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Don’t Mess with My Mind! Christian magician warns children of evil Ouija boards, Dungeons & Dragons
09:32 am


Ouija Boards
Dungeons and Dragons


You can fool my eye, but don’t mess with my mind [emphasis added].

Here’s a hilarious short clip from Kids Tricks: It’s a Secret by Danny Kormen. Danny teaches wide-eyed kids about the dangers of Ouija boards and of course, Dungeons & Dragons. I got a good laugh from this.

I found the the show in its entirety for $6 on eBay if you just gotta see the rest of it. (Which I’m pretty sure you don’t.)

via Christian Nightmares

Posted by Tara McGinley | Discussion
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‘The Boiler’: The Specials’ harrowing song about date rape

By the summer of 1981 The Specials had all but split up when they topped the UK number one slot with their last single as the original line-up “Ghost Town.”

Terry Hall, Lynval Golding and Neville Staples went off and formed Fun Boy Three releasing their debut single “The Lunatics (Have Taken Over the Asylum)” later that year. Bass player Horace Panter went to co-form General Union, Roddy Radiation fronted The Tearjerkers, which left band founder Jerry Dammers and drummer John Bradbury to regroup with Rhoda Dakar (vocals), John Shipley (guitar), Dick Cuthell (brass), Nicky Summers (bass) to continue as The Special AKA.

The Special AKA was how the band were originally known after they changed their name from The Automatics or The Special AKA The Coventry Automatics, which became The Specials for short—but what’s in a name?

“Ghost Town” was a powerful pay-off by The Specials and its strong political message saw it named “Single of the Year” by the UK’s top three music papers, NME, Sounds and Melody Maker. The song delivered a stinging social commentary on the poverty and inner city destruction caused by Conservative Prime Minister Margaret Thatcher’s economic policies during the 1980s. In 2002, Dammers discussed the inspiration to the song with Alex Petridis of the Guardian:

“You travelled from town to town and what was happening was terrible. In Liverpool, all the shops were shuttered up, everything was closing down… We could actually see it by touring around. You could see that frustration and anger in the audience. In Glasgow, there were these little old ladies on the streets selling all their household goods, their cups and saucers. It was unbelievable. It was clear that something was very, very wrong.”

The song’s success meant high expectations for what Dammers and his reconstructed Special AKA could achieve.
Dammers had been the main driving force and writer behind The Specials. He was also the founder and CEO of the record label 2 Tone—home to The Specials, Selecter, Madness and The Beat.

Born in India in 1955, Dammers had attended King Henry VIII public school in Coventry, whose former pupils include poet Philip Larkin and co-founder of Napalm Death, Nic Bullen. He had been a mod and a hippie before becoming a skinhead and discovering his love for ska music. Ska led him to founding 2 Tone Records in 1979 that kick-started the ska revival.

Dammers had a glorious talent for writing upbeat pop music with strong political messages, which can be seen by most of The Specials tracks from “Rat Race” to Ghost Town,” and he had never been one to shirk from difficult or controversial subject matter. When considering what the Special AKA shoudl release after the all-conquering “Ghost Town,” he collaborated with singer Rhoda Dakar on powerful single about date rape called “The Boiler” a song which Alex Petridis has described as having:

...[a] worldview [that] was so bleak as to make previous Specials albums – no barrel of laughs themselves – seem like the height of giddy gay abandon.

Rhoda Dakar had been a member of The Bodysnatchers (best known for the single “Do the Rock-Steady”) before joining The Specials as a backing vocalist, appearing on the band’s second album More Specials, and on their 1981 tour. Dakar and Dammers started work on “The Boiler” sometime in 1980, and the song was added to The Specials’ set list during the ‘81 tour, but was not fully finished until later that year.

“The Boiler” is the harrowing tale of a young girl who is swayed by the attentions of a man who eventually rapes her. Dakar said in an interview with Marco on the Bass that the song was based on “a friend [who] had been raped a couple of years earlier and I suppose I was thinking of her at the time. It was a very long and drawn out process. It was released a year after it was first recorded.” It was not the kind of song that ska fans were expecting to hear after “Ghost Town” but Dammers believed it was worth doing as it made a statement about a subject matter that needed to be brought to public attention.

Continues after the jump…

Posted by Paul Gallagher | Discussion
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Eat My Face: Celebrate Easter with a chocolaty death mask of your own face
06:34 am


death mask

Easter is no doubt the most morbid of Christian holidays—a celebration of resurrection, sure, but also pretty big on the whole death part too. Combine that with weird pagan leftovers about eggs and rabbits, add in some chocolate, and you have yourself one of the weirder nods to crucifixion. But isn’t biting the head off a bunny-shaped confection kind of… weak? Can we not come up with a more appropriate way to honor the zombie Jesus?

Of course we can! We’re in the age of 3-D printing! You can produce a chocolate mold of your actual face—a sinful confectionary death mask brought to you by the epicurean geniuses at Bompas & Parr!

From their site:

Just in time for Easter, Bompas & Parr invites you to explore the possibilities of the world’s first anatomical Easter eggs – in the shape of your own face! Eat My Face is a hands-on-face service that will see us create an exact mould of you or your child, mistress or dog’s face for that matter, in chocolate.

By using the latest facial-scanning and 3D-printing technology and employing our expertise honed in jelly mould-making, we are able to create a perfect mould of anyone’s face which can then be used to create an iconic chocolate egg form.

Prices are only available upon request, so I can imagine one of these costs a pretty penny but isn’t it a small price to pay for a properly goth Easter?

Via Munchies

Posted by Amber Frost | Discussion
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Krumpety Sax: Tommy the Clown and hardcore krumpers get Benny-Hillified
05:55 am


yakety sax

If you’ve never seen David LaChapelle’s eye-popping 2005 documentary on “krumping” and “clown dancing,” Rize, then you should absolutely drop whatever it is you’re doing and watch that film right now.

Rize documents an early 2000s aggressive style of battle-dance, popularized in South Central Los Angeles, which is a hardcore fusion of tribal, slam, stripper, and break dancing. There were two factions at the time using different forms of the dance, known as “krumpers” and Tommy the Clown‘s “clown dancers.”

Tommy the Clown with his dancers
It just so happens that this aggressive style of fast-breaking generally tends to synch up pefectly with Boots Randolph’s signature tune “Yakety Sax,” which is better known as the theme to The Benny Hill Show.

Popular ‘70s British pervert, Benny Hill
The Internet has asserted for years that “Yakety Sax” supposedly makes everything funny, but in the case of these krumpers and clown dancers, it makes a sort of musical sense in creating a totally new reality, separate from what is normally associated with this style of dancing or this particular musical trope. It just fits in a bizarro world kind of way.

If you care to experiment with adding “Yakety Sax” to dance videos yourself, there is the amazing online BennyHillifier, which will allow you to waste hours of time adding the Benny Hill Show theme to absolutely anything you can think of.

In the meantime, get down to these hardcore street dancers going off to some brutal Boots Randolph yaketing.

Yakety Tommy the Clown and his clown dancers:

More yakety krumpers after the jump…

Posted by Christopher Bickel | Discussion
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Fugazi, PJ Harvey, Brian Eno, DEVO, and more, sung by an actual glee club

The Blue Ribbon Glee Club is a Windy City-based a capella group who’ve been performing covers of classic punk and indie rock since 2007. In 2009, they released their E.P., A Capella Über Alles, on Whistler Records, the house label of my absolute favorite cocktails-and-music bar in Chicago. It should be noted that both the group’s formation and the E.P.‘s release predate the debut of that one TV show. It was about, like, a choir or something? I forget what it was called.

For the record, The Blue Ribbon Glee Club has been around since March 2007. We’re predominantly a live performance group. For us, it’s not about whitewashing rock and roll, it’s about using our voices to embody the same power and dirt that ultimately drew us to the songs we cover. But sure, some of it sounds pretty.


Blue Ribbon Glee Club, “Dress,” orig PJ Harvey
More pure, untrammeled glee after the jump…

Posted by Ron Kretsch | Discussion
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Esquivel: The meticulous Mexican maestro of Space-Age Bachelor Pad Music
03:52 pm


easy listening

In the early 1970s Jamaican dubmeisters supreme King Tubby and Lee “Scratch” Perry collaborated on an album called Blackboard Jungle wherein each mixed one channel of stereo down to what amounted to two separate mono mixes. It’s breathtakingly ingenious—not to mention a terribly elaborate and work intensive process—but it doesn’t hold a patch on what “easy listening” legend Juan Garcia Esquivel got up to a decade prior. He’d sometimes use an entire orchestra in each channel, the musicians sitting in adjoining recording studios…

Have a listen to “Mucha Muchacha” from Esquivel’s 1962 album, Latin-Esque—this is some serious stuff, is it not?

Mexico City-raised Esquivel was the primary creator of the sub-genre of easy listening that was retrospectively called “Space-Age Bachelor Pad Music” (a term coined by DM pal, artist/Subgenius Byron Werner). His innovative, idiosyncratic (and instantly recognizable) music made full use of the vast possibilities of the newfangled stereophonic soundscape—exotic instrumentation, quick-change dynamics, polyphonic percussion, ping-ponging sound effects—and the perfectionist composer, arranger and pianist created the sort of record albums that insured they were used to demonstrate the highest fidelity stereo equipment. Incredibly, he was an entirely self-taught musician.

Continues over…

Posted by Richard Metzger | Discussion
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Man meticulously documents affair with his secretary 1969-1970: Here are his records
01:26 pm



The story would be dull—clichéd even—without the voyeuristic thrill that comes with the intimate details: a married German businessman and his married secretary, Margret, have a brief affair from 1969 to 1970. Everything you see here came from a suitcase purchased at an estate auction 30 years after the affair, and it’s an utterly engrossing collection of artifacts.

Not only did the unnamed businessman photograph the intimate moments before and after sex (including shots of dresses he bought for her—on the hanger, then on her, then on the bed), he kept keepsakes, including a lock of hair and an empty birth control blister-pack. The strangest part though is his “journal,” a series of typed, dated, wholly factual and completely emotionless entries—more of an impassive record of events than a log of romantic musings. Germans!

On their own, the photos seem to hint at a tender, maybe even loving time together, but the details reveal a much darker, volatile side of the tryst. At one point, the man’s wife confronts Margret, accusing her of disrupting a happy marriage. Margret is furious, and so the businessman then forces his wife to apologize to her. As delusional as she appears to be, it is this unseen wife who feels the most human, and one wonders if any guilt was felt on the part of the businessman or mistress Margret.

The collection is now being curated in its entirety as Gallery Margret: Chronicle of an Affair – May 1969 to December 1970, at the White Columns gallery in New York’s Meatpacking District, through April 18th.



More intriguing intimacies after the jump…

Posted by Amber Frost | Discussion
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You gotta have goals in life: Woman successfully flashes her ta-tas to Google Street View car
01:20 pm


Google Street View

Meet Australian woman Karen Davis. She was able to do the impossible, flash her boobs at a Google Street View car which then made it onto Google Street View without them being blurred out. As most know by now, Google Street View’s algorithm blurs-out license plate numbers and faces. I guess there’s no algorithm for areolas.

“I look at Google Maps a lot and I wanted to be on there and I thought this is the way to do it,” Davis told the Port Pirie Recorder, her local newspaper. “I got to tick something else off my bucket list.”

“I also did it for a friend in the United Kingdom. Now he can see me all the time,” said Davis.

Google has since gotten a hold of this titillating information in the past few hours and have now blurred Davis out completely. Aussies, amirite?

Below, is the naughty photo for posterity.

via Death and Taxes

Posted by Tara McGinley | Discussion
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The Andy Warhol New York City Diet (or give your dinner to the homeless)
09:56 am


Andy Warhol

Shane Parrish at Farnam Street reminded me of an amusing passage from The Philosophy of Andy Warhol (From A to B and Back Again) in which he explains how to keep the pounds off.

But if you do watch your weight, try the Andy Warhol New York City Diet: when I order in a restaurant, I order everything that I don’t want, so I have a lot to play around with while everyone else eats. Then, no matter how chic the restaurant is, I insist that the waiter wrap the entire plate up like a to-go order, and after we leave the restaurant I find a little corner outside in the street to leave the plate in, because there are so many people in New York who live in the streets, with everything they own in shopping bags.

So I lose weight and stay trim, and I think that maybe one of those people will find a Grenouille dinner on the window ledge. But then, you never know, maybe they wouldn’t like what I ordered as much as I didn’t like it, and maybe they’d turn up their noses and look through the garbage for some half-eaten rye bread. You just never know with people. You just never know what they’ll like, what you should do for them.

So that’s the Andy Warhol New York City Diet.

La Grenouille was and is a fancy eatery in Midtown, by the way. If the above passage teaches you anything, it might be “Don’t take diet advice from thin people.” Having said that, however, the intersection of Warhol and food yields some interesting nuggets.

Not terribly surprisingly, Andy Warhol claimed that his only weakness for nostalgia had to do with the old-style automats like Schrafft’s, for which, remarkably, Warhol did a 60-second commercial in 1968 that consisted of a single voluptuous pan over one of Schrafft’s scrumptious chocolate sundaes. That commercial, alas, appears to be lost to the sands of time, but you can watch a 2014 “re-creation” of the commercial here.

Anyway, here’s Warhol on Schrafft’s and Chock Full O’ Nuts:

My favorite restaurant atmosphere has always been the atmosphere of the good, plain, America lunchroom or even the good plain American lunchcounter. The old-style Schrafft’s and the old-style Chock Full O’ Nuts are absolutely the only things in the world that I’m truly nostalgic for. The days were carefree in the 1940s and 1950s when I could go into a Chocks for my cream cheese sandwich with nuts on date-nut bread and not worry about a thing.

A few lines later, Warhol writes, “Progress is very important and exciting in everything except food.” But that didn’t prevent him from proposing an eccentric dining solution for lonesome foodies:

I really like to eat alone. I want to start a chain of restaurants for other people who are like me called ANDY-MATS—“The Restaurant for the Lonely Person.” You get your food and then you take your tray into a booth and watch television.

Incredibly, as the blog Restaurant-ing Through History explains, that ridiculous Andy-Mat idea nearly happened in real life. Below is a picture of Warhol with three associates, architect Araldo Cossutta, developer Geoffrey Leeds, and financier C. Cheever Hardwick III; it appears that the picture was taken at some sort of announcement event for the Andy-Mat, which was to be “an unpretentious neighborhood restaurant serving homely comfort food at reasonable prices which was slated to open in fall of 1977 on Madison Avenue at 74th Street in NYC.”

For anyone who knows New York, Madison and 74th Street is a terrible place to place an “unpretentious neighborhood restaurant” serving food at “reasonable prices.” The plan was to include “pneumatic tubes through which customers’ orders would be whooshed into the kitchen. The meals served in Andy-Mats, in keeping with the times, were to be frozen dinners requiring only reheating.” Hooray, frozen dinners! Unsurprisingly, the restaurants never happened.

Continues after the jump…

Posted by Martin Schneider | Discussion
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The music video for ‘Ghostbusters’ minus the music is really… weird
07:54 am



We’ve posted these musicless music videos here on DM before, but this one for Ray Parker, Jr.‘s “Ghostbusters” is like a paranoia-fueled nightmare. I never realized how stalker-ish the video was until the music was taken away.

So if there’s something strange in your neighborhood it’s probably just Ray Parker, Jr. and you should just skip over calling the Ghostbusters and call the cops. Immediately.

via Geekologie

Posted by Tara McGinley | Discussion
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