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Phone scammers called *this one programmer* and immediately regretted it!
06.27.2017
11:51 am
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Face it, we live in an era defined by “fake news,” identity theft, and countless nefarious schemes to separate you from your money through false pretenses, especially using social media. Just a few months ago, the feds indicted dozens of scammers working out of India, an operation that targeted 56 individuals and 5 companies, for frauds perpetrated against over 10,000 people that cheated them out of literally hundreds of millions of dollars.

The good news is that the feds occasionally get help from unexpected sources, such as Project Mayhem, which is described as the work of “a security developer who tries to prevent victims from being scammed by different types of scams.”

A group of phone scammers had the misfortune to approach this particular security developer, who goes by the username “YesItWasDataMined,” a move that it quickly came to regret. In this case the scammers were pretending to work for the IRS calling about a “miscalculation error” in past taxes with some scarifying language about attempting to defraud the government—the hackers then proceeded to attempt to secure the “total outstanding amount,” which was purportedly $8,219.

Project Mayhem instantly recognized the scam for what it was, and decided to take action. He wrote a script that dialed each of their phones 28 times per second with an automated message, tying up their lines and making it impossible to reach other potential victims. Crucially, he recorded many of the scammers as they contended with the same impersonal recording endlessly stating the following:
 

Hello! It has been detected that you are a scammer. Because of this, we are now flooding your phone lines to prevent you from scamming additional people. This will not stop until you stop.

 
The method worked wonders, as we can hear the increasingly frustrated responses of the scammers, which range from sarcasm (“Hi, it has been detected that you are trying to fuck me up”) to prideful rage (“YES I KNOW I AM A SCAMMER, AND I’M PROUD TO BE A SCAMMER MOTHERFUCKER!”)

More, after the jump…

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Posted by Martin Schneider
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06.27.2017
11:51 am
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Manson, Larry Flynt, Abbie Hoffman, O.J. and other infamous folks depicted by court sketch artists
06.23.2017
06:04 am
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Abbie Hoffman’s Viet Cong flag tug-of-war with deputy marshal Ronald Dobroski during the Chicago Eight trial as depicted by Howard Brodie.
 
Courtroom sketches in the United States date back to the 17th Century Salem Witch Trials, and were a necessary staple of reporting on court cases up until recent years when the courtroom was off-limits to photographers and television cameras. It wasn’t until 2014 that all 50 states allowed cameras in the courtroom, though by the late ‘80s most states already had. 

As portraits that exist solely out of the necessity for historically documenting legal proceedings, such sketches have never been considered high art, but a current exhibition of sketches housed at the Library of Congress shines a spotlight on some of the talents behind these documents.

The Library of Congress’ exhibition, “Drawing Justice: The Art of Courtroom Illustrations,” features a selection of the Library’s collection of more than 10,000 courtroom drawings, many of which were donated to the library by the estates of the artists themselves.

From the Library of Congress’ website:

The exhibition begins with the work of Howard Brodie, who popularized reportage-style courtroom illustrations with his documentation of the Jack Ruby trial in 1964 for CBS Evening News.  Brodie supported and encouraged the first generation of artists who created the artwork for television and print media.  Brodie donated his trial drawings to the Library of Congress, which spurred the development of the courtroom-illustration collections.

In addition to Brodie, the artists represented in the exhibition include Marilyn Church, Aggie Kenny, Pat Lopez, Arnold Mesches, Gary Myrick, Joseph Papin, David Rose, Freda Reiter, Bill Robles, Jane Rosenberg and Elizabeth Williams.

The exhibition is being held in the South Gallery on the second floor of the Library’s Thomas Jefferson Building and runs through Saturday, Oct. 28, 2017. It is free to the public.

Enjoy, below, a gallery of some of the more interesting pieces in the collection:


The New York Black Panther trial as depicted by Howard Brodie. Twenty-one members of the New York Black Panther Party faced charges of conspiracy to bomb several sites in New York City. They were acquitted of all 156 charges on May 12, 1971.


Bobby Seale, sketched by Howard Brodie, taking notes while bound and gagged at the Chicago Eight trial.


John Hinckley, failed assassin of Ronald Reagan, shown by artist Freda Reiter in front of a television broadcasting his obsession, Jodie Foster.

Many more after the jump…

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Posted by Christopher Bickel
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06.23.2017
06:04 am
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The Algiers Motel Incident: Detroit police play murderous ‘death game’ with teens during 1967 riot
06.08.2017
02:37 pm
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The Algiers Motel Incident
 
At 2:00 am on July 26th, 1967, the Detroit Police Department received a call: “At the Algiers Motel, check for dead persons.” When police arrived, they found the bodies of three black teenagers. It was Day 4 of rioting in the city, which would prove to be one of the most damaging community events in American history. What became known as “the Algiers Motel incident” is the most infamous episode to take place during the uprising.

There were a number of issues in the city of Detroit that led to the July 1967 rebellion (it’s still debated how the event should be categorized), but police brutality—namely the use of violence by the largely white police force against the city’s majority black residents—was front and center. During the early hours of July 23rd, police raided a blind pig located at 12th Street and Clairmount Avenue on the city’s near west-side. As rumors circulated that officers had beaten some of those arrested, a young black man threw a rock at a cop car. It wasn’t long before someone broke a store window and people began looting. Hundreds of fires were set over the next few days, as residents clashed with local and state police, and eventually the National Guard, while looting continued. On July 27th, order was restored and the disturbance officially ended. All told, they were over 7,000 arrests, nearly 1,200 injuries, and 43 people died. Many of those who lost their lives were killed because they were—mistakenly—thought to have been snipers.
 
12th Street, July 23rd, 1967
12th Street, July 23rd, 1967.

National Guardsmen and city residents
National Guardsmen, with weapons drawn, as city residents look on.

A National Guardsman watches for snipers
A National Guardsman watches for snipers amidst the chaos.

Not long after midnight on the morning of July 26th, sniper fire was reported coming from the area around the Algiers Motel—specifically the Algiers manor house, which was adjacent to the Woodward Avenue motel on Virginia Park Street. Police and National Guardsmen moved in quickly on the manor. By the time law enforcement left the scene, Aubrey Pollard, 19, Fred Temple, 18, and Carl Cooper, 17, were dead. Five days later, the Detroit News broke the story. In his 1968 book on the subject, The Algiers Motel Incident, author John Hersey noted what had become evident.

It is by now, on Monday, July 31, clear that the killings in the Algiers were not executions of snipers, looters, or arsonists caught red-handed in felonious crimes in the heat of a riot, but rather that they were murders embellished by racist abuse, indiscriminate vengeance, sexual jealousy, voyeurism, wanton blood-letting, and sadistic physical and mental tortures characterized by the tormentors as ‘a game.’

The Algiers Motel Incident was written quickly and was controversial upon release; Hersey received much in the way of criticism for its seemingly haphazard structure. Reading it nearly fifty years after it was published, I would argue that the narrative is purposeful, with often powerful results. Hersey interviewed everyone he could, including traumatized witnesses, distraught family members, and, incredibly, the security guard and three police officers suspected of wrongdoing. The book is undeniably harrowing and heartbreaking.
 
Aubrey Pollard's parents
Aubrey Pollard’s parents: Aubrey Pollard, Sr. and Rebecca Pollard. Their grief is palpable in the pages of ‘The Algiers Motel Incident.’

When I’m not writing for Dangerous Minds, I’m working as an archivist at the Walter P. Reuther Library, which is a part of Wayne State University in Detroit. Danielle L. McGuire, an associate professor in the history department at Wayne State, has been conducting research at the Reuther for a book she is writing on the Algiers episode. Her essay, “Murder at the Algiers Motel,” has been included in the new anthology, Detroit 1967, published by Wayne State University Press. We have an excerpt from Danielle’s stirring account of the waking nightmare that was the Algiers Motel incident.

 
The Algiers Motel
View of the Algiers Motel, with the manor in the background, July 1967.

In the early-morning hours of July 26, 1967, a flurry of Detroit police officers, National Guardsmen, and state police officers, led by Senak and two of his colleagues, raided the Algiers Motel after hearing reports of heavy “sniper fire” nearby. The Algiers, a once-stately manor house in the Virginia Park neighborhood of central Detroit, was a relatively seedy place, what Hersey described as a “transient” hotel, with a reputation among police as a site for narcotics and prostitution. But that night, because of the uprising and citywide curfew, many people sought refuge at the Algiers, including two white runaways from Ohio, a returning Vietnam veteran, and the friends and members of the Dramatics, a doo-wop group who performed songs like “Inky Dinky Wang Dang Do” at the Swinging Time Revue, headlined by Martha Reeves and the Vandellas, downtown at the Fox Theater.

According to one witness quoted in the Detroit News on August 2, it was a “night of horror and murder.” Just past midnight, police and soldiers tore through the motel’s tattered halls and run-down rooms with shotguns and rifles. They ransacked closets and drawers, turned over beds and tables, shot into walls and chairs, and brutalized motel guests in a desperate and vicious effort to find the “sniper.” At some point during this initial raid, David Senak and Patrolman Robert Paille encountered Fred Temple, a teen on the phone with his girlfriend. Senak and Paille barged into the room, startling Temple, who dropped the phone. According to Senak, quoted in Sidney Fine’s Violence in the Model City, he and Paille fired “almost simultaneously” at Temple, who crumpled to the ground in a pool of blood.

When Senak and Paille failed to find any weapons, Senak ordered all the guests against the wall in the first-floor lobby. One of the young black men at the hotel that night, seventeen-year-old Carl Cooper, rushed down the stairs and came face-to-face with a phalanx of heavily armed police and guardsmen. A witness, quoted in a report by Detective Inspector Albert Schwaller, heard Cooper say, “Man, take me to jail—I don’t have any weapon,” just before hearing the gunshot that tore through his chest.

Police herded the other guests, a group of young black men and two white women, past Cooper’s bloody corpse, into the gray and beige magnolia- papered lobby, and told them to face the east wall with their hands over their heads. Even though two young men were already dead, the lineup was the beginning of what Hersey called the “death game.”

The details of exactly what happened next are complicated and convoluted—clear memories forever lost to the chaos of the moment, the tricks of time, and the disparate recollections of the survivors traumatized by violence and terror. But this is the gist of what we know: three Detroit policemen, David Senak, Ronald August, and Robert Paille, and a private guard, Melvin Dismukes, took charge of the brutal interrogation. They wanted to know who had the gun, who was the sniper, and who was doing the shooting.

 
Federal conspiracy trial
L-R: Ronald August, Melvin Dismukes, Robert Paille and David Senak. Federal conspiracy trial, February 25th, 1970.

When the young men and women who were lined up against the wall denied shooting or having any weapons, the officers mercilessly beat them, leaving gashes and knots on the victims’ heads and backs. According to another witness interviewed by Schwaller, a police officer “struck [a] Negro boy so hard that it staggered [him] and almost sent him down to his knees.” A military policeman, part of the contingent of federal paratroopers and National Guardsmen sent to help restore order in Detroit, who arrived at the Algiers in the midst of the raid, is cited by Fine as seeing a Detroit patrolman “stick a shotgun between the legs of one male and threaten to ‘blow his testicles off.’” Senak and his colleagues raged against the two white women working as prostitutes at the Algiers, Karen Malloy and Juli Hysell, calling them “white niggers” and “nigger lovers.” Both women testified that police ripped off their dresses, pushed their faces against the wall, and smashed guns into the their temples and the small of their backs. Roderick Davis, the stocky Dramatics singer who sported a stylish conk and moustache, told Hersey that Senak sneered, “Why you got to fuck them? What’s wrong with us?” Another witness told Schwaller that he heard one of the cops say, “We’re going to get rid of all you pimps and whores.”

Then, the “death game” really began. The police pulled the unarmed men one by one into different rooms and interrogated them at gunpoint. Davis told Schwaller that Senak took him into a room, forced him to lie down, and then shot into the floor. “I’ll kill you if you move,” Senak said as he left the room and returned to the lobby.

 
Keep reading after the jump…

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Posted by Bart Bealmear
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06.08.2017
02:37 pm
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Try to imagine how insane this TV footage of Roxy Music (with Brian Eno) looked in the early 1970s
05.26.2017
11:41 am
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Roxy Music: Not just another guitar band.
 
The great Roy Wood said on some late-nite radio show that for a long time he thought Ike and Tina Turner were a cool-sounding R&B band called I Can Turn A Corner. Easy mistake. For a long time, I thought Bryan Ferry of Roxy Music was singing about “wee-wees up the walls, and mashed-potato smalls…” when he sang “weary of the waltz, and mashed-potato schmaltz” on “Do the Strand.”

That I thought Roxy Music could sing about urination as decoration or squidgy y-fronts and not consider it at all out of place in their repertoire gives but some small idea as to how radical, how shocking, how breathtakingly original Roxy Music seemed when they first landed. Their debut single was named after a packet of cigarettes (“Virginia Plain”—actually a painting of a packet of cigarettes). They sang about blow-up dolls (“In Every Dream Home a Heartache”), and a kind of Ballardian love interest contained/hidden in a car’s license plate—the CPL 593H on “Re-make/Re-model.” So why not edible undergarments? It seemed all too feasible in an era of instant mash, Angel Delight, moon landings, Teflon frying pans, group sex, safari suits, and silver hot pants.

Roxy Music sounded as if they had just beamed down from outer space and brought along the music of the spheres. In fact, they had. Roxy Music was the sound of the future—but we just didn’t realize it then. Roxy was so overwhelmingly new. No one knew what to think. The group was originally comprised of Bryan Ferry (vocals, keys, and chief songwriter), Graham Simpson (bass), Phil Manzanera (guitar), Andy Mackay (saxophone and oboe), Paul Thompson (drums and percussion), and last but not least, Brian Eno (VCS3 synthesizer, tape effects, backing vocals and “treatments”). Ferry had started the band alongside Graham Simpson. The cool suave vocalist came from a poor working class background. His grandfather had courted his grandmother on a horse and plow for ten years before getting married. Times were tough. Ferry later claimed his parents lived “vicariously” though they were always better dressed than everyone else. It was via his mother that Ferry got his introduction to rock ‘n’ roll—she took him a Bill Haley concert in the 1950s. But Ferry preferred jazz and soul and his ambition was for a career in art and possibly teaching if that didn’t work out.

This all changed after Ferry hitchhiked to London to catch an Otis Redding concert. Redding was one of the greatest soul singers/performers of all time. It was a life-changing experience. Ferry knew he had to be a singer.
 
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Roxy model for the IKEA catalog.
 
Most of his life Ferry had felt out-of-step with his contemporaries. He felt like “an oddity.” It wasn’t until he started studying Fine Art under the tutelage of pop artist Richard Hamilton at Newcastle University that he found the confidence to push forward with his own ideas and believe in his own talents. Inspired by Redding and by Hamilton’s pop art aesthetic, Ferry started writing songs. He also started singing and performing. Graduating in 1968, Ferry moved to London. After a couple of false starts with the bands the Banshees and Gasboard, Ferry formed Roxy Music with Simpson in 1970. Andy MacKay and Eno soon joined, then Thompson and finally Phil Manzanera.

As Manzanera later recalled, the rich diversity of those early sessions together created Roxy sound:

“We’d start off with ‘Memphis Soul’ Stew, and then we’d go into ‘The Bob (Medley)’, this heavy bizarre thing about the Battle Of Britain with synths and sirens. We had everything in there from King Curtis to The Velvet Underground to systems music to ‘50s rock ‘n’ roll. At the time we said this was ‘50s, ‘60s, ‘70s and ‘80s rock’n'roll. Eno would respond to something that sounded like it came off the first Velvets album, then Ferry would play something ‘50s and I’d play my version of ‘50s. I was always a terrible session player. I could never learn a solo and I stuck that ‘not quite right’ approach onto Roxy. Six people in a band created this hybrid.”

More early Roxy Music, after the jump…
 

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Posted by Paul Gallagher
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05.26.2017
11:41 am
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Explicitly perverse and provocative illustrations of Russian criminal underworld tattoos
05.22.2017
10:07 am
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“Satan and the Devil’s agent in Russia.” This illustration by Danzig Baldaev was copied from the chest of a criminal named “White” in 1991 who had recently completed a 32-year bid in prison.
 
During his time as a prison guard in Russia, and then later as the warden of the notorious Kresty Prison in Leningrad, Danzig Baldaev would become the curator and historian of tattoos worn by the convicts he watched over for nearly 40 years.

Baldaev’s illustrations, 3,000 or so in all, have been compiled into a popular series of books—the first of which was published in 2004 under the title Russian Criminal Tattoo Encyclopaedia Volume I. Had it not been at the urging of his father—who was no friend of the infamous NKVD (the politically repressive Stalin-era “secret” police group, The People’s Commissariat for Internal Affairs)—the stories behind the tattoos might never have been publicly chronicled. According to Baldaev, after he showed his father photographs of prisoners held in solitary confinement he advised him to start “collecting” images of the prisoner’s tattoos, for if he did not, the stories behind them would “all go to the grave with them.” The tattoos themselves served multiple purposes such as distinguishing a captive’s alignment within the prison population, what kind of crime they had committed or perhaps their affiliation with a specific Russian gang.

In 2009 the duo behind publishing house FUEL, Damon Murray, and Stephen Sorell purchased 750 illustrations done by Baldaev from his widow, which were then compiled in editions of the Russian Criminal Tattoo volumes. Here’s an example of the grim stories that would have gone undocumented by way of one heavily tattooed prisoner (who you can see here), who was photographed by Baldaev collaborator and fellow prison warden Sergei Vasiliev during a visit to the Strict Regime Forest Camp Vachel Settlement in the Penza Oblast Region of Russia.

This prisoner’s tattoos display his anger and bitterness towards Communist power; the tattoos on the face signify that he never expects to go free. He works as a stoker. Text under the eyes reads “Full / of Love;” on the chin “Danger of Death;” around the neck “To each his own;” above each head of the double-headed snake “Wife’ and ‘Mother-in-law;” on the chest “It is not for you whores, to dig in my soul;” on his arm “Communists, suck my dick for my ruined youth.”

Below is a selection of Baldaev’s illustrations, most of which, as you might have already figured out, are absolutely NSFW.
 

Top text reads “The Scary Dicks of the Land of Fools.” The text printed on the penises reads “Everything for the People!”
 

 
More after the jump…

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Posted by Cherrybomb
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05.22.2017
10:07 am
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This head of a serial-killing bandit has been preserved in a jar since 1841
05.19.2017
09:36 am
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This is the head of Diogo Alves. Don’t be fooled by his seemingly placid, almost benign, yet surprised look. Diogo was a robber and a brutal serial killer who murdered some seventy people between 1836 and 1839, at the Aqueduto das Águas Livres (Aqueduct of Free Waters) over the Alcântara valley in Portugal. Diogo robbed his victims then tossed their bodies over the side of the 213-foot high aqueduct. At first, the local police thought this rather staggering number of inexplicable deaths were copycat suicides. When access to the aqueduct was closed to prevent any more “suicides,” Diogo formed a gang and turned his attention to the homes of the valley’s population. After a raid on the house of a local doctor, where Diogo murdered four of the people inside, he was arrested and sentenced to death by hanging in February 1841.

His execution coincided with the rise of the bogus science of phrenology. It was suggested by physicians that Diogo’s head be preserved in formaldehyde for examination in order to determine whether there were any signs or abnormalities in the shape of his skull that could explain why he committed such terrible crimes. This may seem utterly fantastic today, but it’s worth noting that the scientific desire to find some physical cause for behavior is not new. As recently as just after the Second World War, American scientists obtained sections of the brain removed from the skull of executed Italian fascist dictator Benito Mussolini. This gray matter was examined in a bid to ascertain whether there was any physical cause to Il Duce’s anti-Semitic and racist beliefs.

Diogo’s well-preserved head still remains in a glass jar at the University of Lisbon’s Faculty of Medicine.

See more pictures of Diogo’s head and the aqueduct where he committed his crimes here.
 
07diogoportrait1840.jpg
A portrait of Diogo Alves from 1840.
 
01alveshead.jpg
Photo: Rafaela Ferraz.
 
See more pictures of Diogo Alves’ head, after the jump…

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Posted by Paul Gallagher
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05.19.2017
09:36 am
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Hear a full confession from Tricky Dick on the novelty single ‘The Altered Nixon Speech,’ 1973
05.12.2017
09:36 am
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(via Syntonic Research Irv Teibel Archive)

The immediate ancestor of the “Rappin’ Ronnie” record was The Altered Nixon Speech, a one-minute tape collage made from Nixon’s August 15, 1973 speech about the Watergate break-in. I’m no lawyer, but gosh, it sounds kind of incriminating:

I had prior knowledge of the Watergate break-in. I authorized subordinates to engage in illegal campaign tactics. I accept full responsibility for the break-in and bugging of the Democratic National Headquarters and other campaign abuses. Let me explain to you what I did about Watergate after the break-in occurred. I took part in the subsequent cover-up activities. My effort throughout has been burglary and bugging of party headquarters, obstructing justice, harassing individuals, and compromising those agencies of government that should be above politics. We of course must be extremely careful in the way we go about this. I shall continue to subvert the institutions of government by unlawful means. How to carry out this duty is often a delicate question. That is the simple truth.

The novelty single was the work of Irv Teibel, the field recordist behind the Environments albums. (Environments’ marketing slogan, “THE MUSIC OF THE FUTURE ISN’T MUSIC,” still points the way to a better world. Stop the madness! Let us pump nature sounds, not dance beats, into our pharmacies and “off-price” department stores.) What Teibel achieves with 140 tape splices is more than a gimmick: in the alchemical retort of the Syntonic Research laboratory, he transforms the Trick’s tissue of horseshit into a series of truthful statements. The B-side, which reproduces Teibel’s source material, is the homely “before” picture to the A-side’s handsome “after.”

Teibel knew that when you are standing on the president’s testicles, it is wise to tread lightly…

More after the jump…

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Posted by Oliver Hall
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05.12.2017
09:36 am
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Vintage violence and the ‘dance of death’: Wild images of the ‘Apache’ dancers of Paris
05.11.2017
11:03 am
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Two ‘Apache’ dancers hanging out in a cafe in Paris in 1938.
 
I’m going to roll the clock back to my earliest recollection of seeing what was essentially a version of the “Apache” dance that was featured on, of all things one of the original installments of the Popeye the Sailor cartoon series that I saw on TV as a child during the 1970s. The short in question was the seventeenth ever produced, in 1934, called “The Dance Contest.” In it Popeye and his gangly girlfriend Olive Oyl enter a dance contest which of course Popeye’s nemesis Bluto attempts to disrupt. When Bluto finally gets his chance dance with Olive he recklessly and abusively hurls her around—much in the style of an Apache dance. Naturally, Popeye is having none of that and after downing a can of his famous spinach, he takes over the lead dancer role with Bluto who he then essentially beats to a pulp while his famous theme plays out in the background. The cartoon itself, as you may recall, was already notoriously violent so it made perfect sense to incorporate one of the most popular and viciously aggressive dance crazes of the time into its storyline. But all of that would have gone over the head of pretty much any kid watching the show several decades later and it wasn’t until I was conducting my very important “research” for this post that I actually realized that the old-timey cartoon was riffing on what some referred to as the “Dance of Death” or the “Dance of the Underworld,” aka, “the Apache dance.”

If you are not familiar with this style of dance then it’s important to note that female dancers played a pivotal part in creating the savage scenarios in the dance by helping to develop its complicated choreography. The word “Apache” was derived from a name given to members of Parisian street gangs who were formerly known as “no goods.” After a particularly heinous crime involving the murder of a man who was found with his face, nose, and neck pierced with several women’s hat pins, the news reported the story with the headline “Crime Committed by the Apaches of Belleville.” From that point forward, the dance, its dancers, as well as teenage hooligans (who were often one and the same) became synonymous with the name. The earliest known appearance of the Apache was in the 1900s, perhaps as early as 1902. Like many dances, it is thematic in nature with storylines involving arguments between two lovers or perhaps a prostitute and a john. There were full-fledged stage productions involving complexly choreographed dance numbers. Dancers, especially amateurs, would often break bones and sustain other injuries during the heated and violent routines. Some routines were so egregious looking it was difficult to tell if something wasn’t actually going very fucking wrong while everyone sat back swilling booze, smoking cigarettes and watched. The craze dominated Paris for nearly 30 years and would also be featured in several films including one from the wildly popular Charlie Chan series, 1935’s Charlie Chan In Paris.

LIFE magazine wrote a rather extensive piece on the Apache dance craze/culture in 1946, and interviewed female dancers regarding their feelings about the dance. They said they “liked being thrown around,” which at face value appears to describe an act of domestic violence, only set to a jazz soundtrack. Which brings me to another important distinction about the Apache—it’s not just the ladies who get roughed up. No. In the Apache, the female dancers also get to gracefully kick the shit out of their male counterparts. So you see, everyone wins when they do the Apache dance at one point or another.

I’ve posted some gorgeous images of Apache dancers hanging out around Paris as well as some incredible footage from Charlie Chan in Paris featuring an Apache dance scene with actress Dorothy Appleby that you just have to see. I’ve also posted that Popeye the Sailor short I referenced at the beginning of this post because, well, why not?
 

 

 
More after the jump…

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Posted by Cherrybomb
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05.11.2017
11:03 am
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Murder, self-crucifixion & suicide by guillotine: Old-school paper ‘The Illustrated Police News’
05.05.2017
10:51 am
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July, 1895.
 
The first issue of what is best described as a pioneering tabloid-style publication, The Illustrated Police News hit the street corners of London back in 1864. It was modeled after The Illustrated London News (established in 1842) which used illustrations in their news reports, as their readers quite literally could not get enough of them. Essentially The Illustrated Police News ran with the notion that “readers” would rather look at pictures of the crimes that were being committed from Manchester to Birmingham than actually “read” about them. Ah, how little has changed since the eighteenth century, wouldn’t you agree?

Incredibly popular with the working class population, the paper often found itself in hot water for its ultra-sensational illustrated pictorials concerning booze-hungry monkeys run amok, a fatal impalement at a traveling carnival or an old man being eaten by his cats. The more stupefying the news, the better. Police News was Yellow Journalism at its best though the actual term “Yellow Journalism” would not actually be coined until the late 1890s. The tabloid didn’t even shy away from reporting news items that concerned folklore or supernatural shenanigans like gun-toting ghosts or a chance encounter in the woods with a giant serpent. Kind of like when the Weekly World News discovered Bat Boy (the internationally-known boy/bat hybrid created by WWN artist Dick Kulpa) hiding in a West Virginia cave in 1992. Did your neighbor drop her baby in the bucket full of boiling water? The artists behind the IPN would draw a titillating grim depiction of it to print for their blood-thirsty fans as fast as possible. In a detailed article about the publication, The British Newspaper Archive notes that in 1886 the readers of the classy sounding Pall Mall Gazette, which touted itself to be the voice of the “higher circles of society” voted The Illustrated Police News as the “worst newspaper in England.”

The owner of the IPN George Purkiss was so dedicated to capturing the essence of a crime scene that he would deploy his large team of 70 to 100 artists to wherever there was a dead body or some sort of mayhemic event had transpired as soon as the story was reported. In fact, the paper enjoyed a rise in circulation after running stories and illustrations of Jack the Ripper and “Negro Jack the Ripper” stories when the killer was stalking streetwalkers in the late 1800s. Purkiss also didn’t seem to give a rat’s ass about what the stuck-up Pall Mall Gazette had to say about his salacious paper. Here’s more from Mr. Purkiss on why he believed The Illustrated Police News was so important:

“I know what people say, but as I replied to a friend who asked me why I did not produce some other paper than the Police News I said that we can’t (have) all have Timeses and Telegraphs. And if we can’t have the Telegraph or the Times, we must put up with the Police News.”

The fearless leader of the IPN would pass away in 1892 from tuberculosis but the paper would continue to report the news using its graphic depictions of murder and crimes of passion until 1938. There’s a motherlode of images from the paper for you to eyeball below. Some are NSFW.
 

 

 
More murder and mayhem, after the jump…

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Posted by Cherrybomb
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05.05.2017
10:51 am
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Body of prolific ‘White City’ serial killer H.H. Holmes to be exhumed
05.04.2017
10:49 am
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In 1893 Chicago unveiled its massively impressive World’s Columbian Exposition, which had been organized under an extremely tight schedule by Daniel Burnham, and the impact of the idealized (white) urban setting, complete with newfangled electrical lighting, is difficult to overstate. The attractive power of Chicago and its fair, however, drew many thousands of unattached females to the city in search of clerical work, a startling percentage of which a medical doctor named H.H. Holmes would end up dismembering. Holmes’ totally creepy “Murder Castle” featured a gas chamber, a dissection table, and a crematorium to dispose of the cadavers.

Both sides of this story, the fair and the murderer, had become mostly forgotten until they were exhumed with great effectiveness by Erik Larson in his 2003 book The Devil in the White City, which rapidly became a bestseller and has become a fondly remembered staple of reading lists ever since. (As it happens, I reviewed The Devil in the White City for Publishers Weekly—you can read my review on the book’s Amazon page—and I’ve been joking ever since that I “made” the book.)
 

Diagram of the layout of Holmes’ “Murder Castle”
 
That word “exhumed” is an interesting one, because that’s what’s about to happen to Holmes’ body. One of the key points of Holmes’ life is that, in addition to his dozens of murders going unnoticed for quite a long time, there has arisen speculation that “he actually conned his way out of the death penalty and escaped to South America,” in the words of Stephen Gossett at Chicagoist.

Holmes has a plot at Holy Cross Cemetery in Yeadon, Pennsylvania, near Philadelphia. In order to put the scuttlebutt about his escape to bed, officials in Philadelphia and Holmes’ descendants have chosen to open up Holmes’ sepulcher and see what’s inside. If the official sources are to be believed, Holmes died in Moyamensing Prison in Philadelphia in 1896 at the age of 34.
 

H.H. Holmes
 
The exhumation comes at the request of Holmes’ great-grandchildren John and Richard Mudgett, who hope that DNA tests will settle the controversy of the identity of the body. A Pennsylvania court has approved the request.

Martin Scorsese and Leonardo DiCaprio have been said to have been working on adaptation of Larson’s book for several years, but that possibility is looking increasingly unlikely. Perhaps the exhumation is a last-ditch attempt to revive interest in the project?
 
via Chicagoist
 
Newspaper clippings: Illinois State Historical Library
 

Posted by Martin Schneider
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05.04.2017
10:49 am
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