Exit the fox
Monday, August 27th, 2007Patrick Brooks Chudleigh, Devon
Patrick Brooks Chudleigh, Devon
“I’ve played at tattoo conventions, and I’ve played at some tattoo places,” La Botz said by phone from Gary, Ind. “But it was my fans that gave me the idea. On my MySpace site, I have a lot of fans who have tattoos. A majority of them, in fact. So I thought it would be smart do do a tour of tattoo parlors.”
When the idea came to him, La Botz, a Chicago native, didn’t have a booking agent. “So I just did it this way.”
La Botz got his own first tattoo when he was 14, and he likes the art. “It’s a way of giving yourself an identification,” he said with a laugh.
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Starting at 11 a.m. — although, really, shouldn’t it have been at 1300 hours? — and going appropriately for 13 hours in a row, Tattoo 13 on Telegraph Avenue in the Temescal district offered tats of the number 13 (there were 13 different styles from which to choose) for $13 in honor of the day, auspicious or suspicious as it may have been, depending on one’s outlook on life.
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“The 13 is pretty awesome,” said Alise Raya, 33, of Oakland, who was there to get a 13 with friend John of Wisconsin, 29, who lives in Oakland but likes to be called John of Wisconsin.
The 17th century was the heyday of the English ghost. Up and down the kingdom during those ‘distracted times’ of the Gunpowder Plot, Civil War and Commonwealth, spectres, revenants and phantoms were at their most restless and fretful. Church bells rang without human agency, invisible armies clattered to and fro in the darkness, drummers sounded a ghoulish tattoo through midnight bedchambers, a whole menagerie of ectoplasmic beasts terrified kitchenmaids or sent children into hysterics.
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Meanwhile the spirits themselves, a decidedly noisy crew, specific in their demands and inclined to be peevish if not paid serious attention, forecast political events, indicated the whereabouts of buried treasure, confounded atheists and sceptics or simply did the customary ghostly business of carrying messages from beyond the grave.
Somerset, with more than its fair share of such visitations, witnessed one of the most famous of them in 1634. The death of Susan Leakey, a Minehead widow ‘of a free, pleasant and cheerful temper’ and noted for her godliness, was followed by her several reappearances, first to her daughter-in-law Elizabeth, then to the local curate, while making water outside the Leakeys’ back door, and finally to the family’s Welsh maidservant, who identified the old woman’s black gown and wrinkled face. When the ghost condescended to speak, it issued a mysterious set of instructions, culminating in an order to ‘Go to Joan Atherton in Ireland and tell her these things. Bid her do them and see them done.’ On Elizabeth daring to ask ‘whether you be in Heaven or in Hell’, the apparition disobligingly groaned and vanished.
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Joan, Leakey’s younger daughter, was married to a career clergyman John Atherton, formerly vicar of the Somerset parish of Huish Champflower and now Church of Ireland bishop of Waterford. As Peter Marshall shows, Atherton, already notorious among Irish Protestant clergy for pluralism and simony, lost no time, once enthroned, in trying to claw back episcopal property seized by the Earl of Cork, the most powerful landowner in his diocese. When successive church lawsuits recovered parcel after parcel of impropriated land, Cork realised that ‘the devil was let loose upon him, forth off his chain’, but nemesis for the proud prelate was not far off. In March 1640, while attending a session of the Irish parliament, Atherton was publicly denounced by his servant John Child for ‘the most filthy and odious sins of sodomy and adultery’ and imprisoned in Dublin Castle.
The trial records have vanished, along with any direct evidence that the charges were trumped up by Cork and his agents, but the verdict seems to have been a foregone conclusion. Atherton, condemned to hang, stepped up to the gallows in his cassock, declaring, ‘Thank God I dread not death’. Witnesses of the only recorded execution of an Anglican bishop for ‘the sin among Christians not to be named’ could not agree on the crucial issue of whether his lordship had acknowledged or denied his guilt. It was another crime altogether which had raised the perturbed spirit of his mother-in-law Susan Leakey, as a salacious anti-episcopal pamphlet soon made clear.
While vicar of Huish Champflower, Atherton got another of her daughters with child, and the pair, incestuous according to the prayerbook’s ‘Table of Kindred and Affinity’, plotted the baby’s murder.
For example, in Pussy (2005), a JonBenet Ramsey-like sirenette vamps in a black cat suit; a pair of black mules worn with white socks completes the pedophilic overtones. In Painting (2005), a girl sporting a Louise Brooks bob, opera-length gloves and a training bra plays violently with a sexually explicit toy that resembles the Pokemon character Pikachu. Delving further into the fetishist’s catalogue is Show (2005), in which an adolescent girl, peering through a veil-like web woven of facial hair and wearing nothing but high-heel boots, G-string, choker and nurse’s cap, holds a large red Valentine’s heart to her bare chest.