Behold the Casey Anthony latex mask for sale on eBay. I thought the Charlie Sheen mask was terrifying enough, but this one takes the cake. The mask is “pre-owned” (WTF? And who owned it?). The current bid is at $182.50.
This one is in excellent condition and it is numbered 6 of 9. I kept one for myself because I know these will be priceless. A significant piece of crime history. No matter what your opinion of the trial is, this is still one heck of a conversation piece. I bet Nancy Grace would love one of these. Fits most heads sizes comfortably.
Wearing this in public could be hazardous to your health…
“If it goes any further it might as well be rock and roll”
Kevin Saunderson on the the mutation of house and techno into “rave”.
Here’s an interesting little adjunct to the rave documentaries I have been posting recently - this is not a full length doc like the others, but a much shorter news-type item for what was presumably a youth culture show. It is interesting for a number of reasons - it’s cataloging the emergence of “rave” as a defined type of music as represented by acts such as SL2 and The Prodigy, and that kind of music’s growing popularity. In fact, the clip features an interview with a 19 year old (!) Liam Howlett, bemoaning the lack of radio play of rave music, despite it regularly reaching the upper reaches of the British charts. Ironically, it was The Prodigy who were charged with killing rave music by turning it into novelty records of the likes of “Charly Says”. In this clip rave-based dance music is referred to as “techno”, even as a Detroit-based techno pioneer such as Inner City’s Kevin Saunderson criticise the new music for lack of “soul”. At a time when dance culture in the UK was moving from the overground to the underground it is interesting to see the schisms opening up that would split it into many different categories:
Fans of forward thinking pop music and alternative/electonica, here’s something that’s definitely worth checking out - it’s the new video (and album Shangri-La) from DFA’s Yacht.
A little bit arty, a little bit metrosexual, Yacht have been round in some form or other for nearly a decade, so while their aesthetic might seem achingly hip and oh-so-now, it helps to remember that they’ve been doing it longer than most. Centred around the core duo of Jona Bechtolot and Claire Evans (Evans joining Brechtolot in what was previously a solo act in 2008), their live show expands the ranks to become a fuller five piece band.
Although having released albums on smaller independent labels in the past, Yacht are now part of the DFA stable, and fit very neatly into that label’s bracket of electronic rock, wearing those particular disco-meets-punk and electronica influences on their sleeve. Their recent live shows have seen them cover both the B-52’s “Mesopotamia” and Judas Priest’s “Breaking The Law” both of which make sense for different reasons. I gotta admit that I was not much of a fan of Yacht in the past, but this new album has taken me by surprise. It’s pretty damn good, and contains a few really cracking tunes, such as “Love In The Dark”, “Beam Me Up” and “Tripped And Fell In Love”.
Worthy of particular mention though are the album’s two opening tracks, “Utopia” and “Dystopia (The Earth Is On Fire)”, which lay out Shangri-La‘s themes of dualism from the get go. Although they are two separate tracks, they have been both comped into one video, which is quite the novel idea and makes me wonder if it has been done before? Either way the video is great and definitely worth a watch - it may be cheap but it is very well done. However, if you are not a fan of triangles, you might want to look away…
Yacht - “Utopia” / “Dystopia (The Earth Is On Fire)”
“I never learned anything at all in school and didn’t read a book for pleasure until I was 19 years old.”
Kubrick took film into realms that altered the chemistry in our brains. He wasn’t the first, but he may have been the most diabolical…and spiritual. A master of the left hand school, excavating the darkness to find the shards of light glittering in the muck.
British photographer Lee Jeffries’ portraits of the homeless are darkly beautiful and deeply sad.
Jeffries’ photographs remind me of the brilliant Walker Evans who chronicled the Great Depression in similarly compassionate and heartrending style.
Jeffries, an accountant by profession, describes the moment he became inspired to dedicate himself to photographing the homeless:
My involvement with the homeless started after an encounter with a young girl in London. She was huddled under a sleeping bag in a doorway in Leicester Square and took offense as I stole a photo from a distance. I was tempted to turn around and leave but something prompted me to go talk to her instead. Her story broke my heart, and changed the way I perceived the homeless. Most of my images are of people I have met on the street, whether in the UK, Europe or the US. The situations presented themselves, and I’ve made an effort to get to know each of the subjects before asking their permission to take their portrait.
In the few years I’ve been doing photography, it has taught me to really ‘see’ people in their everyday environment and to not take the familiar for granted. You have to be aware of what’s going on around you in order to be ready for those decisive moments, to pick up on the subtle and not just the obvious.”
Visit Alafoto.com to view the photographs in larger format. They are stunning.