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  • Man named Hemingway wins Florida Hemingway look-alike contest
    09:56 am


    Ernest Hemingway

    These guys are kicking it the Hemingway…

    A man by the name of Dave Hemingway has won the “Papa” Hemingway Look-Alike Contest. This is the first time in its 36-year history since being held that someone with the name of “Hemingway” has won the contest.

    The contest, which attracted 140 entrants, is the highlight event of the annual Hemingway Days festival that celebrates the author’s legacy. It was held at Sloppy Joe’s Bar, a frequent hangout of Ernest Hemingway’s during his Key West residency in the 1930s.

    I don’t know why I find this amusing, but I do. Before you accuse the festival of any favoritism, It was Dave Hemingway’s seventh attempt at the look-alike contest. This year he decided to wear a cream-colored wool turtleneck sweater often sported by the late author.

    “Even though this sweater is really hot, it was part of my strategy,” the persistent already Hemingway said. “And I think it worked really well.”

    Perhaps the sweet—but sweaty—sweater sealed the deal? It showed his devotion to the cause, certainly.

    Below, a photo of the real Ernest Hemingway to give you some context.

    via The Guardian and Nerdcore

    Posted by Tara McGinley | Leave a comment
    A Covers Album: Front covers of New York Rocker, 1976-1982

    The New York Rocker was a punk/new wave magazine founded by Alan Betrock in February 1976. It was produced by a dedicated, tight-knit group of young men and women—a “remarkable breed” of contributors—who had a passion for music that was outside the mainstream. They wrote feisty, opinionated reviews. They took their subject matter seriously, giving it the respect the well-financed music press gave to say Led Zeppelin, The Rolling Stones, Genesis, The Eagles or any other stadia-filling corporate-backed band. The New York Rocker was hugely influential early on in identifying and promoting American indie rock.

    A total of 54 issues were published between 1976 and 1982 when the magazine folded. It was briefly revived in 1984 but never achieved the same success.

    Just looking at these covers for New York Rocker there’s a great sense of the history and in particular the incredibly high quality of new music that came out of punk and new wave each week during the late 1970s and early 1980s—the likes of which we may never see again.
    More covers from the New York Rocker, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Pulp fiction painter: The suggestive and sexy art of Paul Rader
    03:59 pm


    Paul Rader
    Midwood Books

    Tall, Blonde and Evil
    Pulp fiction cover art is sexy. The whole point of it is to entice you to pick up a random novel called Tall, Blonde and Evil that you probably would ignore unless there was a tall evil-looking blonde staring back at you suggestively. But where does this cover art come from? The man who nailed the look of desire is Paul Rader.

    Ironically enough, there is another Paul Rader that was an early 20th century evangelist. But the Paul Rader I’m talking about was a Brooklyn-born artist who ended up in Detroit as a portrait painter. When he moved back to New York in the 1940s his art started to change. In 1957 he signed with Balcourt Art Service and began illustrating for men’s magazines and paperback book covers.
    Sin on Wheels
    One of the paperback companies he worked for was Midwood and his cover images made their books sexy volumes to have. Midwood Books was a publishing house only active from 1957 to 1962 and while their target audience was (obviously) men, the often pretty steamy drama of these books meant that they were also popular with women. Rader was able to capture the classic American pin-up dream girls (gone bad) for their covers.

    Some of his art was more on the innocent side…..
    Paul Rader Librarian
    And some was more suggestive…
    Her Private Hell
    But all of the women he captured were stunning. And thank god for his art since the titles of these books were usually less than creative.
    Girls Dormitory
    Nude in a red chair
    More after the jump…

    Posted by Izzi Krombholz | Leave a comment
    King of Gonzo: Portraits of Hunter S. Thompson by Ralph Steadman
    03:16 pm


    Hunter S. Thompson
    Ralph Steadman

    A portrait of Hunter S. Thompson by Ralph Steadman.
    Artist Ralph Steadman remained tight with his friend and muse Hunter S. Thompson until the later’s death in 2005—despite the fact that when Steadman first met the gonzo journalist in 1970 he was convinced that Thompson didn’t like him. And he wasn’t wrong.

    When Steadman was given the assignment to create illustrations for a story Thompson was penning on the Kentucky Derby for the short-lived publication Scanlan’s Monthly  (The Kentucky Derby is Decadent and Depraved June 1970, Volume one, Number four), true to form, the notoriously cantankerous Thompson took an “instant dislike” to him. Steadman recalls that Hunter thought he was “pompous” and during several occasions when he was attempting to create some of the illustrations for the Derby story he could hear Thompson muttering the words “For God’s sake, stop your filthy scribbling.”

    Although they got off to a rough start (like the majority of Thompson’s relationships with most human beings) the two would go on to collaborate for decades. I’ve been a fan of Steadman’s art since I was a kid thanks to my father and the confrontational artist was the focus of a great documentary back in 2012 For No Good Reason which I highly recommend you check out. Many of Steadman’s portraits of the great Dr. Gonzo, Hunter S. Thompson follow.


    More pure, unadulterated GONZO after the jump…

    Posted by Cherrybomb | Leave a comment
    The psychedelic optical illusions of Victor Vasarely
    12:37 pm


    Victor Vasarely
    Op Art

    Hungarian-French artist Victor Vasarely is considered to be the father of the Op Art movement, a style known for creating optical illusions—often extremely psychedelic ones—from extremely precise repeating patterns, interlocking shapes and vivid yet strictly defined color palettes. In his hands, mundane elements became a wholly unique geometric abstract art. Vasarely’s Zebra, created in the 1930s, is considered by some to be the earliest example of Op Art. His notion of visual kinetics considered the viewer’s perception of the work—indeed where they stood as they looked at it—to be integral to the creation of his artform. In his more sculptural work (plastique cinétique) he might superimpose acrylic panes that would dynamically move—at at least create the perception of movement—as you walked around it, or past it. He was also an innovative architect.


    His Folklore planetaire serial art was first unveiled to the public in 1963 and there have been several (now quite expensive) innovative monographs dedicated to his work that usually contain foldout panels and portfolios of clear acetate sheets that can overlay the images. Two museums of his work were set up in the mid 70s, but have now largely been allowed to fall into disrepair. Examples of other “name” Op Art players who followed in Victor Vasarely‘s wake were Bridget Riley, Yaacov Agam and Jesus-Rafael Soto.

    Although Vasarely’s time of greatest prominence was the 1960s and his work has gone in and out of fashion since, his reputation is on the upswing today as “mid century modern” enthusiasts have rediscovered his work via the pieces seen on the walls in Roger Sterling’s office in Mad Men. (Sterling is exactly the sort of person who would’ve had multiple Vasarely prints in his office. I thought that was a deft and knowing touch on the part of Mad Men‘s art directors.) What was once for sale on the early days of eBay for mere hundreds of dollars can sell for ten times (or more) what they sold for in the 90s. You can also see his influence on the art direction of Gaspar Noé‘s Enter the Void.

    Some characteristic examples of Victor Vasarely‘s work follow.


    More after the jump…

    Posted by Richard Metzger | Leave a comment
    A collection of wonderful vintage portable record players
    11:32 am


    record player

    I’m digging this nice visual collection of vintage portable record players amassed by Japanese turntable enthusiast, Fumihito Taguchi. Sure, they probably sound like shit when you play a record, but they look just so gosh darn cool. The manufacturing dates for these record players range from approximately 1960 to 1980.

    These wonderful artifacts will be on display at Tokyo’s Lifestyle Design Center from July 30 to August 28, 2016.

    You can view more of Taguch’s extensive collection in his book Japanese Portable Record Player Catalog



    More after the jump…

    Posted by Tara McGinley | Leave a comment
    Edvard Munch’s ‘The Scream’ is now a poseable action figure
    10:42 am


    The scream

    Figma, who manufactures articulated action figures, unveiled their new Edvard Munch’s “The Scream” figure. Exactly when it’s available to purchase is a bit unclear. I couldn’t find its release date anywhere on the Internet. Sometime before the US elections in November would be my guess…

    Figma has been releasing some pretty cool action figures based on classical sculpture and artworks lately. Their most recent designs—which you can purchase—are Leonardo Da Vinci’s “Vitruvian Man,” Michelangelo’s “David,” Rodin’s “The Thinker” and the Venus de Milo.

    The Screamer throws one of those Illuminati hand signals...

    Vitruvian Man

    More after the jump…

    Posted by Tara McGinley | Leave a comment
    ‘The Wall’: Stunning behind-the-scenes images from Pink Floyd’s harrowing cinematic acid trip

    A behind-the-scenes images of Bob Geldof as ‘Pink’ and actual skinheads from the 1982 film ‘Pink Floyd - The Wall.’
    I don’t know how many nights I spent in my youth tripping balls on acid in a dark movie theater with 100 or so of my stoned out peers watching 1982’s WTF film Pink Floyd - The Wall for the 20th time (I guess I answered my own question there: 20). It was truly a rite of passage where I grew up back in Boston and I know that wasn’t the only place where young minds were getting blown apart by visions of marching hammers or a bloody, soon to be eyebrowless Bob Geldof screaming “TAKE THAT FUCKERS!” as he tosses a television out of a window.

    Before I continue, I’ll give you a minute to recover from that mini-flashback you just had.

    Bob Geldof being transformed into your worst drug-induced nightmare.
    If you are following the news at all these days (and I wouldn’t blame you if you and the “news” are on “a break” right now as most of it makes me want to hide under my bed) you’ve likely seen some of the comparisons from last week’s GOP Convention to scenes from director Alan Parker’s brilliant adaptation of Pink Floyd’s 1979 conceptual masterpiece, The Wall. As I am about as nostalgic as they come I decided to watch the film once again (sans acid this go ‘round) and it should be of no surprise that despite a lack of chemicals cavorting around in my head the film is still quite impossible to look away from. It is also quite possibly even more terrifying to watch now when you allow yourself to consider the parallels some scenes seem to run with the ugly rhetoric spewing from the mouths of elected officials and a man who is currently vying to occupy the highest political office in the United States.

    But as I often do, I’ve once again digressed away from the point of this post which is to share with you some remarkable behind-the-scenes photos from The Wall that I had never seen before as well as an interesting tidbit about the film’s star Bob Geldof. Apparently Geldof (who’s allegedly the leader of a new liberal political “party” in England called the “Sneerers” in case you were wondering what he’s currently up to) couldn’t swim and was also massively phobic when it came to blood. So when it came time to film the scene where Pink is bleeding out in a swimming pool, the reluctant Geldof was placed on top of a see-through plastic body mold so he could appear to be floating in the pool among a cloud of his blood for the sequence. Yikes. Many of the images in this post can be found in a must-own book for any Floyd fan by David Appleby, Pink Floyd - Behind The Wall.


    Director Alan Parker on the set of ‘The Wall’ with ‘Little Pink’ played by actor David Bingham.

    Alan Parker and an eyebrowless Bob Geldof.
    More glimpses behind ‘The Wall’ after the jump…

    Posted by Cherrybomb | Leave a comment
    They Say the Wind Made Them Crazy: This is the album of the year
    09:40 am


    They Say the Wind Made Them Crazy
    Yma Sumac

    There’s a theory that our deep connection to music is a function of the developing frontal lobe, and that when it stops developing around the age of 25 we begin to become rather jaded in our listening. This explains why most older people tend to gravitate toward the music they loved around high school or college age. All of the science isn’t in on this, but maybe it explains why I so often catch myself saying about new bands: “Eh, this is good, but so-and-so did it better 20 years ago.”

    For the record, every time I catch myself saying that I realize “I hate that guy.” No one wants to be that guy.

    That’s not to say that I don’t stumble across something every now and then that completely levels me and becomes assimilated into my emotional storehouse of musical favorites. It’s just that when that happens these days, it’s a bit more profound and unexpected… because, well, OLD.

    Anyway, record reviews per se aren’t really a thing I do here at Dangerous Minds. My job description is more like “let me tell you about this cool fucking thing.”

    Well, today’s cool fucking thing is a double album by a new band called They Say The Wind Made Them Crazy. The album, titled Far From the Silvery Light is the best new thing to come across my turntable in the past couple of years, and although we’re only halfway through 2016, I’m going out on a limb and declaring it my “album of the year.” I can’t gush hard enough about this avant-folk-operatic exercise in utter despair.

    The experimental duo are based out of Dallas, Texas. Sarah Ruth Alexander plays hammered dulcimer, harmonium, recorder, bells, and effects and sings like the unholy stepchild of Jarboe and Yma Sumac. Gregg Prickett plays electric and acoustic guitar, upright bass, cedar flute, and shakers. Though I’m inclined to say I hear a bit of John Fahey in his style, what Prickett does is totally his own mesmerizingly textural thing… not like The Shaggs’ own thing, though there maybe be a shared spirit of abandoning the “rules” of pop music form.  Ruth’s operatic moans and wails evoke a bleak desolate landscape, not unlike the album’s cover art, in the same way that the aforementioned Sumac’s evoked exotic pagan isles.

    The band cites artists as diverse as Meredith Monk, Cocteau Twins, Art Ensemble of Chicago, Krzysztof Penderecki, and Leo Brouwer as influences, and if any of those are your bag, then They Say The Wind Made Them Crazy ought to floor you like it did me.

    Keep reading after the jump…

    Posted by Christopher Bickel | Leave a comment
    ‘Please Don’t Hit Me’: Provocative work by ex-KLF art terrorist Jimmy Cauty for sale on eBay

    Artist Jimmy Cauty achieved international fame as “Rockman Rock” one half of The KLF (along with Bill Drummond aka “King Boy D”) in the late 1980s and early 1990s. The KLF released a series of highly successful and influential records including “Last Train to Trancentral,” “What Time Is Love?” and “3 a.m. Eternal.” Under the name The Timelords the duo had a number one hit with “Doctorin’ the Tardis” their playful mash-up of the Doctor Who theme, Gary Glitter’s “Rock and Roll (Part Two)” and “Block Buster!” by Sweet. They had a further number one (in eighteen countries no less) with “Justified and Ancient (Stand by The JAMs),” their collaboration with country and western singer Tammy Wynette in 1991.

    The following year The KLF appeared with grindcore band Extreme Noise Terror at the Brit Awards when they fired blanks from a machine gun over the audience’s heads. At the end of the ceremony the duo dumped a dead sheep outside the venue, then announced the end of The KLF and deleted their entire back catalog.

    But this was only a taster of what was to follow.

    In August 1994 Cauty and Drummond (now under the moniker The K Foundation) burned a million pounds in cash on the Scottish island of Jura. What the fuck that was about—well, no one is really quite sure—but it has become a moment that has defined the careers of both men since.
    A kilted Jimmy Cauty fires blanks at the Brit Awards audience 1992, and an image from the K Foundation’s burning of one million pounds.
    From 2000 Jimmy Cauty has been making political and provocative artwork—ranging from a limited edition series of stamps Black Smoke, Stamps of Mass Destruction (2003) which was eventually withdrawn after the Royal mail threatened legal action, to opening a “gift shop” at the Aquarium Gallery in 2004 selling “terror ware” based on the British government’s anti-terror leaflet Preparing for Emergencies.

    In 2011, Cauty started producing a series called A Riot in a Jam Jar featuring miniature dioramas depicting violent confrontations between the police and the public. These jam jars contained imagined scenes including the execution of the then Deputy Prime Minister Nick Clegg, and the execution of bankers and the execution of Prince Charles and the Duchess of Cornwall.
    Cauty’s imagining of Prince Charles and Camilla about to be bludgeoned after their car was attacked during a student riot in 2010.
    Now a limited edition of one of Cauty’s jam jars has been put up for sale on eBay. The work entitled Please Don’t Hit Me features a policeman interrogating a young boy. In a limited edition of ten—each individually numbered—Cauty’s Please Don’t Hit Me will set you back £465 (around $600). Place your order here.
    More of Jimmy Cauty’s provocative jam jar art, after the jump…

    Posted by Paul Gallagher | Leave a comment
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