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Take a look at The Rolling Stones 1966 tour program
06.01.2015
06:47 am

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Music
Pop Culture

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The even numbered years seemed to have been more successful for the Rolling Stones than the odd. The band formed in 1962, had their first number one album and number one single in ‘64, made their breakthrough album in ‘66, released Beggar’s Banquet, “Jumpin’ Jack Flash” and “Street Fighting Man” in ‘68, released Exile on Main St. in ‘72, Black and Blue in ‘76 and Some Girls in ‘78. While the odd numbers came at a price—in 1965 Richards was nearly electrocuted onstage, then came the drugs bust, chaos and disintegration of Their Satanic Majesties Request in ‘67, Brian Jones’ death and the murder of Meredith Hunter at Altamont in ‘69, the fires at Richards’ homes in ‘71 and ‘73, or his arrest for heroin in Canada in 1977—it’s all enough conspiracy to make a numerologist’s head spin.

1966 was a good year for the Stones—they released their fourth studio album Aftermath, which was their first album to be compiled of songs written solely by Mick Jagger and Keith Richards; they had successfully toured Australia, Europe and America before returning to England for a tour of the UK and were well out of the shadow of their rivals The Beatles. 

The band was also in negotiations to make a movie, Only Lovers Left Alive, adapted from the novel by Dave Wallis, and to be directed by Nicholas Ray of Rebel Without a Cause fame.
 
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According to the Stones, they had “waited a long time and spent a lot of time trying to find the right story for [their] first film,” and seemed to have hit on the right subject with Wallis’s sci-fi tale of tribal youth gangs terrorizing London. It was topical, apt, and tapped into both the hopes and fears of what the swinging sixties’ youth revolt may bring. Alas, the deal fell through and no movie was made until Jean-Luc Godard’s One plus One (aka Sympathy for the Devil) or The Rolling Stones Rock and Roll Circus both 1968.

The Stones’s ‘66 tour had incredible support from the Ike and Tina Turner Revue, The Yardbirds (with Jeff Beck and Jimmy Page) and Long John Baldry, whose band around this time had included Elton John on keyboards. It was a lineup worthy of a mini-festival. A copy of the tour program can fetch $125 a copy, but why pay that when you scan through the pages here?
 
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More pages from the Rolling Stones’ past (darkly), after the jump…

Posted by Paul Gallagher | Leave a comment
The wild wild world of Japanese rebel biker culture
05.28.2015
11:50 am

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Fashion
History
Pop Culture

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Former bosozuku leader, Kazuhiro Hazuki
 

“I was interested in them because they were punks and they were against society.”—Kazuhiro Hazuki, Narushino Specter gang

 
Back in the 1970s the term bōsōzoku (or “speed tribes”) was first used to describe Japanese biker gangs that routinely fought in the streets with rival gangs and the police. Often dressed like Kamikaze pilots, the bōsōzoku wreaked havoc speeding through the streets on their illegally modified bikes, blowing through red lights, and smashing the car windows of any motorist that dared defy them with baseball bats. Foreigners were an especially favorite target of the bōsōzoku’s aggression.
 
Bosozuku photo from a Japanese biker magazine with modified bike and helmet
Bōsōzoku biker with illegally modified bike and helmet (taken from a Japanese biker magazine)
 
Bosozuku bikers, 1970's
Bōsōzoku bikers, 1970’s
 
Bosozuku biker with his bike and bat, 1980's
Bōsōzoku biker, 1980’s
 
Bosozuku biker with bike and bat
 
The earliest incarnation of the bōsōzoku, the kaminari zoku, appeared in the 1950’s. Not unlike their idols from the films, The Wild Ones or Rebel Without a Cause, the group was formed by the youthful and disenchanted members of Japan’s proletariat, and the gang provided a place for the emerging delinquents to call their own. A fiercely disciplined and rebellious group, the bōsōzoku once boasted more than 40,000 members. By 2003 the bōsōzoku’s numbers had dwindled to just over 7000. According to first-hand accounts from former senior members, the modern version of the bōsōzoku (known as Kyushakai) no longer embody the rebel spirit of their predecessors. In fact, some have returned to homaging their rockabilly idols by donning elaborate Riizentos, a style of pompadour synonymous with disobedience. These days many ex-bōsōzoku parade around on their bikes in non-disruptive groups and enjoy dancing, performing music and socializing in groups in Harajuku, an area well known for its outrageous fashion.
 
Harajuku Black Shadow dancers (ex-bosozuku), 2008
Harajuku Black Shadow dancers (ex-bōsōzoku), hanging out in Harajuku, 2008
 
Ex-Bosozuku hanging out in Harajuku, 2008
 
Many factors are to blame for the demise of the traditional bosozuku. A former leader of from the Narushino Specter gang in the 90s (and one time Yakuza loan shark), Kazuhiro Hazuki recalls that the police were once content to allow the bōsōzoku to run riot and no matter how many times they were arrested, a gang member never had their license revoked. Over the years, revised traffic laws have led to a rise in the arrest and prosecution of the bōsōzoku. Some also point to the inclusion of women as bōsōzoku riders, now a common sight in Japan, and a less than robust economy (many bōsōzoku bikes can cost as much as ten grand) for the drastic reduction in the gang’s numbers.
 
Modern day Bosozuku
Modern-day bōsōzoku
 
Bosozuku biker girl
 
Modern Kyushakai bikers
Modern Kyushakai bikers
 
If this post has piqued your interest of vintage Japanese biker culture, there are several documentaries and films based on the bōsōzoku and other speed tribes in Japan, such as 1976’s God Speed You! Black Emperor, 2012’s Sayonara Speed Tribes, a short documentary that features historical perspective from the aforementioned Kazuhiro Hazuki, or the series of films from director Teruo Ishii based on the bōsōzoku that began in 1975 with, Detonation! Violent Riders. If you are a fan of Japanese anime, the story told in the cult film Akira deeply parallels the real world of the bōsōzoku in their heyday. Many images of the bōsōzoku of the past and their mind-boggling motorcycles follow.
 
Bosozuku biker, early 1970's
Bōsōzoku biker, early 1970’s
 
More after the jump…

Posted by Cherrybomb | Leave a comment
Your favorite comic book superheroes caught in compromising, mundane and very HUMAN positions
05.26.2015
07:11 am

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Art
Pop Culture

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Superheroes capture our imagination because, for the most part, they are ordinary people who have been granted some particular power and must reconcile the responsibility of that power with the fact that, at heart, they are human beings with regular human faults and complexities.

Indonesian photographer Edy Hardjo has made it his mission to demonstrate this reconcilliation between superpower and ordinary human behavior. Hardjo’s work uses humor to show us that, in spite of their given better-than-human abilities, superheroes are just regular schmucks like the rest of us. Hardjo’s photographs give us an insight into the mundane worlds of The Avengers, Wolverine, Spiderman, Batman and other characters from the Marvel and DC universes.

Hardjo utilizes 1/6-scale figures and Photoshop to produce hilarious and sometimes risque insights into the the everyday life of a superhero.

These are some of our favorites:
 

 

 
More after the jump…

Posted by Christopher Bickel | Leave a comment
Vintage cinema sleaze: Remarkable ‘neo-retro’ video covers and poster art
05.25.2015
10:31 am

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Art
Movies
Pop Culture

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They Live BluRay box art, 2014
John Carpenters’ They Live Blu-Ray cover art (UK), 2014
 
In the early 80’s it was rumored that the UK had the largest number of VHS players per household, than anywhere else in the world. This interesting and perhaps plausible factoid (since the first home video recorder, The Telcan hit the UK consumer market in 1963), comes straight from the mouth of UK born illustrator, film poster designer and VHS aficionado, Tom Hodge, aka “The Dude Designs.
 
King of New York for DVD/BlueRay art for Arrow 2012
King of New York DVD/Blu-Ray cover art for Arrow, 2012
 
Like so many of us, Hodge’s obsession with cinema began thanks to easy access to VHS (Video Home System) tapes and frequent visits to his local “video van man.” Much like the movies themselves, the glorious cover art that continues to entice VHS collectors from all over the world, was quickly burned into his psyche. In 1995 Hodge began his formal education with graphic design and visual communication before launching his career as a professional designer in 2000. Since then, Hodge has designed dozens of DVD and Blu-Ray covers as well as salacious film posters for titles put out by Arrow Films, Scream Factory, and Magnet, among others. His art is seemingly possessed by the spirit of the seedy underbelly of vintage grindhouse, horror and exploitation cinema.
 
Brian DePalma's Obsession DVD/BluRay cover 2011
Brian De Palma’s Obsession DVD/Blu-Ray cover art, 2011
 
If you also love all things VHS with a passion as Mr. Hodge, Yale University’s film archive would make you weep. The Ivy League school boasts a collection of almost 5,000 titles; 2,700 of them on VHS. Of particular interest in Yale’s archival is the fact that it is primarily comprised of horror films, thanks due in part to the “direct to video” marketing tactic used by fringe filmmakers in order to circumvent the Hollywood machine. What is also significant about both Yale and Hodge’s cultural curation of VHS, is that there are an endless number of VHS titles that simply cannot be found (or never will be released) on DVD or Blu-Ray. In other words, the only way to see many of the films that reside in Hodge’s or Yale’s archives requires that you pull your VCR out of storage, and view it on old-school magnetic tapes. 
 
Hobo with a Shotgun movie poster for Magnet, 2011
Jason Eisner’s Hobo with a Shotgun. Movie poster for Magnet, 2011
 
Recently, Hodge put together an archival of his own that is chronicled in his book, VHS Video Cover Art: 1980’s to Early 1990’s. Nearly half of the VHS films featured in the book are straight from Hodge’s own collection. Although many of the titles in Hodge’s book may be more recognizable to a UK video junkie, any child of the 80’s will undoubtedly recall many of the hundreds of images of VHS tapes (front and back mind you, squeee!) within the books covers.
 
From Parts Unknown film poster, 2014
From Parts Unknown (Fight Like a Girl) film poster, 2014
 
Chocolate, Strawberry, Vanilla (Australia) film poster, 2013
Chocolate, Strawberry, Vanilla (Australia) film poster, 2013
 
More after the jump…

Posted by Cherrybomb | Leave a comment
That time all those Avengers appeared on ‘Late Night with David Letterman’
05.20.2015
09:51 am

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Pop Culture
Television

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It’ll be hard for me to imagine life without David Letterman on the tube. He’s been on late night TV since 1982, and as someone who was a tween during that era I’ve been watching him since probably 1984 or so. In high school he was one of my main heroes, and a lot of what I think I know or appreciate about comedy can be traced back to obsessive late night viewings of Brother Theodore, Pee-wee Herman, Marv Albert, Chris Elliott, Harvey Pekar, Biff Henderson, et al. on the kooky public/secret clubhouse he had going on NBC for quite a while there. At the risk of editorializing, I have found Dave’s CBS show far less essential, to the point that I don’t even really care that much that he’s retiring; the turning point in that process may actually have been the institutionalization of the top ten list, which started out as just another random segment, just like viewer mail. The problem besetting his show post-1988, say, is the same syndrome that has happened to the rest of the late night talk spectrum, which is that watching ultra-prepped actors winkingly play beer pong with Jimmy Fallon (or whomever) has basically no relation to the truly unscripted, fairly snide, and attitudinally aggressive antics that used to occur around 1 a.m. most weeknights during the 1980s.

After Late Night with David Letterman had been around a year or two, a lot of savvier people began referencing it. It felt during this time like renegade entertainment, an unusual commodity that was obscurely about the entertainment industry if not quite of it, and therefore it became a kind of a trope, if you could work “David Letterman” into your story you added a slight buzz of disposable knowingness, much like referencing some of the guests he had on (Pee-wee etc.). In effect, Letterman became a kind of punchline for the smarter set. The idea of John McEnroe or Charlie Brown or Tootsie or Hulk Hogan visiting Letterman’s NBC was a joke in and of itself.

Case in point, issue 239 of the Avengers from Marvel, the January 1984 issue, which trumpeted on its cover, “THE AVENGERS ON LATE NIGHT WITH DAVID LETTERMAN!” See? It was mildly ridiculous, as everything that appeared on Late Night was mildly ridiculous.

In the issue, aspiring actor Simon Williams (a.k.a. Wonder Man) gets booked on Late Night, whose producers request a larger cast of Avengers to appear. A few of the reserve Avengers join Wonder Man on the show, not knowing that serial pest Fabian Stankowicz seeks to sabotage their appearance by planting various booby-traps around the set. Eventually Letterman konks Stankowicz on the head with a giant doorknob.

Here are a few images from the issue—if you click on them, you’ll get to see a slightly larger version.
 

 
More after the jump…

Posted by Martin Schneider | Leave a comment
Q: Are We Not Throbbleheads? DEVO’s Booji Boy limited edition
05.15.2015
09:40 am

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Music
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Booji Boy (you’re supposed to say it like “Boogie Boy” but no one ever does) was a character created by DEVO’s Mark Mothersbaugh in the early 1970s after he found a sick-looking rubber “baby mask” in an Akron, OH novelty store and added a hazmat suit and high-pitched voice. Booji Boy made his first appearance in the short film DEVO made in 1976, The Truth About De-Evolution, where Booji Boy’s father, General Boy, was portrayed by Mothersbaugh’s own father, Robert Mothersbaugh, Sr.

Booji Boy’s “origins” were discussed in the booklet to DEVO’s CD-ROM video game Adventures of the Smart Patrol:

Obsessed with the idea of genetic mutation, Craig submitted to a botched operation in an effort to land a media deal with Big Media. Viola! Boogie Boy - a bizarre adult infant freak with pre-adolescent sexuality and Yoda-like wisdom.

The liner notes also discussed his father’s backstory a bit:

General Boy’s career as a military intelligence officer was cut short over his claim that he experienced an alien abduction. He was made to undergo psychiatric testing which resulted in progressive mental instability. Shortly after his son’s transformation into Boogie Boy, he stopped answering to Mr. Rothwell and became General Boy out of love and sympathy for his son.

 

 
And now there is a throbblehead based on Booji Boy, brought to you by Aggronautix, the same folks who have previously produced toys featuring Jello Biafra, Andrew W.K., GG Allin, Roky Erickson and Mark Mothersbaugh himself sporting a DEVO energy dome hat:

Based on DEVO concert photos dating back to the late 1970s, this limited edition bobblin’ Booji Boy figure is wearing his favorite over-stuffed exercise suit, and is armed with an early circuit-bent toy.

Booji Boy is limited to just 1000 numbered units and includes a Booji Boy vinyl sticker sheet. You can pre-order yours now, DEVO fanboys, and it will ship in June. Now they just need to make one of General Boy. That would be very… obscure.

After the jump, ‘The Truth About De-Evolution’

Posted by Richard Metzger | Leave a comment
Rock stars in bed
05.14.2015
08:53 am

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Pop Culture

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Morrissey in bed 1983
Morrissey sometime around 1983
 
As I take my guest blogging duties here at Dangerous Minds very seriously, I decided that spending much of the last two days rummaging through the Internet for photos of famous musicians lying around in bed was a good idea. And guess what? It paid off.
 
Joan Jett on her bed in LA 1977
Joan Jett in her bedroom in LA in 1977. Photo Chris Stein.
 
While you may be familiar with some of the images you’re about to treat your eyes to, I’m betting that there are a good few that you haven’t seen before. Like the one above of a nineteen-year-old Joan Jett hanging out on her bed in her LA apartment around 1977. I’ve always loved Joan. But after seeing the bondage gear hanging above her head in this photo, I dig her even more (if that’s even possible). The concept for this fairly epic post all started while I was goofing off leering at photos of various musicians clad in their underwear. I know, stay classy, Cherrybomb. After giving myself two bloodshot eyes looking at one too many photos of Robert Plant playing soccer back in the 70’s wearing THIS, I came across a photo of New York Dolls’ guitarist, Johnny Thunders and his then girlfriend, Susanne Blomqvist, (with whom he fathered a child in 1987), likely taken sometime in the early 80’s in Stockholm (Thunders spent a lot of time bouncing back and forth from Paris to Stockholm in the early 80’s). Thus, this post was born.
 
Johnny Thunders and Susanne Blomqvist early 80's
Johnny Thunders and Susanne Blomqvist. Early 80’s
 
As I am a stickler for details (as well as a terrible liar), I also managed to track down a little bit of a backstory on nearly all of the photos that follow such as dates and places where the images were captured, when possible. Rock stars, they’re just like you and me. Only richer, better looking, and in some sad cases, dead. Enjoy!
 
David Johansen and Cyrinda Foxe 1976 from The Legend of Nick Detroit in Punk magazine Volume 1, Number 6
David Johansen and Cyrinda Foxe in 1976. Taken from “The Legend of Nick Detroit”, Punk magazine - Volume One, Number Six
 
Jimi Hendrix at The Drake Hotel in New York 1968
Jimi Hendrix at The Drake Hotel in New York, 1968
 
More rock stars in bed, after the jump…

Posted by Cherrybomb | Leave a comment
‘Wicker Man’ trading cards
05.13.2015
12:08 pm

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Movies
Pop Culture

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The website’s now defunct, but sometime in 2006 some brilliant person going by the name “Bubblegum Fink” concocted these fake (yes, fake) trading cards celebrating and promoting the memorable cult movie of 1973 known as The Wicker Man.

About this set, the creator writes:
 

With The Wicker Man, there’s no way there ever could’ve or should’ve been a series like this. I can’t imagine any kid running out to buy several packs of Wicker Man cards and filling their cheeks with the gum as they shout “I got the Lord Summerisle I’ve been needing!” But that’s why I think it’s great. I love the Wicker Man, and as an adult, I’d happily slap down my cash for the cards if they existed.

 
True enough—there’s no way a nudity-filled escapade about a mad pagan cult would have qualified for the Topps treatment. There’s even a wrapper, with the old Topps logo lovingly included as well:
 

 
Having said that, you really have to admire the Bubblegum Fink’s workmanship. These cards are really perfect re-creations, easily close enough to the real thing to fool me, and the 1970s as a decade were just insane enough that when someone says, “Oh look at these Wicker Man trading cards!” you don’t shut it down as impossible right away—it takes a moment or two before the perfect absurdity of it becomes clear.

The almost random selection of images, the occasional foray into “behind the scenes” when an actor’s name is mentioned, the beautifully stilted captions, which remind me of nothing so much as DVD chapter titles….. just a job well done.
 

 

 
More after the jump…

Posted by Martin Schneider | Leave a comment
Mr. Bean, the high-end action figure
05.13.2015
06:29 am

Topics:
Pop Culture
Television

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Mr. Bean figure
 
Here’s a little something that will likely make your day; an incredibly life-like, fully accessorized 1/4 scale version of actor Rowan Atkinson as master mumbler and chronic bumbler, Mr. Bean.
 
Mr Bean figure close up
 
Part of the HD Masterpiece Collection for Enterbay, Mr. Bean comes with many of his belongings that you will surely recognize from his television show. Among them are the steering wheel from “The Trouble with Mr. Bean” (season one, episode five), the white underpants from “Tee Off, Mr. Bean” (season one, episode twelve), an extra head for the figure fitted with the turkey from “Merry Christmas, Mr. Bean” (season one, episode seven), and of course TEDDY. In my estimation, and perhaps yours, the only thing missing from this to-die-for collectable is Mr. Bean’s yellow 1976 Leyland Mini 1000.
 
Mr. Bean and Teddy figure
 
As you might imagine, you won’t find this fully-articulated version of Mr. Bean slumming around with other action figures at your local toy shop. Available through Enterbay’s online store (and other places such as eBay), the figure comes with a price tag that only serious collectors would consider throwing down for, a cool $422.
 
Mr. Bean steering wheel figure
 
More fantastic images that are so detailed it’s a bit uncanny, after the jump…
 

Posted by Cherrybomb | Leave a comment
The mind-meltingly brilliant ‘Mad Max: Fury Road’ gives cinema a shock to the system
05.11.2015
05:37 am

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Movies
Pop Culture

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Mad Max: Fury Road is one of the greatest action films ever made and certainly the greatest action film ever made by a 70-year-old director. If you’ve seen the trailers, you know what you’re in for: non-stop, pedal-to-the-metal, jaw-dropping movie mayhem. Toss in ingenious set and costume design, elaborately tricked-out rat rods, monster trucks the size of apartment buildings, staggeringly beautiful cinematography and gorgeously glowering, dirt smeared faces of anti-heroes that Sergio Leone would have lingered on for hours, and you’ve got the kind of holy fuck experience that doesn’t come around but once every decade or so. Director George Miller has created a majestic piece of popular entertainment that accomplishes what Road Warrior managed to do in 1982: it sets a new standard for pure cinematic thrills. The poetry is in the motion. This a moving picture.
 

 
Mad Max inhabits a surreal universe as beautifully imagined as those of Alejandro Jodorowsky and Moebius’s concepts for their ill-fated Dune project. And there’s more than a little of Terry Gilliam’s dreamy machinery in the mix. There’s not a frame in the movie that isn’t ravishing and filled with intricate and startling details. Every widescreen landscape is alien and yet familiar. As if David Lean’s Lawrence had wandered into some post-apocalyptic Arabia.

MM:FR doesn’t achieve its epic grandeur and high powered velocity with bigger and better toys or special effects (though it does have that), it does it through sheer cinematic brilliance. This is a movie that doesn’t feel like it was composed in a computer and it doesn’t look like a series of video game cut scenes. MM:FR feels alive, palpably real, organic, crafted. It draws you in in ways that today’s special effects films generally don’t. The distancing effect of CGI is minimal. The scale of the movie is both epic and intimate. Astonishingly magical and deeply human.
 

 
What makes Mad Max: Fury Road doubly rewarding is that it takes on some big themes without getting in the way of the action.  Miller deals with planetary ecological disasters, the futility of war, feminism, totalitarianism, religious fanaticism and the ruthlessness to which humanity is driven in its quest for power. Like all fables, MM:FR is about the battle between good and evil. Nothing new there. But what sets it apart from the current crop of male-centric action movies is the role women play in the film. They’re the dominant heroes. Tom Hardy’s Mad Max takes a backseat to Charlize Theron’s indomitable one-armed buttkicking machine. The men, as one female character describes them, are merely “reliable.” With the exceptions of Hardy and Nicholas Hoult’s Nux, the rest of the male characters are breast-fed (yeah, that’s right) zombified killing machines (War Boys) on a mission from a malefic God. The beautiful and brutally efficient women are the moral center of the movie and their revenge is sweet. This is the hardest rocking chick flick in history. The biker gang made up of septuagenarian Earth goddesses is as cool as any thing you’ll see in cinemas this year. And like so much of MM:FR, it hasn’t been done before. This movie surprises at every turn. Jaded movie goers will feel like kids again.
 

 
George Miller and Hugh Keays-Byrne (Toecutter and Immortan Joe in the Max movies) are interviewed by Robert Rodriguez after a screening of MM:FR this past weekend in Austin, Texas. Shot by M. Campbell for Dangerous Minds at The Alamo Drafthouse.
 

 

Posted by Marc Campbell | Leave a comment
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