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Lick my boots: Vintage photos of women wearing kinky boots
01:06 pm


boot worship

A few days ago I posted some vintage photographs of dominatrices in all their dominant glory. But what I really dug about those historical images was… the boots. Those incredible mile-high lace-up boots! I should probably be upfront and confess that I don’t actually know all that much about boot fetishism or boot worship and its history, but looking at the photos, I could easily see that boot fetishism went wayyyyy back. In fact, the first historical reference to boots as a fetish object dates back to Émile Zola’s novel Thérèse Raquin in 1868. I had no idea.

If you dig any of these vintage boots, I noticed that a lot of these are available to purchase on eBay. Sadly, most of the sizes are really small. Women had smaller feet back then, I guess. Still, I’m sure that you can find exact replicas or something similar in larger sizes if you look hard enough.



Nanette Rockwell
More after the jump…

Posted by Tara McGinley | Leave a comment
Thin White Duke/White Heat: Amazing unseen footage of David Bowie live in 1976
12:24 pm


David Bowie

Just in time for the long holiday weekend…

This was put together by a dedicated Bowie fanatic who goes by the nom de YoutubeNacho Video.” He saw one minute of this footage—originally shot Philippe Bergeron 40 years ago—posted on YouTube the day that David Bowie died and contacted him.

Around that time I had been scouring the web, for material to flesh out my “TVC-15” video. There is virtually no decent footage available from the ’76 tour. According to legend, a French TV station shot five songs at the final Paris show. A few minutes of that footage was shown on French TV, and featured fragments of three songs. And those fragments make up most of my “TVC-15” video. According to the same legend, unfortunately, the reels of the five songs were misplaced when the TV station moved their archive, and they remain lost.

Philippe’s one minute of footage was only Super 8, but it was very well shot, and unlike anything I’d seen before. So I immediately contacted him, basically asking, “Is there more than 60 seconds, and can I have it please?” Eventually, we talked on the phone a bit, and Philippe agreed to let me have his footage for my use.

What came exceeded all expectations. It was beautiful material - close ups, long shots, pans and zooms and, unusually, plenty of band shots, from at least 5 totally different locations in the venue. The footage astonished me, I could hardly believe what I was seeing. However, it was silent, and moreover, there was no complete song, or even lengthy take. Just very short scenes, mostly less than 10 seconds, sometimes only 2 or 3 seconds, filmed throughout the entire show.

The detective work began to ascertain what songs were being performed to decide out what the best use of the footage would be. Breaking the reel down into its separate components meant I then had well over 50 mini scenes. Anyway, to cut a very long story short, among the other songs I did eventually identify, there was – crucially - several verifiable fragments of “Station To Station.” Although these “Station To Station” fragments only totaled less than a minute, an idea began to predominate: to re-purpose the entire footage, use every scene, avoid dipping into any other source, and synch it to the Nassau live version, and try to create the video that we have here.

I managed to use almost every second of Philippe’s footage. Where I have used a verified “Station To Station” scene, in its correct place, I have left it naked. In other places, the long cross fades, the superimposing, and other effects are devices to distract us from noticing that Bowie is not in fact singing the correct line, or indeed even the correct song. So, with that in mind, it would perhaps be best if you don’t pay too close attention to Bowie’s lips and the players hands!

I don’t know how many millions of digital manipulations I’ve made to produce this thing, but certainly more could be done to improve it. There are some compromises in this video that I am not content with, but after in excess of 200 hours of obsessive and often frustrating work, including stretches of profound desperation when there were many minutes of blank void to fill, and no material or imagination to fill them, I’ve decided that this will have to do.

Before the band took the stage during David Bowie’s “Isolar” tour in 1976, there was a pre-show screening—the opening act, so to speak—of Salvador Dali and Luis Buñuel’s silent surrealist masterpiece Un Chien Andalou. If you’ve ever seen the film, you can only imagine how audiences comprised of stoned 70s concertgoers must’ve reacted to the eyeball and razor scene. At the beginning of this, you can hear one of the songs Buñuel added to the film in 1960,  “Tango Argentino” by the Vicente Alvarez & Carlos Otero et son orchestre.

Thank you Spencer Kansa, author of Wormwood Star: The Magickal Life of Marjorie Cameron for sending me this!

Posted by Richard Metzger | Leave a comment
Criminal Class: Surprisingly cool Aussie mugshots
11:24 am


mug shots
Sydney Police

Herbert Ellis sits with his arms folded waiting for his photograph to be taken. He’s perched on a chair, back against a wall, legs apart, wearing a three-piece suit, a white shirt with stud collar, a knitted tie and a slick Fedora. Ellis could be a guest at a dinner party, the groom’s best man at a wedding, an actor on a film set, or a model showing off the latest cut for a fashion spread. He looks cool, almost smiling at some private joke, seemingly at ease with what’s going on all around him.

But looks can be deceptive. Ellis has just been yanked off the street by two cops. They arrested him in connection with a burglary. Ellis is a “suspected person.” He has a reputation as a housebreaker, a shop breaker, a safe breaker, and receiver of stolen goods. Herbert Ellis is a criminal. He’s having his mugshot taken at the Central Police Station, Sydney sometime around 1920. As soon as the cops pulled in a suspect they took their prints and flashed their photo against a wall. Most of the time, the arrestees did not pose according to the positions of the latest standardized mugshot. Instead they sat or stood, wore what they liked, kept their coats and hats on and even smiled at the camera. As Peter Doyle curator of the Justice and Police Museum, Sydney, Australia notes these men and women “recently plucked from the street, often still animated by the dramas surrounding their apprehension.”

Ellis had a string of petty convictions to his name including “goods in custody, indecent language, stealing, receiving and throwing a missile.” His MO was noted as:

...seldom engages in crime in company, but possessing a most villainous character, he influences associates to commit robberies, and he arranges for the disposal of the proceeds.

He was nicknamed “Curly” down to his thinning hair and “Deafy” as by the time this picture was taken he was stone deaf.

Most of the criminals photographed by the New South Wales Police Department between 1910 and 1930 were taken in the cells of the Central Police Station, Sydney. The mugshots documented the various men and women arrested on charges as diverse as theft, larceny, violence, or procuring an abortion. The photos look unlike most other standard mugshots and could easily be portraits of family, friends or actors on a set.

B. Smith, Gertrude Thompson and Vera McDonald, Central Police Station, Sydney, 25 January 1928.

Special Photograph no. 1608. This photograph was apparently taken in the aftermath of a raid led by CIB Chief Bill Mackay - later to be Commissioner of Police - on a house at 74 Riley Street, ‘lower Darlinghurst’. Numerous charges were heard against the 15 men and women arrested. Lessee Joe Bezzina was charged with ‘being the keeper of a house frequented by reputed thieves’, and some of the others were charged with assault, and with ‘being found in a house frequented by reputed thieves’.

The prosecution cast the raid in heroic terms - the Chief of the CIB, desperately outnumbered, had struggled hand to hand in ‘a sweltering melee in one of the most notorious thieves’ kitchens in Sydney’. The defence, on the other hand, described ‘a quiet party, a few drinks, some singing ... violently interrupted by a squad of hostile, brawling police’ (Truth, 29 January 1928).


Hampton Hirscham, Cornellius Joseph Keevil, William Thomas O’Brien and James O’Brien, 20 July 1921, Central Police Station, Sydney.

Special Photograph no. 446. The quartet pictured were arrested over a robbery at the home of bookmaker Reginald Catton, of Todman avenue, Kensington, on 21 April 1921. The Crown did not proceed against Thomas O’Brien but the other three were convicted, and received sentences of fifteen months each.

More Antipodean mugshots and arrest details, after the jump…

Posted by Paul Gallagher | Leave a comment
Naughty nuns, Nosferatu and BDSM: Surreal works by the master of ‘anything goes’ Clovis Trouille
10:58 am


Clovis Trouille

‘Religieuse italienne fumant la cigarette’ (Italian nun smoking a cigarette) by Clovis Trouille, 1944.
According to legend a work called “Remembrance” (1930) by fanatical anarchist and painter Clovis Trouille was on display during an art show for the French Communist Party in the early 1930s the piece caught the eye of none other than Salvador Dali himself. Which makes perfect sense as the painting (pictured below) features a church cardinal wearing an open coat that reveals his womanly legs, red garter belts and black thigh-high stockings—to say nothing of the levitating nude contortionist just to his left. Fantastic stuff.

‘Remembrance’ 1930.
“Remembrance” was one Trouille’s first paintings—done when the painter was already 41 years old. Prior to discovering his true calling, Trouille was employed as what could be best described as a sort of mannequin “makeup” artist for department stores. A job that allowed him to stay true to his anti-establishment ideology and disdain for anything systematic—a sentiment that Trouille instantly developed after he was drafted into service during WW1 and returned traumatized by what he had seen. During his long career Trouille would continue to admonish authority figures by way of his brush by painting religious leaders, police and government officials into sordid scenes full of lowbrow debauchery with distinct BDSM undertones.

Quite fond of his own work, according to noted French surrealist art collector Daniel Filipacchi, Trouille once asked him to return a painting he had purchased from him “Rêve Claustral” that featured two nuns kissing. To which Filipacchi though confused, obliged. The painter would return the painting to him noting that he had added some detail to it (in this case Trouille added two prayer books that had been cast on the ground below the nuns exposed legs). This was a request, Filipacchi said, that would be asked of the collector on several other occasions resulting in a few other additions to “Rêve Claustral” including a peeping-Tom version of a nun watching the lurid scene go down.

Trouille was tragically overlooked during his own lifetime and if you’re going to be in Paris this coming week, you can see some of his work at the Grand Palais at the Champs-Élysées through July 4th. If you like what you see, Trouille’s art has been compiled into a few books including “Parcours à Travers l’oeuvre de Clovis Trouille, 1889-1975” and “Clovis Trouille; Un Peintre Libre et Iconoclaste.”

One of the most famous paintings by Clovis Trouille provided the title and poster art for Kenneth Tynan’s notorious erotic Off-Broadway revue ‘Oh! Calcutta!’ (The title is a pun on “O quel cul t’as!” French for “What an ass you have!”). It was also used on the cover of the original cast soundtrack album.

More spellbinding examples of Trouille’s work follow after the jump—most are NSFW…

Posted by Cherrybomb | Leave a comment
The secret teachings of rock ‘n’ roll: Ancient Debbie Harry calendar proves time is an illusion!
09:35 am


Debbie Harry

Sometimes better late than never isn’t just better: It’s amazing! In this case, late is now and it’s very cool!

The Official 1983 Debbie Harry Calendar is current and could in fact be re-named “The Official 2016 Deborah Harry Calendar.” It has been 33 years since this calendar was published and while fashion and Debbie have changed, the dates of the days have not. Call it a miracle, if you will. All I know is that this is a very special gift from the goddesses who rule the realms of timelessness. The number 33 is powerful beyond all numbers. Click here to have your frontal lobes seared like a mound of sweetbreads.

Time is an illusion. We live in the eternal now, now. The Official 1983 Debbie Harry Calendar is proof that time is more than just a series of numbers lined up like soldiers marching off to war. It’s an infinite spiral going in two directions at once. A Busby Berkeley extravaganza choreographed to a rock ‘n’ roll beat. Science has impenetrable explanations for this time loop thing but I don’t want to hear about it. This calendar is magic. Try as they might, mere scientists can’t clarify the mysteries of time and space in ways that trigger the flippers in the pinball machine of our souls. The Official 1983 Debbie Harry Calendar is a totem, the stuff of shamans, poets, and seers like Jim Morrison and Patti Smith. As a high school dropout, I may be unaware of how these things work, but I’m on the side of the mystic, don’t rain on my parade. The spirits of Aleister Crowley and Lobsang Rampa will kick your cynical asses. And how do you explain the fact that I discovered this preternatural artifact, this time machine of sorts, on Debbie Harry’s birthday!?!

I am beyond ecstatic. My whole body is a tingling dust devil of motile spores. Can science find an equation for that?!

Fuck math. Let’s dance! The new wave is the now wave.

Impress your friends. Print copies and put them in your wallet or your disco bag. Who knows, the numbers may change at the stroke of midnight, 2017.

Levitating lovers in the secret stratosphere
I am still in touch with your presence dear


The rest of the year after the jump…

Posted by Marc Campbell | Leave a comment
Buy the ‘Rap Master Maurice’ telephone rap business: Only one million US dollars
09:24 am


Derek Erdman
Rap Master Maurice

Some of us here at Dangerous Minds are big fans of “America’s greatest living art garbage movement” painter, Derek Erdman. In the past we’ve profiled his unique “outsider” paintings, as well as his hilariously bizarre soundboard phone pranks, and his punk dollhouse.

Erdman is a multi-talented individual, and one of his side-gigs that we’ve never discussed much here is his long-running “Rap Master Maurice” character which is the centerpiece of a lucrative “telephone rapping” business. Erdman claims the “Rap Master Maurice” character has earned him an average of $15,000 a year for the past nine years. Clients pay Rap Master Maurice the modest sum of $17 for him to call a target and deliver a rap.

Here we have a typical example of Rap Master Maurice’s lyrical skills:

According to Erdman:

The concept of the business is simple. The customer comes to you with a reason for a rap, either positive or negative. Address a grievance, wish a happy birthday, celebrate an anniversary; there are so many situations that call for a telephone rap. You then deliver the rap over the phone in the Rap Master Maurice character style, record the rap, and email the recording to the customer… The entire process is very simple from start to finish and never fails to make the customer happy.

It’s a proven money-maker, but Erdman has decided it is time to pass the character and business along—he has recently put the RMM concept up for sale on Ebay for the low, low price of one million US dollars.

The auction details the transition of ownership to the buyer:

The winner of this auction will take full possession of all intellectual property of the Rap Master Maurice character, thousands of past telephone rap audio recordings, all clothing and related costumes, + all data & traffic, the original landline telephone, three rhyming dictionaries, and a small handheld digital audio recorder. Also included is a five hour tutorial seminar that includes lunch.

Rap Master Maurice has been featured on ABC’s 20/20, MSNBC, The History Channel, The BBC Radio One, CBS This Morning, MTV2, E!, Fox News, SiriusXM, and more. Print media features have included the New Yorker, the New York Times, Entertainment Weekly, Utne Reader, Aesthetica, Art Monthly, the Atlantic, Beautiful/Decay, Juxtapoz, and many more.

The ownership transition will be as seamless as possible. You’ll be making telephone raps as a full time career in no time.

Anyone outraged over the asking price should be aware that Erdman is planning to donate 10% of the proceeds Amnesty International.

Here’s Rap Master Maurice appearing live on the fabulous Chic-A-Go-Go program delivering a political message about the 2008 election:

Posted by Christopher Bickel | Leave a comment
Killing Joke’s drummer is making sterling silver jewelry
09:24 am


Killing Joke

via Boneyard
Good news for Killing Joke fans: not only is the long-awaited documentary The Death and Resurrection Show finally coming to DVD (you can order it here), but drummer Big Paul Ferguson has unveiled his own jewelry line, too.

Ferguson’s company, Boneyard, offers rings and necklace pendants cast in sterling silver; there are also bracelets, one of them based on Tibetan Buddhist prayer beads, all of them marked with the Ouroboros. Images of skulls, occasionally wearing the cap of the Killing Joke jester, abound. Boneyard’s website explains:

Skull ’n’ Bones: The symbol of death, danger, warning. Adopted by outlaws, pirates and secret societies throughout history. Placed on tombs, poison bottles and flags to send the message of inherent threat. It is also a meditative tool used to ponder the transience of life and its impermanence.

The symbols are ubiquitous but the pieces are unique.


via Boneyard
More after the jump…

Posted by Oliver Hall | Leave a comment
‘I feel good!’: Jordan Peele reenacts James Brown’s crazy drug-fueled CNN interview word for word
04:25 pm


James Brown
Jordan Peele

Here’s a priceless bit of business from the irreplaceable Jordan Peele.

In May of 1988 James Brown was arrested in Aiken County, South Carolina, on charges of drug possession and fleeing from the police after his wife Adrienne called 911 because he was threatening her safety. Brown was released after paying $24,000 in bail, after which he headed for Atlanta to do an interview on CNN’s Sonya Live! in LA wth Sonya Friedman.

Brown, clearly on something (my money is on PCP), seemed scarcely aware that he was in any legal difficulty and insisted on answering most of Friedman’s queries with lyrics from his songs (“I FEEL GOOD!”) or other similar non sequiturs.

You know who Jordan Peele is—he and Keegan-Michael Key have been killing it for years with their Comedy Central sketch show Key and Peele, their 2016 movie Keanu, and various appearances elsewhere, including Fargo.

I desperately want the two of them to interview Donald Trump, but before that happens, this delirious recreation of James Brown’s 1988 CNN interview will have to do.

I wrote about this great event back in 2013, and it still remains one of the most remarkable interviews I’ve ever seen.
Watch Peele’s glorious impersonation after the jump…....

Posted by Martin Schneider | Leave a comment
Dreamtime: The Cult’s early years
03:36 pm


The Cult

Although perhaps their best days are long behind them, The Cult were a powerful live act in the 1980s and they’re still pretty good. I’ve seen them play several times, in London, New York, Austin and LA going back to 1983 and those shows were among the more memorable gigs I’ve ever attended.

Ian Astbury’s original group was called The Southern Death Cult and then just Death Cult. Their earliest music is more in line with Killing Joke perhaps, with a hefty dollop of Adam Ant thrown into the mix, too, little resembling the hard rock the group would be turning out by the late-80s.

Especially early on, the Cult’s rabid fan-base was so incredibly devoted that they’d follow the group around like unwashed punky Deadheads, night after night. Backpacks and sleeping bags were in (annoying) abundance at every show. The band could really capture the imagination of their followers who seemed like they were having a communal pagan religious experience watching them. Their shows did have a truly Dionysian drama to them that no other group I can think of achieved so totally and completely other than maybe Killing Joke. (It’s no wonder that the surviving Doors wanted Ian Astbury to be their front man, he was the obvious choice!)

I found their early concerts mesmerizing and unlike anything I had ever seen before. Or smelled. The Cult’s fans were among the first of the “New Age Travelers” (also called “Crusties” at the time) and a few hundred of them in one room without adequate ventilation was not something you’d care to get a whiff of, as anyone who saw them back then can attest to. Flagrant “BO” was an unavoidable element of a Cult gig in the early 80s. Probably 90% of the audience (including me) lived in squats. It was that kind of scene. Their shows always smelled just like McDonald’s hamburgers although I suspect many of their audience members then were some of the original vegans.

More after the jump…

Posted by Richard Metzger | Leave a comment
Darkly Lynchian mixtape featuring songs by the cast of the new ‘Twin Peaks’
01:19 pm


David Lynch
Twin Peaks

David Lynch completed shooting the new Twin Peaks episodes he and Mark Frost are producing for a Showtime release early next year. The singular TV show had its brilliant but inconclusive-feeling initial run in 1990 and 1991 on ABC, and it was enough of a sensation to land Lynch on the cover of TIME, identified as “The Wild-at-Art Genius” behind the show. It’s beyond question that Lynch and Co. helped stretch the boundaries of what a TV narrative could be, at a time when network television was practically the only game in town.

Around the same time that the shooting on the new episodes wrapped, the excellent blog Welcome to Twin Peaks noticed that the whopping 217-person cast list released by the show contained a goodly number of people with a decent musical pedigree—or better. For instance, Trent Reznor, Eddie Vedder, Sky Ferreira, and Sharon Van Etten are all listed as cast members, while actors such as Jennifer Jason Leigh, Monica Bellucci, Richard Chamberlain, and Balthazar Getty have released music in their time.

From these facts was birthed a tremendously fertile idea—why not cobble together a mixtape that is limited to the people on the cast list that evokes the peculiarly malevolent and down-home acoustical vibe that Angelo Badalamenti created for the original show? And that’s exactly what Welcome to Twin Peaks did.

We all know what Twin Peaks music sounds like. Starting with the spare guitar notes with the saccharine synth tones from the show’s opening theme, the show’s music evoked a just the right Bizarro World of melodrama that just might produce a random lady clutching a log or a cryptic dream dwarf.

Obviously, Nine Inch Nails and Pearl Jam is fair game for the project, and the mix brilliantly stretches as far back as 1962 for Richard Chamberlain’s tremendous cover of the Everly Brothers’ “All I Have to Do Is Dream.” How they missed the masterpiece that is Jim Belushi & The Sacred Hearts’ 1998 album 36-22-36 is a mystery for the ages.
Listen after the jump…

Posted by Martin Schneider | Leave a comment
Remember those too-good-to-be-true vinyl toys of your favorite pop culture icons?
01:14 pm

Pop Culture

vinyl toys

Jeff Spicoli. Get him here.

A few years ago I blogged about these really cool 3D models of pop culture icons that I mistakenly thought were actual vinyl toys. A lot of people’s hopes of owning those fantastic vinyl toys went down the drain. Well lo and behold, someone actually has turned a few of the 3D models into the real McCoy and now you can own them!

Not all of my favorites were made, but a lot of cool ones do exist. The only thing I found a bit disappointing is the lack of vinyls of female characters. C’mon! There are a few!

I’ve linked to where to buy each vinyl toy under its image.

‘Fast Times at Ridgemont High’ Brad Hamilton vinyl. Get him here.

The Dude. Get him here.

Dr. Frankenstein. Get him here.

Igor. Get him here.
More after the jump…

Posted by Tara McGinley | Leave a comment
Killers, crooks and vampires: Thrilling pages from Penny Dreadfuls

The “penny dreadful” was the name given to an incredible publishing phenomenon that flourished in Victorian Britain between the mid-1830s and the early 1900s. The penny dreadful or “penny blood” was a luridly illustrated booklet or magazine—usually of some sixteen pages in length—filled with sensationalist tales of highwaymen, murderers, cannibals, bounders, vagabonds, vampires and thieves. 

The first known penny dreadful was published on Saturday April 30th, 1836 under the title The Lives of the Most Notorious Highwaymen, Footpads and Murderers. The cover featured a fight between a gang of ne’er-do-wells—led by Grimes Bolton, a notorious robber and cannibal—and a group of gamekeepers. The success of The Lives of the Most Notorious Highwaymen, Footpads and Murderers led to an unprecedented range of similar publications which reached their height around the mid-1860s.

Originally penny dreadfuls focussed on thrilling tales of adventure but through time these fell out of fashion as the audience demanded increasingly lurid stories. These magazines hit pay-dirt with tales of true crime (Jack the Ripper being the best known subject) and grotesque fantasies of such creations as the murderous Sweeney Todd—the Demon Barber of Fleet Street; the bloodthirsty Varney the Vampire or the demonic urban legend of Spring-Heeled Jack—The Terror of London.

The penny dreadful ushered in a new era of publishing—launching a whole range of magazines and periodicals that benefitted from new printing technology and from the markets opened up by the penny dreadful. Political and educational serial publications similarly benefitted from the pioneering work of penny dreadfuls. But it wasn’t all money-making business. Before the Education Act of 1870 introduced free education for all, the penny dreadful can take some credit for encouraging generations of young men and women to read.

As tastes changed, the penny dreadful dropped in popularity—the now literate audience wanted more nuanced and stimulating tales. However, the genres it launched (horror, detective and true-life crime) continued and flourished under writers like Charles Dickens, Arthur Conan Doyle and H. G. Wells.
More pages from penny dreadfuls, after the jump…

Posted by Paul Gallagher | Leave a comment
Marianne Breslauer’s gorgeous photos of queer, androgynous and butch women of the 1930s

The photography of Marianne Breslauer is striking for both its intimacy and its subjects—women, usually of the sleek, chic and gender-bending variety, posed to optimum androgynous elegance. A bohemian Berliner by birth, Breslauer studied under Man Ray for a time in Paris and achieved some commercial success before returning home to an increasingly volatile Germany. As a Jewish artist working in an obviously queer milieu, Breslauer eventually fled to Switzerland and retired from photography early, eventually marrying a man and becoming an art dealer.

Among the many beautiful faces captured by Breslauer was her dear friend, Swiss writer, journalist and photographer Annemarie Schwarzenbach, who she described as “neither a man nor a woman, but an angel, an archangel.” A libertine and rebel, Schwarzenbach defied her wealthy, Nazi-sympathizing family, funding anti-fascist publications and later supporting American unions at the height of the Depression—this is not to mention her adventures hitchhiking across India and Turkey, or the many lesbian affairs. Surviving addiction issues and a suicide attempt, Schwarzenbach nonetheless died at the young age of 34 after a fall from a bicycle, leaving behind a prolific body of work, 170 articles and 50 photo-reports.



More after the jump…

Posted by Amber Frost | Leave a comment
Angelyne’s pink Corvette is up for auction
09:30 am

Pop Culture

Los Angeles

A vintage shot of LA icon Angelyne and her life-sized Barbie car, a pink Chevrolet Corvette.
According a listing on eBay platinum-haired goddess of self-promotion Angelyne (the real star of Brian De Palma’s Phantom of the Paradise in her role as the uncredited “auditioning singer”) has put her pink Corvette (one of at least ten Corvette’s that Angelyne has owned throughout her reign as the undisputed billboard queen of Los Angeles) up for auction.

The sweet ride comes with a removable top (because, of course it does) and Angelyne herself will even sign this hot pink rocket for the winning bidder. Here’s Angelyne talking about her love of all things pink and the aquisition of her ninth Corvette back in 2014:

I got my first one in the mid-eighties. This is my ninth one, and I’m going to get my tenth next year. I had a special paint made for me. It has a formula that is very hard to get because it uses a toner that they don’t make anymore.

Right now the bidding for the ultimate adult-sized Barbie mobile is at $12,111.00 and according to the listing the reserve has still not been met.

More images of the infamous LA blonde and one of her equally famous pink cars follow after the jump…

Posted by Cherrybomb | Leave a comment
When Can met Japan: David Sylvian and Holger Czukay’s wonderful ambient collaborations
09:18 am


Holger Czukay
David Sylvian

The UK glam band Japan had a singularly interesting career—though influenced by the usual glam touchstones Bowie, Dolls, et al, their visual presentation directly predicted the New Romantic movement, and to this day the band is still somewhat incorrectly associated with that flamboyant scene, largely on the basis of similar haircuts. But Japan were more directly from the art-rock mold, experimenting with funk, electronics, and (surprise surprise) Asian musics. By 1982, as new-ro peaked, and the band was starting to climb from cult success to chart success, personal tensions broke them up. But the band’s singer, David Sylvian, continued as a solo artist in the avant-rock mold, collaborating with Yellow Magic Orchestra’s Ryuichi Sakamoto, and releasing adventurous sophisto-pop albums inspired by jazz, prog, and contemporary classical.

On his 1984 solo debut Brilliant Trees, Sylvian was the beneficiary of vocal, brass and guitar contributions from Czukay, bassist of the long-running and influential Krautrock band Can. Though Czukay was a hired backup player on those sessions with no songwriting credits on the LP, the pair evidently found common creative ground. They’d record together in 1986, 1987, and 1988, those sessions ultimately becoming two wonderfully lush but little-known ambient LPs. Plight and Premonition, released in 1988, is a spooky and beautiful suite of two side-length songs (no points awarded for guessing that their titles are “Plight” and “Premonition”) in the Klaus Schultze vein, made with a combination of traditional instruments and manipulated radio sounds. Additionally, Czukay’s Can co-conspirator Jaki Liebezeit is credited with “Infra-sound,” which is science for “shit you can’t actually hear.”
More after the jump…

Posted by Ron Kretsch | Leave a comment
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