Blood Like MIne, Fursaxa & Mikronesia

Blood Like Mine - Textural, atmospheric, exerimental ambient drone music that would have done well at The Zodiak Free Arts Lab back in 1969 where the original seeds of Kosmisch Musik were sown. The band consists of Rosali Middleman, Geoff Bucknam, Sam Cusamano & Laris Kreslins. They combined elememts of guitar, percussion, voice and more into a psychedelic current in the seas of a dream.

Fursaxa is Tara Burke. Formerly a member of the Silbreeze band UN,B Tara started her Fursaxa project in 1999 after UN disbanded. Since then Fursaxa has released seven full length albums on the Acid Mothers Temple label, Ecstatic Peace, Time Lag, Eclipse, Last Visible Dog, andB ATP. In addition there have been 3 self released CD-Rs and a CD on the her own Sylph recordings. In addition to recording, Fursaxa has played live music at venues in the US, UK, and Europe, touring with Bardo Pond, Black Forest/Black Sea, Christina Carter, Jack Rose, Spires That in The Sunset Rise, and Brightblack Morning Light, to name a few. Over the last couple of years Fursaxa has been collaborating more and more with other musicians as well. Espers member Helena Espvall and Tara have a duo called Anahita, and Sharron Kraus and Tara have the duo Tau Emerald. And in September of 2006 Fursaxa became part of "The Valerie Project", which was a live soundtrack for the 1970 Czech film "Valerie and her Week of Wonders".

Mikronesia - Michael McDermott is a composer and producer working with sonic art since the early 2000s. Michael has worked with choreographers, film makers and other media artists providing original music and sound design. His most recent album was released on NOREMIXES in March 2015.

Admission is FREE

Let the Dog See the Rabbit

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Andrew’s Video Vault 2015

FREE Screenings Continuous From 8 PMon the Second THURSDAY of Every Month! 

This program is made possible through the generous support of theCinema Studies Program and The Rotunda at the University of Pennsylvania.

 May 14DR. MABUSE, THE GAMBLER [DR. MABUSE, DER SPIELER – EIN BILD DER ZEIT] (1922 / 271 minutes)The most complete version of Fritz Lang’s two-part allegory, about a criminal mastermind who is both the cause (and product of) economic free-fall and social decadence in Weimar-era Berlin. June 11Two daring comedies that use blackface/whiteface to comment on race relations.SOUL MAN (1986 / 104 minutes) New World Pictures high concept teen comedy about a white kid (C. Thomas Howell) who dons blackface in order to get a minority scholarship to Harvard would be completely reprehensible if it weren’t such an accurate snapshot of 1980s America. James Earl Jones slums it as a college professor, and stars Rae Dawn Chong and Howell would marry after working together on this film. Directed by Steve Miner.WATERMELON MAN (1970 / 100 minutes) Melvin Van Peebles became the second African-American to direct at a Hollywood studio when he made this film about a bigoted white man (Godfrey Cambridge—in whiteface) who wakes up one morning to discover he has turned Black. Panned upon its initial release, it has became a true cult classic.Guest Host and Curator: Mike Dennis of Reelblack Cinema

 July 9CHAMELEON STREET (1989 / 94 minutes) Writer/director/actor Wendell B. Harris Jr’s first and only feature tells the true story of con man Douglas Street, a bored and ingenious African American male who passes himself off to white society as a journalist, doctor and scholar. A wicked and tragic satire on being black and brilliant in America.UFOria (1985 / 93 minutes) Writer/Director John Binder’s satiric look at the Southwestern U.S. and religion follows a Waylon Jennings-loving drifter (Fred Ward) hooking up with a faith healer (Harry Dean Stanton) and a cashier who has visions of a UFO communion.Guest Host and Curator: Dan Buskirk of Phawker.com August 13TIE XI QU: WEST OF TRACKS: PART ONE: RUST (2003 / 240 minutes) In part one of his three-part, nine hour documentary, Wang Bing hypnotically charts post-industrial decay and its effects on impoverished workers who live in northeast China. [Tie Xi Qu: West of Tracks part two, Remnants, and part three, Rails, will screen at subsequent seasons of Andrew’s Video Vault at the Rotunda.] September 10TO BE ANNOUNCEDGuest Host and Curator: Dan Buskirk of Phawker.com October 8THE INNOCENTS (1961 / 100 minutes) Perhaps the most beautifully photographed black & white horror film ever made, this suspenseful masterwork of Gothic atmosphere is an exquisite adaptation of Henry James’ The Turn of the Screw featuring gripping performances by adult and child actors alike. An unforgettable tour-de-force of supernatural terror and psychological repression.THE SEVENTH VICTIM (1943 / 71 minutes) The sense of dread is palpable in this moody and nightmarish tale of urban devil worship from producer Val Lewton. Kim Hunter stars (in her debut performance) as a young woman searching for her missing sister on the menacing streets of 1940′s New York City, with plenty of striking chiaroscuro lighting.Guest Host and Curator: Mike Zaleski November 12MAKE WAY FOR TOMORROW (1937 / 91 minutes) Heart-rending in its truth and emotional beauty, Leo McCarey’s masterpiece and most personal film was created both as a love letter to his recently deceased father and as an exposé of what can happen to elderly Americans without the support of Social Security (or their children). Orson Welles said of the film: “It would make a stone cry.”EVERYBODY’S FINE [STANNO TUTTI BENE] (1990 / 118 minutes) Marcello Mastroianni gives one of his best performances as an elderly widower who traverses Italy to visit his distant offspring, each of whom had given him an impression of their life which turns out to be very different from the actuality. A powerful and beautiful rumination on the relationship between elderly parents and their adult children.Guest Host and Curator: Mike Zaleski December 10PERMISSIVE (1970 / 90 min) At the end of the hippie era, a broke young woman arrives in London and is initiated into the counter-culture and the seedy sex, drugs and rock ‘n roll lifestyle of a groupie. Psychedelic soundtrack by Comus and Forever More.DUFFER (1971 / 75 minutes) Joseph Despins and William Dumaresq’s off-beat and lyrical character study of a British teenage boy shuttlecocking between a sadistic old man and motherly prostitute.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

Let the Dog See the Rabbit

THIS IS IN OUR SANCTUARY. PLEASE ENTER ON WALNUT STREET. 

“The eyes of an animal when they consider a man are attentive and wary. Other animals are held by the look. Man becomes aware of himself returning the look.” – John Berger

Let the Dog See the Rabbit is Lightning Rod Special’s investigation into how we look at animals. Steering clear of pink elephants, paper tigers, early birds and night owls, LDSR refuses to restrict animals to the metaphorical margins. Instead we gaze unblinking into the animal eye and reflect what we see there.

We will be continuing the on-going celebration of the 91st Arrival Day for the legendary musician/Arkestral leader!

MARSHALL ALLEN, as he joins UB-313:

ELLIOTT LEVIN- reeds, word

BRIAN MARSELLA- keys

EDWARD WATKINS- percussion

 in a concert 

Admission is FREE; offerings appreciated!