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Cum Face: Portraits of Women Reaching Orgasm
09.19.2016
08:55 am
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Laura.
 
Photographer Albert Pocej set himself an unusual challenge. He wanted “to capture the moment of women reaching the highest point of physical pleasure.”

How did he come (ahem) up with this idea? In his wildest dreams, of course.

I simply woke up and I knew I just had to do it. So I tried to explore the female orgasm through a photography experiment.

At first I thought it would be impossible. Finding the models was the most difficult part. I started to write to everybody I know without any boundaries since all the women are so different. The answers I got were mostly two kinds: “I don’t have enough courage”, and just the silence, which is also pretty obvious as an answer. When I finally found 20 women that were ready to take part in this project, some of them refused to continue when I told them that it will not be acting, and some of them weren’t able to relax already while shooting. So at the end there were only 15 left.

According to Albert—all of the participating models “experienced real orgasms” during their photographic session. To achieve the “best results” Albert used time lapse to help the models relax. Some of them didn’t need it and were happy to enjoy themselves in front of the photographer.

I didn’t want this project to be a cliché, I didn’t want any acting – just the real feeling as it is. Every human being is different, so are their orgasms. I wasn’t trying to make it any better as it is in life. I wanted to make those looking at these pictures to think.

And clichés don’t make people think.

Born in Lithuania in 1974, Pocej studied at the University of Educational Sciences. After graduation, he worked in IT before dedicating himself to a full-time career as a photographer when he was thirty. Now based in Monaco with a mighty impressive portfolio, Pocej has established him as a highly respected photographer and teacher across Europe.

More of Albert’s work can be seen here and you can follow him on Facebook.
 
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Monika.
 
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Agne.
 
More portraits of women captured in the heat of the moment, after the jump…

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Posted by Paul Gallagher
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09.19.2016
08:55 am
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Sleazy characters from vintage pulp novels spring to life from their covers
09.16.2016
10:13 am
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A vintage pulp fiction novel comes to life with the help of artist Thomas Allen.
 
The wildly talented Thomas Allen’s ingenious idea to bring characters from pulp fiction novels to life by setting them free from their respective covers and catapulting them into their new 3-D worlds was partially inspired by a couple of items from his youth that most of our readers of a certain age will be familiar with. The good-old View-Master and classic pop-up books.
 

 
According to an interview with Allen in 2007, while he was working on a fellowship he was tasked with re-telling classic mythology using images culled from anatomy books. During this tedious project Allen came across an old pulp fiction paperback and started cutting. The result was one of those “lightbulb” moments whereupon Allen realized that by removing the characters from the cover of the book, they suddenly took on the distinct appearance of a classic “pop-up” book element.

Clearly a perfectionist, Allen prefers to use vintage pulp novels that pre-date the 1970s as the covers were painted giving his cut-out subjects a more “realistic” appearance. When it comes to where he finds his materials Allen is mum on how he tracks the books down and who could blame him as he’s truly tapped into a vein full of nearly endless fuel for his vintage paper ne’er-do-well’s second lives as (almost) living and breathing art. If you pretty much flipped your lid while looking at the images in this post like I did, a large collection of Allen’s photographic catalog is a part of a beautiful book called Thomas Allen: Uncovered. Loads of images follow.

Dig it, daddio.
 

 

 
More after the jump…

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Posted by Cherrybomb
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09.16.2016
10:13 am
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The hallucinogenic Pop artwork of Japanese master Keiichi Tanaami
09.15.2016
12:28 pm
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Album artwork for The Monkees by Keiichi Tanaami.
 
Keiichi Tanaami was a part of the Neo-Dada movement that was born in Tokyo, a force in art spurned forward by the vitriolic anger that was postwar Japan at the beginning of the 1960s. The goal of the painters and other creative artists that were a part of the Neo-Dada Organization (as they were called) was to create works that were “suspended between art and guerrilla warfare.” Tanaami himself was a survivor of the U.S air raids during WWII that targeted Tokyo starting in 1942 which took the lives of more than 100,000 civilians (although some estimates place the number closer to 200,000) and had been deeply affected by the war. One of the horrors that Tanaami recalls during the air raids is the vision of his father’s pet goldfish deformed body still swimming around it its bowl when his family returned from a bomb shelter after his neighborhood had been destroyed. It was this and other unspeakable sights that according to Tanaami robbed him of his childhood.
 

‘No More War,’ 1967.
 
Thankfully Tanaami would find a way to channel his grief, anger and loss into a remarkable career as one of the Japan’s most loved “pop” artists despite the fact that his own mother and the vast majority of his family were emphatically opposed to his choice of professions after discovering his passion for art during high school. Tanaami quickly found work as an artist in print media and doing commissions while still in college which would lead to a gig with the pioneering group JAAC (Japan Advertising Artists Club). The pop art influence in Tanaami’s work is vividly aparent and much of his early work centers around pop-flavored eroticism. In 1975 he got another big break after becoming the first art director for the Japanese version of Playboy magazine, called Monthly Playboy. During a trip to Playboy’s New York offices (and according to Tanaami’s extensive bio on his website) the magazine’s editor (or Hugh Hefner I’m assuming) took Tanaami to Andy Warhol’s mythical studio, the Factory. As if this wasn’t transformative enough for Tanaami his path would also cross with underground comix icon R. Crumb along the way, yet another event that helped shape Tanaami’s ever evolving visionary style.

By the time the 80s rolled around Tanaami, though still working, had developed a penchant for boozing around the clock. A lifestyle that landed the artist in a hospital bed for four months where the combination of medication used to help aid his recovery caused intense hallucinations from which he recovered, armed with an arsenal of boundary-pushing subject matter on which to draw from.

Now a triumphant eighty years old, Tanaami’s compelling work is routinely shown at museums across the world and has been the subject of a few books that celebrate various eras in his life that have included collage work and impressive sculptural interpetations of his paintings such as Keiichi Tanaami: Spiral and Keiichi Tanaami: Killer Joe’s Early Times 1965-73. Some of our more astute, artistically-inclined Dangerous Minds readers may also recognize Tanaami’s artwork from the covers of albums by Super Furry Animals and Jefferson Airplane. I’ve included Tanaami’s album art as well as a large selection of his hyper-colorful psychedelic works some of which are slightly NSFW. 
 

 

 

‘Two Twiggy’s.’
 
More after the jump…

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Posted by Cherrybomb
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09.15.2016
12:28 pm
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Ingenious 1930s burlesque queen, the great Sally Rand
09.13.2016
01:49 pm
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Actress and burlesque star Sally Rand and her giant bubble.

I haven’t been out of work since the day I took my pants off.

—Sally Rand.

Though Sally Rand is famous for her “fan dance” which she debuted at the Chicago World’s Fair in May of 1933 in which the petite performer used two pink seven-foot ostrich fans strategically to “cover” what appeared to onlookers to be her nude body, she is equally well-known for her beguiling “bubble dance” which Rand brought to Chicago when she returned in 1934.
 

A show flier advertising Sally Rand’s famous ‘bubble dance’ at the Paradise Cabaret in New York.
 
Born Harriet Helen Gould Beck in the small town of Elkton Missouri, Rand left home in search of fame and fortune and joined a carnival. It would be one in a long line of jobs in the entertainment business that Rand would hold during her career. Calling herself “Billie Beck” Rand took a job with the Ringling Brothers and Barnum & Bailey Circus as an acrobat, which eventually led to another more serious job with a theatre company where the young aspiring star would play opposite to future (and then nearly unknown) Hollywood superstar Humphrey Bogart in a “summer stock” production. Rand would then go on to hook up with the great Cecil B. DeMille who convinced her to change her name to “Sally Rand” and would open the door to many roles in silent features for the determined young performer.

Later on in the early 1930s Rand would start performing her “fan dances” and ultimately her “bubble dances” and her performance at the 1933 Chicago World’s Fair would mark one of many times Rand was arrested for “indecent exposure” though she had been painted by makeup guru Max Factor, Sr. in a new body paint he had formulated for Hollywood screen stars. When it comes to Rand’s bubble dance the back story is quite interesting, as well as a fascinating reflection of how ingenious Rand was when it came to keeping her fame firmly intact. When she came up with the idea of incorporating a bubble large enough to hold her inside she actually had to have one created for her.

Using her own money Rand began the exploration and development of a 60-inch bubble that she would use on stage as a prop along with her nearly nude body (which was likely cleverly concealed in a bodystocking or other crafty camouflage) and a large troop of dancers. I’ve included some incredible photos of Rand pictured with a formerly live swan, her bubble and the lightening bolt body makeup created by Max Factor for you to oogle, as well as some vintage video of Rand performing with her giant bubble.

Since we’re talking about beautiful naked ladies and bubbles and such, many of the images that follow are slightly NSFW.
 

 

 
More after the jump…

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Posted by Cherrybomb
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09.13.2016
01:49 pm
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Sex Lives of the Gods: Vintage porn from the 1700s
09.13.2016
10:45 am
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This vintage porn is all about cocks. Big cocks, small cocks. Permanently engorged cocks. Cocks to lead a goddess’s chariot. Cocks to ride into battle. Cocks that even look like Donald Trump.

They’re everywhere. Lurking in the undergrowth, hiding in baskets of fruit, frightening the horses and offering gratification wherever they go.

Drawings of cocks must have been the money shot—or money etching—back in the 18th century when these illustrations were first produced. I suppose that’s why artists will always be a prerequisite to civilized society—because when the Internet implodes and electricity eventually fails, artists can still can draw porny pictures. Just like the ones gathered together by Pierre-François Hugues, the baron d’Hancarville (1719-1805), for his volume of adult entertainment Veneres uti observantur in gemmis antiquis (1785).

Pierre-François Hugues almost had as many occupations as vowels to his name. He was an art historian, art dealer, poet, ideas man, writer, collector, intermediary, charlatan, con man, profligate, and producer of pornography. In his later years, he added the title baron d’Hancarville to his name—probably as he was convinced he deserved some recognition for all the hard work he carried out during his lifetime—most notably bringing a large collection of vases to diplomat Sir William Hamilton—which was eventually sold to the British Museum in London.

d’Hancarville and Hamilton compiled an inventory of these ancient vases—tracing their history and provence back to ancient Greece and Rome. While these four volumes had a certain fame among academe—it was d’Hancarville’s work as a pornographer that was his most popular and controversial work.

Between 1771 and 1785 (years vary depending on source—but invariably between these dates) d’Hancarville produced three volumes of pornography—Monumens de la vie privée des douze Césars, Monumens du culte secret des dames romaines, and most (in)famously Veneres uti observantur in gemmis antiquis. These books mixed drawings of artworks—stones, statues, sculptures, etc.—from antiquity—usually featuring Greek or Roman gods indulging in sexual shenanigans. D’Hancarville’ provided a text to explain in an amusing manner the symbolism and myth of each image. These books proved exceedingly popular which unfortunately led d’Hancarville into serious debt—which meant he had to eventually flee his home in Naples.

Veneres uti observantur in gemmis antiquis was originally written in French with color text and plates. It was soon published in numerous pirated editions in black and white. When asked why the images in the book were so small, d’Hancarville answered the images faithfully represented the size of the original and to be any bigger “would have still been more indecent had they been otherwise.”
 
18th century filth, in B&W and color, after the jump…

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Posted by Paul Gallagher
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09.13.2016
10:45 am
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Prenatal fun: 3D ultrasounds show that male fetuses masturbate
09.09.2016
11:36 am
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(1) The fetus is grasping his tumescent penis using an evident force. Foreskin is partially retracted. (2) In the next step, the foreskin is more retracted so it allowed us to locate the meatus clearly.
 
The human body is wired weird. Authentic sexual behavior commences in the second decade of life, but the wiring for sexual gratification has to be there—and indeed is there, as a paper authored by two researchers working in the Spanish city of Pontevedra, Vanesa Rodríguez Fernández and Carlos López Ramón y Cajal, claims to prove definitively—with visual evidence based on a volumetric rendering mode study.

The paper is called “In-Utero Gratification Behavior in Male Fetus” and has been accepted for publication in the journal Prenatal Diagnosis.

Here’s the abstract:
 

Fetal masturbation has been described previously once in-utero but only as a description of an action. Masturbation is well described in infancy and early childhood when they discover that this practice can give them pleasure. Our letter proves that it could begin in-utero as a ‘gratification behavior’. We have shown this pattern clearly using a volumetric rendering mode study.

 
The two figures shown here depict fetal gratification behavior using 3D ultrasounds.

The author writes:
 

We show “fetal gratification behavior” in a fetus in the 32nd week of gestation of a normal gestation. The fetus was grasping his tumescent penis with his hand and did it with such force that it shows us clearly the glans. Initially, the glans was covered by the foreskin and gradually the foreskin is retracted as we show in images the total sequence of the hand movements grasping the penis. ... We show this behavior using 4D live mode where the movements that go with this behavior are shown clearly. ... Moments later the foreskin covers partially the glans (Figure: number 4). This is a very clear sexual behavior “in utero” in the 32nd week of gestation. We understood this behavior as a “fetal gratification behavior” (fetal masturbation).

 

(3) The foreskin is totally retracted and the glans is very patent. (4) Finally, the hand movement returns the foreskin to cover the glans.
 
via Nerdcore

Posted by Martin Schneider
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09.09.2016
11:36 am
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The pioneering erotic fetish photography by the ‘Dean of Leg Art’ Elmer Batters
09.06.2016
10:54 am
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A photograph by pioneering foot fetish photographer, Elmer Batters.

I felt that people almost saw me as un-American for not mooning over large mammaries.

—Elmer Batters

The work of fetish photographer Elmer Batters was considered so aberrant back in the 1960s that he was actually arrested for pictures he took for his leg and foot-centric fetish photography in his magazines Man’s Favorite Pastime and Black Silk Stockings on the charge of “obscenity.” While many of Batters’ photographs included topless models flashing their breasts the subject of Johnny Law’s ire was Batters’ focus on the models stocking feet.
 

The fetish model known as ‘Caruska’ on a swing by Elmer Batters.
 
When Batters was getting his start in the 1950s he helped lead the charge to draw admirers of feet and legs to a larger audience. A foot fetishist in the 1950s was still viewed as a creepy sexual deviant. Though the non-stop harassment of the authorities eventually pushed Batters out of the publishing world, he would continue his work photographing the feet pin-up models clad in thigh-high seamed stockings in various stages of nudity for decades. Sometime in the late 1980 German publisher Benedikt Taschen stumbled on Battles work in Leg Show magazine and would go on to put out three remarkable books containing the photographer’s work—From the Tip of the Toes to the Top of the Hose, Legs That Dance to Elmer’s Tune, and one dedicated to the foot enthusiast’s main muse, a model named Caruska, Elmer Batters - The Caruska Sittings. Batters referred to the mysterious Caruska (pictured above) as his “favorite model” and she was a huge hit with his foot-fetish fan base. According to Batters he found Caruska at a Hollywood Boulevard casting company called Pretty Girl International where the beautiful model was apparently having a hard time finding work as she was considered to be “unconventionally heavy” for the time.

Here’s Batters on Caruska’s many appealing attributes:

I think love or even sexual attraction comes from the sparkle in a girl’s eyes, the lift of her eyebrow, and the way her lips curl into that provocative smirk that hooks a man’s soul like a hapless mackerel. This is Caruscha’s strength. Her face seduces me even now–these 25 years later as it has seduced thousands of you. Go ahead and give in to her. Even back in the unliberated (years) when these photos were taken, Caruschka was a girl who loved to have men masturbate over her. Yeah, she was a tease but isn’t every woman worth a damn?

Though Batters passed away in June of 1997 at the age of 78 he left us with an expansive body of work such as the rather amusing departure from his super-sexy stocking photos for a magazine published in 1968 called Sneaker World of Elmer Batters,  a cheeky publication that featured semi-nude leg models wearing sneakers and stockings. I’ve included a couple of images from Sneaker World as well as many examples of Batters’ controversial images from his heyday. That said, it should be clear that the images that follow are (despite the fact that it’s 2016 and most of these photographs are approximately 50-years-old) should be considered NSFW.
 

 

 
More after the jump…

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Posted by Cherrybomb
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09.06.2016
10:54 am
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William Burroughs: Scans of his porn mag articles
09.02.2016
09:50 am
Topics:
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mayfair-academy.jpg
 
Humanity’s underrated. It’s one of my tenets. It’s easier to indulge the negative than give press to the creative, the good and the generous. The other day, my colleague Martin Schneider wrote a fine post on William S. Burroughs’ connection with Wilhelm Reich and his orgone box. By its source, Martin’s post reacquainted me with Burroughs writings for porn magazines in the 1960s and 1970s.

Years, ago I had a friend who owned two pristine copies of one these skin mags. He prized these editions not for any titillation but for Burroughs’ articles contained within. I recall one was on Scientology. The other I think was on space travel.

Martin’s link led to a cornucopia of Burroughsian materials. That one individual (Jed Birmingham) has spent so much time carefully sourcing and scanning Burroughs’s adult magazine work for others to read/access/download was another confirmation of humanity’s good points.

Before Graham Masterton was better known as an author of best-selling horror fiction, he was deputy editor of “gentleman’s entertainment magazine” Mayfair. Started in 1965, Mayfair was modeled on the hugely successful Playboy magazine. The canny Masterton wanted Mayfair to be a similar mix of quality writing, top notch interviews and classy erotica. One of the best things Masterton achieved with Mayfair was to commission William Burroughs to write for the magazine.

Masterton had corresponded with Burroughs from the time the Beat writer was living in Tangiers. When Burroughs relocated to London, Masterton visited him in his cramped attic apartment to enquire if he had anything suitable for the pages of Mayfair.

From this meeting in 1967, Burroughs contributed a regular column for Mayfair under the heading “The Burroughs Academy.” The gig allowed Burroughs to write about his personal preoccupations (Scientology, sexuality, mechanisms of media and political control) and test out various ideas (drugs/space travel) in the magazine’s pages between 1967 and 1969. It also supplied him with a steady income so he could write his novels.

Mayfair was primarily sold in the UK. It had a limited circulation which meant most of Burroughs’ fans missed out on his monthly bulletins. They were eventually gathered together in (an equally hard to obtain) edition Mayfair Academy Series More or Less.

But it’s thanks to Jed Birmingham over at the Reality Studios that we can read Burroughs’ articles (though by no means comprehensive) as they were originally published in magazines like Mayfair, Screw, Swank and Wildcat.

Below are scans from Wildcat that published an extract from Burroughs’ novel Junkie, plus an interview from Swank. There are also the first four Burroughs Academy articles and one short story from Mayfair. More can be viewed/downloaded here.
 
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More readable scans of Burroughs’ skin mag articles, after the jump…

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Posted by Paul Gallagher
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09.02.2016
09:50 am
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Vintage sleaze and pulp erotica by prolific fetish illustrator Eric Stanton
09.01.2016
12:45 pm
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The cover of ‘Rent Party’ illustrated by Eric Stanton, 1964.
 
Fans of fetish artist and illustrator Eric Stanton allegedly included Howard Hughes, Douglas Fairbanks Jr., and well-known white cotton panty enthusiast Elvis Presley. During the 50s and 60s Stanton’s illustrations of tough, truculent women (often clad in bondage-style outfits) graced the covers of a huge number of “adult oriented” pulp novels and paperbacks that to this day are as controversial as they were six decades ago.
 

‘Young Danny,’ 1966.
 
Stanton was a part of a group of New York City-based fetish artists who were all getting their start around the same time like Bill Ward, Bill Alexander, and Exotique magazine illustrator Gene Bilbrew. In the late 1940’s after responding to an ad placed by the notorious Irving Klaw, Stanton’s illustrations started to get a bit more attention. He would then go on to improve his artistic style under the tutelage of the pioneering comic illustrator Jerry Robinson—the creator of Robin the Boy Wonder; the Joker; Bruce Wayne’s butler, Alfred; and Two-Face. Later, at the urging of Klaw Stanton, started to introduce BDSM themes into his illustrations. Here’s a quote from Stanton about some of the inspiration he would tap into for his risqué concepts that will likely remind you of a certain R. Crumb and his obsession with large tyrannical women:

I have always loved Amazons. The word itself is exciting. I’ve invented variations such as the Tame-azons who tame men. Being short and a little shy as a young man, I loved the idea of big strong aggressive women who would use their strength to wrestle me down.

By the late 50s Stanton had parted ways with Klaw (and his first wife) and hooked up with Stan Lee’s right-hand man Steve Ditko (the illustrator behind Spider-Man). According to Stanton the fictional character of Spider-Man’s “Aunt Mae” was actually his idea that was then adapted by Ditko for the Spider-Man comic. Stanton’s massive illustrated legacy is highly sought after by collectors and adult pulp novels featuring his art (that once sold for as little as 75 cents) routinely sell for a couple of hundred dollars depending on their condition. Original prints and pages from books containing Stanton’s illustrations and original watercolors can fetch anywhere from $10,000 to over $35,000 each. If you dig Mr. Stanton’s work but lack those kinds of funds, there are several books dedicated to his debauchery out there such as the aptly titled 2012 book The Art of Eric Stanton: For the Man Who Knows His Place. A lovely and somewhat NSFW selection of Stanton’s pulp covers from the 60’s as well as a few of his originals from the same era follow.
 

 

1965.
 
More after the jump…

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Posted by Cherrybomb
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09.01.2016
12:45 pm
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‘My Life in Orgone Boxes’: William Burroughs on his sexual science experiments in OUI magazine, 1977
08.30.2016
09:08 am
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Burroughs contemplating an orgone box
 
As a contributor to this blog, I spend a lot of my time poking around looking for suitable subjects that might please and edify the DM readership. When I come across an item uniting William S. Burroughs, Wilhelm Reich, Jack Kerouac, orgasms, heroin, Jean Cocteau, and even tangentially Kurt Cobain that has not been written about all too much, I can be sure I’m in the ballpark of a good DM post.

In 1977 OUI magazine published an item by William S. Burroughs with the title “My Life in Orgone Boxes,” in which he explained that he built his first orgone accumulator in 1949 on the farm of a friend named Kells Elvins in Texas. Among other things, in the article Burroughs addresses Jack Kerouac’s fictionalized version of Burroughs’ device as presented in On the Road but insisted that the account was “pure fiction.”

That Burroughs used an orgone accumulator is (a) pretty well known, and (b) not very surprising, given who Burroughs was. But let’s back up a moment here. What is an orgone accumulator, anyway? (It’s sometimes called an orgone machine or an orgone box.) Reich was in the first wave of post-Freudian thinkers, and he attributed his discovery of “orgone energy”—that is to say, energy with the capacity to charge organic material (cellulose), unlike electromagnetic energy—physical manifestations of sexual energy—as occurring in January 1939, after working off of Freud’s theory of the libido.
 

One of the first experimental orgone accumulators. Note the stack of Reich/orgone publications propping the door open. Much larger version here.
 
Reich was sure that he had discovered the secret to manipulating and enhancing sexual experience by removing/satisfying electric blockages within human beings. Quoting from his book The Function of the Orgasm: Sex-Economic Problems of Biological Energy (The Discovery of the Orgone, Vol. 1):
 

The orgasm formula which directs sex-economic research is as follows: MECHANICAL TENSION —> BIOELECTRIC CHARGE —> BIOELECTRIC DISCHARGE —> MECHANICAL RELAXATION. It proved to be the formula of living functioning as such. … Research in the field of sexuality and bions opened a new approach to the problem of cancer and a number of other disturbances of vegetative life.

 
Check that out: “the formula of living functioning as such,” wow. Reich’s idea was that orgone energy was virtually everywhere and pointed to both the aurora borealis and the blue tint seen in sexually excited frogs as evidence. As he put it in The Function of the Orgasm, “‘Biological energy’ is atmospheric (cosmic) orgone energy.” Then:
 

The color of orgone energy is blue or blue-gray. In our laboratory, atmospheric orgone is accumulated or concentrated by means of an apparatus specifically constructed for this purpose. We succeeded in making it visible by arranging certain materials in a specific way. The blocking of the orgone’s kinetic energy is expressed as an increase in temperature. Its concentration or density is indicated on the static electroscope by the differences in the speed of the discharge. The spontaneous discharge or electroscopes in non-ionized air, a phenomenon designated as “natural leak” by physicists, is the effect of atmospheric orgone and has nothing to do with dampness. The orgone contains three kinds of rays: blue-gray, foglike vapors; deep blue-violet expanding and contracting dots of light; and white-yellow, rapidly moving rays of dots and streaks. The blue color of the sky and the blue-gray of atmospheric haze on hot summer days are direct reflections of the atmospheric orgone. The blue-gray, cloudlike Northern lights, the so-called St. Elmo’s fire, and the bluish formations recently observed in the sky by astronomers during increased sun-spot activity are also manifestations of orgone energy.

 
It was later realized that Reich’s device for enhancing sexual stimulation with electricity was more or less a modified Faraday cage.

As Burrough writes in the OUI article, in addition to the one he and Elvins built, Burroughs also made a smaller version, a “potent sexual tool” constructed “from an Army-style gas can.” Burroughs used the smaller tool inside the larger box, “held the little one over my joint and came right off.” Then, in an aside, Burroughs explains that Jean Cocteau used to ejaculate without using his hands as a kind of party trick. Some trick!
 
More after the jump…

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Posted by Martin Schneider
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08.30.2016
09:08 am
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