no now No now no now no now&nbsp;No now no now no now No now no now no now No now no now no now&nbsp;No now no now no now No now no now no now No now no now no nowEPILOGUE:In the early 1900’s Dada and Surrealism exploded the printed word through typographic experiments that challenged our notion of the page as a space. Mass-market publishing throughout the 60’s and 70’s created a new context for graphic artists, designers, and editors to step out from behind the stage and radically reconfigure what it means for something “to be a book.” During this era, designers Jerome Agel and Quentin Fiore transformed media theorist Marshall McLuhan’s seminal work into “an inventory of effects” in The Medium Is the Massage, a book aware of its “bookness” where the interaction of text, image and layout worked in concert to expand the authors concepts. Being and Showtime, is a contemporary masterpiece that launches from these precedents into an entirely new atmosphere. HPS proves he truly is The Hardest Working Man in Academia, in this performative object that puts theory into action and brings it into being. This book is an all-embracing artform that could only come from one of the wildest minds at large. When The Godfather performs on page it is felt, and Steeves is undeniably generous and caring as a performer. He puts sincerity in showtime and offers us one of the most wig-blowing combinations of thought and printed matter in existence. *Just as HPS reconfigures our notions of how a book behaves and his performative lectures call on us to perform our active viewership, my ReView of his work calls the passive reader into action. The hyperlinks and additional media on this page all directly relate to the contents of Being And Showtime while also opening up new experiences and possibilities of meaning. This is not the end of the page. <img width="2000" height="1332" width_o="2000" height_o="1332" data-src="https://freight.cargo.site/t/original/i/66d674a9510458337dd2c0af417f9d08c5ac89081b0c69a79b1c0309fbacb8b4/wad_rse_Page_116_2000_c.png" data-mid="115060769" border="0" src="https://freight.cargo.site/w/1000/i/66d674a9510458337dd2c0af417f9d08c5ac89081b0c69a79b1c0309fbacb8b4/wad_rse_Page_116_2000_c.png" />With this book Steeves recaptures the Greek notion of logos through 20th century phenomenology by showing us that thinking is inseparable from acting, and that this act has to take place in community and by a body in action. Each chapter in the book invites understanding not through a strict philosophical argument but through song, dance, magic tricks, and art intended to reveal insights into the subject we may never have considered before. My review is similarly and accordingly multimodal. Each component is summarized below. 1) Ode To Swee P aka H. Peter Steeves aka The Godfather of Philosophy by Beverly Fresh is a performance for video (approximately 2 minutes) that expands on the form of the Greek irregular ode, with the purpose of honoring and amplifying the person known as H. Peter Steeves and his work, Being And Showtime. With “Ode” I re-experience notions of time explored in “The About Time Show” (Chapter 6 of Being And Showtime) which repeats and extends Edmund Husserl’s Phenomenology and TimeConsciousness. For example, the opening refrain of “Ode” repeats the lines “now, no now, no now..,” activating the concepts of retention and protention. The line “when I was not him...” refers to the inextricable link between context and the performance of being—I cannot be him, he is there and I am here performing what it is to be I. Prefacing this line with “when” begs the question, If I was not him in a previous time, is it possible that I am now him in the present? As I perform “The About Time Show” concepts, I am at once performing my being as a reviewer and the author’s ideas and meaning. Near the end of the performance the line, “the young man takes his own old hand,” refers to the grand finale of Steeves’ performance/lecture where the H. Peter Steeves of years past and the H. Peter Steeves of the present inhabit the same space on stage physically manifesting phenomenology’s concept of categoriality. The present appears side-by-side with the past and the result is something other than simply our old concept of present and our old concept of past, but instead a new experience of time itself. The last words of “Ode” are “thiiiiick slice…” referring to when Steeves summons Husserl with “the nowmoment actually extends into the ‘past’ so that what ‘now’ means is a thick slice of time—a portion of time that includes what we used to think of as the past, but now we realize is actually still the present.” The entire performance of “Ode” takes place crouched near the corner of a bed as a nod to Steeves’ reference to sleep as a little taste of death in Proust’s In Search of Lost Time with a vocal delivery that is simultaneously compelling and unsettling. In the act of paying tribute, the rogue has taken the subject and made it a work completely his own, becoming part of Beverly Fresh’s ongoing series of odes dating back to 2005.2) The live broadcast, airred August 1, 2021 on the pirate radio project spaz.radio featured strange sonic song selections and cosmic commentary that correspond to and extend the themes in each chapter of Being And Showtime. Following Steeves’ interpretation of logos being communal, songs were sourced with help from the Weird Rap online community. Just as Being And Showtime reimagines the book as an expanded and interactive object, my reimagining bends and stretchs the limits of a radio show through the guise of an introspective, psychedelic Wolfman Jack dj of pirate radio frequencies. This episode of the Weird Rap podcast and my ongoing service to the hip-hop community is dedicated to paying respect to the founders of this cultural movement and honoring the art form, with special attention to marginalized, underrepresented, and emerging artists. <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/19582373993829fc5763cffd3c9ab2567e23601da3c5711fcea5fb72b80c8f92/spaz-radio-peter-FINAL.jpg" data-mid="131393831" border="0" src="https://freight.cargo.site/w/1000/i/19582373993829fc5763cffd3c9ab2567e23601da3c5711fcea5fb72b80c8f92/spaz-radio-peter-FINAL.jpg" /> 3) All of this content will ultimately be embedded in a multimedia web page (THIS WEB PAGE YOU ARE CURRENTLY LOOKING AT)&nbsp; featuring the outline described here (written as the alternative scholar) along with hyperlinks, gifs, videos, notations, and additional text amplifying various points of the outline including more on “the ode,” “the rogue,” “the bed,” and the performance of self. The purpose of this ReView is to put the concepts of Being And Showtime into action and to think through them publicly via my own performance of being both a performer and a reviewer. <img width="1000" height="528" width_o="1000" height_o="528" data-src="https://freight.cargo.site/t/original/i/33d78956f2b6a1398314bb8293c6c8bb6dec369bb89b907f0c7870708aa1f545/peter-animation-1.gif" data-mid="115124869" border="0" src="https://freight.cargo.site/w/1000/i/33d78956f2b6a1398314bb8293c6c8bb6dec369bb89b907f0c7870708aa1f545/peter-animation-1.gif" /> ODE 2 SWEE P By Beverly Fresh (lyrics for reference) No now no now no now No now no now no now No now no now no now Thinking upon an itty bitty sweet peetah An so below a time When I was not him And was was not in And in was not on Our side or upon Is on top of gone Long is is on wrong A dawn is born worn On gone! a little deaaaad, a little deaaaade a little deaaaad, a little deaaaade a little deaaaad, a little deaaaade (come on!) a little deaaaad, a little deaaaade a little deaaaad, a little deaaaade a little deaaaad, a little deaaaade (come on!) The young man takes his own old hand “Nothing I cared In the lamb white days That time, would take ME Up the swallow thronged loft By the shadow of my hand…...nowww” !NOT NOW! (Thiiiiick Sliiiiiice) TIME SEEMS TO BE "DRAGGING" https://superiorbelly.org/Featured-Blog-Posts Mon, 08 Feb 2021 03:01:39 +0000 superiorbelly https://superiorbelly.org/Featured-Blog-Posts BLOG<img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/3e4437a34e9c69191bea98083c5cebfd435c01456e522fd4712d7851be3d7b45/bANDs_Thmb.gif" data-mid="115133471" border="0" src="https://freight.cargo.site/w/1000/i/3e4437a34e9c69191bea98083c5cebfd435c01456e522fd4712d7851be3d7b45/bANDs_Thmb.gif" />EXPERIMENTAL REVIEW BEING AND SHOWTIME Beverly Fresh performs a multimodal review of the latest book by philosopher H. Peter Steeves. <img width="2250" height="509" width_o="2250" height_o="509" data-src="https://freight.cargo.site/t/original/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" data-mid="100667697" border="0" src="https://freight.cargo.site/w/1000/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" />“We’ll wait for you.” Don’t rush just walk. “Time is when god,” we aint going no where. We giving directions like like we selling quarter waters See its Hotter than July but we all coolin up here.MILES DAVISBlack Satin/on the cornerAt 3:14 freedoms Just around the cornerGit up with it. Black socerers in alley way Miles runs down the voodoo Foots Prints Betty MarberyChorus and refrain the promise in the pain Art Ensemble of chicago/ GreatBlackmusicSun Ra’s ship has landedAncient to the Future indigenous to the land on which you standing In a silent way Big Fun Water Babies playing in the streetBrentwood native.Eric and Parrish, Kool DJ Red AlertShante and the Real JVC ForceNobody beats the Biz South Shore Mall Memoirs. Flavor in your ear Craig Mack bad boy all comes from the black church. Eulas Pizarro <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/d66ba7d7d9ae92dcad136042640b1051b0f4b1fc8efa03417c172119142bd615/MIND-IDEAS-09.gif" data-mid="110609086" border="0" src="https://freight.cargo.site/w/1000/i/d66ba7d7d9ae92dcad136042640b1051b0f4b1fc8efa03417c172119142bd615/MIND-IDEAS-09.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#9 of ∞︎︎︎︎ ︎︎ <img width="2250" height="509" width_o="2250" height_o="509" data-src="https://freight.cargo.site/t/original/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" data-mid="100667697" border="0" src="https://freight.cargo.site/w/1000/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" />This is a song of remembrance. Of a lovers howl moaning to feel that which has been lost. To remember the feeling of what was and all has fallen between. This is a song of remembrance To old times and “smiles for all” raise your glasses to whats here for now may soon not be at all. Yes, this is a song of remembrance. Of dashed hopes and puffed out pride. Of ambitious dreams of moves on the fly(dolo from state to state). You buy I fly yes, this is a song of remembrance. Eulas Pizarro <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/48d723bab7bfbdef144bbf1e76b4f88e5d9a42b53aa8c1b49a724cc8b4ea51c5/MIND-IDEAS-08.gif" data-mid="107250374" border="0" src="https://freight.cargo.site/w/1000/i/48d723bab7bfbdef144bbf1e76b4f88e5d9a42b53aa8c1b49a724cc8b4ea51c5/MIND-IDEAS-08.gif" /> Beverly Fresh &amp; The Whisper Present MIND IDEAS#8 of ∞︎︎︎︎ ︎︎ <img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/3a0138d7854aa537281647d25f9a9c7bc0abe7ac466383ead4f918ecc63002a5/experimental-interview.gif" data-mid="98144640" border="0" src="https://freight.cargo.site/w/1000/i/3a0138d7854aa537281647d25f9a9c7bc0abe7ac466383ead4f918ecc63002a5/experimental-interview.gif" /> VOICEMAIL INTERVIEW CALVIN LEE REEDER — High, Low &amp; Inbetween— dusted rambler Calvin Lee Reeder leaves cryptic voicemails and Beverly Fresh pens a nervous profile of the rouge filmmaker. <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/16923a25925f4e9b3982b1399611d4ea5a000dd19178d4bb3b79236efb91f708/MIND-IDEAS-07.gif" data-mid="107250547" border="0" src="https://freight.cargo.site/w/1000/i/16923a25925f4e9b3982b1399611d4ea5a000dd19178d4bb3b79236efb91f708/MIND-IDEAS-07.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#7 of ∞︎︎︎︎ ︎︎ <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/e44b3072f7be94b1f535261bb7ec9246722e0264be797655b920fe7e03922499/MIND-IDEAS-06.gif" data-mid="107248886" border="0" src="https://freight.cargo.site/w/1000/i/e44b3072f7be94b1f535261bb7ec9246722e0264be797655b920fe7e03922499/MIND-IDEAS-06.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#6 of ∞︎︎︎︎ ︎︎<img width="2250" height="509" width_o="2250" height_o="509" data-src="https://freight.cargo.site/t/original/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" data-mid="100667697" border="0" src="https://freight.cargo.site/w/1000/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" />The ground beneath usRolled, folded and encased. Time-locked inside of a reality that seemed precious.The escape was there. Obvious to one who could see it.I dreamt the reality of this moment now wishing to be it.Folded now in half, foreign pain meets domestic desire.Like a thing that makes the ocean seem louder, its just enough to make the illusion feel real again.Like women talking across great spaces. Talking out of windows, speaking into the wind. They’re tired but cannot sleep so instead they float and peer around corners listening to every word said.To help past the time holding conversations in hand gesture and pantomime. Eulas Pizarro <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/f999d3f18b825cdf5dc0548584756ffb1a5fa1d9eef5fa7777550c6a40a62e22/MIND-IDEAS-05.gif" data-mid="103100642" border="0" src="https://freight.cargo.site/w/1000/i/f999d3f18b825cdf5dc0548584756ffb1a5fa1d9eef5fa7777550c6a40a62e22/MIND-IDEAS-05.gif" /> Beverly Fresh &amp; The Whisper Present MIND IDEAS#5 of ∞︎︎︎︎ ︎︎ <img width="2250" height="509" width_o="2250" height_o="509" data-src="https://freight.cargo.site/t/original/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" data-mid="100667697" border="0" src="https://freight.cargo.site/w/1000/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" />There, there below the shelf of the sky our despair was all together abandoned as we inched further into oblivion. The space between the breaths; the time is now escaping us while we spin and whirl around the sun. Our hallowed 60 now reduced to 59. something seconds of earthly bliss. These quiet moments allow for small steps each without doubt or wavering reservation ambling in a dark place inside a cavernous abyss. Dividing the time in half hurling through space we discover a new time paradigm. We come and go again and again. Eulas Pizarro <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/9639b57da949d82d05374c5340f75650f22d701637920a677e3180d9042ce3df/MIND-IDEAS-04.gif" data-mid="102845911" border="0" src="https://freight.cargo.site/w/1000/i/9639b57da949d82d05374c5340f75650f22d701637920a677e3180d9042ce3df/MIND-IDEAS-04.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#4 of ∞︎︎︎︎ ︎︎ &nbsp; <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/63932df2c76c2d0aab3af9718536e0a0633bb696dc849bf2221c483da115e037/MIND-IDEAS-03.gif" data-mid="101521218" border="0" src="https://freight.cargo.site/w/1000/i/63932df2c76c2d0aab3af9718536e0a0633bb696dc849bf2221c483da115e037/MIND-IDEAS-03.gif" /> Beverly Fresh &amp; The Whisper Present MIND IDEAS#3 of ∞︎︎︎︎ ︎︎ <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/dee524d146486f8873a59734d931d28fbfbdbe75d94155275ef3e156a440df90/MIND-IDEAS-02.gif" data-mid="101386740" border="0" src="https://freight.cargo.site/w/1000/i/dee524d146486f8873a59734d931d28fbfbdbe75d94155275ef3e156a440df90/MIND-IDEAS-02.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#2 of ∞︎︎︎︎ ︎︎ <img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" data-mid="98513837" border="0" src="https://freight.cargo.site/w/1000/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" /> WEIRD RAP PODCAST NEW KINGDOM — Special guest King Eulas <img width="1296" height="1272" width_o="1296" height_o="1272" data-src="https://freight.cargo.site/t/original/i/8899d2e19226a4e73b05e8a315a0b69756148665da3c1240184844cafa63ae4e/Lucille.jpeg" data-mid="98624337" border="0" src="https://freight.cargo.site/w/1000/i/8899d2e19226a4e73b05e8a315a0b69756148665da3c1240184844cafa63ae4e/Lucille.jpeg" />NOWNOWNOW by Nosaj from New Kingdom &amp; steel tipped doveWRITTEN ANALYSIS — Eulas Pizarro In Jason Furlows Lucille, the wolves and strangers inject a certain fear and alarm in the songs narrative. His characters inhabit a fractured psychedelic netherworld of juke joints, hustlers, women, spirits and ghouls. One senses Robert Johnsons hellhounds gaining on us as we approach a cross roads; the sound of a train far off in the distance. Spirits also abound in the form of “Black Magic Women” and alcohol. Maybe there is a spell at work on all the players present? The fact that the man who has been entrusted by BB to keep her safe and has unwittingly become her undoing further chargers all their interactions. We now descend into a spiraling Inferno of debased desire and mistaken identity. The appointed guardian will deny this role to delight in all manner of pleasures with Lucille thinking maybe he "might have to stay around after all" as he assess what manner of debauchery to further engage in. Just who’s beck and call is she at?This guardian occupies the space of an African trickster and provocateur a visitor whose reason for being could be malevolent or friendly we somehow cannot tell just yet. The guardian is equally unsure where, why or what dimension he finds himself but is not altogether uncomfortable with his lot. All the while the wolves and strangers continue to circle like sharks stalking their prey as we hear the guardians plaintive cries...“I promised BB I would keep em away”. -NOSAJ FROM NEW KINGDOM &amp; STEEL TIPPED DOVE Lucille, NOWNOWNOW <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/21e92bba96e066981e6f4c866e6e9f3896f7ef3142987d94bf438eb57f22d2c9/MIND-IDEAS-01.gif" data-mid="98482050" border="0" src="https://freight.cargo.site/w/1000/i/21e92bba96e066981e6f4c866e6e9f3896f7ef3142987d94bf438eb57f22d2c9/MIND-IDEAS-01.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#1 of ∞︎︎︎︎ ︎︎ ︎ALL NEW WEEKLY * COME BACK *&nbsp;ALL NEW WEEKLY * COME BACK * ALL NEW WEEKLY * COME BACK * ALL NEW WEEKLY * COME BACK * SEE ALL POSTS https://superiorbelly.org/About Mon, 08 Feb 2021 03:01:40 +0000 superiorbelly https://superiorbelly.org/About SUPERIORBELLY<img width="840" height="640" width_o="840" height_o="640" data-src="https://freight.cargo.site/t/original/i/193c756ac7b9e48f89afa077c3257c2f8978014254859822af6e3f09558ffb0b/belly08.jpg" data-mid="98221342" border="0" src="https://freight.cargo.site/w/840/i/193c756ac7b9e48f89afa077c3257c2f8978014254859822af6e3f09558ffb0b/belly08.jpg" /> SUPERIORBELLY, is a collective that creates and recognizes work that is truly experimental. We work independently and collaboratively on exhibitions, albums, books, events, lectures and performances but are most interested in creating work and situations that exist beyond any format or disciplinary distinction. In addition to our own work, we connect with others on the outskirts, making work that strays from definition. We honor the unfamiliar, analyze process, and focus on the unheard stories and overlooked aspects of what it is to create. On this website and through our programming, this inquiry manifests through various alternative means of production and an experimental approach to new formats - some of which are interviews conducted through disjointed voicemails, podcasts that become slowed and stewed audio affirmations and google map tours through digital spaces of existential crises. The WORK side of this website shows a selection of our recent projects. The BLOG side has ongoing weekly coverage of work from artists we want to dig deep with, along with our own serialized columns of writing, interviews, podcasts, comics and more. The collective members of SUPERIORBELLY have published, exhibited, and performed internationally and have collaborated and worked with artists of all backgrounds including David Byrne, James Lee Byars, Yoko Ono, Mike Ladd, Tricky, Calvin Lee Reeder, Elliott Earls, Paul Pfeiffer, Enrique Chagoya, Ania Jaworska, Mike Kelley Foundation, Ouattara Watts, Morcheeba, Bill Laswell, Del The Funky Homosapien, Esham, Armand Hammer, and many more.BELLY CREW Beverly FreshKing Eulas (Eulas Pizarro) Tom Pyrzewski CONTACTBELLYSUPERIOR@GMAIL.COMCURRENT COLLABORATORSH. Peter Steeves (The Whisper) HISTORY SUPERIORBELLY, was established in 1999 by Thomas Pyrzewski and Zack Ostrowski. Through the years it existed as an art/design collective and record label. In the late 90’s though the early 00’s, it was primarily an unconventional online interactive experience of net art, music, and writing from artists in the collective and around the globe. The Belly, produced and distributed cassettes and cd-rs of pioneering avant garde hip-hop which was later expanded world-wide with the first SUPERIORBELLY compilation released in cooperation with ArtCorp/UPop Japan. In 2005, musician Blair French helped relaunch SUPERIORBELLY RECORDS &amp; TAPES, which spent several years dedicated to producing vinyl-only releases of Detroit-based musicians and hosting parties and events throughout the city.&nbsp; Past, and Honorary Life-Long Members Blair French Dwayne RauppJohn Ikera Jon Potts Nosaj From New Kingdom https://superiorbelly.org/Archive-Blog-Posts Wed, 10 Feb 2021 20:04:26 +0000 superiorbelly https://superiorbelly.org/Archive-Blog-Posts BLOG <img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/3a0138d7854aa537281647d25f9a9c7bc0abe7ac466383ead4f918ecc63002a5/experimental-interview.gif" data-mid="98494538" border="0" src="https://freight.cargo.site/w/1000/i/3a0138d7854aa537281647d25f9a9c7bc0abe7ac466383ead4f918ecc63002a5/experimental-interview.gif" /> VOICEMAIL INTERVIEW CALVIN LEE REEDER — High, Low &amp; Inbetween— dusted rambler Calvin Lee Reeder leaves cryptic voicemails and Beverly Fresh pens a nervous profile of the rouge filmmaker. <img width="2250" height="509" width_o="2250" height_o="509" data-src="https://freight.cargo.site/t/original/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" data-mid="100668064" border="0" src="https://freight.cargo.site/w/1000/i/da38189f331e5ba5f14be444aad4c54c1467ee16e320cb90519984df0bd63eca/EULAS_revised.gif" />There, there below the shelf of the sky our despair was all together abandoned as we inched further into oblivion. The space between the breaths; the time is now escaping us while we spin and whirl around the sun. Our hallowed 60 now reduced to 59. something seconds of earthly bliss. These quiet moments allow for small steps each without doubt or wavering reservation ambling in a dark place inside a cavernous abyss. Dividing the time in half hurling through space we discover a new time paradigm. We come and go again and again. Eulas Pizarro <img width="1920" height="1296" width_o="1920" height_o="1296" data-src="https://freight.cargo.site/t/original/i/21e92bba96e066981e6f4c866e6e9f3896f7ef3142987d94bf438eb57f22d2c9/MIND-IDEAS-01.gif" data-mid="98494539" border="0" src="https://freight.cargo.site/w/1000/i/21e92bba96e066981e6f4c866e6e9f3896f7ef3142987d94bf438eb57f22d2c9/MIND-IDEAS-01.gif" />Beverly Fresh &amp; The Whisper Present MIND IDEAS#1 of&nbsp;∞︎︎︎︎ ︎︎ <img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" data-mid="98516838" border="0" src="https://freight.cargo.site/w/1000/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" />WEIRD RAP PODCAST NEW KINGDOM — Special guest King Eulas<img width="1296" height="1272" width_o="1296" height_o="1272" data-src="https://freight.cargo.site/t/original/i/8899d2e19226a4e73b05e8a315a0b69756148665da3c1240184844cafa63ae4e/Lucille.jpeg" data-mid="98625143" border="0" src="https://freight.cargo.site/w/1000/i/8899d2e19226a4e73b05e8a315a0b69756148665da3c1240184844cafa63ae4e/Lucille.jpeg" />NOWNOWNOW by Nosaj from New Kingdom &amp; steel tipped doveWRITTEN ANALYSIS — Eulas Pizarro In Jason Furlows Lucille, the wolves and strangers inject a certain fear and alarm in the songs narrative. His characters inhabit a fractured psychedelic netherworld of juke joints, hustlers, women, spirits and ghouls. One senses Robert Johnsons hellhounds gaining on us as we approach a cross roads; the sound of a train far off in the distance. Spirits also abound in the form of “Black Magic Women” and alcohol. Maybe there is a spell at work on all the players present?The fact that the man who has been entrusted by BB to keep her safe and has unwittingly become her undoing further chargers all their interactions. We now descend into a spiraling Inferno of debased desire and mistaken identity.The appointed guardian will deny this role to delight in all manner of pleasures with Lucille thinking maybe he "might have to stay around after all" as he assess what manner of debauchery to further engage in. Just who’s beck and call is she at?This guardian occupies the space of an African trickster and provocateur a visitor whose reason for being could be malevolent or friendly we somehow cannot tell just yet.The guardian is equally unsure where, why or what dimension he finds himself but is not altogether uncomfortable with his lot. All the while the wolves and strangers continue to circle like sharks stalking their prey as we hear the guardians plaintive cries...“I promised BB I would keep em away”. -NOSAJ FROM NEW KINGDOM &amp; STEEL TIPPED DOVE Lucille, NOWNOWNOW ︎ALL NEW WEEKLY * COME BACK *&nbsp;ALL NEW WEEKLY * COME BACK * ALL NEW WEEKLY * COME BACK * ALL NEW WEEKLY * COME BACK * SEE ALL POSTS https://superiorbelly.org/CALVIN-LEE-REEDER Mon, 08 Feb 2021 03:01:42 +0000 superiorbelly https://superiorbelly.org/CALVIN-LEE-REEDER VOICEMAIL INTERVIEW WITH CALVIN LEE REEDERFEBRUARY THIRTEENTH, INSIDE THE YEAR OF OUR COMMON RESTLESSNESS, TWO THOUSAND TWENTY-ONE.&nbsp; “Quit it! Quit it! Don’t turn everything I say into a dollar sign.” “Oooo the plea for sanity dollar, huge! Huge market! Look at our research!” - Bill Hicks, “Marketing and Advertising” What if you just started a new job in a new state and they made you go to these weekly meetings with all the other new people there and this had been goin’ on for a few months and Friday was your last big meeting, except it wasn’t really a meeting, it was sort of one of those reflection type deals with warm snacks and jeans? And you’re runnin’ late, real late for this thing and you’d been late a lot of other times and people got upset. You’re goin’ like mad to make it there, but this meeting is in a new building and when you get there it’s like a goddamn maze and it’s twenty minutes past the start time. Finally, you find someone to help you out and they lead you to a door and they say that you need to put on this Hawaiian lei, that everyone inside will be wearing leis and to go in and take a seat. You open the door and there is a table set up with the warm snacks and a massive plastic storage bin full of Coronas on ice. Bob Marley’s greatest hits are playing and the room is filled with Hawaiian decorations and it’s fuckin’ empty. You’re all alone in there. You open a Corona, set down, then take in the scene. That’s when the fear begins to come on hard. This is what happened to me. It fractured something deep inside and I can’t really pin it down but something in that room got a hold of me good. I don’t rattle easy. Most of my whole life is spent doing things that would make the Pope leak but for some reason that room had just the right mix to make me nervous and puny. It was like a tarp of confusion, anxiety, and shame that got staked over me and the reign of routine terror was bringin’ that fucker down and it was sucked tight close to my skin. I didn’t know why I was afraid, or of what, but it was there and it was real. I entered some kind of unknown right inside that all tan multipurpose room and over there the person I thought myself to be longer existed. Once inside, in under a minute, I was wearing some shit I wouldn’t wear, drinking a beer I didn’t like and listening to music I didn’t want to hear. What happened? Where did I go? Who put me here? Why? The everyday can become infested with an unease that turns the usual surreal and makes you realize that you never really have a hold on anything. With this in our heads, let’s get into the work of Calvin Lee Reeder. “…us ramblers will get the job done.”- Townes Van Zandt, “High, Low And In Between” Calvin Lee Reeder’s two feature films “The Oregonian ” and “The Rambler” take on a lot at one time, but both follow with persistence a central protagonist who roams a ruff psychological landscape wavering between the known and unknown. In both films, Reeder takes the main characters down a path of dread and they encounter jacked up mythical characters along the way. The ride is heavy and wild, and there are often times when madness and comedy become one big haze. In “The Oregonian ”an unnamed woman emerges from a car wreck with amnesia. She wanders the back roads and through a series of spiraling phantasmagoric encounters, she undergoes a primal transformation of self. There is an immersive spirit in Reeder’s films, and we share the trajectory of his lone wolf figures. It’s all a big surprise, and it’s all bad, and somehow as it keeps goin’ we don’t really adapt, but we instead lean in and put it on. &nbsp; Reeder’s work traverses genres without obligation. He sets up a series of situations that are bizarre and unidentifiable and the work rides on rejecting the straight read and opting instead to pound out its own primal sense of internal logic. There is a part in “The Oregonian ” where the main character enters a trailer filled with guys lounging around guzzlin’ gasoline pina coladas. One guy’s got blood squirtin’ out his dick, there is a giant frog monster and somehow they got a TV channel on where the main character is floating next to a big pixelated number three. In the midst of all this, one guy is singing a song and playing a guitar. For the past few years, I have been trying and thinking about how to integrate “the song” into film, not just as background or a complement but as “the thing” that has substantial weight and feels alive. Reeder’s pina colada situation does just this, in a real good way. It’s an active scene, our attention is jostled, but the song has an essential presence. That’s hard to pull off, and he does it. Back up at the top, Hicks points out that everyone is lookin’ to know what your angle is, especially if you’re part of some industry or institution. If you're coming at it in your own way, it might be harder for them to deal with, but sometimes things just aren’t so clear-cut. I think we can all take something from Reeders characters who decide to get inside what’s been haunting them. When we just relax into the strange and lose it with the lei. When we get squirrely and we start to wander and hit it all – high, low and in between. Epilogue: This experiment in the interview was carried out entirely through voicemail. I left Calvin a prompt and he responded when he felt it. I did it this way because I wanted to poke a bit at the feeling of being restless and what it’s like to make something, maybe something you don’t quite have a hold of. I also wanted to meddle with “the message system” and see what would happen. I peppered his audio responses throughout my reading of his work. If you stuck with us, you probably possess some spirit of the ramblers Calvin Lee Reeder puts on screen. Peace to you. Love, Beverly ...taking an unknown thing to an unknown place for a known purpose. But sometimes we're lost in an unknown place for no known purpose. Jerry Jeff Walker <img width="2250" height="1266" width_o="2250" height_o="1266" data-src="https://freight.cargo.site/t/original/i/c3d0cf2bd82b3f8c46d5436326d8198ba5a8708231ed910e2c2d01b784ca3919/clr_newheader.gif" data-mid="98204357" border="0" src="https://freight.cargo.site/w/1000/i/c3d0cf2bd82b3f8c46d5436326d8198ba5a8708231ed910e2c2d01b784ca3919/clr_newheader.gif" /><img width="5025" height="2805" width_o="5025" height_o="2805" data-src="https://freight.cargo.site/t/original/i/4d7d1ce034d3a4ed8a1d5933c31bdd31085e2c13f55ec190477aae694edad972/clr-bob.jpg" data-mid="98204478" border="0" src="https://freight.cargo.site/w/1000/i/4d7d1ce034d3a4ed8a1d5933c31bdd31085e2c13f55ec190477aae694edad972/clr-bob.jpg" /><img width="3830" height="2868" width_o="3830" height_o="2868" data-src="https://freight.cargo.site/t/original/i/75ede7c0e3b39fc2c6e033209ed536dd1894aeff3d39a91154c33c181a26b38a/Screen-Shot-2021-02-07-at-9.06.59-PM.png" data-mid="98151442" border="0" src="https://freight.cargo.site/w/1000/i/75ede7c0e3b39fc2c6e033209ed536dd1894aeff3d39a91154c33c181a26b38a/Screen-Shot-2021-02-07-at-9.06.59-PM.png" /><img width="2726" height="1512" width_o="2726" height_o="1512" data-src="https://freight.cargo.site/t/original/i/ab4189823326acc776fbe7ff6bb68dee657e3568615afe55d6d56b732b90876e/Screen-Shot-2021-02-10-at-11.05.24-AM.png" data-mid="98472923" border="0" src="https://freight.cargo.site/w/1000/i/ab4189823326acc776fbe7ff6bb68dee657e3568615afe55d6d56b732b90876e/Screen-Shot-2021-02-10-at-11.05.24-AM.png" /><img width="2724" height="1502" width_o="2724" height_o="1502" data-src="https://freight.cargo.site/t/original/i/c37885ae4c3ccc3354e3b843360c02f7a4b6cb0d2f97213f86a6728a2d06b841/Screen-Shot-2021-02-10-at-11.06.26-AM.png" data-mid="98472922" border="0" src="https://freight.cargo.site/w/1000/i/c37885ae4c3ccc3354e3b843360c02f7a4b6cb0d2f97213f86a6728a2d06b841/Screen-Shot-2021-02-10-at-11.06.26-AM.png" /><img width="3152" height="1322" width_o="3152" height_o="1322" data-src="https://freight.cargo.site/t/original/i/a81d18ccc2fe38dc596db7a09a11886728d0de21f66d55f0f57f9376fc343530/Screen-Shot-2021-02-10-at-11.17.13-AM.png" data-mid="98473751" border="0" src="https://freight.cargo.site/w/1000/i/a81d18ccc2fe38dc596db7a09a11886728d0de21f66d55f0f57f9376fc343530/Screen-Shot-2021-02-10-at-11.17.13-AM.png" /><img width="2726" height="1504" width_o="2726" height_o="1504" data-src="https://freight.cargo.site/t/original/i/90c1b1ca02f1d9ce8013638f3e4df1ea0f9654260616d0c587d348b8b352cfdd/Screen-Shot-2021-02-10-at-11.06.59-AM.png" data-mid="98472921" border="0" src="https://freight.cargo.site/w/1000/i/90c1b1ca02f1d9ce8013638f3e4df1ea0f9654260616d0c587d348b8b352cfdd/Screen-Shot-2021-02-10-at-11.06.59-AM.png" /><img width="3822" height="2860" width_o="3822" height_o="2860" data-src="https://freight.cargo.site/t/original/i/f7b1d4b0b1ef7f6a405544cf333cb61ae7c6a34e024c60277d949d84310cff2d/Screen-Shot-2021-02-07-at-9.06.35-PM.png" data-mid="98151444" border="0" src="https://freight.cargo.site/w/1000/i/f7b1d4b0b1ef7f6a405544cf333cb61ae7c6a34e024c60277d949d84310cff2d/Screen-Shot-2021-02-07-at-9.06.35-PM.png" /><img width="5120" height="2880" width_o="5120" height_o="2880" data-src="https://freight.cargo.site/t/original/i/9dc4eb38d86f36948efafc6eaa210db952adfad27aa45e6b4b141e756f1e904d/Screen-Shot-2021-02-07-at-9.07.59-PM.png" data-mid="98151441" border="0" src="https://freight.cargo.site/w/1000/i/9dc4eb38d86f36948efafc6eaa210db952adfad27aa45e6b4b141e756f1e904d/Screen-Shot-2021-02-07-at-9.07.59-PM.png" /><img width="2250" height="1240" width_o="2250" height_o="1240" data-src="https://freight.cargo.site/t/original/i/1ea3876aad67c189322749d1bc0168d930e6cb7bfda16e1eeefe2cc508b27094/lins.gif" data-mid="98469008" border="0" src="https://freight.cargo.site/w/1000/i/1ea3876aad67c189322749d1bc0168d930e6cb7bfda16e1eeefe2cc508b27094/lins.gif" /><img width="3166" height="1318" width_o="3166" height_o="1318" data-src="https://freight.cargo.site/t/original/i/375a73201ca08d382b5a8ebe2c4f8ea3bbf06fab99050620f217d3d4522507cc/Screen-Shot-2021-02-10-at-11.14.32-AM.png" data-mid="98473757" border="0" src="https://freight.cargo.site/w/1000/i/375a73201ca08d382b5a8ebe2c4f8ea3bbf06fab99050620f217d3d4522507cc/Screen-Shot-2021-02-10-at-11.14.32-AM.png" /><img width="3158" height="1326" width_o="3158" height_o="1326" data-src="https://freight.cargo.site/t/original/i/3e4d66c775ec0394a9513bede071c51926e4119c7fee371f1ecdc61bef3b8fe0/Screen-Shot-2021-02-10-at-11.14.52-AM.png" data-mid="98473755" border="0" src="https://freight.cargo.site/w/1000/i/3e4d66c775ec0394a9513bede071c51926e4119c7fee371f1ecdc61bef3b8fe0/Screen-Shot-2021-02-10-at-11.14.52-AM.png" /> https://superiorbelly.org/NEW-KINGDOMN Wed, 10 Feb 2021 23:06:01 +0000 superiorbelly https://superiorbelly.org/NEW-KINGDOMN WIERD RAP PODCAST NEW KINGDOMBeverly Fresh, Wierd Rap corispondant, interviews the members of the groundbreaking experimental rap group New Kingdom and speaks with special guest King Eulas. Jason Furlow (AKA Nosaj, Nature Boy Jim Kelly) ruminates on freestyling with Rammellzee and Sir Menelik, aging, and Project Blowed. Sebastian Laws (AKA Sebstop, Sebash) explains time, synergy, and wanderlust. And producer/engineer Scott Harding (AKA Scotty Hard) takes us through the group’s work with Del and Tricky, answers some questions provided by Mike Ladd, and discusses Sensational. We even have a quick appearance from Elucid who shares his thoughts on New Kingdom too. Not included in the episode is an additional interview with King Eulas, who sheds additional light on Nosaj. It’s available for free at http://patreon.com/weirdrap. Also included there is the Bonus Episode, featuring the original New Kingdom demo tape and additional interviews including Nosaj’s thoughts on Wordsound Recordings and PM Dawn, Sebastian on his formative years, and Scotty Hard discussing his work with Ka and Lifers Group. If that wasn’t enough, in honor of this episode, Nosaj of New Kingdom, King Eulas and Beverly Fresh put together a foundational avant-garde rap playlist! <img width="2250" height="1685" width_o="2250" height_o="1685" data-src="https://freight.cargo.site/t/original/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" data-mid="98513962" border="0" src="https://freight.cargo.site/w/1000/i/29cebbf51d385ad93f66875c95d8e401cd244fb01a167689ee21974d4cdf5fe5/new-kingdom.gif" /> https://superiorbelly.org/I-GOT-BEATS Wed, 08 Oct 2025 20:11:27 +0000 superiorbelly https://superiorbelly.org/I-GOT-BEATS I GOT BEATS&nbsp;IN THESE FINGERTIPS Wayne State University’s Elaine L. Jacob Gallery and the College of Fine, Performing and Communication Arts is pleased to present I Got Beats in These Fingertips. The exhibition was curated by Zack Ostrowski (Associate Professor, Graphic Art Area Head, The Art School, DePaul University) and Tom Pyrzewski (Director of Galleries and Special Programming, CFPCA, WSU). This thoughtfully curated exhibition coincides with the J Dilla Music Tech Teaching Workshop — a multi-day experience for Michigan public school teachers — hosted by WSU’s College of Liberal Arts and Sciences, Save The Music Foundation, and CFPCA’s Department of Music. The workshop introduces K-12 teachers to modern music production led by Wayne State music faculty, using software and equipment in the J Dilla Music Tech Grant. An opening reception for I Got Beats in These Fingertips exhibition will be held on Friday, July 12, from 5 to 8 p.m., with a performance by jessica Care moore and King Moore at 6:30 p.m. &nbsp;The exhibition, which runs until Sept. 20,&nbsp;celebrates two uncompromising innovators of contemporary hip-hop music — James Yancey (J Dilla) of Detroit and Robert Earl Davis, Jr. (DJ Screw) of Houston.&nbsp; Despite their profound influence on popular culture, these regional hip-hop scenes are frequently marginalized in both mainstream and academic narratives of hip-hop history. Through music, artwork, equipment and ephemera, we uncover the distinctive traits and often overlooked connections between Detroit and Houston hip-hop. Exhibition highlights include original paintings by founding father of funk George Clinton, a 10-foot optical print celebrating the legacy of J Dilla created by influential photographer and filmmaker Brian "B+" Cross, and music equipment owned by DJ Screw (Houston) and ESHAM (Detroit) that was used to create some of their most iconic recordings. Detroit and Houston are geographically large cities that invented unique slang, dress, dance, and music sensibilities. Along with these notable nuanced differences, cultural bonds and musical lineages are explored, such as Motown recording artist Clinton's Parliament and Funkadelic groups&nbsp;of which beloved Detroit musician Amp Fiddler was a member (’85-’96) and who was in turn an empowering mentor and champion of a young J Dilla.&nbsp;&nbsp; Pen &amp; Pixel, a Houston-based family-owned graphic design studio, arguably pioneered one of the most distinctive visual styles of recent decades with their heavily layered surreal album covers, reminiscent of the altered atmosphere found in DJ Screw's music. This visual influence extended across hip-hop, comedy, and popular music genres worldwide Sonic pioneers J Dilla and DJ Screw used original and unconventional approaches to altering time in their musical compositions. J Dilla’s work can be characterized by obscure loops, and non-standard or irregular quantization through loose or swung rhythms, while DJ Screw invented the infamous “chopped &amp; screwed” technique where music was pitched down and audio fragments were chopped and repeated. And while both producers used different tools and processes to warp time in their music, each was known for bringing a “human touch” to their use of digital and analog machinery defining and embodying a soundscape of place. At the height of an international career, J Dilla worked with some of hip-hop's biggest names but preferred his home studio in Michigan and his autonomy as a creator.&nbsp;Today, in the era of streaming where big business and cultural gatekeepers still restrict artist exposure and sales, it’s important to appreciate the entrepreneurial spirit and independence of many artists in this exhibition. From the legendary tales of ESHAM and DJ Screw selling thousands of tapes directly to fans from their cars or homes to the community building efforts of artist and Detroit Poet Laureate jessica Care moore. In the 1990s, when many radio stations refused to play hip-hop (especially from Detroit and Houston), you could hear the music broadcast in the streets thanks to a rich underground car culture and the music in the hands of the people. Through two legendary producers and their peers, this exhibition is a timestamp for an influential era of contemporary music which highlights the important combination of self-determination and community. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e4645e89fb2146410467678f93398c9e5a44bfe4f0d66a73ee1bc5999a37cea5/IMG_5342.jpg" data-mid="239166486" border="0" src="https://freight.cargo.site/w/1000/i/e4645e89fb2146410467678f93398c9e5a44bfe4f0d66a73ee1bc5999a37cea5/IMG_5342.jpg" /><img width="3848" height="2743" width_o="3848" height_o="2743" data-src="https://freight.cargo.site/t/original/i/4d28fac5ab034d16fa3e513bca11d8812610dbb7ca8f95c4c295768b41b651aa/IMG_5265.jpg" data-mid="239166446" border="0" src="https://freight.cargo.site/w/1000/i/4d28fac5ab034d16fa3e513bca11d8812610dbb7ca8f95c4c295768b41b651aa/IMG_5265.jpg" /><img width="3919" height="3024" width_o="3919" height_o="3024" data-src="https://freight.cargo.site/t/original/i/7361d335348c743ecf1b7dd96b25f7553f781b5ef09b225bcc9f93c563b9bceb/IMG_5292-2.jpg" data-mid="239166452" border="0" src="https://freight.cargo.site/w/1000/i/7361d335348c743ecf1b7dd96b25f7553f781b5ef09b225bcc9f93c563b9bceb/IMG_5292-2.jpg" /><img width="3927" height="3024" width_o="3927" height_o="3024" data-src="https://freight.cargo.site/t/original/i/5c0972fd569582750b4421dd0f629aa847b10d758d5861b4ec91fa2fa2bfedb0/IMG_5321.jpg" data-mid="239166461" border="0" src="https://freight.cargo.site/w/1000/i/5c0972fd569582750b4421dd0f629aa847b10d758d5861b4ec91fa2fa2bfedb0/IMG_5321.jpg" /><img width="3627" height="2974" width_o="3627" height_o="2974" data-src="https://freight.cargo.site/t/original/i/e93b2cdfa306212dda3125444745e15858aee7b8c286828a1e2fa0d9a5a80187/IMG_5334.jpg" data-mid="239166477" border="0" src="https://freight.cargo.site/w/1000/i/e93b2cdfa306212dda3125444745e15858aee7b8c286828a1e2fa0d9a5a80187/IMG_5334.jpg" /> <img width="1741" height="1288" width_o="1741" height_o="1288" data-src="https://freight.cargo.site/t/original/i/d274219d49b789b968cfd600cacef8d8b588d11e8d44f13bd0fc09ead2d1b8d5/3.jpg" data-mid="239166437" border="0" src="https://freight.cargo.site/w/1000/i/d274219d49b789b968cfd600cacef8d8b588d11e8d44f13bd0fc09ead2d1b8d5/3.jpg" /><img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/31829f3b45067eb6ce231909783cc3b2b5104f63322a49efb7a2f5aa0cc8dc51/DetroitMostWanted_F_small.jpg" data-mid="239166439" border="0" src="https://freight.cargo.site/w/1000/i/31829f3b45067eb6ce231909783cc3b2b5104f63322a49efb7a2f5aa0cc8dc51/DetroitMostWanted_F_small.jpg" /><img width="2965" height="4032" width_o="2965" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fa7e31be24c75c07eb838441ae7ad9093e318932b084a41f40ca7e077b200c1d/IMG_4880.jpg" data-mid="239166442" border="0" 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data-src="https://freight.cargo.site/t/original/i/91ea51be4c739b019508237dd5029ac29246ec0afcd5e22e37e19a24e3f493ce/IMG_5299.jpg" data-mid="239166453" border="0" src="https://freight.cargo.site/w/1000/i/91ea51be4c739b019508237dd5029ac29246ec0afcd5e22e37e19a24e3f493ce/IMG_5299.jpg" /><img width="4032" height="2633" width_o="4032" height_o="2633" data-src="https://freight.cargo.site/t/original/i/585a5547cf2d57720aa658f255cc393121bc4ff65977cafef929f0736e1c936b/IMG_5303.jpg" data-mid="239166454" border="0" src="https://freight.cargo.site/w/1000/i/585a5547cf2d57720aa658f255cc393121bc4ff65977cafef929f0736e1c936b/IMG_5303.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2a459dda35a39e07f84ecf969ff823efeb25eed23029798d7882cb08973c5260/IMG_5319.jpg" data-mid="239166459" border="0" src="https://freight.cargo.site/w/1000/i/2a459dda35a39e07f84ecf969ff823efeb25eed23029798d7882cb08973c5260/IMG_5319.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/15ce73888adc9af539a1df50a3c63ad7c010b574b20abf8a6575b748fc9ef170/IMG_5327.jpg" data-mid="239166464" border="0" src="https://freight.cargo.site/w/1000/i/15ce73888adc9af539a1df50a3c63ad7c010b574b20abf8a6575b748fc9ef170/IMG_5327.jpg" /><img width="4032" height="2667" width_o="4032" height_o="2667" data-src="https://freight.cargo.site/t/original/i/9630365c98203c41a1e20ed10d3372289b180cc67a77b71ef98ef8c98c932566/IMG_5329.jpg" data-mid="239166474" border="0" src="https://freight.cargo.site/w/1000/i/9630365c98203c41a1e20ed10d3372289b180cc67a77b71ef98ef8c98c932566/IMG_5329.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/72317671a7fd3f78be9154c277d113234efc953a2f2ad3e180c96bc5d5e0e2b7/IMG_5666.jpg" data-mid="239166479" border="0" src="https://freight.cargo.site/w/1000/i/72317671a7fd3f78be9154c277d113234efc953a2f2ad3e180c96bc5d5e0e2b7/IMG_5666.jpg" /> https://superiorbelly.org/INSTRUMENTAL Mon, 08 Feb 2021 03:01:41 +0000 superiorbelly https://superiorbelly.org/INSTRUMENTAL INSTRUMENTAL PERFORMANCE / MUSIC FESTIVALOCTOBER 6-7, 2017 INSTRUMENTAL, was a two-day multi-media performance series held at the&nbsp;Detroit Institute of Arts. The festival showcased performances from local and national artists whoes work confuses genre with a specific interest in the intersection of art and music.&nbsp;ARTISTS&nbsp; Lisa Rybovich Crallé / Sophia Wang Jimbo Easter Angelo Conti Naysayin Katie Grace McGowan Bushwick Bill Joseph Ravens jessica Care moore Christy Gast Nosaj from New Kingdom and King Eulas Beverly Fre$h &amp; Wild American Dogs DJ Woounz Kuperus and Miller (ADULT.) ESHAM Beili Liu Cooper Holoweski Richard Haley Felicia Carisle Biba Bell Anna Rose Jessica Wildman Russ Orlando The series also included lectures by Mary Anderson, Lauren Kalman, and Chera Kee. SELECTED VIDEO LIBRARY <img width="2250" height="1318" width_o="2250" height_o="1318" data-src="https://freight.cargo.site/t/original/i/ec5f37b92860c784b738a789bf96a06ac70bc9afc2809921c22adafe642d30ae/jason_inst.jpg" data-mid="98208545" border="0" src="https://freight.cargo.site/w/1000/i/ec5f37b92860c784b738a789bf96a06ac70bc9afc2809921c22adafe642d30ae/jason_inst.jpg" /><img width="2250" height="1318" width_o="2250" height_o="1318" data-src="https://freight.cargo.site/t/original/i/4adeb3aa1eefcb5a7798c008d8f443720045b248afe9ef90faaf043237736c1a/naysayin.jpg" data-mid="98208285" border="0" src="https://freight.cargo.site/w/1000/i/4adeb3aa1eefcb5a7798c008d8f443720045b248afe9ef90faaf043237736c1a/naysayin.jpg" /><img width="5022" height="2780" width_o="5022" height_o="2780" data-src="https://freight.cargo.site/t/original/i/811f4334df79c0da505a1400a222211acb91295c123e16970988fdd0044ed063/Screen-Shot-2021-02-08-at-10.30.07-AM.png" data-mid="98207231" border="0" src="https://freight.cargo.site/w/1000/i/811f4334df79c0da505a1400a222211acb91295c123e16970988fdd0044ed063/Screen-Shot-2021-02-08-at-10.30.07-AM.png" /><img width="5116" height="2880" width_o="5116" height_o="2880" data-src="https://freight.cargo.site/t/original/i/3d4a00c78309b85477dae34ea3747f91eb2a84259d153e17c8f1b7ca33cedb5b/Screen-Shot-2021-02-10-at-11.42.34-PM.png" data-mid="98533160" border="0" src="https://freight.cargo.site/w/1000/i/3d4a00c78309b85477dae34ea3747f91eb2a84259d153e17c8f1b7ca33cedb5b/Screen-Shot-2021-02-10-at-11.42.34-PM.png" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/be1fffb14a2ba0294c4e87359d35f71fd771c039a1b6946d58b7d9bcf40afef3/ravens.jpg" data-mid="98605944" border="0" src="https://freight.cargo.site/w/1000/i/be1fffb14a2ba0294c4e87359d35f71fd771c039a1b6946d58b7d9bcf40afef3/ravens.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/f6e3e59062e3a6072b3d1f60ac57ce078046fe3b69023387c4bdc74ab9e55e34/wadtent_inst.jpg" data-mid="98599587" border="0" src="https://freight.cargo.site/w/1000/i/f6e3e59062e3a6072b3d1f60ac57ce078046fe3b69023387c4bdc74ab9e55e34/wadtent_inst.jpg" /><img width="1080" height="608" width_o="1080" height_o="608" data-src="https://freight.cargo.site/t/original/i/1203cbd5617445c99829ae8cd2dac459b6691195e79e63f02294a94b2ec4c56f/sm-Beverly-Fresh--Wild-American-Dogs.gif" data-mid="98571407" border="0" src="https://freight.cargo.site/w/1000/i/1203cbd5617445c99829ae8cd2dac459b6691195e79e63f02294a94b2ec4c56f/sm-Beverly-Fresh--Wild-American-Dogs.gif" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/b64484efcdbb555747c1b7a320e504961a40b7cef74797630fe3f7b26dc2464c/wadInST.jpg" data-mid="98600612" border="0" src="https://freight.cargo.site/w/1000/i/b64484efcdbb555747c1b7a320e504961a40b7cef74797630fe3f7b26dc2464c/wadInST.jpg" /><img width="2250" height="1266" width_o="2250" height_o="1266" data-src="https://freight.cargo.site/t/original/i/033ddcd1798ea2f92bf5eb4b7ad1a01f4b1b92f11b43a2073e897bcf1ee70677/adult.jpg" data-mid="98533385" border="0" src="https://freight.cargo.site/w/1000/i/033ddcd1798ea2f92bf5eb4b7ad1a01f4b1b92f11b43a2073e897bcf1ee70677/adult.jpg" /><img width="2250" height="1266" width_o="2250" height_o="1266" data-src="https://freight.cargo.site/t/original/i/bed26dd2bfe5e5e5490ed8808974b65b6884ca2006a785fea4256d3fa1982d8b/adult2.jpg" data-mid="98533384" border="0" src="https://freight.cargo.site/w/1000/i/bed26dd2bfe5e5e5490ed8808974b65b6884ca2006a785fea4256d3fa1982d8b/adult2.jpg" /><img width="5120" height="2880" width_o="5120" height_o="2880" data-src="https://freight.cargo.site/t/original/i/b7be95125bf8fe6a18700c53b3b1cc08fda1a9340463555d0937d930fbb50206/esham.gif" data-mid="98610803" border="0" src="https://freight.cargo.site/w/1000/i/b7be95125bf8fe6a18700c53b3b1cc08fda1a9340463555d0937d930fbb50206/esham.gif" /><img width="3288" height="1836" width_o="3288" height_o="1836" data-src="https://freight.cargo.site/t/original/i/5c233fa9aa0287f283355cc260838ca98043153961964654b16d7032310ffaa6/naysain.jpg" data-mid="98608972" border="0" src="https://freight.cargo.site/w/1000/i/5c233fa9aa0287f283355cc260838ca98043153961964654b16d7032310ffaa6/naysain.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/48de5adc756136b9405c282300b57395555b2931d377ac95e1a2688e235fc830/22338735_10155207800058768_6823131382451356722_o.jpg" data-mid="98599647" border="0" src="https://freight.cargo.site/w/1000/i/48de5adc756136b9405c282300b57395555b2931d377ac95e1a2688e235fc830/22338735_10155207800058768_6823131382451356722_o.jpg" /> https://superiorbelly.org/HYPERTENSION Thu, 11 Feb 2021 20:43:13 +0000 superiorbelly https://superiorbelly.org/HYPERTENSION HYPERTENSION&nbsp;EXHIBITION ! Hypertension brings together multi-media artists and designers whose work reflects the blurring of artistic disciplines evident in our contemporary visual culture. The selected works disrupt boundaries between the cerebral and the physical; between past and present. They encourage us to absorb and interpret information across multiple channels, channels that often trigger paradoxical emotions, expanding both the intellectual and emotional involvement of the viewer. ! &nbsp;ARTISTS&nbsp; MICHAEL BOSWELL ELLIOTT EARLS PATRICK HILL MARGI WEIR REVIEW -Lindsay Prestion Zappas,&nbsp;Editor-in-Chief of Carla (Contemporary Art Review LA) According to Molly Shannon’s voice over in the first scene of the 1999 film Superstar, there are two different ways of getting into a swimming pool. In the first way you take your time, carefully testing the water’s temperature. If that feels okay, you slowly get into the water, letting your body adjust to the cold. Then there’s the second way of getting into a pool: YOU JUMP! Cue young Mary Katherine Gallagher leaping into the water with arms flailing. It is in jumping that we make a choice – to submit to gravity. Although in jumping we experience a loss of control (surrendering to the fall), we also demand a total control (the choice of action). I maintain that the choice of action overrides the submission to gravity. After all, we chose it. It’s not like we had to do it. It becomes a controlled chaos. I’ve always loved oxymoronic phrases — jumbo shrimp, living dead, mad wisdom — they jumble the synapses in the brain. They are physical. The way Oppenheim’s fur lined teacup is physical. HYPERTENSION, a new four person show spanning two floors at the Elaine L. Jacob Gallery at Wayne State University, is oxymoronic. It would jump into the pool. The show, which was curated by Zack Ostrowski and Tom Pyrzewski, is filled with bold choices, paired with moments of complete surrender. While exerting a mastery of composition and design, the work gives into the physical and the optical. The work is first felt. It is heavy and smart: sampling across culture and art history, and leaving us ruminating in the visual. Though the Elaine L. Jacob Gallery is on Hancock Street in Midtown in Downtown Detroit, the work in HYPERTENSION transports to the Las Vegas strip. In Dave Hickey’s article “A Home in the Neon,” he explains that “Vegas only has two rules: one, post the odds, and two treat everybody the same. Just as one might in a democracy. In Vegas, there is a deficiency of secrets and economy.” HYPERTENSION embraces Vegasian democracy. The four artists approach culture democratically: Elmer Fudd and Maxim, Freud and psychedelia, Burger King and Nike. All the cards are on the table. The work is rooted the layered. The pop. The saturated. Responding to our contemporary cultural condition, the mediated abounds, and the simple is non existent. The sample however becomes normative. DOWNLOAD PDF EXHIBITION CATALOG<img width="2250" height="1463" width_o="2250" height_o="1463" data-src="https://freight.cargo.site/t/original/i/4948274c592292209f54068fdeac1c9a68cc2d4a012539fd3f538a3d8f69ee7d/13150WSU-15.jpg" data-mid="98614853" border="0" src="https://freight.cargo.site/w/1000/i/4948274c592292209f54068fdeac1c9a68cc2d4a012539fd3f538a3d8f69ee7d/13150WSU-15.jpg" /><img width="2250" height="1313" width_o="2250" height_o="1313" data-src="https://freight.cargo.site/t/original/i/86cb0982b87d7abcf07e996d21679cbfeb65e94ecd196b6d7a4e02c12b670983/13150WSU-76.jpg" data-mid="98614856" border="0" src="https://freight.cargo.site/w/1000/i/86cb0982b87d7abcf07e996d21679cbfeb65e94ecd196b6d7a4e02c12b670983/13150WSU-76.jpg" /><img width="2250" height="1339" width_o="2250" height_o="1339" data-src="https://freight.cargo.site/t/original/i/a4ca892862c0403a8547150543d89c1e6390228b7cb9c88e354ba2f25a08bd78/13150WSU-48.jpg" data-mid="98614884" border="0" src="https://freight.cargo.site/w/1000/i/a4ca892862c0403a8547150543d89c1e6390228b7cb9c88e354ba2f25a08bd78/13150WSU-48.jpg" /><img width="2250" height="1394" width_o="2250" height_o="1394" data-src="https://freight.cargo.site/t/original/i/018f07a69a63d92829448815d81249eaef8f573f32e007844d99c9ecd76f58c2/13150WSU-26.jpg" data-mid="98614893" border="0" src="https://freight.cargo.site/w/1000/i/018f07a69a63d92829448815d81249eaef8f573f32e007844d99c9ecd76f58c2/13150WSU-26.jpg" /><img width="2250" height="1547" width_o="2250" height_o="1547" data-src="https://freight.cargo.site/t/original/i/e5123e7ba90529747f05dfbf10ae4240900e3bf83808aec780285ea895088ba5/13150WSU-43.jpg" data-mid="98614927" border="0" src="https://freight.cargo.site/w/1000/i/e5123e7ba90529747f05dfbf10ae4240900e3bf83808aec780285ea895088ba5/13150WSU-43.jpg" /> <img width="1875" height="2775" width_o="1875" height_o="2775" data-src="https://freight.cargo.site/t/original/i/f120c328eb0c96f2c52364a4f90b00ec974d45685ed3d748f7529f3ee4a5b894/hypertension_poscard_final.jpg" data-mid="98613636" border="0" src="https://freight.cargo.site/w/1000/i/f120c328eb0c96f2c52364a4f90b00ec974d45685ed3d748f7529f3ee4a5b894/hypertension_poscard_final.jpg" /><img width="2250" height="1727" width_o="2250" height_o="1727" data-src="https://freight.cargo.site/t/original/i/beb5b367d9642e0e7ecca3fc3d563ced8d1b3f6b3243b8077b0782fea7b10e26/cat_Bakcvr_V3.jpg" data-mid="98614830" border="0" src="https://freight.cargo.site/w/1000/i/beb5b367d9642e0e7ecca3fc3d563ced8d1b3f6b3243b8077b0782fea7b10e26/cat_Bakcvr_V3.jpg" /><img width="2250" height="1505" width_o="2250" height_o="1505" data-src="https://freight.cargo.site/t/original/i/8f3024adde02caeeab0ad344299cc65823d78e57eb51bbc45ce0e6aa27e80b2e/13150WSU-37.jpg" data-mid="98614841" border="0" src="https://freight.cargo.site/w/1000/i/8f3024adde02caeeab0ad344299cc65823d78e57eb51bbc45ce0e6aa27e80b2e/13150WSU-37.jpg" /><img width="2250" height="1302" width_o="2250" height_o="1302" data-src="https://freight.cargo.site/t/original/i/1aa0611c69d712d8439d375edcd9f65c58ebacfd1b394b3bbf88ee27d5c5059e/13150WSU-7.jpg" data-mid="98614854" border="0" src="https://freight.cargo.site/w/1000/i/1aa0611c69d712d8439d375edcd9f65c58ebacfd1b394b3bbf88ee27d5c5059e/13150WSU-7.jpg" /><img width="2250" height="1593" width_o="2250" height_o="1593" data-src="https://freight.cargo.site/t/original/i/e816887cfabc01883a590da7182be4cd2796e3c4177071b9a3bd6086552a512b/13150WSU-73.jpg" data-mid="98614860" border="0" src="https://freight.cargo.site/w/1000/i/e816887cfabc01883a590da7182be4cd2796e3c4177071b9a3bd6086552a512b/13150WSU-73.jpg" /><img width="2250" height="1587" width_o="2250" height_o="1587" data-src="https://freight.cargo.site/t/original/i/b5929e714d825de5b848f3fb6c1a5f66d6b470a9ac398944c7833ffcf07333b1/13150WSU-53.jpg" data-mid="98614862" border="0" src="https://freight.cargo.site/w/1000/i/b5929e714d825de5b848f3fb6c1a5f66d6b470a9ac398944c7833ffcf07333b1/13150WSU-53.jpg" /><img width="2250" height="1317" width_o="2250" height_o="1317" data-src="https://freight.cargo.site/t/original/i/f1f72af7e5396a26ef516e12dd2bd519136668fb17faf9989961778d58195410/13150WSU-44.jpg" data-mid="98614883" border="0" src="https://freight.cargo.site/w/1000/i/f1f72af7e5396a26ef516e12dd2bd519136668fb17faf9989961778d58195410/13150WSU-44.jpg" /><img width="2250" height="2272" width_o="2250" height_o="2272" data-src="https://freight.cargo.site/t/original/i/69878a95d2492d720c8c86095d0b87431d314c6bbc9d2662bd585910701d6f8b/13150WSU-28.jpg" data-mid="98614897" border="0" src="https://freight.cargo.site/w/1000/i/69878a95d2492d720c8c86095d0b87431d314c6bbc9d2662bd585910701d6f8b/13150WSU-28.jpg" /><img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4592b8dbf968ec1f30ead512458b521e6f0dd513499dc7609881480910bea020/13150WSU-68.jpg" data-mid="98614930" border="0" src="https://freight.cargo.site/w/1000/i/4592b8dbf968ec1f30ead512458b521e6f0dd513499dc7609881480910bea020/13150WSU-68.jpg" />