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  • The king of Kinbaku: The erotic works of Japanese bondage artist Seiu Ito
    09:35 am


    Seiu Ito

    A painting by Seiu Ito depicting the art of erotic Japanese rope bondage, Kinbaku.
    Tokyo-born artist Seiu Ito didn’t start his career as an artist by tying people up and painting or photographing the resulting scene, rather he excelled using other mediums to express himself such as metal, creating carvings out of ivory, painting and eventually sculpture. When he was thirteen Ito traded in his given first name of Hajime for Seiu. It was around that time that Ito starting to draw images of women bound with rope known as the erotic Japanese art of Kinbaku or “tight binding.” Then, sometime in the early 1900s, perhaps 1907 when he was in his mid-20s, Ito took a job as an illustrator for a local newspaper and was quick to succeed as an in-demand artist for several different publications.

    Prior to rope bondage becoming a form or erotic sex play, it was widely used during what is referred to as the last traditional period in Japan, the Edo Period (1603–1867) to bind and restrain criminals and other kinds of captives. And it was the erotic version of being tied up like an outlaw that made Ito a rich man. Although he was married several times during his life, that didn’t stop Ito from having affairs with other women, some who he kept as mistresses for long periods of time. Ito’s collection of women would become the primary subjects for his paintings and kinky photography which included erotic suspension. One of Ito’s more well-known and questionable images (and there are many) is of his then-pregnant wife (his second) Kise Sahara. Ito photographed and painted an image of a very pregnant, partially nude Sahara bound with rope, hanging from the ceiling by her feet.

    Sadly by the time, the 1930s arrived the Japanese government had long been busy banning artistic types and intellectuals as well as routinely censoring print media. Ito struggled to survive as an artist. Later his home and much of his work was destroyed in the Great Tokyo Air Raid. The work that survived the devastation helped solidify Ito’s dubious title as the “Father of Modern Kinbaku.” As you might imagine Ito’s work is the subject of several books as well as the 1977 film Beauty Exotic Dance: Torture! in which Ito plays himself to the hilt. Many of the photographs and paintings below are naturally NSFW. 


    More after the jump…

    Posted by Cherrybomb | Leave a comment
    Extreme as F**K: That time Death Squad held its audience hostage by gunpoint
    09:33 am


    power tools

    “Power electronics” is not listener-friendly music on a good day. A cacophony of power drills, feedback, short-circuiting amplifiers, panicked screeching and walls of static, it’s fucking useless to dance to and mostly makes sense to budding serial killers, adolescents who can’t figure out how to play guitars, and lonely dudes with severe social anxieties. Whitehouse were/are the reigning kings of the form, but other notable power electronics artists include Grunt, Atrox Morgue, Brighter Death Now and Genocide Organ. Bands in the genre generally self-release, cassettes and CD-Rs, mostly, sometimes in packages that will maim you when you try opening them. There is a very good book, Fight Your Own War: Power Electronics and Noise Culture, that explains the whole sordid power electronics story far better than I can.

    These tapes can give you hepatitis.
    Anyway, west-coast noiseniks Death Squad already had a reputation for taking things beyond the pale. Even the description of his/their 1996 cassette release, Cutting Myself Open To See And Feel Blood, is enough to leave you whimpering in the corner:

    “Contains individual photo, used razor blade and blood smeared tapes packaged in an Abbott OPD Reagant (hepatitis test kit!) box. Edition of 20 copies released at the “Blood And Self Mutilation” performance in City College Of San Francisco May 8th 1996.”

    But in 1999, the one-man noise unit performed at a club called Lab in San Francisco, and it just might be the most over-the-top “musical” performance of all time, power electronics, GG Allin or otherwise. The wordy flyers for the gig did have a few red flags—they prominently featured a gun, a syringe and razor blade, and the text-dense manifesto included lines like “Small measures of terrorism are the only hope for the collapse of your perception and constantly programmed ideologies.” So, you know, it wasn’t gonna be an easy ride anyway. But the fifty or so aggro-music enthusiasts in attendance definitely got a lil’ more than they bargained for. Forget the wall of screeching, blood-curdling noise that ripped away at the speakers, that much was a given. It was the crazy shit going down onstage that really put it over the top.

    Original flyer for the notorious performance
    The show opened in typical 90s industrial/noise fashion, with Death Squad main man Michael Nine seated at a desk, illuminated only by a small lamp. Behind him, a film screen projected the usual edge-wizard atrocities: animal abuse, “true gore” clips, the whole life-is-horror trip. So far, another ho-hum night in 1999. And then things went over the rails.

    Ximena Quiroz was in the audience that evening and posted her experience on a Yahoo Forum for fans of Einstürzende Neubauten shortly after the show:

    “The desk [Nine] was sitting at had a syringe, razors, a little cup with some sort of liquid in it, a box of bullets, and a gun. The gun and the bullets were real. During the video, he proceeded to inject himself with something (heroin, maybe?). Then he took the razor and began to saw his arms with it until he was bleeding profusely. At first, I thought he wasn’t really cutting himself, but he wouldn’t stop bleeding, even when he wasn’t cutting himself.”

    Okay, so far we’ve got heroin use and self-mutilation. And the dude is only getting started. At this point, it’s probably time to pack up and go home. Half the audience did, in fact.  But Ximena stuck around, and things quickly escalated.

    More after the jump…

    Posted by Ken McIntyre | Leave a comment
    Alien egg ceramic cookie jar with Facehugger lid
    02:43 pm



    Check out this fantastic-looking ceramic Alien cookie jar with a “facehugger” lid. If you’re a fan of the Alien franchise, this has got to be the perfect cookie jar for you. I do not own one (yet) but the ratings so far are all five stars.

    Description from the listing:

    • Highly detailed Xenomorph egg design from the Alien film franchise
    • Facehugger lid to keep cookies fresh
    • Ceramic cookie jar and lid measure 9” by 5.5”
    • Not dishwasher safe, wash by hand only
    • In space no one can hear you take the last cookie!

    Either you’re going to eat more cookies or fewer depending on how comfortable you are pulling a cookie out of an alien Xenomorph egg. The egg cookie jar sells for $29.95 here.



    Thanks to Kevin K!

    Posted by Tara McGinley | Leave a comment
    ‘Secret Hitler’: Board game of the year (from the same people who sold you a box of Bullshit)
    02:32 pm


    board games
    Secret Hitler

    A few years ago, I was living in New York City but had struck up some friendships in Cleveland, where I would eventually relocate. I had heard about this funny game Cards Against Humanity and it had struck my fancy, so I plunked down 25 bucks in some virtual kiosk and got myself a set. At a New Year’s Party in Cleveland a few months later, I unveiled it to the assembled revelers, and it rapidly became the dominant activity of the party. A few months later, and it was hard to find a party where it did not get mentioned as a possible activity.

    Cards Against Humanity, the self-styled “party game for horrible people,” was the brainchild of multiple people, one of the most prominent of whom was Max Temkin, who has now teamed up with video game producers Mike Boxleiter and Tommy Maranges to find out if they could create a “social deduction” board game with the addictiveness of CAH.

    My money says that they have.

    The subject of an attention-getting Kickstarter that amassed nearly $1.5 million, Secret Hitler became available to consumers around the time of Donald Trump’s inauguration, which certainly speaks to impeccable timing on the part of Goat, Wolf, and Cabbage LLC, the company that is distributing the game. The game made a minor splash in late February when they shipped a free copy to all 100 U.S. Senators, thereby making explicit whatever metaphorical connections to the daily headlines may have been buzzing around your brain. 

    As with Cards Against Humanity, the people behind Secret Hitler have taken a staunchly populist and what might be termed anti-corporate approach—and the two games are united by a similar sense of cheeky humor. In both cases users have been encouraged to print up their own sets of the game for free, if they so choose. Here’s the GitHub online implementation of the game. To celebrate Black Friday in 2014, the CAH people invited people to send them six bucks in exchange for “Bullshit,” which is exactly what they ended up receiving.

    In the game, it’s Germany 1932, and the Liberals are pitted against the Fascists (one of whom is Hitler). The Fascists know which players are Fascists (and by extension, which players are Liberals), but the Liberals don’t know what side any of the other players is on. Gameplay varies according to the number of players (5-10), but in most versions Hitler does not know who his (or her) supporters are.

    Every game begins with a clever ritual in which all players close their eyes, and then, on a given cue, Fascists open their eyes and ID one another. The game comes with an app in which a recorded message by Wil Wheaton guides you through the process.

    The game proceeds by repeatedly naming a President who must select a Chancellor, the two of whom then must collaborate to place Liberal or Fascist policies on the board. Both sides have two paths to victory: if the Liberals place 5 policies on the board, they win, and the same is true of the Fascists, except they need 6 policies. The Liberals can win by assassinating Hitler, and the Fascists can win if they manage to get Hitler elected Chancellor after sufficient information about the players’ identities has been distributed (that is, after three Fascist policies have made it onto the board).

    Basically, at every point in the game, all players will be claiming to be Liberals; the trick is to track game moves to figure out who is actively pushing Fascist policies and who has been forced by circumstance to promote them against their will.
    More after the jump…

    Posted by Martin Schneider | Leave a comment
    Iconic Raymond Chandler covers: The Complete Philip Marlowe Novels

    Thankfully Raymond Chandler was a lousy poet.

    Chandler started writing after he was fired from his job with the Dabney Oil Syndicate. He was vice president of the company. Made no difference. He was fired after spending too many days sitting in his swivel chair, foot-dangling, fooling around with his secretary and getting loaded. His alcoholism and absenteeism led to his dismissal. It was 1932. America was in a deep depression. Chandler was in his mid-forties. He had no money, no prospects, a worrying taste for liquor and an invalid wife to support. Chandler later said, there is nothing like losing your money to find out who your friends really are.

    Chandler found out he had none.

    That was when he made his most radical, most insane, and most important decision of his life. He decided to become a writer.

    Chandler had picked up on the Black Mask detective fiction magazine. He read it and thought maybe he could write pulp fiction too. Chandler had once wanted to be a poet. It took him time but he eventually realized he was a poor poet. His poesy had too much verbiage, too much thinking and not enough doing. How different things could have been for 20th century American literature had Raymond Chandler stuck to writing verse.

    Chandler decided he had better learn how to write. He signed up for classes in short story writing. He got an “A.”  He studied Erle Stanley Garner by copying out his stories to learn how they were constructed. He read Dashiell Hammett. He read Hemingway. He wrote pastiches of them all.

    Hemingway, Hammett, and Garner taught Chandler how to cut the slack in his writing. He later claimed it took him two years to learn how to have a character leave a room or take his hat off. Simple writing, he discovered, was exceedingly difficult. His experiences writing short detective fiction for Black Mask taught Chandler everything.

    After five years with Black Mask, Chandler wanted to move on. He knew his short stories were just thumbnail sketches for a much greater work. In the summer of 1938, Chandler spent five months writing The Big Sleep. It was the first of seven novels featuring his hardboiled private eye Philip Marlowe.

    Marlowe was a composite of all the other private detectives Chandler had written. He plundered his back catalog lifting plots and storylines from his Black Mask stories. The Big Sleep used plot lines from earlier stories like “Killer in the Rain” (1935) and “The Curtain” (1936). Chandler was more interested in creating atmosphere than just writing plots. His novels were not whodunnits? but rather “whydunnits?” How Marlowe responded to each story was as important as solving the crime. Everything was refracted through Marlowe. It was a new way of writing detective fiction, one that changed everything—and one that would inevitably lead to the Gonzo writing of Hunter S. Thompson where the narrator is as important as the story he is telling.

    I dug Chandler from the day I pulled The Lady in the Lake off the library shelf. Chandler hipped me to a world of action and a style of writing that changed my life. I eventually bought up all the Marlowe stories I could afford. Then through time and foolishness, lost them all again. Before Christmas last year, I picked up a boxed set of the complete Philip Marlowe novels. They were the same set of green-spined Penguins I had first started reading way back when I thought these the coolest books I had ever seen. Designed by James Tormey, the covers used colorized stills from original 1940’s Marlowe movies featuring Humphrey Bogart, Lauren Bacall, Robert Montgomery, and Dick Powell.

    About a decade ago, I snapped up another set of Penguin Marlowes, this time with iconic, minimalist covers by Steven Marking. Both sets of covers are cool but the contents will always be best.
    See more classic Raymond Chandler covers, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Amusing ‘Punk!’ pinball machine from the early 1980s hints at certain bands to avoid paying them
    10:21 am



    I’ve never liked arcade video games much, but I’ve always been really into pinball machines. So much so that in the last few years I’ve joined a local pinball league (great fun!) and visited a few pinball conventions. I’ve even driven way out of my way to visit specific coffee shops and pizzerias just because some model I hadn’t played before was available to use.

    So over the weekend I come across an amazing image of a “Punk!” pinball machine from D. Gottlieb & Company, universally known as “Gottlieb,” that dates from the year 1982. I’ve never even seen an image of this game before, much less played it. Every DM reader is aware of the cross-pollination involved between punk and new wave, there’s a lot to be said on that subject, and yet….. there’s something off about this game.

    It’s amusing to see how some of the major punk acts are “implied” in a non-licensed way by having scrawled graffiti with certain letters blocked out so that nobody could really say which band starting with “S-I-O” is being referenced.

    So you can spot Siouxsie Sioux being invoked on the right-hand side; at the bottom you have “EAD BO” which is surely the Dead Boys. At the top you’ve got the Ramones and the Jam and the Clash being signaled. Interesting to see Joy Division tucked away up there as well. On the backglass, behind the guitarist’s left leg, you have what appears to be the word “DAMNED” partially blocked, all the more enticing to a teen demographic because it involves a curse word.

    But wait—what’s that on the left-hand side there? “PECH—M—”? How did Depeche Mode get involved with this?? They are definitely not punk!

    Remember, 1981 was the high point of the synth-pop movement, with Soft Cell, Ultravox, and OMD all in their prime. This machine may say “Punk!” on it but it mainly has me thinking of Square Pegs and Valley Girl.

    On this Pinside forum there’s a lively discussion about the game—not surprisingly, Punk! is a very difficult game to find from a collector’s perspective. One observer comments that “it is among the most difficult and nearly impossible pins to aquire.” Fewer than 1,000 were made, and even though the gameplay does not look all that interesting, it’s such a great item to have around that people who have it probably seldom let it go. 

    Price estimates run around $800, which is a fairly ordinary price for a machine of this type. Given its rarity, if the gameplay were actually engaging the sky would be the limit here!


    More after the jump…

    Posted by Martin Schneider | Leave a comment
    Horror-film worthy sculptures of the human body that are just dying to meet you
    09:57 am


    Francesco Albano

    A sculpture by Italian artist Francesco Albano.
    The work of Italian artist and sculptor Francesco Albano have been highly praised since he got his start nearly two decades ago. And now Turkish director Cansin Sağesen has made a short film about the artist and his grotesquely beautiful sculptures.

    In the short, Albano reveals that his father, who was also a sculptor, taught him his craft and that his work is driven by a “childhood urgency.” Albano considers his art to be a form of creative play—much like it would be for a child experimenting with tactile toys like Play-Doh. His sculptures look as if someone has let the air out of a human body like a balloon—which then transforms them into hideous blobs of gelatinous flesh with protruding bones, teeth, and genitalia.

    According to Albano, his work is meant to express the idea of how merely existing in modern society can be physically crippling and often destructive leading to the full-on collapse of the human structure, physically and mentally. Once you get that, you’ll see Albano’s work in an entirely new light as perspective breeds a deeper understanding of such things that at first appear to exist for their shock value alone. That said, the images that follow are very much NSFW.

    “On the Eve” 2013.


    “Lump 2” 2012.
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    ‘Yes Sir, I Can Boogie!’: The fantastic 70s K-Pop disco funk of Bunny Girls

    The cover of the 1978 album by South Korean duo Bunny Girls.
    The obscure South Korean girl group that went by both Bunny Girl and Bunny Girls were around for over a decade, and the music they put out under both monikers is full of funky disco-synth goodness.

    If my research is correct, Bunny Girls put out their first album Yes Sir, I Can Boogie in 1978 at the height of the disco craze in the U.S. and continued to release a few albums and singles throughout the end of the 1980s. So obscure are the adorable duo that despite my efforts to dig up much more on them In English, I came up pretty empty handed—except for the four tracks posted below—one which includes South Korean psych-guitar god, Shin Joong Hyun. Though one of the songs as well as the title of their debut album share the exact same title as the disco smash by Spanish duo Baccara, it doesn’t appear to be a cover of Baccara’s 1977 single, “Yes Sir, I Can Boogie.” Flash forward to 1989 and we hear Bunny Girls sound as if they went back to 1985 for inspiration by way Oingo Boingo’s bouncy hit, “Dead Man’s Party.”

    If any or all of this sounds good to you then you’re in for a treat because the music of the mysterious Bunny Girls is addictive ear candy that will leave you wanting to hear more. Which will sadly prove to be a difficult task though I’m sure some of our more intrepid disco fans will give it a shot. It’s also probably worth noting that Bunny Girls’ obscurity in the 70s was likely a result of the repressively dark political environment in South Korea thanks to the president and military general Park Chung-hee who lived to prevent musicians from making music during his time in office. In fact, after Bunny Girls’ fuzzy collaborator Shin Joong Hyun flatly refused to write a song for the strongman in 1972, he was blacklisted from the music industry in his homeland and his music was banned. A few years later Hyun got popped for marijuana possession and spent several years traveling between psychiatric hospitals as well as prison, where he was tortured. Which all proves at least one thing pretty clearly—if you were making pop music in South Korea in the 1970s, you were a goddam hero.

    But enough of that—let’s get down to the sounds of the Bunny Girls, shall we? Yes, sir we can boogie, after the jump…

    Posted by Cherrybomb | Leave a comment
    Glass night lights of David Lynch, John Waters, Robert Smith, Sonic Youth and many more!
    08:56 am

    Pop Culture

    night light

    David Lynch

    I have a thing for night lights. Probably because they work. They make the dead of night less creepy and I never stub my toe in the dark. So I was pleasantly surprised to discover these handmade glass night lights by Etsy shop Hunky Dory Studio.

    There are over 345 different night lights for sale on the Hunky Dory Studio Etsy page. I picked the ones I liked. If you don’t see anything you dig, I’m almost certain you’ll find something on their page. 

    Each night light sells for $30.00.

    Lou Reed

    John Waters

    Sonic Youth
    More after the jump…

    Posted by Tara McGinley | Leave a comment
    ‘Acoustic KO’: Stooges classics stripped down by James Williamson and Radio Birdman’s Deniz Tek
    08:44 am


    James Williamson
    Radio Birdman
    Deniz Tek

    Though he achieved his greatest notoriety as the founder of Australia’s punk progenitors Radio Birdman, Deniz Tek is a Detroit kid—no surprise, as guttural guitar ferocity like his has the Rust Belt written all over it. Radio Birdman were shot through with Detroit influences, specifically via the Stooges—their name came from a misheard Iggy lyric, and their rehearsal space/clubhouse was dubbed the Funhouse.

    In later post-Birdman years, Tek would play in bands with ex-Stooges, like New Race with Stooges guitarist Ron Asheton, and the short-lived (exactly two gigs) and underdocumented Dodge Main, whose live lineup featured the MC5’s Wayne Kramer, Stooges’ Scott Asheton, Sonic’s Rendezvous Band’s Scott Morgan, and The UP!’s Gary Rasmussen, with Jimmy Zero of the Dead Boys.

    Now Tek is releasing a four-song E.P. with later Stooges guitarist James Williamson, titled Acoustic K.O. a play on the title of Iggy and the Stooges’ live album Metallic K.O.. It features four Williamson compositions—“Penetration” and “I Need Somebody” from Raw Power, and “Night Theme” and “No Sense of Crime” from the 1977 Pop/Williamson album Kill City. The acoustic transformations are startling and quite effective. Per Williamson:

    The songs of Acoustic K.O. are pearls from my youth, which are almost equally familiar to Deniz Tek from his. In fact the same could be said for the others on this record, to varying degrees. The process of recording them acoustically enhanced their luster with new clarity from re-interpretation. We love how it turned out.

    He ain’t wrong—“I Need Somebody” seems a natural for an acoustic treatment, and the new version with Tek maintains the original’s menacing stomp. A more substantial transformation occurs on “Penetration,” but the E.P.’s real stunners are “No Sense of Crime,” on which Tek duets with Annie Hardy of Giant Drag, and “Night Theme”; the original on Kill City it’s a noisy-ish guitar theme-and-reprise suite that straddles the LP’s two sides, but here it’s a lush instrumental featuring a full orchestra.

    It’s DM’s pleasure today to premiere the stream of the entire release…listen after the jump…

    Posted by Ron Kretsch | Leave a comment
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