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Bizarre Japanese superhero powered by panties on his face
04.28.2016
12:26 pm

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Movies
Sex

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The amazing 2103 movie Hentai Kamen: Forbidden Super Hero presents the exploits of a superhero with righteous abs and some frilly panties draped demurely over his face—indeed, it’s the panties that grant him his super powers.

Hentai is the Japanese word for “pervert,” and Americans generally use it as an all-encompassing term for Japanese porn, especially if it has a kinky element.

Hentai Kamen: Forbidden Super Hero is the movie adaptation of a comedy manga series written and illustrated by Keishū Ando that first appeared in 1992. Ando’s series was called Kyūkyoku!! Hentai Kamen, which translates as “Ultimate!! Pervert Mask.”
 

 
You might be tempted to imagine that the movie isn’t real, just the trailer is. Nope, it had a screening at the Japan Society in New York City in July 2013—it sold out—and it’s available on Amazon. Hell, a sequel came out earlier this year.

“You are a Hentai of Justice!” If there’s any, er, justice, that will be the next bit of bedroom palaver to sweep the world….
 

Previously on Dangerous Minds:
‘The Rug Cop’: Japanese action hero uses toupee as weapon to fight crime

Posted by Martin Schneider | Leave a comment
Dogs, cats, goats and other animals cover Pixies’ ‘Where Is My Mind?’
04.28.2016
11:52 am

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Amusing
Animals
Music

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No, not Eric Burdon and the Animals, a totally different group

This is as stupid-funny as it gets: A slew of animals cover Pixies’ “Where Is My Mind?”

I was like “Yeah whatever. Impress me” when I first clicked play but as soon as the cat came in, I couldn’t help but be delightfully amused. It’s silliness, yes, but I’m in a slap happy mood today. Where is MY mind?

I think I left it in the car.

Posted by Tara McGinley | Leave a comment
Roots Strikers: ‘Socialism Is Love’ and other left-wing 70s reggae anthems
04.28.2016
10:06 am

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Class War
Politics
Reggae

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This is how Dillinger feels about your incremental liberal reforms
 
Albert Einstein did not ever once say that bullshit about “the definition of insanity” that your dimwitted boss has inked on one palm, but he did have some ideas you might actually find useful in the workplace. For instance, in his essay “Why Socialism?” published in the first issue of the Monthly Review, Einstein identified “the economic anarchy of capitalist society” as “the real source of the evil” that alienates and “cripples” individuals, and he advocated “the establishment of a socialist economy” in its place. Why not enliven your next PowerPoint presentation or office party with that fun fact? 
 

Bob Marley and Jamaican Prime Minister Michael Manley
 
“Gonna fight ‘gainst capitalists, gonna get rid of capitalists, gonna stamp out capitalism,” the DJ Dillinger thundered in 1975. He was one of several prominent reggae musicians who wrote explicitly socialist songs during the mid-70s in support of the policies of Jamaican Prime Minister Michael Manley and the People’s National Party. Manley, a democratic socialist, introduced a minimum wage, equal pay for women, free education and free health care, and if his program sounds familiar, that’s because everybody already knows it’s what the absolute minimum of basic decency would look like.

But Max Romeo makes the case better than I can on his single “Socialism Is Love”:

You’re asking what is socialism and what it really means
It’s equal rights for every man, regardless of his strength
So don’t let no one fool you (Joshua said)
Listen as I tell you (Joshua said)
No man are better than none,
Socialism is love between man and man

Socialism is
Love for your brothers
Socialism is
Linking hearts and hands
Would you believe it?
Poverty and hunger’s what we’re fighting

Socialism is
Sharing with your sisters
Socialism is
People pulling together
Would you believe me?
Love and togetherness, that’s what it means

Mr. Big a-trembling in his shoes, saying he’s got a lot to lose
Don’t want to hear about sufferer at all
(Joshua said) One man have too many,
While too many have too little
Socialism don’t stand for that, don’t stand for that at all

 

Max Romeo at Lee “Scratch” Perry’s Black Ark, 1975
 
If I can extend an olive branch to Hillary’s supporters, I looked for reggae songs about raining death on civilians, glad-handing Wall Street bankers and bringing children “to heel,” but I couldn’t find a single one. I wonder why that is?
 
Keep reading, after the jump…

Posted by Oliver Hall | Leave a comment
An 18th century guide to sex positions
04.28.2016
09:58 am

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Amusing
Art
Books
Sex

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I Modi or The Ways was a book of engravings depicting sixteen sexual positions. Think of it as The Joy of Sex for Renaissance times. The book, also known as The Sixteen Pleasures, was published by the engraver Marcantonio Raimondi in 1524. Raimondi based his explicit illustrations on a series of erotic privately owned paintings by Giulio Romano. The book was widely circulated. It led to the first prosecution for pornography by the Catholic church. Raimondi was imprisoned by Pope Clement VII. All copies of the book were destroyed.

Our story doesn’t end there, as the poet and satirist Pietro Aretino heard of the book and wished to see Romano’s original paintings. Interestingly, Romano was not prosecuted by the Pope as his paintings (unlike Raimondi’s book) were not meant for public consumption. Aretino decided to write a series of erotic sonnets to accompany the paintings. He also successfully campaigned to have Raimondi released from prison.

In 1527, a second edition of I Modi was published with Aretino’s sonnets. Once again the Pope banned the book and all copies were destroyed—only a few small fragments of I Modi or Aretino’s Postures survive which are held at the British Museum.

In 1798 a completely new version of I Modi was published in France under the title L’Arétin d’Augustin Carrache ou Recueil de Postures Érotiques, d’Après les Gravures à l’Eau-Forte par cet Artiste Célèbre, Avec le Texte Explicatif des Sujets (The ‘Aretino’ of Agostino Carracci, or a collection of erotic poses, after Carracci’s engravings, by this famous artist, with the explicit texts on the subject) based on engravings by Baroque painter Agostini Carracci was published.

These 18th century engravings mixed classical myth and history within a contemporary setting—though their intention is still the same—to arouse and “educate” users to the joys of sex.
 
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The frontispiece to the book the goddess of love, sex, beauty and fertility Venus descending on a chariot.
 
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Husband and wife Paris and Oenone try out penetration side-by-side.
 
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Angelique and Medor—two characters from the opera ‘Roland’—perform the ‘reverse cowgirl,’ although they probably had a different name for it back then.
 
More sex positions of the 18th century, after the jump…

Posted by Paul Gallagher | Leave a comment
A NSFW look inside a decaying porn theater that has seen better days
04.28.2016
09:46 am

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Sex

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A look inside the decaying adult theater, The Park in Detroit
A look inside the decaying adult theater, the Park, in Detroit.
 
Detroit’s Park Theater (also known as the “Lincoln Park Theater”) has had a rather long and diverse history. When it originally opened in 1925 in Lincoln City, Detroit, it was an elegant Art Deco style movie theater. In the late 1960s it was briefly converted into a live music venue where Lincoln Park natives the MC5 often played for next to nothing to large crowds. Then, sometime in the early 1980s, it became an adult theater that operated (much to the displeasure of many Lincoln Park residents) for nearly 30 years.

When the theater closed in 2008, the owners (who wanted to develop the building as a part of a multi-million-dollar strip club operation), donated the Park as part of a settlement agreement. The Park has since been converted into high-end lofts and retail space. However, before it was restored, the once opulent theater fell victim to decay and vandalism. The images that follow are perhaps not for the faint of heart, especially since the intrepid photographer used an infrared camera to pick up some of the “sticky mess” that was left behind after the Park closed its smutty doors. Hopefully he or she was up to date on their tetanus shot. That said, I still feel like it’s necessary to say that the photos you are about to see are NSFW.

If these walls could talk, eh? They’d be screaming “WASH ME!”
 
UPDATE: A kind commenter has corrected my error noting that this adult theater was not located in Detroit, but in Vancouver. Photo credit: Michael Mann
 
The Park Theater back in its heyday, sometime in the late 1930s
The once beautiful Park Theater back in its heyday, sometime in the late 1930s.
 
The projector room at The Park Theater
The projector room at the Park Theater.
 
The urinals at The Park Theater
 
More after the jump, including those ‘sticky’ infrared film shots…

Posted by Cherrybomb | Leave a comment
Every Bob Marley drum intro, in chronological order
04.27.2016
03:33 pm

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Once again, the Internet has anticipated what you absolutely gotta hear before you even knew that you had to hear it…. this time in the form of a supercut of all of the opening drum fills in Bob Marley’s entire career, arranged in chronological order. (One of the commenters says that the cuts aren’t chronological, whatevs.)

The perpetrators here are Goodhertz, Inc.. Bloodclot!
 

 
via Das Kraftfuttermischwerk

Posted by Martin Schneider | Leave a comment
Joe Coleman on Captain Beefheart, GG Allin and blowing himself up
04.27.2016
02:53 pm

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Art

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Austrian writer Clemens Marschall’s Avant-Garde from Below: Transgressive Performance from Iggy Pop to Joe Coleman and GG Allin (distributed in the US by Last Gasp) is a beautifully published hardback book about his adventures in the American counterculture. I found it a highly enjoyable read. I love interview books to begin with and if you’re hungry for the flavor of a classic RE/Search volume, this 2016 publication—which includes an interview with RE/Search’s own V. Vale, among other characters such as Richard Kern, Monte Cazzaza, SRL’s Mark Pauline, Greil Marcus, Stooge James Williamson, writer George Petros and art critic Carlo McCormick—should sate your appetite with its densely packed 409 pages.

In an email, he described his interviews having:

“...a focus on performance in the twilight zone between avant-garde and self-destruction; some people like Iggy Pop and Joe Coleman found a way out of that dangerous downward spiral, whereas GG Allin took it right to the end. And it’s also about playing with fire, taking things too far: A lot of people find it funny to pretend being into serial killers and violence, but once they really get into it, the fun stops pretty quickly. That’s one of the reasons why Sondra London ends the book. She is one of those who couldn’t stop and had to pay for her transgressions again and again.”

Marschall’s obsessions include freak shows, sex museums, murderers and dive bars. He lists among his odd jobs “sorting Jello Biafra’s huge record collection.” Below, an excerpt from Avant-Garde from Below: Transgressive Performance from Iggy Pop to Joe Coleman and GG Allin, a short, but nevertheless wide-ranging interview with painter Joe Coleman. At the very end, Joe’s wife, photographer Whitney Ward, says something about her husband’s youthful criminal proclivities that caused me to laugh out loud.

Clemens Marschall: Almost everyone who got involved with transgressive performance refers to Iggy Pop as a huge influence. Was Iggy also important to you?

Joe Coleman: No, I knew very little about Iggy. I had this punk band called Steel Tips back in the ’70s, but my influences came from country, western and blues. Don Van Vliet, Captain Beefheart, was maybe the most transgressive influence that I had at that time. I consider Trout Mask Replica a really ground-breaking record. Don had his band kinda trapped in his house where he kept them performing like 18 hours a day and fed them with beans and a slice of bread – maybe, if they played well. And he taught them the music on a piano that he couldn’t play. He would bang out the piano keys and ask them to imitate what he’d just played, but he didn’t even know what the fuck he was doing! [laughs] And when they finally tried to get it exactly the way that he had murdered those keys, then he would say, “OK, now you play it like you were jumping out of a window!” [laughs]

That’s the kind of stuff that interested me back at the time, and then also the performers in Austria, the Viennese Actionists: Günter Brus, Hermann Nitsch and Rudolf Schwarzkogler. They were more of an influence because I was trying to combine music and performance, turn tribal rituals into some kind of performance that I wanted to bring back to psychopathology.
 

 
You were getting away from music and focusing on performance from very early only, making it more pure. But did you ever feel satisfied with the Steel Tips or was it that you always wanted to put it one step ahead, get rid of the musical context?

Joe Coleman: At one point, at the beginning, I trusted the music, but not for very long. There’s always something in music that would make it somehow acceptable, create a border, like a caption over the events. What I preferred was walking into strangers’ homes and blowing myself up, where there are no borders. I wanted to get back to that kind of real transgressive energy and bring that into theatre. There was that thing called ‘performance art’, you know, where they were supposedly being subversive, and I was looking at stuff like Laurie Anderson and thinking, “That’s not subversive.” When you wanna make something subversive, you set yourself on fire; you point your shotgun at the audience and chase them out. And that’s what I was compelled to do at that time of my life.

The first time I read about you was in Pranks! by V. Vale. I was asking myself if you feel that what you did was a prank or if you think that sounds too frivolous. Because, no matter what you do, you do it in a very sincere way.

Joe Coleman: Yeah, I know, it’s been a strange experience in my life, because a few years ago, when the Jackass movie came out, there was a review in the LA Times that compared Jackass to Marcel Duchamp and myself. I like a lot of the things these Jackass guys are doing – but it’s very different from what I was doing! The things I was doing were desperate attempts at communication. There was also humour involved, but it was a whole different kind of thing. I was paying lawyers to defend me; I wasn’t getting paid zillions of dollars to do a show. I was compelled to make these things happen.

At one point in your career, you and GG Allin had the same promoter for your shows.

Joe Coleman: Yeah, that was an interesting coincidence that at a time a really delightful and beautiful lady called Jeri Cain Rossi was interested in both of us. She’s a great writer and so insightful that she saw the importance of what GG Allin was doing at the time and what I was doing at the time. She went to court for me, she had to pay fines, but she always stuck by me and really believed it was important to do these shows.

Looking at your career, you’ve been to prison for what you did; you had to go to court; you’ve been accused of being an ‘infernal machine’. What do you think about the connection between art and crime?

Joe Coleman: There is this idea of crime itself: when people form tribes, then they form states, then they form governments – there needs to be an antidote. Crime, in its basic sense, is an antidote to the order. But it doesn’t have the honesty that I’m after. Real subversion requires more thought than pilfering somebody’s pocket. Real subversion is pilfering somebody’s mind and infecting the mind so that it actually can be free. The whole structure is built on swamp gas and mirrors and cardboard and that’s more important. Crime just shows the will against established power.
 

 
You have been in contact with criminals like Charles Manson and John Wayne Gacy. Can you tell me how this began?

Joe Coleman: I’ve corresponded with a lot of people that I thought had a lot to say, that were philosophers in their own certain way. Manson is a great philosopher and I remember the first time he really struck me. I started to get fascinated by him when he was in court and said, “Look down on me and you’ll see a fool. Look up at me and you’ll see a God. Look me in the eyes and you’ll see yourself.” He’s absolutely right. For many years, he spoke these really compelling arguments. I don’t have any defense for the murders committed, I don’t defend that at all, I’m totally against that, but what I’m saying is, “Listen to the word of the person who is in pain; listen to the word of someone who’s pushed to that degree; somebody who could speak that eloquently of his own pain.”

I also admire Charles Bronson who was being incarcerated in the UK for longer than anyone else, as far as I know, but he never killed anyone. He is certainly a violent offender but he’s got a brilliant mind, and he speaks of the pain and the misfits of society–and I care about the misfits. They deserve a voice. If society wants to learn anything, listen to the voice, don’t squash it out. When somebody finds out that they have cancer and they’re trying to express it to someone who does not have cancer, it’s uncomfortable for the person who’s listening. In fact, the person who’s listening almost feels like the mere mention of the word ‘cancer’ can cause them to have the disease as well. It makes them wanna remove themselves from the connection. But if you really want to avoid cancer, then you better listen and talk with that person and not ignore them!

Continues after the jump…

Posted by Richard Metzger | Leave a comment
That time Jack Kerouac asked Marlon Brando to make a movie of ‘On the Road’ 1957
04.27.2016
11:55 am

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Books
Heroes
Literature
Movies

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It’s fair to say most writers would like a movie made of their books—it’s a way of reaching a far greater audience and pegging a stake on fame, fortune and celluloid immortality. To this end, some writers often dream up a cast list of their favorite actors who they think are best suited to play the fictional characters they’ve created. Though of course this rarely happens as box office clout always beats artistic sensibilities when it comes to casting.

In September 1957, Jack Kerouac’s novel On the Road was published to great and immediate acclaim. Film studios clamored to option the book. Warner Brothers expressed an interest as did Paramount, but Kerouac had his own ideas.

The Beat author wanted Marlon Brando to make a movie of On the Road. He thought Method actor Brando was perfect for the central role of Dean Moriarty. Kerouac was ambitious enough to consider himself for the role of his fictional alter ego and Moriarty’s sidekick Sal Paradise. Brando was a hot property. He was considered perhaps the greatest actor of his generation and had been nominated five times for an Academy Award—winning one for his performance in On the Waterfront in 1954. It was a big ask, but Kerouac was hopeful.

“Dear Marlon,” his letter began:

I’m praying that you’ll buy ON THE ROAD and make a movie of it. Don’t worry about the structure, I know to compress and re-arrange the plot a bit to give a perfectly acceptable movie-type structure: making it into one all-inclusive trip instead of the several voyages coast-to-coast in the book, one vast round trip from New York to Denver to Frisco to Mexico to New Orleans to New York again. I visualize the beautiful shots could be made with the camera on the front seat of the car showing the road (day and night) unwinding into the windshield, as Sal and Dean yak. I wanted you to play the part because Dean (as you know) is no dopey hotrodder but a real intelligent (in fact Jesuit) Irishman. You play Dean and I’ll play Sal (Warner Bros. mentioned I play Sal) and I’ll show you how Dean acts in real life, you couldn’t possibly imagine it without seeing a good imitation. Fact, we can go visit him in Frisco, or have him come down to L.A. still a real frantic cat but nowadays settled down with his final wife saying the Lord’s Prayer with his kiddies at night… as you’ll see when you read the play BEAT GENERATION. All I want out of this is to be able to establish myself and by mother a trust fund for life, so I can really go roaming around the world writing about Japan, India, France etc… I Want to be free to write what comes out of my head & free to feed my buddies when they’re hungry & not worry about my mother.

Incidentally, my next novel is THE SUBTERRANEANS coming out in N.Y. next March and is about a love affair between a white guy and a colored girl and is a very hep story. Some of the characters in it you know in the Village (Stanley Gould etc.) It easily could be turned into a play, easier than ON THE ROAD.

What I wanta do is re-do the theater and the cinema in America, give it a spontaneous dash, remove pre-conceptions of “situation” and let people rave on as they do in real life. That’s what the play is: no plot in particular, no “meaning” in particular, just the way people are. Everything I write I do in the spirit where I imagine myself an Angel returned to the earth seeing it with sad eyes as it is. I know you approve of these ideas, & incidentally the new Frank Sinatra show is based on “spontaneous” too, which is the only way to come on anyway, whether in business or life. The French movies of the 30’s are still far superior to ours because the French really let their actors come on and the writers didn’t quibble with some preconceived notion of how intelligent the movie audience is, they talked soul from soul and everybody understood at once. I want to make great French Movies in America, finally, when I’m rich… American theater & Cinema at present is an outmoded dinosaur that ain’t mutated along with the best in American Literature.

If you really want to go ahead, make arrangements to see me in New York when next you come, or if you’re going to FLorida here I am, but what we should do is talk about this because I prophesy that it’s going to be the beginning of something real great. I’m bored nowadays and I’m looking around for something to do in the world, anyway — writing novels is getting too easy, same with plays, I wrote the play in 24 hours.

Come on now, Marlon, put up your dukes and write!

Sincerely, later, Jack Kerouac

 
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This letter was only discovered after Brando died in July 2004. Helen Hall was tasked by auction house Christie’s to visit the actor’s home on Mulholland Drive in Los Angeles and select property to include in an auction of his estate.

Hall spent around ten days at Brando’s house sifting through his personal effects “with a fine tooth comb.”  The most valuable thing she had found was an annotated copy of Brando’s script for The Godfather tucked away with all his other movie memorabilia in a bunker in the garden. Hall thought this was the best she would find. On her tenth day at the house, Hall and her team searched through the very last room on their list—Brando’s office.

Continues after the jump…

Posted by Paul Gallagher | Leave a comment
Ed Wood Jr. and friends trading cards
04.27.2016
11:48 am

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Art
Movies

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Drew Friedman was into the demented masterpieces of Ed Wood, Jr. waaaaay before it was cool. People forget, but prior to 1994, when Tim Burton turned Scott Alexander and Larry Karaszewski’s screenplay into the Oscar-nominated classic Ed Wood, the “historical” Ed Wood Jr. was a seldom-ballyhoo’d fringe figure who most of the time was simply ridiculed as an incompetent, straight up.

If you don’t believe me, check out the 1982 movie It Came From Hollywood, in which people like Dan Aykroyd and John Candy prompted viewers to make fun of Ed Wood as (har har) “the worst movie director who ever lived,” with nary a thought as to the more poignant aspects of Wood’s persona and oeuvre.

In 1993, Friedman released his lovingly rendered portraits as The Ed Wood Jr. Players trading cards, which celebrated durable icons like Bela Lugosi, Vampira, Criswell, and Tor Johnson as well as such curious figures as Valda Hansen, Fawn Silver, Paul Marco, Bunny Breckenridge, Herbert Rawlinson, and Gregory Walcott (some of whom you’ll remember from their onscreen representations in Burton’s movie, of course).
 

 

 
Vampira, Bela, and the man Ed Wood Jr. himself, all after the jump….....

Posted by Martin Schneider | Leave a comment
Let it snow: Shameless cocaine ads of the 1970s
04.27.2016
11:45 am

Topics:
Advertising
Drugs
History

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Ah the 1970s, when disco dust was plentiful and there were cocaine paraphernalia ads galore in head magazines. Dig the Hoover-themed coke spoons! Or the “what the hell were they thinking” handmade ivory straws. And if your nose is a little clogged from too much coke, why not try “Noze: the nose wash”?

So as the majority of the taglines in these magazine clippings say, “Let it snow!”


 

 
More after the jump…
 

Posted by Tara McGinley | Leave a comment
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