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A Stan Lee action figure because YES!
04.06.2015
06:28 pm
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This 1/6 scale action figure of Stan Lee is a pretty damned good depiction of him if you ask me. It’s a limited-edition and they’re only 1000 of ‘em being made by Das Toyz. So if you must own one, Mr. Lee is $249.99 a pop at Big Bad Toy Store. They’re taking pre-orders now.

The Stan Lee action figure comes with:

Outfit

- Sports jacket
- Black long sleeve sweater
- White dress shirt
- Gray pants
- White shirt
- Belt w/ buckle
- Pair of socks
- Pair of shoes

Accessories

- 2 x interchangeable heads
- 4 x posing hands
- 2 x eye glasses
- 1 x wrist watch
- 2 X rings
- Handkerchief

Excelsior!


 

 

 
via Nerd Approved and Laughing Squid

Posted by Tara McGinley
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04.06.2015
06:28 pm
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Waiter, there’s a Jew in my soup: The Jewish theme restaurant where you haggle over the prices!
04.06.2015
06:06 pm
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Many moons ago, a friend of mine, who shall remain nameless (unless you bother scrolling to the very bottom of this post), had a brief stretch of working in a relatively upscale Mexican restaurant in midtown Manhattan. Although she was super broke at the time and desperately needed the job, there was the matter of the uniform… an oversized poncho.

It greatly offended her sense of style, not to mention her dignity, but at least, I told her, they’re not making you wear a sombrero and a droopy moustache like the Frito Bandito...

The concept of the “droopy” became a one-word catalyst that sees the two of us completely crack up whenever the other mentions it. One of those things, I suppose you had to be there, but I was reminded of this anecdote by finding out recently about the existence of the curious Jewish “theme” restaurant Pid Zolotoyu Rozoyu (“Under the Golden Rose”) restaurant in L’viv, Ukraine for reasons which are about to become quite obvious…
 

 
The restaurant itself is located next to the ruins of what had been the 350-year-old Golden Rose synagogue that was destroyed by the Nazis with several Jews inside of it (150,000 Jews died in the L’viv ghetto during World War II). While you nosh on gefilte fish, pickled herring and matzoh ball soup, they will give you wool hats to wear with payot (curly side-locks worn by Hassidim) attached. Perhaps you’d like to enjoy the house drink, “The Funny Jew.” There are no prices on the menu, guests are expected to haggle with the waitstaff over the prices, and one might presume “jew them down.”

Such fun! Such biddy biddy bum!
 

 
The spot is one of fifteen so-called “emotional restaurants” owned by a company called !Fest who operate theme restaurants pertaining to such things as sadomasochism (Café Masoch‘s namesake, Leopold von Sacher-Masoch, was born in L’viv) with kinky outfits on the wait staff, plus whips and chains; Kryjivka—which claims to be the single most visited restaurant in all of Europe, with one million annual covers—built in the bunker of the last hiding place of the ultranationalist Ukrainian Insurgent Army (the password for entrance is “Glory to Ukraine” although “ethnic cleansing” probably would have sufficed); as well as an execution-themed charcuterie, replete with fine meats and a guillotine for just that right cut of meat… There is even an !Fest restaurant with a Freemasonry theme that has a special “throne” in the men’s room.
 

 
The crazy thing is, if you look at the !Fest enterprise as a whole, it doesn’t really appear that anti-Semitism per se is on the menu at Pid Zolotoyu Rozoyu. They obviously like to court controversy, and of course, it’s easy to argue that this is incredibly tacky, but the attitude of the owners—three guys in their late 20s/early 30s who have probably never even met a real Jew—seem to be that it’s “educational” and “historical” and that they’re simply running a cheeky tourist attraction. Few of L’viv’s remaining Jews tend to see it that way.

Oy vey…
 

 
Thank you kindly Oberon Sinclair and Andrew Deutsch!

Posted by Richard Metzger
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04.06.2015
06:06 pm
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‘Game of Chairs’: ‘Sesame Street’ takes on ‘Game of Thrones’
04.06.2015
02:48 pm
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With a week to go before Game of Thrones returns to our screens, Sesame Street have produced a parody of the hit TV series—where the bloody feuds and wars are settled not by sword, sorcery, or dragon but by playing a game of musical chairs…

It’s certainly fun—with Muppet versions of Cersei Lannister, Daenerys Targaryen, Robb Stark and Joffrey Baratheon all battling it out, as a typically lustrous-locked Tyrion Lannister and (the unfortunately named) Grover Bluejoy look on.
 
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While Sesame Street have brought some knowing humor to proceedings, there is an interesting article by Paul Mason over at the Guardian which asks “Can Marxist theory predict the end of Game of Thrones?”:

If you apply historical materialism to Westeros, the plot of season five and six becomes possible to predict. What happened with feudalism, when kings found themselves in hock to bankers, is that – at first – they tried to sort it out with naked power. The real-life Edward III had his Italian bankers locked up in the Tower of London until they waived his debts.

But eventually the power of commerce began to squash the power of kings. Feudalism gave way to a capitalism based on merchants, bankers, colonial plunder and the slave trade. Paper money emerged, as did a complex banking system for assuaging problems like your gold mine running dry….

There is a reason so much fantasy fiction adopts the conceit of a feudalism that is always in crisis but never overthrown. It forms the ideal landscape in which to dramatise the secret desires of people who live under modern capitalism…

Future social historians, as they look back on the popularity of Game of Thrones, will not have much trouble deciphering the inner desires of the generation addicted to it. They are: “all of the above” plus multipartner sex.

Trapped in a system based on economic rationality, we all want the power to be something bigger than our credit card limit, or our job function. Nobody sits at home watching the these dramas imagining they are a mere slave, peasant or serving girl: we are invited to fantasise that we are one of the characters with agency – Daenerys Targaryen, a beautiful woman with tame dragons, or the unkillable stubbly hunk that is Jon Snow.

You can read the full article here.
 

 
Via WSJ
 

Posted by Paul Gallagher
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04.06.2015
02:48 pm
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‘Jobriath A.D.’: Fantastic documentary on glam rock’s greatest casualty comes to DVD
04.06.2015
01:22 pm
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Jobriath A.D.
 
On April 21st, Jobriath A.D., Kieran Turner’s incredible 2012 documentary on the life of glam rock casualty and gay icon Jobriath, will be released on DVD, paired with an LP’s worth of previously unreleased recordings. One of the cool bonuses on the DVD is a short film of a 1971 Jobriath studio session with a bunch of celebrities—before they were famous—and Dangerous Minds has scored an excerpt for your viewing pleasure. But first, some background for the uninitiated.

Jobriath Boone is a fascinating and tragic figure. His story is one that seems torn from the pages of a Hollywood screenplay. Jobriath’s 1973 debut LP (released by Elektra Records) was a showcase for an intriguing talent—one that mixed classical, pop, Broadway musicals, and good ol’ rock-n-roll—but it went virtually unheard. Jobriath was preceded by incredible hype, with much of the publicity focused on his homosexuality. Jobriath was actually the first rock performer to out himself (David Bowie and Lou Reed merely danced around the issue), but there was a backlash to the hard sell of this “true fairy,” with critics and the public soundly rejecting him. After a second record, 1974’s Creatures Of The Street, also bombed, Jobriath was dropped by Elektra and promptly vanished from the music scene. A few years later, he re-invented himself as the classy lounge singer Cole Berlin, performing in New York City piano bars; he took requests, but refused to play his old songs. Just as this new persona was gaining momentum, Jobriath was diagnosed HIV positive. He died of AIDS in 1983 at age 36, his body found in the pyramid-shaped apartment he resided in atop the Chelsea Hotel.
 

 
So, this is a sad saga, yes, a cautionary tale on the perils of fame and what can happen to those that break ground before the world is ready. But it’s also an account of a talented artist lost through the cracks of time that has been waiting to be told for decades. Kieran Turner does an incredible job of finally telling his story and does so in a definitive manner. Interviews with fans and many of the people who populated Jobriath’s personal and professional universe are interspersed with photos, footage, and even a few nicely done animated sequences, resulting in a compelling and well-rounded documentary that does his legend proud. And Jobriath is a legend—you may not know it yet, but you will after watching Jobriath A.D..
 

 
The demos and rehearsal tapes for his musical Popstar make up the contents of the previously unreleased LP. Though some elements of the musical were lost, it’s a gift to be able to hear any previously unreleased Jobriath tunes, and these recordings are the most intimate to emerge to date. It’s obvious that Popstar was based on his own brush with fame, and the re-writing of the facts was likely a form of therapy for Jobriath. Unfortunately, Popstar, like his later show, Sunday Brunch, wasn’t produced.
 
Jobriath in the studio
 
The 1971 session for a Jobriath song called “As The River Flows” took place the evening of August 24th at Electric Lady Studios in New York (with producer/engineer extraordinaire Eddie Kramer behind the board). In the film of the session, Jobriath can be seen directing a chorus of singers through the paces of the track. This chorus was largely comprised of Jobriath’s friends and cast mates in the musicals Jesus Christ Superstar and Hair, including future disco queen Vicki Sue Robinson (“Turn The Beat Around”) and everyone’s soon-to-be favorite bartender, Issac, a/k/a Ted Lange from The Love Boat. But the biggest star on the horizon there that night was Richard Gere, who was brought along by Robinson. “As The River Flows” was placed on Jobriath’s 1972 demo tape, but the song remained unavailable to the general public until last year, when it was included as the title track of a compilation of Jobriath outtakes. Jobriath looks positively ecstatic in the film of the session, which, aside from a few brief segments in the documentary, hasn’t been seen since. Our preview of this charming short can be seen below.
 
Jobriath live
 
Check out the Jobriath A.D. trailer and pre-order the DVD/LP set here, or get it on Amazon.
 

Previously on Dangerous Minds:
Lonely Planet Boy: An interview with ‘Jobriath A.D.’ director Kieran Turner

Posted by Bart Bealmear
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04.06.2015
01:22 pm
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New carnivorous plant named for H.R. Giger is beautiful (in a vagina dentata kind of way)
04.06.2015
01:04 pm
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Rarely do we here at Dangerous Minds get a chance to report on the fast-paced (?) world of botany, but rarely is a gorgeous new cultivar of carnivorous plant named for H.R. Giger! This beautiful (if a little monstrously vaginal) specimen of Nepenthes—or “pitcher plant”—was only recently registered with the International Carnivorous Plant Society by photographer and horticulturist, Matthew M Kaelin, who explains the plant’s name in his submission:

I named this plant Nepenthes ‘H.R. Giger’ in October 2014 in memory of the recently passed Surrealist Artist from Switzerland who is perhaps best-known for creating the Alien creature for director Ridley Scott’s 1979 film “Alien”, which earned him an Academy Award for the Best Achievement in Visual Effects for his designs of the film’s title character, the stages of its lifecycle, and the film’s extraterrestrial environments. As the innovator of the nightmarish “Biomechanical” style, he had a long and well-respected career as a globally influential fine artist in the disciplines of painting, sculpture, industrial design, and interior design. When viewed extremely close and at an angle, the intersection of the peristome teeth and the lid spikes of the cultivar create a frightening alien landscape akin to those imagined by the late H.R. Giger (Fig. 6). This, and because the plant is darkly colored and has such a nightmarish appearance, I feel that it would be a fitting tribute to name the cultivar for the late visionary genius Hans Ruedi Giger.

For your scientific edification: pitcher plants are vines, and tend to climb up trees or sprawl close to the ground—the H.R. Giger cultivar has grown over six feet long, but could grow up to 30. Pitcher plants normally eat insects, but can also consume small vertebrates. Kaelin also notes that the flowers smell “like a pile of dirty sweatsocks”—charming!

And a fitting dedication to a master of body horror brilliance!
 

 
More after the jump…

READ ON
Posted by Amber Frost
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04.06.2015
01:04 pm
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The Book of Yeezus: ‘In the beginning Kanye created the heavens and the earth’
04.06.2015
12:37 pm
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Finally a book that can adequately express the exquisite ambition and ego of the one and only Kanye Omari West, the man behind such stirring religious texts as “Jesus Walks” and “New God Flow.” Kanye reportedly considered naming his sixth album I Am God (it was actually named Yeezus) but then settled for merely calling one song on it “I Am a God.” In an interview with BBC News in September 2013 Kanye defended himself on his use of the title by in effect crying racism:
 

I just told you who I thought I was: A god. I just told you. That’’s who I think I am. Would it have been better if I had a song that said “I am a n*gger” or if I had a song that said “I am a gangster” or if I had a song that said “I am a pimp”? All those colours and patinas fit better on a person like me, right?

 
Well, maybe, Yeezus. The opposite of naming a song “I Am a God” isn’t naming a song “I Am a Pimp,” it’s opting not to name a song “I Am a God” in the first place! And the end result is that you do seem to spend an awful lot of time wondering if you are God. So there’s that.
 

 
Seemingly designed to mock at least as much as honor Kanye, you can now buy a bound edition of the Book of Genesis in which “God” or “Y——A” has been replaced “Kanye” and “Yeezus.” So for instance, the first sentence of The Book of Yeezus is, “In the beginning Kanye created the heavens and the earth.” The books costs $20 but includes “a 300-word social commentary on the religion and spectacle of media icons in the 21st-century.”

Kanye West, “Jesus Walks”:
 

 
via Consequence of Sound
 

Posted by Martin Schneider
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04.06.2015
12:37 pm
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Is that the Hadron Collider in your pocket or are you just happy to see me?
04.06.2015
11:29 am
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Now, this little cock-up is why we should always check our spelling…

It would appear someone at the BBC was a tad over-excited by the news the Hadron Collider was back online after a two-year refit.

It’s not the first time the Hadron has been called a “Hardon”—two years ago the Daily Telegraph reported “Large Hardon Collider breaks energy record.”

The mind boggles…
 

 
Via the Independent

Posted by Paul Gallagher
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04.06.2015
11:29 am
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Behind the scenes of Alfred Hitchcock’s ‘Rear Window’
04.06.2015
10:02 am
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“We’ve become a nation of peeping toms,” says Thelma Ritter to James Stewart in Alfred Hitchcock’s Rear Window (1954). It’s an ironic comment in light of the events that follow—as well as offering a critique of the voyeuristic nature of cinema. Stewart plays L.B. “Jeff” Jefferies a photographer laid-up with a broken leg in his Greenwich Village apartment. He is attended to by his nurse (Ritter) and then his girlfriend Lisa Carol Fremont (Grace Kelly). Stewart spends his time spying on his neighbors watching their lives unfold. He becomes obsessed with one neighbor, Lars Thorwald (Raymond Burr), who he soon suspects of being a murderer.

Based on the short story “It Had to Be Murder” by Cornell Woolrich, Rear Window is considered by some critics as Hitchcock’s “greatest film”—“possibly his most clever, his most ingeniously organized and poetically suggestive,” as John Fawell described it in his book Hitchcock’s Rear Window:

Rear Window offers an example of Hitchcock’s art at its best, when the batteries were really charged, when form and ideas, entertainment and art, all synchronized in a particularly harmonious whole.

Hitchcock considered Rear Window (along with Psycho) to be one of his most successful experiments in “pure cinema.”  The “possibility of doing a purely cinematic film,” was part of the reason Hitchcock had been attracted to Woolrich’s story, as he told French New Wave director François Truffaut:

You have an immobilised man looking out. That’s one part of the film. The second part shows how he reacts. This is actually the purest expression of a cinematic idea.

[Soviet film director Vsevolod] Pudovkin dealt with this, as you know. In one of his books on the art of montage, he describes an experiment by his teacher, [Lev] Kuleshov. You see a close-up of the Russian actor Ivan Mosjoukine. This is immediately followed by a shot of a dead baby. Back to Mosjoukine again and you read compassion on his face. Then you take away the dead baby and you show a plate of soup, and now, when you go back to Mosjoukine, he looks hungry. Yet, in both cases, they used the same shot of the actor; his face was exactly the same.

In the same way, let’s take a close-up of Stewart looking out of the window at a little dog that’s being lowered in a basket. Back to Stewart, who has a kindly smile. But if in place of the little dog you show a half-naked girl exercising in front of an open window, and you go back to a smiling Stewart again, this time he’s seen as a dirty old man!

Indeed Woolrich’s story suggested many of the set-pieces contained in Hitchcock’s movie—from being focussed on the central character’s point of view, to his observations of the neighbors across the way. Woolrich’s biographer, Francis M. Nevins, considered the film as “simply a translation of the story’s material in visual terms.” He also described Woolrich and Hitchcock as “soul brothers” (though author and director never met) claiming both were haunted by their Catholic upbringing and shared a sense (as Nevins puts it) of “humans as creatures trapped in the habits of their existence.”

Rear Window was shot entirely at Paramount Studios, where the set of an enormous apartment block for Stewart’s neighbors was built that (as Truffaut described it) offered “intentionally or not… an image of the world.”  Hitchcock agreed:

It shows every kind of human behaviour—a real index of individual behaviour. The picture would have been very dull if we hadn’t done that. What we see across the way is a group of little stories that, as you say, mirror a small universe.

This fine selection of photographs shows Hitchcock on set directing James Stewart and Grace Kelly in one of cinema’s greatest voyeuristic thrillers Rear Window.
 
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More behind-the-scenes photos from ‘Rear Window,’ after the jump…

READ ON
Posted by Paul Gallagher
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04.06.2015
10:02 am
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‘Bennett’ lets off some steam about his ‘Commando’ character’s sexuality: A chat with Vernon Wells
04.06.2015
08:56 am
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Mark Lester’s 1985 film Commando, starring Arnold Schwarzenegger, is arguably the greatest action film of the ‘80s—or more arguably “the greatest film of all time,” depending on how many drinks you’ve had.

Commando brought us one of the most unusual villains in action cinema, “Bennett,” played by ultimate ‘80s bad guy, Vernon Wells, who was previously known for his portrayal of “Wez” in The Road Warrior and “Lord General” in Weird Science.
 

The transition from playing “Wez” to playing “Lord General” was quite a stretch.
 

The Bennett character is Wells’ most notorious role, due to the fact that he seemed such an improbable foil for Arnold Schwarzenegger’s “John Matrix.” Any discussion of Commando usually leads to a discussion of Bennett’s look, which was described by Andy McDermott in Hot Dog Magazine as “Freddie Mercury Casual.”

His silver mesh tank top, worn with a belt over, black leather pants, bike chain necklace and pornstar mustache give him more of the appearance of a Tom of Finland character than your typical action antagonist.
 

Commando costuming director’s inspiration for Bennett’s look?
 

Perhaps it’s the character’s visual presentation, or something more, that has caused speculation for 30 years over Bennett’s sexual orientation—whether or not he was homosexual, and whether or not he was secretly in love with John Matrix.

IMDB devotes an entire section of their Commando FAQ to an examination of Bennett’s sexuality. Much of this discussion is fueled by McDermott’s Hot Dog article:

McDermott goes on to argue that whilst Bennett always calls Matrix by his first name, suggesting affection and familiarity, Matrix always calls Bennett by his surname, suggesting distance. This leads him to hypothesize that perhaps Bennett was kicked out of the unit by Matrix, because Matrix discovered that Bennett had become sexually attracted to him; “all he wanted was a little love, and instead he got fired. No wonder he’s mad.” McDermott also attaches great metaphorical significance to Matrix’ line at the end of the film, “Put the knife in me. Look me in the eye and see what’s going on in there when you turn it. Don’t deprive yourself of some pleasure. C’mon, Bennett. Let’s party.” The image of one man putting something in another man and then turning it, McDermott argues, has obvious homosexual connotations. He also points out the significance of the fact that Matrix’s knife is bigger than Bennett’s, thus causing “knife envy” in Bennett, prompting him to attack his “love/hate object”. McDermott also comments on the irony inherent in the fact that although Bennett seemed to be in love with Matrix (and presumably wanted to have sex with him), it is Matrix who penetrates Bennett at the end of the film, albeit with a steel pole in the chest. Which probably wasn’t what Bennett had in mind.

 

“What’s wrong, Bennett? Can’t take the pressure?”
 
McDermott’s article sums up the character’s vibe thusly:

Bennett is a walking, talking, stereotypical embodiment of the macho, puritanical Reagan era’s utter terror of homosexuality, gripped with the fear that the slightest chink in the masculine armor will instantly result in a trip to the YMCA and a purchase of a pair of chaps and a tube of KY jelly.

Commando director Mark Lester, however, flatly denies that Bennett is gay, stating in the DVD commentary:

I don’t know what people are saying when they say that to me. He seems to me like the most macho soldier or person you could think of.


Others who worked on the film have suggested that they aren’t so sure. In the 2007 DVD featurette, “Commando: Let Off Some Steam,” screenwriter Steven E. de Souza mentions that “the wardrobe on Vernon Wells has led to a lot of conjecture that Vernon had a crush on Arnold’s character,” and Commando co-star Rae Dawn Chong is upfront about the homosexual undercurrent:

They’re like lovers. The outfit they had on him, I mean, HELLO, he looks like one of the Village People. Arnold is the ideal, and you know, if you can’t be it and can’t love it, you want to kill it. That really confusing sexuality comes through and it manifests in violence.

 

 
The Wookie Wednesday blog chimes in on the debate:

There’s plenty to point to that suggests that Bennett and Matrix had a relationship deeper than friendship. For example, this line: “I really love listening to your little pissant soldiers trying to talk tough. They make me laugh. If Matrix was here, he’d laugh too.” The part of the quote in bold is delivered by Bennett with a sigh, as if he was a lovesick teenager.

In the film’s climax, Bennett warns Matrix: “I’m not going to shoot you between the eyes, I’m going to shoot you between the balls!” Is it reading too much in to think that Bennett may have wanted to destroy the one part of Matrix’s anatomy he was most upset over being denied?
 

“I’m going to shoot you between the balls!”
 
We recently had a chance to sit down with Vernon Wells, Bennett himself, and ask some burning questions about his Commando character.

Wells tells us that he was originally rejected for the role, but was called back in from Australia, six weeks into Commando production, as a replacement. He further explains that, with the production being under-the-gun, he was not afforded a proper costume fitting and that his costume was a bit small for him. We’re not sure that that explains the leather daddy look, but it might explain why he appears a bit out of shape—the clothes were ill-fitting!

On the topic of being in shape, we noted that many have suggested Wells seemed a bit mis-matched against the massive Schwarzenegger, an insinuation which Wells quickly dashed, claiming he was “perfectly matched” against his opponent. He relates a story about the beginning of Commando shooting where he was holding back in rehearsals and Schwarzenegger suggested to producer, Joel Silver, that Wells was “a bit of a wuss” and that he was no good for the character; but when the cameras rolled, Wells gave a performance so maniacal, stating “I was virtually up his butt with this knife,” that Schwarzenegger recanted, telling Silver, “nevah give him a real knife!”
 

“The first scene I did was where I had him tied to the table and had the knife to his throat, telling him what I wanted to do to him… and we did the scene and I was virtually up his butt with this knife…”
 
We asked Wells if Bennett had a first name, because THAT’s a thing we’ve always wanted to know: “I’m sure he did but nobody ever told me.”

Curious about character motivations, we asked what the motivation was behind Bennett’s wardrobe. Wells diplomatically replied that Bennett “liked to be different” and was an “individual” and his dress reflected that. When asked if Bennett may have been a Freddie Mercury fan, Wells speculated that Mercury was looking down on Bennett, shaking his head and saying “oh my God.”
 
Continues after the jump…

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Posted by Christopher Bickel
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04.06.2015
08:56 am
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The uncannily SEXY retro robot pinups of Hajime Sorayama
04.03.2015
05:23 pm
Topics:
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Hajime Sorayama’s porny futurism is one of those 1980’s aesthetics that is somehow simultaneously hilarious yet incredibly impressive. The cheeky pin-up “gynoids” are so sleek and gorgeous—but so utterly ridiculous—it’s difficult to tell if the work is actually fetish or satire or some combination of both—although his years illustrating more “conventional” fetish art for Penthouse and Playboy suggest some interest in niche lusts. When asked last year in an interview about some of his favorite work, Sorayama replied:

I do have a few, actually. Penthouse started to run the section called “Great American Pissing Contest” after it published the image of a woman pissing on an expensive sofa. When the big Canadian distributer stopped importing that issue of Penthouse because of excessive S&M scenes, a movie director who is also my friend blessed me by saying, “Congratulations, country boy! You became famous.” This was decades ago…

In that light, doesn’t “cheesecake robot” sound kind of tame? Sorayama’s gynoids have had a cult following since his 1983 book, Sexy Robot (yes, it’s actually called that), but although he continues to produce cyber-smut (his latest, Sorayama: XL came out in 2014), it’s not often you see his work displayed. San Francisco will soon lucky enough to host an exhibit of prints that spans his entire career (with some for purchase), at Fifty24SF Gallery starting April 4th.
 

 

 
More sexy robots after the jump…

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Posted by Amber Frost
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04.03.2015
05:23 pm
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