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What a tease: Siouxsie and the Banshees’ awkward appearance on goofy public access TV in 1980
06.14.2017
09:47 am
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New York Dance Stand was a music and dance public access show on New York cable in the early 1980s. While much of its history has been lost to the sands of time, a few video clips have resurfaced over the years. This one features an appearance by Siouxsie and the Banshees on November 25th, 1980. The group was in the city for their very first US tour, which was not well attended due to lack of US distribution by their label, Polydor. (During the interview Siouxsie mentions that just 60 people showed up for their show in Boston.) A performance at Club 57 at Irving Plaza occurred on the 21st, four days before this was shot. Kaleidoscope was released earlier that year and reached #5 on the UK charts.

Watch Siouxsie and the Banshees premiere their single “Israel” along with Kaleidoscope‘s “Christine” below. Despite the lip sync, the awkward interaction between goofball host Carl Bloat and Siouxsie Sioux makes it well worth it. The goth queen teases and backcombs her spiky black hair throughout the interview.
 

 
More ‘New York Dance Stand’ after the jump…

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Posted by Bennett Kogon
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06.14.2017
09:47 am
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So here’s a ‘Yellow Submarine’ bass and of course WE WANT IT
06.14.2017
09:33 am
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The Painted Player Guitar Co. is a British team of luthiers and artists located in Basingstoke. They do some truly elite work, making dazzling guitars and modifications, offering instruments with vivid pop-art paint jobs, gorgeous custom refinishes, and relic work that closely matches the worn finishes of famous individual guitars played by the likes of David Gilmour, Rory Gallagher, and Andy Summers. The galleries on their web site are a droolworthy trove of guitar porn, but there’s one item in particular that amazes above all others: this bass themed after the titular vessel in the triptastic 1968 animated Beatles film Yellow Submarine.
 

 

Truly amazing in every way, this original concept from The Painted Player puts the legendary ‘Yellow Submarine’ quite literally in your hands!  Beautifully hand crafted, this stunning bass guitar utilises a combination of a fully hand-crafted Alder body with Precision Bass influences while featuring hand-painted artwork that brings the whole piece to life.  A musical icon as well as an animated legend, the ‘Yellow Submarine’ Bass is a must for the dedicated Beatles fan and the avid bass player alike, those who dare to stand out on stage.

 

 

 

 
The bass’ body is a custom build, and its neck, bridge and electronics are harvested from Fender Precision Basses—and BOY, I’d sure love to find the dumpster where they chuck the discarded bodies. Thoughtfully, Painted Player offers budget-minded players and enthusiasts who just want these as objets d’art and so don’t care if the electronics are top-notch the option to have their submarine made from a less expensive bass, though due to the custom built body and hand painting, even the entry level version is hardly cheap—low end models start at £1,299 (about $1650 USD).

Painted Player also offer much less elaborate but still quite stunning Yellow Submarine themed Les Pauls.
 

 
More after the jump…

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Posted by Ron Kretsch
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06.14.2017
09:33 am
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Mr. Bungle’s Trevor Dunn covers Captain Beefheart with post-hardcore duo Qui
06.14.2017
09:27 am
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Not so very long ago, in those lighthearted summer days of 2016, when our biggest worries were wondering which celebrities would be next to die young and weirdos dressing up like clowns for midnight strolls, Dangerous Minds told you all about Qui, the fascinating but underrated experimental post-hardcore duo of guitarist Matt Cronk and drummer Paul Christensen. The pair have parlayed some favorable friendships into jaw-dropping musical collaborations, even ensorcelling the Jesus Lizard’s David Yow to serve as their frontman for a spell in the ‘oughts, releasing in that trio configuration the wonderful Love’s Miracle. In an email exchange for that article last year, Cronk told us about recording their How to Get Ideas E.P. with Melvins drummer Dale Crover, and in the process he let the news slip about a future project with Mr. Bungle/Melvins Lite/Trio-Convulsant bassist Trevor Dunn.

That project—a full length album inventively titled Qui w/ Trevor Dunn—is now on the horizon, and it includes a ripping little cover of “Ashtray Heart,” a standout from the last truly great Captain Beefheart album (IMO YMMV), Doc at the Radar Station. It’s a really great cover; I won’t be so ridiculous as to say it surpasses the original, but it contemporizes the source material without shedding or shitting on everything that made the original a stunner, and it features contributions not just from Dunn, but from main Melvin King Buzzo and Cows bassist Kevin Rutmanis.
 

 
In a recent phone conversation, Cronk talked about hooking up to work with Dunn:

In 2012 we were recording our last LP, Life, Water, Living, with Toshi Kasai and Dale Crover, and Trevor was in Los Angeles during that. Dale and Toshi played him the record and he really liked it. After that, it was really Toshi pushing us to do something with Trevor, saying how we should hit him up, and he just gave me Trevor’s number. So I just hit him up, said “hello,” and asked if he would be interested in doing something. He got back right away, and I believe he actually said “fuck yeah!” So we did like a year of writing the whole record with him in mind to play on it, making practice demos and sending files back and forth—he lives in New York. And then last year we got it all together. We booked a few days in the studio, he came, and we banged it out. It was really fun, Trevor is an incredibly nice guy. It was really cool, apart from emailing I didn’t really know him from Adam, but he was charming, friendly, and easygoing. We were a little nervous, to be honest, he’s a bit of a giant to us—I’ve been listening to his stuff since I was in high school, but we all hit it off right away and had a lot of fun in the studio. It was a real honor to get to play with yet another of our musical heroes.

Cronk also talked about how Qui chose to cover “Ashtray Heart”:

That’s my favorite song. My father was a big Beefheart fan who used to rock me to sleep to that stuff when I was a baby! And Doc at the Radar Station is my favorite Beefheart record. When Paul and I first started goofing off together 20-plus years ago, the drumming on that record, the sort of broken, angular, jagged drumming was something we really liked, and something we’ve toyed with a lot over the years. We really wanted to play a Beefheart song and “Ashtray Heart” seemed like the one we could do with the instrumentation we had for this album. My dad hasn’t heard it yet, and he’s really been chomping at the bit, like “WHEN’S THAT RECORD COMING OUT?”

Well, Matt’s dad, the album isn’t going to see the light for a couple of weeks, but we can hook you up reeeaaal gooood on the Beefheart tune, after the jump…

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Posted by Ron Kretsch
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06.14.2017
09:27 am
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A Billy Nicholls LP recently sold for $10,000, so, um, who the hell IS this guy???
06.13.2017
03:01 pm
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I have a pretty strict rule for record shopping. Anything that catches my fancy can go in the bag for any reason, but there’s a $30 per platter limit. Not $31.99, not $30.01, $30, period. This applies to new AND used vinyl, and it’s kept me on the terra firma side of some potentially stupid financial cliffs. The specific figure was a compromise I devised to let me possess an original copy of PiL’s 3X12” Metal Box so long as I got one VG+ for $90 or less (which wasn’t so difficult—in fact I landed one on a routine dig for $75), but to keep me from impulse-spending idiotic cash on rarities I would probably barely listen to and only keep around as useless trophies of successful hunts.

Hence, I find the very idea of a record worth thousands of dollars utterly absurd and even a bit sickening, especially when the CD version can be had for a buck or two—sorry “connoisseurs,” but if you care $1,000 more about the format than the song, you’re not a music lover, you’re a baseball card collector—but the obsession still fascinates me, because I know I’m a part of the pathology. The main difference is in the degree of restraint to which I hold myself, and not because I’ve such a strong and resolute character, but because I know I don’t.

So I’m always interested to read the blog posts on discogs.com running down the highest sale prices logged in its music media marketplace. Oftentimes such sought-after items are deep obscurities of genuine archival interest, but a lot of the time it’s some asshole who unaccountably blew over $1,600 (actual recent sale price) on an O.G. copy of Earth A.D. just because he could (and it’s invariably a “he”), even though multiple subsequent pressings are plentifully available in the $5-10 ballpark. But recently a staggering $10,300 became the new going rate for Would You Believe, the 1968 debut album by a British songwriter named Billy Nicholls.

Part of this is accounted for by the particular copy’s condition (excellent), and part by extreme scarcity—it was never actually released, so only about 100 copies exist, all of them promos, and one went for £7,312 (ballpark of $9,000 USD) in 2009. Nicholls himself isn’t exactly an unknown figure, in fact his decades-long career is still going. His “I Can’t Stop Loving You (Though I Try)” had been a hit in the ‘70s, ‘80s AND ‘oughts by artists as head-swimmingly diverse as Leo Sayer, The Outlaws, Phil Collins, and Keith Urban, and Nicholls has often collaborated with Pete Townshend.
 

 
But enough about his behind-the-scenes bona fides, the story of Would You Believe is a quite captivating one. Nicholls’ talents were singled out by erstwhile Rolling Stones manager Andrew Loog Oldham after his falling-out with that band, and like Chas Chandler going all in on Jimi Hendrix, Oldham devoted significant energies to making Nicholls a very big deal. From The Rising Storm:

The single [“Would You Believe”] has been described as “the most over-produced record of the sixties”, and with reason; a modest psych-pop love song, it’s swathed in overblown orchestration including baroque strings, harpsichord, banjo (!), tuba (!!), and demented answer-back vocals from Steve Marriott. A trifle late for the high tide of UK psych, it failed to trouble the charts. Unfazed, Oldham and Nicholls pressed on with the album, Nicholls providing a steady stream of similarly well-crafted ditties and a bevy of top-rated London session men providing the backings, thankfully with somewhat more subtlety than on the prototype cut. The album was ready for pressing just as the revelation of Oldham’s reckless financial overstretch brought about Immediate’s overnight demise, and only about a hundred copies ever made it to wax, most of which somehow surfaced in Sweden. The album became one of the mythical lost albums of the sixties, and original copies now fetch over a grand in GBP.

The record was intended by Oldham to be an acutely British answer to Pet Sounds—evidently nobody told him about Sgt. Pepper’s Lonely Hearts Club Band—and a look at the session details confirms that Oldham was NOT fucking around. Studio musicians for the sessions included members and future members of bands like The Small Faces, Humble Pie, and Led Zeppelin, plus Stones/Kinks pianist Nicky Hopkins. But not unlike The Kinks Are the Village Green Preservation Society, its Edwardian harpsichord whimsy, sunshiney loopiness, and baroque production saw a release date just a hair too late for the initial psych moment, after rock music had moved on to harder stuff, so it’s hard to say it would have done well even if it had been released (Village Green is rightly regarded as a classic NOW, but remember, it totally tanked in its day).

Continues after the jump…

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Posted by Ron Kretsch
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06.13.2017
03:01 pm
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There’s a riot going on: Wayne Kramer has uploaded some ‘long lost’ footage of the MC5 to YouTube
06.13.2017
12:47 pm
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Don’t look now, but it seems that Wayne Kramer, of the legendary MC5, has suddenly discovered his YouTube account and decided to use it to showcase some killer footage of the band from its heyday. Over the last three weeks he’s uploaded a handful of videos on his Facebook presence as well as his YouTube account. It’s going to be worth keeping an eye on his account for the next weeks and months.

The earliest video from a chronological perspective is a short compilation of DASPO-CONUS footage of the 1968 Democratic National Convention. DASPO was the Department of the Army Special Photographic Office, the “CONUS” bit means “Continental United States.” DASPO recorded footage from the Vietnam conflict as well. This is a true compilation—there’s no audio and it’s just a mishmash of different images, quite interesting actually even if the MC5 only pop up for a few moments. Around the 29-second mark there is a clip of a folk singer performing in the middle of a crowd of people—the singer is Phil Ochs—and then a few seconds later, there’s the MC5 in a similar setting. As I said, there’s no audio: unfortunately it seems that the Army was callously insensitive to the needs of audio bootleggers. According to Kramer, this footage has never been published before. The YouTube caption indicates that the footage has been sync’d to “Wayne Kramer’s original underscore musical compositions.”
 

Fred Smith in his Sonic Smith suit
 
The second clip, and certainly the most satisfying from the perspective of an MC5 fan who wants to rock out, was shot at Wayne State University’s Tartar Field on July 19, 1970. We actually posted a version of this footage last year. The band plays “Ramblin’ Rose,” “Kick Out the Jams,” being the first two songs off of the MC5’s first album Kick Out The Jams from 1969 and then “Looking at You” from the 1970 follow-up Back in the USA. This was the first-ever live performance of that song, it seems. This concert was recorded by multiple cameras, and it looks and sounds great.

Rounding out the trio is a fan-shot video taken at the Gibus Club in Paris in 1972. The video is pretty muddy but the audio is not so terrible. Noteworthy here is that Fred “Sonic” Smith is wearing his superhero getup—as Kramer writes, “Enjoy Fred in his Sonic Smith suit!” Only two songs here but both are a treat: “Kick Out the Jams” and “Black to Comm,” one of their perennial jams going back to when the band were all still teenagers.

Check out the newly uploaded footage after the jump…....

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Posted by Martin Schneider
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06.13.2017
12:47 pm
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Average Joes, not Fabios: Regular people recreate cheesy romance novel covers (and it’s perfect!)
06.13.2017
10:56 am
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The longing gazes and lusty embraces. The bodices bursting with boobies. And Fabio. Lots and lots of Fabio. Such are the elements of your standard issue romance novel cover.

Photographer and photo editor Kathleen Kamphausen recreated those cheesy romance novels often see in grocery stores, with some regular-looking people. There’s not a single Fabio in the bunch! 

It looks like everyone involved in the photoshoot had a blast. The results are pretty damned funny.


 

 
More after the jump…

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Posted by Tara McGinley
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06.13.2017
10:56 am
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Slave to Love: The strange fetishized romance between a Victorian Gentleman and a Servant
06.13.2017
09:54 am
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Servant and Master: Hannah Cullwick and Arthur Munby.
 
Arthur Munby was a lawyer, civil servant, flâneur, and minor poet. Hannah Cullwick was a maid of all work—the lowliest of all servants. When they met each other by chance on Oxford Street, London in 1854, the pair began an obsessive and fetishistic relationship that lasted for over fifty years—until Hannah’s death in 1909.

Munby was a middle-class gentleman. He was therefore expected to perform his role as a gentleman by the class codes of Victorian society. Munby was respectable and seemingly decent but he had a dark secret—he was a voyeur who was deeply aroused by the appearance of grimy working-class women. He loved their hard, masculine shape. Their muscles, their scars, and deformities. He had one particular obsession for poor women who had lost their noses through accident or by disease. Munby photographed many of these women claiming it was part of his “studies” into working-class life.

Hannah was of yeoman stock. She started work as a servant girl at the age of fourteen. Her father had run several businesses which had failed. This meant Hannah was sent away to work as a drudge. But Hannah had a fetish for work. The dirtier, nastier, more degrading, the more she enjoyed it. She often stripped naked to clean out chimneys, sitting on a rafter high up in the chimney surrounded by and covered in hot smoldering soot.

It seemed this pair were somehow destined to meet.

There were two important events that pushed Hannah towards her relationship with Munby. She often read fortunes using tea leaves for her fellow servants. One day she saw the face of her future suitor—a respectable, bearded gentleman. It seemed highly unlikely that Hannah would ever enjoy a relationship with such a man, but she felt it might one day happen. The second event was when she attended a performance of the theatrical spectacle The Death of Sardanapalus. Based on the celebrated poem by Lord Byron, The Death of Sardanapalus tells the story of the love of a slave Myrrha for the weak king Sardanapalus:

Master, I am your slave! Man, I have loved!—
Loved you, I know not by what fatal weakness,
Although a Greek, and a born a foe to Monarchs—
A slave, and hating fetters—an Ionian,
And, therefore, when I love a stranger, more
Degraded by that passion than by chains!
Still I have loved you…

Hannah identified totally with Myrrha—who although a slave was free in her love.

On May 26th, 1854, Munby stopped Hannah on the street and quizzed her about her work as a servant. Hannah recognized Munby as the face she had seen foretold in her tea leaves. It was literally a love at first sight. Munby asked Hannah to write to him describing in exact detail every aspect of her work. Munby expressed an interested in the more degrading, demeaning, and physically dirty details—how Hannah’s skin would be smeared with soot and grime, how the work exhausted her.

Hannah wrote Munby every week. She also kept a diary, which she read to him when they met. Together they played out roles. She called Munby “Massa” and wore a dog’s collar to show she was his slave. He measured her biceps (fourteen inches) and hands (four inches) and allowed himself to be carried by her around his home as if he were a child or baby. Hannah also had a fetish for cleaning Munby’s shoes with her tongue—claiming she could tell where “Massa” had been by the taste of the soil on his soles.

Munby photographed Hannah in her various roles—as a maid, blacked-up as a chimney sweep, dressed as a man, and as a middle-class lady in a fine dress. Munby’s love for Hannah led to his proposing marriage. Hannah was at first against this suggestion as she felt it would finish her sense of empowerment over Munby. Eventually, she relented and the couple married in secret in 1873.

But Hannah was stifled by their marriage and the pleasure she had once found in being a servant, a slave to Munby was gone. She left their home and returned to work as a servant in the north of England. However, their secret, obsessive relationship continued well into old age with secret meetings and a flurry of letters sent between the two.

During one of their last meetings, Hannah prostrated herself in front of Munby and licked his boots clean. Munby was embarrassed and pulled Hannah up to kiss the “sweetness of her lips—her country lips which [had] the velvet touch.” Though they unquestionably loved each other, it seems unlikely that their relationship was ever consummated. Their sexual pleasure appears to have been solely derived from their role-playing and the strange power games of master and servant.

As Munby was a respectable middle-class man, and Hannah a lowly servant, their taboo relationship and their marriage remained secret throughout their lives. Hannah died exhausted and senile in 1909, Munby died the following year. At the reading of his will, the full story and extent of their love for each other was revealed. A box containing hundreds of photographs, letters, and diaries between husband and wife was offered to the British Museum who refused it on moral grounds. This box was then given to Trinity College, Cambridge, under the proviso it was not to be opened until 1950.
 
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Hannah cleaning boots.
 
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Hannah blacked-up from cleaning the soot from chimneys.
 
More photographs of Hannah Cullwick plus a short film, after the jump…
 

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Posted by Paul Gallagher
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06.13.2017
09:54 am
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Blood and Steel: Punk meets skateboarding at the Cedar Crest Country Club
06.13.2017
09:30 am
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The invention of the polyurethane wheel in 1972 literally reinvented the wheel for the modern skateboard. While Team Zephyr etcetera were tearing up the empty pools of the west coast, it wasn’t for another decade that underground skateboarding began to seep into the cul-de-sacs of suburban America. More than just a surfer fad, skateboarding echoed the defiant self-expression of the nation’s youth subcultures. So it was no surprise then, that the sport often gravitated toward the thriving punk movements of the era. Ever the locale for political discomfort, Washington DC under Reagan was a mecca of punk and hardcore, with bands like Minor Threat and Bad Brains setting the nation’s pulse. Obviously, the skate culture came along with it.

The only problem was, in DC there was nowhere to skate. The short-lived scene saw a demise in the mid 80s, with the closing of the city’s only parks and backyard ramps. That was, until the Cedar Crest Country Club. Located in the middle of a forest in Centreville, Virginia, the half-pipe was built in March 1986 on the property of a golf club. The property owner’s son was given free-reign on expenses, resulting in the construction of a ramp like none other. Besides its behemoth-like qualities, the most notable feature of the ramp was its steel bottom, which ensured maximum speed and higher air time. There was nothing else in the country like it at the time, and it was free to ride if you could make the hour trek outside of the District.
 

Tony Hawk skates Cedar Crest
 
Before long, people from all over the world were dropping in at CCCC. Some of the world’s greatest skaters, like Tony Hawk and Bucky Lasek, all came out to skate. Camping was allowed, and people started showing up for the punk shows they had on the ramp. Bad Brains played, along with Government Issue, GWAR, and Scream (with a young Dave Grohl on drums). Fugazi was scheduled to play CCCC for one of their earliest shows, but the cops broke it up during the opener’s set (evening skating resumed, however).
 

 

 
Continues after the jump…

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Posted by Bennett Kogon
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06.13.2017
09:30 am
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Home for sale in Arizona is move-in ready IF YOU’RE A CRAZY CAT PERSON
06.13.2017
09:23 am
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These may not be particularly original observations, but two things are true of cats—they find more of interest in our houses than we do, and they’d be happier still living in labyrinths of cat-sized Habitrail tubes. But what if there was a middle option—what if you needed a human house decked out entirely for the comfort and enjoyment of cats?

If you’re OK with living on the outskirts of Nowheresville By God Arizona, you’re covered.

A property for sale at 669 Stanford Drive (Country Road 8235) in unincorporated Concho, AZ, is convenient to expanses of hot dirt and little else. But you’re not moving here to be right in the mix, you’re here for your furbabies (and if you unironically call your pets that I’m not 100% sure we can be friends). Every room in the place is essentially Pee-wee’s Playhouse for cats. I’m powerless to further describe the 2,500 sqft of eyebleedy cat toy that is this house, I can only let the realtor’s photos do the talking.

See the effects of untreated toxoplasmosis on the human mind, after the jump…

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Posted by Ron Kretsch
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06.13.2017
09:23 am
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The ‘sexy’ hairy chest one-piece swimsuit
06.12.2017
03:38 pm
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You know, I just might buy one of these “hairy” one-piece bathing suits. Someone has to, right? I nominate myself. WHY not?

(I can think of tons of reasons, I’ll bet you can, too.)

There’s not too much information about this swimwear. The suits are $44.95 and sizes range from XS - XXL here.

Enjoy!


 
via Anorak

Previously on Dangerous Minds:
Pentagram bikini and one-piece bathing suits: Gothy swimwear for witchy women
You sexy devil: Satanic pentagram bikini

Posted by Tara McGinley
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06.12.2017
03:38 pm
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