— Posted in I, The Jury, Vampire Noir

I, The Jury – “Last Gasp” [Part 63]

Through Prehensile Eyes—This massive hardcover art book collects Robert Williams’ paintings from his shows at the Tony Shafrazi Gallery in New York.

The images range from Williams’ familiar lowbrow and biker culture, stretching deep into a faux science of quantum mechanics leaving the viewer in a world of scientific mind play.

After singlehandedly becoming the model of Lowbrow art, Williams has now penetrated the inner sanctum of the fine arts movement.

Available in three variations:

Hardcover edition

Slipcase edition, limited to 700 copies

Signed & Numbered slipcase edition, limited to 300 copies

“A highly-anticipated new collection of 58 of Robert Williams’ most recent paintings, many from his past three shows at Tony Shafrazi’s Gallery in New York. The images range from Williams’ familiar lowbrow and biker culture, and delve deep into a faux science of quantum mechanics, leaving the viewer in a world of scientific mind play.”—Amazon.com


A quote from the Spiderman movies that I often adopt, matches well here: with great power comes great responsibility.


The concavity resets, and does so in such a fashion that had Mondo been mundane, she would have been sheared. This means that Kunni must be supernatural too. Because the “robot” doesn’t shear either. This means that the robot isn’t really a robot. Because no robot, not even the vaulted peerless beyond-category Toy, is supernatural—machine, not flesh, let alone that kind of flesh. Kunni must be the avatar for a disembodied spirit. In other words, Kunni is possessed. The question is: “Who, or rather what, is the machine’s possessor?”

Kunni morphs into a well-dressed Representative Ann-Margret [Democratic Congresswoman for the state of Nevada]. Still a knockout at seventy-four.

Ann-Margret (born Ann-Margret Olsson; April 28, 1941) is a Swedish-American actress, singer and dancer. As an actress, she is best known for her roles in Bye Bye Birdie (1963), Viva Las Vegas (1964), The Cincinnati Kid (1965), Carnal Knowledge (1971), and Tommy (1975). She has won five Golden Globe Awards and been nominated for two Academy Awards, two Grammy Awards, a Screen Actors Guild Award, and six Emmy Awards. In 2010, she won her first Emmy Award for her guest appearance on Law & Order: Special Victims Unit.

Her singing and acting careers spanned five decades, starting in 1961; initially she was billed as a female version of Elvis Presley. She had a minor hit in 1961 and a charting album in 1964, and scored a disco hit in 1979. In 2001 she recorded a critically acclaimed gospel album, and an album of Christmas songs from 2004 continues to be available.

The concavity morphs into the Congresswoman’s lavishly furnished Capitol Hill office. As if in response to this transformation and transfiguration of edifice, underneath Mondo’s skirt her flesh-colored panties substitute for the grotesque biomechanical strap-on which was up till now fused seamlessly to her nethers.

The two women are surrounded by deep-red walls, gold wall sconces with black candles, and pheasant feathers. A Federal-style bull’s-eye mirror with an eagle perched on top. And this is just the Nevada Democrat’s outer office. The ornately-decorated room is based off the set of the popular PBS period drama, “Downton Abbey”, as disclosed by Ann-Margret’s interior decorator, Annie Brahler-Schock, in a recent interview with Washington Post reporter Ben Terris.

During the Post reporter’s interview with Ms. Brahler-Schock, whose company is called Euro-Trash, she guided him at the Congresswoman’s behest from the outer office to Ann-Margret’s private office, revealing another dramatic red room. This one with a drippy crystal chandelier, a table propped up by two eagles, a bust of Abraham Lincoln, and even more massive arrangements of pheasant feathers.

Terris’ story was funny, and widely shared, but certain aspects created suspicion initially and later an onslaught of scrutiny. Like the fact that Ann-Margret’s dapper digs certainly must have far exceeded the House’s basic furniture and paintjob budget for new members. After all, in spite of what her advanced age would imply, Ann-Margret is only a sophomore Congresswoman.

But … Terris’ interest in the decorations didn’t spark an inter-office crisis on the Hill. Nor did it get him labeled persona non-grata, by the leggy strong-willed no-nonsense legislator. On the contrary, it ultimately got him his much sought-after interview with the Congresswoman. Full disclosure. Complete transparency. One-on-one. Unrehearsed. Unedited. Cameras rolling. Live on national TV.

Rep. Ann-Margret, is one of the Democratic Party’s fastest-rising stars, only half-way into her second term in Congress.

The 74-year-old from Nevada appears to have it all: celebrity, past stardom on the stage and in movies, a blossoming political career that includes first-class trips across the country, celebrity friends like the Pope and Ariana Grande, not to mention one of the bangingest female bods on Capitol Hill or anybody’s hill for that matter—all of which she’s documented for her 18,300 Instagram followers.

With Ann-Margret’s most recent expenditures not yet available to the public, USA Today dug through earlier Congressional expense reports and found, before giving her office the Downton treatment, the Nevada Democrat had spent over $100,000 of taxpayer money on previous office renovations that included hardwood floors, granite countertops, and leather furniture.

Before his own face-to-face with her, Terris had decided to take a closer look at Ann-Margret’s notoriously extravagant spending habits. For most politicians, the campaign trail is lined with budget hotels. Even the President still stays at the Holiday Inn. But, Ann-Margret prefers to stump in style. She regularly stays at some of the country’s most exclusive—not to mention expensive—hotels and, Terris discovered, she has spent over $90,000 in campaign funds on private flights, usually traveling with a personal photographer in tow. Then there was that London trip.

Smoking gun?! Nope. The lawmaker had disclosed all gifts related to the London trip in her annual financial-disclosure forms to the Office of the Clerk, U.S. House of Representatives. And, had later revealed that she was a guest at a number of lavish dinners, including ones hosted at Windsor Castle and Buckingham Palace. The lavish lifestyle she’s grown accustomed to, after a lifetime as an A-lister in Hollywood.

“For the duration I have inhabited this body, no one seems to notice the switch of landladies. Not even her closest friends. Not even her husband—a spouse she’s not estranged from, who she engages in sex with on a regular basis. They have quite the love life, I must say.”

“How was she taken? Was it during a near-death experience? Or did she die outright? The short fall or the long goodbye? Maybe an automobile accident? Plane crash? Motorcycle take a fatal spill? Hunting accident? Shooting accident at the range? Whatever? Her soul vacated the premises and you stepped right in after her, taking up residence? Never missing a beat?”

One of the lawmaker’s aids enters unannounced shouldering some papers to be signed. The Congresswoman waves the young man out. The aid’s egress is as quick and abrupt as his ingress was.

“Now, where were we before we were so rudely interrupted?”

“You were about to tell me how was she taken?”

“Bite me.”

“Fair enough.”

“Ask me another question. One that I might answer.”

“Tell me your name.”

The Congresswoman gets Mondo’s dry wit immediately and begins to giggle. You see, to know the name of a thing is to [potentially] have power over that thing; an essential element for any exorcism to be successful.

“Hehehehe. Good try. No dice, though. That would make it way too easy for you.”

“Can’t fault a girl for tying.”

“Nope. Not at all. Especially when that girl comes with such an exceedingly delicious French poodle [i.e. Gay slang for pussy].”

“Corruption. Corruptor. Depraved. Degenerate. Defiler.”

“You’ve described me to a tee. Bravo. Now, it’s my turn.” Dramatic pause, then: “You shall never first-encounter a person, place, or thing whose demise you cannot cipher. Though sometimes, for example God, what you ascertain as the steps necessary for the undoing of another might be steps that nobody except for God can perform.”