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Ass-kicking ‘Faster Pussycat’ heroine Tura Satana during her younger days as a burlesque dancer
01:09 pm



Bad girl rule-breaker Tura Satana’s name is pretty much synonymous with the film that propelled her to fame as the ass-kicking, man eating “Varla,” Russ Meyer’s 1965 Faster, Pussycat! Kill! Kill!. And if you know anything about Satana’s background you already know that she lived up to one of her famous lines (which I’m riffing on here) in the flick by never trying anything. She just did it.

Born Tura Luna Pascual Yamaguchi in Hokkaido, Japan in 1938 (or 1935 according to some sources) both of Satana’s parents were performers. Her father (who was part Japanese and part Filipino) was an actor who appeared in silent films. Satana’s mother performed in circuses as a contortionist and was of a mix of Native American and Scottish descent which further contributed to Satana’s exotic and unique look.

After moving to the U.S. in 1942 when Tura was only four, she and her father were sent to an internment camp in California for Japanese-Americans where they lived for two years until they reunited with her mother in Chicago. As the feelings of resentment toward the Japanese were still high following the attack on Pearl Harbor in 1941 Tura (as well as other U.S. residents of Japanese descent) was the object of harassment and routinely subjected to bullying at school. At the age of ten Tura was brutally gang-raped by a group of teenagers. Despite her age and the horrific magnitude of the crime the five assailants were never prosecuted for the despicable assault. As a response to help protect his child, Tura’s father apparently tutored her in various martial arts such as Aikido and Karate so that she would always be able to protect herself. According to Satana herself for her portrayal of Varla she drew from the internalized rage from her rape which would further immortalize her face-smashing character in Faster, Pussycat! Kill! Kill!.

Tura Satana as ‘Varla’ in Russ Meyer’s ‘Faster, Pussycat! Kill! Kill!’
At thirteen, her parents entered her into an “arranged” marriage with a family friend John Satana that would end only nine months later while Tura was starting her career as an exotic dancer. Not long after her marriage ended Satana found her way to the city of broken dreams, Los Angeles and was quickly discovered while performing her special blend of burlesque dancing mixed with martial arts moves. She got her first acting role in the 1959 ABC television series Hawaiian Eye. This led to many other acting roles one of which was with one of Satana’s rumored love interests, director Billy Wilder in 1963’s Irma La Douce and a role that same year opposite Dean Martin (where she played a stripper) in Who’s Been Sleeping in My Bed. And if super-groupie Pamela Des Barres is to be believed (detailed in her 2008 book Let’s Spend the Night Together: Backstage Secrets of Rock Muses and Supergroupies), it was Tura herself who taught The King, Elvis Presley (another of Satana’s boy toys) his signature dance moves. 

Satana ditched her dance routines when California changed the laws governing exotic dancing which allowed clubs to require dancers appear topless and instead turned to straight jobs such as nursing, and in her later years even working as security detail for a Hilton casino in Reno, Nevada under the name “Tura Jurman” after marrying former police officer Endel Jurman in 1981. I’ve posted a variety of incredible photos of Satana from when she was known as “Miss Japan Beautiful” (a nickname that would follow her throughout her career) that were taken during her days as a burlesque dancer for you to oogle below. I’ve also included footage from Tura showing off her dance moves in the 1973 film The Doll Squad. Naturally since this is Tura Satana we are talking about, please assume that many of the images that follow are NSFW. Much like the woman herself.

Tura Satana in ‘Burlesque Magazine’ when she was only nineteen, 1957.


More Tura! Tura! Tura! after the jump…

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Stunning Erotic Tattoos
10:31 am



I don’t have any tattoos but if ever I do consider getting one then I certainly could be tempted by these beautiful erotic tattoos by Bordeaux-based tattoo artist Sad Amish.

Unlike the more traditional ship’s anchors, bluebirds, Celtic doodles or Pictish script Sad Amish’s stunning monochrome tattoos are high quality graphic art with a wonderfully charged eroticism.

The tattoos feature women artfully posed in bondage gear, fetish wear or playfully fondling a bong while enjoying a mouthful of vin blanc. All beautifully rendered in the deepest blackest ink.

More of Sad Amish’s work can be viewed here.
More of Sad Amish’s fab monochrome skin art, after the jump…

Posted by Paul Gallagher | Leave a comment
OMG, there’s a ‘fully functional’ vagina mask for sale (VERY NSFW)
09:44 am



Every once in a while I accidentally get to that place on the Internet and stumble across something which I have no words for. Perfect example: This bizarre-looking vagina mask. There’s not too much information about it except that it’s handmade, “fully functional” and made of silicone. The mask is designed by San Diego-based artist Melissa Coulter on Etsy. It sells for $480 + shipping.

To be honest, it looks more like the Creature from the Black Lagoon or some weirdo alien from Doctor Who than actual ladyparts. But what would I know? 

Shouldn’t there be a matching, er, dickhead mask for couples who want to go trick or treating and have the police called on them?




Posted by Tara McGinley | Leave a comment
Slither sisters: Vintage images of female circus snake charmers and their reptilian friends
09:23 am



A vintage snake charmer and her friend.
The allure of the “snake charmer” as an attraction in circus sideshow or perhaps as a part of a freak show was as common as other circus staples like the really tall man, bearded ladies and sword swallowers. And like other roles in the circus there were lots of women who took on the snake charmer role and played it to the hilt.

Some of the images of female snake charmers in this post date back to the 1800s such as the image above of a woman billed as the “Mexican Rattle-Snake Queen” above. By the turn of the century female snake charmers were common attractions and perhaps two of the best known and most photographed of them all was a woman known as “Octavia” who performed with Buffalo Bill’s Wild West show under the title of the “Yankee Snake Charmer,” and “Miss Uno” who in addition to her snakes was well known for her out of control hair best described as a wind-blown Afro not unlike that of another well-known snake charmer Zoe Zobedia. Though Zobedia was a snake charmer she was also a part of another popular early-19th century attraction in circuses called “Circassian Beauties” who were known for their exotic hair who would style their “Moss Hair” by teasing it into massive Afro-like hairdos. But I digress from the reptilian point of this post.

Unlike their male counterparts female snake handlers were usually sexualized and would often be dressed in attire that was considered incredibly risqué as women were still wearing bathing suits that looked like dresses to the beach at that time. That said, a few of the images in this post could be considered NSFW due to some partial nudity. Of course for those of you who suffer from ophidiophobia (a fear of snakes) or herpetophobia (a phobia of reptiles, lizards and other kind of vertebrates) you have my condolences as it’s safe to assume that this post is full of pictures of girls and snakes.

And since we’re talking about pretty girls and snakes, I’ve also included footage of the gorgeous Debra Paget as “Seetha” trying to charm a cobra from director Fritz Lang’s 1959 film Das indische Grabmal or The Indian Tomb (also known as Journey to the Lost City).

The ‘Mexican Rattle-Snake Queen,’ 1800s.

‘Miss Uno.’

‘Mademoiselle Dorita,’ 1930s.
More snakes and the women who charm them, after the jump…

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Fortune Cookie Porn Portraits
09:40 am



New York artist Kalen Hollomon creates disruptive collages exploring commerce, fashion, gender identity and the taboo through everyday images. His work examines “the ever-changing relationship between subject and object.”

“I am always concerned with what lies beneath the surface.

“I hope to create conversation that is rooted in questions related to learned social rules, identity, the subtext of everyday situations and perception. Above all, I try to capture a sense of romance in images that are spontaneous and slightly unnerving.”

Hollomon’s collages juxtapose images of sports stars with fashion models and porn actors, celebrities and brand names with down and outs and environmental disaster, porn with the utterly mundane.
Hollomon photographs his collages on his smartphone and shares them via his Instagram account. He has a following of over 100,000.

All subversive art is ultimately subsumed by the establishment it attacks. Hollomon’s success subverting the medium has led to a demand for his work from the very fashion magazines and brands he satirizes—Gucci, Calvin Klein and Vogue have all commissioned him or used his work.
His most recent project Fortune Portraits combines pages from porn mags taped over with happy, predictive tidings from fortune cookies.

Sayings like: “Business is a lot like playing tennis; if you don’t serve well, you lose,” “Expect much of yourself and little of others” and “Financial hardship in your life is coming to an end!” are plastered across wet-lipped young models who look directly (and suggestively) at the viewer creating a false sense of sexual intimacy and arousal. In the same way the fortune cookie promises some false good tidings to whoever happens to read it.

Hollomon describes the Fortune Portraits as being about “open-ended questions, seduction and desperation, both the wild unknown and the cliche, false promises and first impressions.”

Prints of the Fortune Portraits series are for sale—details here. More of this interesting artist’s work can be seen here.
More of Hollomon’s work, after the jump….

Posted by Paul Gallagher | Leave a comment
‘A List of the Gay Houses and Ladies of Pleasure’: Vintage brothel guide to Philadelphia from 1849
10:54 am



A Guide to the Stranger or Pocket Companion for the Fancy was a “correct list and description of the greater portion of the Houses of Ill-Fame in Philadelphia” published in 1849. The book reviewed both the brothels and bed houses—those rooms rented by the hour. It listed the names and addresses of the landlady or madams and the quality of services on offer.

In his introduction, the anonymous author assured his readers:

With this book in his hand a man will be enabled to shun those low dens of infamy and disease with which this city abounds, as a true and authentic description of each house is here briefly given.

Among the best madams and working girls were:

Miss Josephine Somers of 4 Wood Street, near Eleventh Street, who was described as “an accomplished lady” and her brothel a “Temple of Venus.”

You can spend an evening here with great pleasure; the young ladies are all beautiful, accomplished and bewitching—they are Elizabeth Moore, Louisa Garrett, &c. Go one, go all, and you will be pleased.

Miss Sarah Turner of 2 Wood Street, above Eleventh, who is a “perfect Queen” her house situated “in one of the most respectable parts of the city.”

At this house you will hear no disgusting language to annoy your ear; everything connected with this establishment is calculated to make a man happy. The young ladies are beautiful and accomplished; they will at any time amuse you with a fine tune on the piano, or use their melodious voices to drive dull care away. Stranger, do not neglect to pay a visit to this house before you leave our quiet city of sisterly affection.

Miss Mary Blessington of 3 Wood Street, a “young and beautiful creature” who “is as snug a lump of flesh and blood as ever man pressed upon his bosom. Her bed and house and first class.

Miss Emma Jacobs of Bryan’s Court, Cherry Street:

This lady is the Queen of Trumps, tall and majestic, and noble in appearance. She is a lady in manners and conversation. She lives well and her house is comfortable and safe. One glance will satisfy a person of that fact.

The author also gave the following caveat:

To every man the author of this statistical warning says, avoid each and every place that is marked with a woeful X, as a single visit might be the cause of utter ruin and disgrace.

Examples of such places include:

X—Madam Vincent of Lombard Street, who runs “a low house”. cautious when you visit this place, or you may rue it all your lifetime.

X—Mrs Hamilton of 152 Locust Street who has “grown bald and toothless in the service.”

Beware this house, stranger, as you would the sting of a viper.

X—Sarah Ross, Passyunk Road:

This is one of the worst conducted houses in the city. The girls, though few in number, are ugly, vulgar and drunken. We would not advise any body of common sense to stay there.

The guide’s author(s) estimates there are some 10,000 prostitutes working in Philadelphia. This figure was based on an estimate of the number of working girls in New York. These women serviced the numerous businessmen, travelers and rural workers who came to the city for business and pleasure. How our author(s) managed to find out so much about these brothels and bed houses suggests some firsthand experience. The whole A Guide to the Stranger or Pocket Companion for the Fancy can be read below.
More from the guide to ‘Gay Houses” and ‘Ladies of Pleasure,’ after the jump….

Posted by Paul Gallagher | Leave a comment
A Naked Alphabet: The Human Body as Typography (NSFW)
10:38 am



To paraphrase L. P. Hartley: The 1970s is a foreign country: they do things differently there.

The sexual liberation that favored metropolitan areas in the 1960s spread across country during the seventies. Suddenly—or so it seemed—everybody was enjoying the “zipless fuck.” There were guide books offering useful tips on how to have a better sex life. Married couples were swinging. Nudity was celebrated. Porn was ubiquitous. Orgasms compulsory. Yet, it was still very much the male heterosexual eye that influenced everything.

In 1971, a small group of Dutch artists, photographers and graphic designers—Ed van der Elsken, Anna Beeke, Pieter Brattinga, Anthony Beeke, and Geert Kooiman captured this (newish) sexual freedom with a naked human alphabet—published in Avant Garde Magazine No.14: Belles Lettres. The letters were created using naked women—who lay, curled and bent into the appropriate shapes.

But this wasn’t just mere titillation—this artful display of female nudity was a protest “against the supposedly ‘dehumanising’ and thoroughly ‘indecipherable’ mechanistic alphabets.”

The typeface (in case you’re wondering) for these photographs is said to be Baskerville Old Face.
More barenaked letters, after the jump…

Posted by Paul Gallagher | Leave a comment
Cum Face: Portraits of Women Reaching Orgasm
08:55 am



Photographer Albert Pocej set himself an unusual challenge. He wanted “to capture the moment of women reaching the highest point of physical pleasure.”

How did he come (ahem) up with this idea? In his wildest dreams, of course.

I simply woke up and I knew I just had to do it. So I tried to explore the female orgasm through a photography experiment.

At first I thought it would be impossible. Finding the models was the most difficult part. I started to write to everybody I know without any boundaries since all the women are so different. The answers I got were mostly two kinds: “I don’t have enough courage”, and just the silence, which is also pretty obvious as an answer. When I finally found 20 women that were ready to take part in this project, some of them refused to continue when I told them that it will not be acting, and some of them weren’t able to relax already while shooting. So at the end there were only 15 left.

According to Albert—all of the participating models “experienced real orgasms” during their photographic session. To achieve the “best results” Albert used time lapse to help the models relax. Some of them didn’t need it and were happy to enjoy themselves in front of the photographer.

I didn’t want this project to be a cliché, I didn’t want any acting – just the real feeling as it is. Every human being is different, so are their orgasms. I wasn’t trying to make it any better as it is in life. I wanted to make those looking at these pictures to think.

And clichés don’t make people think.

Born in Lithuania in 1974, Pocej studied at the University of Educational Sciences. After graduation, he worked in IT before dedicating himself to a full-time career as a photographer when he was thirty. Now based in Monaco with a mighty impressive portfolio, Pocej has established him as a highly respected photographer and teacher across Europe.

More of Albert’s work can be seen here and you can follow him on Facebook.
More portraits of women captured in the heat of the moment, after the jump…

Posted by Paul Gallagher | Leave a comment
Sleazy characters from vintage pulp novels spring to life from their covers
10:13 am



A vintage pulp fiction novel comes to life with the help of artist Thomas Allen.
The wildly talented Thomas Allen’s ingenious idea to bring characters from pulp fiction novels to life by setting them free from their respective covers and catapulting them into their new 3-D worlds was partially inspired by a couple of items from his youth that most of our readers of a certain age will be familiar with. The good-old View-Master and classic pop-up books.

According to an interview with Allen in 2007, while he was working on a fellowship he was tasked with re-telling classic mythology using images culled from anatomy books. During this tedious project Allen came across an old pulp fiction paperback and started cutting. The result was one of those “lightbulb” moments whereupon Allen realized that by removing the characters from the cover of the book, they suddenly took on the distinct appearance of a classic “pop-up” book element.

Clearly a perfectionist, Allen prefers to use vintage pulp novels that pre-date the 1970s as the covers were painted giving his cut-out subjects a more “realistic” appearance. When it comes to where he finds his materials Allen is mum on how he tracks the books down and who could blame him as he’s truly tapped into a vein full of nearly endless fuel for his vintage paper ne’er-do-well’s second lives as (almost) living and breathing art. If you pretty much flipped your lid while looking at the images in this post like I did, a large collection of Allen’s photographic catalog is a part of a beautiful book called Thomas Allen: Uncovered. Loads of images follow.

Dig it, daddio.


More after the jump…

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The hallucinogenic Pop artwork of Japanese master Keiichi Tanaami
12:28 pm



Album artwork for The Monkees by Keiichi Tanaami.
Keiichi Tanaami was a part of the Neo-Dada movement that was born in Tokyo, a force in art spurned forward by the vitriolic anger that was postwar Japan at the beginning of the 1960s. The goal of the painters and other creative artists that were a part of the Neo-Dada Organization (as they were called) was to create works that were “suspended between art and guerrilla warfare.” Tanaami himself was a survivor of the U.S air raids during WWII that targeted Tokyo starting in 1942 which took the lives of more than 100,000 civilians (although some estimates place the number closer to 200,000) and had been deeply affected by the war. One of the horrors that Tanaami recalls during the air raids is the vision of his father’s pet goldfish deformed body still swimming around it its bowl when his family returned from a bomb shelter after his neighborhood had been destroyed. It was this and other unspeakable sights that according to Tanaami robbed him of his childhood.

‘No More War,’ 1967.
Thankfully Tanaami would find a way to channel his grief, anger and loss into a remarkable career as one of the Japan’s most loved “pop” artists despite the fact that his own mother and the vast majority of his family were emphatically opposed to his choice of professions after discovering his passion for art during high school. Tanaami quickly found work as an artist in print media and doing commissions while still in college which would lead to a gig with the pioneering group JAAC (Japan Advertising Artists Club). The pop art influence in Tanaami’s work is vividly aparent and much of his early work centers around pop-flavored eroticism. In 1975 he got another big break after becoming the first art director for the Japanese version of Playboy magazine, called Monthly Playboy. During a trip to Playboy’s New York offices (and according to Tanaami’s extensive bio on his website) the magazine’s editor (or Hugh Hefner I’m assuming) took Tanaami to Andy Warhol’s mythical studio, the Factory. As if this wasn’t transformative enough for Tanaami his path would also cross with underground comix icon R. Crumb along the way, yet another event that helped shape Tanaami’s ever evolving visionary style.

By the time the 80s rolled around Tanaami, though still working, had developed a penchant for boozing around the clock. A lifestyle that landed the artist in a hospital bed for four months where the combination of medication used to help aid his recovery caused intense hallucinations from which he recovered, armed with an arsenal of boundary-pushing subject matter on which to draw from.

Now a triumphant eighty years old, Tanaami’s compelling work is routinely shown at museums across the world and has been the subject of a few books that celebrate various eras in his life that have included collage work and impressive sculptural interpetations of his paintings such as Keiichi Tanaami: Spiral and Keiichi Tanaami: Killer Joe’s Early Times 1965-73. Some of our more astute, artistically-inclined Dangerous Minds readers may also recognize Tanaami’s artwork from the covers of albums by Super Furry Animals and Jefferson Airplane. I’ve included Tanaami’s album art as well as a large selection of his hyper-colorful psychedelic works some of which are slightly NSFW. 



‘Two Twiggy’s.’
More after the jump…

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