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The dictionary where Jerry Garcia got the phrase ‘Grateful Dead’
03:50 pm



In 1965, Jerry Garcia and Bob Weir and Ron “Pigpen” McKernan and Phil Lesh were in a Bay Area outfit called the Warlocks. (Quite astonishingly, the band that would become the Velvet Underground was also operating as the Warlocks at that exact same juncture.) The first show where the band performed as the Grateful Dead occurred on December 4, 1965, in San Jose, at one of Ken Kesey’s Acid Tests.

The story of Jerry seeing the words “Grateful Dead” in a dictionary is a well-established part of Deadhead lore. Jerry saw the words in a dictionary and a sunbeam splashed on the page and the words on the page glowed in a beatific halo or whatnot.

Actually, here’s the story, as recounted in Blair Jackson’s Garcia: An American Life:

It was sometime in November 1965, while the band and a few friends were sitting around Phil’s apartment on High Street [Seriously, people? High Street??] in Palo Alto, smoking DMT and thumbing through a gargantuan Funk and Wagnalls dictionary, that the group’s name was revealed (cue biblical trumpets!). As Jerry said in his oft-quoted 1969 description of the episode, “There was ‘grateful dead,’ those words juxtaposed. It was one of those moments, y’know, like everything else on the page went blank, diffuse, just sort of oozed away, and there was grateful dead. Big black letters edged all around in gold, man, blasting out at me, such a stunning combination. So I said, ‘How about Grateful Dead?’ And that was it.” Later, he noted, “Nobody in the band liked it. I didn’t like it, either, but it got around that that was one of the candidates for our new name and everyone else said, “Yeah, that’s great.” It turned out to be tremendously lucky. It’s just repellent enough to filter curious onlookers and just quirky enough that parents don’t like it,” he added with a laugh.

But haven’t you ever wondered just what kind of dictionary has an entry for “Grateful Dead,” anyway? It seems like an awfully weird term to stick in on the same page as gravel.

The Warlocks in action, 1965
There’s a pretty solid piece of reporting on the Grateful Dead’s official website that does a good job of explaining how this came about. It’s not a straightforward story, and (as befits the mindset of, say, a lexicographer) the details matter.

Some Grateful Dead fans did spend significant time trying to track down the dictionary that Jerry might have been perusing, but to no avail. And in fact the lack of any such dictionary popping up in these searches may have led to the rise of an alternate theory about The Egyptian Book of the Dead, which does in fact feature the phrase “grateful dead” as well—but had nothing to do with Jerry’s idea for the name, at least not directly.

As the Dead’s website tells it, a Deadhead named Kimball Jones finally found the elusive dictionary, which turned out to be the 1955 edition of The Funk and Wagnalls New Practical Standard Dictionary, Britannica World Language Edition:

Jones contacted the band’s office, providing photocopies of the entry and title page; images of those pages would eventually appear in The Official Book of the Deadheads, finally laying the question to rest. Jones donated his copy of the dictionary to the Grateful Dead Archive, where it is currently on display.

As the article asks later, “The esoteric nature of the entry, and its rarity, raise an interesting question: how did such a specialized entry come to appear in a popular dictionary?”

The reason “Grateful Dead” was in the dictionary derives from a woman named Maria Leach, who worked for Funk and Wagnalls and had made lexicographical contributions “in the fields of folklore and mythology” and was also “the editor of the company’s Dictionary of Folklore, Mythology, and Legend, which has the other appearance of the grateful dead as an entry. ... in a real way, Maria Leach can be considered the godmother of the Grateful Dead.”

One wonders if Maria Leach ever even heard of the Grateful Dead before her death in 1977, when she was in her eighties. It seems quite likely that a lexicographer who was publishing books in 1949 (the year that Funk and Wagnalls came out with Dictionary of Folklore, Mythology, and Legend) would almost certainly, twenty years later, not even be aware of all those “younguns” with their loud guitars and such. In fact, Maria Leach was born in 1892 and attended Earlham College in Richmond, Indiana, whose curriculum was largely shaped by the teachings of the Quakers, so you know, it doesn’t seem too probable.

Even more interestingly, her (quite substantial) bio on Wikipedia does not mention her considerable role in the naming of one of the biggest acts in rock and roll history. Her Dictionary of Folklore, Mythology, and Legend, which sounds utterly fascinating, can be acquired on Amazon for a surprisingly reasonable sum.) 

Here’s a scan of the 1955 edition of the dictionary, followed by the text of the entry (click on the image for a larger view):


GRATEFUL DEAD: The motif of a cycle of folk tales which begin with the hero coming upon a group of people ill-treating or refusing to bury the corpse of a man who had died without paying his debts. He gives his last penny, either to pay the man’s debts or to give him a decent burial. Within a few hours he meets with a travelling companion who aids him in some impossible task, gets him a fortune or saves his life. The story ends with the companion disclosing himself as the man whose corpse the hero had befriended.(Funk & Wagnall’s Dictionary).

There’s a book that was written in 1908 by Gordon Hall Gerould under the title The Grateful Dead: The History of a Folk Story that relates to this myth—occasionally people buy it with the idea that it’s about the band, but it still is probably a rewarding read.
via Little Hippie

Posted by Martin Schneider | Leave a comment
LSD Orgy Exposé: Have an acid flashback with these psychedelic book covers
12:09 pm



Contrary to that hoary old adage, a book is often judged by its cover. Whether that’s right or wrong, is unimportant, that’s just how it is. Indeed, it’s far easier to dismiss a book by its cover because so many books today look stupid.

Once book covers were discussed, considered and only then created by a team of whizz kid artists and designers. Nowadays, it’s easy to find three or four books by different authors on different genres with exactly the same black & white or color stock photo. It’s bad economics and lazy design.

Even at their worst though, pulp covers are aesthetically interesting. Some artist has invested time and effort into creating a cover that would (hopefully) bring readers to the pages. Not all pulp covers work—but at least they show some intelligence at play rather than just an editor indifferently picking a stock pic of a snowy street out of a catalog to save money.

This selection of covers for pulp fiction and nonfiction books on LSD and other psychedelic drugs give some idea to the variation in style book designers once had. Not all of these covers hit the spot—but at best they suggest that the reader could possibly get a contact high with just a flick through their pages.
Many more acid flashback paperback book covers after the jump…

Posted by Paul Gallagher | Leave a comment
Gentle Giant: Rosey Grier’s ‘Needlepoint for Men,’ 1973
09:49 am



I never realized what an awesome role model Rosey Grier was to kids—and to full grown men who enjoy needlepoint—in the 1970s. Really Rosey? (See what I did there? No?) I mean, how many former NFL players can you name who wrote books on needlepoint and sang songs like “It’s Alright To Cry”? None probably.

More than anything, Grier was showing that it was okay for young males to be in touch with their softer side and that there was nothin’ shameful about expressing emotions like crying. What a stellar message to get across, especially in the early 1970s when I’d imagine it was a lot tougher for even a former NFL tackle to get that message out without laughter and ridicule.

Rosey Grier is 83 years old now, and an ordained minister who keeps up a brisk pace of public service. He is the last surviving member of the Fearsome Foursome. As a bodyguard for Ethyl Kennedy during the 1968 presidential primaries, when RFK was assassinated, it was Rosey Grier who took control of the gun and subdued, Sirhan Sirhan.

Let’s also not forget his guest star turns on Dora Hall specials or his co-starring role in 1972’s The Thing With Two Heads (Ray Milland plays a rich white racist who has his head transplanted onto the body of a death-row inmate played by Grier.)


More Rosey after the jump…

Posted by Tara McGinley | Leave a comment
Boyd Rice biographer’s NON-disclosure: ‘He doesn’t seem to give a shit what most people think’
10:10 am

Pop Culture


“Boyd Rice is one of the most influential and controversial figures of modern American counterculture,” begins Brian M. Clark’s Boyd Rice: A Biography. While that grandiose statement may oversell Rice’s cultural importance, it’s certainly true that Boyd Rice is a household name in a lot of weird households.

Rice is a prolific American sound experimentalist, author, artist, actor, archivist, and prankster. He also tends to be a polarizing figure in countercultural circles.

Boyd Rice a.k.a. “NON”—breaking records
I became familiar with Boyd Rice beginning in the late ‘80s and throughout the ‘90s. It seemed for a time that any esoteric interest I began exploring, Boyd Rice’s name would pop up as someone who had been there to document it or be associated with it first. My initial exposure to Rice was his work on the Incredibly Strange Films book released by RE/Search in 1985. In the late ‘80s, this was perhaps the most-thumbed reference book on my shelf. Rice turned up again on my radar in 1988 as a talking head on Geraldo Rivera’s sensationalist Exposing Satan’s Underground TV special. I was deeply interested in Satanism at the time, and here was Rice as one of its chief defenders and spokesmen. As I became interested in the bizarre records I was finding at thrift stores, particularly fake Hawaiian recordings, I began finding articles written by Rice about his love of “exotica” music. When RE/Search’s Pranks book came out, I became obsessed with that volume, particularly Rice’s chapter. I got the accompanying video as soon as it was released and found the interviews with Rice quite charming. Around this same time I was starting to get heavily into noise and industrial music and there was Rice too—at the forefront with his ground-breaking work as NON. And there was Rice on Current 93 records. And there was Rice in Lisa Carver’s fantastic Rollerderby magazine. And then there were the hysterical tapes of his appearances on evangelical minister Bob Larson’s radio call-in show, which were de rigueur tour van tapes while playing in bands in the ‘90s. Rice was seemingly everywhere, all over everything I found fascinating in the ‘90s—and he was always there a few years ahead of me as its champion. Who was this industrial man of mystery?

More on this contentious character after the jump…

Posted by Christopher Bickel | Leave a comment
Around the world with Modesty Blaise, ‘England’s fabulous, feminine answer to James Bond’
09:13 am



Doubleday hardcover, 1965
The 1960s were rife with super-duper-glamorous spies, weren’t they? James Bond was one of the earliest and also the best-known. Ian Fleming published Casino Royale in 1953, and the movie series started in 1962 with Dr. No. But there were many others: The Avengers, The Man from U.N.C.L.E., I Spy, Mission: Impossible, James Coburn’s Derek Flint, Dean Martin’s Matt Helm—they were all over the place.

Emma Peel notwithstanding, the general arena was a bit heavy on the testosterone, so Peter O’Donnell invented “England’s fabulous, feminine answer to James Bond,” as one of the first published editions had it. (In Pulp Fiction, Vincent Vega is reading the edition at the top of this post on the toilet just before he meets his untimely demise.)

In 1966 Joseph Losey directed Modesty Blaise starring Monica Vitti and Terence Stamp and Dirk Bogarde. Some of the book covers below use images of Vitti in the role.

Modesty Blaise never had the sales that James Bond enjoyed, but she was quite popular through the 1970s and 1980s, and Souvenir Press was publishing several Modesty Blaise titles as late as 2006. As you can see below, O’Donnell’s handful of Modesty Blaise titles (Modesty Blaise, Sabre-Tooth, I, Lucifer, The Impossible Virgin) were translated in many countries, including France, Germany, Israel, South Africa, Finland, and Brazil.

The Modesty Blaise Book Covers website is obviously indispensable for a post like this—alas, many of the images are a bit too small for use here, but I was often able to find reasonable facsimiles elsewhere on the internet. In some cases I liked the cover so much and couldn’t find a larger image so I just lived with the mild graininess, sue me!

Souvenir Press hardcover, 1965

Fawcett Crest, 1965

Doubleday, 1966
More ‘Modesty’ after the jump…

Posted by Martin Schneider | Leave a comment
‘The NeverEnding Story’-themed tablet covers
10:32 am

Pop Culture


Get it here

If you’re an 80s kid like me, you might really, really appreciate these handmade NeverEnding Story tablet covers. I found three of them online made by two different Etsy shops. The prices can range anywhere from $29.95 to $50. I have linked where you can buy ‘em under each image.


Get it here
More after the jump…

Posted by Tara McGinley | Leave a comment
‘The Bald Soprano’: Take a look at one of the most beautiful—and eccentric—books ever published
06:40 pm



Playwright Eugène Ionesco was one of the founding fathers of the Theatre of the Absurd, a school defined by cultural historian Martin Esslin (in his influential 1960 book of the same title) as a genre which dramatized Albert Camus’s philosophy that life is inherently sans meaning. That our existence on Earth is both absurd and pointless. That we’re born into a godless world. We live. We die. Along the way we might do certain things—even perform acts of great compassion or heroism—but ultimately none of it really matters. Death swallows everything and everyone in the end.

While trying to learn English via the ASSiMiL method for teaching foreign languages (which requires phonetic memorization of mundane “conversational” sentences) Ionesco was inspired by the company’s book Anglais Sans Peine (“English Without Toil”) and the generic “characters” within it, “Mr. and Mrs. Smith,” to write his first play, La Cantatrice Chauve or The Bald Soprano. It was debuted in Paris in 1950 but initially not much of a success.

When the play opens, we meet Mr. and Mrs. Smith in their drab sitting room. He is hidden behind his newspaper, smoking a pipe and clicking his tongue. She is darning socks. After a long moment of “English silence,” Mrs. Smith announces:

“There, it’s nine o’clock. We’ve drunk the soup, and eaten the fish and chips and the English salad. The children have drunk English water. We’ve eaten well this evening. That’s because we live in the suburbs of London and because our name is Smith.”


Ionesco’s special talent was ridiculing authority figures, brutally portraying humankind’s insignificance and lampooning the banality of everyday communication. He would artfully employ clichés and witless truisms as dialogue. His characters often talk right past one another, if not simply shouting non sequiturs into the wind. No one is ever listening to what anyone else is saying in his plays.

The Bald Soprano was composed as a sort of continuous loop. The last scene contains stage instructions to begin the performance over again, from the very first line but with “the Martins” (the dinner guests of the Smiths) doing the lines that the Smiths had just said, and vice versa. And then repeat. And then repeat again. Ionesco’s point is that the characters and their banal, absurdist dialogue are interchangeable. None of it matters. Who cares?

The Bald Soprano has been continuously performed in France since 1957 at the Théâtre de la Huchette and due to the simplicity of the language lesson-level dialogue it has been translated into many, many languages and staged the world over. Indeed, it’s one of the most widely performed plays of all time.

Continues after the jump…

Posted by Richard Metzger | Leave a comment
When Edward Gorey took on the Martians
09:19 am



H.G. Wells’ 1898 novel War of the Worlds has famously inspired at least seven motion pictures as well as an infamous, historic, and hysteria-inducing radio broadcast, directed and narrated by the late, great Orson Welles in 1938. The radio-play caused such panic that public outcry called for stricter regulation and guidelines by the FCC. Be that as it may, the overall success of the radio program helped to secure Orson Welles’ reputation and fame as a serious dramatist.

One figure not often associated with, but connected to the genius of War of the Worlds, was the American writer and illustrator Edward Gorey.

From 1953 to 1960, you couldn’t swing a dead cat without hitting some magnificent book cover (and very often text) illustrated by the artist Edward Gorey. Gorey would eventually become quite successful as an artist and author of his own material, eventually penning over 100 books, but from 1953 to 1960, he lived in New York City and worked as an illustrator in the art department of Doubleday. He toiled alongside other unknown artists like young Andy Warhol, illustrating the works of famous mainstream authors such as Thomas Wolfe, Henry James, Anton Chekhov, and Franz Kafka.

One example of many of Gorey’s stunning book covers.
Thankfully, both Gorey and Warhol would eventually break out of their respective ruts and change the art world forever. Gorey’s unique pen and ink style made him popular with fans as diverse as children and goths. During his tenure at Doubleday, he illustrated kid’s books as well as classics like Bram Stoker’s horror masterpiece Dracula. When he struck out on his own, he even dabbled in what can only be described as “asexual pornography.” But it’s toward the end of his time at Doubleday that he was asked to add his stark trademark pen and ink style to illustrate a new edition of the H.G. Wells’ classic The War of the Worlds. This was for the Looking Glass Library series, which was published in 1960. (Most of Gorey’s own works are obscure and hard to find, but there are collections of his work available through The Gorey Store found in The Edward Gorey House online.) Gorey begins each chapter of The War of the Worlds with one of his eerily unmistakable pen and ink sketches.

Here are some striking samples of his work from this special edition of The War of the Worlds, when Gorey took on the Martians:


More Gorey, after the jump…

Posted by Christopher Bickel | Leave a comment
‘I hung out with Donald Trump in his creepy gold office and lived to tell about it’

Writer, musician, raconteur Dave Hill is the author of the upcoming comic anthology Dave Hill Doesn’t Live Here Anymore. Dave Hill is a very, very funny man. But you don’t have to take my word for it. Dick Cavett, Andy Richter, Malcolm Gladwell and John Hodgman also think he’s pretty hilarious. John Oliver must like Dave, too, because he uses “Go” by Dave’s band, Valley Lodge, as the jaunty theme tune for his Last Week Tonight with John Oliver show on HBO. Apparently Samantha Bee is a Hill fan, as well, since she had Dave on her new Full Frontal program earlier this week, serenading some college-educated Donald Trump supporters with a little ditty he’d composed about Trump especially for the occasion (see below).

And Dave actually knows what he’s singing about from experience. He really knows Donald Trump. Or at least he is—or was—once very, very briefly acquainted with the Donald for about an hour or so back in 2004…

But I’ll let Dave himself explain in this amusing excerpt from Dave Hill Doesn’t Live Here Anymore, coming in May 2016 from Penguin/Blue Rider Press.


The year was 2004. Both NBC’s The Apprentice and really fun cell-phone ringtones had taken an unsuspecting public by storm. I had managed to elude both—I kept my phone on vibrate and was ready to stare in bemusement at anyone even thinking of telling me I had been “fired.”

But I needed money, so when the call came to write ringtones for Donald Trump, a quiet businessman from Queens who had been reluctantly thrust into the spotlight by the seventh-most popular program on network television at the time, I said yes. I had been doing some freelance writing and one of my clients was among the tangle of corporations assigned to the case. Fortunately, they decided to throw me a bone.

Of course, I knew a thing or two about Trump already. He had flawless hair; he slept on piles of money each night; given the choice between having something not gold-plated or entirely gold-plated, he chose door number two every time. Still, I wanted to do the best job possible, so I had one of Trump’s minions send me copies of two of his books, Trump: The Art of the Deal and Trump: The Art of the Comeback, as well as an anatomically correct Trump doll that would tell me all sorts of things every time I pressed its back, something I couldn’t help but do repeatedly as soon as it came into my possession.

“You really think you’re a good leader?” the doll would ask, seemingly out of the blue. “I don’t.”

A little harsh, maybe, but also something I probably needed to hear.

Despite all the hours I spent playing with that doll, though, I had my work cut out for me. Somehow, in what I can only assume was the result of someone putting a gun to Trump’s head, NBC owned the rights to his electrifying catchphrase “You’re fired!” The challenge was mine to figure out what else he might say—to write some slogans people might want to hear coming out of their phones besides those two magical words that had already galvanized a nation.

“Your services are no longer required at this place of business!”
“Please stop showing up here for work, okay?”
“Die, you anus!”

These are but a few of the alternatives to “You’re fired!” that I proposed. In the end, though, it was decided that Trump’s ringtone avatar would be less cutthroat and more inspirational, encouraging cell-phone users to answer promptly so they could take advantage of a big business opportunity or maybe just hurt someone’s feelings. I whipped up a few dozen Trumpist gems. Track ‘em down if you like; I imagine they’re still out there somewhere, priced to move.

“This is Donald Trump. I have no choice but to tell you . . . you’re getting a phone call.”
“I’m Donald Trump and this is the call of a lifetime!”
“This is Donald Trump. Answer your phone now—it might be me calling.”

Maybe not my finest hour, but, hey—the customer is always right. After that, I assumed my work was done, but I ended up being asked to attend the actual taping, too, at none other than Trump Tower.

“You mean I’ll actually be in the room while Donald is saying the stuff I wrote?” I asked a guy from the ringtone concern.

“Yes,” he said, placing a hand on my shoulder for emphasis. This was officially about to be the biggest thing anyone in my family had ever done, including fighting in wars or any of that other crap my older relatives always went on about. Naturally, I couldn’t wait to tell them.

“I’m working with Donald Trump,” I told my mom over the phone.

“Who?” my mom asked.

“Donald Trump,” I told her. “The guy from The Apprentice.”

“David got a job with Tony Crump,” my mom yelled to my dad in the next room.

“That’s nice,” my dad yelled back.

They were pumped.

When the big day rolled around, I put on a suit and tie and worked as many hair products into my scalp as possible before heading over to Trump’s offices in midtown Manhattan to meet the other dozen or so people required to complete a task of this magnitude.

As expected, Trump HQ was beyond opulent. It was as if a blind decorator had been given an unlimited budget and told he’d never work in this town again.

“This way, please,” a Trump representative, who was difficult to focus on amid all that sparkle, said before leading us to a conference room. Along the way, I spotted Donald Jr. sitting in an adjacent office, his hair perfect, as he no doubt bought or sold something without even thinking about it. It ruled.

“You have one hour,” the rep announced, prompting everyone in the conference room to spring into action, turning it into a makeshift recording studio. A few minutes later, the doors opened and in walked Trump, somehow looking even Trumpier than I’d anticipated. He wore a suit and tie and, of course, his trademark scowl. And though he stood mere feet from me, I found I had no further insight into his hair-care regimen. Looking into his coiffure did nothing to demystify it. In fact, it only confused me more.

“Right this way, Mr. Trump,” a ringtone specialist said, gently urging him toward the microphones while being careful not to actually touch him.

“Let’s make this quick,” Trump grunted, already sounding like the ringtones I’d written. “I’ve got a busy day ahead of me.” At this point, a mild panic set in as everyone in the room became convinced he or she might very well be “fired” or at least told to wait by the elevators at any moment. As for me, though, I couldn’t help but relax a bit; it had suddenly occurred to me that Trump might not be the oblivious blowhard everyone thinks. I mean, sure, he was a blowhard, maybe even the biggest blowhard of all time, but he also seemed totally self-aware, like he knew he was just playing a character, and that as soon as we left, he’d run into Ivanka’s office, shut the door behind him, and squeal, “I got ‘em again, honey!” Something about that made me actually kind of like the guy, if I sat there and thought about it long enough.

Moments later, after a technician had scrambled to hit any and all record buttons, Trump began barreling through the ringtones, printed on large cue cards that would remain easily readable even when he squinted judgmentally, which was always. Occasionally he’d give emphasis to a different word or see if getting angrier might help sell things a bit more. Meanwhile, everyone else in the room remained pinned to the wall, just trying to get through the proceedings intact.

Things seemed to be going well enough until about twenty minutes later, when Trump paused abruptly and began scanning the room in the manner that, by now, haunts people’s dreams the world over.

“Who wrote these things?” he barked, pointing at the cue cards like he wanted them taken out back and shot.

“That guy! Dave Hill!” at least five people volunteered in unison, their tone suggesting they would happily stab me right then and there if Trump would just say the word.

I figured I might start gathering my things at this point, but before I could, Trump looked at me, dropped his scowl, and said, “You’re a very good writer.”

“Thanks,” I said with a nod, sensing a trap. For the remaining forty minutes or so of the recording session, Trump refused to address anyone in the room but me. Others tried to intervene, but as soon as they finished talking, Trump would turn to me, his right-hand man, and ask, “What do you think, Dave?”

It was a weird kind of trust to have earned, sure, but it was also kind of cool—especially considering that otherwise I probably would have been just sitting at home scanning Craigslist for missed connections.

As the session wrapped up, I recalled something else I’d learned about Trump through my tireless research: he hates shaking hands. Naturally, this made my mission clear. This will be the true test of our love, I thought as I stood waiting for any others brazen enough to approach Trump to say whatever they were gonna say with their hands glued to their sides before get- ting the hell out of his sight, dammit.

With the path clear, I approached him for some bro time.

“Nice working with you, Donald,” I told him.

“You, too, Dave,” he said.

“Thanks,” I replied. I gingerly extended my hand. I could feel eyebrows across the room rising in slow-motion panic.

Will he? Won’t he?

Against all odds, Trump slowly reached out and grabbed my hand, shaking it not so firmly, as if to suggest his henchmen might be waiting for me outside and not so softly as if to suggest a quality hang in Montauk was off the table. No, this was just right—perfect, in fact, almost like he was a regular human being who had done this sort of thing before. All these years later, that shake still feels like a victory of some sort, but I’m not sure for whom.

As I sit here writing this in my underpants, Donald Trump continues his disturbing bid for the American presidency. And I find myself hoping more than ever that he really is only playing a character, that maybe he’s just the greatest performance artist of our time, a modern-day Warhol or slightly chattier Marina Abramovíc who will any day now say “Tada!” and take a bow, then go open an all-you-can-eat shrimp joint in the Outer Banks or something.

With each passing day, I fear I may be wrong. Still, whatever happens, it’ll always be nice to look back on that day at Trump Tower and think, “Sure, he’s a hate-spewing boob who somehow manages to sound even angrier and crazier than that doll I still can’t help but drag out from under the bed every once in awhile…and, yes, he’s even got that certain awful something to win the endorsement of the unicellular Sarah Palin. But put the two of us in a room together for an hour and, goddamn, do that son of a bitch and I make one hell of a ringtone.

Pre-order Dave Hill Doesn’t Live Here Anymore. You will be glad you did. Follow Dave Hill on Twitter. Consider tweeting this story at Donald Trump, too, won’t you? If enough people do, he’ll read it. I think he might actually like it.

Below, Dave Hill sings “The Greatest Donald Trump Song Ever Probably” on Full Frontal with Samantha Bee (full version)

Posted by Richard Metzger | Leave a comment
Board game based on Hunter S. Thompson’s ‘Fear and Loathing in Las Vegas’
10:35 am

Pop Culture


We’ve blogged about this wicked-cool board game—loosely based off of Hunter S. Thompson’s Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream—by artist Alyx Baldwin back in 2009, but I see it’s making the rounds again. Plus I think it’s time to give this game another go-round because it deserves the attention. Just look at how much thought and consideration was put into this board game! 

It’s really a work of art.



More after the jump…

Posted by Tara McGinley | Leave a comment
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