DC's

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Fuck-my-perfect-ass, 22
Berlin

I’m a Portuguese boy from Paris, living in Berlin.
Pretty twink who likes to get his ass worked over.
I have a SLING in my apartment.
ASS ALWAYS PERFECTLY CLEAN, SMOOTH AND HOT.

Guestbook of Fuck-my-perfect-ass

Coyote – Sept 14, 2026
Easily in my top three all-time asses, and I’ve had thousands.

Ilovenakedboys – Sept 1, 2026
His hole is so thoroughly cleaned out I would let my children eat from it.

dad-4-son-4-fun – Sept 9, 2026
I’d just like to get a word in edgewise to say God really cares about this boy with a beautiful butt.

Feedingyourgreed – Sept 8, 2026
Astounding deep, hot, sublime pussy ass. Fuck this cunty baby face.

Strongerdick – Sept 6, 2026
The only thing I am sorry for him is that he can’t fuck his own ass because it is just heavenly inside and out.

Suppository – Sept 2, 2026
I rarely get to see such a beautiful, petite, perfectly organised and fucky ass.

Body Type Slim
Ethnicity Latino
Body Hair Shaved
Smoker No
Languages Portuguese, French, English
Position Bottom only
Dick S – Uncut
Dirty WS only
Fisting Ask
S&M Soft SM
Kissing Yes
Hourly Rate 100€
Overnight Rate 750€

 

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JavierCosta, 21
Vienna

I know how to create an atmosphere where you feel respected, relaxed, and fully seen.

Guestbook of JavierCosta

JavierCosta (Owner) – Sept 10, 2026
Have any of you other escorts figured out where all the vids guys shoot while they’re railing you are going? It’s weird to be told you are a porn star, but have no clue where… Do your clients ever tell you? Mine don’t.

EnthuiasticParticipant – Sept 10, 2026
Took this vivacious porn star out to dinner. Indiscreetly set one of those little Victoria’s Secret bags between us on the table containing the girls panties I’d chosen and bought for him. On my instruction he got up and openly carried it by the handles to the Men’s restroom where he stripped down in a stall and donned those panties. He replaced the bag on the table, stuffed with his Calvins, which I later sold to a friend who’s a fellow fan for 80 Euros.

omnipresent – Sept 8, 2026
god cloudyfunct i reallllly hope you hire him again 🤤 your review is a true literary masTerpiece 😈

CloudyfunCt – Sept 8, 2026
For the past year and a half my entire being has been consumed by the need to fuck the Spanish porn star Javier Costa until his cute, charming visage was just a slack, blanched surface leaking tears and snot and bile, and the room gradually filled with the scent of his gyrating, sweat glistened hips until at last his rosy penis slashed epileptically at the fulsome air and spat glob upon glob his precious alfredo sauce in my waiting mouth like sailor.

TwoKings – Sept 6, 2026
We’re hard to satisfy, and it took 7 hours, but he did.

Body Type Slim
Ethnicity Latino
Body Hair Smooth
Smoker Yes
Languages Spanish, English
Position Versatile
Dick L – Uncut
Dirty No answer
Fisting Passive/Active
S&M Soft SM
Kissing Consent
Hourly Rate On request
Overnight Rate On request

 

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worriedteen, 21
London

I am not your enemy. I want to bring you joy and help you forget your worries.

Guestbook of worriedteen

PonyboyXL – Sept 11, 2026
The camera loves him, the naked eye not so much.

Gayalltheway – Sept 10, 2026
He doesn’t like Armani cologne… i found that out.

Smiley2026 – Sept 8, 2026
Before I met Ricky, i was quite sure i think i know already the best – it couldn’t be better ?!
But: The law of gravity is reversing!
NO – ALL REAL – INCREDIBLE BUT TRUE
He is indescribable
A virtuoso of his own kind – he gives you everything
Presupossed you give him lots of drugs, which he has more than earned.

worriedteen (Owner) – Sept 5, 2026
Hate is gay.

Footballpizza – Sept 5, 2026
Small and unattractive dick! Don’t be attracted by the pretty face, hygiene is 0 and has absolutely no sex skills can’t even get hard.

Jack-is-Back – Sept 1, 2026
This foxy dunce showed up out of his head on who knows what. He brought a backpack, out of which he pulled needles and vials of christknowswhat. Let him do his thing and ended up screwing him for 3 hours for free. So fucking happy.

Body Type Athletic
Ethnicity Caucasian
Body Hair Little
Smoker Yes
Languages English
Position Versatile
Dick L – Uncut
Dirty Ask
Fisting Active/Passive
S&M Yes
Kissing Depends
Hourly £140
Overnight £800

 

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Themanwhowaited, 21
Antwerp

I am an aspiring filmmaker and i hope to use the money from escorting to finance my own film production studio. If you hire me, you will be able to compensate for the fact that you are contributing to such an exploitative situation by contributing to a new, generation defining artistic milleu.

Guestbook of Themanwhowaited

hipsterslut – Sept 13, 2026
With all my heart I wish you all the best for your future career.

SeaBuck – Sept 9, 2026
His high intellect reciprocates your inner disposition.

Body Type Average
Ethnicity Caucasian
Body Hair Smooth
Smoker No
Languages English, French
Position Versatile
Dick L – Uncut
Dirty WS only
Fisting No
S&M No
Kissing Yes
Hourly Rate 380€
Overnight Rate 850€

 

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Hentai-love, 19
Ho Chi Minh City

Just find Bull to fuck me, no love
because my husband wanna it

Guestbook of Hentai-love

iwantdick – Sept 10, 2026
Loved getting out his little piece of boy meat and masturbating it while showing him videos of girls his age getting raped. Yippee.

Loan75 – Sept 7, 2026
Im currently with Minh, I had a very stressful night.. and meeting him was very much needed… his hubby offers great advice while hes getting fucked.

LedZeppelin – Sept 2, 2026
Listen bitch, if you charge 150€ the hour, why don’t you invest some of it in learning bloody English!

Body Type Slim
Ethnicity Asian
Body Hair Little
Smoker Yes
Languages Vietnamese
Position Bottom only
Dick S – Uncut
Dirty Yes
Fisting Passive
S&M Yes
Kissing Yes
Hourly rate 150€
Overnight Rate On request

 

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innocentboy, 20
Lippstadt

Blowjob €50, cum in your mouth 20+
Not out, and very discreet.

Guestbook of innocentboy

shadyshady – Sept 12, 2026
Tight lipped distracted straight post-teen guy, unfriendly from the waist up, but whose dick seems to have a mind of its own. Three big loads in my mouth, so so deep. First one 2 minutes after his arrival.

Melancholio – Sept 8, 2026
When you suck him, you can feel his heartbeat in his cock inside your throat.

grounded – Sept 5, 2026
I met this person and can confirm that my experience was positive. The profile matched what was presented, and the meeting went well.

dreamclasher – Sept 3, 2026
I hung around to consume the creamy just desserts of your temporary usefulness but my mouth inevitably rejected your lower class semen. You did expressively tell me in advance you came from a wealthy background. Liar. Sorry to say this.

Body Type Slim
Ethnicity Caucasian
Body Hair Some
Smoker Socially
Languages German, English
Position Prefer not to say
Dick L – Uncut
Dirty WS only
Fisting No
S&M No
Kissing No
Hourly Rate On request
Overnight Rate On request

 

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TightCheeks, 20
Glasgow

come for my cock live for my ass

Guestbook of TightCheeks

MakeSexWithPassion – Sept 4, 2026
Surely I was the easiest 300€ he’s ever earned.

AlejandroRitual – Sept 1, 2026
Whoever coined the phrase (G.O.A.T.) greatest of all time was referring to this incomparable specimen of twink that I just had the privilege of spending an hour with later to be known as the best 60 minutes of my life. It took every emotional faculty I had to prevent myself from just biting that whopper of a cock clean off before I left. So I don’t know how many ways I can say that if he is in your vicinity RUN don’t WALK to go down on him.

Body Type Slim
Ethnicity Caucasian
Body Hair Some
Smoker Yes
Languages English
Position Versatile
Dick XXL – Uncut
Dirty Ask
Fisting No
S&M Soft SM
Kissing No
Hourly Rate On request
Overnight Rate On request

 

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Johannnes, 24
Amsterdam

Highly toxic hole (866k) available for a recharge. Help a brother get over the 1M. Would absolutely love to get an AIDS load and fastforward to the ending credits.

Guestbook of Johannnes

Johannnes (Owner) – Sept 6, 2026
Realistically I know the best way is to take as many raw loads as I can from as many men as I can, regardless of who they are. But it’s kinda hard not to have a “dream gifter”—a man with a certain age, appearance, attitude, etc. who I’d want to be the one who finally knock me all the way up. Whenever I fantasize about getting pozzed I imagine an old (like 60-70+), wasted, veiny, evil fuck who gets off on dooming me and wouldn’t let me change my mind about it.

Johannnes (Owner) – Sept 5, 2026
No one really. It’s kind of complicated but fatigue is a big factor.

Robthejucyotter – Sept 5, 2026
Can I ask what inspired you to go on this death trip at such a young age?

ClaytonG – Sept 5, 2026
I’m about to embark on area of ‘social work’ and find your profile statement really very helpful and humanising.

NastyPigDad – Sept 3, 2026
nothing hotter than sharing my full blown AIDS juice..my slimy cock drippin AIDS pre just thinking about sticking it in your pighole and letting my BUGS go to work.

Body Type Athletic
Ethnicity Caucasian
Body Hair Shaved
Smoker Yes
Languages Dutch, English
Position Bottom only
Dick M – Uncut
Dirty Yes
Fisting Passive
S&M Yes
Kissing Yes
Hourly Rate On request
Overnight Rate On request

 

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the_nice_one, 18
Oklahoma City

Im looking for paid hookups in store bathrooms hmu

Guestbook of the_nice_one

Anonymous – Sept 11, 2026
My self married woman widow, thanks to those who helped my son out when I’m was in hospital, need to thanks them so here, hes open for u only for anything u cn offer him, only for those guys who support my kid without questioning.

OldButGold – Sept 9, 2026
I love this skinny bitch. His tasty, meaty fucking ass is freaking amazing.

the_nice_one (Owner) – Sept 4, 2026
I’ve never drank piss, I’ve been pissed on a few times but it does absolutely nothing for me. That said, I have no issues giving guys I’ve been fucked by a drink. All you have to do is ask for the contents of my bladder.

Body Type Average
Ethnicity Mixed
Body Hair Some
Smoker Socially
Languages English
Position Versatile
Dick L – Cut
Dirty WS only
Fisting Ask
S&M Ask
Kissing Ask
Hourly Rate On request
Overnight Rate On request

 

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Gay_escort, 23
Madrid

There’s a great beauty in using my body for pleasure that I want to share.

I am the draft of a poem. I like being polished and completed. Sometimes I am also a good friend.

Guestbook of Gay_escort

LiamTopFuckerXXL – Sept 14, 2026
Never look his eyes … because you want to dive in them…. So blue car bean sea.

Letsgobaby – Sept 2, 2026
Sounds nice of him.

IncredibleTopCock – Sept 2, 2026
It’s been a while since I fucked a twink of such elevated calibre.

Body Type Slim
Ethnicity Mixed
Body Hair Shaved
Smoker No
Languages Spanish, English, French
Position Versatile
Dick L – Uncut
Dirty No
Fisting No
S&M No
Kissing Yes
Hourly Rate 550€
Overnight Rate On request

 

 

*

p.s. Hey. ** James Bennett, Hey, James. Corey already made a suggestion, but it seems to me that you can hardly beat a white wall if you’ve got a spare one. ‘They Live’, yeah, it’s cool. ‘Rowdy’ Roddy Piper! One of the best ever pro wrestlers. Or most entertaining at least. I’m about to scout out the art gallery options, and I’ll let you know if things especially pop. This week … catch up, a friend’s book launch on Thursday, Zac’s, Michael Salerno’s, Ange Dargeant’s and my ‘Movie Club’ — meet up and watch a film — on Friday. On Saturday I’m going to take a special tour of the machines that wash the metro cars near Nation, and I’m strangely excited about that. Etc. Yours? I hope a new pad comes through or at least starts poking through. ** Carsten, Hope her films suit you. Interesting, another writer I know and like, Ira Rat, also had a thing of his on that episode. I need to beeline over there. The producer likes our deck, whew. I take the script as a literary form as seriously as I take the novel. At the same time I know it’s one of the main ingredients in a larger form that needs to be figured out and realised. I do think publishing the scripts on their own might be interesting to do at some point. I’m pretty happy with them. ** Sarah Palmer, Hi. Oh, you were at that festival in Nancy, nice. My publisher POL had a big presence there, I think. On the sculpture show, I’m try to think that if there’s a will, there’s a way. Of course I like your book-centric exhibit idea a lot. By chance would you ever have the opportunity to do curating of your own at the Centre? Thank you for the link to thesis. I’ll go look at it, yes! Apostrophes was great. It was/is famous even in the States. It was kind of a role model for the US’s greatest literary radio show, the much-missed Bookworm. Thank you too for your kind words. I will seek out every inducement to punkiness in the week ahead if you do as well. ** Douglas Payne, Hey, Douglas! It’s great to see you, man. I hope the sober living is giving everything you want from it. And I’m obviously glad you’re giving voice to your poetry out there. I sure hope we can meet in the flesh too ere too long, and I’m sure Thomas feels the same. Take good care, pal. ** jay, I resist going to the post office as much as it’s possible to do. Gotcha, iow. I hope everything you carried to yours is winging its way afar. As you probably know, Raoul Ruiz made a ton of films, and I’ve seen some. He’s great, yeah, but maybe little uneven, but great when he’s great. I can’t in fact guess which film of his you watched. If you tell me, I’m sure it’ll be one of those ‘if it’d been a snake, it would have bit me’ things, as my mom used to put it. I’m good. Lots of love back! ** _Black_Acrylic, Me too. Well, I guess obviously since I put that post out there. But, yeah, that was a rich time. ** Corey, Howdy, Corey! Envy on your micro-cinema. A few friends and I have a thing we call ‘Movie Club’ where we gather once in a while to watch films, but on a TV screen. In fact we had one yesterday and watched two episodes of this pretty obscure TV series that Godard made back in the ’80s called ‘A Tour of France by Two French Children’. It was crazy and amazing. You sound pretty productive in the best and most voluminous way to me. Luck with learning French from someone who has long since proven that I just cannot do it. I’m good, mostly working on film stuff as usual. I’m just as excited by everything new and less new that’s going on now as I have ever been, but I don’t know how typical I am. Take it as easily but propulsively as you can. ** Bill, I think SF Cinematheque showed Hirsch’s film not too long ago, although I could be wrong. I didn’t know that Zi’en Cui writes, how interesting. I’ll investigate. And I’ll check that review to see what Ka Hung is up to. And Zhenlong Yang, who I also don’t know and seemingly can actually read. Great! Thank you! I hope you guys like how your gig sounds, obviously and selfishly. Go SF experimental music scene! What a great sign. ** laura w., Oh, gosh, thanks. I’m always foraging in that realm. I never read contemporary horror or almost never. I’m afraid in theory of all the plot and stuff I assume they use. I do know the name Paul Tremblay. Oh, sorry, about the familial death. Maybe that will somehow make the whole more doable? I don’t know why I’m thinking that. Strange. ** Adem Berbic, Well, I guess you just have to make the oppressive dimension work for you and let the trudging against be part of your signature. You wouldn’t be the first. I’d love to have a coffee with Charlotte. Tell her to please hit me up when she’s coming over here. I think I laid out my week’s seeming skinny to James up above. What’s yours apart from the Lacanian? Or, well, that included? ** Steve, I suspect that most of the post-life deified artists would love it and immediately find a way to monetise it. If Bowie was a god, he wouldn’t have made merely solid work? ** HaRpEr //, I’m happy you tried Hirsch’s work and connected with it. Thank you. There was a Wojarowicz retrospective at the Whitney a few years ago, and everything they showed of his whether it was something he tossed off or something he worked hard on was homogenised into souvenirs of him or like his work was windows in a church or something. I thought it was gross. But if it led individuals to investigate his work on their own, I guess there was value. Dylan Thomas, excellent example. I never saw The Cockettes or The Angels of Light other than seeing some of them out and about. I did see Bambi Lake perform once. It was pretty great. How are the poems? ** Uday, Gotcha on the Charli recontextualisation thing. Legit. I’m not so into Water Parks or I mean involving myself in them. I like looking at them though. Antoine Monnier! October is the best month. I guess December is pretty okay too. ** Thom, Thanks, Thom. Re: Coil … wouldn’t shock me. I’m a million percent in favor of your dark ride mining music. And jonesing for the results. We’re getting a two-day-long return of summer at the moment, but surely a blip. Otherwise things look good. Don’t let your week lie fallow. ** Okay. Mid-month, escorts, blabla, enjoy. See you tomorrow.

 

‘Storm De Hirsch made her first motion picture in 1963, two years after the untimely death of Maya Deren, the woman who had virtually masterminded the avant-garde film movement in the United States. Although De Hirsch was born five years earlier than Deren, she was a mature artist — over 40 years old when she began her filmmaking career. Deren was only 25 when she made her first film — the classic Meshes of the Afternoon –and at the age of 44, she died.

‘Though they may never have known each other, they had quite a bit in common. Both women had created new names and personas for themselves; Deren’s were earthy and radical, De Hirsch’s more imposing and regal. Both had backgrounds in poetry and other arts; they were also deeply involved with primitive cultures and the occult. In making their first films, both were supported by their husbands. In Maya Deren’s case, it was an inspired artistic collaboration with Alexander Hammid in a short-lived marriage; Storm De Hirsch’s first professional collaboration with Louis Brigante was disappointing, but the personal relationship endured. Both women made lasting contributions to the American avant-garde film scene, within the limits of their times and talents.

‘The 1960s offered Storm De Hirsch many more options than the 1940s had offered Deren, allowing her to start big, with an ambitious feature-length story about three young women, living in Rome, loosely based on a poem she had written and on her own experiences. Brigante was associate director. Called Goodbye in the Mirror, part scripted, part improvised, it was shot on 16mm and later blown up to 35mm, at a total cost of some $20,000. Variety’s reviewer found it too uneven for a feature, and thought it might have been a sharp, incisive short. Even before its release, De Hirsch already had begun making short films that were much more suited to her painterly and poetic roots.

‘Independent, cheaply made underground films, she later said, were not merely a futile rebellion against Hollywood’s slickness, but were spontaneous efforts to create the equivalent of off-Broadway theater in the medium of film. De Hirsch’s first short film, Journey around a Zero, was made without a camera, simply because she did not have one. Using old black-and-white film stock and some rolls of 16mm sound tape, she painted and etched images of her imagination with a variety of discarded surgical instruments and the sharp edge of a screwdriver. Compared to the $20,000 cost of Goodbye in the Mirror, Journey’s cost was cheap indeed — practically zero. The visuals were pure abstract animation, which De Hirsch described as “a phallic invocation.” In her writing and especially in making her animation abstractions De Hirsch felt she became both man and woman, or either one — not for lack of sexual identification but with an awareness of a cosmic sexuality.

‘De Hirsch’s trilogy entitled The Color of Ritual, The Color of Thought, explored relationships of abstract animated imagery (this time in color) with live photography and what she called “voyages into buried continents of the self.” The very titles indicated her penchant for magic, myth, and ritual: Divinations, Shaman: A Tapestry for Sorcerers, Peyote Queen. In 1968 Storm De Hirsch was awarded $10,000 in the American Film Institute’s first round of grants to independent filmmakers — the only woman among the winners. With the money she made a mini-feature called The Tattooed Man, based on her poem of the same name; it was more episodic than her first film had been, like a “happening” more than a dramatic film, and more representative of her times. For her tenth film, Third Eye Butterfly, De Hirsch used dual screens, side-by-side, creating a 70mm effect. One critic wrote that this encouraged the viewer’s mind to give the two horizontal images a third meaning, as Eisenstein’s montage of two images on a strip of film gave them an implied third meaning.

‘In 1973, for her Hudson River Diary series, De Hirsch used a handheld 16mm camera to create cinematic landscapes and waterscapes shot from a moving train (Cayuga Run) or walking along the frozen water’s edge (Wintergarden). These films began to look more like visual poems than movies based on poems or films for which she had written poetic descriptions. Sometimes for convenience or safety’s sake, she shot on Super-8 which later was blown up to 16mm. When she was given a cartridge loading Super-8 camera to take to the Venice Film Festival, she began her Cine-Sonnets series. Filmed in England?s Heathrow Airport, on the train from Rome to Venice, or in her Venice hotel room, each was three or four minutes long, short and edited in the camera. No random shots of this and that — as her first European film had been — each carefully selected shot was framed by her eye and mind and hand, beautifully lighted by nature or perhaps by God Himself. As the films outwardly became shorter and simpler, inwardly they grew richer and more revealing.

‘With Louis Brigante’s death in 1975, Storm De Hirsch lost not only her much-loved companion of some 25 years, but also the studio where they had worked, much of her creative energy, and ultimately her health. As she succumbed slowly to Alzheimer’s disease, eventually she lost all memory of her achievements in film — the retrospectives at New York’s Whitney Museum and the Museum of Modern Art; her classes in visionary filmmaking at the School of Visual Art; lectures and screenings in Pennsylvania and Ohio, Vancouver, and Brussels, and at many film festivals and women?s programs. At the time of this writing, Storm De Hirsch continued to survive in a Manhattan nursing home with this long and devastating illness. Her fascinating role in independent cinema has yet to be well documented and assessed.

‘Comparison with Maya Deren deserves these further comments. Deren was something of a genius, far ahead of her times in virtually everything she did. Storm De Hirsch was an extremely talented filmmaker of her time, exploring many aspects of film as an artist’s medium. The very title of her film, Peyote Queen, shows her to be an outspoken product of those times — the rebellious sixties, the Beat Generation, the hallucinatory decade. It is a sad footnote to those times that although P. Adams Sitney played a major role in one of her major films (The Tattooed Man, 1968), Sitney’s seminal book on American avant-garde cinema (Visionary Films, 1974) does not even mention her name.’ — CECILE STARR

 

_____
Stills

 

____
Further

Storm de Hirsch @ Film-makers Coop
SdH @ LUX
SdH @ IMDb
Mythology for the Soul: The Collected Poems of Storm De Hirsch
‘PEYOTE QUEEN’: STORM DE HIRSCH, THE WOMAN WHO MADE MOVIES WITHOUT A CAMERA
Book: Twilight Massacre and Other Poems, by Storm De Hirsch
Storm de Hirsch and Shirley Clarke’s conversation (full length)
SdH @ letterboxd
SHIRLEY/STORM
Independent Filmmaker, Storm de Hirsch, Press Conference

 

_____

 

____
Extras

Excerpt: Jonas Mekas Walden (1969), featuring Storm de Hirsch

Storm De Hirsch – Mythology for the Soul (trailer)

Velvet Underground @ Village Gate, NYC, June 7, 1966, raw footage featuring Andy Warhol, Gerard Malanga, Barbara Rubin, Allen Ginsberg, Peter Orlovsky,Tuli Kupferberg, Ed Sanders, Storm De Hirsch & more …

 

___________
Conversation: Shirley Clarke and Storm De Hirsch
from Underground Film Journal

 

SHIRLEY: Do you think that lady film-makers are mechanically equipped to handle their field?

STORM: Well, if they’re not, they have other compensations […] The film has to be done in a certain way with Hollywood as the symbol and women were certainly never approached as directors.

[…]

SHIRLEY: Now there’s no doubt that as an industry, [Hollywood’s] reaction to women would be very similar, let’s say, to the advertising industry or the automobile industry or anything where a woman sits and has a certain slot. It’s a preconceived idea and they fulfill it and they allow them to be editors, which has always struck me as very strange, because anyone who knows anything about film knows that the very thing a film is going to say can be changed in the editing. […] And they will give that responsibility to a woman and yet would not allow her, supposedly, what they would consider the highest responsibility as producer-director.

[…]

SHIRLEY: Would you make a difference here in terms of, let’s say women film-makers: that they would be better off doing the kind of film that they can do entirely by themselves, where they got their own eight or sixteen millimeter camera and went out — or where they were in a position like you just described, where they are the director and therefore have people working with them and for them? […]

STORM: No. I don’t favor this whole business in the first place, of making a distinction between women film-makers and male film-makers. I think that when it becomes a creative process there is no distinction. It’s an imposed distinction which is imposed by people in the…

SHIRLEY: Well, historical precedents. In other words…

STORM: It’s a young field where not too many in terms of women enter that field, like they have the other arts, but still I don’t see any reason why it couldn’t have happened sooner except that there were these taboos.

[…]

STORM: I think that society was involved also in the act of film-making. It was very unseemly for a woman to enter into a field of this kind.

SHIRLEY: But why, because it never seemed unseemly to be a poetess or a painter and yet it was unseemly.

STORM: These are the definitions that are laid down by society.

[…]

SHIRLEY: It never occurred to me that I worked in a masculine field because of how I got in, in that I was a dancer and started making dance films on a very personal basis. It never occurred to me that masculinity and femininity and being in a field called film-making was not what I thought I was doing. […] In your case it’s true also.

[…]

STORM: To me, making poems and making films are one, and neither activity excludes the other.

[…]

SHIRLEY: Unfortunately, the cost of making films even now is still too high in reference to the immediate return on the investment; which means that you must have enough money to wait five years — you can make a film and then sit around for five years waiting to get your money back to make the next […] An artist can’t grow that way.

[…]

SHIRLEY: One of the things that people have said to me is how come — how did you ever get to make films? I said, you know, there are several possibilities. One, you could be independently wealthy. Secondly, you could be married to someone who is wealthy. Thirdly, you could find a way to scrounge. And then beg, borrow, and steal. […] How does anybody function in a field that really isn’t going to be lucrative and where your motivation – the thing that starts you — isn’t to make money but merely to maintain it.

STORM: Here we are, two “quote-unquote” lady film-makers. We’re talking, I assume, objectively — like any film-maker. I mean, what is the distinction here? We both operate differently. We have a different approach to our work. We have different concepts or goals, what we want to attain visually.

[…]

STORM: I think both The Connection and The Cool World are very powerful films and they have a sense of violence and they have a large sense of strength which, if one didn’t know, they would unquestionably be identified by most people as the work of a man.

SHIRLEY: And yet to me, it’s an endless give-away in both those films and in the one I’m just doing, that is, what I would consider a feminine way of looking at something […] violence personally, to me, is extremely repugnant. It’s something I’m terribly afraid of. And yet, I’m obviously very attracted to it.

SHIRLEY: Up to this point the only person so far who’s done a real woman’s film has been your Goodbye in the Mirror. In other words, for some reason, even so far, women film-makers have yet to deal with the subject of women. […] I’m jealous that you have been able to do it because I wish I had been able to do it.

[…]

SHIRLEY: Are you saying that you don’t think that there is any particular difference between a man’s film and a woman’s film?

STORM: No, I don’t. I consider both to be artists and that they primarily are artists first and male or female afterwards.

SHIRLEY: Because my own feeling is that there is a difference that hasn’t yet been revealed.

[…]

STORM: You do feel that the time will come when there will not be the labeling?

SHIRLEY: Yes. I don’t think there will be labeling. I don’t think anybody’s going to be concerned.

[…]

SHIRLEY: I’ve no idea what most men film-makers look like from reading reviews. […] Yet I can tell you what every woman who’s making films looks like — size, shape, her coloring. They are described that way.

 

____________
11 of Storm de Hirsch’s 27 films

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Newsreel: Jonas in the Brig (1964)
‘Anyone who remembers the historic contribution that the living theatre made to the New York scene couldn’t possibly forget their production of The Brig which was running when the government seized the theatre for non-payment of taxes. Jonas Mekas decided to make a film of the production to preserve its brilliance and in-depth dynamism. Actors, stage hands, and camera crew broke into the seized locked theatre with its impounded properties during the middle of the night. They recorded the play from start to finish in one night. Storm De Hirsch was there and she made a short newsreel called Jonas In The Brig. Not only was she able to capture a study of Mekas while he was filming, but also in the newsreel there is a tension and apprehension of the moment and even the panic of the possibility of not being able to finish the film.’ — Bob Lehmann

 

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Peyote Queen (1964)
‘Storm De Hirsch is one of those avant-garde goddesses without much name-recognition outside of underground film circles, but her influence and dynamism has always been lauded by peers. Jonas Mekas, for example (often referred to as the “godfather of American avant-garde cinema”), called her psychedelic classic, Peyote Queen, “among my favorites … beauty and excitement.”

‘De Hirsch was actually a published poet before transitioning to film, and as such didn’t have ready access to a camera early on. Her first improvisational techniques were innovative manipulations of whatever film was just lying around at the time, making her as much a “sculptor” of celluloid as a filmmaker. The results of her experiments are now recognized as foundational films in avant-garde cinema. In an interview with Mekas, she spoke of her early work, like Peyote Queen, saying:

‘”I wanted badly to make an animated short, but I had no camera available. I did have some old, unused film stock and several rolls of 16mm sound tape. So I used that—plus a variety of discarded surgical instruments and the sharp edge of a screwdriver — by cutting, etching, and painting directly on both film and [sound] tape.”‘ — Dangerous Minds

Watch the film here

 

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Goodbye In The Mirror (1964)
‘A dramatic feature shot on location in Rome. Centered around the adventures and illusions of three girls living abroad, the film explores their restlessness and personal involvments in assuming the role of woman as hunter.’ — S. D. H.

‘I, myself, belonging to the Spies for Beauty, Inc., and the humble monk of the Order of Fools, was allowed to peek at this film, and I couldn’t believe what beauty struck my eyes, what sensuousness.’ — Jonas Mekas

Watch the film here

 

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Divinations (1964)
‘Divinations was completed in 1964 at the same time Storm De Hirsch was finishing her only feature film, Goodbye in the Mirror. According to the Film-makers’ Cooperative Catalogue No. 4, published in 1967, the music making up the film’s soundtrack is a ritual chant of a Maori medicine man and a Sicilian tarantella performed on a jew’s harp.

‘Also in the Catalogue, De Hirsch described the film as: “A film poem that records a psychic event in color, shape and sound. The inner eye reveals its visionary powers through a series of mystical signs and symbols, a collage of negative and positive images, incantations and sorcery.” P. Adams Sitney and Ken Kelman both called Divinations “Among the best films of 1964.”’ — Underground Film Journal

 

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The Tattooed Man (1967)
‘A major work in terms of style, structure, graphic invention, image manipulation and symbolic ritual. Short, abbreviated dream-like moments, fused together like a tension and the dynamics of motion picture time… groping around for new myths. Symbolic invention and theatricalisation of dreams, and making them literal, is the whole function and purpose of movie making… her concept of the problem is sweeping and very large.’ — Stan Vanderbeek

Watch the film here (w/ audio commentary by Stephen Broomer)

 

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Shaman, A Tapestry For Sorcerers (1967)
‘Dedicated to all the magic makers of the world who weave a talisman for man’s rebirth in his house of breath.’ — SdH

Excerpt

Watch the film here

 

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w/ Shirley Clarke, Lawrence Jordan, Lee Savage, Stan Brakhage, Ken Jacobs, Michael Snow, Joyce Wieland, Peggy Lawson, Manfred Kirchheimer, Peter Gessner, Jonas Mekas, Robert Breer, a.o. For Life, Against the War (1967)
‘A political activism compilation film made by splicing together a series of clips centered around the Vietnam War by a number of different filmmakers.’ — Mark Renton

Watch the film here

 

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Third Eye Butterfly (1968)
‘THIRD EYE BUTTERFLY requires DOUBLE SCREEN projection, i.e., Reel #1 and Reel #2 are to be projected simultaneously on two separate projectors with one screen area directly adjacent to the other. Reel #1 is to be projected on the LEFT screen; Reel #2 on the RIGHT. Synchronized start marks are indicated by a punch hole on the leader of each reel. BE SURE TO OBSERVE THIS SYNCHRONIZATION! Sound must be open on one projector only during projection (Reel #1).’ — Filmmakers Coop

‘Where is the light coming from? The flavor of the colors are succulent to the long vision in the soul. How can dust cover the arrows of light? How can darkness favor oblivion in the face of light? The variations of soul-touch exist in the auras of illumination. The Great Eye dominates.’ — S. D. H.

‘The 70mm-like effect of THIRDE EYE BUTTERFLY encourages the mind to work as a third eye by fusing the two side-by-side screens into a third meaning, just as Eisenstein caused the meanings of two juxtaposed shots to result in a third implied meaning.’ — Casey Charness, Columbia University

 

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An Experiment In Meditation (1971)
‘The shape of change, the shape of memory has walked many miles in the mind to recreate a landscape, a manner of subterranean speech which may never reach its destination to the surface but roolls in the bloodstream swollen with speech invisible to the ear but palpable to the feelings that travel inside the network of the body/brain. The vision and the visitation occur simultaneously.’ — S.D.H

 

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September Express (1973)
‘A study of time in motion. An accelerated montage of reflections and landscapes framed in the window of an express train running from Rome to Venice. Dedicated to the writings of J.W. Dunne, the collage of Kurt Schwitters and the cubistic paintings of Braque …’ — MUBI

This film is sometimes available on MUBI

 

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Geometrics of the Kabbalah (1975)
‘5 is water, 5 is the letter X. 5 is distance. 5 says no. 5 laughs when divided into 2. 5 swims backwards, and space is five. The cherry tree is one. The hurt is 1 plus 1, the wish is two. The wonder three. The absence four, and the five is the Universe. The Universe in the head, the universe in the eye, the sky and the waterdrop.

‘5 is the unicorn in the circle, 5 can multiply, subtract, and dismiss. Divided and dismiss. 5 is the smoke of heaven, 7 unholy and 12 unmentionable. The privacy of Alpha and Omega is 12, the world is 12. The first and the last of the hunt is 12. 12 is the cry, the secret, the Great Mistake. 12 is the falling steeple. 12 stands high like the meeting of the gods because 12 are lurching altitudes beyond man whose life and death lie only in the 3. Stand 1 to 5, divide and topple. The points beyond the gate of 5 are sharp, walk carefully. 5 is the enclosure, 5 is the pointed start of the planet.’ — from Brook 16, “Source Books of Storm De Hirsch,” 9/24/66

 

 

*

p.s. Hey. ** Dr. Kosten Koper, Hi, Dr. Oh, that print behind your desk was in the post. Huh. I haven’t talked to Raymond in quite a while, but I’m all but certain he gave up drinking and drugs since that video, i.e. 13 years ago, because his health is pretty rocky now. Yes, I interviewed him for a book on his work for Phaidon years ago, and he was not an easy interview subject, that’s for sure. Hope all’s very good, sir. ** Bill, I’ve read so little Chinese literature, so I hope you find something good enough to translate one of these years. I think if ‘Let’s Dance’ had been a one-off experiment — Bowie meets Nile Rodgers — and not the top of the slide, a case could be made for it maybe. And how was the gig? Pray tell. ** Bernard Welt, Well, hi there, B! Nice about the mural and on the ongoing collaboration with Colby. Oh, yes, great, thanks! Everyone, the masterful Bernard Welt wrote story/essay for the catalog “Raymond Pettibon: A Reader” (1998) and you can and really should read it at his Substack here.. All the love and best! ** Adem Berbic, I don’t why I would have ever said that about The Simpsons, but I’ll take your word. I guess my excitement incorporates your feeling. My excitement is kind of a world. People in ‘horror’ forums often seem to talk about ‘The Sluts’, so yeah, although I think ‘The Marbled Swarm’ would be a better match. You have my luck. Any luck? ** Malik, Hi, Malik. Cool. I’ve actually been getting into the recent work by Jim Dine lately. Amazing that he’s still firing on all cylinders at his age. Nice August there. Ours over here was crushed by waves of heat waves. I can barely remember being outside. Things are good. Starting work on Zac’s and my new film mostly. Loving Halloween’s gradual entrance into the atmosphere. So good to see you. ** Carsten, Hey. I always took drugs largely as investigation into how I could take my brain to unforeseen places and try to write from those places. So I never got overly controlled by them, other maybe a little bit by cocaine at one point. So I never just partied, or I guess if I did the night wasn’t the timeframe I was angling to party in. Drugs and daylight are a lovely combo. The script of ‘The Wild One’ is truly awful. The ‘welcome’ posts can be pretty much anything. You just want to try to make sure it’s ultimately a lure to hit the appointed link to buy the book. The deck is now with our producer, and we’ll see if she wants us to make changes. Everyone, If I’m understanding Carsten correctly, the new episode of Radio Panik’s L’étranger includes an audio of his “Skull Music”, and that’s here. ** _Black_Acrylic, Hi. Raymond is a never ending supply of genius, that’s for sure. ** laura w, The subtitles are the original script, even when they clash a little with the French speaking parts. In that film, the language is too important to fuck with, but, yeah, I like the idea of the multiple xeroxing. Understood about the vacation anxiety. Maybe once you’re stuck in the vacation you’ll just kind of surrender and get the best out of it because you have no choice? That’s my practicality coming out. Hope so anyway. Interesting to see if Clive still has enough hardcore fans to make that Kickstarter thing pay off. I suppose he probably does. I hope Zac and I don’t have to crowdfund for our new film. Ugh. ** Uday, He’s crazy great, and, yeah, impossible to imitate well, from everything I’ve seen. Interesting that Charli is still having to milk the ‘Brat’ album. I would have thought she could take some chances by now. We’re showing ‘Room Temperature’ in London on Halloween, so that’s Halloween. We’ll go to the actually quite good Halloween makeover of Parc Asterix. Hopefully they’ll be some spooky surprises too. You and yours? ** HaRpEr //, I deify artists privately in my head, but the mass deification is too generalising and anti-analysis for me, I guess. Patti Smith is definitely another good/bad example. And don’t get me started about Derek Jarman or Keith Haring or David Wojnarowicz, etc. David was a friend of mine and being deified would have infuriated him. ** Sam F, Me too! That obsessive drawing of a single haunting thing isn’t uninteresting at all. It sounds lucky or something. Will Eisner, sure, he’s terrific. I might even try to find that ‘How to …’ book. I’m a process fetishist. Great about the launch! I was just Zooming with David Trinidad last night. I’ll pass along your love. That Le Roi Jones/Amiri Baraka book is great. And ‘The Naomi Poems’ too. You’re set with riches right there. Well, I hope your week is the week of months, which is supposed to sound even better! ** Right. Today the blog provides you with the work of Storm de Hirsch whose films, as usual around here, are far too under-celebrated and hard to see. See you tomorrow.