Ms. Primrose Pill displays Origasmi!

After many months of convulsions The Diagonikals' first album is out on iTunes:

https://itunes.apple.com/us/album/origasmi/id569330605

Primrose Pill appears in a strangely compelling short video, manipulating the masses into purchasing the toxic product. If her cannibalistic/cabbalistic/anti-capitalistic tactic proves successful black sarcasm will seep out and provoke generalized sepsis of the social order.

Here's the original blurb describing this terrifying experiment (we advise those easy to hypnotize to stop reading and watching here):

"Using hitherto secret subliminal techniques pioneered by dadaism and Eastern Block cartoons this video features Ms.Primrose Pill (The Diagonikals) pushing her band's album in a twirl of images - including retro refrigerators, electric butt plugs, Betty Page, toilet bowls, objet a and a special appearance by the infamous 'bourgeois sack' - that will leave your brain twitching. Watching this video will be planting into your mind the irresistible urge to purchase the first Diagonikals album ( 'Origasmi' now available on iTunes!!!). The mesmerizing soundtrack is "Bourgeois Sack" by The Diagonikals (on iTunes!!)."
 

The Diagonikals stick it to Veliko Tirnovo!

The Diagonikals stick it to Varna!

Twitch!

http://www.youtube.com/watch?v=ieTuUQTqe0w

“Nothing is lowlier than the bourgeois sack, that quivering mollusk that eats at one end and shits at the other!” grins the old avant-gardiste. “It hides its shame behind obstinate toil and can only enjoy cruelty!  It dreams to be a wreck on the strings of meaning, the flaccid vesicle, but still wakes up to find its sheets stained by shameful discharges, ha, ha, ha! And you can see all its thoughts running through that translucent tract, it’s nauseating! There is no higher goal than blocking this sack's accumulations, strangling its over fertile productivity and being useless!” she cries, covered by monochrome sound.

And indeed here is one, holding her delicate pink viscera with one hand and dancing with careful abandon; then the others come out, marshalling their output of ecstasies, traumas and commodities in cadence with the rusty typewriter. The relentless flow of letters marks the flesh, soothing as a lullaby, gagging for a moment the mourning mouths in the pit of the belly. But the amnesia is never completed, the menacing shapes reappear, wavering at the edge of the retina; so they lock themselves in the safety of cars and move orderly, like moths whose eyes secrete light, each one an armored dot in the tragic swarm.

Then the valves are overrun, the electric barriers are shot and oily, pungent flows come out, the body shrunk and overblown randomly, the vocabulary a desperate algorhythm of repetitions, the mouldy cavities drowning, until the steel rhythm starts again, calming the convulsions into disciplined reverberations.

http://www.youtube.com/watch?v=ieTuUQTqe0w

The Diagonikals stick it to Palermo!

“Palermo, dark window of European fantasies” we would declaim, were we not repulsed by romanticism. On a Saturday night we witnessed the city metamorphosize into a surrealist saturnalia, each plaza a coded gathering point. At 2 a.m. in the crumbling Piazza Garafello we sat down by the medieval fountain, a 2,50 euro bottle of beer in hand and watched thick fumes of grilled meat mix with lurid disco lights and raise towards the top of glamorously ruined old houses, surrounded by the swarm of 200 people in various states of intoxication dancing, chatting, throwing shapes, rolling, smoking, eating, drinking, shouting, playing with the fat street dogs, grinding to the hip-hop and techno beats blasted out by the dj’s, checking out each other, making out, collapsing, laughing, strutting and munching on sweets. Mesmerizing.

The Diagonikals stick it to London!

Every bourgeois infantry-wo/man toils to leave a mark on the indifferent symbolic order. Something: a tag, a portrait, a button, a smudge, a scratch in the dirt that will remember our name; a little dusty urn bearing our label on the interminable shelves of meaning. Warhol’s “15 minutes of fame” are one wretched attempt to overcome the fated submission; there are other ways, from having a child (the urn carrying your name, genes and desires) to carving your name on a tree. We, for example, lift our leg, piss on a fence and take a photo of the drying stain. These insignificant events display our narcissistic hunger for recognition. The crumb trail that tries to lead us “home” starts with London coz, by the queen’s anal beard, who doesn’t want to leave a mark on London? We have prowled mostly around Hammersmith, sticking ours on whatever we could.

The forbidden beach of the Bosphorus

A tight-lipped spring marinates the petrified pond of frozen dreams in clinical light. Intimidated and blunted we count the days until summer parole and regurgitate past adventures. From a letter sent to a friend in September 2008:

"I had oral surgery today, they removed a wisdom tooth calcified inside my mandible. The drugs were great, copious amounts of laughing gas topped up with some undisclosed "sedatives"! Right now I'm a zombie with half-face the size of a coconut and a gashing wound that fills my mouth with blood every 2 hours. Which state of narcosis reminds me of a story that happened this summer in Istanbul - I'll recount it in narcolepsy-inducing detail.

We became friends with our hostel's owner, a sarcastic fellow of affable manner and spent pleasant evenings drinking raki and discussing with him and some of his Korean guests. On one of these occasions our host decided to invite us for a trip to a 'wild' beach secluded in the north of the Bosphorus. It transpired that his invite was not just a sign of unbridled sympathy: he was in the process of courting a girl and basically wanted us to be his fluffers, since a first date on the beach can be delicate. However, on the night before the trip he told us that the girl cannot make it. Valiantly, we decided to go by ourselves; he explained how to get to The Beach.

We left in the morning, it was still fresh when we crossed the bridge over the Golden Horn and took a bus towards the middle of the Bosphorus. The ride was fascinating from two perspectives: the left hand side perspective was mid century and XIXth century mansions where the ultra-rich live. The Pill was gap mouthed at the sight of old ladies being served teas on immense terraces by uniformed maids. The right hand side perspective was revamped docks, where un-rich people walked, fished and splashed in the sea, interrupted by little harbours with yachts and sellers of roasted corn. After an hour or so of this we got to our mid-way destination, a small satellite town of Istanbul. From here we were supposed to hop on a boat that would take us to The Beach. We got drinks and food, including sujuk and assorted baklavas, from a very authentic-looking Carrefour supermarket and headed for the harbour. There, said boat was boarding hordes of people going to the virgin, secluded, wild beach of Buyuk Liman. As we started walking merrily towards it one of the 5 men in charge said: "You are tourists? We cannot take you to the beach. Only Turkish people can go there". He brought on another person who confirmed that Buyuk Liman is a military, strategic beach and the soldiers recently ordered that only Turks be allowed there (for fear of spies posing as innocent tourists, bent on stealing military secrets, we assume). We were advised to go to another, closer, beach where foreign tourists were allowed. At this Pill threw a fit arguing we're not even proper tourists but rather progressive travelers, that this is either a misunderstanding or an evil plot etc-etc. As her display of outrage failed to impress the boat people, she started walking around the little harbour huffing and puffing and vociferating in English. Her tactic worked: as usual, a courteous local asked her in broken English what the problem is. While we were trying to explain, a fourth person intervened, a stout mustachioed man of about 65 with a sailor's cap (think Capitaine Haddock) shouting out from his little boat. Our initial interlocutor translated: the moustached captain was ready to take us to Buyuk Liman for "Five" (hand sign) each, return. The "Turks only" boat was charging 7.50 each so we hastily got on his wobbly boat, feeling excited and naughty, happy to show the military who's smarter.

The ride was great: the captain started the engine by connecting some sparking wires and off we went, slowly, keeping close to the shore, trying to grip on to something while waves cut by bigger and faster boats threatened to throw us overboard. It was hot and the sea was dark blue and the jovial captain told us he is Greek and shared his sailor's cigarettes with me. At a certain point I was even entrusted with stirring the boat while he had to mend the wires in the engine. I started my critical mission by shouting "Shit!" a few times in panic, convinced that I was going to run us straight into a tiny boat unluckily positioned in our way and bring to a brutal end the romantic scene going on inside it. Then, just when I thought I got a gist of it and put on a cocky pirate's grin, I was replaced by the captain… We passed by the "tourist beach" we were directed to after being refused access to the big boat and it was hoarded, a rectangle of sea fenced off and bubbling with people of all ages splashing like overenthusiastic sardines. We laughed haughtily and continued our journey while thinking that "5 each" is a veeery low price for such a ride.

An hour later we're there, we dock and the captain tells us he will wait for us as long as necessary and would we mind paying him now? Of course not, we say, and Primrose radiantly takes out a tenner. The captain looks bewildered: "No, no, this is 10. I said 50 each, a 100!" We're both petrified, it's a lot of money, 100. As we subsequently figured out, the captain had approached the trip as a smuggling operation, hence the price. Primrose opens her wallet demonstratively: only 20 left in there (since, cunningly, she always hides the rest in a secret compartment). The captain, with the grace of one that has seen worse, assumes the loss: "Ok, it was a misunderstanding, but in this case I cannot wait for you here. You should board the first [evil] boat, they are taking bulks of people back every 1.5 hours or so and you don't need a ticket". Pushed by some kids gathered to see the foreigners dock the captain says "Thank you very much" in English and leaves in a cloud of sparks and smoke. We feel a pang of shame, quickly washed away by the smug glee of having made it to the forbidden beach.

The forbidden beach is crowded but we manage to find a secluded spot by climbing to the top of a big rock facing the sea. On the other side of it are two older gents, looking fit in their 1970s trunks, diving, swimming and eating coquettish salads. We stare at the landscape: it's near the place where the Bosphorus reaches the Black Sea, a wide strait surrounded by mountains eroded into elongated tumuli, covered in forest except for their water-side end where vertical granite shows. They look like pastrami chunks covered in spice and with a couple of slices cut out at the tip. We swim excitedly and try to protect ourselves from the burning sun, observe the inflatable boats doing military exercises up and down the strait. At a certain point, a young couple shows up and ask permission to sit by us. They wonder where we're from, are happy with the reply and proceed to install themselves. The boy is an energetic, irresistible characters: he runs around, chatters, jumps, puffs, huffs, swims, splashes, tries to entice his girlfriend that can barely swim to follow him, mobilizes all of us to fish large mussels to cook later, offers cola. We swim and obediently pick mussels and laugh with them despite the language barrier; the older gents collect loads of mussels, give us apricots and swim to a nearby beach from where they bring back an abandoned grill and some coals. A fire is lit. We take out the sujuk: the youngsters are impressed. We grill, we devour. Then we grill the mussels and devour them too. We take out some beer. More approving sounds and gestures from the youngsters. The older gents refuse politely both meat and alcohol.

The young lad chips in by taking out of his pocket a massive lump of weed and asks me to roll one. He's got king size cigarette papers, I've got rolling tobacco. He makes me put in 10 times the amount I intend to, so we figure "ditch-weed from his grandma's backyard, sure to be weak". The older gents help me gather the litter and then leave us to our shenanigans. We drink beer and smoke the joint: the lad entices his girlfriend to have a couple of tokes using Pill's example. She takes a couple of deep ones, being a consummate cigarette smoker. A few minutes later the stuff hits me: it's massively strong! We start tripping, laughing, giggling, telling jokes that seem utterly hilarious even if we don't really understand each other, share the assorted baklavas that taste like ambrosia. Shortly after we decide to leave them to their by now languorous flirting. We say our goodbyes and head for the boat that is loading people in.

I find the ascent and descent of that big rock tricky since I'm quite trippy, but my stoned body has a certain fluidity. The beaches are now half-empty and we notice how beautiful they are, a string of little limpid alcoves surrounded by white sand, sculptural granite and pines. As we get closer to the boat I shrewdly put my beach towel on my head as if protecting myself against the sun and walk confidently towards the entrance. "No, No! Problem, Problem!" shouts the first of the boatmen to casts his eyes on my expert disguise. I grin widely: "No problem, man, no problem, we'll just hop on". "No! No! Problem! Ticket, ticket". "We'll buy tickets on the boat" I reply from behind my grin which seems to have assumed an oversized life of its own. After this exchange goes on for a while the man decides that convincing me would be a long, tortuous and unworthy process and allows us to climb on the boat. We stumble on deck, take place among the local tourists and proceed to enjoy the magnificent sight of half immersed pastrami chunks glistening in the early sunset. The conductor brutally stops our reverie: ticket. "No ticket", we say; he thinks we don't understand him, illustrates with tickets; all people were given one on the way to Buyuk Liman, it transpires, and you need it to get back. "No ticket", we say. We offer him the price of two tickets. He looks very surprised, doesn't take the money, says "OK!" in a rather hostile voice (in my paranoia) and leaves. Helpful teenagers beside us try to further explain that we should show him our tickets. "We don't have any". People gaze at us, I'm not sure if with curiosity or hostility towards the stupid, arrogant foreigners. We wait, torn between pleasurable contemplation and scenarios of 'Midnight Express' situations where the military interrogate and jail us. After some schizoid 15 minutes a boy comes, smiles cheekily, takes our money and gives us 2 tickets. They probably asked people on shore through radio and, once again, decided that making a fuss about two imbeciles is not worth it. We get to the shore and walk away stiffly while the 13 boatmen gathered pretend not to see us. We return to Istanbul and keep walking around for hours, giddy, still high…"

Recurrent orange flashes, NYE 2012

1st January 2012

We are walking, the dawn is fresh rather than icy, when we hear the dreaded faint hum coming from behind; I turn around in panic and my fears are realized: its lights lick the cars parked on the road side and shortly its strange vintage toy shape appears. “It’s coming!” I shout and the Pill responds “Fuck! Really? RUN!” and starts sprinting. We run as fast as we can considering, giggling and panting. As the tram passes us by I signal it with a limp arm but we have no idea where the stop is, it is marked by a tiny sign glued to a lamp post.. The driver stops 50 metres down the road and waits – a fragile act of kindness in this crabby city. We climb in out of breath and say Happy New Year! and thanks! but the driver does not reply, his reserves of politeness are precious. Inside it is looking like a bathyscaphe from Jules Verne but warm and filling up with exhausted figures, wasted youth with formerly plastinated hairdos now in shards, red eyes with hyper-dilated pupils darting around out of phase, random shouts, weird walks on feet mutilated by trendy shoes, skinny jeans, lumberjack chic, shiny dresses and bling sex worker attires. Swimming through the stroboscopic mosaic of neon lights the bathyscaphe slowly takes us home, shaking and rattling.

6 am, sitting on a bench in front of a hipster-mommy coffee shop on Roncesvalles, a flash of day-glo orange and the Pill stands up and joins me; earlier in the evening she was taking her tights off and stage-diving on a futon, flashing the audience (me and Maria) with her fluorescent blue pants. A bit later on Sid makes an entrance, his Australian accent and party laughter deflecting the hostility of the people he offends, we love it, me and Pill sniffing off his thumb nail on the balcony, us three and Maria on Sid's roof, he is the next door neighbour and one can jump from the balcony on his roof, Sid on his belly, his turn to flash us with his builder’s crack: ‘I’m cleaning the eves trough of leaves as you asked!’ he shouts to a mysterious missus, laughing, laughing and we dance like crazed zombies, 7-8 desperate hedonists left, Pill's orange tights back on bouncing around like glo-sticks, drinks after drinks, Maria collapsed, we get out and start north towards the tram stop. There’s going to be a long wait so we decide to walk along College, into the fresh night, the city a shabby theatre set, Victorian houses of rotting wood and stucco with carved flights of fancy on the roofs, the new night already worn out, other living dead shouting greetings from across the street, the city recoiling on itself and exhaling from industrial chimneys and I hear the dreaded faint hum behind me.

La mordue

European Union film festival, Toronto

December 2011. Once again the feeling of being trapped in a city as stiff as a dirty puddle in a winter prairie night. We get venomously resentful, curse, snarl, spit and humiliate it with cruelty whenever the boredom creeps in, so we need to find stuff to do fast. The EU consulates, as glad to exhibit their cultural standing as ever, organize every year a free 'film festival'. Das Pill is too cool to get there way in advance - only provincials are that eager and she is not to be mistaken for a local - but we do try and make it 30 minutes early. We jump out of the tram that moves on Queen West with the speed of a senile, pregnant caterpillar and start walking fast towards the massive queue outside the cinema alongside other punters, some of which abandon all pretence at dignified artiness and start running for a better position. There are in fact not one but two queues, one to get the free ticket handed in by competently firm volunteers (ours), the other one to get into the cinema once you've got it, policed by the same. There must be around 400 people waiting in the drizzle. Why? Are they terrified of boredom as well? Is it the collective neurosis generated by placing the signifiers 'Europe' and 'for free' side by side? When in the world did they get here, two hours in advance?

A Spanish-accented man and a sturdy Mitteleuropean mittel-aged lady exchange opinions behind us, what chances we still have of getting in and how poorly organized the event is, in half-resigned half-bitter tones. After the 'ticketed' queue is all in ours starts moving sequentially, like a clay snake being chopped in small pieces in stop-motion animation. The conversation stops, replaced by feverish exclamations 'oh my!', 'will we...?', 'almost there...'. And then it's over: just in front of us, admission stops. And then it starts again: inexplicably, we are waved in. 'Oh no, oh no!' the sturdy lady laments, afraid she will be the first one refused entrance. But no, she makes it and we all start running around for seats - there are two in the front row, in a corner, ridiculously unsuited for watching a screen. I am ready to leave when the Pill darts out of her chair, the thrill of the hunt in the eyes; a few moments later she is back, waving me with urgency while trying not to be too obvious in case others realize there is bounty to be had, like the von Trapp family trying to make it illegally into the last train to Switzerland under the suspicious gaze of German soldiers (in fact the adorable über-patriarchal militaristic family eloped by car). I rush upwards behind her - two reserved seats have been freed, last row, left of centre... Some consulate employee got diarrhoea? Well, we thank fate for it.

So, what have we been fighting for here? "Almanya: Welcome to Germany" it's called and it's supposed to be about the condition of the German-Turks. The German cultural attaché - another sturdy lady and true in the most minute detail to the cliché of the German cultural attaché - gives a staccato-accented speech. In a condescendingly agreeable tone she reminds us that it was the Goethe Institut that started this whole festival thing, that she met the two young Turkish German sisters that wrote and directed the film at the Berlin festival and how really happy and excited they were to have been selected and stutters three times before managing to utter a malformed version of the director's name, grinning with complicity at the audience ("he, he, you know how it is with these people's names..."). She also mentions the film is a comedy which makes me and the Pill exchange panicked glances - contemporary Euro-immigrant comedies are a recipe for sentimental, ersatz-intellectual disaster. We are right, the film is naive, clumsy, soppy, sloppy, soggy and Orientalist, a misguided attempt at analyzing the experience of immigration that hides under the carpet everything problematic and ends up kissing gratefully the hand of the German government for allowing these archaic but good-hearted paupers into their civilized world. The farcical stabs at Euro-racism are too simplistic and heavy-handed to be mordant - half-baked reversals of the colonial discourse, where Turkish people exchange stereotypes about Germany: "they eat people there, because they eat Jesus at every mass"; "the Germans are very dirty"; "they only eat potatoes", etc. Such reversals do not work for the simple reason that the colonial relationship is not symmetrical: the colonized desires to become like the colonizer, not the other way around. But the Toronto public laughs hysterically anyway, grinding its own immigrant axe. The film is generously peppered with - maybe unconscious? - aversion towards primitive, frightening Turkey, wholehearted glorification of patriarchal familial arrangements, rejection of abortion on religious grounds and a lachrymose ending where the contribution of the immigrants to the German nation is recognized by a dignified, benevolent Angela Merkel, yes, the very same right-winger who recently affirmed officially - and quite lucidly, I might add - that "Multiculturalism has failed in Germany". In short: cannon-fodder for the Western propaganda machine. Little wonder Germany selected this film to be shown to Canadian audiences in a year of global capitalist crisis, anti-capitalist wriggling and race riots. It grins: "All in all we are still the greatest! Look at these immigrants, how much they want to be like us, how desperate they are to come here, so humble, so grateful".

Once the film is over, the consulate employees of the richest country in Europe line up in the lobby holding little coloured plastic buckets from Dollarama, while one lady, a higher-rank bureaucrat one presumes, enthusiastically shouts in the usual staccato: "Any contribution greatly appreciated, thank you!" It wraps up the evening quite nicely.

P.S. - In the meantime I have found out that "Almanya" has won the public's vote as the best film of the 'festival'. The "self-debasing immigrant neurosis" diagnostic is confirmed.

La Mordue