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  • Trading cards of some dangerous minds, deep thinkers & radical intellectuals
    11:55 am



    For those with an interest in big ideas, these trading cards from should fire up your neurotransmitters.

    Between 2000-2001, a set of twelve trading cards was released monthly via David Gauntlett’s website This original set of cards featured theorists (and their concepts) from the world of social and cultural theory, gender and identity, and media studies. The first out of the pack was British social theorist Anthony Giddens who devised the theory of structuration and wrote the book on The Third Way. This was followed by theorist Judith Butler whose book Gender Trouble argued that “biological” sexes were just as much as a social construct as gender. Then came the great controversial French thinker Michel Foucault with his ideas about sexuality, gender and power structures. The deck included some interesting choices like artists Tracey Emin, Gilbert & George and concepts like Postmodernity and Psychoanalysis.

    This official set of twelve trading cards was thought by some to lack a few key players and its release inspired various academics, students and alike to produce their own cards. These additions included Karl Marx, Carl Jung, Simone de Beauvoir, Edward Said, Germaine Greer, Walter Benjamin and Marcel Duchamp.

    Described as “Creative knowledge you can put your pocket™” these cards can be used to play a game of trumps—in which players can match strengths, weaknesses and special skills. For example, Foucault’s special skill of happily rejecting old models and creating new ones, might not quite beat Duchamp’s ability to confuse the hell out of everyone.

    The full set is below—but if you want to own a set of these super brainy trading cards (and who wouldn’t?) then deal yourself in by clicking here.
    #1 Anthony Giddens—British social theorist.
    #2 Judith Butler—American philosopher and gender theorist.
    #3 Michel Foucault—French philosopher, theorist, philologist and literary critic.
    More thinkers and some big ideas, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Dude spent $26,000 to look like David Beckham (SPOILER ALERT: Well, you’ll see…)
    10:33 am

    Pop Culture


    This guy right here, yep this one, named Jack Johnson, has spent around $26,000 (so far) to look like his idol David Beckham. Where to start, right? I don’t want to be cruel to the guy but he looks nothing like David Beckham. Nothing! Who the hell was his plastic surgeon? That quack should be tarred and feathered for taking Johnson’s money!

    Sad part is, Johnson plans to spend another $40,000 to achieve Beckham’s “exact look.”

    You can watch the whole depressing interview below:

    via Esquire

    Posted by Tara McGinley | Leave a comment
    Meet lost San Francisco hippie-era band Marvin Gardens
    10:06 am



    The storied San Francisco Bay Area music scene of the late ‘60s produced mountains of enduring albums by the likes of the Jefferson Airplane, Moby Grape, Big Brother & the Holding Company, Quicksilver Messenger Service, the Grateful Dead, and on and on. But of course, in any scene, there are fine bands that for whatever reason slip through the cracks and never find an audience, leaving their name on posters as their only legacy.

    Marvin Gardens was just such a band in hippie-era San Francisco. The parallels between them and Big Brother and the Holding company are hard to ignore, but the big one was that both bands sported a distinctive and compelling female vocalist. Carol Duke was no Janis Joplin, but she was in that zone. The band assumed its final form in 1967 when they added Duke on vocals and guitar, and cribbed their name from a Monopoly board. Duke also gave the band direction, transitioning them from a repertoire of top-40 covers to a more traditionalist milieu—Duke hailed from Bakersfield, CA, where a honky-tonk insurgency against slick Nashville country and western had sprung up in the late ‘50s and early ‘60s.

    The band built a following with a residency gig in a Sausalito club called the Lion’s Den, which in turn led to a demo recorded for Reprise Records in 1968. No deal came of those demos, nor did anything come of the expressed interest of Epic Records, and the band quietly fractured in 1969, victim to the frisson between Duke’s more traditionalist electric-folk tendencies and rest of the band’s desire to rock out. They released only a four-song 7” of which so few copies were pressed that to call it “rare” is a gross understatement.


    Seeking information about the band has been complicated by Jimmy Buffet’s use of “Marvin Gardens” as a songwriting pseudonym, and the existence of a ‘90s Belgian acid house group also of that name. But now, the band is finally being committed to 12” wax. The archivist label High Moon Records is releasing 1968, which collects the Reprise demos, the 7”, and live recordings from the Matrix Club, from whence also came the legendary Velvet Underground Matrix Tapes. The CD version contains five additional live tracks not on the vinyl, and the release is generously liner-noted by Ugly Things’ Mike Stax, supplemented with a generous section of personal remembrances of Carol Duke, who passed away in 2014. It’s Dangerous Minds’ pleasure today to debut the songs “Duncan and Brady” and “I Know You Rider,” followed by a video assembled from archival footage for their version of Dylan’s “Down the Line.”



    Posted by Ron Kretsch | Leave a comment
    Inexpensive ‘Planet of the Apes’ masks and costumes for Halloween
    09:57 am



    Dr. Zaius
    Since at least the early 90s I’ve always told myself that one day I’d be Dr. Zaius for Halloween. Sadly, each Halloween would come and go and I was never Dr. Zaius. I guess it’s because I never really knew how to go about getting his look down exactly. I wanted it to be perfect. It would be pointless otherwise and everyone would just mistake it for Donald Trump. It seemed like a lot of prosthetics would be involved and that I’d have to hire a professional makeup artist to get it just right. So in other words, something really expensive I couldn’t convince myself to do.

    Halloween is soon upon us, and I, now an adult women, still want to be Dr. Zaius. It’s weird, I know, but I just gotta do this at some point in my life. So I got curious and started searching on the Internet if my childish 90s dream was still possible in 2016. And it is. That’s where the website Ape Mania comes in. They sell perfectly expensive latex Planet of the Apes masks but they also have a section called “Economy Masks.” Holy shit I finally struck Planet of the Apes gold, right?! 

    Each mask is handmade of durable, high quality latex and a blend of human and synthetic hair. The prices for the masks vary, but they average for about $145 each. That’s not too shabby considering it would probably end up costing you thousands it you wanted to go the prosthetic route and hire a Hollywood makeup artist. And who’s got time for that?

    Now if you’re worried about the costume and accessories aspect you can score one of those “Made in China” discontinued Donald Trump suits pretty cheaply these days—just kidding—there’s a whole section on Ape Mania that supplies ape outfits, too. You can click here to view the accessaries.


    More after the jump…

    Posted by Tara McGinley | Leave a comment
    The Reich Stuff: The grim Nazi propaganda magazine aimed at women
    09:14 am

    The wrong side of history


    An issue of ‘Frauen Warte’ a Nazi magazine marketed to women, 1940.
    Frauen Warte (or “Women’s Worth” at least when translated using Google) was a women’s interest magazine put out by the Nazi party starting in 1935. Published twice a week Frauen Warte was full of recommendations and “advice” on how to properly raise children so they would be strong enough to “defend their fatherland with their lives,” how to clean and maintain their homes, and fashion advice that fell within the Führer’s tastes of respectability. Frauen-Warte even went so far as to include specific sewing patterns for clothing for women to make for themselves and their children. In more than one issue during the magazine’s run, a school set up by the Nazi party called the Reich Brides’ and Housewives’ School in Husbäke in Oldenburg was discussed in great, rather enthusiastic and misogynistic detail.

    A page from ‘Frauen Warte’ detailing the activities at the Brides’ and Housewives’ School in Husbäke in Oldenburg.
    Brides and aspiring housewives (according to Nazi doctrine a woman’s place was to get married, have children and care for their family) would attend the school for a period of six weeks during which they would learn various skills to help them succeed as they embark on their “careers” as housewives, such as cooking, sewing, how to properly decorate their homes, creating and maintaining a household budget, and of course, how keeping their hardworking German men “comfortable” when they comes home from work. During this time women were also told to adhere to the following guidelines in order to ensure they would emulate the “ideal” German woman:

    Women should not work for a living
    Women should not wear trousers
    Women should not wear makeup
    Women should not wear high-heeled shoes
    Women should not dye or perm their hair

    Various articles in the propaganda masquerading as a magazine included such topics as “The Expert Housewife of Today,” the bleak sounding “Ready to Die, Ready to Live” (whose focus was to encourage women to propagate even during wartime), and “Strength from Love and Faith” that stated that all Hitler really wanted for his birthday was for his followers (in this case specifically women) to work hard. To reinforce Hitler’s feelings about the role of women, the failed painter and leader of the Third Reich even wrote for the rag about the importance of a woman’s role when it to the advancement of the Nazi’s quest for global domination.

    What a man proves through heroic courage, the woman proves in eternal patient suffering. Each child that she brings into the world is a battle she fights for the existence or nonexistence of her people.

    This feel-good article finishes up with a passage seemingly straight from Satan’s own playbook requesting that anyone reading the magazine (which had a circulation of 1.9 million readers by 1939) follow Hitler “on this path through the raging fire of war.” Which as we know was what the Germans figuratively and quite literally did. A large volume of detail including covers of the magazine, numerous articles and photos from the magazine (which you can see in this post) have been cataloged by Randall Bytwerk, a Professor Emeritus of Communication Arts and Sciences Calvin College in Michigan in the German Propaganda Archive hosted by Calvin College’s website. Issues of Frauen Warte published between the years 1941 and 1945 (which put out its last issue shortly before the Nazi’s unconditionally surrendered in France in May that same year) can be seen over at The University of Heidelberg website. If this is of interest to those of you that collect these kinds of artifacts copies of Frauen Warte are fairly easy to come by online.


    More good housekeeping tips from the Nazis, after the jump…

    Posted by Cherrybomb | Leave a comment
    Johnny Thunders stars in rarely seen French movie ‘Mona et Moi’
    09:00 am



    Johnny Thunders as “Johnny Valentine.”
    Mona et Moi directed by Patrick Grandperret in 1989 is mainly notable for Johnny Thunders’ performance as a character—clearly based on himself—named “Johnny Valentine.” The film’s storyline is bare bones: Valentine flies to Paris to headline a concert organized by some low-level rock promoters/fans who are in Valentines’ thrall. Nothing much happens but Thunders is given plenty of screen time and actually does a pretty good job of acting. But given that his character is described as “a beautiful loser, a junkie, busted but unbowed,” there’s not exactly a shitload of acting required of him.

    There are some brief scenes with Heartbreakers Billy Rath and Jerry Nolan and some live performances of Heartbreaker tunes including “Born To Lose.” In addition to rock and roll, there’s a smattering of sex, drugs, existential angst and Thunders appearing now and then to keep things interesting.

    Denis Lavant, the lead actor in Mona et Moi, should be recognizable to anyone who’s paid attention to French films of the past three decades, having starred in films by Leos Carax, Clair Denis and Jean-Pierre Jeunet. He doesn’t have much to do in Mona et Moi except to look forlorn while Thunders/Valentine steals his girlfriend Mona, the dramatic highlight of the film.

    France has always been friendly turf for American rockers who struggled to make it back in America, including Thunders, Stiv Bators and Willy DeVille. Perhaps they were seen as later day Rimbauds and Artauds—Genet Vincents—vulnerable bad boys in black leather.

    Video after the jump…

    Posted by Marc Campbell | Leave a comment
    Monster Magic Action trading cards from the 1960s are crude, colorful masterpieces
    02:47 pm



    “The Magic Lens is the secret of its action!” With this sentence the Abby Finishing Corp. lured kids to purchase its amazing set of 24 lenticular monster trading cards in around 1963. For the most part, we think of the pop culture artifacts from that time as being pretty cheesy, but these cards are anything but, incorporating a bold use of color and crude, arresting compositions. I’d love to see one of these take up a full wall in my house!

    The lens seems really simple, just a plastic rectangle really. The instructions were simple: “Place the magic Lens ROUGH SIDE UP on picture, and wiggle both together; or place Magic Lens ROUGH SIDE UP on picture, and slide Lens only.”

    As the 3D Review online magazine asserted about these cards, “When using the Magic Action viewer, the cards would come to life showing a flying monster’s wings flapping or the tail of a giant lizard whipping up and down or people fleeing.”

    You can buy a complete set for $95 on Amazon.


    Much more after the jump…...

    Posted by Martin Schneider | Leave a comment
    King Turd: This absurdist play from 1896 could have been written about President Trump!
    01:49 pm

    Current Events
    Stupid or Evil?


    Poster design for a re-interpreted version of Alfred Jarry’s ‘Ubu Roi’ from 2013 in which the tale of Donald Trump’s golf course development in Scotland follows the storyline of the play
    French absurdist playwright Alfred Jarry’s Ubu Roi (“Ubu the King” or “King Turd”), a pre-Surrealist work, is considered an influential classic of French theatre. It originally premiered in 1896. There were three Ubu plays written by Jarry, but only one, Ubu Roi, was ever performed during his short lifetime (Jarry died at the age of 34 of tuberculosis. After he beckoned a friend to come closer, his whispered last word on his deathbed was allegedly “toothpick” or whatever it is that the French call them).

    The Ubu trilogy was conceived to employ actors and marionettes in a vicious satire of greed, royalty, religion, stupidity and abuse of power by the wealthy. The two other plays were Ubu Cocu (“Ubu Cuckolded”) and Ubu Enchaîné (“Ubu in Chains”).

    The protagonist “Père Ubu” (yes, this is obviously where the band’s name came from) was originally based on the teenage lampooning of a stuffy teacher written by two friends of Jarry’s from school, but Jarry expanded the plays and used the character as a vehicle for his howling critique of bourgeois society’s evils.

    People absolutely hated the scandalous Ubu Roi—it was considered lewd, crude, vulgar and low—and its controversial author. At the premiere in Paris, it was booed for a good fifteen minutes after the first word, “Merdre!” (his coining for “shit,” deliberately close to the French merde and translated in English as “Pshit” or “Shittr!”), was spoken. Fist fights broke out in the orchestra pit. Jarry’s supporters yelled “You wouldn’t understand Shakespeare, either!” His detractors rejoined with their variations on the theme of “shit.”

    William Butler Yeats was apparently in the audience that night in 1896 and is alleged to have said “What more is possible? After us, the Savage God.”

    I can think of something… or rather *someone*...

    The play was accused of being politically subversive, the work of an anarchist mindfucker or even that it was a “hoax” designed to hoodwink a gullible middle-class audience with metaphorical shit that some of them, at least, would say tasted good.

    Again, this seems so freaking familiar, doesn’t it?

    Not that an absurdist agitator like Alfred Jarry cared about any of this. Characters had names like “MacNure,” “Pissweet” and “Pissale.” Confrontationally pissing off the audience was practically the entire point for him. Ubu’s scepter, after all, was a shit-smeared toilet brush.

    A ship of fools in a sea of shit…

    Via Wikipedia:

    According to Jane Taylor, “The central character is notorious for his infantile engagement with his world. Ubu inhabits a domain of greedy self-gratification.” Jarry’s metaphor for the modern man, he is an antihero—fat, ugly, vulgar, gluttonous, grandiose, dishonest, stupid, jejune, voracious, cruel, cowardly and evil—who grew out of schoolboy legends about the imaginary life of a hated teacher who had been at one point a slave on a Turkish Galley, at another frozen in ice in Norway and at one more the King of Poland. Ubu Roi follows and explores his political, martial and felonious exploits, offering parodic adaptations of situations and plot-lines from Shakespearean drama, including Macbeth, Hamlet and Richard III: like Macbeth, Ubu—on the urging of his wife—murders the king who helped him and usurps his throne, and is in turn defeated and killed by his son; Jarry also adapts the ghost of the dead king and Fortinbras’s revolt from Hamlet, Buckingham’s refusal of reward for assisting a usurpation from Richard III and The Winter’s Tale‘s bear.

    “There is,” wrote Taylor, “a particular kind of pleasure for an audience watching these infantile attacks. Part of the satisfaction arises from the fact that in the burlesque mode which Jarry invents, there is no place for consequence. While Ubu may be relentless in his political aspirations, and brutal in his personal relations, he apparently has no measurable effect upon those who inhabit the farcical world which he creates around himself. He thus acts out our most childish rages and desires, in which we seek to gratify ourselves at all cost.” The derived adjective “ubuesque” is recurrent in French and francophone political debate.

    Sound like anyone you watched in a debate last night who made a total ass of himself in front of one of the largest television audiences in history?

    All that was missing was the fucking shit-smeared toilet brush if you ask me….
    More absurdity after the jump…

    Posted by Richard Metzger | Leave a comment
    Bizarre Japanese TV commercial for dog-shaped speakers starring Quentin Tarantino
    01:03 pm



    Americans have long found Japanese advertisements peculiar—the “Mr. Sparkle” commercial parody from The Simpsons (“I am disrespectful to dirt!”) is certainly an excellent representation of why we regard them as so strange.

    In this 2009 commercial for a Japanese telecom named SoftBank, renowned director and would-be actor Quentin Tarantino makes his best pitch at being the Mickey Rooney of his generation (watch Breakfast at Tiffany’s if you don’t get that reference) when he dons a kimono, waves his hands around martial arts-style, and says a few words in Japanese.

    The product in the commercial is a cell phone speaker shaped like a dog, which is SoftBank’s mascot. The dog is actually the patriarch of the family featured in SoftBank’s commercials. They are known as “the White Family,” and as David Griner observes, the family consists of “the most popular recurring commercial characters in Japan” in which “the father is a human in a dog’s body ... the son is a black American, and their maid is an alien incarnation of Tommy Lee Jones.” Hooo-kay! But then again, try summarizing any Geico commercial and you end up in Weird Town pretty fast.

    See it for yourself, after the jump…

    Posted by Martin Schneider | Leave a comment
    Damn fine teeny-tiny ‘Twin Peaks’ dioramas
    09:50 am



    A diorama based on Agent Dale Cooper’s dream about the ‘Red-Room’ from David Lynch’s 1990 television series ‘Twin Peaks.’
    An artist based in Babenhausen, Germany named “Kristina” is currently selling her super-small DIY Twin Peaks diorama sets that come in three different versions based on scenes from the original television series that made its debut over 25 years ago.

    A tiny David Lynch is included with this version of ‘Red-Room’ diorama.
    Available in her Etsy store Boxartig you can pick up what Kristina refers to as “Dodos” of Agent Dale Cooper’s dream about the Red-Room, a scene from Lydecker Veterinary Clinic that features Agent Cooper and a Llama getting acquainted; and a grim miniature recreation of the body of Laura Palmer resting on the beach wrapped in plastic. While they are pricey ($58-$94 bucks a pop) they are really well done and it’s my hope that the talented German artist will continue to create others as I’m quite sure the one’s currently available at Boxartig will quickly disappear (the Lydecker’s Vet diorama already has).

    Images of Kristina’s tiny homages to Twin Peaks follow.

    A diorama based on the Lydecker Veterinary Clinic in ‘Twin Peaks.’

    More after the jump…

    Posted by Cherrybomb | Leave a comment
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