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‘Friday Night Tykes’: Shocking youth sports docu-series exposes gladiator-style kiddie football
08:46 am


Friday Night Tykes

As passionate fans of the Friday Night Lights TV series will tell you, you don’t need to care that much about football itself to care deeply about the carefully drawn characters of that much-loved small town drama. Something similar can almost be said of the Esquire Network’s returning youth sports docu-series Friday Night Tykes, but there’s a frankly shocking level of car crash brutality—that’s all being egged on by the “adults” in charge—that completely subverts what you think this show is going to be all about.

Friday Night Tykes focuses on the teams of the Texas Youth Football Association, the most popular, competitive and well-supported league of its kind in the United States. TYFA also has a reputation for controversy, and for the violent intensity of its pre-teen players, some who are as young as eight or nine. There is no size limit for these kids, either. The bigger the better. And did I mention the crazy parents? TYFA’s got its share of lunatics in the bleachers.

As season two starts, we get a recap of some of the most eyebrow-raising moments from last year. Answering the big question in many viewers’ minds (“WHAT IN THE HELL ARE THESE PEOPLE THINKING?!?!?!”) some of the coaches from the first series are gone, one for flagrantly encouraging viciously unsportsmanlike behavior (all of which this psycho was, for some reason, completely unashamed to allow the Esquire Network’s cameras to capture). There is a “welcome to the Terrordome” element to the TYFA—these little kids are encouraged to act like MMA gladiators. Tackle ‘em sure, but make sure to hurt ‘em real bad when ya do it. In TYFA, the all-American sport is sport is often enacted with the sort of violence associated with backyard wrestling. They just need to outfit their eight-year-old fullbacks with 2x4s and nunchucks and stop beating around the bush.

To be honest, I was left mouth-agape by this show within the opening moments. The thing that will probably occur to you as you watch it, as it did to me, is that these people are willing to subject their own children to something that is not really a great distance from cagefighting, but cagefighting done with little kids who are crying and puking! It’s so twisted! Some of the parents are so harsh, aggressive and downright nasty towards their children in public that you don’t have to use your imagination much to wonder how they might behave in the privacy of their own homes.

A narrator asks “But how hard is too hard? [Pediatricians warn against any sort of full body tackle until a child is at least 14 years of age] How far is too far? [Just wait!] Is youth sports truly about the kids, or is it truly about the parents?”

That last question is left shrewdly unanswered by the filmmakers.

Watch the entire first episode of the Esquire Network’s second season of Friday Night Tykes here.

Below, the trailer:

Posted by Richard Metzger | Leave a comment
The amazing, massive, oceanic psych of the amazing Amazing. A DM premiere
07:46 am


The Amazing

I love it when a record takes me unawares and blows me away. It depends so much on context, sometimes a great album will just not impress you at all because you’re hearing it in the wrong situation, but when the stars align for a record and its listener, daaaaaamn.

So here’s one—I took a pretty long car trip in December, alone, and in advance of my leaving, I burned about a dozen CDRs of downloaded music I’d been meaning to listen to but hadn’t gotten around to. One of those discs was the advance promo of Picture You, a forthcoming LP by a Swedish band endowed with the delightful name the Amazing, about whom I knew nothing except that they sported the guitarist from the psych-prog band Dungen, whom I like quite a lot.


I threw that disc in when I was a few hours into the trip, driving through the hills of southwestern PA, a stunningly beautiful place in autumn when the leaves are changing, and a stunningly desolate place in winter when the leaves have fallen off. The Amazing were absolutely perfect there, and I fell straightaway in love with the album. This may not be the most precisely apt description, but it’s the one that hit me immediately, and I’m really stuck on it. There’s a lot of the dreamy, soaring psych of Dungen to them (no surprise), but airy, free, untethered, and in parts, it has a lot of the ren-faire folkiness of Midlake or Fleet Foxes to it, tendencies that come through strongest in “Circles” and “The Headless Boy.” The Amazing’s music has a massive, oceanic spaciousness to it, and amid Pennsylvania mountains full of unsullied snow and dormant trees, its lengthy, mind-bending, powerfully moving explorations just flat out dazzled me, and I’ve given Picture You plenty of spinnage since that roadtrip. The rest of the world will be able to procure a copy and see exactly what I’m splooshing about in mid-February, but some of it can be heard now. Three weeks ago, the band published “The Headless Boy” to Soundcloud.

The official video for the album’s title track, “Picture You,” was released a week and a half ago.

And lastly, today it is DM’s privilege to premiere the song “Safe Island,” an expansive and wistful piece that turns on a dime from gorgeous dream pop into a brain-melting noise trip.

Posted by Ron Kretsch | Leave a comment
Andy Warhol shoots and paints Farrah Fawcett

If it’s true that all’s fair in love and war, then it’s the share of the spoils after death and divorce that cause the most problems.

When Charlie’s Angels actress Farrah Fawcett died in June 2009, her will donated all of her art collection to the University of Texas—her old alma mater where she had studied before becoming an actress. Amongst Farrah’s treasured possessions was a portrait painted by Andy Warhol in 1980. This was in fact one of two paintings Warhol had made of the actress—the second was very soon to become the focus of a trial between the University of Texas and Fawcett’s ex-lover, the actor Ryan O’Neal.

O’Neal’s claim to the second painting rested on his testimony that he had first introduced Farrah to Warhol and had asked him to paint Fawcett’s portrait. He also claimed he had asked Warhol to make a second portrait so he and Farrah could have one each.
Andy Warhol shoots Farrah Fawcett.
In 1997, Fawcett split-up with O’Neal after she caught him in bed with another woman. O’Neal kept his portrait of Farrah above his bed, but as his girlfriends found the picture a tad off-putting, he asked Fawcett to hold on to it for him.

This Fawcett did until her death, when O’Neal removed the 40-inch by 40-inch silkscreen from her house. This action led to a trial between O’Neal and the University in December 2013 as to who was the rightful owner of the Warhol painting.
During the trial lawyers acting on behalf of the University of Texas attempted to discredit O’Neal’s story by using an edition ABC’s 20/20 where Fawcett is apparently seen asking Warhol to paint her portrait and is later filmed by the ABC news crew as Warhol snaps thirty Polaroid pictures of the actress in preparation for making the portrait.

O’Neal did not dispute that one of the Warhol’s belonged to his former long-term partner, it was the second painting that he claimed was his. Without any evidence to dispute this claim, the University were unlikely to win the case. O’Neal upped the ante by telling the jury he spoke to Farrah’s portrait every day:

“I talk to it. I talk to her. It’s her presence in my life and her son’s life. We lost her. It would seem a crime to lose it.”

O’Neal was on an operating table having a skin cancer removed when he heard the jury’s verdict that he was the rightful owner of the painting by nine jurors to three. Though the painting has an estimated worth of $12 million, O’Neal said he would never sell the picture as it meant too much to him, and it will be handed-down to their son Redmond after he dies.

This is that episode of 20/20 which featured so prominently in the trial. Originally made as a profile of Andy Warhol this short documentary does give some insight into the pop artist’s working techniques and has some typically Warholian moments.

Part II after the jump…

Posted by Paul Gallagher | Leave a comment
Apparently David Cronenberg is a huge ‘Dilbert’ fan
03:29 pm


David Cronenberg

I just wanted to collect a few related data points here on the theme of David Cronenberg and Dilbert, the comic strip.

Cronenberg has probably directed more impressive and awesome movies than any living English speaker. Let’s list a few of the standouts, of which there are many: Rabid, Scanners, The Dead Zone, Videodrome, The Fly, Dead Ringers, Naked Lunch, Crash, eXistenZ, A History of Violence, Eastern Promises, Cosmopolis, and Maps to the Stars.

From there we pivot to Cronenberg’s interest in Dilbert—indeed, intense appreciation of Dilbert. The evidence is incontrovertible.

First we have this item from the November 24, 2014 issue of New York Magazine. The heading reads “The Best Gift I Ever Got Was a….” Cronenberg’s answer went like this: “Every year, my kids get me a ‘Dilbert’ calendar. It’s extremely funny and sophisticated and accurate—very philosophical for a daily cartoon. I really need that calendar every year. It keeps me going.”

In this recent interview with Scene Creek, Cronenberg mentioned Dilbert in a positive way. Deflecting criticisms that Maps of the Stars is an “attack” on Hollywood, Cronenberg insists that he did not think of it that way, then says, “That’s not unique to Hollywood. Any human endeavor has those aspects. Look at various forms of pop culture that can skewer any business, be it Wall Street, or Silicon Valley, or Dilbert, the cartoon.” Hmmmm.

Then, just about a year ago, Cronenberg accepted a Lifetime Achievement Award at the Canadian Screen Awards, and in his speech, he related the entire content of a Dilbert strip that first ran on February 15, 2001. Here is that strip:

You can watch a clip below of Cronenberg accepting the award—unfortunately, it’s a phonecam video of the user’s TV set, but you can still make it out. After introductions from Jay Baruchel and Viggo Mortensen and a three-minute montage of Cronenberg’s movies that WILL make you want to watch one of his movies, Cronenberg took the stage and eventually mused on the possibility of an Afterlife Achievement Award, and then said this:

So as I would always do in a situation like that I turned to the comic strip Dilbert for guidance. Dilbert has an evil, vicious dog named Dogbert. Dogbert says to him, “The key to happiness is self-delusion, so don’t think of yourself as an organic pain collector racing to oblivion.” And Dilbert says, “Well, actually, I hadn’t had that thought until just now.” And Dogbert says, “Don’t blame me. I said ‘Don’t.’” And suddenly I thought, yeah, if it’s human delusion that allows you to think that there’s an afterlife, well I’m human and I’m certainly deluded.

So David Cronenberg loves Dilbert. I honestly don’t know whether this changes my perception of Dilbert or my perception of Cronenberg…..

via Waxin’ & Milkin’

Posted by Martin Schneider | Leave a comment
If Steve Buscemi and David Bowie had a lovechild, in one animated GIF
03:10 pm


David Bowie
Steve Buscemi

Remember that animated GIF by UK-based illustrator Helen Green showing all the style incarnations of David Bowie throughout his career? It made the rounds on the Internet a few weeks ago. Dangerous Minds blogged about it here.

Well, someone—someone with clearly too much time on their hands—swapped out Bowie’s face for Steve Buscemi’s and… voilà! You now have this ridiculous animated GIF of Steve Buscemi that shall reside on the Internet. Forever.

I’m not saying this is great or anything. I’m merely saying… here it is.

Via Everlasting Blort

Posted by Tara McGinley | Leave a comment
‘Revolt in the Fifth Dimension’: Spider-Man goes psychedelic in his weirdest adventure
10:56 am



“Revolt in the Fifth Dimension” is a 1967 episode of the old Spider-Man cartoon which was directed by a then 25-year-old Ralph Bakshi. It was in part fashioned from reused animation cells from an episode of a Canadian cartoon called Rocket Robin Hood that Bakshi had recently produced. Spider-Man was simply substituted for Rocket Robin Hood on the animation backgrounds. This el cheapo production method ended up yielding an episode of Spider-Man where the plot was more Doctor Strange than the kind of stuff everyone’s friendly neighborhood webslinger usually got up to.

The synopsis from

A dying scientist from the destroyed planet Goth in the deceased galaxy of Kamosah must land his crippled spaceship on Earth and, before expiring, entrusts Spiderman [sic] with a tiny but encyclopedic library of information, including the secrets of a dimension of living thought, whose one-eyed, skeletal ruler, Infinata, wants this information destroyed.


For reasons no longer specifically recalled, this was the only episode of the Spider-Man cartoon series that ABC either chose not to air in the first place, or when they repeated the series, although it lived on in syndication for years afterward. Reports are conflicting.

The possible reason they didn’t transmit (or rerun) this memorable episode might be how acid-tinged and druggy it is—not that the overt death theme and flying sperm wouldn’t have been enough!

It’s worth recalling that Bakshi, who famously animated Robert Crumb’s horny Fritz the Cat, the race fable Coonskin and the first big screen adaptation of Lord of the Rings, made a controversial episode of Mighty Mouse in the 1980s where the main character is seen charging up for battle by inhaling a “special powder” out of a flower!

Posted by Richard Metzger | Leave a comment
‘The Last Blast’: Big Black’s glorious ‘final’ show, 1987
09:18 am


Big Black
Sub Pop
Bruce Pavitt

By early 1987 legendary Chicago indie titans Big Black had put out one full-length album, Atomizer, and had another about to come out, Songs About Fucking (ask for it by name!), but then they called it quits. Their final show was in Seattle in August—August 11 to be exact—and Albini made sure it would be an event. According to Larry Reid, who would later become the curator of the Fantagraphics Bookstore,

Steve Albini contacted me in 1987 and asked me to produce Big Black’s final show. The abandoned Georgetown Steamplant with its antiquated industrial aesthetic provided the perfect venue—ironically, this steam powered electrical generating plant was then totally without electrical service, so we had to employ portable generators for power.


The show opened with ex-Blackout Roland Barker and friends creating an industrial soundtrack up in the catwalks of the enormous facility. Georgetown’s resident-poet Jesse Bernstein performed a provocative and wildly entertaining reading, then Big Black let loose with a ferocious set of their greatest hits, ending with a cacophonous finale of smashed instruments and explosives.

Soundgarden‘s Kim Thayil, Mudhoney/Green River‘s Mark Arm, and Nirvana‘s Kurt Cobain were all in attendance, while Sub Pop’s Bruce Pavitt was on the stage itself. As Reid astutely points out, “In hindsight, this show marked a metaphorical passing-of-the-torch to Seattle as the center of the country’s counterculture.” (You can see Cobain at the 31:14 mark in the video, as the band sets up to do “Dead Billy.”)

As the audience filed in, they were treated to the synthy stylings of Roland Barker and James Husted. There was no opener unless you count the angry poetic stylings of Steven “Jesse” Bernstein, a William Burroughs collaborator who sadly committed suicide four years later.

Pavitt has always called this his favorite show. The subject came up recently in an interview he did with the Guardian (to promote his latest book, Sub Pop USA: The Subterraneanan Pop Music Anthology, 1980–1988, which I highly recommend) when they asked him to isolate his favorite Big Black show:

It would have to be their quote-unquote final show—I think they might have played another one afterwards, but it was billed as Big Black’s final show. It was set in a steam plant in Seattle. They completely destroyed their instruments on stage. Completely over the top. One of the most insane shows I’ve ever seen. Just going for it. And of course lighting off a box of firecrackers at the end.


Here’s what Pavitt wrote at the time, in the September 1987 issue of Sub Pop. I love this bit of writing so much, it’s got the very recognizable (to me) GenX tone of fandom, to take a left turn and filter one’s adoration in a deadpan cloud of non-sequitur.

my favorite show ever
I cut my hand. I cut my hand trying to grab a piece of broken guitar. The strings of my hand cut into my hand and my hand bled on the stage. BIG BLACK was on the stage. BIG BLACK is God. BIG BLACK destroyed everything. I wanted a piece of BIG BLACK. Now my hand hurts. Because somebody tugged and sliced a guitar string into my hand. Now they have a big piece of BIG BLACK and I don’t. I now have a band-aid on my palm. It’s hard to write with a hole in your hand. Goodbye BIG BLACK.

According to Janice Headley, this video was mixed by Albini himself, which may explain why it sounds so good. It’s made the rounds for years under the title “The Last Blast.” Pedants will note that this ended up not being Big Black’s final show, but not by much—in 2006 they played four songs at Touch & Go’s 25th anniversary (but not “Kerosene”!) Anyway, here it is, firecrackers and all.


Posted by Martin Schneider | Leave a comment
‘Getting Racists Fired’ becomes Tumblr sensation
08:57 am



How can we stop racism? By better education? By enforcing laws? By outing racists on the Internet and then campaigning to have them fired from their jobs? This is how one group of activists have gone about the problem with their Tumblr site Getting Racists Fired.

Getting Racists Fired is where oeople can out racists by submitting their toxic and dumbass Facebook posts, tweets, comments and images to the site, where they are shared in a bid to shame the individual. The site then urges its followers to write and phone the individual’s employer to have them fired for clowning themselves in public with their racist social media pollution…

To this end, they have posted details of what to say when phoning a company about a racist employee:

Here’s a script of what you can say while calling employers

“Hello can I speak to a manager on duty? I have a complaint to make about one of your employees”

“Yes hello, my name is ______ and I’ve been seeing some very disturbing and disgusting racist comments coming from one of your works. Their name is ____”

” I know that your business is not one that would condone such behaviour. Considering that this person has your company listed as their workplace, they represent it and the ideals your company was built on. I would like to think that your company isn’t one that supports these vile comments and actions, and that’s the purpose of my call today”

“I was also wondering if there is an email address I can send the proof of these comments too, just to solidify these claims, if you find it necessary”

IF THEY SAY THEIR “Hands are tied” say this: “Well if you are not willing to take care of this issue at your level I will be forced to take it to your supervisor and go from there” that usually gets them. And if not ask for their supervisor’s number and call them.

It is absolutely vital that you CALL BACK to check on the status of the issue. Make sure you hold them to their word and that something is being done. Stay calm and cordial. Channel your inner slightly annoyed PTA soccer mom and you’ll be fine.

As a response to the tragic events in Ferguson the site also posted a template for “messaging/emailing businesses about their racist employees.”

___(place of business)___,

In light of recent events in Ferguson, MO, and the resulting protests that have spread out across the country and beyond (of which I’m sure management is aware), just as many people have come to light with violent words as there have those been with support.

I am writing to respectfully request that you do firm checks into the racist behaviors and words of your employees, who post their hate publicly on social media accounts that are tied with your place of business. For both moral and business reputation reasons, other businesses have begun to terminate and/or warn employees who exhibit racist behavior online.

Your employee, ___________, is seen to have posted racial slurs and racially charged discriminatory claims on their facebook wall. I’ve attached a screenshot that contains the posts in question. Warnings for racial slurs and racist language

Now some may think this all sounds like bullying, but when queried about this, and why they were seemingly “not even going after racists,” but “going after people who make so called ‘racist’ jokes or comments,” the moderators replied:

Unfortunately, this blog or the actions of its users, which amount to sharing their opinions about whether or not a racist or bigot should continue to be employed, don’t account to ‘ruining lives’. The majority of these individuals will resume employment without much to impede them since they’re white.

The thing about white sociopathy is that only a racist would find such statements to be ‘funny’ or amount to jokes. So your excuse that these are just innocuous comments or jokes are simply not the case, especially since these same individuals are ones that hold jobs and positions with which they can wield institutional power.

You deeply misunderstand the purpose of this blog. By holding individuals accountable to their actions in public, we force change and remove dangerous individuals from positions of power from which they could do harm. The nature of this blog makes it so that as moderators we exist solely in anonymity, such that it is impossible for us to be motivated by personal satisfaction. This is about how People of Color, together, are indeed powerful.
Spoiler alert: the vast majority of the world is not white. It is the tens of thousands of users here, following this blog, that are reading your inane message with varying mixtures of disgust, humor, and pity. Anyway, I’m going to go back to hopefully getting your ass fired.


There have also been questions raised over privacy and possible “stalking” one moderator replied:

First off what a submitter does is not stalking. Stalking is a very serious issue and shouldn’t be equated to this or thrown around lightly. Checking a couple public sources to get information freely given to report racist public behavior to an employer is nowhere near the sort of criminal behavior of stalking. Demanding accountability for racist actions and words is not stalking.

In the US people may have freedom of speech, but so do we and employers have every right to terminate an employee based on what they choose to say publicly. This isn’t “gettingracistsarrested” it’s “racistsgettingfired”

Getting Racists Fired does have one caveat:

Do not message, contact, threaten, harangue, or harass the individual, their family, friends, or acquaintances; only contact their place of work or study.

And one moderator has further clarified the intention of the blog:

We do not condone sending messages to the accounts of racist people submitted to this blog and suggesting to send messages to a family member was completely uncalled for. Neither me nor Mod N would ever want anyone to harass a family member or to harass or threaten the people in these submissions.

If you are looking for people to message and threaten then this is the wrong place to look. Harassing and threatening a person to the point of them deleting their page is not the intent of this blog and can very well be illegal. It also breaks links to public posts that are sent to employers and schools which is completely counterproductive to the intent of this blog.

We are looking for public accountability not for people to delete and remake their social networking pages.

Three hours after setting up the blog, Getting Racists Fired had 4,000 followers. Now they have more than 40,000.

Racism is a learned behavior. It can be unlearned too.

Below: some examples from the site of the kind of racism they are outing

Posted by Paul Gallagher | Leave a comment
‘Records Collecting Dust’: New doc on collecting vinyl with Jello Biafra and other fanatatics

As record collecting’s resurgence continues to grow, so does the sub-industry of proffering opinions about the phenomenon. Annual pro- and anti-Record Store Day think pieces seem to proliferate at a faster pace than vinyl sales themselves, the photo book Dust & Grooves is slated for a third printing this summer, and documentary films on the vinyl collecting hobby are growing in number, as well. That micro-genre’s 21st Century godfather is 2000’s Vinyl, noteworthy for predating the vinyl renaissance by several years, also noteworthy for painting a dismal picture of record collectors as sad old men who, having failed to connect with human beings in their pitiable lives, turn to hoarding media to fill an emotional gap or grasp at a sense of purpose. I frankly and flatly reject the implication that a love of collecting music lumps one in with doleful and socially isolated alterkakers who need suicide watch more than they need turntables. In mitigation, Atom Egoyan and Harvey Pekar are among the collectors interviewed, and that’s damn cool. Watch it here, if you like.

A more recent offering, 2008’s I Need That Record! offers a view of the obsession from a different sociological perspective, looking at the thinning of ranks in indie record stores (that retail niche has obviously rebounded since), seeking input from indie-famous crate diggers like Ian MacKaye and Thurston Moore, with a helping of righteous corporation-slapping from Noam Chomsky. And it offers a much more upbeat view of the collector.

And there is a new contender: Riot House has released musician Jason Blackmore’s (Sirhan Sirhan, Molly McGuire) hour-long Records Collecting Dust, which asks a laundry list of punk and indie luminaries questions like “what was the first record you bought?” “What was the last record you bought?” “If there was a gun to your head and you had to pare your collection down to five albums, what would they be?” It’s a really fun watch, and not just for the trainspotting. It’s a gas to see Keith Morris extol the virtues of Sgt. Pepper’s Lonely Hearts Club Band, to see Jello Biafra wax rhapsodic about Space Ritual, Mike Watt raving about American Woman, and David Yow talking about baffling his teacher and fellow schoolkids when he brought the Beatles’ trippy, bluesy b-side “For You Blue” to show and tell. One truly wonderful sequence joins Rocket From the Crypt/Drive Like Jehu/Hot Snakes guitarist John “Speedo” Reis in showing off his favorite children’s LPs on a toy turntable, and there’s even a segment with Dangerous Minds’ own Howie Pyro. I always enjoy tales of musical discovery, all the more so when they’re told by people who’ve made the music that warped me, and Records Collecting Dust is FULL of that, plus live performances by Jello Biafra & the Guantanamo School of Medicine, the Locust, and Big Business.

Though enjoyable, the film has its imperfections. It suffers from an abiding and ultimately irritating L.A.-centrism. I’d love to hear more tales of life-changing finds from people who hail from more culturally isolated areas, and so couldn’t just go to someplace like Wherehouse or Licorice Pizza whenever they felt like it, and had to really work for their scores. One other thing screamed out at me, though it’s not a flaw in the film as such, but more a consequence of the hobby’s demographic: the levels of vinyl-stockpiling depicted seem overwhelmingly to be a male phenomenon, so out of 36 interviewees listed in the credits, exactly two women appear, namely former Black Flag bassist Kira Roessler, and Frontier Records’ Lisa Fancher. Roessler makes one of the funniest observations in the whole doc when she describes how record stores magically cause men to shop in a manner stereotypically associated with women.

Another of the film’s truly brilliant moments is this fabulous sermon from Jello Biafra, which I’ve taken the liberty of transcribing in its entirety, because I 100% agree with every damn word of it:

I think part of the magic that vinyl, and records, and blundering into cool music you never knew existed still holds for me. I’m still a fan, and keep in mind “fan” comes from the word “fanatic.” I love to keep exploring, and even though I’ve got way too many records, I never buy one unless I intend to listen to it when I get home—I don’t always have time to listen to ‘em all now, but that’s the idea. I don’t buy it to scam or speculate, I buy it to listen to it. And there, that way, I never run out of cool music to listen to. I have no patience for these people who say “Oh, the whole scene died when Darby Crash died,” or “yeah, there’s no good bands anymore.” WROOOOOONG. Good sounds are where you find it so start looking, OK? Don’t be afraid to blunder into something cool. You never know what it might do to your life, or even your own music, or your band may finally start sounding different from all the other bands you like.

Records Collecting Dust began screening in California this month. Remaining showings though March are listed on its web page . If you’re on the fence about checking it out, perhaps these trailers will help nudge you one way or the other.

More after the jump…

Posted by Ron Kretsch | Leave a comment
Cthulhu Yoga: Goths embrace their dark side while staying fit

The New York Times style section is infamously incompetent at determining which trends are real and which trends are trolls. You’d think they’d have learned something after the infamous “grunge speak” hoax in which a Sub Pop Records receptionist convinced them that a bunch of silly gibberish was the latest in Generation X slang, but the incident didn’t stop them from reporting on normcore and monocles. At least the Health Goth trend has some organic roots. There is some debate as to whether weird sporty/satanic fashion hybrid was born on Tumblr or Facebook, and even more as to whether or not Health Goth even generally entails working out—the only thing we can be sure of is that sportswear and heavy black eyeliner are far less mutually exclusive than they used to be.

Let’s say you want to combine fitness and darkness, but don’t have access to a gym with Bauhaus-blasting cycling classes. Never fear, online tutorials already exist! “Yoga Fhtagn” (from “Cthulhu fhtagn,” meaning “Cthulhu waits”), and combines a Lovecraftian horror (is Lovecraft goth?) with low-impact Sun Salutation—minus the sun. The class of the damned is actually led and narrated by no other than feminist writer/journalist and and Harvard Fellow, Laurie Penny—so you know the politics of Health Goth are soundly left (and also that quite a few of the people that admire the style have a sense of humor about how silly it is).

Billed as “the ultimate health goth workout,” Penny’s says her routine will help us “tone our bodies, while slowly losing our minds,” but the video cuts mysteriously short, most likely owing to cosmic monstrosities. Hey, no pain, no gain.

Posted by Amber Frost | Leave a comment
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