Thank you for pushing the boudaries, Jenny.
Lost Girls - Wikipedia
You are one of my biggest inspirations. What wonderful, talented, smart work xo Kate. Everywhere at the end of time by The Caretaker.
This is one of those musical journeys that can never be replicated. Familiar, comforting, nostalgic, disturbing, haunting and even frightening; all these sensations and feelings are evoked, and yet it can still be a relaxing ambient experience all the way through. This is music you can listen to many different ways, in different mindsets, and have a variety of different experiences with it. An absolutely brilliant piece of conceptual art. The sophomore solo effort from Hiss Golden Messenger bassist Scott Hirsch offers a fresh batch of songs that kick back to classic country, tempered with a satisfying dose of psychedelia.
Bandcamp Album of the Day Dec 7, Retrieved 11 May A Roundtable on Lost Girls: Down the Rabbit Hole" by Kenneth Kidd, A Review and response" by Charles Hatfield, Archived from the original on 11 August Retrieved 8 August Club Archived 10 August at the Wayback Machine.
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Lifelong lesbian Alice now Lady Fairchild strikes up a friendship with Wendy Potter, a repressed bourgeois wife, and Dorothy, a young American yokel. Monsieur Rougeur, the Himmelgarten's owner, is happy to encourage them; he's an amateur pornographer who has placed, in each room, a copy of his White Book - stories and illustrations purportedly by the cream of Europe's decadents.
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Lost Girls is liberally supplemented with excerpts from this forgery, allowing Gebbie to demonstrate her flair for impersonating Beardsley, Mucha, Schiele and Franz von Bayros. Gebbie also draws each woman's reminiscences in carefully differentiated styles, framed with mirror-shaped ovals for Alice , tall window-like apertures for Wendy and wide "landscape" oblongs for Dorothy.
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Largely executed in coloured pencils, Lost Girls is softer-focus and less startling than Gebbie's earlier work in American underground comics, but it is a major achievement none the less. In one of the most lushly rendered sequences, "The Twister", year-old Dorothy, convinced she will die as her house is buffeted by a tornado, decides that she can "do what the heck I liked", and frigs herself to a climax that's surreally mingled with the twister's impact.
Lost Girls (Expanded Edition)
Post-orgasm, Dorothy's world looks forever changed, an Oz of rainbow sexuality, as if she'd been "put down someplace else in some whole other country". Similarly, the "Come Away, Come Away" chapter ends with a wickedly charming vision of Peter, Wendy and her wanking brothers flying high above the rooftops of Edwardian London.
Seldom since the advent of mass-market porn has so much aesthetic energy been expended on masturbation. Moore strives to differentiate the voices of each of his heroines: In truth, the dialogue is shaky, frequently eroded by Moore's poor grasp of American vernacular "Pity's sake," says Dorothy, "I ain't curtsied or nothin! Whatever must you think o' me?