Yesterday I posted an infographic of the effects of soda pop consumption on the human body. One of our readers sent in these photos that are allegedly of a die-hard and life-long Mountain Dew drinker.

Here’s what he says:

“If you’ve never seen what pop can do to teeth, here’s some (kind of blurry) photos of “Mountain Dew mouth,” taken by my girlfriend of an acquaintance. The fella pictured was not yet thirty at the time, and soon after had all his teeth removed.”

Of course this could also be what happens when you drink soda ll the livelong day and NEVER BRUSH YOUR TEETH, but what do I know?
 

 
Thanks, Lepus Rex!

 
Dangerous Minds pal (and former contributor) Jason Louv returns with a new novel titled Queen Valentine: A Romance in Two Worlds. This is Jason’s fourth publication after Generation Hex, Ultraculture and Genesis P-Orridge’s Thee Psychick Bible, which he edited.

Ray Tesla caught up to the author via email at R.U. Sirius’s new blog, Acceler8or.

RAY TESLA: So what is Queen Valentine?

JASON LOUV: It’s a novel exposing the supernatural underworld beneath New York, as seen through the eyes of a young woman who’s lost her soul working in advertising, and ends up stumbling into the world beneath. It’s a bit like Edward Bulwer-Lytton’s The Coming Race mashed up with “Mad Men.”

RT: Can you say more?

JL: Well, the premise is essentially this. In the middle ages, the people of Europe took it for granted that non-human beings — often called the Sidhe or the faery folk — were as real as humans, and regularly trafficked with the human world. Just like “modern” people sometimes claim to see UFOs or to have been abducted by aliens, in the middle ages people often claimed to have happened upon secret Sidhe kingdoms, to have been abducted to faerie land, or to have had their children swapped for faerie babies. That’s where we get a lot of European mythology from. And then we stop hearing about them as soon as the Inquisition and then the Age of Reason come in.

So the question is, what happened to those beings? And the answer in the book is, well, they did what lots of displaced people do. They emigrated to New York, or the settlement that became New York. And they’ve been living in secret catacombs and warrens underneath the city ever since, in their own shadow version of the city and shadow economy — along with their evil half, the Unseelie, who are like creatures created by pure nightmare energy. And after four hundred years, the Unseelie are tired of hiding, and they want to make a bid to subjugate the human side of the city.

RT: What were your main inspirations writing this?

JL: Having been involved both in advertising world and the supernatural underworld of New York.

RT: You’ve previously written about consciousness expansion and magic (Generation Hex, Ultraculture, Thee Psychick Bible) and about the transforming effects of technology on the soul. Do you see this as a continuation or a departure from those topics? Why the switch to fiction?

JL: Definitely a continuation. There’s only so much truth you can express about the hidden corners of reality in non-fiction or essay form before people start wondering if you’re making it up. The threshold is very low. With fiction, hopefully I can put it all in there and instead of that nagging voice in your head while you’re reading it being “I wonder if he made this up,” it might be “I wonder if any of this is actually true?”

RT: So are you saying there’s actually coded occult information in Queen Valentine?

JL: No. Certainly not.

RT: You’ve also written about transhumanism and posthumanity. Does that tie in with the book?

JL: In a way. The book is in many ways a critique of transhumanism from the perspective of the original guardians of the earth, the nature spirits who’ve had to adapt to our technological progress and find a way to live in the cracks like any diaspora culture. A lot of the tension in the book revolves around the different responses from different factions of the Sidhe to the direction humanity is going. There’s also a lot of satire of the Faustian need for physical augmentation. I don’t want to give too much away, but the crux of what’s being discussed is whether humanity will be allowed to manifest the kind of nightmare future that it seems to be hellbent on creating.

Read more at Acceler8or.

You can get a physical book or the Kindle edition at CreatESpace.

 
This is one for the noise cognoscenti out there. Two of the best modern rock bands in America come together for a collaboration (full title: The Flaming Lips With Lightning Bolt EP) and the results are pretty unusual - though not necessarily more than you’d expect. ‘Cos let’s face it, it’s highly unlikely that the genesis of this project was a desire to push either of these acts further up the charts. I’d like to think it had more to do with a shared love of acid-burnt neon psychedelia.

The clue may be in the song titles. “I’m Working At Nasa On Acid” and “I Want To Get High But I Don’t Want Brain Damage” are the first two tracks and the Flaming Lips’ main contributions, being the kind of bass driven psych-garage we’ve come to expect, but now with a whole extra layer of fuzzy noise on top. The remaining two tracks are reworks of the first two by Lightning Bolt, which feature even more noise and, of course, the furious drum chops of Brain Chippendale. These reworkings are called “NASA’s Final Acid Bath” and “I Want To Get Damaged But I Won’t Say Hi”.

The EP has been released on 12” mixed-color vinyl (some copies feature translucent vinyl mixed with black) but because of its limited nature was only shipped to some shops a few weeks ago. It’s likely to have completely sold out. If you really want one, I say get in touch with your local decent independent record store and ask if they can get it - failing that it has already turned up for sale on eBay. In the meantime though, here is the lead video introduced by Wayne Coyne, and the other 3 tracks:
 
The Flaming Lips and Lightning Bolt - “I Want To get High But I Don’t Want Brain Damage”
 

 
The Flaming Lips and Lightning Bolt - “I’m Working At NASA On Acid”
 

 
Lightning Bolt and The Flaming Lips - “NASA’s Final Acid Bath”
 

 
Lightning Bolt and The Flaming Lips - “I Want To Get Damaged But I Won’t Say Hi”
 

 
Calling all budding horror directors! Looking for a unique, bizarre and terrifying mask to adorn the face of your killer? Then look no further - this is the Elliot’s Costume & Fancy Dress shop of Belfast’s “meerkat” mask. It’s based on the really fucking annoying “Compare The Markets” adverts in the UK. Here’s one:
 

 
So you see, it would also be giving your killer a satirical, anti-consumerist twist. And horror critics love that kind of shit.

The mask can be yours for only £8.50GBP - if interested, you can order it here. 
 
Thanks to Patrick Baston.
 

 
The song is depressingly conventional. It could be Shania Twain or the Dixie Chicks - you know, MOR country music. But, the video is a slick machine, sexy, beautifully shot, and so outclasses the song that they seem to come from different universes all together.

This is what happens when an artist is expected to constantly up the ante while running out of fresh musical ideas but still has a terrific sense of theater. Huge disconnect.

Oh, I nearly forgot…the song is called “You And I” and it was produced by Mutt Lange, who a DM friend just reminded me is Shania Twain’s ex. Thanks Tim. Now it makes a little more sense, but it doesn’t make it any better.

Brian May on guitar.

Oddly, I can’t find any information as to who directed this mini-epic. It’s like a mash-up of Peter Greenaway, David Fincher and, as DM reader Framk noted, Matthew Barney.
 

 
Mexican psychedelic garage rockers El Ritual play “American Woman” in the 1972 movie Bikinis y Rock.

Where are the bikinis? All I see is a bunch of stoned freaks and a shitload of hair.

El Ritual were a short-lived but seminal rock band in the early Seventies Mexican music scene. They sound great in this clip.
 

Chatelain, Hazlewood and Robinson.
 
Filmed in May of 1968 for French TV show Bouton Rouge, this short documentary gives us an intimate look at Lee Hazlewood during a recording session for the song “She Comes Running” at CBE studio in Paris. It’s nicely done.

CBE is a highly regarded recording studio founded in 1966 by Georges Chatelain. State-of-the-art when this footage of Hazlewood was shot, CBE was the first studio in Europe to feature eight track equipment and most of France’s premier pop stars recorded there.

During the video, Hazlewood addresses a person named Jack (who he also calls “the boss”). That’s Jack Robinson, an American who had moved to Paris in the Sixties and ended up studying engineering and production under Chatelain’s tutelage. He co-produced “She Comes Running” along with Hazlewood. Robinson still continues to produce music in Europe, unstoppable at the age of 73.

Lee Hazlewood at work with James Burton on the red Telecaster; Hal Blaine on drums.
 

 
Thanks to Ronnie Sweeting for the Burton and Blaine info.

 
The destruction of a dictator’s likenesses has always proved symbolically powerful, whether it’s a Haitian kid taking a pick-axe to a Jean-Claude Duvalier poster in 1985 or Libyan protestors shoeing the televised image of Muammar Gaddaffi more recently.

It’s been a spring and summer of brave protest in Syria, and a bloody crackdown by the country’s president Bashar al-Assad has resulted in the deaths of more than 1,600. A squad of Madrid-based Syrian expatriates have taken a cue from fellow protestors in the Arab world and offered their own show of solidarity.

No portrait of Assad in a Syrianair office is safe now. Oh, and sorry, trash-bin.
 

 
A strange and totally riveting performance by Lou Reed of “Walk On The Wild Side” at the Olympia Theater in Paris on September 17, 1973.

This clip is not new to Youtube but this version has by far the best sound… and even then it leaves a lot to be desired.

Looking like a junkie mime or proto-type for The Crow, Reed jerks off the mic and lackadaisically swivels his hips like a Times Square hooker while appearing completely in his own world. At the top of the song, Reed could be imagining himself sitting on a street corner on Long Island as a young kid, bobbing his head to “Walk On The Wild Side’s” doo-wop vibe.

Lou had a certain battered beauty at this point in his life. Transformer had been released a year prior to this show and Lou was experiencing phenomenal success in Europe. Never completely comfortable on stage, lacking the slickness of Bowie or manic energy of Iggy, Reed was compellingly awkward in many of his live performances. Without The Velvet Underground to bounce off, he seemed almost frightened at times.
 

 
While British MP Tom Watson was discussing recent developments in “Hackergate” on Channel 4 News today, a strange, unidentified object sped through the back of frame, over the Houses of Parliament. Though best known for their hard hitting, intelligent journalism rather than any extraterrestrial frivolity, Channel 4 News still wondered if they had accidentally captured a UFO on tape? Or, perhaps the Murdochs leaving the country? What do you think?
 

 
Via Channel 4 News