The Cultural Gutter

beyond good and bad, there is awesome

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

About

“My experience of life is that it is not divided up into genres; it’s a horrifying, romantic, tragic, comical, science-fiction cowboy detective novel. You know, with a bit of pornography if you’re lucky.”
― Alan Moore

 

The Cultural Gutter is updated every Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. Carol Borden draws out the best in comics, Chris Szego dallies with romance, alex MacFadyen stares deeply into the screen, Keith Allison probes science-fiction, and our Guest Stars shine here.

Thanks to EJ Lee for providing the fantastic art we used in the banner and The Cultural Gutter book.

While the writers have considerable enthusiasm for their subjects, they don’t let it numb their critical faculties. Tossing away the shield of journalistic objectivity and refusing the shovel of fannish boosterism, they write in the hopes of starting honest and intelligent discussions about these oft-enjoyed but rarely examined artforms. Contact us here.

Our Editors

Raised by two international catburglars, Carol Borden turned her back on her heritage to take up a life of art. Sometimes, late at night, she regrets her decision. You can read and listen to some of her other shenanigans at  Monstrous Industry. For her particular take on gutter culture, check out, “In the Sewer with the Alligators.”

Chris Szego reads romance. Along with poetry, mystery, sf, non-fiction of all kinds, cereal boxes (but not horror, because she’s kind of a chicken). For her particular take on the gutter, check out, “Love For Sale.”

Born and raised in Canada’s Cowtown, alex MacFadyen first embraced the cultural gutter through the local country music station. Needless to say, his family did not get it, and that was only the beginning. For his particular take on the gutter, check out, “The Social Relevance of Jackassery.”

When he’s not explaining some obscure historical or anthropological point while oblivious to the fact that he is slowly sinking in quicksand, Keith Allison writes about Science Fiction and Fantasty for The Cultural Gutter and runs the cult culture website Teleport City. For his particular take on gutter culture, check out, “The Sci-Fi Life.

SF/F Editor Emeritus James Schellenberg lives in Ottawa, and runs a book website called BiblioTravel that keeps track of where fiction is set. For his particular take on gutter culture, check out, “Even When They’re Wrong, They’re Right.” (Retired from The Gutter).

Screen Editor Emeritus Ian Driscoll is the screenwriter of numerous gutter-level films including the Harry Knuckles series, Jesus Christ, Vampire Hunter, The Dead Sleep Easy and Smash Cut. His day job is in advertising, which helps explain the drinking. And, because he apparently needed another thing to keep him busy, he recently became a partner in running Ottawa’s oldest surviving cinema, the Mayfair Theatre. If he had a band, he would name it Two-Panel Marmaduke. For his particular take on the Gutter, check out, “Dangerous Because it Has a Philosophy.” (retired from The Gutter)

Jim Munroe has written three science-fiction novels. His videogame column in eye is called Pleasure Circuit. His No Media Kings website is home to his projects as well as many do-it-yourself articles on movie and book making. He lives with his wife in Toronto’s Annex neighbourhood but enjoys an occasional trip to Liberty City, where he’s shot a lot of video. For his particular take on gutter culture, check out, “Vive Le Gutter!” (Retired from The Gutter)

Guy Leshinski is a writer and editor, a slapdash cartoonist and bass player, and sometime bon vivant. His comics column, The Panelist, appears every other week in Toronto’s eye Weekly. For his particular take on gutter culture, check out, “Gutter Thoughts.” (Retired from The Gutter)

Video Games editor Andrew Smale has retired from The Gutter.

Movie Editor Robin Bougie is writer and editor for the seminal Cinema Sewer magazine (retired from The Gutter)

 

Affiliations

The Cultural Gutter is a member site of The Mysterious Order of the Skeleton Suit (M.O.S.S.), a shadowy confederation of like-minded writers, broadcasters, creators, and jetsetters who have banded together in a bold mission to bring international intrigue and pop entertainment to the masses. Can anyone stand in the way of their diabolical schemes???

 

 

 

The Cultural Gutter is also a proud sponsor of The Drive-In Mob, along with the Grindhouse Cinema Database and Shelf Life Clothing Company.  Find the Mob on Twitter every Thursday and join in the tweetalong with the hashtag “#driveinmob” as we watch a classic genre film double feature.  Check driveinmob.com  or @driveinmob on Twitter for the weekly schedule and learn more about the Mob’s history here.

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  • Of Note Elsewhere

    At Graveyard Shift Sisters, Ashlee Blackwell considers Jonathan Demme’s Beloved as a horror film as part of their Black History & Women In Horror Month series. “Beloved takes us on one journey of the Black American experience of slavery through the body of a Black female protagonist.”

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    Watch Nigerian writer and director Nosa Igbinedion’s Oya: The Coming Of The Orishas here.

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    At Bitch Media, Sara Century wonders why Michonne isn’t in charge and considers which medium is better for the ladies of The Walking Dead: comics or tv. “As I was thinking about the numerous questionable writing choices made with these could-be-so-great female characters, I got to wondering, which medium is better for the ladies of The Walking Dead: the TV show or the comic? In other words, which one is less sexist?

    I wrote up a short list of the main female characters that appear both on the show and in the comic to decipher the differences in how these women are written. These descriptions contain spoilers through season five of the TV show, because it’s impossible to write about The Walking Dead without talking about how people die all the time.”

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    Vixen Varsity shares Olufemi Lee-Johnson’s tribute to Milestone Media and Dwayne McDuffie. “For the first time in my life, I was around comic writers of color telling stories that mirror or surpassed the storylines of America’s favorite heroes. Icon dealt with being the ultimate immigrant and not understanding current black culture. Rocket (Raquel Irvin) was his guide, but also aspired to be more than just a woman in the projects. Static (Virgil Hawkins) was just a normal teenager dealing with fitting into school and then was put into this extraordinary circumstance of being a hero. Hardware (Curtis Metcalf) wanted respect from his mentor, but later learned about the bigger picture when it came to being a hero and the characters from Blood Syndicate…they were just trying to make it day by day and maintain their respect as a gang.”

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    At Soundcheck, John Schaefer talks with Jim Jarmusch about “making music for someone else’s films, and a penchant for walking the tightrope between narrative and abstract art in his own movies. And if you thought his C.V. was looking a little thin, Jarmusch is also working on an upcoming opera about the Serbian-American inventor Nikola Tesla, with Robert Wilson and composer Phil Kline.” (Thanks, Kate!)

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    Alex Deuben interviews artist Nate Powell about the second volume of The March and working with Rep. John Lewis and Andrew Aydin. “We are taught — and we tend to perpetuate this myth — that the Civil Rights Movement was nine words long: ‘Rosa Parks, Martin Luther King, I Have a Dream.’ I think what you’re saying really backs up that notion. In terms of John Lewis’ personal journey, ‘Book Two’ is certainly a deepening of discovery and involvement. Not just a worldview broadening, but becoming much more personally aware of the counter-escalation to any progress that the Movement made.”

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