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Blood Freak! The ultimate Thanksgiving gore film (and a true Golden Turkey!)
11:57 am


cult films

For those of you true seekers out there, here is the ultimate Thanksgiving film on so many levels. First thank the universe this was even made, wasn’t burned or left in a dumpster like so many other small weird films and is waiting for you to devour it. From my buddies Something Weird Video, here is the perfect rundown on this, the world’s only marijuana-addict-turkey-monster-anti-drug-pro-Jesus-gore film!

For those that think they’ve seen everything comes Blood Freak, a rampaging turkey monster on a marijuana high!

Finding himself sandwiched between Bible-thumping good-girl Angel and her bad-girl sister Ann, a muscle bound biker named Herschell (Steve Hawkes, star of two obscure Tarzan films) falls under Ann’s seductive spell when she offers him some weed. Quickly becoming a writhing, spastic addict - “I have a feeling I’m hooked!” - the big galoot then gets a job at a turkey farm where he’s fed meat treated with an experimental drug and, like any junkie who eats tainted turkey meat, turns into a man with a giant turkey head. Yes, A Man With A Giant Turkey Head. Who also gobbles like a big dumb bird.

Still hungry for a fix, Herschell-the-Turkey-Man proceeds to attack fellow drug addicts whose blood he drinks with his pointy little turkey beak. In one magical moment, he even buzz-saws the leg off a pusher who holds his stump and howls for what seems like days. All of which is punctuated by philosophical pondering by co-director Brad Grinter (Flesh Feast) before two potheads with a machete decide to go on their version of a turkey shoot…

Wow. A monster movie quite unlike any other, Blood Freak is a jaw-dropping almost legendary milestone in crackpot filmmaking, and the ultimate cinematic turkey. Gobble-gobble!

To top it off there is a narrator who reads from a page on his desk, chain smokes while babbling about the dangers of ingesting chemicals, and at one point has a coughing fit ON SCREEN! This came out on video in the 80’s and it is one of a very small handful of films that still make my head spin.

For those of you who just want a quick dabble, here’s the trailer:

And for the tried and true freaks here is the complete film (with a silly three minute intro by a non-scary horror host)! Happy Thanksgiving!

Posted by Howie Pyro | Discussion
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Art Spiegelman: The Playboy Years
03:23 pm


Art Spiegelman

January 1982
Art Spiegelman is about as close as you can come to an eminence grise in the comix game. As the co-editor of Raw in the 1980s (his wife Françoise Mouly was the other co-editor), Spiegelman injected the U.S. underground comix scene with a healthy dose of intellectual experimentation, introducing such talents to the country as Chris Ware, Joost Swarte, Mark Newgarden, and Charles Burns. In 1991 Spiegelman completed his autobiographical years-long project Maus—if you haven’t read it you really should. Not for nothing did it become the first “graphic novel,” as the terminology had it and fitfully still has it, to win the Pulitzer Prize. Since that time Spiegelman spent several years as art director for the New Yorker and published several high-quality works like In the Shadow of No Towers, Co-Mix: A Retrospective of Comics, Graphics, and Scraps, and Breakdowns: Portrait of the Artist as a Young %@&*! He has the credibility that only roots in the underground scene can give you, he’s blended high art and low art (he was also involved with the creation of Garbage Pail Kids, for instance), and he’s generally a walking encyclopedia of comix history and lore. In 2008 I saw Spiegelman give a presentation on “Comics 101” as part of the New Yorker Festival, and it was a delight.

Raw existed from 1980 through 1991, and it must have been quite a challenge for Spiegelman and Mouly to pull off the publication of such an ambitious and infamously large-format book in Soho, one that surely had a host of printing issues most magazines don’t have to worry about (having their own dedicated printing press surely helped with that). Fortunately, to help pay the bills, Spiegelman was doing freelance work for Playboy from 1978 to 1982. I’ll bet those checks with the little rabbit in the corner (??) sure came in handy. 

His first cartoon for Playboy was a wordless 12-panel item called “Shaggy Dog Story” in the January 1979 issue about a woman having sex with a dog. Maybe not content-wise, but visually at least it wouldn’t look out of place in Raw, which isn’t necessarily true of his other work for Playboy—it has a jagged look that evokes ... something earlier and continental, not art nouveau but something similar. Most of Spiegelman’s cartoons for Playboy came in the form of a running series called “Edhead,” which depicted the adventures of a poor fellow who consists of a head but no body—that ran through most of 1979, then stopped until two further strips in 1981. In the January 1982 issue Spiegelman and Lou Brooks did a large panel of “Teasers” full of sophomoric jokes. My favorite thing he did for Playboy was a one-off four- (or eight-)panel strip called “Jack ‘n’ Jane/Rod ‘n’ Randy,” which is so elegantly complex that you can practically see the germ for Chris Ware’s entire future career in it. The idea is that every frame is divided into two; in the top frame a man and a woman converse, and in the bottom frame you get a parallel dialogue between the man’s penis and the woman’s vagina. OK, so maybe it isn’t exactly Binky Brown Meets the Holy Virgin Mary—it’s still pretty impressive for a few square inches of real estate in the back of a nudie magazine…..

(Click on the images for a larger version.)

October 1979

December 1978

February 1979

March 1979

April 1979
Several more “Edheads” and a rejected Playboy parody for Wacky Packages, after the jump…...

Posted by Martin Schneider | Discussion
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‘Weed Snobs’ pretty much nails weed snobs
10:13 am


Weed Snobs

Meet pompous old Yale buddies Richard and Sebastian, who have expert knowledge on the finer things in life and who also happen to be world class “weed snobs.”

Much like wine tasting, Richard and Sebastian take you on an amusing journey through weed class snobbery.

There are too many choice quotes to pick out. I think this is my favorite by far:

Richard: First off I’m going to start off with a Philly blunt of your Super Sour Dies. Uh, now your Pre-98 Bubba Kush... that’s a Bubba Kush that’s definitely prior to 98, correct?

Waiter: Of course, Sir. We import from a boutique nursery whose Bubba clones directly descend from the original Pre-98 plant.

This video is a production of Weed Maps, an extremely useful website that reviews local dispensaries. More of these, please! Thanks.

via reddit

Posted by Tara McGinley | Discussion
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There’s a Facehugger from ‘Alien’ dog leash
08:36 am



You might have been expecting something closer to a muzzle, but this is not a Facehugger per se, more like an Alien “Backhugger.” Still you have to admire this creative take on a dog leash by Etsy shop GCFX. It’s designed to fit small to medium sized dogs, 15-35 pounds. Big dogs need not apply.

While I dig the idea, I don’t dig the $150 price tag.


via Geekologie

Posted by Tara McGinley | Discussion
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Not for the squeamish: Man survives being hit by three cars
07:51 am

Current Events


In a scene reminiscent of the video for Thom Yorke and UNKLE’s “Rabbit in Your Headlights,” a middle-aged man survived being hit by three cars while crossing a busy road in Kunshan City in east China’s Jiangsu province.

The accident happened on October 28th, when the man, identified only as Li, tried to make his way across four lanes of traffic. Li was standing in the middle of the road when he was hit by the first vehicle. Another car plowed into Li seconds later as he lay injured on the ground.

Some passersby go to Li’s aid, and as they make phone calls to emergency services, a third car brakes and then hits Li.

Incredibly Li somehow survived this horrific accident, suffering several fractures in his leg and ribs. Authorities say he is now recovering well in hospital.

This video is not for the squeamish.

Via the Daily Telegraph.

Posted by Paul Gallagher | Discussion
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The acid-inspired interactive art of 1960s psychedelic collective ‘The Company of Us’
06:34 am



Artist Richard Aldcroft, in his “Infinity Projector,” featured on a 1966 cover of LIFE. The goggles prevented binocular vision and showed kaleidoscopic images.
“The Company of Us,” or USCO, was an ambitious, groundbreaking collective of artists and engineers heavily associated with LSD, although they formed in 1962, a few years prior to the explosion in public awareness of the drug. They counted among their ranks now notable artists like Gerd Stern, Stan VanDerBeek and Jud Yalkut, but at the time their ethos was rooted in collaboration and anonymity, so they only took credit for their productions as a group. Ironically, their work was actually helped by their druggy reputation, as they were featured in a 1966 LIFE magazine cover story—LIFE had published an editorial against the prohibition of LSD six months prior to USCO’s article.

The photos you see here are from their 1966 show at New York’s Riverside Museum which featured USCO’s psychedelic work in six enormous, completely tripped-out rooms. The collective created surreal environments—like “light gardens” and painted shelters—complete with electronic sounds, projections, flashing and pulsating lights, even an area with sensory goggles that blocked out any external vision. Everything moved and nothing was silent. The work was half druggy multi-media show, half interactive architecture, and it was quite the endeavor for a small bunch of outsider artists.

Stern says of the labor involved:

Part of the real problem that we had at USCO was that everything we did was very heavy. We would travel with a Volkswagen bus and trailers and thousands of pounds of equipment. Schlepping. In fact, I once wrote a piece for one of the art magazines called “The Artist as Schlepper.”

As I’m sure you would guess from an art show comprised of psychedelic rooms, many viewers of USCO’s “Down By the Riverside” exhibit were probably chemically altered, transforming the experience into a sort of amusement park of the senses where you could sit and fiddle with AV equipment or just lay there and watch the walls move. Of course, lingering and prolonged “observation” was encouraged—the show was actually where the term “be-in” was coined.

Painting of Hindu deity, which was flashed with color lights.

Artists Rudi Stern and Jackie Cassen work on an abstract slide show

Plastic eye illuminated with shifting light
More after the jump…

Posted by Amber Frost | Discussion
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Morrissey talks to nobody on MTV, 1985
06:27 am



I can hardly think of a better format for a Morrissey interview than this: in 1985, MTV’s monthly weirdomusic program IRS Records Presents the Cutting Edge put him in a room alone with a camera and a pile of envelopes each containing a one-word topic, like “fashion,” “money,” “music,” and so forth. The Smiths’ vocalist simply opened the envelopes and expounded the topics given therein (and it’s a goddamn shame none of those envelopes contained the names of any bands he disliked). The results are, unsurprisingly, classic Morrissey. Would it surprise you to learn that he thinks every art form he can name is a dying art, and that the greatest art form is the one he happens to be known for? Of course it wouldn’t.

Allowing that this was probably sourced from someone’s VHS dub of the broadcast, it looks like even by 1985 standards that that was kind of a shit video camera in there with him—the whole thing has the hazy and noisy feel of old surveillance footage. The entire video was broken up into several segments and spread out through the broadcast, but what’s here just contains the edited-out Morrissey segments. Bafflingly, the beginning is labeled “Part 2,” and there’s a lot of needless overlap between the two parts. I’ve set it up to play here in the proper order without the loads of overlap. The alternative was to post a ghastly looking and sounding screen-shot video.

The rest after the jump…

Posted by Ron Kretsch | Discussion
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Another year, another awesome Descendents Christmas sweater
05:40 am



SoCal punk heroes the Descendents have turned their Christmas sweaters into an annual tradition—here’s a gander at last year’s edition. This year, instead of emphasizing the noggin of Milo, from their 1982 album Milo Goes to College, they’ve gone in a different direction .... oh, who are we kidding, Milo’s gonna be on all the Descendents Christmas sweaters, okay?

The sweater costs $64.99 and comes in sizes ranging from XS to 2XL.





Posted by Martin Schneider | Discussion
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‘Made in Germany’ documentary explores the enigmatic blankness of Heino
05:36 am



There is something about Heino’s image that captures the imagination. All of the interview subjects in the documentary Heino: Made in Germany talk about the elements of the look: the blond hair, the dark sunglasses, the turtleneck, the inert stage presence. “Like a traffic sign or a pictogram, even children can memorize him,” former Heino impersonator Norbert Hähnel says. But what hides behind those dark glasses? There’s no lust, no dread, no anger, no sorrow, no mischief, no humor, no identifiable human desire of any kind in his persona. One young fan praises his “sobriety and modesty,” which may be the only qualities that can be positively attributed to the star.

Heino has called himself “the singer of the silent majority,” boasting that he’s sold more records in Germany than Frank Sinatra or the Beatles. There isn’t a perfect American analogue to Heino, but Pat Boone might give you some idea of the singer’s temperature. Both singers strive to appear wholesome and nonthreatening, though there’s a touch of militaristic pomp in Heino’s voice that would sound very strange coming from Boone. On his 2013 comeback album Mit Freundlichen Grüßen, Heino took a page out of Boone’s playbook, adopting a kind of Vegas/Ed Hardy “hard rock guy” image and covering Rammstein’s “Sonne,” along with other “folk songs of the young generation.”

Norbert Hähnel, one of the most interesting characters in the film, owned a Berlin record store and label called Der Scheissladen (I don’t speak German, but I believe this translates as “the Shit Shop”). Hähnel created a minor scandal in the 80s by impersonating the singer and insisting that he was the real Heino, earning him the hatred of Heino fans everywhere. Heino’s record company ended Hähnel’s career as “the true Heino” with a lawsuit that landed the Shit Shop owner in jail. Hähnel’s reminiscences of his first encounter with Heino are telling; even his youthful attempt to antagonize the singer only left him staring into the void:

It must have been at the end of the ‘60s. Maybe I was 17 at that time. Heino performed at a fashion show for older people. He had like two or three singles out so far. I thought it was actually very frightening to see what came up to us. But still I was fascinated by that person and so I had to watch his show. [...]

I think I remember a situation in which he was onstage saying, “All the young people nowadays don’t sing in anything but the English language,” and so on. I interrupted by yelling “fascist” or something like that. It ended up in a tumult. All the old people turned around looking for me. That’s the story. Just a small commotion, nothing to be too excited about.


Schlager singer Guildo Horn suggests the secret of Heino’s popularity lay in the relationship between his folk repertoire and postwar German identity:

After the Second World War, everything concerning German culture, German music, and especially folk music was so infested that you better not touch it at all. All the folk songs and stuff like that had been sung by the Nazis. They broke and tainted those songs. But then Heino came and didn’t give a damn about it.

It seems there was a thrill of the forbidden associated with Heino’s return to traditional German culture—that’s why it was banned in East Germany. The documentary includes a clip of East German broadcaster Karl-Eduard von Schnitzler denouncing Heino:

Every young and old reactionary can identify with this right-winger of the West German Schlager business. He is the flaxen-haired past singing the old songs.

The film also includes quite a bit of Heino-head Jello Biafra talking about his fascination with the singer, whose records used to blast through the PA before Dead Kennedys shows to wind up the crowd. Be warned: if you listen to enough of this stuff, you might start to like it.

Thank you Greg Bummer of Azusa, CA!

Posted by Oliver Hall | Discussion
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‘How To Blow Your Mind And Have A Freak Out Party’: The stupidest record of the 1960s?
12:01 pm

Pop Culture


I have been avidly buying records since I was eight. By that age, I had a pretty full grasp of rock and roll and its furthest reaches (the second record I ever bought was Mothermania by The Mothers of Invention). I “got” what oddball records were and looked for them specifically. The Audio Fidelity label was for the most part the home of sound effects records, newfangled stereo experiment records with bongos going back & forth from speaker to speaker, calliope music, Nazi marching orchestras and all other kinds of similar cheapo ephemera. It was a budget label like the ones pre-VU Lou Reed worked for, but it rarely delved into rock and roll. There was a three-volume set called Jet Set Discotheque with a few truly remarkable garage tunes from god knows where and a little later, this psychedelic abomination, How to Blow Your Mind and Have a Freakout Party.
Had this come out on the ESP Disk label (and it certainly could have) it would have found fans who “dug” the Fugs and other off-kilter freaks, but because it was on this un-hip “bow-tie-daddy” label it aroused suspicion and was relegated to stay where these records were placed anyway, even when they were brand new—in the 99 cent cut-out bin.

Don’t get me wrong, this is most definitely an exploitation record (or a “psychsploitation record” as they are known in deep record collector lingo). Most exploitation records are recorded by older hack musicians with no clue of the subject matter (which is what gives them their charm, especially when they’re trying to be psychedelic). This record was most definitely recorded by young people. On acid. It’s crude, young, and innocently dumb, which is what saves it from being just another boring psych record. The art also resembles a kids school book drawing version of the great Cal Schenkel art on the Mothers of Invention LP covers.

I found this in a used record store in 1972 and knew immediately from the cover that I would love it. And I was right. The record is experimental beyond its time, has incredibly bizarre effects I’ve never heard on any other record from this time period, plus catchy songs (at least on side one). Around the same time I bought a Grateful Dead record and expected it to sound just like this due to their extreme hype, not the boring country record I wound up being disappointed with.
The band credited is called The Unfolding. There is one name I recognize, David Dalton. There is a David Dalton won the Columbia School of Journalism Award for his Rolling Stone interview with Charles Manson, wrote bios on Andy Warhol, Sid Vicious, The Stones, Janis Joplin, Jim Morrison, etc., and he co-wrote Marianne Faithfull’s autobiography. I have no idea if this is the same person but it very well may be as this was a New York label and Mr. Dalton was a New Yorker (the CD reissue liner notes are no help in this department).

This record was most certainly made for a kid like me. It comes with hysterical instructions on “how to freak out,” plus an insert where you can send for psychedelic “stuff” for your very own freakout party! The TV trick is my favorite and the first thing I ran to try, messing up my parents TV in the process!

You can really turn your guests on with a mind-blowing light show with two things you probably have in your house right now: a TV set and a see-through kaleidoscope (not the kind with colored glass in the bottom). First put a rock and roll record on the phonograph. Turn on your TV and make the image jump in time to the music by turning the vertical knob all the way to the left or right. Now point the kaleidoscope at the TV screen. This is a guaranteed TRIP. Now play the same record at another speed. YOU ARE NOW FREAKING OUT. Enjoy it.


To set the scene for the party, spray pop bottles or an old chair with DAY-GLOW PAINT in bright colors, then light the whole room with DAY-GLOW light (you can buy these in any hardware or art-supply stores). This will make everything glow with weird luminous psychedelic colors. Guaranteed to blow their minds right away.

There’s even instructions on how to dress:

Wear bright really out-of-sight combinations, things that look strange together. GIRLS! This is a chance to wear something exotic and fantastic that you wouldn’t get a chance to put on. Perhaps spray an old pair of shoes with DAY-GLOW and wear DAY-GLOW tights to match. Bright oranges and greens, goofy jewelry, peacock feathers as earrings and a super mini-skirt.  GUYS! The idea is to look cool and mysterious, so wear moccasins, prayer beads, or Indian bells, psychedelic buttons, and groovy mod clothes. If you really want to blow your guests’ minds, paint your face in wild colors. It’s a chance to use some way-out make-up effects. Paint flowers on your arms and wear a mystical PSYCHEDISK on your forehead. Hypnotize your friends with its hallucinating effect.

In case you don’t have it memorized, they clue you into the (hysterical) “Psychedelic Top Ten”!
A few more instructions with a green and purple gleam in their winking third eye and we’re on our way:

Invite your grooviest friends, people who really swing, and enjoy exploring new and exciting experiences. BLOW YOUR MIND, FREAK OUT, etc. on pieces of colored paper, then glue them on to a piece of tinfoil and fold. This will let them know what kind of scene it’s going to be. Ask everyone to bring things they really dig: records, candy, people, flowers, books on flying saucers, kooky things. Tell them it’s a costume party and to come in their most out-of-sight clothes. Tell them it’s going to be a happening; they’ll get the message.


By now your guests should be really grooving with your head. Get everyone involved in way-out conversations. Read your horoscopes. Compare the personalities of people born under different signs.

Oddly they leave almost nothing to your imagination, truly the antithesis of a psychedelic experience, but they must have known the plastic people they were aiming this at.
The record is broken into two parts in more than just the physical sense. The great side A (Acid Rock)  is the where all the actual songs are: “I’ve Got a Zebra—She Can Fly,” “Play Your Game,” “Girl from Nowhere,” “Flora’s Holiday” and “Love Supreme Deal.” Then the heavy comedown of the slow moving side B: “(Meditations) featuring Prama,” “Electric Buddha,” “Hare Krishna” and “Parable.” It is is a heady mix of weirdness, chanting and sound effects (from the Audio-Fidelity library no doubt) and is meant for the coming down period (of course the record is only 35 minutes long so good luck. Good luck on even turning a record over while tripping your ass off… how did we DO that? Haha and truly, good luck on even listening to side two with its babbling nonsense surrounded by slide whistles, bells, and backwards thingamajigs). You can hear the whole record in this YouTube clip Listen Seriously Dudes!

Posted by Howie Pyro | Discussion
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