Make that one bro making airborne urine ice sculptures while another bro shoots him doing it.

I am reminded of the old saying “You piss in the wind, it will come back to hit you in the face.” Not today!

Redditors have come up with some amusing names to call this phenomenon. Here are a few choice selections:

- Mist Pee

- Pee Fog

- Jackass Fog Machine

- Piss Dragon

- Frozen Piss Mist

- Golden Mist

- Piss Dust

- Piss Powder

PS - A lot folks are calling shenanigans on this video. People who are living in cold climates right now are saying they have not witnessed their pets urinating any “piss dust.”

 
Via reddit

 
George Lucas has managed to fashion one of the strangest careers in all of cinema. First, he created one of the biggest (if not the biggest) movie franchises of all time. Then, he took the legacy of that phenomenon and perverted it beyond all recognition. And as if contaminating the childhoods of a million nerds wasn’t enough, he became highly litigious, threatening to sue anyone who so much as referenced Star Wars in a fan parody—he even tried to sue lobbyists during the Reagan administration over the nickname of the Strategic Defense Initiative missile program! Yes, it’s fair to say that no one quite hates George Lucas as much as Star Wars fans hate George Lucas. The guy seems like kind of a dick.

But in the spirit of goodwill towards men, I think it’s only fair that we go back to a time when Lucas was an idealistic young film student, making movies to actually emotionally engage people. Freiheit is a short Lucas made in 1966, and it’s certainly not something you’d expect from the man who brought us Jar Jar Binks. In less than three minutes, a young man (played by—get this—Randal Kleiser, the future director of Grease) attempts to dash across the border from East to West Germany. He is shot after a near escape, and he dies with a rabble of narrations on freedom.

It’s a student film in every sense of the word—dramatic and heavy-handed, and arguably overly-literal in its messaging. It’s also really impressive. The action shots show amazing instincts. The pacing builds anticipation. The editing is crisp. Even the blue tint to the film gives a cohesion to the cinematography—what would have been a busy setting is now austere and cool. It’s almost enough to make me forgive him. Almost.
 

 
I love it when feminine shit makes you shudder, and these ceramics are all lady—with some Cronenberg body horror to top it off. Sculptor Jessica Stoller rendered these Rococo bad trips with the finest of detail. Ornate confections and opulent embellishments hang with the weight of flesh and bloom into labial literalism. It’s girly, it’s gross, and it’s so compelling you just can’t seem to look away.
 

 

 
More after the jump…
 

 
From 1969 to 1971, ABC aired The Johnny Cash Show first on Sundays but later on Wednesdays; it was taped at the Ryman Auditorium in Nashville. One of the highlights of the show was the appearance of Louis Armstrong on the October 28, 1970 show. Less than a year before his death of a heart attack, Armstrong briefly sings “Crystal Chandeliers” and “Ramblin’ Rose” before Johnny Cash joins him onstage for a charming duet of the Jimmie Rodgers song “Blue Yodel #9.”

Not surprisingly, Cash knew his history. As he explains on the program, in 1930 Louis played on Rodgers’ recording of that same song, “Blue Yodel #9.” Louis’ voice is not heard on the number; he’s there strictly as a session musician. Louis’ wife, Lil Hardin Armstrong, is on the piano. Certainly Cash selected one of Louis’ rare appearances on a country track (if it can be so called) quite consciously to link the triumphant early period of Louis’ career to Cash himself.

Also, it gave Louis an excuse to put on a huge white cowboy hat at the Grand Ole Opry.

According to Johnny Cash: The Life by Robert Hilburn,
 

Cash was especially proud of bringing Louis Armstrong onto the Ryman stage, where the jazz great had once been barred from performing because of his race. On the show, Armstrong re-created the trumpet solo he’d played on a Jimmie Rodgers recording of “Blue Yodel No. 9” in a 1930 session in Hollywood; Cash was thrilled to sing Rodgers’s part. By celebrating that historic pairing, Cash wasn’t just saluting his heroes; he was subtly underscoring his message of unity and tolerance.

 
To hear Louis’ familiar, scratchy voice join Johnny’s yodel chorus is a delight.
 
Jimmie Rodgers, “Blue Yodel No. 9,” 1930:

 
Louis Armstrong and Johnny Cash, The Johnny Cash Show, 1970:

 
via William Caxton Fan Club (a.k.a John Darnielle’s Tumblr)

Previously on Dangerous Minds:
Louis Armstrong’s ham hocks and red beans recipe: ‘It is my birth mark’
How Johnny Cash was nearly killed by an ostrich in 1981

 
Around the end of the ‘90s, an art dealer friend of mine began bringing traveling exhibitions of Polish posters to town. It was eye-opening stuff—Eastern Europe has long had a tradition for outstanding poster art, its artists boasting stunning skills, married to an admirable obeisance to the visual legacy of traditional printmaking methods and jaw-droppingly inventive surrealist-influenced illustration. It was at one of those poster shows that I bought an item that remains one of my most cherished possessions: Istvan Orosz: Etchings and Posters, a slipcased, hand printed letterpress book from 1998, from an edition of only 750 (a second edition of 300 was made in 2000), published by the apparently now defunct GrafikARCHIVE Publishing of Kansas City, MO. From an archived mirror of the company’s web site:

This first book features the work of internationally renowned Hungarian designer ISTVAN OROSZ. Fold out pages, envelopes with small printed pages of art, several different types of paper; “a feast for the eyes and the hands” (International Paper). The book received the ADDY Award in 1999 for its imaginative presentation by the firm DESIGN RANCH. Slipcase, wire-O bound in portfolio form, 82 pages with numerous 1 to 3 color illustrations. Essays by Roberta Lord (US) and Andras Torok (Hungary).

 

 
Other books of his work are more readily available and affordable, but it’s sad that this one in particular is such a rare item, as it’s a wonderful way to experience Orosz’s work—it’s a very playful book for a very playful printmaker, who shows strong influences from the likes of Magritte and Escher. But there are deficiencies. The printing technique makes it impossible to show much of his poster work in full color, and it excludes, due to obvious realities, his anamorphs and his animations.

First, feast your eyes on a few lovely posters.
 

 

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Now, check out his anamorphic work. Anamorphoses are artworks that look indecipherable until viewed from a specific angle or in a distorting mirror, often a cylinder. Check out how, on top of just the basic anamorphosis, Orosz goes the extra mile and embeds a hidden portrait into the drawing, or uses the anamorphic drawing and mirror as an extension of a larger work. Stuff like this always amazes me.
 

Jules Verne
 

Edgar Allen Poe: The Raven
 

Anna Draws A Circle
 

Anamorphic Bodyscapes 1

Finally, enjoy a few of Orosz’s marvelous animations. If the stuff on the printed page suits your fancy, I don’t suggest passing up the opportunity to watch his work dance.
 

 
More after the jump…

 
As regular readers of this blog know, I am a massive Mothers of Invention fan and also a huge Lenny Bruce aficionado. I’ve got a painting of the original Mothers above my desk as I type this and several pieces of rare Lenny Bruce memorabilia on the bookshelves behind me.

Last week when I found that wild recording of Lenny speaking to students at UCLA, I also found this gem. It’s had fewer than 75 plays.

What is “this” you ask? Why it’s a short live recording of Frank Zappa and The Mothers Of Invention, who were—on June 24th and 25th,1966—the opening act for Lenny Bruce at the Fillmore Auditorium in San Francisco. This is a record of one of those nights.

Zappa later wrote of meeting the great comedian (who he named-checked on the cover of Freak Out in the “These People Have Contributed Materially In Many Ways To Make Our Music What It Is. Please Do Not Hold It Against Them” list of his influences and heroes.)

“I had seen Lenny Bruce a number of times at Canter’s Deli, where he used to sit in a front booth with Phil Spector and eat knockwurst. I didn’t really talk with him until we opened for him at the Fillmore West in 1966. I met him in the lobby between sets and asked him to sign my draft card. He said no – he didn’t want to touch it.”

The YouTube poster claims the recording to be from a soundboard source and it does sound pretty good once it gets going. Certainly it’s one of the earliest live Mothers recordings in circulation (and news to me). It starts off with “Plastic People,” then goes into “Toads Of The Short Forest” and “I’m Not Satisfied” before the group launches into the sea shanty “Handsome Cabin Boy” and turn it into a guitar rave-up of epic proportions with Zappa’s axe making a noise that was probably quite novel sounding to the ears of those in attendance.

The MOI were but a five-piece at the time with Jimmy Carl Black on drums; Ray Collins on vocals; Roy Estrada on bass, Elliot Ingber on guitar and Frank Zappa on guitar and vocals.

The performance of “The Orange County Lumber Truck” that follows the “Handsome Cabin Boy” jam is not from the same show. I don’t see how it could be without Bunk Gardner, Don Preston, Motorhead Sherwood or Ian Underwood (who all seem to be present and accounted for by the sound of things). Which is not to say that it’s not absolutely amazeballs—because it most certainly is. I just don’t know what the provenance is.
 

 
And to keep the Frank Zappa/Lenny Bruce connection going, here’s The Berkeley Concert (recorded on December 12th of 1965) as originally released on Zappa and Herb Cohen’s Bizarre record label in 1969.
 

 
I’m a Rollins fan, but this “My Talking Henry Rollins!” doll fake advert by Down the Show is pretty darn funny.

Admit it, you want this to be real thing... I know I sure do!
 

 
h/t Cherry Bombed

 
Why? How? Who cares! This is just rather awesome!

YouTube user Omni Verse has put together ten minute packages of your favorite cult TV shows in an intense “videoggedon,” where all the episodes are played at the same time!

From Star Trek and The Twilight Zone, to Kolchak—The Night Stalker, Planet of the Apes and Doctor Who. This is like a ten minute sugar rush of cult TV heaven!
 

‘Star Trek’ all 80 episodes played at same time.
 

The Twilight Zone’ all 156 episodes at the same time.
 

‘Kolchak—The Night Stalker’ 20 eps all at once.
 

‘Doctor Who’ all 178 Tom Baker episodes.
 
More cult TV all at once, after the jump…
 

 
New year, new series of photos on Internet K-Hole! I live for this site, I tell ya!

If you’re not familiar with the Internet K-Hole phenomenon (I’ve lost hundred of hours on this site, btw), it’s a place where you can smell sour beer and Aqua Net through your computer screen. Sometimes it’s pictures of people that you actually know!

The whole thing’s just inexplicable. It’s uncannily WEIRD. As always, some of the photos are NSFW.
 

 

 

 

 

 

 
During discussions for an exhibition of his personal photographs, David Hockney hit upon a new way of making pictures. Alain Sayag, of the Pompidou Center in Paris, had visited Hockney at his LA home in the 1970s and was looking through the 100-odd photo albums, when Hockney realized the photographs had “cheated,” as they had not captured a true sense of the events they depicted.

“I had become very, very aware of this frozen moment that was very unreal to me. The photographs didn’t really have life in the way a drawing or painting did, and I realized it couldn’t because of what it is.

“Compared to a Rembrandt looking at himself for hours and hours of scrutinizing his face, and putting all these hours into the picture you’re going to look at, naturally there’s many more hours there than you can give it.

“A photograph is the other way round, it’s a fraction of a second, frozen. So, the moment you’ve looked at it for even four seconds, you’re looking at it far more than the camera did.

“It dawned on me this was visible, actually, it is visible, and the more you become aware of it, the more this is a terrible weakness; drawings and paintings do not have this.”

That night, after Sayag had left, Hockney started taking Polaroids of his home and studio. He took multiple pictures, concentrating on some areas and ignoring others. Hockney then selected the photos he wanted to use. He placed these onto a board, then arranged them by the same decisions of “line and form” that he used when drawing a picture. The end result Hockney called a “Joiner,” a multiple photographic portrait of a place or individual, which gives the viewer a better sense of space and time than any ordinary snapshot.

“Joiners” owed much to Cubism—an association Hockney found to be a “turn-on.”

In 1983, Melvyn Bragg’s art series The South Bank Show visited Hockney at his LA home, where the artist was filmed as he created a “Joiner” portrait especially for the documentary. Hockney used this “Joiner” to show the difference between a single snap or a filmed sequence.
 


 

 
More of Hockney’s joiners, after the jump…