Filipino campfest Alyas Batman En Robin was made in 1993 on a zero budget, though it was considered a major release in the Philippines and starred three of that countries most popular comedians. Goofy, cheesy and fun, this flick is filled with crappy costumes, bad action sequences, inept choreography and a soundtrack that is cringe-worthy. But, it’s epic crappiness is what makes it such a blast. Here’s the grand finale featuring a blatant ripoff of Danny and The Juniors’ ‘At The Hop’.

Directed by Tony Y. Reyes and starring Rene Resquiestas, Dawn Zulueta, Vina Morales, Kempee De Leon, Joey De Leon
 

 
Watch the jawdroppingly silly trailer for Alias Batman And Robin after the jump…
 

 
A strange little ditty from an even stranger record company. Homer The Happy Little Homo was released on Camp Records sometime in the early 1960’s. Here’s a brief history of this obscure novelty label:

Almost nothing is known about the mysterious 60’s record label Camp Records. They released an album and 10 45 rpm records of gay parody songs, most done with effeminate voices. I believe they were issued in the early 60’s, as they all appeared in an ad in the gay magazine Vagabond, dated 1965. The address on the album record jacket was PO Box 3213, Hollywood, California, and it credited all selections to Different Music Co, Hollywood.
   The artists singing most of the songs were uncredited, or with names obviously made up, like Byrd E. Bath and B. Bubba, but one name stands out, Rodney Dangerfield. That name credited on one of the songs, and possibly another. This would have been very early in Dangerfield’s career, as his website bio says he decided to devote his career to comedy at age 40, which would have been in 1961. But I don’t think it was the comedian we know; just a prop name used for the release. Dangerfield disclaims any knowledge of it.
   A second album released on the label was called “Mad About the Boy.” It was filled with mostly well-known Broadway and cabaret songs that were originally sung by women. This album kept the pronouns intact, making them very gay. They were done in lounge style, without a campy approach…in other words, done “straight.” The liner notes state: ‘The primary reason for doing this album was to prove that good songs could and should be sung by everyone. Gender should not be the determining factor as to who should sing what.’ The notes later say that the male soloist and other artists on the album are well-known ‘Hollywood, TV, and screen personalities’ but ‘we are not at liberty to reveal true names.’ I have no idea if all this is true, or simply hype. The album probably came out in 1964 or 1965, as it pictures on the back all the previous releases of the label. And it is also advertised in the 1965 issue of Vagabond (see more, below), so I believe it was the last record they released.
JD Doyle

The video features some record sleeves from Camp.
 

 
Thanks to Queer Music Heritage.

 
Speculating on how an 85-year-old Lenny Bruce would be celebrating his birthday today is as fun as it is pointless.

But it’s pretty easy to guess that edgy comedy’s patron saint would not have been able to stretch out casually on TV for 25 minutes in conversation with a legendary publisher and lifestyle creator like the Hef.

That’s what happened in 1959 on the first episode of Playboy’s Penthouse, Hugh Hefner’s first foray into TV, which broadcast from WBKB in his Chicago hometown. This was the first mass-market exposure of the erstwhile club-bound Bruce, and its high-end hepness set the tone for the show’s two-season run, which featured a ton of figures in the jazz culture scene.

Of course, the dynamic between the eloquent snapping-and-riffing Long Islander Bruce and the perennially modest Midwestern Hefner is classic as the comedian covers topics like “sick” comedy, nose-blowing, Steve Allen, network censorship, tattoos & Jews, decency wackos, Lou Costello, integration, stereotypes, medicine and more.
 

 
Part II | Part III | Part IV

 
Last kitteh post… I swear! The final photo makes me a bit uncomfortable.

(via Nerdcore)

 
A mash-up long before the term was coined, “Stairway to Gilligan’s Island” by Little Roger and the Goosebumps came out briefly in 1978 but was quickly pulled from the market due to legal threats from Led Zeppelin’s attorneys. Ultimately it became known due to repeated plays on the Dr. Demento radio show. (I sheepishly confess to owning this 45. I’ve had it for at least 25 years and haven’t played it once since the day I bought it)
 

 
Ron Paul goes psycho on Morton Downey Jr.‘s nutzoid TV show. Guardian Angel Lisa Sliwa, rocker Otto Von Ruggins and yippie Dana Beal ramp up the frenzy.

Paul’s an asshole, but I do agree with him on legalizing drugs.
 

 
Part 2 after the jump…

 
This year, incoming Taliban freshmen at Bob Jones University were given special pins that would indicate that they were in their 1st week around the campus. Take a close look at the pin. Genius!!!

Via Stuff Fundies Like

 
Sammy Davis Jr. scats for Suntory whiskey, 1974.

Adlibs followed by the final take after the jump.
 

 
Final take after the jump…

 
There is no schadenfreude quite like Republican schadenfreude, especially when there is a male prostitute, hooker or “Nazi hobby” in the mix (note CNN’s lower third text in the video. Superb!).  Far be from me to stick up for the sole Jewish Republican in the House—I think Eric Cantor is a complete idiot—WHAT did Rich Iott, the Republican Congressional candidate from Ohio’s 9th District, EXPECT would happen once this particular GOOSE-STEPPING SKELETON fell out of his closest?

This guy is the best candidate the Ohio Republicans could come up with in this entire district??? Apparently so!

Via TPM

 
The Mind Benders: LSD and Hallucinogens. Good production values give this drug scare film from 1967 the sheen of respectability, but it’s still full of the same old bullshit. At a time when kids needed a Psychedelics For Dummies instructional manual, we got the kind of spooky propaganda that caused more bummers than strychnine-laced STP.