In the late eighties and early nineties, experimental video took a more activist turn, retaining its preoccupation with visual gymnastics but now aligning itself with issues of greater cultural currency. John Lindell's Put Your Lips Around Yes (1991, 4 mins) was a call to action, but with a beat. The graphical text and bold bass charge forward imploring you to “put your lips around,” well,... In Charles Atlas's controversial Son of Sam and Delilah (1991, 27 mins), a merciless killer is committing random acts of meanness-death distributed to homophobe and gay lovers alike. This camp melodrama gives us dangerous liaisons bracketed by mayhem and the arias of Saint-Saëns's Samson et Dalila. Shot in Pixelvision, Peggy Ahwesh and Margaret Strosser's tainted soap opera Strange Weather (1993, 50 mins, B&W) follows the travails of three listless crackheads as they await the arrival of Hurricane Andrew. Jan, a paranoid upper-class pipedreamer; Centipede, a sexually tepid rockhound; and Patti, strung out on fantasies of the good life, comprise a stuporous enclave, protecting themselves against an elemental moral decay of their own making. A tour de armed force, Paul Garrin's Free Society (1988, 4 mins) pits domestic police abuses against the military's quashing of revolutionary opposition-an equation that still adds up.-