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Donald Trump’s eyes and mouth are interchangeable
03:56 pm

Current Events


Well, here’s a thing: Someone has noticed that’s Donald Trump’s mouth forms the exact same shape as his eyes.

Danny from Northern Virginia tweeted the image of Trump’s face with his strangely tight-lipped eyes.

Not content with that, Danny then photoshopped Trump’s mouth onto his eyes to make his point indelibly clear.

He’s right—Trump’s mouth does match his eyes and putting his mouth where his eyes should be makes no discernable difference.

WTF does it this mean?

Who cares…? It’s a chance to troll Trump.

And if the eyes are the windows of the soul—then what does this tell us about he who would be king of America? If his mouth spews offensive racist and deluded gibberish and his eyes look like his mouth—then his soul must be one dark festering pus-filled sore of poisonous bile. Or something like that.
H/T Buzzfeed.

Posted by Paul Gallagher | Leave a comment
‘They Live’ Donald Trump mask will make Halloween great again
02:31 pm

Pop Culture


Yep, this is pretty much perfect. A They Live Donald Trump mask by Trick or Treat Studios. You can pre-order it now for $69.99.  By next Halloween, Trump is gonna be YUGE.

Now you can get the first in a very limited collection of They Live Alien Masks made to look like the Presidential hopefuls, the Donald Trump They Live Alien Mask.

Again, this is a very limited run, so make sure to get your Donald Trump They Live Alien Mask today.

Please note that this is a Preorder and the mask will ship between August and September.

Trump’s signature combover could be a bit more severe, IMHO. But I’m sure you could style that on your own. You can pre-order the mask here.




Posted by Tara McGinley | Leave a comment
Geto Boys’ Willie D blasts Ted Cruz: ‘He’s a self-aggrandizing, insufferable douchebag,’ ‘scum’

Late last week the Cruz campaign released an attack ad against Hillary Clinton, spoofing the iconic printer-destruction scene from the 1999 film Office Space.

The ad itself completely misses the mark. Though the lyrics to the re-written parody of Geto Boys’ “Damn it Feels Good to be a Gangsta” play over the ad, painting a picture of Clinton as a corrupt, entitled Washington insider—the scene itself depicts Clinton as a take-no-shit badass.

The problem, and where the commercial totally fails as an attack ad, is that it depicts Hillary Clinton as one of the heroes from one of the most iconic and well-loved scenes of one of the biggest cult films of the last twenty years. On a subconscious level, if you are a fan of Office Space, you can’t help but view Clinton as the hero of this ad. They may as well have made a Bernie Sanders attack ad, casting him as “The Dude” from The Big Lebowski. It just doesn’t work to cast your political foe in a role completely associated with a hero—an anti-establishment hero AT THAT. Even the camera angles, parodying the original Office Space scene, make Clinton look larger than life and totally in charge. The ad works as a parody of a famous movie scene—as a political attack ad, it’s an utterly dismal failure. The Clinton campaign could take this spot as-is and dub in some different music (perhaps the original Geto Boys cut), and have a great ad of their own.

Republicans seem to have trouble getting the nuances of humor correct and they also seem to have a major problem with musicians getting angry when songs are used without permission in political campaigns.There’s a long history of this, and Cruz’ use of the Geto Boys’ music is the latest in that history.

Willie D of The Geto Boys, center
Willie D of the Geto Boys had some choice words of his own about the ad and the Cruz campaign’s (parodied) use of the Geto Boys’ music. Willie D called the ad “blasphemy” and “garbage” and asserted that the Cruz campaign runs completely counter to the Geto Boys’ ideals. “I don’t believe he’s all the way human,” he continued, comparing Cruz to “The Tin Man” from The Wizard of Oz. Willie D went on to call Cruz the “scum of the earth” and “a self-aggrandizing, insufferable douchebag,” ultimately demanding,  “you owe us and our fans an apology. I want an apology, Ted.”

Keep reading after the jump…

Posted by Christopher Bickel | Leave a comment
The book that could kill someone
04:33 pm



For intellectuals and leftists in continental Europe, the year 1968 has an iconic significance that it lacks in the United States and Great Britain. In France and Germany (as well as other places) the year was dominated by violent student uprisings, and to this day people are prone to identifying one another as being in or out of the group by just saying the all-important number 68: In Germany “ein 68er” is someone who developed a political consciousness during that pivotal summer. If you were born too early or too late to take part, well, tough titty, you missed out. The German student movement is interchangeably called the 68er-Bewegung, the movement of the ‘68-ers.

It’s now necessary to remind readers that when it comes to the German protest movement of the 1960s, we’re referring to West Germany, what was then known as the Federal Republic of Germany.

Born in Hamburg, Uwe Wandrey definitely qualifies as an ‘68-er par excellence. After getting trained as a shipwright in the late 1950s, he joined the army for a while and then enrolled at he University of Hamburg specializing in Germanistik (basically literature), and history and philosophy. In 1966 he founded a small independent press called the Quer Verlag (nothing to do with “queer,” the term Quer means “across” but also “oblique,” “askew,” etc.).

In 1968 he published a small volume called Kampfreime (War Rhymes), which is one of the few books in publishing history that was explicitly intended to be used in a confrontational protest context. It was small enough to fit in one’s pocket, and the edge of its metal sheath could be used to inflict damage of various types, not only against the bodily flesh of riot police, God forbid, but also for instance, to pry away the posters of the big bourgeois advertisements papering the walls where you would like to paste or scrawl your favored political message instead.

Adam Davis at Spineless and Stapled writes:

I’ve often been told that the pen (and by extension, the book) is mightier than the sword. But what if the book is the sword?

Uwe Wandrey’s Kampfreime is a collection of rhymed chants meant for use during the German Student Movement. As far as my research can tell, it is also the first book to be designed as a weapon, and as such is a landmark in book design.

The book is small. It can be easily slipped into a protestor’s pocket. The chants are arranged thematically. The red card section dividers make it easy, presumably, to flip to the right chant even under the duress of a violent protest. The book takes full advantage of secrecy and random access - perhaps the two most historically useful aspects of the codex form.

The sharp fore edge of both of the aluminum boards extend about a quarter of an inch past the fore edge of the text. The book elegantly solves the structural problems inherent in a metal binding in that the upper board is curved at a 90 degree angle at the spine, while the lower board lies flat and is buttressed against the inward curve of the upper. Thus the book lies flat, yet is easily opened.


Kampfreime had another use as well.

The business end of a book was also intended to tear away posters, flyers, advertisements - to clear an open space in an encroaching universe of bourgeoisie paper. After all, one of the main targets of the student protest was the Axel Springer publishing house. It belongs in the same lineage as another brilliantly designed book which in many ways laid a framework for the ‘68 protests—Guy Debord, Asger Jorn, and V.O. Permild’s psychogeographical masterpiece Memoires, which featured a sandpaper dust jacket to destroy any book it was shelved against.



Read on, after the jump…

Posted by Martin Schneider | Leave a comment
Is this footage of a 21-year-old Bernie Sanders getting arrested in 1963?
09:04 am



This sure looks like my Bernie to me.

Yesterday on the In These Times website, Miles Kampf-Lassin alerted readers to a newly posted video that purports to be of a young Bernie Sanders getting arrested at a civil rights protest against school segregation in Chicago in 1963. The future Vermont Senator and Democratic Presidential candidate was then just a 21-year-old student at the University of Chicago.

Clearly—if this footage is indeed Bernie Sanders and it sure looks like him to me, he was rather a distinctive-looking fellow even in his younger years—then this is visual proof positive that Sanders has been consistent in his beliefs—and fighting the good fight—for his entire adult life. And yes, this was back when a young Hillary Clinton was a confirmed “Goldwater girl.” Feel the burn?

The footage was taken from Kartemquin Film’s ‘63 Boycott project, which chronicles the Chicago Public School Boycott of 1963, and was filmed by Kartemquin co-founder Jerry Temaner.

The protest on Chicago’s South Side took aim at racist education and housing policies being carried out in Englewood—namely the proposed construction of a new school for black students made up of aluminum trailers known as “Willis Wagons,” named after the Chicago Public Schools Superintendent Benjamin Willis who first ordered them. These trailers were used by the city to deal with overcrowding in black schools, thereby preventing integration of black students into less-densely populated white schools.


Sanders was arrested for his civil disobedience—specifically resisting arrest—and fined $25.

Look at the glasses. Also, compare the big chunky watch in the clip below with the big chunky watch the young Sanders is seen sporting in the photo below:

I wouldn’t bet my life on it that it’s a young Bernie Sanders in this footage, but I’d surely wager a pinky or a toe…

Posted by Richard Metzger | Leave a comment
Tactics for Evolution: Industrial socialist pioneers Test Dept, live in Berlin, 1997
12:03 pm



When Test Dept were at the end of their first incarnation, performing at the Island Open Air Festival in Berlin, during August of 1997, the group had progressed from their hard industrial sound (hammers hitting metal) to a more experimental electronica much related (a second cousin twice removed, perhaps) to rave culture.

Some artists and musicians need pricks to kick against in order to produce great art—otherwise they would all end up being as anodyne as Justin Bieber or as deluded as Kanye West. Test Dept had the extreme machinations of the British Conservative government to kick against when they formed in south London’s docklands in 1981. Test Dept described themselves as “an urgent reaction to the materialistic drift and reactionary conservatism of the prevailing musical and political culture.” They were the antithesis of the moronic inferno of commercial music and the perniciousness of right-wing politics. Their motto was:


Test Dept were in opposition to the extreme conditions being created by the ruling Conservative party under the prime ministership of Margaret Thatcher. Mrs. T. had been elected in May 1979 on a campaign that claimed the previous Labor government had created high unemployment. By 1981 the irony fairy had been working overtime and Thatcher’s policies doubled the number of unemployed. It eventually reached a massive high of over 3 million people by the mid-1980s.

Across the country, industries and businesses were closed. Essential social services were devastated by the Tory’s cuts, which will sound familiar to younger generations. Thatcher operated on the belief that the previous Labor government had made the British far too dependent on state hand-outs (welfare) and this was why she hacked away at the benefits system like a drunk gardener uprooting roses to kill the weeds.

Test Dept were a response to the obscenity of a new political order and the decay and poverty left in its wake. TD scavenged for the tools to make their industrial sonic attack—discarded sheet metal, hammers, oil drums. They were aligned to political activism—seeking like-minded collaborators—filmmakers, sculptors, dancers and politically active groups—to produce site-specific works to fight back and bring change. In 1984, at the height of the miners’s strike—when Thatcher closed the mines and starved the miners out of work—TD collaborated with miners and their families to draw attention to their plight and raise money for their funds.

Anyone who saw TD during this decade felt emboldened and empowered to fight back against the Tories and bring about a fairer more equal society. They are very much needed again now.

As if responding to some psychic Bat signal, Test Dept regrouped for the release of a book to commemorate their involvement with the miners’ strike. Next month they’ll premier their soundtrack to the recently rediscovered and restored Soviet silent film masterpiece An Unprecedented Campaign by Mikhail Kaufman. Test Dept will appear at the film’s premiere in Newcastle, details here.

Previously on Dangerous Minds
EXTREME CONDITIONS DEMAND EXTREME RESPONSES: Test Dept’s industrial strength Socialism

Posted by Paul Gallagher | Leave a comment
Deep Red: Brutally beautiful art created with blood
08:50 am



URTSBC4 by Jordan Eagles
“URTSBC3,” 2012 by Jordan Eagles

New York-based artist Jordan Eagles has been working with blood as his medium for over a decade. His large scale works,  which are not for the squeamish or hemophobic, have been exhibited in galleries all across the country.
FKTS 19, 2012
“FKTS 19,” 2012
Life Force 2, 2012
“Life Force 2,” 2012
Eagles uses blood he has obtained from slaughterhouses as well as human blood that was donated to him willingly from people who will live on long after they have gone, as a part of Eagles’ ambitious creations. And while most people find the sight of blood unappealing, Eagles says the process of working with blood can be both “meditative and exhilarating,” and that even after working with the unconventional medium for so long he still “gets a thrill out of the energy that comes from the material.” In order to preserve the blood he encases it in plexiglass and UV resin which allows the blood to hold on to its natural colors, structure and patterns, which according to Eagle “embodies transformation, regeneration and an allegory of death to life.”
Blood Mirror, 2014
“Blood Mirror,” 2014
More after the jump…

Posted by Cherrybomb | Leave a comment
Just a nude drawing of Donald Trump in all his glory
08:11 am



This seems fitting, right? The pastel drawing is by Illma Gore and appropriately titled “Make America Great Again.”

From the artist:

“Make America Great Again” is about the significance we place on our physical selves. One should not feel emasculated by their penis size or vagina, as it does not define who you are. Your genitals do not define your gender, your power, or your status.

Simply put you can be a massive prick, despite what is in your pants.

But Illma, tell us how you really feel about Donald Trump…

Click here to see a larger image.

via Nerdcore

Posted by Tara McGinley | Leave a comment
Yep, there’s sexy Bernie Sanders underwear!
10:18 am



Just in time for Valentine’s Day… some super sexy lingerie-style Bernie Sanders underwear! (I refuse to use the word “panties,” btw.) Made by Bullet and Bees on Etsy—the same shop who brought you The Golden Girls underwear a few months ago—the Bernie-themed underwear sells for anywhere from $40-$60 depending on the style.

Don’t say I never gave you nothing for last minute gift ideas.


Posted by Tara McGinley | Leave a comment
‘N for Nonsense’: William S. Burroughs endorses Mr. Peanut for mayor, 1974
01:04 pm



On November 20, 1974, the city of Vancouver held its civic election, which included the heart-palpitating race for alderman as well as positions on the parks board and the school board. The mayoral election was part of the slate that year, and that race included an unusual candidate who never uttered a single word, preferring the universal medium of tap dance for communication.

That candidate was Mr. Peanut, and wherever he went a group of young women called the “Peanettes” would sing “Peanuts from Heaven,” based on “Pennies from Heaven,” the Depression-era song by Arthur Johnston and Johnny Burke. The “Peanettes” would hold up letters like spectators at a sporting event spelling out P-E-A-N-U-T, which apparently was a mnemonic device for the following: “P for performance, E for elegance, A for art, N for nonsense, U for uniqueness, and T for talent.”

Mr. Peanut’s platform included a couple of sensible proposals, including putting a hiring freeze on government employees until the city’s population became larger, and a couple that were a bit less serious, like a system similar to a lending library for galoshes and umbrellas, which are only needed when it rains. He had a cumbersome slogan reminiscent of some 19th-century art movement, which ran “Life was politics in the last decade; life will be art in the next decade.”

Mr. Peanut was actually a Berlin-based performance artist named Vincent Trasov, who had adopted the corporate mascot as his persona a few years earlier. He had a spokesman named John Mitchell accompany him to all public events during the campaign to do his talking for him. The author of Naked Lunch, William S. Burroughs, happened to visit Vancouver while the campaign was happening, so he gave Mr. Peanut his endorsement:

I would like to take this opportunity to endorse the candidacy of Mr. Peanut for mayor of Vancouver. Mr. Peanut is running on the art platform, and art is the creation of illusion. Since the inexorable logic of reality has created nothing but insolvable problems, it is now time for illusion to take over. And there can only be one illogical candidate—Mr. Peanut.

Joining Burroughs in endorsing Mr. Peanut was the mayor of Kansas City, a Democrat named Charles B. Wheeler Jr., who sent him a letter of support. Voters wishing to express their preference Mr. Peanut were obliged to select the candidate’s actual name from a list. “Vincent Trasov” received 2,685 votes out of 78,925 votes cast, netting him a 3.4% share of the vote, higher than Ralph Nader’s percentage in the 2000 election for president in the United States. Trasov/Peanut finished fourth, but it’s easy to imagine that if the words “Mr. Peanut” had been permitted to appear on the ballot, he might have garnered a few more points.
Continues after the jump…

Posted by Martin Schneider | Leave a comment
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