One of my favorite single-serving Facebook groups is also one of the most massively puerile. Make of that what you will, I ain’t proud. It’s called “Drawing Dicks on the Herald Sun,” and it’s exactly as it says on the box—artists drawing highly improbable members onto photos printed in Melbourne, AU’s newspaper of record, the Herald Sun. As if to prove that 8th grade is forever, the page has attracted almost 400K followers, and has even become the subject of art exhibits. Their “About” page description is a masterpiece of parsimony:

Drawing dicks on things may seem immature, but in reality it’s hilarious. My fellow workmates and I get bored at lunch, these are some of our master pieces. Feel free to share your own, but please have some creativity.

The 2nd Amendment to the US Constitution has roughly the same word count and fails at that level of pristine clarity. FUCK YEAH, ‘STRAYA!

The latest exhibit elevating DDOTHS’s study-hall oeuvre to clean well lighted places is opening this Friday at ArtBoy, a pop art gallery in Melbourne’s southeastern suburbs, and it focuses on the coming US Presidential election—obviously a matter of global importance. It’s called “Doodles on Donald,” and it features newspaper photos of the Donald (and, presumably for balance’s sake, a Hillary) embellished with great big veiny monster dicks lovingly rendered in pencil, paint, and ballpoint pen.

Heh heh. BALLpoint.

Over 40 pieces by 30 different artists will be on display. Naturally every single thing to follow from here is totally unsafe for work (unless of course you work with cock). Artworks were provided by Larry Boxshall, the exhibit’s organizer, and also the director of a documentary about DDOTHS. Trailers for that doc follow the images.
 

 

 
More dicks drawn on Donald after the jump…

Pages from a vintage issue of ‘AtomAge’ magazine from the 2010 book ‘Dressing for Pleasure in Rubber, Vinyl & Leather: The Best of Atomage 1972-1980.’
 
Back in 2010 the book Dressing for Pleasure in Rubber, Vinyl & Leather: The Best of Atomage 1972-1980 took on the weighty task of detailing the career of remarkable English designer John Sutcliffe and his leather and latex fetish magazine (often referred to as the “fetish bible”) AtomAge. Part of the book’s title is taken from the fantastic 1977 documentary film of the same name by director John Samson, Dressing for Pleasure.

Sutcliffe started making his dangerous latex and leather getups back in the late 1950s after his marriage fell apart and the pioneering kinky clothing maker found himself struggling to stay afloat. After making a few risque outfits out of rubber and leather Sutcliff found himself so busy that he opened a shop on the popular Drury Lane. He made the infamous leather jumpsuit worn by Marianne Faithfull in the 1968 film Girl on a Motorcycle and his subversive attire would soon be carried on the racks of Malcolm McLaren and Vivienne Westwood’s SEX boutique on King’s Road.

By the time the first issue of AtomAge hit the shelves in 1972 Sutcliffe was already wildly busy filling orders from his rabid customer base. Originally intended to be a vehicle for Sutcliffe to advertise his clothing AtomAge quickly became a real page-turning publication full of articles, photos of readers wearing his designs, and of course erotic photos of sexy models wearing Sutcliff’s fetish wear, often while engaged in BDSM style role play. Sadly it was the boundary-pushing and at times sadomasochistic photographs that would contribute to the demise of the magazine. Specifically after a book published by AtomAge titled The Story of Gerda found its way into the hands of the authorities. The cops thought that the book gave them just cause to raid AtomAge’s office and take possession of everything on site. The painful end-result of all this madness (in addition to numerous fines assessed to Sutcliff) resulted in every unsold copy of AtomAge being destroyed.

Despite this sad setback Sutcliff (who passed away at his desk a few years after the Gerda debacle essentially ended his career) ended up blazing the trail for other fetish-fueled magazines such as Modern Life Illustrated (which was already putting out their own issues in the mid-60s), Latex Maid, and Rubber Quarterly  leaving us a fantastic legacy of erotic and subversive imagery. I’ve got a load of photos in this post from Dressing for Pleasure as well as a few other latex/leather erotic magazines—most of which are delightfully NSFW. If this gets your heart racing then I highly suggest checking out the equally NSFW site that has cataloged AtomAge’s entire print run.
 

‘AtomAge’ number 23, 1979.
 

A page from ‘AtomAge’ magazine.
 
More after the jump…

 
Right now, you’re probably saying to yourself “Finally!” I know I sure am. Frankly I think the friendly poop emoji would make for a better vibrator character but what the hell do I know? Okay, maybe I’m wrong here and the poop emoji would make an excellent buttplug. Or maybe not—it has eyes—now that I think about that, too. Why am I even contemplating such things? I’ve reached rock bottom, apparently.

Okay, so there’s this eggplant emoji vibrator and it’s selling for $32. As most people know by now, the eggplant emoji is a universal symbol for a penis. It’s called the Emojibator and has “10 vibration settings that always hit the spot.” It’s also waterproof. Good to know. And according to its description, it’s a “healthy serving of vitamin D.”

I don’t know what else to say except “Here it is, folks….”

 

 
via Geekologie

 
It sounds a bit like a riddle. What’s 400 feet long, French, and guaranteed to make a woman smile? The answer is this representation of a clitoris that materialized in a field in the village of Montferrier-sur-Lez in the department of Hérault near the Mediterranean Sea.

The image is the handiwork of two sexologists named Marie-Noelle Lanuit and Jean-Claude Piquard, and a protest against the taboos that prevent the depiction of lady parts in public places, esp. in textbooks, which, according to the two professors, become curiously euphemistic when female sexuality is the topic.

“The clitoris still has no visibility in biology textbooks,” Lanuit said to the Midi-Libre newspaper. “Either it’s absent or it is included but with no mention that it is the organ of female pleasure,”

Lanuit continued:

“Female pleasure is taboo in the medical world. Only the vaginal pleasure is taught where the clitoris plays a secondary role, with arguments that are often incompatible with anatomical data. It is sometimes named, but it is never drawn in textbooks in the complete form. In books it is usually presented as a small bean.”

Lanuit and Piquard were dressed in red to represent the sexual organ.
 
via Dazed

 
Essex House only existed for a couple of years, namely 1968-1969, but in that time they released over 40 books by the likes of Philip José Farmer, Charles Bukowski, and David Meltzer. They specialized in an odd mix of higbhbrow erotica and dystopian sci-fi, and although a publisher in the ‘60s hardly needed quality art to sell fuckbooks, the imprint’s owner, Milton Luros, was a former illustrator who clearly valued a strong visual identity. (Mr. Luros would also find himself defending his possession of a trove of sexy pictures in front of the U.S. Supreme Court in 1971.)

Sadly, the illustrators who did the imprint’s most distinctive covers were uncredited, so the name of the psychedelic artists responsible for Essex’s visual vibe may remain forever obscure. Their covers weren’t ALL of this type—there were some where the standard stick-a-photo-of-a-naked-woman-on-it approach held sway—but the majority of them were in line with the company’s eye-bleedy visual identity.

If none of the foregoing tipped you off that some of this might be NSFW, I don’t know what else to tell you.
 

 

 
More sexy Essex House covers after the jump…

Brigitte Bardot posing on a yellow Harley-Davidson chopper built by Maurice Combalbert.
 
It’s fairly well known that golden haired French film goddess Brigitte Bardot was a huge fan of the Solex (or “Velosolex”), a kind of moped/bicycle hybrid which the bombshell was widely photographed riding around in the 1970s. No stranger to knowing how to have a good time Bardot was also photographed tooling around while looking flawlessly beautiful on other kinds of motorized two-wheelers such as a Yamaha AT-1 for which Bardot did a series of 1971 print advertisements clad in hotpants and white gogo boots.

Some of the most iconic photos of the actress/model/singer and animal rights activist (Bardot dedicated herself to helping animals after retiring in 1973) and a motorcycle were taken along with a Harley-Davidson custom built by Parisian chopper pioneer Maurice Combalbert when Bardot performed her wacky love proclamation to the iconic motorcycle on her 1967 French television special Brigitte Bardot Show.

Here’s a nice selection of Brigitte Bardot looking cooler than any of us will ever look on various motorcycles, as well as a few where she’s making riding a regular bike look like the best time ever.
 

 

More Bardot on bikes after the jump…

A bizarre illustration/caricature by James Gillray of the ‘Monster’ (aka the ‘Cutting Monster’) assaulting one of his female victims, 1790.
 
Nearly a century before Jack the Ripper terrorized the streets of London, a serial lady-stalker dubbed the “Monster” (or the “Cutting Monster”) would attack his first victim in May 1788. During a short walk in the early evening to a friend’s home, Mrs. Maria Smyth had the misfortune to cross paths with a man who, according to a vintage account of the incident, made a loud, lascivious request of Mrs. Smyth. Smyth picked up the pace of her evening stroll which in turn caused her harasser to increase his lurid taunting. By the time Smyth got to her friend’s doorstep the man lurched quickly with a knife and stabbed her in the breast and thigh—something that would become somewhat of a signature move for the Monster.

More than 50 similar attacks by the roving slasher would occur over the course of a three-year period in which the Monster would seemingly go out of his way to stab his victims in the same areas—the breast, buttocks or thigh—after verbally accosting them in the street when they were not in the company of a male companion or chaperone. The slash-happy assailant also incorporated the use of a bouquet of flowers to conceal a knife which he would use to stab his targets in the face when he was able to convince them to get close enough to the flowers to smell them. It’s also been theorized that whoever the “Monster” was. he enjoyed slashing up his victim’s clothing almost as much as plunging his knife into their flesh. As you might imagine the incidents were covered by the newspapers of the day and in 1790 a rather terrifying and wildly out-of-proportion caricature was done by Scottish artist Isaac Cruikshank (pictured at the top of this post) and was published by S.W. Forest, which was based on a first hand account by three women who were attacked by the Monster.

In the summer of 1790, florist—and frequent visitor to London’s many brothels—Rhynwick Williams was picked-up by the Bow Street Runners (who were essentially functioning as an early version of the police during the time) on suspicion of being the man behind the sexually-charged attacks. William’s not only insisted he was innocent but was able to bring forward numerous witnesses that would vouch for his whereabouts during the crimes. As the furor surrounding the assaults had reached epidemic levels around London the prosecution in the case decided that charging Williams’ with “destruction of property” would bring the longest sentence—a possible seven years per crime. The destruction of property in this case being the clothing the Monster had such an affinity for shredding up while attacking his female victims.

The charge didn’t stick and Williams was tried a second time four months later and convicted of “three counts of wounding” which sent him to chokey for six years. Though the attacks all but stopped once Willams was locked up, he would continue to profess his innocence (noted in the 2002 book The London Monster: A Sanguinary Tale by Jan Bondeson) in letters from jail where he would cite criminal cases that were similar to the ones he was accused of in an attempt to perpetuate the idea that the “Monster” was still “out there” and that the cops were even covering up crimes to save face. When he was finally released Willams apparently married a woman who wasn’t afraid of sharp objects and according to historians of the case no further references to “Rhynwick Williams” were ever recorded with the exception of one that strongly suggests Williams changed his name to “Henry” so he could avoid further association with the Monster.
 

A strange depiction of London’s the ‘Monster.’
 

The second panel from Cruikshank’s depiction of the ‘Monster’ featuring his victim outfitted with protective ‘copper bottom.’ And yes, ‘copper bottoms’ were a thing back in the 18th century though they were used by women to ‘enhance’ their appearance.
 

The ‘Monster’ (now with three heads) attacking a pair of ‘old maids,’ 1790.
 
More of the Monster after the jump…

Matchbook art by Jason D’Aquino based on the rather terrifying looking cover for the vintage pulp novel ‘The Hungry Ones’ from 1968.
 
I’ve been a fan of miniature artist Jason D’Aquino since becoming aware of him back in 2008 when I saw some of his artwork drawn on the little wooden spoons that are included in Good Humor ice cream bowls, as well as his detailed matchbooks on which the New York artist incorporates images of everyone from Hunter S. Thompson to Alfred Hitchcock. Since that time D’Aquino has expanded his matchbook art (for which he only uses vintage matchbooks) to include homages to lurid pulp fiction novels featuring bad girls and guys acting as you would expect them to. Poorly.

D’Aquino (who also used his artistic skills in the tattoo business until 2014) has credited Maurice Sendak and H. P. Lovecraft as his inspirations. His most recent matchbook artwork features naughty pulp pinups (including Bettie Page), a few serial killers, Christopher Walken, and an incredible teeny-tiny homage to Gene Wilder in which D’Aquino managed to reproduce a sweet riff on the movie poster for the 1974 film Young Frankenstein, The piece not only included Wilder but also Marty Feldman (who played Igor) and his creation of “The Monster” as played by actor Peter Boyle. I’ve been lucky enough to see some of D’Aquino’s work up close and in-person and can safely say that it is even more magnificent than it looks on your screen. A dizzying array of D’Aquino’s artful matchbooks follow. Some are delightfully NSFW.
 

A reproduction of the cover of the 1962 pulp novel ‘Blondes are Skin Deep.’
 

‘Homicide Hotel,’ 1951.
 

‘Illicit Desires,’ 1949.
 
More mini-masterpieces after the jump…

Pierre Imans’ ‘lesbian’ mannequins that were featured in an exhibit called the ‘Streets of Paris’ in 1920.
 
In the early 1900s, a mannequin cost about $15 and it was around that time that Parisian artist Pierre Imans’ unconventional mannequins started to appear in windows around Paris. Imans would not only create the first mannequin of color (that was modeled after the great Josephine Baker) he also created a pair of lesbian mannequins (pictured above) that were part of an exhibition at the Moulin Rouge called the “Streets of Paris” back in 1920. While Imans’ creation were probably not so shocking for the far-ahead-of-their-time, progressive Parisians (Paris was the place everyone was getting their kinkly BSDM wear from during that time after all), they were still rather unconventional when it came to their appearance.

Imans’ mannequins drew somewhat from an Art Nouveau perspective and their forms had elegant modern lines and chiseled features. Many of Imans’ mannequins also possessed a sort of asexual look with the male mannequins having rather feminine features while his female models sported short masculine haircuts and menswear-inspired clothing. Even Imans himself didn’t care for the use of “labels” and preferred to operate under title of “sculptor” often using the phrase “Les Cires de Pierre Imans” or “The waxes of Pierre Imans” to describe his business. So revered was the Frenchman that upon the third exhumation of Saint Marie-Bernarde “Bernadette” Soubirous (or St. Bernadette whose initial claim to Catholic fame was seeing an apparition of the Virgin Mary eighteen times) Imans was called upon to create a wax imprint of St. Bernadette’s face and hands so that the body would not show signs of decay where it remains to this day on display in a crystal coffin in Nevers, France.

To enhance his already spookily realistic mannequins the talented French master sculptor would use real hair for his models including eyelashes and eyebrows, glass eyes and teeth made of porcelain. Vintage creations by Imans’ sell for thousands of dollars and even promotional photographs of Imans’ mannequins sell for a tidy sum of cash on various auction sites such as eBay. I’ve included a variety of images from Imans’ vast catalog (that spanned more than three decades) of his more intriguing mannequins for you to stare at while waiting for them to actually move, below. 
 

 

 
More mannequins after the jump…

An illustrated poster for 1971’s ‘The Erotic Adventures of Pinocchio.’
 
I’ve seen my fair share of what your Mom refers to as “dirty movies” in my lifetime and I’m sure most of our Dangerous Minds readers have too. As I also know that many of you have a thing for movie posters it is with particular amusement and pride that I bring to you a collection of illustrated movie posters advertising various ‘X-Rated’ films from the 1960s and 1970s. Pretty much no topic was off limits back then apparently. There was even an erotic flick based on the sexploits of Pinocchio. Which I suppose makes perfect sense when you think about it (ahem) long enough.

One of the more amusing aspects of these film posters is the cheesy tongue-in-cheek copywriting that accompanies the posters that’s supposed to help sell you on the idea that the Erotic Adventures of Pinocchio would be a good time because “his nose isn’t the only thing that grows!” A few others are also are based on stories originally conceived for kids such as Cinderella (“the sexiest comedy of 1977 Cinderella 2000”), Alice in Wonderland or 1969’s The New Adventures of Snow White which I believe I’m safe in assuming involves sexytime with at least seven dwarves. At least I hope it does.

If you’re digging them like I do most of the posters featured in this post can be purchased over at Heritage Auctions and other online auction sites. It should go without saying I wouldn’t be doing my job right if I didn’t say that many of the images in this post are NSFW. You already knew that, right?
 

An X-Rated musical version of ‘Alice in Wonderland,’ 1976.
 

‘Cinderella 2000,’ 1977.
 

‘The New Adventures of Snow White,’ 1969.
 

‘Thar She Blows,’ 1968.
 
More after the jump…