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  • Ed Wood Jr. and friends trading cards
    11:48 am



    Drew Friedman was into the demented masterpieces of Ed Wood, Jr. waaaaay before it was cool. People forget, but prior to 1994, when Tim Burton turned Scott Alexander and Larry Karaszewski’s screenplay into the Oscar-nominated classic Ed Wood, the “historical” Ed Wood Jr. was a seldom-ballyhoo’d fringe figure who most of the time was simply ridiculed as an incompetent, straight up.

    If you don’t believe me, check out the 1982 movie It Came From Hollywood, in which people like Dan Aykroyd and John Candy prompted viewers to make fun of Ed Wood as (har har) “the worst movie director who ever lived,” with nary a thought as to the more poignant aspects of Wood’s persona and oeuvre.

    In 1993, Friedman released his lovingly rendered portraits as The Ed Wood Jr. Players trading cards, which celebrated durable icons like Bela Lugosi, Vampira, Criswell, and Tor Johnson as well as such curious figures as Valda Hansen, Fawn Silver, Paul Marco, Bunny Breckenridge, Herbert Rawlinson, and Gregory Walcott (some of whom you’ll remember from their onscreen representations in Burton’s movie, of course).


    Vampira, Bela, and the man Ed Wood Jr. himself, all after the jump….....

    Posted by Martin Schneider | Leave a comment
    Let it snow: Shameless cocaine ads of the 1970s
    11:45 am



    Ah the 1970s, when disco dust was plentiful and there were cocaine paraphernalia ads galore in head magazines. Dig the Hoover-themed coke spoons! Or the “what the hell were they thinking” handmade ivory straws. And if your nose is a little clogged from too much coke, why not try “Noze: the nose wash”?

    So as the majority of the taglines in these magazine clippings say, “Let it snow!”


    More after the jump…

    Posted by Tara McGinley | Leave a comment
    Can’t look away: Go behind the scenes of films by Dario Argento, John Carpenter, Tobe Hooper & more
    10:29 am



    Dennis Hopper and Tobe Hooper on the set of The Texas Chainsaw Massacre 2
    Dennis Hopper (dressed as his character ‘Lt. Boude “Lefty” Enright’) and director Tobe Hooper on the set of the 1986 film, ‘The Texas Chainsaw Massacre Part 2’.
    As I know many of our Dangerous Minds readers are also fans of movies that curdle even the blackest of blood-types, I’m sure that you will enjoy ogling these “behind the scenes” shots from some of my favorite horror films like Dario Argento’s Suspiria, the second installment of Tobe Hooper’s Texas Chainsaw franchise, The Texas Chainsaw Massacre Part 2 (that features a chainsaw-wielding Dennis Hopper, pictured above), and the films of the great John Carpenter, among others.
    Dario Argento goofing around on the set of his 1977 film, Suspiria
    Dario Argento goofing around on the set of his 1977 film, ‘Suspiria.’
    Images of Dario Argento not being laser-serious for a change on set (pictured above), to candid photos of actors hanging out during their downtime still dressed like their gory characters, as well as amusing shots of FX master, Tom Savini in action happily creating fiends that have frequented your nightmares for the last few decades, follow. That said, some of what you’re about to see should be considered NSFW. But you knew that the minute I said “chainsaw massacre,” right?
    Director John Carpenter with P.J. Soles and John Michael Graham on the set of Halloween, 1978
    Director John Carpenter with P.J. Soles and John Michael Graham on the set of ‘Halloween,’ 1978.
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    Hara Kiri: The magazine so ‘stupid and evil’ it was banned by the French government
    08:46 am



    The cover of Hara Kiri magazine #132
    The cover of ‘Hara Kiri’ magazine #132.The text reads: ‘What young people want? Eat the old.’
    French adult satire magazine Hara Kiri, was one of a few magazine published back in the early 1960s that helped further along the proliferation of adult-oriented satire magazines like its American counterparts MAD and National Lampoon. Since the European outlook on humor was, let’s say, much more “open-minded” than in the U.S., Hara Kiri was able to blaze a trail bound straight for the gutter when it came to its unique brand of depraved comedic imagery.
    A page from Hara Kiri magazine depicting a BDSM equipment salesperson
    A page from Hara Kiri magazine depicting mother introducing her young daughter to BDSM ‘equipment.’ The sign reads ‘The Little Whore.’

    So boundary-pushing were the staff of Hara Kiri (that for a short time included an illustrator revered by Fellini, Stan Lee and Hayao Miyazaki, Jean Henri Gaston Giraud who drew cartoons for the journal under the name “Moebius”), that it was banned from being sold to minors by the French government after the magazine lampooned the death of former President of the French Republic, Charles de Gaulle in November of 1970—suggesting that the press coverage his demise was excessive compared to the news reports surrounding the deaths of 146 people (most of them just teenagers) at the infamous fire at the French disco, Club Cinq-Sept eight days earlier.

    Full of sharp and demented political satire, and gleefully dark, observational humor (such as portraying a child being usefully reappropriated as a broom, or the mother introducing her young daughter to BDSM equipment, pictured above), Hara Kiri never stopped going after organized political or religious institutions in the most inexplicable ways. To this day the decades-old images still resonate the rebellious, non-conformist spirit Hara Kiri embodied during its heyday.

    I’ve included many images from the strange covers of the magazine (who enjoyed referring to itself as a “Journal bête et méchant” or “Stupid and evil journal”), as well as some of Hara Kiri’s perplexing pages from the magazine. What I wasn’t able to include in this post were some of the magazine’s best known images that are simply so perverse it’s just not possible for me to show them to you here in a family publication. But that’s what Google’s for, right?
    The cover of Hara Kiri #186
    The cover of Hara Kiri #186. The text reads (in part) ‘Pope condemns hammer blows to the mouth.’
    A page from the French magazine Hara Kiri
    A page from Hara Kiri. The text when translated reads: ‘Your child is stupid? Make it a broom!’
    The cover of Hara Kiri #17
    The cover of Hara Kiri #17. Text reads: ‘Beat your wife.’
    Much more from the deviant pages of Hara Kiri, some which might be considered NSFW, follow after the jump…

    Posted by Cherrybomb | Leave a comment
    Disturbingly realistic masks of Trump, Hillary and Bernie
    08:38 am



    via Imgur
    Remember that scary as hell Peter Dinklage mask? Or those weird giant crying baby masks that made the rounds on the Internet a few years back? Well, the guy behind them, Landon Meier, who owns the aptly-named Hyperflesh has created these new “beauties” of Donald Trump, Hillary Clinton and Bernie Sanders. I have no words.

    As far as I can tell, these are only one-offs and not available to purchase. If you really gotta have one, you can contact Meier at his Hyperflesh website.



    via Nerdcore and Buzzfeed

    Posted by Tara McGinley | Leave a comment
    Crazed loner builds a robotic tongue to lick images of his favorite anime characters
    02:49 pm



    So this guy created a little device where he attached an artificial tongue to a little robotic contraption, and now whenever he presses the button, the tongue swings into action and strokes a vertical surface in an up-and-down motion until he removes his finger.

    He designed it specifically to lick the screen of his computer while it has images of his favorite anime characters displayed on it. In other words the device was created to enable him to worship his favorite characters without getting his regular human tongue involved. Seems to me his “worship” has certain limits…...

    Then again, I suppose he intended it tongue-in-cheek, right? (runs away)

    via The Daily Dot

    Posted by Martin Schneider | Leave a comment
    ‘Anarchy!’ Malcolm McLaren, punk rock’s Molotov cocktail
    02:37 pm

    Pop Culture


    Phil Strongman’s new documentary Anarchy! McLaren Westwood Gang is a politically-fueled, fashion-conscious deeper look at how the English punk explosion was ignited—how the bomb was built and under what circumstances, in other words.

    Coming in at almost two and a half hours with an incredible cast of characters, Anarchy! McLaren Westwood Gang traces Malcolm McClaren back to his birth with loads of never before seen films and photos, personal information and interviews with family members, friends and others, taking us into the all important mid-sixties where the real nucleus of the Sex Pistols concept begins to form within the Situationist movement, King Mob (the UK equivilent), art school and observing the tribal customs and costumes of rock ‘n roll fanaticism.

    The 1968 the French student riots had a huge influence on McLaren, who travelled to Paris at the time, and there were key players from that era who played recurring roles in his life. Much of the concepts and ideas—art, slogans, everything really—originated there and then. The interviews with the people from this period were what I wanted to see most and there was no disappointment. The interviews with Malcolm himself indicate that he still was speaking in slogans right up to the very end.

    If you’re looking for yet another love letter to punk rock (yawn) with the same old crap stories, then keep on pogoing as this is a very interesting (for the most part) tale of politics, sex, drugs, bombs, rock ‘n roll, and the all important fashion accessories to wear whilst bombing and rocking and rolling and fucking on drugs. If punk never really happened and this was just a wild tale of a bunch of crazed young people that tried to accomplish what punk wrought and failed, it would still be just as interesting. The fact that first an entire country and then the entire world sat up, noticed, listened and actually feared this tiny group of absurd-looking lunatics (some leading, most following) on their search and destroy mission is incredible to contemplate. Today they’d just be given their own reality TV show.

    It’s a bit of a revelation for those who think a few drunk idiots formed a band and yelled and jumped around a lot while desperately trying to learn how to play their instruments. (Even at this late date it is still being said that these guys could not play or sing, which is ridiculous as is easily proven by any Sex Pistols live performance video from any period.) However, someone could have done enough homework to know to leave out Ben Westwood’s totally wrong assumption (stated as fact, of course) that Sid’s mom and girlfriend gave him heroin that he overdosed on (I personally was there that night and I and enough other people have done countless interviews stating what really happened). He even calls Methadone, Methadrone (good name for a band actually). Other than these two minor problems, and the rather large objection that for a film titled Anarchy! McLaren Westwood Gang it’s quite light on the Westwood side of things, this very long film goes by very quickly, and is really well made. Director Strongman was good friends with McLaren, having worked in the Glitterbest offices (the Sex Pistols management company) and was an actual eyewitness to much of what he is discussing here.

    There lots of great interviews with everyone from Adam Ant to Don Letts to Tracey Emin to Boy George (who tells a great story about when he sang for Bow Wow Wow) to Sex Pistol Paul Cook (with amazing black and white footage of the Pistols hanging around at the Berlin wall). The music is honestly the least of the subjects focused on. In fact much of the film is framed with scenes of girls modeling Dame Westwood’s fashions (partially topless) to a modern soundtrack with an operatic vocal sung onscreen. (And thank god for that. I’m sick of these formulaic punk rock docs, aren’t you?)

    There’s a lot to get out of this film, historically speaking. It’s intelligent and everything a documentary should be. It just may not be about what you thought it was going to be about. This is the history of European Anarchism as it helps beget the birth of the Sex Pistols. It’s also the story of a man who broke all the rules before that was fashionable, who ran blindly into the fire more than once and always came out the other side… many times with the prize. Or at least some money. I’ve already watched Anarchy! McLaren Westwood Gang three times and I’m not the type to really ever watch anything even twice, certainly not in the same day.

    All Malcolm McLaren ever wanted was to be something akin to the “next Andy Warhol.” It’s an idiosyncratic aspiration to be sure, but one category that he (and perhaps he alone) truly belonged in.
    More after the jump…

    Posted by Howie Pyro | Leave a comment
    ‘I don’t need no f*cking shit’: Patti Smith on getting bleeped
    02:09 pm



    We’re big fans of the Blank on Blank series of animated versions of interviews of prominent people like Tom Waits, Martin Scorsese, Hunter Thompson, and Nina Simone. PBS Digital Studios are responsible for producing these, and they’re always very diverting.

    The interview excerpts are always very well-chosen—by which I mean they’re interesting and lend themselves well to animation—and the animating style, mostly by Pat Smith, is always very lively and appropriate to the subject matter.

    Blank on Blank just released an interesting new one that derives from an interview Patti Smith gave in London in 1976 to Mick Gold, a journalist who wrote for CREEM and Melody Maker and that year also published Rock on the Road, a collection of photo essays about rock music.

    It’s amazing how much stuff they manage to cram into this 5-minute video. It’s ostensibly about Smith’s annoyance at having her re-working of Pete Townshend‘s “My Generation” bleeped because she changed one of the lines to “I don’t need no fucking shit,” but it wanders freely from there to cover Smith’s early interest in the poetry of Arthur Rimbaud (I think this is the edition she was talking about), her collegial relationship with Bob Dylan, and her learned ability to inhabit a dream state whenever she chooses.

    Posted by Martin Schneider | Leave a comment
    Early color Autochromes of New York City, 1900-1930
    12:38 pm



    The lowly potato changed color photography forever.

    In 1903, two French inventors and photographers, Auguste and Louis Lumière, used the potato as the basis for their patented process in creating color photographs, or Autochromes as they were called. It was a simple but ingenious technique—crush potatoes into tiny particles; separate these minuscule starch particles into three; add red, violet and green dye; mix onto a glass plate; brush off the excess; flatten the dyed particles onto the plate between two rollers—thus creating microscopic color filters; fill in any gaps with carbon; brush with light sensitive silver bromide. Now you have a photographic plate ready to take color pictures.

    By 1907, the Lumières’ technique had infected the photographic world with “color fever.” Many early color photographers claimed painting was dead. The future was the Autochrome. (Apparently someone forgot to tell Picasso.)

    Unlike many of the European or Russian Autochromes from the turn of the twentieth century—which are usually filled with citizens at work or idly posing in narrow streets—these early Autochromes of New York are often empty of people as if the monumental nature of the city’s buildings made humans seem irrelevant, Lillputian, or simply unnecessary. When the city’s residents do appear they’re often blurred, frenetically charged, crammed into market scenes, or watching the camera from the seashore.
    Mulberry Street market, circa 1900s.
    Balcony overlooking Mulberry Street, ca. 1900s.
    Lower East Side, ca. 1900s.
    More early color Autochromes of New York, after the jump….

    Posted by Paul Gallagher | Leave a comment
    Rocket Boy: Intergalactic space mercenary (and out of work porn actor)
    11:23 am



    A kind soul has posted a segment from my old British Disinformation TV series—which was on Channel 4 way back in 2000 and 2001—the one about “space mercenary” Rocket Boy, a quirky individual who apparently believed himself to be a superhero (half cat/half human) and who fronted a noise rock band, also called Rocket Boy. He was never, ever out of character, as far as I could tell the few times I was around him. He always wore a cape, a plastic helmet and carried a kiddie toy “ray gun.”

    He was kind of like a real-life version of the martian that Bugs Bunny meets.

    I am Rocket Boy, space mercenary of the universe!

    I ‘stroy world and planets.

    I kill people and blow up their heads.

    Just a-cause you pay me the most doesn’t mean that I obey you!

    I saw his band play once in a dive bar in downtown Los Angeles in the early 1990s. The “musicians” just made great/terrible noise while Rocket Boy screamed. All of the music in this piece is his own recorded material. He also made a bizarre cameo in a porno film. It’s difficult to imagine anyone (besides him) getting off on it (and you’ll never think of cream corn the same way ever again, so be warned). I heard that he passed away a few years back.

    In the clip below—one of my favorites from the series—directed by Brian Butler and shot and edited by Nimrod Erez, Rocket Boy goes head-to-head with his landlord and upstairs neighbor, Captain Art. Rocket Boy lived in Art’s basement in San Pedro and you see, they just never got along…

    Posted by Richard Metzger | Leave a comment
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