follow us in feedly
  • A girl's best friend is her guitar
  • Activism
  • Advertising
  • Advertorial
  • American-style (Republican) Christianity
  • Amusing
  • Animals
  • Animation
  • Art
  • Belief
  • Books
  • Class War
  • Crime
  • Current Events
  • Dance
  • Design
  • Drugs
  • Economy
  • Environment
  • Fashion
  • Featured
  • Feminism
  • Food
  • Games
  • Heroes
  • Hip-hop
  • History
  • Hysteria
  • Idiocracy
  • Kooks
  • Literature
  • Media
  • Movies
  • Music
  • Occult
  • One-hit wonders
  • Politics
  • Pop Culture
  • Punk
  • Queer
  • R.I.P.
  • Race
  • Reggae
  • Science/Tech
  • Sex
  • Sports
  • Stupid or Evil?
  • Superstar
  • Television
  • The wrong side of history
  • They hate us for our freedom
  • Thinkers
  • U.S.A.!!!
  • Unorthodox
  • Best Of
  • Sponsored Post
  • VICE
  • Trippy ‘Alice In Wonderland’ shoes
    11:24 am



    Flowers Can’t Talk
    Irregular Choice—known for making tricked-out heels—teamed up with Disney to create these psychedelic-looking Alice in Wonderland shoes. The shoes will be available to purchase on February 26 at select stores and online. A pair of these shoes will cost you anywhere from $184 - $381 depending on which style.

    And when I use the word “trippy” for these shoes I mean literally and figuratively. Just look at those heels! My ass would be tripping everywhere!

    Flowers Can’t Talk

    One Lump or Two?

    One Lump or Two?
    More shoes after the jump…

    Posted by Tara McGinley | Leave a comment
    Movie theater protests throughout history
    09:51 am

    Pop Culture


    Protesters outside “Deep Throat” on Seventh Avenue, NYC
    The history of American film is also a history of protest. As long as movies have been made there have been controversial titles that have caused certain groups to voice their disapproval in the form of picketing and boycotts.

    Collected here are several examples of protests outside of American movie theaters. The protesters span the political spectrum, from left to right.

    Arguably, art isn’t art unless its pissing someone off.

    We assume she’s protesting Monty Python’s “Life Of Brian,” though “Skatetown USA” was also fairly blasphemous.

    Protesters outside of Walt Disney’s 1975 film “One Of Our Dinosaurs Is Missing,” picketing the stereotyping of Asians in films.
    Many more movie protests, after the jump…

    Posted by Christopher Bickel | Leave a comment
    Watch the new video from A Place To Bury Strangers’ Dion Lunadon: A Dangerous Minds premiere
    09:06 am



    A Place to Bury Strangers have made a good name for themselves by channeling the aloof nihilism of the Jesus and Mary Chain and the paralyzingly loud concert experience of Dinosaur Jr. This sullen wall-of-sound approach tends to get them lumped in with neo-goth and nu-gaze, and not without justification, but while their early efforts did indeed sound like the derivative works of angsty trenchcoat mafiosi, their transition over the course of their four albums, from their 2007 self-titled debut to last year’s Transfixiation, show a band with much more up its collective sleeve than mere homage. Compare the definitive early track “To Fix the Gash In Your Head” to the more recent single “Straight”; the noisy guitar washes, (Peter) Hook-y bass lines and ear-stabbing synths are constants, but with every subsequent release the band becomes capable of saying exponentially more with those elements, and the albums stand more on their own merits rather than seeming like mere requisite adjuncts to their concerts, which have always been an electrifying, immersive experience.

    Discussions of the band tend to revolve around guitarist Oliver Ackermann, who’s found success as founder/builder of the boutique effects pedal company Death By Audio—yeah, he’s one of the many player/effects builders whose existence Kirk Hammett recently handwaved, as if Metallica needed another asshole—and who turned the street-level presence of his Brooklyn warehouse into what became a legendary music venue also called Death By Audio, sadly now defunct. But today we’re here to talk about the band’s bass player, Dion Lunadon, who just released his first solo 7”, “Com/Broke.” Lunadon (née Palmer) had a robust career in his native New Zealand prior to his 2010 initiation into APTBS, most notably with garage rockers The D4. This new solo single was created in a “creative spasm” during a break in APTBS’ touring schedule, in which he claims he wrote and recorded about fifty songs. Stereogum  compared the track to Toy Love and The Gun Club, and yeah, while it retains his band’s mope-rock worldview (“I’ve got no reason to hold on”) and thoroughly noisy mesmeric ambience, it’s a pretty straightforward and vigorous rocker with none of APTBS’ gothic trappings.

    After the jump, it’s DM’s pleasure to debut the song’s video…

    Posted by Ron Kretsch | Leave a comment
    The air hostess with the mostest: Awesome images of vintage stewardess uniforms
    08:51 am



    I’ve always dug old school airline flight attendant uniforms. Perhaps it’s the nostalgia of being a kid and totally excited about going to the airport and hopping on a plane. When you asked for a can of Coke, you got it. An entire can.

    These days I dread the experience of going to the airport as much as I dread tax season. I hate it. It’s miserable for me, filled with lots anxiety and zero patience. Flying used to be glamourous! Now a flight is like getting on a bus… an air bus. Soon they’ll have you standing in the aisles, mark my words!

    I like to look at these old photos and remember a time when traveling wasn’t an experience from hell. Oh, and when flight attendants looked as cool as shit.


    Early 1970s Braniff International Airways photo

    Southwest Airlines, 1970s
    More after the jump…

    Posted by Tara McGinley | Leave a comment
    The MC5 kick out the jams next to a busy Detroit highway in 1970
    08:40 am



    MC5, early 1970s
    The MC5, early 1970s
    On July 19th, 1970 the MC5 performed at Detroit’s Tartar Field at Wayne State University (alma mater of MC5 bassist Michael Davis, (RIP) and drummer Dennis Thompson), while cars roared by on the I-94 highway behind them, unable to drown out the sonic boom coming from the Michigan natives at the top of their game.
    An ad for the MC5's second record, 1970s, Back in the USA
    An ad for “Back in the USA”
    According to a 2014 interview in Detroit Rock n Roll Magazine with MC5 drummer Dennis Thompson, the band had just returned from a small, rural farming town in Michigan called Hamburg, where they had recorded their second album, 1970’s Back In The USA, produced by Rolling Stone journalist (and future Bruce Springsteen manager) Jon Landau. Thompson was not “into” Landau at all, and would refer to him a “fascist.” He was also deeply concerned that the 23-year-old didn’t have enough industry experience for the job.

    But perhaps Thompson’s initial negativity toward Landau had more to do with the fact that he forbid the use of drugs and booze (the band were huge fans of LSD and were avid pot smokers), and even had them on a strict diet and exercise routine while they were in Hamburg. In a nutshell, Landau had the MC5 doing the exact opposite of what every other band (or most young people for that matter) in the 70s were doing. And the result is what many fans consider to be the band’s best outing, despite the fact that it was somewhat of a commercial failure when it was released.
    Jon Landau and Wayne Kramer, 1970
    Jon Landau (right) and Wayne Kramer

    This footage captures the band performing “Looking at You” from Back in the USA, for the very first time live, as well as “Ramblin’ Rose,” (during which Wayne Kramer does a pretty hot imitation of a James Brown-style shuffle), and “Kick Out the Jams” from their first album, Kick Out the Jams. The looks on the faces of the awestruck crowd is one of the many highlights from this ten-minute piece of fuzzed-out rock and roll history.

    Set your speakers to stun!

    The MC5 performing songs from 1969’s “Kick Out the Jams”, and their 1970 album “Back in The USA” at Wayne State University’s Tartar Field, July 19th, 1970

    Posted by Cherrybomb | Leave a comment
    New Wave: Debbie Harry wanted to remake Jean-Luc Godard’s ‘Alphaville’ with Robert Fripp
    01:59 pm



    Robert Fripp as Lemmy Caution and Debbie Harry as Natacha von Braun

    I recently came across the following entry from an issue of Radio Times dating from April 1979, describing an upcoming edition of a BBC 1 radio show called “Roundtable”:

    Debbie Harry joins Kid Jensen to review the week’s new records.

    Ultra blonde, ultra bombshell Debbie Harry is turning her thoughts to the big screen. She is thinking of starring with Robert Fripp (who used to be in King Crimson) in a remake of Alphaville, a 1966 film by Jean-Luc Godard. Blondie are recording their fourth album, tentatively called Eat the Beat.

    Wait, what? Debbie Harry and Robert Fripp, to appear in a remake of Godard’s Alphaville??

    It’s all true.

    If you want the TL;DR version of this post, it goes like this: Around 1979 Debbie Harry and Chris Stein were interested in remaking Jean-Luc Godard’s futuristic 1966 movie Alphaville. Amos Poe was going to direct it, and there are images from a screen test that featured Harry and Fripp in character, images that were leaked to the press at the time.

    The rest of this post is basically just regurgitating the little scraps of evidence I was able to cull together from scouring Google for information, all of which is still pretty interesting and corroborates that last paragraph.

    Anna Karina and Eddie Constantine in Godard’s Alphaville
    Amos Poe was going to direct the movie. He was part of the NYC underground filmmaking scene in the 1970s, having directed, with Ivan Kral, The Blank Generation as well as a 1978 feature starring Debbie Harry called The Foreigner. Poe was also involved with Chris Stein’s legendary public-access show TV Party.

    On the obsessive King Crimson fan site DGM Live there appears a puzzling entry in “Robert Fripp’s Diary” for the date January 8, 2000. It’s puzzling in that it’s ostensibly something that Fripp wrote but he lapses into a kind of Variety promotional-speak that includes a sarcastic, unflattering reference about Fripp himself. Wait, here, just read it:

    Several Blockbuster videos are waiting for return. One of them is “Dead Weekend”, chosen as an accompaniment to brain-death & psyche-dribbling earlier this week. Several surprises accompanied its opening credits. Co-producer Amos Poe. Story by Amos Poe. Directed by Amos Poe. Co-starring (with Stephen Baldwin) David Rasche.

    In 1978 Amos Poe was to direct the remake of Godard’s “Alphaville” starring Debbie Harry as Natasha von Braun, Anna Karina (?) in the original film. The detective Lemmy Caution was originally played by Eddie Constantine. For the remake, Debbie’s co-star was to be—yo! wait for this one—an English guitarist almost universally disliked by his former band-buddies. The film was never made, but the stills from his screen-test were fabbo to the max. One of them even appeared on the front page of Melody Maker in December 1978.

    If that isn’t enough of Fripp’s NY history to bore you senseless, wait about.

    David Rasche is a superb actor whose break came in a Broadway play “Shadowbox” around 1977/8. He played “Sledgehammer” in the cod tv-policier series, and showed up in various films such as “Cobra” (he dies quickly & unpleasantly) & “An Innocent Man” (with Tom Selleck) as the bent cop who frames Tom & sent down F. Murray Abram (?). David & I were both in a Transactional Analysis group in NYC during 1977. A very good man, and one who holds my respect.

    With this card, six degrees can now carry me anywhere in the world at all.

    If it really was written in 2000 by Fripp, then at a minimum we can say that he’s got a wicked sense of humor, no? Apparently he takes his reputation as being “almost universally disliked by his former band-buddies” at least somewhat in stride…..

    [Update: A commenter on Facebook points out that DGM is the label Fripp and others founded in 1992, which certainly suggests that the diary entry is kosher.]

    Fripp points out that a still from a screen test involving the two co-stars appeared on the cover of Melody Maker in 1978, and that’s perfectly true. The date was December 23, 1978, and the cover looked like this:

    Victor Bockris’ book With William Burroughs: A Report from the Bunker contains the following story:

    Debbie recalled that when she and Chris met Goddard [sic] to discuss remaking Alphaville he had pretended that he could not speak English and said through an interpreter, “Why do you want to do this movie? You’re crazy!”

    So apparently Godard tried to persuade them not to make the movie. I’m guessing it wasn’t his influence that caused the movie not to be made.

    In Lester Bangs’ 1980 book Blondie (yes, Bangs wrote a book all about Blondie) we fnd this tidbit: “When Debbie and Chris were on WPIX’s ‘Radio, Radio’ show in Manhattan (in Feb. 1980), a fan phoned in to ask, ‘Is Alphaville complete?’” Thus proving that more or less regular people were following the Alphaville story and wanted updates.

    More after the jump…

    Posted by Martin Schneider | Leave a comment
    ‘Live for Life’ is the classic Easy Listening soundtrack you must know
    01:33 pm



    Claude Lelouch’s Vivre pour Vivre (“Live for Life”) tells the tale of a torrid affair between Robert, a famous—and philandering—war correspondent (Yves Montand) and Candice, a volatile 21-year-old American fashion model in Paris (Candice Bergen, looking incredibly gorgeous here) and how it causes the disintegration of his already shaky marriage to Annie Girardot’s gentle, sorrowful Catherine.

    It’s a beautiful film—lensed by Lelouch himself—with scenes shot in Paris, Nairobi and Amsterdam, but even so, it’s Bergen’s incredible face that steals the attention each and every time she appears onscreen.

    Vivre Pour Vivre was one of the most successful French films of all time and nominated for an Academy Award as Best Foreign Language Film in 1968. Today the film is probably best remembered—at least outside of France—for its lush Françis Lai soundtrack, in particular the title theme which has become something of an instrumental easy listening “standard” and the themes for each of the three main characters.

    The composer stayed close to the formula he’d established for his previous collaboration with Lelouch on A Man and A Woman: “la la la” scat singing, briskly pounded piano, organ and clavichord, electric guitar and histrionic strings. It’s very easy to find this soundtrack, and other Françis Lai soundtracks cheap in used record stores. The next time you see this, or his soundtrack to Lelouche’s A Man and a Woman, don’t pass them by.
    “Thème de Candice”:

    More easy listening after the jump…

    Posted by Richard Metzger | Leave a comment
    Sparks would fly: Ron Mael’s fantasy ‘dream band’ would have Mingus, Gershwin ... and IKEA
    11:51 am



    Yesterday on the Sparks official Facebook presence there appeared a picture of an item that was published in the Independent (UK) newspaper on February 13 of this year, as part of a feature called “My Fantasy Band.” The selected musical superstar that appeared in the paper to announce his dream lineup that day was Ron Mael of Sparks, and in true Sparks fashion, his selections were hilarious, not without insight, and just a touch bizarre.

    Here’s the lineup:

    Vocals: Marvin Gaye, Maria Callas
    Drums: Tony Williams
    Guitars: Link Wray, Dick Dale
    Bass: Charles Mingus
    Synths/Keys: George Gershwin
    Backing Vocals: The Swingle Sisters
    Merchandise: IKEA

    Quite the jazz-heavy lineup, eh? Mael describes Tony Williams, a longtime drummer for Miles Davis, as “the Keith Moon of jazz drummers.” Wray and Dale are “totally incompatible and thus perfect for the ideal band.”

    Mael’s reasons for picking Mingus on bass are refreshingly non-musical, in that he is “the only musician, as far as I know, who co-wrote the liner notes for one of his albums with his psychiatrist.” George Gershwin’s talents as a performer are largely unknown, but he is one of the 20th century’s greatest composers, and also he’s, ahem, “equally great at playing piano and throwing parties.” Personally, I chuckle at the notion of Gershwin playing “synths,” an instrument that, with his perishing in 1937 and all, would have made difficult for him to master. Switched on Gershwin, anybody?

    It’s doubtful whether the other personages taking part in the Independent’s musical parlor games have isolated who should be responsible for merch, but Mael has given the matter some thought, opting to replace the usual T-shirts with perhaps a MALM nighttime slumber apparatus (bed) or an EKTORP multi-posterior placement device (sofa) from IKEA: “As you struggled to assemble the monstrosity, you would reflect back on what a great time you had at the gig.”

    Come to think of it, MAEL sounds suspiciously like an IKEA product line, doesn’t it? And aren’t Sparks big in Sweden?

    Keep reading after the jump…

    Posted by Martin Schneider | Leave a comment
    Träd Gräs och Stenar: The supreme leaders of Swedish Transcendental Psychedelic Rock
    11:10 am



    Träd, Gräs och Stenar, as the press release tells us, “are the supreme Swedish leaders of TRANSCENDENTAL PSYCHEDELIC ROCK MUSIC.”

    Believe the all caps hype, trust me on this one…

    They sound like Can jamming with Neil Young covering a late period Velvet Underground song and occupy a sonic spot on the Venn diagram where the Grateful Dead’s “Dark Star” meets Ornette Coleman, the Jesus & Mary Chain and Acid Mothers Temple with an ounce of good weed and a sheet of blotter acid.

    Do I have your attention? I thought so.

    Träd, Gräs och Stenar (“Trees, Grass and Stones”) were a sort of hippie/communal organic vegetables-growing Swedish manifestation of the spirit of May 1968, a “New Left” inspired group with an anarchist and “free socialism” philosophy who released their own DIY records long before such a thing was common. In the early 1970s, they travelled around, playing free festivals and parties. They fed their audiences food that they had grown and cooked themselves. They would play in fields, or anywhere. Their music was improvisational. They’d begin tuning and slowly, ever so slowly, a powerful, bone-crushingly heavy-Krautrock-psych-folk-blues riff would emerge from the chaos.

    These guys were fucking heavy. Imagine driving out into the Swedish countryside (in 1971) with the car windows open and off in the distance, but getting closer and closer, you hear this:

    I’m sure that Julian Cope must be well aware of Träd, Gräs och Stenar, but if he’s not, he needs to get his hands on this stuff, stat. Lucky for the Arch Drude—and everyone who loves this kind of thing—April 8 will see the release of the 6 LP, 3 CD box set Djungelns Lag + Mors Mors + Kom Tillsammans from the wonderful people at Anthology Recordings. The release was put together with the participation of Jakob Sjöholm, the youngest member of the original band. The label liberated several hours of unreleased live recordings from the time from Jakob’s attic which comprises the third 2xLP in the box—and only available with the box—Kom Tillsammans (“Come Together”).

    Träd, Gräs och Stenar is contemplative, cosmic, ferocious, joyful, bludgeoning and above all free. If you’re seeking a new form of sonic enlightenment, start here.

    Anthology Recordings is graciously allowing DM to premiere this short video about the group, the core which was Bo Anders, Jakob Sjöholm, and the late Thomas Mera Gartz, and Torbjörn Abelli.

    This film was made over a weekend in January of 2015, in Svartsjö (Black Lake), about half an hour’s drive east from the center of Stockholm, but may as well be hours as well as decades away. Jakob and his family has lived on this 18th century farm estate since the mid-1980s. Bo Anders came down from up north for the occasion. The film was shot and edited by Jakob’s son, Isak Sjöholm.


    After the jump, some vintage footage of Träd, Gräs och Stenar…

    Posted by Richard Metzger | Leave a comment
    Diabolic vintage illustrations of ‘spanking machines’
    11:02 am



    An illustration of a
    “Strafraum” (“penalty”). A German illustration of a “spanking machine,” 1930s
    Now before you read any further into this post, you should know that I’m not at all a fan of corporal punishment. However, I am very much a fan of the great lengths inventors and perhaps sometimes kinky “free-thinkers” are willing to go to when it comes to building an automated contraption that does things that a human would normally do.
    Illustration for a spanking machine, 1800s, UK
    Illustration from the UK of a “spanking machine,” early 1800s. The clown is a nice touch, yes?

    “The cane and the whip in the 19th century,” 1899
    That said, the “spanking machines” you are about to see in this post, probably never became reality. Is it possible some of them were real? Sure, it’s possible. Whatever the case may be, it appears that as early as the 1800s, a great many people from Australia to Russia and of course the UK and U.S. were dreaming up new ways to spank the crap out of people’s asses. Sometimes for pleasure and sometimes as punishment. While the words pleasure and punishment can be interchangeable in some circles (I don’t judge and neither should you), I can assure you that the vast majority of people in the following images don’t look especially thrilled about what’s happening. That said, I’d consider some of what follows NSFW. Which is usually what you’re going to get if the title of a post includes the words “spanking machines.” Duh.
    The “Rub A Dub Dub” spanking machine. An illustration by fetish artist, John Willie (aka John Alexander Scott Coutts), the founder of ‘Bizarre’ magazine . 1940s
    More retro spanking contraptions after the jump…

    Posted by Cherrybomb | Leave a comment
    Page 54 of 1984 ‹ First  < 52 53 54 55 56 >  Last ›