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Now I wanna be your frog: SOGGY, the heaviest French rock band you’ve never heard of
03:37 pm



Today marks the first proper release of the self-titled album by French heavy rock band SOGGY by Outer Battery Records. Recorded in 1981, the 11-song album was originally pressed in a limited run of just 300 copies and is considered somewhat of a record collecting trophy piece by lovers of unhinged garage rock.

SOGGY started out playing cover versions of songs by Alice Cooper, Black Sabbath, MC5 and the Stooges in 1978, but soon started writing and performing their own material. At first (and second) glance, the group looks a lot like the Ramones backing Brother Rob Tyner. Snarling lead singer Beb, a natural born frontman of the Iggy Pop school of onstage decorum, was a crazy shirtless motherfucker with a huge Afro and the group, with a foot in both the punk and heavy rock camps called their music “hard wave.” They released one single “Waiting for the War” and played more than 100 concerts, but the band split in July of 1982, finding it difficult to support themselves financially right when they were offered the opening slot for a European Judas Priest concert tour.

A few years back, a clip of SOGGY performing live on French television in 1981, was posted on YouTube and began making the rounds of rock snobs causing a minor sensation. Early on the SOGGY train, Dangerous Minds editor Marc Campbell called them possibly “the coolest thing to come out of France since Françoise Hardy” and “a French heavy rock band from the early 1980s who managed to channel the spirit of MC5 and The Stooges in ways that few bands have managed to do.”

Brian Turner, the music director at WFMU radio, had this to say about SOGGY:

“France’s unstoppable monsters of mayhem put the Motor City in your Motörhead. Face punching riffs, complete destruction, who the hell else could spit Iggy off the stage? They did in 1980. The power of Beb compels you.”

Beb returned to the stage for the first time in over 35 years when he joined The Shrine—who’d recorded a cover of “Waiting For The War”—in Paris last year. He also recently joined them onstage at a heavy metal festival in Las Vegas, with the journey being shot for an upcoming SOGGY documentary.

I asked SOGGY’s fierce frontman, the amazing Beb—who does 700 sit-ups each morning before he goes to work—a few questions via email:

Dangerous Minds: What was a SOGGY concert like?

Beb: Our music and attitude was very rough, we were always on a high-energy level (without any drugs apart from goat’s milk). And the audiences were usually a bit surprised because at this time most of the other bands were considered “cooler” than us.

How did modern day interest in SOGGY come about on the Internet?

Beb: In fact, all of the recent interest comes from our unique video which was filmed in the local FR3 television studios. It began to go viral on the net around year 2000 and led to our discovery by a new and worldwide audience.

More after the jump…

Posted by Richard Metzger | Leave a comment
Artist scans her own body to make ‘boob and butt’ mugs (NSFW)
01:53 pm



Alice Lang, an artist based in Brisbane, Australia, makes utterly unique mugs that resemble anatomically correct body parts of the female form.

What sets the mugs apart is that Lang uses herself as a model. She uses 3D scanners to commit the exact contours of her own torso to a mold and then she hand-paints color details onto the resultant doll porcelain. Those details include her own nipples, moles, freckles, and pubic hair.

The two mugs actually interlock and can be stacked on top of each other to create a full torso.

Quoth the New Museum of Contemporary Art:

This action is intended to instigate mindful social interaction by making the user playfully complicit in this parody of the objectification, dissemination and consumption of anonymous women’s bodies. This interaction seeks to examine the female body as the site of objectification and explore how women can enact ownership and agency over their own body within this complicated context.

Lang is a recent graduate from the MFA program at CalArts and has residencies in Canada, New York, and Los Angeles on her resume. She is a founding co-director of LEVEL, an artist-run initiative in Brisbane.

Much more after the jump (did we mention these mugs are NSFW?).........

Posted by Martin Schneider | Leave a comment
Disturbing edible fetal skulls, chocolate Vincent Price face, candy ouija boards & much, much more!
12:51 pm



Chocolate Vincent Price life-mask
Ever wanted to taste Vincent Price’s face? Well now’s your chance with these macabre chocolate treats by Conjurer’s Kitchen. Not only is there an edible Vincent Price life-mask, but there’s chocolate conjoined fetal skulls, baby head lollipops, a diseased dental jaw bone made of white chocolate and an edible flamingo skull!

To top off this chocolatey weirdness, there are edible Christmas cards that look like ouija boards. I love it!

So for that special person in your life who’s into odd shit, might I’d suggest one of these treats as a holiday gift? I’m sure you’d blow their socks off!

Chocolate conjoined twins skulls

Doll head lollipops
More after the jump…

Posted by Tara McGinley | Leave a comment
Wild world of movie posters: Classic cult films from around the globe
12:31 pm

Pop Culture

Westgate Gallery

The House That Dripped Blood

Christian McLaughlin, a Los Angeles-based TV writer/producer and the self-described “poster concierge” behind the online movie poster store, is my new best friend. We’ve never actually met in person, but I do enjoy knowing that someone is out there who is impossible for ME to stump. Everything I mention to him over email, he already knows about. I suggested, for instance, that he watch the utterly batshit insane British soap opera Footballers Wives. Not only had he already seen all the episodes—and the spinoff series—he was pals with one of the cast members. Then he told me about a newer “women in prison” show from the same producers called Bad Girls that I’d never even heard of, and co-starring the main “evil bitch” actress from Footballers Wives as the same character she’d played in that earlier series who was now in prison!!! I sent him a link to an eBay listing for a poster for an Andy Warhol movie with Karl Lagerfeld and Patti D’Arbanville from 1973 that had somehow completley slipped by me and not only did he know all about it, he was selling the poster in his store.

He also had a perfectly plausible explanation for this. You see what I mean about him being hard to stump? And how many conversations have YOU had IRL recently about Barbara Bouchet, Tina Aumont or Andy Milligan?

I asked Christian to pen a guest post for DM about how he got started collecting movie posters and about why he’s now selling his incredible collection. This is what he sent me:

“OBSESSION” and “HOARDING” are such ugly words.  So let’s pretend they don’t apply here.  I was three years old when I scored my first movie poster (The House That Dripped Blood US 1 sheet), a freebie—but when you’re three, what isn’t?  My favorite stop on the frequent walks with my grandfather in Fort Kent, ME, was the Century Theatre, where I’d stare at the two posters (Now Playing & Next Attraction) on display in glass cases outside the box office, lingering as long as possible whenever there was horror involved.  I was so taken by the one-sheet cooked up by Cinerama Releasing Corp for a British anthology chiller starring Peter Cushing & Ingrid Pitt, I’m told I requested extra walks for a few bonus peeps at its lurid majesty, which features a long-haired beauty, the middle third of her face a toothy swath of bare skull, holding a man’s severed head on a tray.  One fateful afternoon on what had to be one of the final days of the run, theatre-owner Gilberte spotted us and came out to greet her dear friend (my grandfather) and his unnervingly precocious towheaded, rambling companion (me).  Apparently I then asked if I could have the poster when she was done with it.  Charmed or shocked, or both, she said yes, and soon after delivered this treasure to my grandparents’ door, thoughtfully enclosed in a stiff cardboard envelope, wrapped in a thin blue plastic shopping bag. 

Dissolve to Hollywood, California, 43 years later.  I still owned that poster—and roughly 2999 others.  My taste for horror was completely intact, but it had broadened to encompass all manner of salacious and macabre pieces of original movie art from a dozen countries, ranging from 13"x18” French petites to a ten by five foot 6-panel Italian billboard for the spectacularly sleazy 1975 Giallo trash epic Strip Nude For Your Killer (which I had foraged piece by piece from a mouse-infested pit of paper beneath a Roman antique shop in the shadow of the fun-hating cinephobic Vatican itself).  Finally allowing myself to splurge on linen-backing and archival framing to display the billboard and nine other large-format Italian Giallo posters with the panache they deserved, I had a moment of clarity while narrowing my Top 50 down to the ten I could fit on my home and office walls:  I could have five homes, two offices and an unlimited restoration and framing budget and I’d barely make a dent in this outrageously massive, meticulously archived collection. 3000 movie posters?!  I was out of my fucking mind.

The only sins I believe in were the ones overheated copywriters brazenly trumpeted across hundreds of these very posters, but if I’d remained in Fort Kent long enough for the Catholic church to wash my brain to their strict local cleanliness standard, I’d have a new sin for the popular Mortal category—-  allowing these amazing, beautiful pieces of Pop Art to languish in storage, when they all belong on walls, rolled-out or completely unfolded, to be enjoyed daily by like-minded connoisseurs of the salacious and the macabre.  Like one of those no-kill pet shelters everyone with a heart should lavish with donations, I was determined to find good, loving homes for all of them.  (And attempt to recoup a reasonable return on my what-I’m-too-terrified- to-actually-calculate-but-must-be-high-six-figures-minimum investment.)  So, two years ago, with the brilliance of friends/design-photography mavens Paul Ahern, Barry Morse & Beth Hall, was born.  Named after my childhood porn theatre in Bangor, ME, whose painfully cropped ads in the local paper were my entree into the delectable poster paradise of the XXX Golden Age, this webstore answers Stevie Nicks’ question in a certain chart-topping Fleetwood Mac song: 

“Do you have any dreams you’d like to sell?”

Yes, Stevie, I do.  And through December 24, they’re all 40% off!

Yours truly,

Christian McLaughlin, poster conceierge


Here’s a selection of the posters for sale at WestgateGallery. This gallery is sort of a “beloved cult films 101” overview. If you’re looking for Giallo or golden age of porn posters, there are separate posts for those genres.




Many more after the jump…

Posted by Richard Metzger | Leave a comment
‘What, me worry?’ MAD magazine sent the best rejection letters ever
12:30 pm


MAD magazine

Earlier this week DM posted a notorious rejection letter that EMI may (or may not) have sent to Venom in 1980; the letter (real or not) is a simple example of typewriter art, with the words “FUCK YOU” being spelled out with the respective letters (“F” “U” etc.) typed several dozen times to spell out the well-known phrase, much like the ASCII art of the mid 90s internet era.

Some have claimed, pretty reasonably, that EMI never sent out any such letter. We don’t really know one way or the other. Today’s artifact is a little bit better verified, I believe, and also not nasty or obscene in the least; in fact it is delightful. 

It takes the merest glance at any issue from the heyday of MAD (1960s-1980s?) to realize that the editors and writers there were probably real mensches—they might have been irascible but they would be dead set against any kind of corporate hardassery or uptightness. The freewheeling, exuberant, and nonconformist (fun) tone of editor-in-chief Al Feldstein’s shop is perfectly captured by a rejection letter that is undated but appears to have been sent in the 1960s, as we’ll see in a moment.

In it, Feldstein does his duty of rejecting the submission but it’s quite long and detailed and takes the trouble to treat the “contributor” as an individual (quite remarkable in what must be a form letter) and actually tells him/her to ask “What, me worry?” and contemplate the awful alternative fate of being—shudder—“ACCEPTED!”

Here it is (transcript below):

I mentioned that we know that the letter is not an Internet-era fabrication and that evidence suggests that it existed, for real, in the 1960s. I took the trouble of searching on a key phrase in the letter and was rewarded with a hit from Google Books, a periodical called The Writer dating from 1967 that references the missive as an praiseworthy example of a humane rejection letter.

Leave to the “usual gang of idiots” to identify with and empathize with the angst and pathos of submitting material to a national magazine.

Dear Contributor:-

Sorry, but we’ve got bad news!

You’ve been rejected!

Don’t take this personally though. All of us feel rejected at one time or another. At least, that’s what our group therapist tells us here at MAD. He says we shouldn’t worry about it.

So that should be your attitude: “What-Me worry?”

Besides - although you’ve been rejected, things could have been a lot worse. Your material might have been ACCEPTED!

Then where would you be?


(Signed, ‘Al Feldstein’)

Al Feldstein

P.S. Our group therapist also mentioned that many people are so rejected by a rejection that they don’t try again. And we wouldn’t want THAT! We really WOULD like you to keep sending us your article ideas and scripts. . .so we can keep sending you these idiotic rejection slips!

via Letters of Note, Pulp Librarian

Previously on Dangerous Minds:
EMI sends Venom the greatest rejection letter of all time, 1980
Let Edmund Wilson’s form rejection card inspire you in 2014

Posted by Martin Schneider | Leave a comment
Weird monsters of Japanese folklore

Ubagabi—the ghost of an old woman that appears as fireball.
There’s an ancient Japanese legend of the one hundred yōkai—monsters, ghosts, apparitions and demons—who parade through the streets on hot summer nights. If anyone is unfortunate to see these creatures—or to be caught up in it—then they will perish away or worse be taken captive for the twisted pleasure.

If you’ve ever watched the enjoyable trilogy of movies Yokai MonstersOne Hundred Monsters (1968), Spook Warfare (1968), and Along With Ghosts (1969)—then you’ll have a good idea what these demons look like—ogres, goblins, ghosts, sprites, spooky umbrellas and dangerous women with ever-extending serpentine necks.

All of these incredible monsters have long been a part of Japanese folklore. They were first codified in the supernatural bestiary—Gazu Hyakki Yagyō (The Illustrated Night Parade of a Hundred Demons) by artist and scholar Toriyama Sekien in 1776. It’s a kind of fabulously illustrated Fantastic Beasts and Where to Find Them but far, far more beautiful and eerie.

In 1881, artist Nabeta Gyokuei updated this incredible volume when he produced a picture book or e-hon of Sekien’s 100 demons. The Kaibutsu Ehon or Illustrated Book of Monsters features beautiful woodblock prints of each of the yōkai and its special powers.

The whole book can be viewed here.
Kasha—a fiery yōkai—or phantom-in this case a cat that steals or devours corpses.
Aoi no Ue—fictional female character from ‘The Tale of Genji’ who is possessed by demons.
More fabulous monsters, demons and ghosts, after the jump…

Posted by Paul Gallagher | Leave a comment
Unboxing the Los Angeles Free Music Society’s new 13-LP collection—a Dangerous Minds premiere

Members of the Los Angeles Free Music Society, 1976 (photo courtesy of The Box LA and Fredrik Nilsen Studio)
In 2012, the Los Angeles Free Music Society celebrated the 40th anniversary of its founding, and the LA gallery The Box marked the occasion with the exhibition “Beneath the Valley of the Lowest Form of Music.” Now, under the auspices of Box Editions, a selection from every performance that took place during the run of the show has been painstakingly mastered, pressed on an LP side, and collected in the handsome seven-hour, thirteen-disc set LAFMS BOX BOX

If you’re new to the work of the LAFMS, their music is “free” in every sense. Free in terms of improvisational structure, free expression, and free association; free from generic restrictions, free from inhibitions, free as in liberated, free to come and go, free time, guilt-free, and even free of charge (“The music is free, but you have to pay for the plastic, paper, ink, glue and stamps,” as they say). Perhaps no group of musicians has ever been a better candidate for one of those “family tree” posters head shops used to sell. Not only does the LAFMS comprise a number of interrelated groups, ad hoc configurations of members, and solo excursions—Le Forte Four, the Doo-Dooettes, AIRWAY, Human Hands, Bpeople, Dinosaurs With Horns, and Solid Eye are some of the bands that populate the LAFMS’s alternate-universe Los Angeles, the one that is actually familiar to people who live here—but the society is also a nexus of the whole American underground of a certain period. Over the years the Residents, Captain Beefheart, Half Japanese, Wild Man Fischer, Mayo Thompson, the Meat Puppets, NON, Phranc, Christian Death, and 45 Grave have all contributed in some way to the massive LAFMS oeuvre. And Smegma originated as part of the LAFMS. And Michael Gira was the original singer of the band that became Bpeople. And founding member Dennis Duck is also the drummer in the Dream Syndicate. And artists Mike Kelley (to whose memory LAFMS BOX BOX is dedicated) and Jim Shaw of Destroy All Monsters have played in LAFMS bands and appear on this very set. You get the idea.

The thirteen LPs break down like this. Sides A and B: Opening Reception Improvisation (Dennis Duck, John Duncan, Ace Farren Ford, Joseph Hammer, Mike Kelley, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza); Side C: Artificial Art Ensemble; Side D: The Tenses; Side E: Tom Recchion; Side F: The Doo-Dooettes; Side G: Le Forte Four; Side H: Smegma; Side I: AIRWAY; Side J: Ace & Duck / Artificial Art Ensemble; Side K: Dinosaurs With Horns; Side L: Vetza & Joe Potts; Side M: Dolphin Explosion; Side N: Marnie Weber’s F For Ache; Side O: Eddie Ruscha, Jim Shaw, Dani Tull; Side P: Extended Organ; Side Q: Feedback Waveriders; Side R: Artzenkraft; Side S: Small Drone Orchestra; Side T: Destroy Date; Side U: Points Of Friction; Side V: Rick Potts; Side W: The Jrks; Side X: Joe & Joe; Side Y: Oolies; Side Z: Rahdunes.

LAFMS BOX BOX and some of its innards (photo courtesy of The Box LA and Fredrik Nilsen Studio)
We at DM are happier than a handkerchief at a snot party to premiere three videos that reveal this new box set in all its variegated and sensuous glory. In the first very special clip, members of the Los Angeles Free Music Society join the Pillsbury Doughboy in marveling at the box’s contents. Next comes a very, very special look at LAFMS BOX BOX with Corazon del Sol, pitched especially to members of the ASMR community—you know, those lucky few whisper fetishists chosen by natural selection for no-mess skin orgasms. And finally, there is a very, very, very special video in which the artist Paul McCarthy, who is a member of the LAFMS group Extended Organ, spends over an hour counting every countable item in the box.

More after the jump…

Posted by Oliver Hall | Leave a comment
Condomania: Vintage contraceptive packaging, 1910-1950
10:15 am



A pack of British condoms—sometimes known as ‘johnnies.’
Condoms in one form or another have been around since 3,000 BC. The Egyptians used layers of material—most likely a loincloth—to cover the penis to prevent pregnancy. Most men used potluck. Contraception was usually left to the women to deal with—plus ca change. Most men used a hasty withdrawal or practiced anal. Up until the fifteenth century there is some speculation of the limited use of oiled silk and sheep’s intestine as a form of barrier protection. This mainly by those who could afford it.

Circa 1564, the first documented mention of condom use appears in a medical text about syphilis called De Morbo Gallico or The French Disease by Gabriele Falloppio. A linen sheath tied with a ribbon was used. Falloppio apparently carried out an experimental trial on some 1100 men to test this form of contraception.

By the 1700s condoms were still made of leather or animal intestine. These were kept and washed after use. The big turning point was the vulcanization process patented by Charles Goodyear in 1844, which led to the manufacture of the first rubber condom in 1855.

For many decades, rubber condoms were manufactured by wrapping strips of raw rubber around penis-shaped molds, then dipping the wrapped molds in a chemical solution to cure the rubber.

These original vulcanized condoms were reusable but uncomfortably thick and unfortunately stank of sulphur, a bit of a mood killer.

It wasn’t until Julius Fromm had the bright idea of using glass molds dipped into rubber solution did condom manufacturing become widespread. This was quickly followed by the production of Latex—“rubber suspended in water”—in 1920 and the modern condom went global.

Condoms were sold in tins or paper packets—many of which had purposefully “elegant” designs, a few of which can be seen below.
Early circa 1910 condom tin.
The Sheik—a highly popular brand—the brand name allegedly inspired by the Rudolph Valentino movie.
More fancy condom packaging design, after the jump…

Posted by Paul Gallagher | Leave a comment
Psychedelic Blasphemy! Diabolical art curated by the High Priest of the Church of Satan

Orlon Borloff, untitled collage
Last spring, Dangerous Minds told you about “The Devil’s Reign,” a traveling exhibit (and its companion book) of Satanic art curated by Peter H. Gilmore, author of The Satanic Scriptures, and the High Priest of the Church of Satan for fifteen years. The exhibit endeavored to explore expressions of the diabolical from many cultures, though it mostly focused on ancient deities that were repurposed as devils and demons by Christianity, and, as that’s a pretty damned (haha) fertile artistic field to harvest, a second book has been published. The Devil’s Reign II: Psychedelic Blasphemy, as the title implies, focuses on trippy and surreal expressions of the profane, as Gilmore writes in his introduction:

Blasphemy is a conscious act of rejection, showing contempt for or derision of established sacred icons. Typically it is directed at objects, people, and concepts placed on pedestals by religions. As secularism has grown, one may also deem irreverence and disgust for things held above criticism by herd culture as today’s implementation of that idea. When we dismiss what by consensus is held to be inviolable, we are blasphemers.

The 1960s spawned a movement whose intent was the expansion of the mind through the use of mind altering substances as well as meditation or sensory stimulation/deprivation techniques. Shattering what had been prior paradigms, exponents of this “counter-culture” employed non-Western sources for inspiration in creating music and visual art as a means for sharing their own inner-explorations, often fueled by drug-induced “trips.” The art in particular was characterized by bright colors, complex geometric patterning, and often employed cartoon-derived stylization to emphasize heightened sensibilities and new juxtapositions of images that embraced surrealism.

The follow-up book, like the first, is limited to 666 copies, and both are available from Howl Books, an imprint run by Florida-based tattoo artist and gallerist Andy Howl. Dangerous Minds has graciously been permitted by Howl to share a selection of images.

Ian Bederman, “Mushroom Cave”

Ramon Maiden, “Hell’s Messenger”
More after the jump…

Posted by Ron Kretsch | Leave a comment
Mind-blowing functional glass bongs of Stephen Hawking, Edgar Allan Poe, Die Antwoord & more
09:45 am



Edgar Allan Poe ‘Raven’ dabbing rig by the incredible glass artist, Rollerghoster.
I recently stumbled on a the fantastic Tumblr of glass artist, Rollerghoster and I’m pretty sure that you’ll all agree that the images of his fully-functional glass creations are some of the most incredible party machines you’ve ever seen. There are bongs… and then there are bongs!

The high-end glass drug-doing apparati in this post are called “dabbing rigs” or just “rigs” which, if you’re not familiar with pot culture are used in conjunction with cannabis concentrates like wax and hash oil. The process, known as “dabbing” is sort of a… let’s call it “scientific” way for stoners to get really high off of very little product. While involved, dabbing has become really popular in states that have legalized the sale of recreational marijuana and cannabis products.

And if you are wondering, yes, Rollerghoster does sell his fully functional works of art here and through his Tumblr where he notifies his 50K + followers of the where and when. Though I will caution you to not get too excited unless your pockets are of the deeper variety as most of Rollerghoster’s creations will run you anywhere from several hundred bucks to more than $10,000 each.

Hunter S. Thompson rig.

Nicola Tesla and Albert Einstein rig’s.

Stephen Hawking rig.
More after the jump…

Posted by Cherrybomb | Leave a comment
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