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Remember those too-good-to-be-true vinyl toys of your favorite pop culture icons?
01:14 pm

Pop Culture

vinyl toys

Jeff Spicoli. Get him here.

A few years ago I blogged about these really cool 3D models of pop culture icons that I mistakenly thought were actual vinyl toys. A lot of people’s hopes of owning those fantastic vinyl toys went down the drain. Well lo and behold, someone actually has turned a few of the 3D models into the real McCoy and now you can own them!

Not all of my favorites were made, but a lot of cool ones do exist. The only thing I found a bit disappointing is the lack of vinyls of female characters. C’mon! There are a few!

I’ve linked to where to buy each vinyl toy under its image.

‘Fast Times at Ridgemont High’ Brad Hamilton vinyl. Get him here.

The Dude. Get him here.

Dr. Frankenstein. Get him here.

Igor. Get him here.
More after the jump…

Posted by Tara McGinley | Leave a comment
Angelyne’s pink Corvette is up for auction
09:30 am

Pop Culture

Los Angeles

A vintage shot of LA icon Angelyne and her life-sized Barbie car, a pink Chevrolet Corvette.
According a listing on eBay platinum-haired goddess of self-promotion Angelyne (the real star of Brian De Palma’s Phantom of the Paradise in her role as the uncredited “auditioning singer”) has put her pink Corvette (one of at least ten Corvette’s that Angelyne has owned throughout her reign as the undisputed billboard queen of Los Angeles) up for auction.

The sweet ride comes with a removable top (because, of course it does) and Angelyne herself will even sign this hot pink rocket for the winning bidder. Here’s Angelyne talking about her love of all things pink and the aquisition of her ninth Corvette back in 2014:

I got my first one in the mid-eighties. This is my ninth one, and I’m going to get my tenth next year. I had a special paint made for me. It has a formula that is very hard to get because it uses a toner that they don’t make anymore.

Right now the bidding for the ultimate adult-sized Barbie mobile is at $12,111.00 and according to the listing the reserve has still not been met.

More images of the infamous LA blonde and one of her equally famous pink cars follow after the jump…

Posted by Cherrybomb | Leave a comment
Awesome anatomical models of cartoon, video game and toy characters
08:46 am

Pop Culture

Jason Freeny

These are just great—sculptor/illustrator Jason Freeny produces anatomical models of well known animated characters—Bugs Bunny, Popeye, a certain notoriously litigious mouse. Some of them are mass-produced (his Bugs and Batman are on Amazon, and many others are available on his web store), some are one-of-a-kind. The individual sculptures, as you’ll see in Freeny’s time-lapse demonstration video below, are made by building individually crafted skeletons and organs into existing vinyl figures that he carefully opens up. The results are seamless and often hilarious. While the originals can be cost-prohibitive, he’s so accommodating as to offer prints of his work for the many among us who just can’t spring four figures for a Mr. Potato Head autopsy, as much as we’d like to.

Plenty more after the jump…

Posted by Ron Kretsch | Leave a comment
Vintage flashback-inducing psychedelic ads from the 60s and 70s that will give you a contact high

Who knew that wearing Wrangler Jeans could be this much fun? Vintage ad from the 1970s.
Every product under the the sun in the 60s and 70s seemed to be coated with LSD. Even mundane items like Wrangler Jeans, acne medication and Plymouths caught the psychedelic buzz. If you weren’t taking drugs at the time, all you really had to do was pick up a magazine and check out some of the colorful (and confusing) ads and get experienced.

Vintage psychedelic ad for the Yellow Pages.
I was very lucky to have a wonderful art teacher in the sixth-grade who at the end of the year gifted me with a Peter Max poster book as we both shared a love for that type of counter culture artistic expression which I still have to this day (thanks, Mrs. B!). Max’s widespread notoriety began in the 60s and continues to this day (The 78-year-old artist was commissioned in 2012 to paint the hull of a Norwegian Cruise Line ship). It wasn’t surprising to see his recognizable artwork show up in a 1971 ad for the Chelsea National Bank which I have of course included in this post. I’ve also got a soft spot for the kaleidoscopic ads for the vintage cosmetics line sold at Woolworth’s (the land of neverending bins and shelves full of everything including from 45’s to underpants) called Baby Doll. Grab some sunglasses and enjoy!

Peter Max’s illustration for the Chelsea National Bank, 1971.

An ad for Baby Doll cosmetics sold at Woolworth’s during the 60s and early 70s.

Trippy vintage ad for the ‘New-Hope Soap’ Clearasil.
More after the jump…

Posted by Cherrybomb | Leave a comment
Makeup artist transforms young woman into an old fart punk rocker
11:24 am

Pop Culture

Neill Gorton

Makeup and prosthetics artist Neill Gorton recently showed off his mad skills at the International Makeup Artists Trade Show (IMATS) in London by turning a young woman into an old punk. The young female model, Kelsey-Leigh Walker became totally unrecognizable when the makeup was completed. It’s pretty impressive, eh?

“This was done to promote my make up school Neill Gorton Prosthetics Studio,” said Gorton.

In my opinion, the makeup is just as good or maybe even better than Jackass Presents: Bad Grandpa which was nominated for an Oscar in 2014 for Best Makeup and Hairstyling. So I guess what I’m trying to say is this is Oscar-worthy work! Well done!


More after the jump…

Posted by Tara McGinley | Leave a comment
Hilarious ‘Japanese’ Donald Trump commercial is all kinds of batshit crazy
09:34 am

Pop Culture

Donald Trump

I’m at loss for words here. You just have to click “play” and watch it to see what I mean. Clearly it’s a parody of a Japanese-style “commercial” having a laugh at the Republican presidential nominee Donald Trump. What’s scary is, I’m 99% certain, if Donald Trump were to have actually made a Japanese campaign commercial, you know it would be something just like this. It’s not too far of a stretch.

Anyway, the “commercial” is by a musician named Mike Diva and it’s batshit. Just like Donald Trump.

via Mashable

Posted by Tara McGinley | Leave a comment
Dennis Hopper gives a tour of his art collection

Dennis Hopper bought one of Andy Warhol’s first soup-can prints for seventy-five bucks. It should have been a good investment but then Hopper lost it to his first ex-wife—part of the divorce settlement. She also picked-up a Roy Lichtenstein that Hopper had bought for just over a thousand dollars. The ex-wife sold it for $3k. If she’d kept it she could have made a cool $16 million. But it was never about money for Hopper:

My idea of collecting is not going and buying bankable names, but buying people that I believe are really contributing something to my artistic life.

Hopper was a “a middle-class farm boy” from Dodge City, Kansas. He was born on May 17th, 1936. He had Scottish ancestors—which might explain some of his wild temperament. His mother was a lifeguard instructor. His father worked for the post office.

Hopper fought “the cows with a wooden sword…hung a rope in the trees and played Tarzan”—all the stuff kids do. He swam in the pool his mother managed. Fired his BB gun at crows. Once looked at the sun through a telescope and went blind for five days. Hopper was smart, creative, arty—went to Saturday morning art classes. But growing up on a farm he felt a childhood angst about missing out. He felt desperate. To get away from this feeling he went to the movies. He came home and sniffed gasoline. He watched the clouds turn into clowns and goblins. He sniffed more gasoline wanting to see what else the clouds were hiding. He OD’d. He thought he was Abbott and Costello and Errol Flynn. He wrecked his grandfather’s truck with a baseball bat.

The family moved and moved again—ending up in San Diego. In high school Hopper was voted the one most likely to succeed. He had a taste for theater and wanted to act. He went out to Hollywood and became an actor.

It was Vincent Price who first hipped Hopper to art. He told him “You need to collect—this is where you need to put your money.” But it wasn’t about money—it was “a calling.”

I always thought that acting was art, writing was art, music was art, painting was art, and I’ve tried to keep that cultural vibe to my life. I never wanted to don a tie, or go into an office.

Hopper was eighteen performing Shakespeare in San Diego when he was introduced to James Dean—“the best young actor in America, if not the world, when I met him.”

Jimmy arrived, and I saw him start to act, and I realized I was nowhere near as good as him. I’d never seen anyone improvise like that. I was full of preconceived ideas about when to make a gesture, how to read a line. I considered myself an accomplished Shakespearian actor. And he’d do this improvising, and I’d check the script and think, “Where the hell did those lines come from?” He taught me some basic stuff. “If you’re going to drink something in a film, drink it. If you’re going to smoke something, smoke it. Don’t act as if you’re drinking or smoking, just do it as you would off-set.” That was such good advice. He taught me to live the moment, in the reality, not fill my head with presupposed ideas, or anticipate what may or may not happen.

Hopper signed to Warner Bros. Started making movies. Worked with Dean in Rebel Without a Cause. Hung around art galleries—became a “gallery bum.” When Dean died, Hopper was devastated. It may have led to his “I’m a fucking genius, man” behavior that eventually got him blackballed from Hollywood.

He moved to the east coast. Hung around the art scene. Became friends with Andy Warhol, Robert Rauschenberg and Ed Ruscha. He still collected art—but it was never about the money.

Dennis Hopper would have been eighty this year. He died in 2010—three years after his mother died. She made it to ninety. Hopper left a vast collection of artwork—paintings by Warhol, Keith Haring, Kenny Scharf, Julian Schnabel and Jean-Michel Basquiat. Hopper saw himself as a custodian—keeping the art until he died and it was given over to a museum.

More after the jump…

Posted by Paul Gallagher | Leave a comment
A Rolling Stone’s trippy ‘Last Supper’: That time Brian Jones thought he was a goat and ate himself

In 1968 the artist Brion Gysin invited Rolling Stones guitarist Brian Jones to record a group of traditional Jbala Sufi trance musicians—better known as the Master Musicians—perform at the village of Jajouka in northern Morocco.

Gysin had long been familiar with the Master Musicians having been introduced to them and “Joujouka” music by writer Paul Bowles in 1950. Gysin thought the music of “the people of Pan” would be of some interest to Jones. Jones agreed. He traveled with Gysin to Jajouka, accompanied by his then girlfriend Suki Potier, recording engineer George Chkiantz, and painter/folklorist Mohamed Hamri.

Morocco was a favorite holiday destination for the Rolling Stones as it offered easy access to marijuana. Keith Richards later described the experience as a fantasy where they were “transported” and…

You could be Sinbad the Sailor, One Thousand and One Nights.

Jones used a Uher recorder to capture the songs performed by the Master Musicians. These recordings included songs for Jajouka’s “most important religious holiday festival, Aid el Kbir” when a young boy is dressed as Bou Jeloud the Goat God in the “skin of a freshly slaughtered goat.” The boy then runs around the village as the music becomes increasingly frenzied. Gysin claimed this was a ritual to protect the villagers’ health. He said the festival harked back to an ancient pre-Roman festival Lupercalia, held in mid-February as a cleansing and fertility ritual to ward off evil spirits.
As Gysin later told Stanley Booth (and a very drunk William Burroughs) in a rambling tale in 1970—as recounted Booth’s book The True Adventures of the Rolling Stones—Jones and his companions were guests at traditional meal in the village, when Jones had an epiphanic vision—or more likely he tripped out—and believed himself to be a goat.

‘I would really like to talk about Joujouka and what that music is and what Brian got on tape and how it ever happened that he got there. How does he [Jones] appear in your book?’

‘Brian? As—well—sort of—as a little goat god, I suppose.’

‘I have a funny tale which I’ll tell you about just that. A very funny thing happened up there. The setting was extremely theatrical in that we were sitting under a porch of a house made of wattles and mud. Very comfortable place, cushions were laid around like a little theatre, like the box of an old-fashioned theatre, and a performance was going on in the courtyard. And at one moment—dinner obviously had to be somewhere in the offing, like about an hour away, everybody was beginning to think about food—and we had these acetylene lamps, giving a great very theatrical glow to the whole scene, rather like limelight used to be, a greenish sort of tone.’

[Okay Brion we get the picture it was very very very very very very theatrical…now get on with the story….]

‘And the most beautiful goat that anybody had ever seen—pure white!—was suddenly led right across the scene, between Brian and Suki and Hamri and me [...] so quickly that for a moment hardly anybody realized at all what was happening, until Brian leapt to his feet, and he said, “That’s me!” and was pulled down and sort of subsided, and the music went on, and it went on for a few minutes like that, and moments lengthened into an hour, or two hours, which can sometimes be three hours or four hours or five hours—-’

‘Long as it takes to kill a goat,’ Burroughs said.

‘—and we were absolutely ravenous, when Brian realized he was eating the same white goat.’

‘How did he take that?’

‘He said, “It’s like Communion.”’

‘“This is my body,’” I [Booth] said. ‘But Jesus didn’t eat himself, he fed the others.’

‘If he’d been sensible, he’d have eaten Judas,’ Burroughs said. ‘I’m gonna eat Graham Greene next time I see him. Gulp!’

Continues after the jump…

Posted by Paul Gallagher | Leave a comment
Ian Svenonius has made a sci-fi rockumentary film: ‘What Is A Group?’
06:54 am

Pop Culture

Ian Svenonius


A group is a music factory who comprise a kind of heroic clown role in the culture… oftentimes consisting of indigent or underclass individuals. The group members’ highly specific job functions and task compartmentalization indirectly reflect its post-industrial imperialist origins.

Via the blog of Glen E. Friedman—the superb photographer who amply documented the fertile Washington, D.C. hardcore and indie scenes—comes the marvelously odd film What is a Group? by Ian Svenonius. Svenonius first became notorious in the early ’90s; to civilians as Sassy magazine’s “Sassiest Boy in America,” and to underground cognoscenti as the singer/figurehead of the Nation of Ulysses, Cupid Car Club, the Make-Up, Scene Creamers, Weird War, Chain and the Gang…I’m probably forgetting one or two.

The film is a dryly odd collage of band photos and music performances tied together with the narrative device of two aliens, played by Katie Alice Greer and Daniele Yandel of the excellent D.C. punk band Priests, observing planet Earth and discussing rock band anthropology and the music-making process. The themes touched upon echo some of Svenonius’ writing in his books The Psychic Soviet, Supernatural Strategies for Making a Rock ‘N’ Roll Group, and Censorship Now!!, specifically the ideas about music culture as a pseudoreligious control mechanism and the ways in which the rock writing process mirrors industrial production—much of Svenonius’ thinking on these matters is directly inspired both by old-school Marxist class critique and Situationism, and those same extra-musical obsessions heavily informed the ethos of The Nation of Ulysses and the Make-Up. And really, for all his bands’ relentless schtickiness, Svenonius is one of indie rock’s sharpest and most compelling thinkers about music’s role in culture. If you’re unfamiliar with his Soft Focus interview series, you should find those on YouTube, it’s quite good stuff.

The dialogue replacement and sound sync in What is a Group are done with about zero regard for actual synchronization (Greer and Yandel are entirely re-voiced throughout), which gives the whole affair a stilted and uneasy feel that goes beyond mere cheapness. Greer seems to function as Svenonius’ author avatar, expounding on the role of the recording engineer, the construction of songs, the social status of musicians, the glamorization of social alienation… you know, rock ’n’ roll shit. Astute trainspotters will recognize Cramps/Bad Seeds guitarist Kid Congo Powers, the Make-Up’s Michelle Mae, and Helium/Ex Hex’s Mary Timony.

Watch ‘What is a Group?’ after the jump…

Posted by Ron Kretsch | Leave a comment
And now here’s Casey Kasem dressed as Hitler roasting Don Rickles

I was recently researching something when I came across a reference to “Hitler writing all of Don Rickles’ material.” As you can imagine, I instantly forgot about whatever I had been looking for—I knew I had to track this down.

Turns out that the line was a reference to a roast thrown for Don Rickles in 1974 on The Dean Martin Show. Bizarrely, the bit involved Casey Kasem dressing up as Hitler and explaining how pivotal Rickles had been in establishing him—Hitler, not the longtime radio host of America’s Top 40 Countdown—in show business. “Hitler” calls Rickles “a real pussycat” and says that he’s “the only man I know who has bombed more places than I have!”

At the end of the bit, Dean Martin gives the departed Hitler a tasteful Sieg Heil! salute.

This roast of Rickles was broadcast on February 8, 1974, and occurred in the 9th season (!) of The Dean Martin Show, which was an NBC property. Also present at the affair were Kirk Douglas, Phyllis Diller, Telly Savalas, Nipsey Russell, Bob Newhart, and Carol Channing. According to Variety, “Those NBC specials [roasts] were typically hourlong affairs but the Rickles’ roast was so smokin’ that the network let it go 90 minutes.”

I guess Hitler didn’t have any hard feelings about Rickles plundering Nazi gold in Kelly’s Heroes.......

Posted by Martin Schneider | Leave a comment
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