When I explained to them about AntiSeen and what we did and all, they were not the least bit put off by it. Why did they call you? They were literally just looking for offices to fill. They were trying to help the state party fill up all the state offices.
They knew there were a finite number of Libertarians here in my district so they started calling them one by one. I gave it a try that first time, I did fairly good for a two-way race.
They were pretty flabbergasted by that, the national party. Most of our people, commissioners or aldermen, are in cities of 2,, people. Then the screw-ups came to light and the miscount was exposed and I got out of it. Backtracking, when you first ran, that was for state office? That was for state office, I was running for the State House. I found out a lot of stuff when I was running, and I found out how serious it is to people.
I was getting wacky letters in the mail, all these things people told me they expected me to do for them. Really, every crank in your town gets a hold of you about things like property disputes. I had a little old lady flag me down with a long, handwritten thing with all these diagrams of her property, going on about the property line and a dispute with her neighbor. They were so far out to the left, they were out there with the Green Party. And because it was Bush.
But they were getting into Green Party territory. The average Democratic congressman was not giving Bush the hard time they were. I knew some Libertarians at the national level like Neil Boards, who was like me, he was reluctantly pro-war. Getting back to the campaign, what was it like for you putting yourself in the public eye in that way—where little old ladies recognize you from seeing your picture and come up to you on the street and want to talk to you.
Can you talk about some the highs and lows, and pros and cons of the campaign? That part was pretty neat. I ran a pretty unconventional campaign, I just did a handful of signs around town. Mostly I depended on the free stuff I could get from the newspapers—interviews and profiles I knew they were gonna do. If they brought it up I was eager to talk, but I always let them bring it up first. They occasionally wanted to know a little bit about the party, and I bet it made a few new friends that way and got them to start coming to LP meetings here in town.
The lady who covered the election here for the local newspaper, Pat, both times, knew I was in AntiSeen. Basically she kind of liked me and wanted to see me do well, I believe. She liked the idea of new blood like this shaking up the mainstream parties. She was careful to withhold, or make sure that stuff that was embarrassing not be out there needlessly. They were seeing the language on it, the record covers and the photos. Pat really loved it all, I think, it gave her something to cover.
She was really fair to me. Even when the recount was going on, and I thought I still might win. She had to start covering it once the feces hit the oscillator and everything but she did it in a fair manner.
Do you think being a musician, specifically being in a punk rock band and more specifically a controversial one at that, helped you? Or do you think it had no effect on your campaign? The first time around it was kind of a neutral thing.
It might even have been positive because the first time about the only publicity I was able to generate was when I sent stuff out to people and played up being in the band and being a rock musician. Yeah, I was like third or fourth in the state. But in races like that you get killed by straight ticket voting. In that city council race it was non-partisan but everybody in town obviously knew I was a Libertarian, because of the previous year and the band was known, but then again, before that election for city council they knew very little about the band or its content.
Only what I was willing to divulge. That was a much easier election to do. An older version of the same concept in English is the expression "nine days' wonder", which dates at least as far back as the Elizabethan era. German art historian Benjamin H. Buchloh suggests that the core tenet of Warhol's aesthetic, being "the systematic invalidation of the hierarchies of representational functions and techniques" of art, corresponds directly to the belief that the "hierarchy of subjects worthy to be represented will someday be abolished;" hence, anybody, and therefore "everybody," can be famous once that hierarchy dissipates, "in the future," and by logical extension of that, "in the future, everybody will be famous," and not merely those individuals worthy of fame.
On the other hand, wide proliferation of the adapted idiom "my fifteen minutes"     and its entrance into common parlance have led to a slightly different application, having to do with both the ephemerality of fame in the information age and, more recently, the democratization of media outlets brought about by the advent of the internet.
There is a third and even more remote interpretation of the term, as used by an individual who has been legitimately famous or skirted celebrity for a brief period of time, that period of time being his or her "fifteen minutes.
John Langer suggests that 15 minutes of fame is an enduring concept because it permits everyday activities to become "great effects. In the song " I Can't Read ", released by David Bowie 's Tin Machine in their debut album and re-released by Bowie in for the soundtrack of the movie The Ice Storm , the phrase is used in direct reference to Andy Warhol: "Andy, where's my 15 minutes?
Developmentally, the celebrity often goes through a process of: first loving, then hating fame; addiction; acceptance; and then adaptation both positive and negative to the fame experience.
The unfortunate truth, however, is that for each and every celebrity, the fame machine can only churn for so long. It has become the American way. Are we somehow complicit in the downward spiral of so many great talents of our time? Have their lives become an opportunity for our own vapid TV viewing, satiating voyeuristic interests, while munching junk food mindlessly on the couch?
I am as guilty as anyone. And, from the other vantage point, how dangerous are the blinding lights of fame to the unsuspecting and naive star? Exploding Barbed Wire Death Match 9. The Mysterious Green Mist Invader 1 Must Die Kill The Scene The Crack of Dawn. Our customers love us!
Join our , fans. Similar Artists. How to Order. International Shipping. Return Policy. Order Items by Catalog. But, once someone becomes truly famous, they tend to stay that way. Temporary celebrity is highly unusual, and is to be found primarily in the bottom tiers of the fame hierarchy, such as when people like whistle blowers become famous for a limited time for participating in particular events.
In general, big names follow career-type patterns of growth, sustenance, and gradual decay over the course of decades. Leonard Cohen is still well known today, over 40 years after he first became famous. But, Chesley Sullenberger, the pilot who received instant fame after safely landing a disabled plane on the Hudson, is a name that will likely be forgotten pretty quickly.Discover releases, reviews, credits, songs, and more about Antiseen - 15 Minutes Of Fame, 15 Years Of Infamy at Discogs. Complete your Antiseen collection/5(13).