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Fountains

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Howard, Kansas





weird ass water fountain





Klaus Weber’s fountain installation titled 'The Big Giving' was set up at the Southbank Centre in London, UK, in the autumn of 2007. The fountain includes a group of different figures displaying a variety of human bodily functions including sweating copiously from the armpits, urinating, and post-nasal drip.





'Evil Eye of Water', Longwood Gardens, Pennsylvania





Blood Fountain, Swansea, Wales










If you're in New York this summer there's a rare chance to see one of Bruce Nauman's largest ever sculptures. 'One Hundred Fish Fountain' is a fully functional fountain comprising 97 bronze casts of fish suspended throughout the air which noisily shoot water out of their mouths into a large basin below. Measuring 25 feet and 28 feet on its sides, the sheer scale of the work alone is impressive.





Entrance of the Swarovski Headquarters, Austria





Suddenly, a 9-meter Sand fountain (geyser) apparead, in the Al-Ahsae City, Eastern Saudi Arabia. Immediately, Armaco geological teams and scientists hurry to deal with this strange phenomenon, but they did not succeed in explaining what happened.





Osaka, Japan





Rome, Italy





Cleveland, Ohio





'Electric Fountain' is a public artwork by acclaimed British artists Tim Noble & Sue Webster. Inspired by the Plaza at Rockefeller Center, this 3-D light sculpture is in the form of a monumental fountain measuring 35’ in height and 30’ in diameter. The design and sequencing of the work, fabricated from 3,390 LED bulbs and 527 meters of neon tubing, replicates the movement of water.





The 'Kindlifresserbrunnen' (Child Eater Fountain, in German) or Ogre Fountain dates from 1544 and is one of many Gothic fountains dating from Bern’s golden age. The ogre that sits atop a tall tower is depicted biting hungrily into the head of a squirming baby while other fearful infants peek out from the bag slung over his shoulder.










Alexandria, Egypt





'Air Fountain' | Daniel Wurtzel: Sheets of colored fabric fly continuously above a disc shaped base with a reflective black mirror top surface. With no visible means of propulsion, the viewer is left to speculate about the source and dynamics of their movements. This piece may be made at virtually any scale as a sculpture, an architectural installation, a round, movable stage unto itself, or incorporated into a larger flat surface.





'Piss Fountain' displays two men with rotating dongs on either side while urinating. This statue is installed just in front of the Kafka Museum entrance in Prague. The robotic dongs make shapes in the water below in a pond that has the shape of the map of Czech Republic. You can get your own phrase or message typed in the water if you message on a special number.





Bedside water fountain





Frozen fountain, Helsinki, Finland





'Big Bang Fountain' by Olafur Eliasson: The stroboscopic water installation at the Fondation Louis Vuitton in Paris part of the exhibition Contact by the Icelandic-Danish artist Olafur Eliasson





Duisburg, Germany





Et pour finir en beauté, l'artiste japonais Fujiko Nakaya a réalisé une installation atmosphérique dans les bassins du square Jean Perrin, devant le musée. Son outil: des brumisateurs d'eau potable à haute pression qui pulvérisent de minuscules gouttelettes pour créer cette sculpture de brume. Retrouvez toutes ces œuvres au Grand-Palais à Paris dès maintenant et jusqu'au 22 juillet 2013.





'Fontana del Facchino', Rome





'Shit Fountain', Chicago, Illinois






'Water Fountain of Burj Dubai Lake' is the world's most expensive and largest water fountain. It is over 900 feet (275 m) long and can spray jets up to 500 (150 m) feet high. The fountain can spray as much as 22,000 gallons (83,000 l) of water in the air. It has 6,000 super lights and 25 color projectors.





La Canada, California





The fountain, called 'Metalmorphosis', located in Charlotte, North Carolina, is made from massive stainless steel layers that rotate 360 degrees and occasionally align to create a gigantic head. The structure makes very little noise when in motion.





'The Neptune Fountain', Bologna, Italy





Lisbon, Portugal





Plovdiv, Bulgaria





GTA weird fountain cheat





Villa Rufolo, Italy





Chocolate fountain, Jean-Philippe Patisserie, Las Vegas





'Nation for Itself Forever' also known as 'Narod sobe navzdy' created by David Cerny is located in Prague atop the national theater. It was placed there in 2002 and shows the sculpture pleasuring itself and spraying water all over the city below.





Amazing Indoor Water Features Water fountains indoor for the home create the very best water fountains indoor that optional based on preferences in how to design and decorate home interior spaces. Outdoor water fountains for the home are now applicable into indoor home spaces and purchasing at Walmart will give you the very best references.





'Charybdis' is an unusual inverted fountain designed by William Pye for Seaham Hall in Sunderland, England. It is made of a massive transparent acrylic cylinder filled with water flowing in a circular movement, which forms an air-core vortex in the centre. One appears to be looking at a solid uncontained block of water as the acrylic seems to have no substance.





Arctic conditions have turned a geyser at Letchworth State Park in western New York into a five-story "ice volcano".





Salt Spring Island, British Columbia, Canada





Quilpue, Chile





Greenville, Kentucky





Water fountain, Bern, Switzerland





'Troika Rope Fountain' by Eva Rucki, Conny Freyer and Sebastien Noel in the Hoog Catharijne mall, Utrecht, Holland.





Kosice, Slovakia










'Mustangs at Las Colinas' is a fountain by Robert Glen, that decorates Williams Square in Las Colinas in Irving, Texas. It portrays a group of wild Mustangs at 1.5 times life size, running through a watercourse, with fountains giving the effect of water splashed by the animals’ hooves.





Waterfall fountain at Dubai mall





Montreal Botanical Garden





Highway 71, Ohio





When I was driving across the greenest part of Holland, I stumbled upon a great piece of Bronze art by accident. Right there in a pond stood 4 statues of famous Dictators like Stalin, Franco, Louis XIV.. and they are all spitting in each others faces in a symbolic way by using water from the pond. The Spanish artist Fernando Sanchez Castillo is responsible.





Rafael Ferrer 'Deflected Fountain for Marcel Duchamp', 1970





Donetsk, Ukraine











The University of California, San Diego (UCSD) recently lost one of its campus’s most subtle and unusual piece of public art. An untitled fountain by the late conceptual artist Michael Asher, created for the university’s Stuart Collection of site-specific art, was reduced to rubble earlier this month when a masked vigilante wielding a sledgehammer rampaged through the campus, San Diego 6 reported. During his spree, the perpetrator also broke eight surveillance cameras surrounding the campus’ Mandeville Center and left behind a message scrawled in golden spray paint that read: “YOU CAN PAINT OVER ME YOU CAN CATCH ME YOU CAN EXPELL [sic] ME I WILL STILL BE HERE.” The sculpture, a granite and steel replica of a generic indoor drinking fountain, subverted the conventions of outdoor fountain design while also serving a practical function for thirsty students.




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p.s. Hey. ** Unknown, Hi, again. Thanks for your understanding! And for your excellent work! *** Dennis Cooper, Meh. ** David Ehrenstein, Hi. Gaspar Noe could spit on the ground, and it would be better than anything Von Trier has done since 1998. Ha ha. Soon you will be able to include Zac's and my 'Like Cattle Towards Glow' in your short list of best non-porno films with sex acts in them. ** Etc etc etc, Hi. 'Literary-contextual history on rap': That is extremely intriguing and promising. Very nice. All my receptors are open to your vibes. ** Steevee, I think I got about 25 minutes into 'Brown Bunny' before I'd had plenty. You think the depression might be an aftermath or transition thing from you're having been ill lately? In any case, I'm so sorry, and I'm glad you got your appt. moved up. What do I know, but it seems like your writing 'career' is going really well from a fan and consumer point of view. I heard some bits from the Shamir album. Seemed pretty good, yeah. He's about to play here at the Sonique Villette Festival, and I've been wondering whether to go. ** _Black_Acrylic, Eurovision was last night? No. Wait, was it the semi-finals, or ... ? Did I, with my newly working TV, actually miss Eurovision this year? That would suck. ** Kier, Hi, Inkieredible! Oh, shit. I'm glad your internet did a magic trick! My fingers are getting imaginary sores just reading about all that blackcurrant bud picking. And getting cramps. Do you ever get finger cramps? Like finger charley-horses, to use what I think is the American slang term for cramps? I did once. Ouch. Yeah, all I expect from 'Mad Max' is slightly more than the usual blockbuster-issued fun, so I think I should be okay. What's up with Oslo? Should you nudge them? I think my day was all writing. Zac couldn't read the current draft of the script due to an unexpected personal duty, so I worked on it a little more, hopefully improving-ly. I had to do some revisions long distance on the new Gisele piece since she's in Halle, and I'm not. That was fairly easy. The biggest worry -- that the piece will be insanely long -- turned out not to be true. As of yesterday's version, it's only 1 hour 50 minutes. That would make it by far our longest piece, but it's not insane. She's going to try to find a way to cut ten minutes out of it, though. So, I did those things. And, surprisingly, that took most of the day. This morning I have to go to a funeral. This really wonderful guy Thierry, who worked at my French publisher POL for forever, and who co-translated 'Frisk' into French, and who was just awesome, died three days ago. That's going to be sad. So, I'll do that and then confer with Zac about the script. How was your Friday, all things considered? Big hugs back to you galore. ** James, Thanks, man. Oh, sure, I'll give it a total shot for you. Everyone, Hi. Does anyone within the view of these words have a copy of my o.o.p. scrapbook book 'GONE' that they would be willing to trade with writer/d.l. James for copies of two Peter Sotos books: 'Mine' and 'Comfort and Critique'? That would be really swell of you as well a really good deal. Please, if you can and want to do that, let James know in the comments area unless you have direct contact info for him. Thanks ** Chilly Jay Chill, Hi, Jeff! I managed to put together a Janie Geiser post. It was really good to get back in touch with her work and catch up via excerpts. Such interesting stuff. Post-'Twenty Nine Palms'? I honestly do like all of his films, and I suspect my picks are fairly mine/personal, but maybe ... 'Flandres' or 'Hors Satan'? I saw that you've started a column at Fanzine! That's awesome! I read your first one yesterday. Excellent, kudos! Let me share the wealth with everybody else who might not already know. Everyone, Chilly Jay Chill aka Jeff Jackson ... oh, wait, I'll quote him: 'You - and others here - might be interested in this: I'm writing a column for The Fanzine called "Ideal Home Noise." The first installment covers a box set of Alain Robbe-Grillet films, photography documenting Czech art underground of 1960s and 70s, and a graphic novel with echoes of Raymond Roussel. Here's the link.' You want to click that link, folks, for sure. ** Misanthrope, That LPS mom person is in it deep, it sounds like. So, if it hopefully works out, does that mean you guys will have to start being more hard ass with him about school and not going to bed at 5 in the morning that kind of stuff? ** Chris Dankland, Hi, Chris! Yeah, in my limited dealings with him, as described ... yesterday (?), he seemed pretty proper and reserved and adult. But not in a bad way at all. He had this very dry, pervasive humor that threw a wrench into his reserve and everything he said. But that was in the '80s. Maybe he was more overtly wacked back when it was socially accepted if not even encouraged to be wacked. I hope your morning is both serene and supercharged! ** Okay. I started thinking about fountains, and my fingers started walking, and today happened. See you tomorrow.

Back from the dead: Dirty Words (orig. 12/19/06)

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Alistair McCartney


Porn Miniature:

THE IDEAL

Is a teenage suicide bomber, 18, and short, like 5 foot 3, so short the other boys all make fun of him. But he's well built, surprisingly muscular. Extremely fervent and totally passive. He has a black fade and full lips that live for cum and these dark, liquidy eyes, like octopus ink, that open really wide as you fuck him. Long lashes. Totally smooth, his ass is amazing, plump, exuberant, disproportionately large in relation to his slender waist. It's the kind of ass that makes you want to commit suicide.
    Alone in his bedroom, the boy stands in front of the mirror, wearing nothing but his explosive belt and his black dynamite vest. His ass looks great, but he's completely unconscious of this. Totally oblivious, even as he spreads his cheeks, and gazes at his pink hole, which is like one of those nonpareil candies, and, wetting a finger, fingers himself. If he were aware of his power, he'd see there's really no need to go blow himself up. Mesmerized, the West would stare so long into his ass, we would eventually disappear.
    But the boy is going to explode amongst us. In the meantime, for him, getting fucked with luminous spit is better than being a footballer, better than martyrdom, better than anything.



__________
akechikogorou


Walter (West Berlin, 1987 ? I think he’s dead)

Walter mastered the gas and the brake with his hand while his mouth never stopped making dirty jokes about ‘you fags.’ Carla laughed passionately as if she was flirting with him. Maybe she was ? her hints on the ‘special friendship’ between her and her ‘favorite cripple’ had sounded all but tame.

Viktor and Bob, on whose lap I tried to steady myself, giggled in growing embarrassment, and Hendrik on the passenger seat, showing no sign of interest whatsoever in any of us, shifted his attention between the street names outside in the dark and the map, mumbling commands for directions every once in a while which caused Walter to wait, wait, and then turn the wheel in the very last second.

‘Gay punks!’ Walter howled. ‘What’s that supposed to be? Pink poodles with riveting collars?’

When Bob asked him, in an attempt to defend themselves, since when he was paraplegic, Carla burst out, ‘Since his last car accident!’

Walter sped up the old limousine approaching a yellow streetlight. ‘A large truck crashed into my left side at full speed. My Ford was as cleanly cut as my spine. The legs had to go later, due to an in-fec-tion (he pronounced it like a Spanish holiday resort), but I was happy to get rid of them as they felt like nothing anyway, and actually hands are much, much better for driving. -- You afraid there, sweethearts?’

The community center was located on the sixth floor of an old factory building. There was no elevator. Viktor and Bob had to carry the chubby Walter who looked quite heavy even without his lower third and who had insulted them all the way to here. Carla sang a Dutch chanson to ‘levitate’ them as she called it. I heaved the wheelchair out of the trunk, locked the car and slowly went after them.

The narrow room that resembled a large corridor was crammed with people ? most of them indeed punks and skinheads, plus a couple of Kreuzberg freaks who combined army coats with glitter skirts and wore plastic crowns in the form of a hammer and sickle or the victory column. Outside it reeked of piss, inside the air was thick with smoke. I found Carla, Walter and the exhausted Russian-American couple surrounded by a bulk of others. Some probably Carla’s acquaintances, whereas the rest seemed interested in our cripple. Walter, leaning back comfortably in his wheelchair, enjoyed the attention. While excited glares ran down his thighs to the point where the jeans had been cut off, its frayed hems exposing some dark crumpled skin, he greeted his new friends in his own fashion,

‘You take it up the ass? Why, doesn’t that hurt? Or do you like it when it hurts? You care to pull out the shit somehow before some manimal shoves his dick into your hole? I mean, maybe it’s better WITH shit, I’m no expert on that, hehe. The social guy who handles me on weekdays has a big bulge in his pants every time he lifts me from the john and sees the steaming heap inside the bowl...’

He ejaculated a bleating giggle and smacked one of the guys, who had dared to rub himself against the edge of his left wheel, on the buttocks with the full force of his well-trained arm. The guy squealed.

‘Well, in case I gotta go take a dump later there won’t be any problem getting some assistance I guess.’

We pushed ourselves in a row where some empty chairs were left, but as soon as the first band started their gig, everybody jumped up anyway and the old furniture was kicked away into the corners. The second band consisted of about a dozen sixteen-year old boys with uniform blond hairdos who wore nothing but Bavarian style leather shorts while they played. Their “folk punk” was terrible, but the audience went wild. Some time later (I had managed to get pretty close to the stage) Carla gripped me by the hips and her lips were suddenly close to my ear,

‘They’re at the toilet. Come on ? you wouldn’t wanna miss that!’

We climbed another flight of stairs to where the toilets were. In front of the entrance a crowed had gathered. The guys we elbowed ourselves through all had their dicks in their hands. They were staring in direction of the only existing cabin, whose door stood wide open.

Walter sat on the front rim of the toilet seat. His short-cuffed jeans had been taken off. The admirer from before pressed it to his face. Next to the toilet another one lay on his back, his head bent far backward, and moved to get his tongue deeper into Walter’s asshole. Walter, babbling on incessantly, grunted and cursed.

‘Hey, the bi-queen gives us the honor to join our little private party,’ he barked as he noticed me. ‘Where’s the Russian fag, and his girl, the American fag? Come closer, take a look, sweetie ? see what the wicked cripple will do...!”

A sincere, concentrated expression entered his face. It looked almost beautiful like that. Walter’s cock (I hadn’t even noticed it before) stood up straight like a pole.

The lad under his ass who realized things were about to happen tried to push himself closer using the heels of his heavy black boots. He slipped on the tiles all wet with piss, and kicked several times into the air. Walter groaned. The other one twisted his foreskin between two fingers and pinched the nails deep into the soft yellow stuff. Maybe to divert himself from the object of his desire.

The circle of observers closed in tight around the cabin door. Someone carefully pulled away the wheelchair, which was in the way. Carla slipped in front of me, scratching her stiff sprayed hair against my cheek, and started to unbutton my fly behind her back.

A suppressed moan filled the room as if the air pressure had suddenly mounted. All of them were ashamed. All could feel quite clearly the humiliation the evil dwarf with no legs meant to their community. All knew that every stroke with their hands bereft them of another piece of dignity, but nonetheless ? or, well, because...

‘Whoah! Man, that’s a relief!’

With the raunchiest sound of the world Walter let escape a gigantic turd from his rectum. The other one was so startled by its length he choked. Coughing and convulsing, he rolled to his side, writhed, hit his head hard against the toilet’s base. For about a second it seemed unclear what anyone in the room was supposed to do. Then things happened quickly.

The guy made an attempt to jerk off, his forehead covered with blood, but a gush of puke forced him to stop. Walter made the tiniest of gestures to make another from the first row of spectators drop onto his knees. He opened his black lips wide, and before Walter had even finished yelling, ‘Don’t touch it, sicko!’ heavy white stuff squirted into the gaping throat of the punk.

I came the very same moment. Carla snuggled against me ? my load went over her pants, right across the lighter bulge in her bottom pocket she then used to rub me until it hurt. The others approached as far as they could and shot fountains over the kneeling one’s pink hair and tattooed shoulders. He didn’t care about them. He fixated with his eyes, with the whole of his face the burning red bulb that kept floating in the air and that he was neither allowed to lick nor to kiss, nor even to touch.

‘If I sense the faintest whiff of your breath, I’ll break your neck,’ said Walter’s voice with great calm.

Down in the other one’s groin something fluid sloshed about in short intervals, like an overflowing bottle a child refills at a tap.



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mark


‘A Woman’ an excerpt
From The Consumer
By M. Gira

He’s looking down my dress. He can see my breasts. He wants to hurt me, hang me with the noose that’s in his hand. He’s mocking me with it, swinging it in front of my face, showing me that if I go with him he’ll hang me with it after we fuck. I’m not sure if I want him to hurt me. I know that when he pushes his cock into me it will hurt when it hits my uterus. His cock fills me up and makes me another person, subject to his desire, his violence. He’s going to call his friends over and invite them to gang rape me. Then hang me while they masturbate in harmony with my suffering.



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aaron


So last summer I wrote a porn story for this anthology that came out on Alyson Books called "Hustlers: Erotic Stories of Sex for Hire". The story is about this guy who is obsessed with a porn model named "Shawn." Anyway He finds out that Shaw also escorts and sets up a date with him. This scene takes place before the narrator's meeting with Shawn. He hooks up with some guy from the gym.

The Shawn in the story is based on this one porno guy I'm into named Shane. The story is dedicated to him. I've included Shane's picture along with the excerpt from the story.





The blond guy from the gym is laying face down, spread eagle on my bed. I’ve been rimming him for what seems like hours now. My cock is so hard it’s aching, pre-come dripping. His hole is as pink as his balls and it’s driving me crazy, I just can’t seem to get deep enough in there. He’s moaning, thrusting his ass in my face, wiggling his hips and then I start fingering him. I slide one finger in effortlessly, work it around inside his slick ass, feel its textures, try to find his prostate. Is that? Wait, no. Maybe. Then I work in another finger and then another. I wonder if he’s into fisting. I’ve never done that, but I guess there’s a first time for everything. I pop a fourth finger in. I’m just about to figure out how to get my thumb in him when he starts whining, “fuck me,” in this breathy way that, I suppose could be sexy, but instead comes across as desperate and a little slutty. My fingers make a slight slurping sound as I pull them out of his ass. I yank his hips close to my crotch and spread his cheeks. His asshole his wet and red now, I rub my cock up and down his crack, he goes wild. I push the head of my dick against his pucker and it slides into the warmth of his ass with no effort. Then he freezes, stops moaning, wiggling etc…
    “Dude, are you wearing a condom?”
    “No, shit, sorry, it’s just the tip. Sorry I got carried away.”
    “Okay, just put one on all right? You’re neg right?”
    “Yeah, totally.” I tell him as I go over to the night stand, grab a condom and unroll it over my fading hard-on. Then I lube up and start fucking him. I watch, almost mesmerized as my dick slips in and out of his ass. After I get bored with that, I flip him onto his back so I can watch him jerk himself off. I love watching guys jack themselves while they get fucked, it makes them look so submissive and sad. It’s great. Anytime a guy looks more pathetic in bed, the better the sex is going to be.
    I fuck him for what seems like an eternity. Maybe I loosened him up too much or maybe he’s just a huge bottom whore who’s had his ass torn up too many times, but no matter what position I stick him in I can’t seem to get enough friction to come. He shoots before me, so I pull my cock out of him, take off the condom and masturbate onto his chest.
    After it’s all over we take a shower together, pretend to be sweet to each other, pretend that it was more than it was and then he tells me to call him, like that’s going to happen. Like either one of us really want that.
    Once the trick’s finally gone, I bust into my emergency stash. I have two grams that I’ve been saving for an occasion like this. Basically I feel like shit and it’s either do coke or spend the afternoon crying. At least if I do enough coke I’ll be motivated to clean my bathroom. I don’t think I’d be motivated to do anything if I gave in to this stupid self pity. I have to choke back the tears as I cut lines. Then I snort one and it’s instantly better. Three more days until I meet Shawn, my heart’s all a flutter and it’s not all on account of the coke.



________
winter rates


this is really killing me...

my favorite novel is not on my shelf, my copy is a state away.
it contains my favorite porn scene, one that gave me massive wood on a bus-ride
from Harvard's main campus to their medical campus. (coincidently slothrop attended harvard)

i will be gone before i can track down a copy and copy the phrases...
and won't be back before deadline...

from the index: Blicero with Katje and Gottfried, 94-99, 101-04 (these pages apply to most versions)

illustration #1
illustration #2
illustration #3



______
JW Veldhoen


Barely Legal: An Annotated Lyric Play in One Scene
for DC


Dramatis Personae

Lynx and Lamb, the barely legal Aryan chanteuse duo Prussian Blue
Freestyle boxer and internet gladiator Kimbo Slice
A porn-director named Lorne Green 1

The Setting 2

According to the principles of appropriation and historicization, a Burnaby warehouse, made to appear as a Restoration stage. 3

The scene opens in medias res, with Kimbo bedecked in a banyan, his waistcoat and breeches on the floor, and a cap. Lynx and Lamb each wear a sleeveless bodice 4 and a floss g-string. Lamb bleeds profusely from her nose and mouth, and Lynx has suffered a fierce and savage bout of sodomy, blood and fecal matter smearing her inner thighs. Lorne Green films alone, working cinéma vérité. Both women perform fellatio on Kimbo, who utters the only line of our play 5:

Kimbo: Yeah, suck that dick, bitch.

1. From an abandoned short story by the author entitled "The Mysterious Disappearance of Tracy Trapp, or Death in A Swedish Discotheque".
2. Or scene, since the author has rendered this as a picture, wanting to capture a frozen moment on a stage, not so unlike Jeff Wall's A Ventriloquist at a Birthday party in October. A scene rife with allegorical implications, which, it may be said, are common in image production, especially in the city where the author now lives. See "Mad Tales: Considering Allegorical Tendencies Now" by Jeremy Todd, for a particularly thoughtful examination of this phenomena.
3. Of course, this scene owes too much to too much, and the author must abandon it, having given up on allusion, and since it can only be a pale homage to Robert Coover's Lucky Pierre. Besides, the title "Barely Legal" contrives to point out the difficulties of semblance with regard to living persons (in addition to being a double entendre, a trope with exemplary ties to the Restoration stage) and their representation, which prohibits the staging of this play. An interesting alternative might include a shift to call "Barely Legal" a "lyric essay" (see "Time Must Die: The Lyric Essay and the Fictionalization of Genre by Ben Marcus).
4. Interestingly the sleeveless bodice was never worn, in either France or England in the 18th c. but departures from verisimilitude are oft found in Green's larger oeuvre. The sleeveless bodice was an adaptation of the southern colonies, which might have been more fitting considering the mixed race of the actors, had it occurred to Green, who's productive literary model ought to have been Aphra Behn vs. William Congreve. See The Mythical Bodice, by Ingrid Schaaphok in the Brigade Courier
5. Thus, we know nothing of the characters, or their motivations, or their hearts, as is so common to pornography. A squadron of readers will complain that this is the problem with post-modernism in general, and with footnoted stories in the style of David Foster Wallace. To this criticism the author affords only one response, being that, the only story he can remember is "Funes, the Memorious" by Jorges Luis Borges. The citations, in terms of understanding and recollection, are forgeries, the rest is fiction, with no resemblance to any person living or dead, and merely grotesque.

*
Hyperlinks on JW Veldhoen's blog to the actors, and italics etc.



____
math t


--
When I think of 'porn writing', I don't think of something I've read that got me all hot. I think of something I've done, given up on, and pushed away, nauseated.

If you're pretty cute and comfortable with meaningless sex, you probably do a few porn pics or vids, and/or some whoring/hustling, at some point in your life. Similarly, if you're good with words and comfortable with meaningless sex, you probably write some 'erotic fiction' at some point in your life, for one reason only: It Pays. Since I graduated college, most of my income has come from various ghostwriting and editing projects. Annnnnnnd....

In March 2005, when I was still living in L.A., I was making a last- ditch effort to land a real job and build a real life there. With all the energy I could possibly summon, I was going after a position as an editor at Alyson Books. They're located in a building on Hollywood Bl; I lived just blocks away at the time. After I did three interviews with various people in the parent company [LPI Media, who print The Advocate and Out], I was told they'd narrowed it down to 2 candidates: me and some other girl. The final 'audition' would be that we would each edit an entire book, and write the introduction to said book, under contract. The editing meant about 3 weeks of solid work [true 40+ hour workweeks] and the pay was only $1,000 total [my monthly rent at the time was $860], but I was ok with that because I thought it might land me a Real Job. And really did do the best I could with what I was given.

The book I edited was called Show and Tell: True Tales of Lesbian Lust. Alyson never gave me any copies and I've never even seen the damn thing 'in person'. The editor-pseudonym that Alyson used was Nicole Foster, a personality who 'edits' most of Alyson's lesbian erotica [there is no real Nicole Foster]. All the stories in Show and Tell were written by about 7 or 8 people total. All the stories were absolutely horrible. A disturbingly large number made use of the term 'love button'. My job was [1] to make the stories much, much better and [2] to make them look like they were actually written by like 15-20 people and [3] to write the introduction. PLEASE, if any of you lovely people ever look at this book, keep in mind that I wrote the introduction to ghostwriter- industry- specs. That is NOT my voice. Not even close. Oh yeah and: I don't think any of the stories in the book are 'true tales'. I'm pretty sure that every single story in the anthology was fiction.

The whole experience was frankly terrible and stupid. Literally, it put me off having sex with girls for like 8 months. After reading all that stupid girl-on-girl text and trying to transform it into something actually sexy? I just wanted cock. No love buttons please.

And I didn't get the job. According to the people at Alyson, neither did the other girl. Alyson Books called me one day and said the whole company was being restructured and now there was no job available. That story is plausible enough, but the tone of the phone conversation made me feel like it was all a big, big lie. I have a pretty good bullshit detector. I don't think there was a position available in the first place. So, as Kermit Oswald once said: it is what it is.

__Now. As for writing that makes me really fucking hot? Words that visually conjur a sexual act, wet the insides of my insides, all that amazing shit? The only thing that honestly comes to mind is a one-sentence description of theft, from Genet's The Thief's Journal. Even though Genet is really just talking about stealing a material object in this particular sentence, when I read it, I thought immediately of a hand on a dick, a fist in an ass. I nearly passed out from the sexual energy that overwhelmed me at the time. A few months later, I saw Todd Haynes' film Poison, and I was startled to see that he quoted the same line and also interpreted the line as explicitly sexual. My copy of The Thief's Journal is loaned out, but, doing my best from memory:

'My heart is in my hand, and my hand is in the bag, and the bag is shut, and my heart is caught.'

Now those are words to get off by. Fuck: Yes.



___________
Philippe Mangano




in English translation:

In the toilets
there is The Face
issue number
seventy
two hundred and
thirty-six pages

You can see Mac
Caulay Culkin
spiting out swallowing
his white dribble
on the cover
at twenty-two

He has white
milky eyes without
trace of abuse
even though you think
smooth-cheeked chest
page number eighty

White tank top
Gap grey boxer shorts
the hours are
Roman numerals
thick lip
eighty-one

Grey smoke
visible pore
the coton
became black
not like in the
double page

The fag is white
all the seam
you can't even
see its name
mine is not
stomach ache


*

in the original French:


Dans les toilettes
il y a The Face
le numéro
soixante-dix
il fait deux cent
trente-six pages

On y voit Mac
Caulay Culkin
crachant avalant
sa bave blanche
en couverture
à vingt-deux ans

Il a les yeux
d'un blanc laiteux
sans trace d'abus
quoiqu'on en pense
le torse imberbe
page quatre-vingt

Débardeur blanc
caleçon gris Gap
les heures sont des
chiffres romains
la lèvre épaisse
quatre-vingt un

La fumée grise
pore apparent
le coton est
devenu noir
pas comme dans la
page doublée

La clope est blanche
toute la couture
on n'en distingue
même pas le nom
le mien n'est pas
j'ai mal au ventre



_________
bacteriaburger


I write a lot of porn, so in lieu of posting my own stuff, I thought I'd note porn writing that I especially enjoy.

Lars Eighner has written several books of erotica, but is most known for his nonfiction book "Travels With Lizbeth". Eighner's erotica, in particular the novel "Wank: The Tapes", was the first porn writing to really blow my mind, in that it turned me on both sexually and to the artistic possibilities of porn writing.

"Wank" concerns the sexual goings-on in a college dorm. Eighner takes the tried and true college dorm fantasy and makes it fresh by imagining a world of roles and rules that his straight, gay, and bi characters assume in their encounters. The prose is tight, hard and even poetic. The novel follows the motion of a typical porn scene in that it builds and builds to a penultimate climax; and the way that Eighner manages to sustain this build-up is a thing of wonder. I also recommend his Houston Street stories, which are included in the book "Bayou Boy". In particular, the story "Parks" is as tough, uncompromising, and erotic a coming-of-age narrative as I've ever read.

Geez, I make it sound so fucking academic, but it's really hot stuff, trust me. The only place I've been able to find these books online is Amazon, because they're mostly out of print. I hesitate to post URLs because they're so long, so just go to Amazon and search "lars eighner". If you like a good dirty story, I'm sure you won't regret it.

**

I'm a big fan of amateur erotica. There's a sincerity and earnestness in the best amateur porn that you just can't get anywhere else - the creator is doing it simply for his own pleasure and the pleasure of his/her readers.

Unforunately, it is often poorly written; but a major exception is the work of NPhillydogg, who regularly posts on Nifty.org. His stories of African-American men on the down-low are intensely erotic and offer a glimpse into a fully-realized world. Just to witness the author getting totally carried away with his characters and stories is a blast.

To find his Nifty stories, go to this link, and look for "NPhillydogg"

Or try these stories which I recommend:

"Weed" (p.2)"

"The Kiss"

Another favorite amateur porn writer is Sebastian Wallace, but I won't say anything about him except to direct you to his website, where there's lots to discover and wank over:

http://stories.remoworld.com/

**

Ah, fuck it; I can't resist posting some of my own stuff. This is a link to the latest story posted on my website (http://www.bacteriaburger.com). I think it's one of the better stories I've written this year, but I wasn't able to publish it anywhere. It also relates to some of the discussion I've had with Dennis on this blog, regarding those amateur "straight college guy" porn-model sites:

"Bradley Gets Fucked"



__
E.D.


He had a skinny little mustache that looked like it belonged on a lonely boy from a bleached and weathered photograph in a seventies porn mag. I couldn't tell if I thought it was cool or ugly. When I opened the door of the bar he was right there, an off-center smile and his head tilted back. He moved in sharp, slanted motions that I thought were cute and child-like. We stood in the corner and talked – chitchat. We discovered we both loved the same brand of underwear. "I'm wearing them right now," I told him, and he was, too. "See?" he said, lifting up his shirt and pulling up the elastic band of his underwear above his jeans so I could look. My eyes flickered to the sinewy pubic hairs that peeked out from behind the top of the underwear.

"Do you wanna take a walk?" he asked me. I said sure. The streets were empty and damp, echo-y. The temperature had dropped suddenly, without warning, and I pulled my cardigan tightly around my chest as we walked and smoked. We headed in the direction of his apartment – he led and I followed. I waited for him to touch me, to brush his hand against mine or tap my foot with his shoe, but he never did. When we finally reached his apartment, he stopped and said "you can crash here, if you want" without looking at me. I said sure.

In the kitchen he made toast and sprinkled some yeast on it before he bit into it, which I thought was weird. "I'm obsessed with toast," he said with a full mouth. "I eat it all the time." He found a half-full bottle of cheap wine and when he finished eating we took it to his room. He lived in a railroad and his roommates were asleep, so we had to tiptoe through their bedrooms to get to his. The door to his room was made mostly of thin glass panes, so we still had to talk in whispers. His walls were painted a comforting baby blue, but the room was stuffy and still, which made it seem like some forgotten nursery for a stillborn boy.

His bed was just a worn mattress supported by some crates that were uneven, making the bed slope down at the head. We sprawled out on it and downed our wine. We laughed at the same things for a while and then he kissed me. It felt sweet and that bothered me – I liked him. I liked him enough to worry that maybe if we fucked I'd never see him again. But he kept kissing me in quick, balmy swipes and I let go. We took our clothes off.

He was unbelievably skinny. He had a wiry torso that seemed longer than me and hips that poked out of his body frame like handle bars. His cock was thicker at the base and thinned out towards the head, which I liked. Pressing my fingertips along his backside, I felt each of his…flaws. But they didn't seem like flaws on him. The spot of acne on his shoulder, the dark moles on his back, the insistent black hairs that swirled above the crack of his ass – they were beautiful and they made him real. I wanted to memorize each of them. With his clothes off his body odor overtook the room – it was pungent and stiff but gorgeous, and I found myself drawn to his armpits.

The sex was warm and fragrant and we fell asleep quickly, his pointy skeleton nestled into my hide. In the morning we gave each other blowjobs before he had to go to work. When I was about to come, he pulled his mouth away and I shot it on his hand. When I was sucking him he never told me he was close, and he ejaculated in my mouth. I almost gagged, but I swallowed it all.

As we ambled to the subway under gaudy daylight he said that we should see each other again. He was leaving for business next week, though, and he'd be gone a while – but perhaps this coming weekend, he suggested. I nodded. He didn't return my first phone call, but he answered the second one and his voice was placid and tender. Maybe we could get together on Halloween, he said. But he didn't call. A few days later when I called he told me "look, I think you're a nice guy..." and the words just kind of dissolved into soft, fuzzy noise after that.

So then I hated him. I would see him in bars every so often and I would hiss at him from afar. Eventually, he'd spot me, come over and say things like "you look really great. I love your beard," and that made me hate him even more, that he was being so sweet. I thought my hatred was a good thing – it kept me from pining after him.

But one night he didn't say anything to me at all. From my perch at the bar I saw him walk in, and I groaned to my friends. I tried to ignore his presence, but a few minutes later I turned around and he was just standing there, next to me. I could only mumble "hi." He stared for a moment and then he leaned into me drunkenly, pushed his mouth against mine. His tongue separated my lips, filled my mouth, seemed to find its way down into my throat. The kiss was endless, overwhelming. It left me disoriented, and hard. We left for his apartment.

Outside he tripped on the sidewalk and pretended it didn't happen. He was glassy-eyed, wasted. We ignored all the other passengers when we got on the subway and I laid my head in his lap while he twisted my hair in his fingers and hummed. On the walk to his apartment his pants kept falling down because he wasn't wearing a belt and he would have to stop and hike them up. We would make out and I'd stick my hands down the back of his pants to feel the heat coming off the skin of his ass. I'd press his crotch into mine to feel his erection and then we'd keep walking. Before we got there we stopped and pissed behind some cars and I watched his stream of urine snake down the pavement.

It smelled like a casino inside his apartment. Everything seemed to be coated in ash and soured cigarette butts. Lumps of clothes and empty ice cream containers dotted the floor. There was an empty condom wrapper right by his bed. It bothered me. He's dirty, I thought, and I'm going to fuck him anyway. I was still drinking whiskey, trying to catch up with him, when he offered me what he said were anti-epilepsy pills that were like percodan or percoset or something. "They just make you feel really good," he explained. I didn't ask how he got them. He stuck his palm out, two little pills in it. I took them and when he turned his head I shoved them in my pocket. He told me he had gone on a bit of a drug binge a few days ago - just random pills - but that he hadn't taken any in a few days. I wasn't sure if I believed him. He seemed more than drunk.

Once we stripped he never took his mouth off me. His kisses were heavy and warm, sloppy. When I realized that I still had my pink bandana around my neck I took it off and blindfolded him. "That's hot," he said, as I pushed his spine against the mattress. There was a shoebox full of off-brand condoms under his bed. I snatched one, tore open the wrapper and slid it on his cock, which was pulsating. Once it was in me, we couldn't stop fucking – we were attached, we were melded, we were meshed in flesh and moisture. His thrusting was aggressive and he panted and squinted his eyes. We fucked so hard we would slide off the bed, over and over. But we didn't stop, we didn't separate – we just kept going on the floor. I would slap his ass, grab huge chunks of skin, and he would pump faster. Then he would make a little fist and press it deep into my chest, right by my nipple. I grunted when he did this, and he began to do it a little harder. Instead of fuck me I found myself whispering hit me. And then I wasn't whispering anymore. He was shushing me and I was saying hit me. I didn't care what he was thinking. I started shouting and he was sneering Shut Up. Shut Up. But he was hitting me.



______
KENVULSION


ST Lil Bro (4) Punishment Party t/t m/b group spanking anal enema toys speedos

(Part 4)

That weekend there was a BBQ at Coach's house outside of town. It was an orientation for rookies since swim team try-outs started in two weeks. Even though Jimmy still had another year at Junior High School, coach wanted him on the High School Team. Jimmy had won the district championships in his age group (10-13) in both the 50 Freestyle and the 100 meter breastroke. He was already showing a natural talent. And not just in swimming.

Coach let Mike know that Lucian and Ian had told him everything. All about busting his little brother's ass cherry, and details about other little swimmers they raped at their clubhouse. He had seen pictures of Jimmy's adorable ass being abused. Mike was ordered to bring him to the BBQ and told specifically not to touch his little fanny. No spankings. No assplay. No fuckings. The only thing he was allowed to do was lotion it.

Of course these were very hot thorough lotionings that started as soon as Mom and Dad left for work in the morning. Mike and Jimmy took full advantage of the last few days of summer, spending long hours in their room having sex. Jimmy would lie there every morning waiting for his brother's hands to slide under his briefs. He loved being stripped, spread and lotioned. Every inch of boy fanny was polished. The soft supple white cheeks and deep smooth crack, endless circling and probing of the pink starfish. It made Mike crazy, exploring his baby brother's tender back door, and not being able to fuck it. But he knew not to disobey coach. Mike had a feeling he was in for a spanking. Didn't seem like the Coach was very pleased about them ass raping his 12 year old brother.

By the time Dad dropped them off at the Coach's house the party was in full swing.
In the backyard upperclassmen and even some older guys were gathered around the smoking BBQ. Clearly they weren't just BBQing ribs either. Someone yelped as a paddle smacked a wet Speedo clad bottom.

In the driveway five 13 and 14 year old boys were polishing the Coach's large black SUV. All of them were in Speedos, and embarrassed since everyone else was dressed in shorts and shirts. Each had been invited to try out for the team not because they had fast times, but because they were the hottest boys, Pony Boys who had just spent the summer splashing around the pool getting golden brown tans. The upperclassmen scouted the Youth Swim Team for the best, roundest asses. Sometimes it wasn't even sexual attraction that made them personally invite these boys to try out for the team. Some of the straight bullies just liked how a bubble butt bounced during a spanking.



These poor little boys actually believed that they would be swimming that day. Instead they were getting their tails roasted. 13 and 14 year old boys in wet speedos were being made to detail the Coach's truck while a bunch of seniors paddled them. Random blasts with a garden hose kept their asses nice and wet, which made the paddle sting even more.

"You missed a spot faggot."

CRACK !

"OWWWW It hurts"

Each year the swim team held a car wash to raise money. People came from miles around to have wet Speedo clad teenagers polish their cars. The freshmen were told they needed to learn how to polish a car properly.

"If you miss another spot on that bumper I'm gonna paddle your ass raw!"

Jimmy was turned on by the sight of the 18 year old swimmers paddling his friend's small behinds. These were all boys Jimmy knew from the pool. All that swimming was good for building tight muscular little bottoms. Nice deep cracks for wet speedos to wedge themselves in. There was a lot of fanny flesh on display. Innocent little boys being circled by paddle weilding predators. Swim team hazing had begun.

One of the Seniors was particularly hot and evil looking. This guy looked right at Mike and Jimmy and headed in their direction, a beer in one hand and a small paddle in the other. Paul came right up to Mike and swatted him on the ass. He then pulled back Mike's shorts and Speedos to have a look at his crack.

"Hey Pussyboy. Guess you didn't see Coach yet. He wants you in the Basement."

The way Paul hissed this into Mike's ear made Jimmy wonder if he punished his older brother. Mike's cock bulged as Paul continued exploring his ass. He was rubbing the very top of the smooth crack, right below the tanline.

"When he gets done with you find me. Understand Hole?"

That little paddle cracked against Mike's tender fanny flesh. Smooth pale unexposed ass that hadn't been punished all summer. It was clear what kind of BBQ this was and Mike's 15 year old's ass was on the menu. Unwittingly, he had brought his little brother to one of the coach's Punishment Parties. And it looked like the party was being held in honor of Mike his buddies. Mike noticed none of them were out in the yard. He had a pretty good idea what was going on inside the Coach's rambling ranch-style house.

The stairs to the basement were right inside the back door of the house. The sound of hard spanking and lots of crying was coming from downstairs. Asses were being loudly punished.

A den area was set up in the main part of the basement. There was TV, PlayStation,
and plenty of room for the swim team to hang out, which they were welcome to do any time they wanted. Everyone was chilling, relaxing with beer, chips and dip. ESPN was playing on the big TV set. It looked completely normal and wholesome, except in the middle of the L shape sectional a strapping Senior named Luke had Lucian bare ass in the wheelbarrow postion. Lucian's blue Arena racing suit was yanked down just below his buttcheeks. No one was paying that much attention to the smooth 15 year old being punished. He was spread on Luke's lap with his strong legs pulled apart, face down, hands laced together and on his head. This was one of the best spanking postions. In this postion a boy always showed hole. Lucian's little winker was pulsing every time Luke's hand landed on one of his meaty cheeks. You could tell that Lucian had been getting his fanny tanned all afternoon by Coach as well as Luke. The glimmer around the teen's hole indicated ass play as well. They were always teasing Lucian because he was pretty. His long eyelashes, pouty lips, and long hair made him look almost like a girl, especially when his ass was in the air. Sometimes they made him wear a pair of pink silk panties, and a little teddy. In spite of his ten inch cock he was a trained pussyboy.

"My hand's gettin tired Lucian. Guess it's hole time."

Luke picked up a long dildo from the coffee table and started to lube it with Vaseline.
There were paddles, straps, handcuffs, buttplugs, empty beer cans, smashed potato chips, and a big jar of Vaseline on the table. The red dildo Luke was going to use on Lucian was about 14 inches long, an inch and a half thick, and it vibrated. The thing buzzed to life and then was slowly pushed against Lucian's pink hole.

"See baby, it's got four different speeds."

Luke put only the tip against the wet hole and showed Lucian how all four settings felt. It buzzed his hairless ass pucker, making it flutter obscenely. After this little warm-up the fat dildo was slowly roatated in. The guy next to Luke got interested and helped pull Lucian's ass farther apart. He had a nice hole. The rim got inspected, looked at, rubbed. The dildo probed in and out. A finger would swirl around the hole every time the toy popped out. Another glob of Vaseline was rubbed in so the dildo could go deeper. Everytime Lucian moaned his ass got slapped which made his anus open further. Soon 7 inches of dildo was in the teen's ass. From his prostrate to the rim of his hole, his butt was being buzzed. No attention was being paid to his throbbing ten inch cock, dangling between Luke's legs. They didn't want him to cum until he was upstairs.

In the bedrooms upstairs three of the teens involved in Jimmy's ass rape were being gang banged. Coach had already finished frying their fannies. After a full punishment session that included some OTK and an enema, the 15 year olds were sent upstairs to spread.



Seniors, and even some older guys were lined up in the hall waiting to get into one of the rape rooms. Mike's teamates were tied up, with plenty of hard cock waiting to plug any available hole. The beds were stripped down for hard play, each boy's ass was in the air, face pussy available. Pulled down Speedos were used as cum rags. Hard muscled swimmers pounded away at the supple asses and hot wet mouths. Free beer and tight pussy, what stud could turn that down? No one cared if it was boy pussy they were pounding. These boys were young, smooth and hella tight. With their speedo fuck panties pulled down you could hardly tell that they weren't girls. Some of them, like Ian had better looking asses than a lot of these guy's girlfriends. There were guys there just to perv, a few real dirty talkers who would whisper the nastiest things in your ear about how pretty your mouth or hole was, then cream all over your face or up your nose. Coach invited the nastiest guys to the Punishment Party to make sure each of the six boys got banged good.

"Hey Fag, want a beer?"

Ian was about to get a beer enema. Someone was twisting an icy cold bottle into his small pink hole. The coolness felt good on his punished flesh, but he knew that once the liquid was inside they would leave him there, with the 40 ounce bottle shoved up his ass. He cried and screamed as the cramps started, writhing helplessly against his binds.

"You leak a drop of that beer and we'll make you drink it."
"Yeah dude! Let's make him drink Ass beer!
"Put a hose in his ass and drain it into his mouth!!"

The guys in Ian's room opened more beers and took a break from pounding his pussy. They talked among themselves about which teen was tightest, who sucked the best cock, which ass took the hardest spanking. Someone decided a beer enema was a good idea for all three bottoms. More than thirty cumloads had already been deposited, and the gang bang had just gotten into full swing. It was time to clean the pussies out, stretch them on the fat bottle necks. Each got a full forty ouncer.

Ian reached agony first, so they untied him and he was alowed take his enema dump.
He would sure to suffer more since everyone was getting into torturing his little ass. They could do anything they wanted to him. He was so drunk from the beer enema that he would probably pass out, then the fisting and double dicking would begin.

Meanwhile, downstairs, Mike and Jimmy were standing in the doorway of the Coach's discipline room. It was about 10x10 and painted black. A door in back led to a small bathroom. Next to it was a custom padded punishment table. It was adustable and had many leather straps to restrain the victim. The thing was designed to perfectly spread and immobilize a teenage boy. There was a metal stand for an enema bag and three drawers underneath for medical and surgical toys.

Spanking implements and toys were kept in a large oak cabinet. Many a boy shivered as the Coach would choose among the many devices he had to torture hole. Also to be found were a myriad of restraints, gags,cameras, ball stretchers, pony tails, the collection of a true sadist.

Center in the room was the Coach himself. Seated in a sturdy wood chair. Seth, the boy who had taken the digital pictures of Jimmy's rape was over the Coach's knee. Nothing was more embarassing to a maturing 15 year old than getting an over the knee spanking. Getting your speedos yanked down, and then being treated like a little baby.

Seth had a baby ass. It was very round and bouncy. Not only hairless, but extremely soft. Everyone loved looking at Seth's deep crack in the showers. He was a shy boy and tended to be the voyuer during their sex parties. Mike wasn't even sure if he had given up his ass cherry yet. He was into group J/O sessions and dirty talk on the phone, but hadn't had that much actual sex. Coach delivered another series of fast swats to Seth's cheeks, he had been riding the man's knee for about thirty minutes. His tail was roasted. Coach wiped his sweaty brow and then motioned Mike and Jimmy into the Punishment Room.

"You must be Mike's little brother. Come over here so you can see better. I'm just taking a little break here. My hand's getting tired."

SWAT!

"You like seeing boys get their fannies tanned?"

SWAT!

Jimmy was transfixed as the Coach's big hand rubbed Seth's spanked fanny. His finger were roaming all over. Lightly stroking the crack, then down between the legs and back over the bright red punished cheeks.

"Mike go fetch me the Fanny Sauce and that black latex Spanking Glove from the cabinet."

Mike knew right away what Seth was in for. Once coach got done spanking with his bare hands he would put on a thick Latex glove designed especially to punish ass. Coach could tan fanny all afternoon and never worry about his hand getting sore. The latex made the spanking that much more painful. Worse were the fingertips of the glove. Each had raised bumps and thorns. Cheeks were pulled apart and the fingertips would dance over the exposed flesh. This is where the "Fanny Sauce" came in.



Every time there was a Punishment Party the Coach would whip up a batch of homemade Fanny Sauce to slather on each punished boy's ass. The sauce had a base of Baby Oil and was seasoned with peppermint oil, ground ginger,ground red pepper,and a special ingredient that made the skin itch. This fanny sauce was in a large bottle custom fitted with a large nozzle. Coach squeezed some of it into his hand and began rubbing it into Seth ass cheeks. At first it felt soothing, but soon the oil would heat up. making his ass feel even more on fire. The poor guy was soon thrashing around trying to put the fire out. Coach kept Seth's arms pinned so he couldn't rub his tortured tail.

The ass went higher as the Coach repostioned him with his legs spread. Seth was showing hole. The hole didn't get touched. Just looked at. After drenching the crack in sauce Coach went to work on it with the bumpy tips of the gloves. He massaged and teased the whole crack while dancing around the hole. Heat seared tender flesh as the wicked latex bumps and cones circled closer to the pink skin around Seth's pucker. Coach used his forefinger and thumb to spread the area around the anus and used his middle finger to lightly tickle it. The smallest bit of Fanny Sauce was now being applied to the most sensitive part of this boy's body. Every nerve felt the sweep of the fingertips molesting the fifteen year old's innocent back door.

"See how that Fanny Sauce is making his hole burn?
You're getting my finger twenty times all the way in and all the way out Seth.
You tell me when your ready."

Seth didn't want the Coach up his ass, basting it with that fucking sauce. But soon the itch at his hole was too much to bear. He was helpless. There was no way he could get at the itch. Coach loved looking at Seth's hole as the sauce did it's trick. The little thing was winking as the tip of his fuck finger grazed it. Then Coach suprised him with a hard slap to the left cheek.

"Tell me when you're ready."

"Alright Alright. Do it."

Coach re-spread Seth's ass. "Do what boy."

"Finger my ass."

The black latex fuckfinger corkscrewed in and Seth felt every inch. The bumps and protrusions were tickling his sore, hot opening. Coach wiggled his finger once it was all the way in, and after a little probing it was slowly corscrewed out.

"That's one boy. I want you to fuck yourself on my finger now. You've got nineteen strokes to go."

What a little slut Coach turned this kid into. Making him screw his own ass onto a middle finger lubed with torture sauce. And he was doing it in front of his best friend and his kid brother. They were watching Coach make a pussy out of his unexplored asshole. The guy really knew how to use his thick long fingers. He played that ass like a piano. By the tenth stroke Seth was really riding it. Coach was making a real nice ass pussy for the team to exploit, and he wasn't nearly done.

The fingerfucking speeded up, Seth was on fire at this point. His hard-on was postioned between the coaches legs and stretched the pouch of his pulled down Speedos. Nothing mattered but the finger tickling the depths of his ass and deliciously tight place he was humping on Coach's legs. As embarassing as it would be, he was about to blow a load into his Speedos and all over the Coach's lap while cornholing himself on that middle finger. Mike and Jimmy couldn't believe it as Seth creamed his pouch. Some of it even landed on the floor.

He got another sound spanking for cumming without permission and staining his Coach's pants. Seth was made to suck his own load out of the pouch of his Speedos before the Coach stuffed them in his mouth. The boy was made to stand in the corner with his hands on his head, showing off his red ass. The fanny sauce would roast his flesh for another twenty minutes, making Seth dance around and moan into his gag.

"This is the same punishment all of your buddies got Mike. When I'm done with Seth you're next. Now go fill up the enema bag for him."

As the red two quart bag was filled with water, Coach explained to Jimmy the punishment each boy was being given before being sent upstairs to get banged. It was called Fire & Ice. First the OTK ass roasting. Then the Fanny Sauce got rubbed into the cheeks and deep inside. This had them singing and dancing as it grew hotter and itchier. A cum soaked Speedo gag made it even more humiliating.

After corner time came the "Ice" part of the punishment. Coach had a small freezer in the corner of the room that contained Klyster enema nozzles for each boy. The nozzles are made of machined satin finished aluminum. This metal is beautiful, durable, light enough for comfortable wear yet heavy enough for a very solid feel. The nozzles were shaped like butt plugs, some tapered, others had bulges, one was rippled. They were all more than six inches long and two or three inches wide.

Once Seth was secured to the punishment table Coach got ready to give him an icy enema. The water in the enema bag was cold, but the nozzle was freezing. Seth was terrified as his Klyster nozzle was removed from the freezer, gleaming in the dim light. He had never seen anything so scary looking. It was coated with mentholated gel and attached to the enema hose. Seth knew it was going to be screwed into his little ass.

Coach had to spank him apart. The kid still had enough of a fight left to squeeze his butt cheeks together, trying to avoid the freezing thing about to invade his ass. Useless. It sank into his fresh hole. All the way in.

Then Coach tenderly rubbed his back and he relaxed enough to breathe and begin to deal with the huge butt plug dialating his asshole. It sent shivers through him, but the freezing cold plug cooled the effects of the Fanny Sauce, which had been roasting his pucker for the last ten minutes.

"Just open up and take it, it's just like stretching before a race Seth."

A little of the lube dribbled down Seth's balls. He was fully exposed on the table. Cock and balls hanging through an opening in the table. It was designed so that the Coach could bring his chair over and comfortably study a boy's ass from between his splayed legs. There was also a convenient goose neck lamp. It provided focused bright light. You could see Seth's pink assring throb around the base of the custom torture nozzle. Plenty of light to look at hole, even take some pictures (gotta pay for those nozzles somehow.) Sometimes the Coach put on his reading glasses to he could really inspect the flesh he was torturing.

This Coach was the kind of guy who made boys quiver just by looking at them with his piercing blue eyes. He was a stocky, dark man. In good shape for his age because of years in the pool, training and tightening boys up til they were ripe for the table. Seth's asshole was beautiful. Perfect age to begin prolonged stretching.
The fat enema nozzle would be in there for a good half hour while the coach slowly filled him up. This fifteen year old boy was an enema virgin.

Cooling water blasted his tortured prostrate. The nozzle had holes up and down it's length to evenly stimulate the insides of Seth's ass. Coach had Mike fetch him a beer. He wanted to relax and enjoy giving Seth his very first enema. Jimmy watched as Coach used the stopper to control how much water flowed into the blond fifteen year old. For and enema virgin two quarts was quite a load. was giving Seth had a wicked boner, the stimulation of the endless frigging and twidling of the enema nozzle was making him get hard again even though he had just creamed his pouch. Coach was a talented enema administrator. By the time Mike came back with the beer, the man was ready to kick back and watch the boy writhe in agony as the enema began cause cramps.

Sometimes he would add some flat coca cola mixed with castille soap into the enema bag at that point to add to the pain, but Seth was already screaming into his gag. Soaking it with spit. Dancing on the punsihment table as the leather straps binding him seared his soft flesh.

At this point boys would start "singing"
Shrieking as the ass punishment climaxed.



What was worse for Mike, worse than seeing his buddy tortured, was knowing he would be splayed across the Coach's knee soon, then after corner time he was headed for the torture table. And would likely get it worse than Seth. This was the punishment for raping a twelve year old boy's ass. A good lesson in enduring pain and dred. Mike's nice plump ass cheeks clenched in his swimsuit. He noticed that the spray bottle Coach used to keep his ass wet during a spanking was sitting on the floor next to where Seth had been punished. That cool water felt good until the spanking started again and your soaked Speedo clad ass simmered under his big hands.

Jimmy got to watch his older brother get a hard over-the-knee spanking. Both on skin tight Speedos, and bare. Their dad never let him watch when he spanked Mike. It was his first chance to see his big brother's ass get roasted. Mike was OTK for a while before his butt got sprayed with water, then wet spanked.

The black latex glove was used to spank and then apply a thick coat of Fanny Sauce to every inch of Mike's juicy ass. A very sexy smell was coming from this sweaty teen as he danced on the bumpy tips of the glove. Mike got cornholed as sweat dripped off his juicy balls. Since there weren't any more boys to punish Coach filled the kid up with the rest of the Sauce. He used the nozzle to squirt it deep inside. Some trickled out of the hole and dripped onto Mike's aching balls. With his free hand Coach reached under and wrapped his hand around the kids hard cock. This made a moist tight tunnel for Mike to fuck. By the time he realised the slick hand was coated in Sauce it was too late. Mike spent corner time with his cheeks,hole,cock,and balls on fire.

Seth was eventually allowed to expell the enema and sent out to be spanked and raped upstairs and in the Rec room. A tight clean hole to exploit. Even the straight guys at the party wanted a piece of that fresh pussy.

Mike was now strapped down to the warm sweaty table, the enema nozzle deep in his ass. The bag would take a few minutes to empty so Coach gave Jimmy a tour of his dungeon. All the different toys and their uses were explained to him. The Coach's dick lump grew as Jimmy examined a collection of anal speculums stored below the enema table. Some of them were child sized.

Coach had of course seen the photos of Jimmy's ass rape posted online. They had clearly photographed, in detail, his ordeal. The long hot fanny tanning. An excruciating plugging with the ginger root, lavish hole spanking, the gang ass rape. Cum dripping off his face and out of his stretched asshole.

Coach was dying to get a look at Jimmy's fanny flesh.

"Maybe when Mike's done on the table we can give you a big boy enema Jimmy."

In his mind Jimmy had already picked out the enema nozzle that he wanted the Coach to use on him. It was unique. About five inches long and beaded. Jimmy instinctively knew how pleasurable it would be to have the Coach frig his ass with that black beaded nozzle.

Once Mike was sent out to get his ass raped his lil bro was placed over the Coach's lap, not for a spanking, but so the Coach could gently pull down his brand new swimsuit and inspect his ass flesh. You see, Jimmy's Arena racing suit had come in time for the party. Mike had done a good job putting his brother's fresh ass pussy on display. This skimpy cut suit sank obscenely into Jimmy's scrumptious butt crack. Only a slit in the back to access his hole would make it sluttier. The suit even put the very top of the kid's ass crack on display.

As the Coach pulled the suit away he was able to see for himself the deep crack that had brought so much pleasure to Mike and his friends. He was gently exploring one of the freshest pieces of ass he had ever put across his knee. It was unbelievably smooth and soft. No sign of the punishments the older boys had administered. Big warm hands rubbed his baby ass all over, made him feel good on the coach's knee.
He could feel the man's big cock lurch as his tiny starfish was exposed.



The coach gave Jimmy his enema so gently that he didn't need to use restraints.
He loved being stretched out on the table, with his Speedos pulled down.
After his hole was good and clean the coach let him pick a toy out for some
detailed pleasuring. His choice was a vibrator, which had a thin anal probe attached to it. This was perfect to tease the kids tiny winking hole. There was nothing but moans of pleasure as the fanny tickler danced around Jimmy's sweet asshole. More warm vaseline was smeared on so the anal tip could probe deeper. There were four speeds and a heating element, so the Coach was able to give Jimmy a long modulated anal massage. He had that twelve year old's hole dancing on the vibrator until they had both worked up a sweat. Then attention was paid to the kid's stiff 6 inch cock.

Coach pulled off and used the brand new Arena swimsuit to jack Jimmy off with.

That's how Jimmy blew his first load in the Coach's basement. Ass in the air, being diddled with a vibrator as he blew a load right into to his brand new fuck panties.



___________
brooklyn serpico


(This excerpt comes from an unfinished work. Please note the picture represents a general idea of one of the characters, not an exact match).



    He straddles his chest and his balls rest on a fiery sun god. On his neck a lightning bolt flashes to and fro in the opposite direction of the cock in his mouth. The clown remains surly and humorless, although one might suspect Snoopy’s rye smirk might belie another not so benign impression of the encounter. He pulls out of tattoo guy’s mouth. Beads of sweat appear more clearly on his body as it is covered by nothing but a pair of white athletic socks. As he slides down they meet face to face. His chest hair sinks into the sun. He raises his head and their eyes meet.
    “Are you having fun yet?”
    “No.”
    ‘No’ is the expected answer, but there is something about the delivery that didn’t quite work. It will have to be addressed by next time.
    “Kiss me like you fucking love me.” The sound of his own voice shocks even the speaker for a second. There are sometimes moments like these where he finds his energy so raw and hateful that he can actually scare himself. The reflection lasts only a second and he is able to let go of the analysis and drift back in.
    Their lips lock. He feels himself sucking the soul out of the tattoo guy. In the years he has known him he hardly ever got the impression that tattoo guy liked him even a little bit. Tattoo guy has never had a boyfriend or girlfriend to his knowledge, but there is such a sense of passion given off by that kiss that it shocks him out of the moment again into yet another meta-moment where he is reflecting on things as they happen. As he holds him down and makes him kiss him a strange emotion bubbles up. It’s tender and all together useless.
    “Now kiss me like you hate me.”
    This allows both of them to return to their comfort zone. The joining of their anger and rage causes the bigger man to rise up. Kneeling on the edge of the bed (actually just a mattress on the floor) he grabs his ankles and twists. Like a chain reaction the tattoo guy rolls over and the other dives back on top. The right arm comes over the right shoulder and around his neck and is guided to his left wrist. The left arm slides under his torso and grabs the right wrist. His knees spread the knees below him.
    In the past this part had gone much slower, but the improvisation of the kissing and the feelings it created makes it seem not so important. With a single thrust his cock enters the sweat drenched ass. The body tightens underneath him. Tattoo guy is clearly stunned.
    “No take it out!”
    “Why?”
    “It hurts!”
    “So, don’t you fucking like it?”
    “NO!”
    “Don’t worry, this won’t take long.”
    “No, please!”
    “OK, now you can shut the fuck up.”
    There is no objective way of discerning whether or not the fucking takes a long time or a short time. Tattoo guy’s face is crammed against the bare, stained mattress. He listens to a barrage of insults as his ass is violated.
    “You ready?”
    “What?”
    He squeezes the guy under him.
    “Are you ready?”
    “No, pull out don’t cum inside me!”
    “Shut up”
    “Please, please don’t”
    Three climactic thrusts, two grunts and a long groan and then the two turn calm. He lets his head rest for a minute on the side of tattoo guy’s head. Thirty seconds later a twitch and a sigh from underneath indicates that it is time to get up.
    He rolls over and his dick slips out. Tattoo guy puts on boxers and scampers off to the bathroom. He is somehow always surprised when he sees tattoo guy has gotten off. On the uncovered mattress is the pattern of a human being in sweat with a small pool of semen directly in its center. It reminds him of the chalk outlines from detective shows on TV, limbs strewn helter skelter.
    He only ever gets to the bathroom second so he puts all his clothes on right away. He’s filthy but he isn’t about to do anything about it besides give his dick a quick bath in the sink and piss.
    He emerges from the bathroom to find tattoo guy standing in the hall. Tattoo guy has the same smirk as snoopy. Tattoo guy extends his hand.
    “Thanks dude!” he says.
    “Yeah man, that was hot.” Their hands join for a friendly, brief squeeze.
    “I’ll catch you.”
    “I’ll be looking for you.”



_______
lost child


my sex sex erotique fragment......

when he pull my jeans down
he admire mi dick mi balls
he inmerses himself
in them on them
like a prayer
on his knees
lick them soft and hard
sof and hard
more hard more lick like eternal long licking
his mouth is fresh
i feel the wet in my skin
my balls are sliding
my dick is hard hard shaped by
his loopy tongue
his loopy tongue
his hands round my ass
opening it
spliting it
my hole is expanding
dilatating like a mouth
and i want him in there
so so so there
the sound of his lick
is louder and louder
my compulsions are most
dificult to control
i wish it last forever
spasms my liquid
my cum my cum is so ready
in there
his mouth is so ready
my ass is so so ready
i want to shake shake
shake
and i shake and shake
his hair falls on his eyes
his hair falls on my dick
his long hair covers his face
but his mouth his tongue
are shining hot
he suck me real good
he suck me real real good
i can see my cum in his mouth
my cum inside his troath
his teeeh....
on my cum
his hair on my cum
his tongue full of cum
he is so hard he takes me
by my back
now he is going to fuck me
hard hard hard
his dick moves in out in out
his mouth bites my ear
my neck
his tongue inside my sound hole
noising sucking real good
fucking me so good
filling me hard
oh yeah
do it like this
oh yeah
real good
like this
give it now now
give it now
oh yeah
boy
you are so good
this is soo good
his balls against my butt
hitting me hard
come on boy
scream boy
scream yeah
give it
yeah
give it now
real good
i want his hole
and i get his hole
and his hole is
glory on my mouth
his taste i wet
oh now
oh now
my tongue licks
him real good
my tongue fucks him real good
and he is hard
againg so hard
againg so so so hard
i know i am staying here
now
loopying your hole
kissing your ring
losing me in it
and i am hard
againg hard
againg
fucking hard
for you



__________
young and stupid



She lies back and the shock of the slab juts her nipples out and arches her slender back. Her breasts are large and intrusive. At odds with her pubescent framework. She has the hips of a twelve-year-old. I run a hand across the width of her navel which is hard and sticky and gleams in the moonlight.
"Look at your tits," I whipser, "Touch them."
She does so, reluctant at first but wanting to be urged on. I slip an arm around her small back and flick my tongue across her flat young tummy.
"Do you like that?"
Impatient now, I part her legs which are coloured with fresh bruises. I slide a finger inside. She's dry and stiffens at my touch. For an instant, I feel I should stop, I should turn on my heels and run. But as my mouth falls upon her cunt and the smell of rubber smacks me in the face, I resume my role. Guiltlessly. As a punter. With a stiff tongue I press down hard on her clit and with short purposeful strokes, I slowly massage her to life. I feed in another then another finger and her resistance gives way to minimal yet compliant thrusts. My movements become more forceful and her juices gush freely onto my face. The body arcs upwards and outwards and holds up there as she strains against this pleasure.
I slide a hand in my trousers and seek my cunt. I manipulate myself hard an selfishly, the whore becoming nothing but a body. A cunt in a magazine. My climax is powerful but as soon as those crackling shortwaves subside I'm overwhelmed by the impulse to abscond. I feel sober and akward. I remove my hands from her body, which are lathered in our sweat and wipe them on my hips.

-- "Brass" Helen Walsh (2004)


On the floor of her mother's walk-in closet, she gagged his mouth with a suede Dior belt; behind the cinder-block retaining wall, she employed a railroad tie to hold his legs spread. Deep in the furnace room, hidden among the spare tires and Flexible Flyers, she repetitiously wrapped him with kite string and extra electrical cords,
tying him to the hot-water heater, his puny ass burning a bright and cheery pink as heat seeped through the thin insulation. She pushed him past his limit, drove his sweet Schwanstück backward and forward, slamming him from drive to reverse. Stripped, she slid her naked body over his, sweeping the rubbery tips of her tits across his fine and sensitive skin from neck to nuts, making him twist and turn, trying to pull away from the heater, the heater itself making a groaning sound and him begging, "Put it in, put it in."

-- "The End of Alice" A. M. Homes (1996)


"Put it in my ass, Sir Edmond." Simone shouted.

-- "Story of the Eye" Georges Bataille (1928)


http://www.XTube.com/play_re.php?v=4TrW6BGSL4f
http://www.insexarchives.com/
http://www.infernalrestraints.com/
http://www.spankingblog.com/
http://www.herfirstpunishment.com/



_____
joe mills


from THROUGH THE WINDOW


(This story takes place in a future where virtual reality allows , well virtual reality. You come up with a fantasy, The Machine lets you indulge it as though it were real. John has just had a bad interview and an argument with his boyfriend Scott and he’s mad as hell…)


‘Scenario: The Interviewer from the clinic today. We’re both American pilots, World War Two. Get the uniforms right. He’s decided to go straight and get married but I won’t take no for an answer.’
’Not that one again,’ The Machine said wearily.
’Just do it!’ He slammed a window shut.
Then shouted ‘Machine Response off!’
He’d programmed ‘Cheeky’ into Response, but was thinking of changing it to ‘Supportive’ any day now.

The rape went well. Twice. Very satisfying. At first the big leather bomber jacket with the furry collar was too romantic and cuddly to be sexy, so he changed it to Mafia boy in black shirt and white tie. Ripped the shirt open across the chest.
’Think you’re Superman pal eh? Think you know it all?’
He squeezed both nipples until they were purple.
‘ More dick!’
The Interviewer’s trousers swelled up until it looked like he’d got a rugby ball behind his zip. John pulled the trousers down, grabbed the snake-size dick .
’Pliable Gravity’ had already been programmed into Rape He lifted the weightless legs up over his shoulders and pummelled in. So much easier than all that awkwardness with Scott.
The second time he got carried away.
‘A dick coming out of his mouth. And Giovanni from sixth year, up my arse at the same time He’s secretly wanted me for years. Verbals. Biting my neck. Hands all over. The usual’.
John had V-raped and been V-raped by every guy at school he’d ever been frustrated by before his parents gave him the key to the machine scrambler.
And V-loved by Giovanni. And Scott (exactly the way he wanted it - he and Scott in the Manhattan film poster world: on the bench beneath the bridge, forever.)

Read the rest here.


----------

From ARISTOTLE MCNAB


(Aristotle McNab is a serial killer with a penchant for Mormons. He has drugged his latest two victims, Ruben and Gabriel, the latter of whom he’s working on…)


‘You telling me, Gabriel, in six or seven years you never whacked off ?’
‘I’ve sure tried not to. Once in a while.’
‘That’s a lot of little swimmers to keep inside you. Do they die off in there? I mean you might as well let them out then. Or are there little five year old sperms in there quietly going nuts?‘ I’m thinking, shit, that’s why these religious types are all freaks - their father’s swimmers are all stir crazy.

Gabriel started unbuttoning his shirt then abandoned that and started on his trouser buttons then unbuckled his belt and pulled his trousers and pants down in one. Wham! - his dick sprung up and battered his belly. I pulled his trousers and pants and shoes clean off in one.
He stared at his hard dick like he’d never seen it before.

I said, ‘You know if whacking off once in a while with your own hand ain’t so bad, what’s the difference if it’s someone else’s hand?’
‘Beats the shit out of me.’ He shut his eyes.
‘Just what I intend to do.’

I sucked it first. God it was hot. And greasy. I noticed before how those Mormon boys weren’t so clean and fresh inside as out. Then I moved over his balls and up, licking every one of his shirt buttons then those big brown nipples then the neck and jaw. I ran my hands all over his beautiful gold crew-cut and licked his jaw. Finally I licked his mouth, kissed it. He opened his eyes. Stared for a minute. Or a million years. Then kissed me back, at first slowly, uncertainly then deeply and hard when I began to pump him. Then he was virtually biting my mouth off. I got mine’s out and his eyes widened, less than an inch from mine, as he felt it’s length and thickness. He pumped furiously, trying to find new grips as even his long fingers found it hard to get around it.

We both volcanoed. And here’s what it’s all about for me. As we lay on each other, shirts covered in sweat and spunk, he leaned over and kissed me gently, eye to eye. And it was Gabriel, not the drug, that was loving. For whatever reason.

Then I strangled him with his tie. It was quick and clean. I really just broke his neck. He would never have had any thought of murder or death. His last act and thought on Earth was loving me.

So here’s what I can’t understand: why can’t you understand that? He would have woken up, maybe remembered maybe not. Said a few meaningless words as he dressed himself. Then gone. He would have gone. Forever.

I fucked Ruben while he was still out cold, with Gabriel there slumped against the wall watching, his head quizzically turned to one side. I pulled Ruben’s trousers off and put him on top of Gabriel, rubbing his mouth against Gabriel’s dick, then mouth. Then I gave him the injection to wake him. His eyes opened quickly. The last thing he was aware of was Mormon shirt and tie on Mormon shirt and tie, Mormon dick on Mormon dick, Mormon mouth on Mormon mouth. Then I twisted his head and laid it on Gabriel’s.

Read the rest here.



_______
misanthrope


He grabbed both of my ankles with one giant hand and pushed my feet toward my head. As he let go, I grabbed my legs by the backs of my knees and pulled hard, my hamstrings taut, my pucker of an asshole gasping for cock. He spit into his hand, lubed his dick with three long, slow, powerful strokes, then put the head of his massive member to my hole, teasing me with light, meaty brush strokes up and down my raw crack. When I couldn't stand it any longer, I yelled, "Please!" and he plowed all 10 inches straight into me, taking away my breath. He pumped me for a good half-hour, first slow, then with quick little pumps that damaged my prostate beyond belief and left my belly button full of my own pre-cum. Just before I began to beg him to stop through erratic gulps of the hot sex air filling the room, he pulled out of me, the sound of a vacuum throttling out of my ass, and busted his dank, creamy load all over my sack.
    "Vincent," said Dennis.
    I looked up at him through my sweat-soaked eyes, trying to breathe. "Yeah?"
    "Get the fuck out of here, you skinny little fucking pig, before Yury gets home."



__
jose


Tongue moving in slow circles, widening my incision – teeth biting softly, pulling my skin – two fingers pulling down my asshole – touch of dead insects – tickle, revulsion pushing me to disengage; fist entering between my legs, please – she says suck the blood from my knuckles. Punches fist into my mouth. I suck hard because I might cry. Limbs moving away from torso, legs walking away, hands floating away and disappearing – nails stripped from fingertips - teeth falling out of mouth – face stripped, cock stabbing mouth – lips breaking - teeth and hair knotted - knots sinking - organs and stomach erupting through incision - seething out in globs and black foam - mouth open, cockroaches and millipedes - exoskeletons exploding lubricate – swallow, choke – seething out antennae and thorax – no stomach – lungs bursting – heart, tight and hard, like a grenade – bursting – cloud of dead organic matter – white skull emerging – floating – jaw touching surface.

scalpel please

suck the cuts between my knuckles – suck – have they noticed this cut? The one I spit on – mom and dad never notice – two fingers in my asshole – pull it toward my mouth - have they noticed these cuts? – pink life forms thrashing in the water - genitals locked, spinning and glowing like halogen lights – noxious fumes of cooked frogs rising from the lake – waves lapping dead eels and tadpoles over our knotted limbs – dead mosquitoes and larvae between our toes - under out toe nails. Blinding light of the sexual binaries - wild contortions - splash lubricate over our bodies. That one sucks its own asshole! Did they notice these cuts at school? The ones on your dick and wrists – the ones I made by accident when the scissors slipped and I made this hole in my hand – between my thumb and index finger – you can look inside – stab it with your tongue.



___
mikey


It's like the opposite of sex, Paul thinks, instead of warmth and pleasure and pain and nothing more there are a thousand details to be noticed, registered and remembered. The hand on his thigh traces a curve up to the side of his torso and his skin is prickling, almost stinging. It's like he has never had hands there before, but he has. "Like a virgin" his mind says, "touched for the very first time." But it's not true. This is not that feeling at all. This feeling is memory.

When Neil's hand slips over his hip bone, fingers tracing his navel, arm around his waist, it's Sasha creeping close, tracing his navel, grabbing his hipbone, keeping him where he is. The burning traces of Neil's hands aren't good things. They are memories awakened by a touch that is much too soft for Paul's tastes.

Pain doesn't hurt. Pain is pain and can't be dealt with on it's own terms. Pain is pain and pain is useful. Pain is cleansing. Pain isn't that bad. Sasha never used pain, and there is nothing that hurt as much as Sasha. Neil loves him, and it makes Paul feel absolutely helpless. Neil loves him, and it makes Paul feel as if he is back in a place where sex is something that can actually hurt him, and not just something that leaves bruises.



__
jack


It's an erotic three-act play culled from the script for the pilot episode for the TV show "The Golden Girls", written by Susan Harris. I took a lot of stuff away from the original text, removing words and scenes, but made no other changes whatsoever. The character of Coco -- a flamboyant gay housekeeper played by Charles Levin -- was in the pilot but never made it to the actual series because the producers felt he took away from the bond between the women.

"The Golden Girl"
An erotic play in three acts
Originally written by Susan Harris

DOROTHY
(Played by Bea Arthur)

ROSE
(Played by Betty White)

BLANCHE
(Played by Rue McClanahan)

COCO
(Should be played by Charles Levin)


ACT ONE

INT. KITCHEN
(COCO IS COOKING. DOROTHY ENTERS)

DOROTHY
Two girls had shaved heads and three boys had green hair. Why don't you just shoot me.

COCO
Enchiladas Rancheros.

(ROSE ENTERS)
COCO / DOROTHY
Hello, Rose.

(BLANCHE ENTERS)

BLANCHE
I need some cucumbers

ROSE
Does it work on thighs?

BLANCHE
I need it on my thighs. (SHE EXITS)

ROSE
He still has teeth.

DOROTHY
All the single men are cocaine smugglers.

ROSE
I'd kill again.

DOROTHY
I'd kill again. I got the shock of my life today. I was talking to some girls. They were so pretty. At that age you don't even have to be pretty and you're pretty. I just came. And I had such a good time, too. Then I got into my car and caught a glimpse of myself in the rearview mirror and almost had a heart attack.

ROSE
Every time I look down, I see my mother's legs.

COCO
When my parents found out I was gay, my mother had a heart attack and died.

ACT TWO
(BLANCHE SITS AT MAKEUP TABLE APPLYING MAKEUP. DOROTHY KNOCKS)

DOROTHY (O. S.)
Blanche?

BLANCHE
Come in.

(DOROTHY ENTERS)

BLANCHE
I guess I'll know when I come.

DOROTHY
You'll know when you come. This isn't a belch, My God, more colors than Benjamin Moore paints.

SFX: DOORBELL RINGS

BLANCHE
Ohl God. I haven't finished.

ACT THREE
EXT. LANAI VERY LATE THAT NIGHT
(ROSE, DOROTHY AND COCO ARE HAVING TEA. THEY ARE IN NIGHTCLOTHES)

ROSE
Blanche needs a man. She made a date at the funeral. Oysters move. Very slowly. You have to watch very closely.



______
5stringsA


Stephen Davis'Hammer of the Gods: The Led Zeppelin Saga

Chapter 3 - The Year of the Shark

"What happened next isn't really clear. One girl, a pretty young groupie with red hair, was disrobed and tied to the bed. According to the the legend of the Shark Episode, Led Zeppelin then proceeded to stuff pieces of a shark into her vagina and rectum."
"It wasn't shark parts anyway: It was the nose that got put in. Yeah, the shark was alive! It wasn't dead!"
"But the true shark story wasn't that it was even as shark. It was a red snapper and the chick happened to be a fucking redheaded broad with a ginger pussy. "You'd like a bit of fucking eh? Let's see how your red snapper likes this red snapper? That was it."
"It was the nose of the fish, and that girl must have cum 20 times."
"No one was ever hurt. She might have been hit by a shark a few times for disobeying orders, but she didn't get hurt."

*

William Burroughs'The Wild Boys

THE PENNY ARCADE PEEP SHOW

Naked boys standing by a water hole savanna backdrop a head of giraffe in the distance. The boys talk in growls and snarls, purrs and yipes and show their teeth at each other like wild dogs. Two boys fuck standing up squeezing back teeth bare, hair stand up on the ankles, ripples up the legs in goose pimples they whine and whimper off.



_________
corpodibacco


Jean came back from Rome
*********************************************

Jean came back from Rome after four days and she had an uncommon shy air about her.
During those days I had fucked her girlfriend Emma, whose husband was away too. It was news because we usually had to hide in the back of her gallery where I was employed.
The first night Emma told me immediately that Jean was not in Rome for the exam she said she had to prepare, but because she had a date with someone she had hooked on the Internet.
I knew Jean frequented a fetish chat because I had showed it to her the first time, and I knew her nickname was "Justine". The guy was certainly a master or a wannabe master with whom she referred to me as "the other master I have". We still lived together back then.
"They all want girls with big tits", I bitterly said to Emma "He will be disappointed". Then I giggled stupidly. We walked around for a little while.
Emma had started sucking my dick already at the osteria, bending under the large wooden table in the shaded corner in the back room while I sipped her wine. All she ever wanted was sucking dick. It gave me pleasure having to pull her away by yanking her hair gauging her resistance.
"I should be on my knees" she said.
"Let's go home".
Emma's lips where like small red rubber dinghies and she could blowjob you for hours on end. The first time it had started between us we were at the gallery, near closing time. She just asked me if she could suck my dick because it was a long time she hadn't had one, which wasn't even true.
So when Jean came back-- I pretty much knew what was what, because Emma had told me, and a glimpse at Jean's face at the station showed me that the thing had gone wrong and she was feeling guilty.
I had trained Jean to lick my ass during blowjobs, and she used to do it greedily, moaning passionately, and the moment I saw the uncommon shy air she had about her climbing down the train, I immediately pictured her licking that Rome guy's ass. Licking the hairy guy's ass she had never before saw in her life, for the sole sake of having given orders to obey.
Was it even clean? I thought.
We walked home, bridge after bridge. Her wheeled luggage made a hammer sound against the trachyte slabs and her round ass swayed few inches in front.
All I could think of was she, forced on her knees to lick this guy's ass, her curly reddish venetian hair gathered together by her left hand against her shoulder.
I thought about it so much that I finally had an hard-on and a little problem to walk normally. For the time we were home I just had to do something about it, so I started to stroke her innocently and she backed away.
Wait a minute, I thought. She is feeling guilty, and I could ask her whatever I want, or force her to do whatever I want and she just has to comply, if only to avert the chance of me asking questions.
In a moment she was undressed, trying to hide with her hands the fact that her cunt was completely shaved.
"What is that for?" I asked, pushing away her arms. The typical master pre-date instruction is what it is, I thought.
"I did it for you", she said-- looking down.
I slapped her on her face. "On your knees!" I said, or something equally typical. She started sobbing. My excitement was so strong I was worried about it. I was shaking. I opened the door to our room and and she walked in on all fours. Against the wall was a bamboo stick I always wanted to use.
I used it. Jean sobbed harder and finally calmed down. I took the phone wondering how to convince Emma to come over.



_____
ignacio


note: this is part of JANET BOUND by SooprBRane, which is available all over the web for free and seems to be the only thing this author has done. This is one link to the 10 parts I know.



Janet Bound Part 2
by SooprBRANE


Part 2

“Look I promise I won't make any noise if you don't hurt me" Janet pleaded. Hillary did not seem to hear the helpless girl underneath her. She reached into the chest again and removed a red rubber ball, at least as big as a tennis ball, from the chest. It had several straps and buckles attached to it.
"This is called a head harness ball gag sweetie." Hilary explained. "It is designed to keep the ball tightly wedged into your mouth. Once something like this goes on, the only sounds you will be able to make are little mews and grunts. It is much more effective then a normal one strap ball gag, because there is no chance of you being able to slip it off without unlocking it. The straps will cover your face holding the ball in and your jaw locked around it. It is very uncomfortable and very effective."
"Please Hillary. I swear not to make a sound unless you say so. I cannot handle that in my mouth. Please I'll choke."
Hillary put her knee into Janet's back, and grabbed her red hair, pulling Janet's head straight back.
Janet's mouth opened involuntarily as her neck was jerked roughly back. Once her mouth opened. Hillary expertly began to shove the ball in Janet's unwilling mouth. After a few seconds of struggling the ball forced Janet's jaw to extend wide enough to accept its form. Janet groaned and tried to pull her head away, but Hillary had a nice wad of Janet's lustrous mane wrapped in her hand. Rapidly Hillary pulled the main strap of the gag around Janet's head, under her hair and buckled and locked it as tightly as possible at the base of her skull. More straps ran from the ball, over Janet's' head and bucked at the top of her skull. Another strap ran under her chin and attached to the main strap around her mouth. When all these straps were tightened and locked, Janet could not move her jaw at all. Her mouth distended horribly by the ball wedged in her mouth. Janet tried to scream around the gag. Of course nothing came out but a pathetic mew.
"Isn't that better Janet, now I can talk without any interruptions from you."

Drool was already forming at the corners of Janet's mouth were the gag let a tiny bit out. Hillary got off Janet and let her struggle a bit with her already strict bondage. Janet got up to her knees, her bound hands flailing helplessly at the elbows, unable to reach up to the oppressive gag.
"Just so you know Janet, if you try to get to your feet I'm just going to shock you until you drop back down. So don't even try" Hillary said mockingly.
Janet sat on her knees and struggled helpless with the strap holding her elbows. Hillary got back to the chest and pulled out a long tapered, black piece of fitted leather. Janet immediately did not like the looks of it. There were straps and buckles up and down the device.
"Janet, this is my favorite method of binding a person. It is called a 'single sleeved armbinder'. You can see it is pretty simple. It is a shaped piece of leather that fits over you arms." Hillary held the armbinder up with one hand while she used her other to point out the various details of the bondage device to the wide eyes of a terrified Janet.
Here at the bottom is where your hands will go. With those hand mittens already on you it won't make much difference having another layer of leather wrapping them up. The width of the sheath makes it so your arms from fingertip to elbow are going to be tightly together, so enjoy flapping those arms around while you can. There are straps that wrap around your arms about every six inches. Again they are not necessary, but they just serve to make sure you are more helpless. The binder goes all the way up to your shoulders. I have been in one and they are completely impossible to escape from even if loosely applied. Of course I am going to strap you into this one as tightly as I physically can."
Janet moaned and tried to get up to run, but Hillary was on her and forced her to her stomach again. Janet felt as the leather sheath was easily slid up her still bound arms. She fought as best as she could but once it was pulled up to her shoulders, Janet knew that Hillary was correct. There was no way she could escape this thing. Then it started to get really bad for Janet. There were laces that ran the entire length of the armbinder. Slowly and deliberately Hilary began to tighten them. It took at least fifteen minutes for Hillary from the tips of the fingers to the top of the shoulders. By the time she was finished, the leather stretched around Janet's arms like a thin leather skin. There was absolutely no slack anywhere along the entire length of the binder.
Janet groaned and cried on the floor underneath Hillary as the binder fused her arms tighter and tighter. Her massive tits were pressed into the ground underneath both her weight but Hillary on her back.
Hillary was finally satisfied that there was no more slack left in the laces and knotted the top off at the space between her arms at the shoulders. She even added a few drops of super glue to the knot to prevent any chance of it coming loose. A flap with a zipper covered up the lacing all the way down her arms. Once this zipped up their was a lock at the top to keep it from going back down. Hillary then wrapped all the straps around the outside of the binder. One at the wrists, one 6 inches higher at the mid forearm, one at the elbows, and one at the biceps. Each of these straps were pulled brutally tight and had a small stainless steel lock on them. . Finally two thicker strap ran from the top of the binder, over each of Janet's shoulders, crossed between Janet's massive, firm tits and then buckled and locked to the other side of the binder right beneath Janet's armpits. Hillary then grabbed Janet's hair and forced her onto her knees. Janet tried to look over her shoulder to see if there was any way to loosen this impossibly tight device. Her shoulder muscles screamed in agony over being placed in this stringent position. Janet could only grunt a drool in protest to her captor.
"Well lets get started on those great legs of yours, shall we." Hillary continued her mocking of Janet.

She once again grabbed Janet's hair and pulled her face straight down to the ground. She dragged her forward until her body laid flat with her legs out behind her. She sat on Janet's ass and reached into the cedar chest. She pilled out what appeared to be a shaped leather stocking. It was obviously designed to fit over a woman's leg.
"Look here Janet, this device is of my own creation. I love the look of a woman in leather stockings, but I also love to see a woman's foot forced to a point. These leather socks do both. They lace on to you all the way to the top of your thigh. They look incredible too. The best part is the foot. On the sole of your feet is the softest thinnest leather. But over the top is a perfectly shaped inflexible piece of metal. It forced your foot to a overextended point. Once I lace your feet into these it is going to be very uncomfortable for you. Now if you look along where your calf and back of your thigh is going to be." Janet strained her aching head around to see the device Hillary was showing off. "You can see all these leather laces. I am going to sew your calf to your thigh, your ankle to your butt. Then thick leather straps will be tightened around your thighs and ankles for a final binding." Hillary reached down and grabbed Janet's shapely left ankle. Janet knew that if she was ever going to fight she would have to do it now. If her legs were going to be treated anything like her arms had been, then she would soon not be moving at all. She tried to pull her leg away, keeping it out of Hillary's expert hands. Hillary, however, did not feel like playing this game. She simple reached up to her control disk around her neck and very lightly touched the choking control on Janet's' collar. Janet felt the device very slightly tighten, but that was enough. Already a bit oxygen deprived by having to get all her air through her nose, Janet was being choked to death very quickly.
Spots started to form in front of her eyes. Even then she could hear Hillary's stern voice.
"Now lift your left leg straight up you back please, or you will soon black out. It is not a pleasant experience."
Janet's' oxygen starved brain complied immediately, and she felt the choker let back up. She coughed and sputtered around the gag, unable to restore her air supply as rapidly as her body demanded, because of the huge gag corking her stretched mouth. Hillary was completely unmindful of Janet's sufferings as she began to pull the legging over her shapely left foot. The bottom of the stocking was just like a boot, and Hillary had to pull and push to get her Janet's foot to push into the unnatural shape the leather and steel demanded. Janet's complete surrender at this point did make it easier however, and within a few seconds her toes were pointed straight out, inside the clever device. With a little effort, Hillary was then able to pull the rest of the stocking up and over Janet's long leg. From about the mid calf on up to the very tops of her thigh, there was lacing to tighten the leather to perfectly fit any woman. Of course Hillary had chosen a size already very snug for Janet's leg, so tightening the leather was a slightly difficult task. It was a task that Hillary relished though. Just like her arms, Hillary took her sweet time pulling each lace as tight as it could physically go, before moving to the next one up. Also like the armbinder, there was a final flap that zipped over these laces to prevent any hands being able to loosen them. When Hillary was done, Janet's leg was covered with a super tight leather skin from the very top of her thigh to the tip of her perfectly pointed toe. Hillary let go of the left leg and very patiently extended her hand for the right. Janet immediately complied wit this unspoken request. Within a few minutes her right leg was encased precisely the same way her left one had been.

Hillary finally got off Janet's ass at this point to enjoy a look at the almost completely helpless girl.
"Tell you what Janet, I'm going to go to the bathroom, and change. If you can get loose, I'll let you go. Have fun."
Janet laid there for a few seconds, unable to believe what was happening to her. She struggled for a few seconds, testing the armbinder to see if there was a miraculous rip in the seams or she suddenly developed the strength of a hundred women like her. After several seconds of straining and pulling, all's she had managed to do was cover her naked body with a sheen of sweat from the exertion. She rolled onto her back at this point and stopped struggling for a moment, exhausted from this simple act. She began to cry in frustration, fear and embarrassment at this point. Screaming as loud as she could into the hateful gag, head arching back and lifting her back off the floor. All the while her shoulders strained with every bit of might she had, panic lending more strength then she thought possible to her trapped limbs. This had no effect on the leather enveloping her so successfully.
Her mind raced frantically for a solution to this impossible situation. Maybe she could find a kitchen in this place, with a knife or sharp edge she could use to cut this crap off her. How could she even hold a knife to cut toughened leather? She screamed and cried into her gag, but knew that it was so effective that no one could hear her more then 10 or 15 feet away. She was in a penthouse suite in a high-class hotel. There was no way her pitiful mews could be heard by anyone.
Then it hit her…a Phone!! If she could get to a phone she could knock it off and get the "O" pushed. Even if she could not talk she could make enough noise to alert the operator that there was something not right in Suite 2213.
She rolled back onto her stomach, (not easy with her arms useless to her) and brought her leather-clad legs underneath her. The super tight leather made bending her legs almost impossible, but her fear-induced panic gave her strength. It was at this point that the invidiousness of Hillary's bindings became clear. Her feet were useless to her in their present position. She could not stand up at all! There was no way to walk with her feet stretched and pointed in the painful position they were in. She tried a half dozen times to get her legs underneath her, but it was simple impossible. If she was going to get to the phone she was going to have to inch along with her half useless legs. The phone was at least 40 feet away on a coffee table. Inch by painful inch, Janet worked her way across the room, knowing that Hillary could return at any moment to continue her sick binding of her form. Amazingly she made it to the phone table with no sign of her attacker returning. Another seemingly impossible problem asserted itself here. The phone was in the center of the table, unreachable by her reduced height. She actually tried to lift herself up enough to knock the phone off a couple of times, before deciding that she could knock over the whole table with a lot less effort. She knew she would have to work fast once the phone hit the ground, because that large a crash would surely bring Hillary back to stop her. She got her shoulder under the table, and flipped it over with a large crash. The phone flew off and thankfully landed only a couple of feet away from her. Janet quickly jabbed her nose a couple of times at the "O" symbol, until she was sure she had hit it enough to make the call. She moved her head over to the receiver laying on the ground and began to make as much grunting and moaning noises as the gag would allow. As she feared she could hear Hillary coming up behind her, but she continued to make as much noise as she could into the receiver. Hillary finally reached her and very casually picked up the receiver.
"Hello," she said with a lot of mocking in her voice. "Is anyone there?"
She put the receiver next to Janet's ear, there was no noise coming from it at all.
"There must be something wrong with the phone, honey, because I don't hear anything" she said condescendingly.
Hillary looked around for a moment, and found the phone's unattached cord laying on the floor.
"Janet, let this be a lesson to you. I do not make mistakes, I am keeping you forever and to do that I have to think of everything. Of course the simplest way of making sure you are helpless is to add a LOT more bondage to your body. I know how much you enjoy the thought of that that.
Janet's only response was a muffled mew of pleading and surrender.



___
nikolas


    A Symphonette Sketch.



    "Why are you crying?"
    "I just realized something."
    "...?"
    "I'm fucked. I respect the dead more than the living, just 'cause they're like....static...? No, it's because...they...being dead,,,cannot confound your mythologising of them by arguing, contradicting your idealised, false concept of them"
    "Wha-so you don't respect me, just because I'm alive?"
    "I didn't say I disrespect the living, it's just quantitatively...put it this way...you see a hearse going by, you pause, you observe a brief, silent reverie to death, to the gravity of its passage...the hearse passes....you try and cross the road, there's some hellraising cowboy fuckhead racing you to the pelican crossing, you fucking know you can get to the other side way before his bumper catapults your skinny- ass hipbones into the nearest shopfront. You dash, he gestures wildly atcha, mouths 'asshole', screeches off, smoketrails, distance. People only stop hating other people when they're dead."

    Rufus Wainwright is gagged, shaved and half-buried in a sack, propped against the wall, mewling, in an over-reharsed excessively resonant tenor. George, Carusso-locked cherub, wrestles his way out of a generic Che Guevara T-shirt, idly printed en masse, as an attempt by (insecure and mighty they well be) Western capitalists to commodify and trivialise revolution into a safe, meaningless cypher. He's trim, tanned, firm stomach, warm, inviting mouth, sixteen years old and undernourished. Nick, eighteen, world-weary, soul bandaged by bleak wit, dreary smile, beckons George over to the bed; George scrambles on top of Nick, their mouths dissolve into each other, despite the leaner frame, George's mouth envelopes Nick's, between rich, yoghurt muscles, tongues making out, swapping secrets and secretions, Nick kneading George's tight, Mediterranean buttocks through his jeans, with one hand, the other deftly loosening his fly, freeing up George's thick engorged cock. George wriggles out of his jeans, pants, drags the same off of Nick, who lightly grazing his teeth across George's slim shoulders, murmurs animal incantations, charming the flesh, enchanting the blood, stirring all a repertoire of essences.

    Richard drags her to the wardrobe by her hair, stamps on her breasts and kicks her in the neck, head, a few times, just to ensure she's docile enough to love him.

    Nick fellates George, first drawing his tongue from the base, to the diminutive purple tip, George, whimpering, hands behind his head, buried amongst bronze curls, as the entire length of his cock is swallowed, tip marrying tonsils, sending lightning tarantellas through his marrow, tickling the walls of his every blood vessel with delicate trauma. Nick, lapping away at the tender flesh of his Anne Rice-endorsed Symbolist saint, delighting at George's instinctive squeaks of satisfaction, persists, rigorously dancing his tongue-tip across the smooth tight ball-sac, tracing maps of pleasure, continents of bliss over nubile, fevered flesh. Again, they kiss, the celloist keens in deliberate, sweeping arcs, a funereal legato, calibrated to the mosaic fury of these glistening, entwined lovers, la folie underpinning this carnal solipsism, visible beneath the tropical canvasses of their skin. Nick, having redirected his attention to George's soft, wet balls and cock, reaches up a hand to palpate and caress George's chest with nails, knuckles, pinching, teasing, concisely, stimulating potter's wheel nipples into an erect state.
George shimmers, saliva webs his torso, glazed lips trembling.

    James, at his desk, writes a succinct treatise on how to fuck up the world: employ all the personnel at the disposal of the anarchist hub, to change as many clocks as practically feasible, to any number of different times, and to commission the acquisition of a magnetic device via which all digital timepieces can be altered remotely, if not utterly shut down. His predisposition for abyssmal wordplay is grimly sated by the fourth sentence which reads "Atomic Clock = Timebomb". He shuts down the word processing program, the Windows wallpaper is a shot of his ex-boyfriend, sleeping, curled up, half under a red duvet. He jerks off; semen barely bypassing the keyboard as he climaxes, instead coating his dead lover's face in a lactic, aqueaous drizzle, obscuring his eyes, compounding James' weepy awareness of time diminishing the memory of dead faces.

    George's slowly fucks Nick, every stroke considered, precise, laboured, but impassioned, Nick's knees rocking by his ears as he's nailed, with increasing vigour by his youthful lover. This is the first time George has entered him, and it excites him, to a tremulous, febrile vibration, his skin as though the subject of five million tiny, amorous drills, every pore shedding sweat; the liquid noise of sated desire. George, gripping Nick's slender calves hammers his shaft into Nick's ass with exponential fervour, thunderous lashes, he's wanted to penetrate Nick since they both got hard-ons during the 'He's a Rebel' segment of 'Scorpio Rising' early this month. Nick told him he'd only agree to being fucked if George would wear his grandfather's leather jacket for the two weeks preceding the sex, every time they went out. He agreed. It drove Nick totally fucking wild with desire, apexed today in this culmination of concrete promises, George explodes in a series of semtex shudders, blasting rivulets of angry boy milk into Nick's ready asshole, an action reciprocated by Nick, who jets an arc of cum across George's hairless stomach.

    Rufus Wainwright combusts in a petrol-drenched sack of envy, his whiny vibrato lingering in the smoke as his corpus, consumed by ravenous licks of flame, expires in the dark.

    She dies midway through being fucked, the various head contusions sustained from the love administered by his jackboots proving too severe for the brain to process oxygen.

    James, after wiping the screen clear of cum with his sleeve, has just concluded his suicide note. He clicks 'Save', closes down 'Word', plants a valedictory kiss on the screen, pixels ghosting with the lightest brush of steam, opens his window, and jumps.



________
michael karo


"yahoo chat roleplay w/ a 19 yr. old boy."





me: hey
blane: whats up?
me: just lookin for fun cams before bed
blane: u like submissive boys?
me: mmm yes
me: you like older?
blane: sure
blane: i can be ur lil boy and u tell me exactely what u want ok daddy?
me: i can dig it
blane: u gotta be mean with me though, dont be afraid to call me names, i like to be talked down to, it turns me on sooooo much
me: ok
blane: am i cute?
me: first we need to talk about that hair
me: you like looking like a little sissy boy?
blane: whats wrong with my hair daddy?
blane: but i like my hair daddy, its fun when the boys at school pull on it
me: im sure u deserve it too
blane: o i do daddy
me: ill give you something to put in your mouth!
blane: o daddy
me: wish i could slap that pouty look off your face
blane: o wow daddy, u sure are being mean tonight...am i being punished?
me: maybe
me: have u been bad today?
blane: ......yes
me: i knew it
me: what did u do?
blane: i looked at the other boys penises today in gym class, some of them made me touch them in the showers
me: you're such a little slut
blane: im sorry daddy
me: you should be
me: did u like seeing those penises?
blane: ....yes
me: oh boy
me: what am i gonna do with u?
blane: i think ur gonna have to punish me daddy
me: if youre not careful...
me: one of those boys is gonna try to stick it up your ass
blane: one of the boys already did daddy, he said he would beat me up if i didnt let him
blane: he stuck it in and out until he squirted boy juice on me
me: oh im really disappointed now
blane: ...im sorry daddy
me: cuz you know daddy wanted to be the first
blane: im sorry daddy...
me: do you want to see a pic of what daddy would stick in you?
blane: yes daddy
blane: i wanna see if ur as big as the boy at school
blane: ooo daddy
me: you came out of that fat cock dont u forget it
blane: it looks real nice daddy
me: did u fuck a boy too?
blane: no..i only got the penis stuck in me
me: you like that dont u?
blane it does feel real good daddy
me: now your ass is used, i wanted it fresh
blane: im so sorry daddy....are u gonna punish me?
me: i think i have to
blane: oh no
blane: what are u gonna make me do daddy?
me: let me think for a minute
blane: daddy are u there?
me: yes
me: im just very angry
blane: im sorry daddy, what can i do to make u not angry
me i think you need to show me your little ass, i need to see if its ok
blane: yes sir
me: spread em
me: now turn around
me: oh you're hard you little whore
blane: yes i am daddy
me: your dick has grown nicely
blane: thank you daddy
me: i made u hard didnt i?
blane .....yes daddy
me: lift your shirt i want to see it all
me: very nice
me: but youre still a bad boy
blane: im sorry daddy...
me: wish i was there to spank you
blane: mmmm daddy
me: you boy cock is very hard
blane: yes it is daddy...ur cock made me this way
blane: what do i do with it since its hard?
me: i think you know very well you little slut
me: what i know you do in your room all the time
blane: is that my punishment daddy?
me: yes i think you need to cum so you wont have so many dirty thoughts
blane: will u help me cum daddy?
me: yes
me: i hate to punish you cuz you turned out so beautiful
blane: hang on sec daddy, im gonna move the cam so i can sit down ok?
me: ok
blane: what do you want me to do daddy? ill do anything u want
me show me you cam cum like a man
me: how big is that boy cock now?
blane: 7 inches
me: very good
blane: will u talk dirty to me, tell me what u would do to me if u were here with me?
me: you want another pic of daddy's cock?
blane: yes
me: my big head might hurt you going in
blane: mmmmm daddy
me: and ill show you what it looks like when dad cums
blane: mmmm daddy
me: thats it
me: have u had it sucked?
blane: no daddy
me: i would love to be first
blane: mmmm daddy, help me cum please, talk dirty and mean to me please daddy
me: jack that boy cock
me: i want to see cum all over that little tummy
me: you'll make daddy happy
me): think of daddy in your little ass
blane: mmmm daddy
me: you would love it
me: such a sexy boy
me: cum for me baby
blane: tell me what u would do if u were here daddy
me: i would help u
me: jack you
me: suck it all the way down
me: lick that hole
blane: mmmm more daddy
me: suck you and stick a finger in your ass
me: then 2
me: maybe 3
me: you could take it you little whore
blane: mmm daddy
blane: thats what i like...more more
me: i'd lick that head
me: lick up your precum
me: and then kiss u and make u taste it
me: show me that cock head up close
me: my tongue in that pisshole
me: you holding my head as i suck
me: drain those big balls for dad
me: you're doing good i'm happy with you
me: squirt for dad
blane: cummin
me mmmm
me: will u taste it for me?
me: ok boy get to bed
me: you did good
me: (hug)



_________
Callum James


Scab and The Virgin (Part 1)

The rain was solid for three days until the streets were rainforest-thick with it. The water filled gutters and washed over roads. It fell in thick dribbles from every high corner and ledge; it beat mad drums on bins and bus shelters. Breathing was like drinking and it was so hot!

I say it was three days but only because it’s more impressive to use a significant number. I don’t really remember but I know it wasn’t seven or forty.

On the Third Day (maybe), it stopped raining and the sky was all white glare. The roof of the multi-storey was a shallow, painfully bright mirror of water. Steam rose across the concrete pan, unearthly. Everything was light and rising.

Scab – who is almost my half-brother – and I’ll tell you later why I call him Scab because it’s disgusting but not very interesting – he was struggling to get a heavy bag off his back. When it came free of bony shoulders, he unzipped it and tipped it. The heads of twelve beautiful women fell out and made cracking noises as they hit the ground.

“Shit,” I said, “what’ve we done?”

Scab grinned…

Three days before, just as the rain started, dark at 2p.m., Scab skipped out. He’s got blond hair that looks bottled but isn’t and there’s a bald patch just off centre on his crown – worms I guess – scabby too, hence the name. He’s got this shiny face which most often is cracked up with a mad smile like he’s high all the time (he’s not). Sometimes, instead, when he’s upset his face crinkles up like foil off a chocolate bar – still shiny. He said he’d met a guy down the docks the night before, got fifty quid for a blow job. That’s more than we normally get; I thought it was some business-type passing through the ferry-port. Scab said not, but didn’t tell me more right then because I was watching The Simpsons and he could tell I wasn’t that interested. Just as the rain started, Scab was going out for more.

“If he wants to fuck you: get more,” I yelled after him.

Scab grinned…

Later – the rain’s been falling twelve hours now – Scab introduced me: all three of us huddled on a metre of pavement outside the QuikStop, the hoarding keeps the rain off. The guy’s called Dominic, ‘Dom’ for short, which he tells you with a kind of half-wink which I thought was pretty gross. Still, Dom seems to get Scab, so I was polite.

In the yellow of the streetlights, Dom looked ill, I guess we all did. He was in his forties maybe, thick black eyebrows dripping rain over a wet and pock-marked face. Not unhandsome, not good looking but attractive in a dangerous kind of way. Scab’s type definitely! There were several awkward, silent seconds when Scab introduced me: scuffing feet.

Sometimes when we meet up with new guys, we tell them we’re brothers, which we almost are. You have to judge it right though. Some guys get off on that, others are turned off.

“Oh come on.” Said Scab eventually, “it’s too fucking wet to be shy, let’s get it on yeah?”

“Where d’you wanna go?” I asked, looking into the bright, blank interior of the shop then across the road spitting like cooking fat under fast tyres. Dom shrugged but Scab took off round the corner. Dom and I looked at each other.

“Fifty each?” I said. He snorted, wiped rain off his face.

“Seventy-five between you.”

“Fuck, whatever,” I said. Water was draining down the ridge of my spine. I just wanted to get home.

There was an alley. It wasn’t covered, but being narrow it made the rain seem lighter. Along one wall was a strip of dry ground. Scab backed Dom to the wall. Dom’s long coat pressed the brick, misshaping him. Grit and rubbish scratched as Dom’s feet and Scab’s knees found a position.

The cock, flopping out, was thick and knarled like dockside rope and uncut, a dark circle of head already squeezing out from the hood. In Scab’s thin fingers it pumped up, got thick. Skin slipped back and Scab took it between wet lips. Dom’s head sunk forward so he could see Scab’s pink mouth stretch. I stood a way back. I watched the rain pour off plastered strands of Scab’s hair, roll his nose and run down Dom’s cock.

Big hands with thick knuckles crunched up some wet blond and pulled Scab’s head deeper onto Dom’s cock. Twice it slipped out, sprang up and Dom smacked Scab’s face with its full weight. Scab had that look in his eyes, he gets it sometimes, like praying. The boy scares me but he was grinning…

Scab had one hand in Dom’s fly, mauling the sack. With his free hand he beckoned. I shrugged and went over, knelt down. Something sharp bit my knee. Scab’s eyes met mine as his cheeks bulged and rain and spittle mixed on his lips: bright, pale eyes like a saint in an old picture.

A heavy hand came to rest on my head too but didn’t try to grab hair. Scab let the slick, dark knob-end escape and it bounced between us. We spent a while on either side mashing lips and tongues up and down the length. It was like playing the mouth organ Mary (that’s mum) bought us once. The only sound was grunting and the hiss of rain. Every now and again Scab’s lips touched mine around the springy meat; that was a freaky feeling, weird.

I had to close my eyes after a while because Scab was freaking me out with that mad smile, even round a mouthful of penis. He was staring right at me.

The grunting stopped and some of the tension in Dom’s cock sagged away.

“I want to fuck you both,” he said. We stopped and stared up. Scab looking madly happy, me I guess thinking the world was going mad.

“Not here” I said, perhaps a bit too strongly, “and it’ll cost you more.”


Part 2

Part 3



__
you


"Love Fantasy Bonus Explosion" (2007)



1. Reon / Human Cat Encounter

She squats in the late afternoon sunlight, just in front of the window. Her deep black eyes call me to her. Her lips so big and open, I want to go inside her mouth and I want to be on top of her. Her breasts bursting like the white glorious bosoms they are, held back and displayed by a shiny black bikini top. Her legs are folded in, her beaming knees of hotness out. Her gorgeous feet stand proudly in high heels that she uses to flaunt herself at this precise angle. Running my eyes up her ankles and legs, her golden white thighs that I have to grab, up to her crotch where she's total toe in little black underwear that probably cost a fortune. Her whole poise says, I want to take you and fuck.

It's a light but shady afternoon back here in the garden. Little purple cat ears peek out from behind a dark leafy hedge. She peeks out, I can see her big sexy eyes beneath her smooth black hair that curves across her forehead, her eyes like a deer's in headlights. It's cute as all fuck. She crawls out, like a cat. She's wearing a light purple cat ear headband with furry white seams, the right ear has a magenta bow on it, a tiny cream broach in the center. The only other thing she's wearing is matching bra and underwear, both with furry seams too. And, a tail curving out over her nice round ass. Her bare body, with its curves and white creamy skin fills up my senses like inhaling some magic drug from a flower. And, I'm already getting intoxicated.

She crawls forward a little, pawing forward and pushing her chest towards the ground to stretch like a cat, which makes this hot curve of her back with her ass on top. She peers out from behind a tree. She pretends to sleep, curling her legs into this awesome pile of her that makes her ass even more perfect. I want to kiss her lips, I want to kiss her neck. I place my hand on her ass, for starters. It feels absolutely like I hoped it would. I pet her hair, it's soft and makes me swoon. She licks her arms and breasts. Her face would be unbelievable gorgeous if I wasn't here with her now. I set out a dish of water that she laps at, she looks up at me with cautiously curious eyes. She crunches up like a spring, bares her teeth in an expression that is both happy and aggressively sexy. She jumps up into the air and pounces on me, knocking me over flat. Now on top of me, and holding me down, she laughs. She rubs my chest and straddles me, licks my face with her soft warm tongue that makes me tremble. I'm already warm marble, surely a little autolubed too. She tears my shirt off, literally, and scratches my chest. It burns and feels awesome. She undoes my pants and bites my cock. I'm starting to get a little scared but hotter at the same time. She kneels over my face, grasping the soft furry seams I slide her underwear down to her thighs, she scrunches her legs tight around the sides of my chest so I can fit them down over her knees and off to just hanging on her left ankle. Pushing her hips down, she rubs her cunt over my face, her luscious lips taking me exactly where I want to be. Her little black pubes are gifts from heaven. She fucks my face, my tongue cravingly licking her labia. She bends in closer and rubs her clitoris over my big fat tongue over and over, faster and faster. She pumps my mouth, my head increasingly existing between her legs. I feel like I could come at any second. Using only the muscles in my own crotch, I pump my dick over and over in rhythm with her. She coos these strange sounds, high pitched and sharp. They're but music to my ears. She comes.

a) Across a room hidden away in the back of our apartment she's standing naked. I throw little darts with pastel plastic grips into her breasts. Their little needle-like metal tips fly right into her skin. I throw them into the soft cheeks of her ass.





2. Shin / Voyeur Observation Experiment

In an outdoor high school parking lot packed with empty stationary cars you can see her, towards the back, close to the school. The chain link fence in front of you doesn't get in the way at all, you just lean in. She's a year older then you, and it's really her, the one you've been obsessing about. She's wearing a thin red dress with some sort of fancy print, it really captures her foxy form. She's in black nylons, her legs blow your mind and make you hurt for some reason. She gets to her car, it's an old beige Volvo stationwagon. She opens the rear hatch and leans in. The curve of her back to her ass has you nearly lycanthropic. She begins to undress. Pulling out your binoculars you focus in on her arms as she pulls her dress over her head, her shiny white bra over her small breasts a striking contrast to her black pantyhose engulfed legs. You imagine you're there with her, behind her. Putting your arms around her you peck at her neck. She turns to look at you and you freeze. Her little face in the binoculars looks expressionless as she rubs lipstick off onto a little paper towel. She pulls on a t-shirt, and pulls down her nylons, takes off her shoes and her feet in the stockings are the best thing you've seen all year. She pulls the nylons off, and puts on a pair of jeans. A car pulls up and a guy gets out, she leans up against the passenger side of the idling car and the guy takes her hips, undoes her zipper, and jams his hand in her panties. She arches back a little. She unzips him and take his cock out, he's already hard and he goes right ahead and penetrates her little pussy. The have slow sex on the side of that idling car, you come in your pants.

b) It's the middle of the night, I find her hanging out at a closed cafe. A man comes over and they start to make out.





3. Annie / Pizza Girl

She stands behind the counter in a dark pizza parlor. In the overly large deep blue polo shirt her breasts look formless. It's part of her uniform. Her hips fade into the matching black pants. Her face peers out from behind a black cap, blonde hair flowing out at the sides. Her bright blue eyes twinkling. There are a number of cooks at work behind her. One of them feel her up from behind. She smiles. She goes to the bathroom, it's a squalid one. A single toilet with a sink to the side. She pees. As she's at the mirror a guy comes in and kisses her. He turns her around and licks her eyes. He unzips his pants and takes out his penis, she kneels down and takes it into her mouth. Another guy comes in with a box of pizza. He takes the topping and covers her face with it. The guy getting a blowjob holds her head and pumps her mouth hard. She makes all these great sucking sounds. The guy comes and the girl lays on her back. Another guy comes in, sets down a few boxes of pizza and fucks the girl's mouth flat on the bathroom floor. The other two guys take her clothes off and cover her body in the hot toppings from the pizza. They rub the saucy pizza bread over her body, covering her in the red tomato sauce. The guys lick it off her, and spread more on at the same time. They push cheesy pizza topping up her vagina and then wiggle it back out. Then one of them fucks her. He comes, and the other two come on her tits and her face, she leans up and puts all the pizza toppings and pizzas back into the boxes, rubbing the sauce back in too. She washes her self off with the tap at the sink and gets dressed. The guys leave. She takes the pizza boxes out to the counter and calls the order.

c) Annie's out delivering a pizza to a sexually starved young man.





4. Akane / Romantic Butt Lover

Her butt. Young guy comes over kneels behind her, spreads the girl's cheeks wide and rims her. Pressing his tongue onto the warm, wonderful, almost tasteless soft skin, and down into the magical black hole. Squeezing her butt while with his hips he fucks the air between her legs. The girl makes sounds that are so fantastic he can't explain them, they seem like shapes. His erection gets harder and harder, lust overwhelming his senses in a beautifully maddening way. He also feels this deep release just by rimming her. There is no right or wrong at this moment, just translucent crashes of sex.

d) Akane is trying on swimsuits, she gets totally naked and tries a dozen different ones on.


5. Risa / Cartoon Enema Bonanza

We're outside and the world keeps changing colors. Red, blue, yellow. Her name's Risa, she's this tall lascivious bunny woman. It's just me and her, standing at the edge of this canyon. And, she's got my prick so big the veins look like they're each suffering a major case of thrombosis. I bury my face in her hot smelly pussy and that's my form of prayer. We take giant needles and shoot huge doses of liquid fuck into each other's butts, eyeballs, tongues. I take a long tube and stick it up her ass. Ooh, she calls out. I jack my cock off into this plastic bag, shooting a gallon load. Ooh, I groan. I flip the drooping bag onto the tip of the tube and squeeze it up into her butt. Then I swing her around and cram my still hard and monstrous dick up her so far into her it comes out her mouth and she throws up on me. I take the bag and tube from her ass and she starts to boil like a kettle. She moans louder and louder until she erupts into an ear shattering scream and out from her ass explodes a stream of white poopie come and fluids (with poop) that just shoots out and out and out. She fills up the whole canyon, and we go for a swim.

e) Ghost of young woman floats in a subway car at night, she sits in a seat alone.





6. Maki / Killer Subway Sex

I met her on a subway car. Her skin was so white that her lush black hair made me go all mush. She was in a red and white polka dot summer dress, with a colorful bra poking out at top. She stood at the hand rail and I just couldn't imagine living another second without touching her ass. I slowly got up and walked over to her, but the train shook and I feel over. I landed beneath her, between her feet. Looking up her dress was fantastic, her legs made my day and her little magenta and deep red underwear blew my mind. I scrunched out and stood. She laughed a little and I said I was sorry. I put my palm to her ass. She straddled the pole, slowly fucking it. I couldn't believe it, was this really happening? The train stops and we both get out. I push her into the train's crevice and she just lays there. I masturbate to her down there. The subway train approaches her and she can't seem to get back up.

The train stops just in front of her, the rush of air and noise has her all washed out, like a ghost. Crowds of people pour out from the subway cars. They gather around the ledge above Maki. She looks up at them, dazed, sad, lost. She leans back into the train and pulls up her dress. She pushes her hand into her underwear and begins to rub herself. Closing her eyes she inhales deeply and bares her teeth as she masturbates to an absolute release.

f) In heaven all of the girls are in colorful bathing suits going into exhibitionary positions that I love, and I can't help but teleport there. As they encircle me we all smile with pure joy.



_________
Shane Allison


Panty Boy

From the arcade of a super center sex store, from the secluded trails of Lost Lake where I watched you behind pine trees getting your dick sucked while dressed to the nine in garter belts and panties, is where I know you from. You dressed in all those girlish things. Your dick was bigger than I remember when you showed it to me in a booth that was no bigger than a porta-potty crapper defaced with sexual favors and cell numbers attached. I can’t do shit with a little dick, but I wasn’t always a size queen not until I met Chris. But don’t concern yourself with him; he has nothing to do with you. He’s mine and if I catch you with him, I’ll kick your ass; I’ll cut off a limb. But I ain’t worried. He would never give someone like you the time of day: boys that prance around in panties, pulling stockings over hairy legs, low hanging balls tight under all that nylon. I’m so horny, but that doesn’t make it different from any other day. It’s no secret that I don’t get enough ass, enough steady dick in my life. Jack off so much these days, my dick has started to chafe. Chris doesn’t want me as much as he used to. He says I give good head, but says there’s nothing sweeter than pussy. Funny because when I think of pussy, sweet doesn’t come to mind. He promised his girl he wouldn’t cheat. He doesn’t give a shit about me, but I love him anyway.
    There’s no one in the bathroom. The stalls are cold and silent. Messages left in search of blow jobs are old and fading. I cannot tell you how many men have worshipped at my altar of dick. If the walls could talk they would testify.
    Check my e-mail and it’s filled with horny housewives and how I can lower my mortgage rate on a home I don’t own. I send them all to the trashcan. I type silverdaddies.com into the search engine. Photos of naked men appear. Geezers from Key West to Kansas in their birthday suits with blushing stiff dicks held firmly in steel and leather. A crop of chest hair, all that furrowed skin. I got a thing for older men. They don’t play games like the twinks I have grown so sick of. I click onto the hottest pic of the day: Luc of Paris dressed in black hose and stilettos. Says he and his partner like threesomes, but I’m a spoiled brat who doesn’t like to share his goodies with anyone. His dick he says is 9.5 inches and is looking to bottom for a dominant top. That is what you all want isn’t it, to be dominated, to be told what to do like naughty little school boys? You’re no different. I’ve seen what you can do. I know what you’re into. Normally I wouldn’t give you the time of day, but it’s summer and all the college age trade are on vacation. Eating collegiate ass is usually where you’ll find me. I click on that hot daddy pic, the Parisian with approximately 9.5 inches of dick. I turn to you and smile. I got your attention. You’re so easy. Other than the two of us, there’s a cute Asian dude sitting at the table behind you, but I ain’t worried about him. He hasn’t taken his nose out of his that chemistry book since I’ve been here. I roll out of the way to give you a better view. You see that? Do you like it? Jesus, in a college library of all places. We are shameless sluts, you and I. I see that you approve as I watch you fondle your dick under the table of flat- screen computers. I click on other pics of silver daddy dick, and it’s enough to make us both randy. I click out of the website, grab my bag and saunter over next to you to a vacant computer. I revisit those dirty studs to show you more. I watch as you caress your tint, groping it under a tunnel of white ceiling lights.
    “Follow me,” I whisper.
    There’s a bathroom around the corner, down from a room of Xerox machines. This floor can’t get any quieter. My thoughts might be too hot for this tea room. We take the biggest stall, the one with the rose-colored walls. I leave the door slightly ajar for you. This toilet is cleaner than those Bellamy Building shitters. I’ve been in this one before. The stall with the sink and mirror whose reflection I have come in more times than I can remember. Sit upon the toilet to let you know that I want to blow you. Got a feeling you wouldn’t have it any other way. You pull down your jeans exposing the same panties you wore the night I ravished you in an arcade booth. Dick had been twitching in my jeans all day. Couldn’t wait to get to where the boys were. There weren’t too many cars in the lot: A Cadillac, a beat up old mini van, a vintage Mercedes. Trolls and du rag wearing b-boys lined the walls with their razor sharp attitudes, thinking they were God’s gift to gay boys. The arcade reeked of poppers and ass, tufts of paper towels littered the floor of the booths. Silver porno glow seeped from beneath doors that held in men beating off to fake screams and unreal orgasms. You had been after me all night, grabbing my dick in the dark, eying me in the corridor’s light as you caressed the tint of your dick. After hours of cat and mouse, after men left to rush home to their clueless wives, there was only you and I. We ducked into a booth with bite sized glory holes. You wasted no time shoving your bucks in the mouth of the machine, undoing jeans, exposing hose with runs, skin tight panties under 501’s, but I didn’t give a damn, ‘cause all I cared about was what swung between your legs. The way it hung over your unmentionables. Your skin was so smooth and taut for a man’s.

    “Closing for cleaning in fifteen minutes,” Kim yelled. She’s the only one in the store that’s cool with what we do, who turns the lights down just so.
We were well into it: dicks being sucked, your ass getting fucked. When all the dirty words were said, you came on my jeans.
    “Sorry,” you said, all embarrassed, but you were not the first or the last dude to come on my clothes.
    Now here we are again with your dick erect and just as ready. I hook my fingers in elastic and free it from a cocoon of femininity. It’s thick and pink, God-like even. I fondle it. I grab your ass and press. My glasses graze and smudge against your stomach. I take them off, laying them on top of the tissue dispenser. I suck you like I haven’t had a dick in decades. My mouth collapses onto your love, pallet tightens wet under your shaft as my lips sink into you.
    “You want me to come in your mouth,” you ask.
    I only do that with Chris. You don’t know me like that to earn that privilege, bitch. I tare away at the stockings, force the girlish garments down around you. The flesh of your butt fills the grooves between my fingers. I watch our actions from the mirror behind us, my lips around your hard on, my fingers traipsing along the ditch of your ass. I move in slow. Like to take my time and you don’t seem to mind. You whisper under your breath of onions ‘bout how you want me to be your boy that you’re looking for a steady fuck buddy. You squirm a bit when I shove a finger up your pansy ass. Your muscles tense to my touch as I explore you like a cave. Your dick strains in my mouth. I don’t want you to come yet, whore.
    “Do you suck?” I ask.
    You tell me no but I’ve seen you through the cracks of doors, in the darkest corners giving head to mysterious men. All punks suck dick, even my Chris. So what if he’s not that good at it? You tell me you want to get fucked. Figure as much. I can look at you and tell. You’re a bottomless pit who can take an L.A. gang of dicks. I’ll be lucky to get my cock back fucking with you. We switch hits. You bend and grip the pipes of the toilet. We keep quiet when the occasional breeder enters. You ask me if I have a rubber as if you’re worthy enough to be fucked without one, slut. I fork a French Tickler out of the pocket of my shirt and tear it from cellophane. I roll the latex on my dick. It’s a little cold going on over the head, over veins. I pull your hips forcefully instead of tenderly like Chris’s. You are good and loose due to my fingers. My dick’s the perfect fit. I hold onto your shoulders like reigns. You grab on tight to the pipes. You feel warm on me. I stand on the tips of my Saucony’s ‘cause I want to get in you completely. There’s nothing like a seasoned piece of ass to devour. The buckle of my belt clanks against the floor as I fuck. I tug and jerk at your hips, slapping your ass.
    “Fuck me this and fuck me that!” you shout. What would your mother say if she heard you talking this way? I warn you to keep it down. Tell you that I almost got busted last week for this same shit. My gluteus muscles are on fire, but there’s no better work out than a good fuck. I reach up to tweak your nipples. You tell me that I’m too rough, but rough is the way two men oughta fuck with sweat trickling down our backs into the cracks of our asses. If only you could witness the sheer beauty of my dick going in and out of you. You’re a nice piece of ass, but you don’t hold a candle to Chris. His dick is a monkey wrench he throws into my butt twice a week when his girl ain’t around. I can feel myself flowing up into the gas mart rubber. I hook my arm under your waist and take you further into me. Your insides couldn’t get any hotter on my cock. I imagine that your ass is Chris’s as I come inside you. I pull out slow, careful not to hurt or bruise. I unfurl some tissue and use it to take off the latex. I normally zip up and take off, leaving horn dogs like you to your own devices, but I ‘m not the one to leave ends loose. I take you back into my mouth.
    “Suck my balls.”
    I pull your panties further below and bring your perfumed balls to my mouth. My tongue slides along your cock, along the slit of the head. A few hard sucks is all it takes for you to bust a nut, soiling my shirt with your juices. We tuck in our dicks and exit the toilet quick, walking back to our tables with spent dicks.
    “Not bad for a white guy, huh?” you tell me. You scribble your number on a piece of paper. I promise to drop you a line, but I’m lying, and toss it into the trash much like the last time you slipped it to me. I know I will see you again, panties down around your ass in a nasty little booth of a super center sex store where cell numbers are sprawled on glory hole walls by those seeking a good time.

THE END



__
faith


for five years i wrote porn on a pay-per-word basis until my stuff got too non consensual for the company. this one was for a digest called Urge. i think it was a reject.


Endless Gang Bang Fantasy

I don't know if you want to call me crazy or odd. I guess I'm looking to live out in my fantasies what I'm too scared to get in my reality. My name is Deb and I'm five foot seven, smallish breasted, with brown curly hair and hazel eyes. People think I'm attractive but I feel kind of insecure about my looks. I wish I had bigger breasts, I guess, and I wish that my ass was curvier. I guess some girls have all the luck in the body department.

I don't know why but I've never really enjoyed being fucked, except for one time, and that was by what I can only call a "friendly rape". This guy wasn't out to hurt me, I think he was just really horny and I happened to be in my nightie and sleeping in a bed. He felt like it was his right to take my pussy.

What happened that one time was that my roomates and I threw a really wild party and by about three in the morning everyone was just crashed out in different places. I guess that this guy stumbled into my room and eased himself in beside me. When I woke up, I found that he was on top of me and that he was breathing heavy. I didn't know if it was a dream or what, but my nightie was lifted and the guy was gripping at my panties trying to pull them down.

I lay there like a baby, kind of scared to move, or even to let him know that I was truly awake. Besides, I felt a hot steam start up between my legs, something I'd never really got with such intensity before. Then he pressed on my thigh as he eased my panties off without me moving. Like I said, I kind of was playing dead. But I still thought that it was his arm on my thigh until I realized that I could still feel it and the guy was massaging both my titties with his palms.

I was trying not to breathe too hard as the guy pinched my nipples over and over. I realized his dick was really hot and pretty big. Then, 'cause he felt some of my cunt juice leak out onto the head of his pecker, he just eased the head of it right into my lips and slid it straight up my cunt. He thrust so hard and so fast right away that I thought his cock was going to come out the top of my head. He wasn't gentle and he kept fucking and fucking my limp body, but somehow I felt it was right.

I felt a jolt and the guy pulled out of my orgasm and ejaculated all over my titties and tummy. I could feel the head of his massive cock on my nipples as he sprayed his sperm all over me. Some got on my chin but I still didn't move. I hadn't opened my eyes once the whole time. To tell you the truth, I never even knew who this guy was and if I'd met him at the party or if he was a friend or what.

I found myself masturbating at least two times a day after my mock rape pleasure, thinking about being forcibly fucked like that. So this is my gang-banging fantasy and I hope it comes true one day. I think its the only way I'm gonna ever enjoy sex again.

I am at a bar, drinking like I have no end. There's about two dozen men there. I'm wearing a slutty little number and totally made-up. My nipples are erect and my hips are swaying. I'm dancing, moving around so fast and I'm so fucking drunk that eventually I fall over exhausted, from the alcohol and the spinning.

At that point, a large guy who's a lot older than me comes over and picks mem up in his arms, taking me over to his friend's table as they all laugh and point at my undies that are showing in between my spreading thighs. I'm coming to and the first thing I feel is hot beats in my pussy. The guy who's carrying me is fondling my breasts and pinching my bum. "I hope you're up for a bit of fun tonight, girl," he whispers, "you sure are drunk enough..."

The next thing I know, the lights go down in the bar and I'm in a booth surrounded by about six or seven men who are inspecting me like I'm their property. "Now there's two ways we can go about this," the guy who brought me over said, "either you can be an obedient little girl and do as you are told and the worst you'll get out of this will be a very sore pussy or you can run on home to Daddy and wake up with a great big fat hangover... Now what do you say dollface, you up for the fun?"

The guys all started to laugh at me. I don't think they knew that I was totally wet in my cunt. I swear it felt like my vagina was going to explode. All they needed to do was test the waters and in a way, I'd be figured out. The idea of getting pummeled by a group of horny strangers was turning me on beyond belief. I felt so ashamed of myself in a way. But I was waiting to get fucked and I couldn't get rid of my fear.

"I'll be a good girl," I said as I turned my head to the side so that the men couldn't see my face.

The next thing I knew I was getting pawed at from all angles. I was put on the table, stripped, and my legs were spread open in a wide-angled 'V'. I had guys blocking my view and all I could see as I looked up towards the ceiling of the dark bar was a row of hot rigid dicks encircling me.

I was trembling as the first prick rammed up my pussy. There were men all around me and I knew that they were gonna fuck my pussy in a train. It was a weird kind of state I got in as cock after cock stormed my sperm-drenched cunt. I screamed but the men laughed and stuffed their fingers in my mouth. They pinched my titties and doubled their speed all over my used up body.

Then, after I don't know how many cocks entered my system while I lay there like a little rag doll, the guy who had picked me up came to take his turn. "You slut," he hissed in my ear before raging up my broken-in cunt, "you love the feeling of so many of my friends' cocks up your pussy don't you? Answer me, slut."

I closed my eyes and a smile sat on my lips. This guy gave me the best fuck treatment and I let my hips rock in time with his thrusts. It felt so fucking good. His pelvic bone was rubbing against my clit and the top of his cock was really ramming up my raw insides. I was in heaven. I orgasmed over and over as the guy let out his hot white load at the top of my cervix. He kept calling me a horny slut and it was making me cum even harder. My cunt was clutching around his bone, I never wanted to let him go.

"You liked that, didn't you?" the guy laughed as he skewered his satiated cock out of my pussy and took a deep swig of beer.

In my fantasy, I lie there on the table exhausted and naked and leaking while the guys drink and smoke and laugh at me. The bar closes down and I get gang-banged again and again and again.



_______
paul curran


Gordon climbed on a ledge and pissed on Eric's shoulders. Cassie said she liked the way Gordon handled his cock. Eric said Cassie had to show them her cunt now. Cassie said she would if they sucked each other off. Gordon leaned against some driftwood and kicked away his shorts.


a) Feel the sun on your ears as the clouds vanish.
b) Look at her left hand move beneath her blue skirt.
c) Hear her say she's saving her virginity for Mister Bird.
d) Nod along with the suggestion to purchase that digital camera.
e) Stop sucking on him when he stops sucking on you.


I asked Cassie if I could fuck her precious ass. She said I could if I fucked the red ground. She had a burnt stick that looked like a dildo. She called the stick prehistoric, rubbing it between her legs. I told her the red ground felt like Miss Coil.


a) Fuck her in the ass while she sucks his cock.
b) Smell that breeze of salt and minerals and dead machinery.
c) Hear him say he photographed Mister Bird fucking Miss Coil.
d) Watch her dance around with the stick between her legs.
e) Look at her poke the stick into Miss Coil's dirt.


Gordon clenched his teeth when he came on Eric's face. Cassie said she liked the way Gordon handled his cock. Eric said Cassie had to let them fuck her now. Cassie said she would need to check her countdown notebook. Gordon stooped through the barbwire fence and ripped his t-shirt.



______
killer luka


#1 ---

#2 ---



________
Bernard Welt


The most arousing literature I know of is the stuff at Straight to Hell: The Manhattan Review of Unnatural Acts, the legendary and much-imitated compendium of men’s true tales of sex with other men, started by Boyd McDonald in the 1980s, and anthologized in titles such as MEAT, SEX, FLESH, FILTH, WADS, and CUM. Jacking off over S.T.H. got me and thousands of others over the worst of the age of AIDS. I know this isn’t porn writing and S. T. H. isn’t an author, but it bears the same relationship to gay men’s porn that Dennis’ blog to his various subjects and everyone should know about it. On the off chance that you don’t know it already, you should find everything they’ve ever published immediately and read it today. There’s a website at

Straight to Hell and Billy Miller, the adorable current editor, says they will soon put up content, including tributes by Dennis, Gore Vidal, and little me--but we’ll see. One of my fantasy projects is a collection of considerations of S.T.H. by smart writers and critics.
I guess I have two favorite writers of gay male porn:

Lars Eighner

wrote a memoir of homelessness called Travels with Lizbeth (his beloved dog), published in 1994, which introduced the term "dumpster diving" into mainstream vocabulary and became a surprise success, appearing on reading lists of many college courses. But he’s also the author of several collections of porn whose theme is usually (as in S.T.H.) hot gay sex among men who don’t identify as gay. Stories often take place in Austin among college students and hippie types. B.M.O.C. takes place in dorms and frat houses, where horny guys listen to their roommates jack off in the dark, or trick members of rival frats into sucking their dicks. Wank: The Tapes has a great premise: several years after graduation, a sort-of straight guy sets out to interview men of varying sexual orientations who used to participate in "shower parties," circle-jerk beer-blasts that took place in an abandoned wing of a dorm, and he finds out what else was going on back in their rooms and lounges. This is from one of the interviews:

CARL: Jerry is the only man I ever fucked. I never sucked a guy, never came close to being fucked. I have an in-law . . . well, maybe once a year there is a guy I let blow me—I really don’t want to go into that—but it means more to him than it does to me. Phil and I never touched each other and Jerry did not want me to touch his dick, so the only time I ever jacked off another guy . . .

STONE: Yes?

CARL: At the last shower party I went to, instead of sticking with the guys in the circle, I let a guy talk me into trading hand jobs. He convinced me that I had come there for a reason, and I might as well have the whole experience.

STONE: So did you have the whole experience?

CARL: He worked so hard on getting me off, I couldn’t refuse to do it back. So I did it back, but it must have been the worst hand job in the world.

STONE: Why do you say that?

CARL: Because you obviously don’t remember it.

Eighner also wrote an unusually readable and entertaining style guide, Elements of Arousal: How To Write and Sell Gay Men’s Erotica. His blog is at

larseighner.com. He’s been writing a lot about truth and lies in memoirs lately, though there hasn’t been a post since October.


R. J. March

is an interesting writer whose observations of disaffected young men—getting their idioms and moods and cultural allegiances down—remind me a lot of Dennis, although his emphases are very different. His stories are collected in Hard and Looking for Trouble and some of them are really knock-out depictions of boys who are lusting after each other and not quite sure what’ll happen if they actually make a move. His blog at flagrantdrunk.blogspot.com says he "used to" write "erotica," but I hope he keeps it up (ignore obvious opportunity for dumb joke here). This comes from a story that isn’t his best but it was online and easy to paste, and it shows what his territory is:

Beginning of story:

Cary says the lacrosse player left him, although they weren't ever really together, not that way, anyway. They shared a room, a dorm room in Blake Hall, and not even for very long, but that was it. Granted, the lacrosse player had asked Cary to be his roommate when they met at orientation weekend. That was because they'd shared a room then, too, and Cary hadn't snored, and the lacrosse player hadn't known anyone else— all the other lacrosse players had gone to the first orientation in July. What was he doing in July? Working at Ace Hardware, racking hammers and sorting boxes of screws, almost wishing he was going back to high school in the fall. They'd liked the same kinds of music, though, he and Cary—Dave Matthews, the Chemical Brothers, Stone Temple Pilots, and neither one of them smoked. It hadn't seemed like a bad idea back then, in the middle of August. He could have left it up to the lottery that paired up everyone else, but why tempt fate? He could have gotten that guy in the wheel chair or the fag with the eyeliner and the black and red hair.

"The name alone should have done it for you, man," his lacrosse buddies say. "Like that fucking chick with the pig blood and John Travolta."

"Was I even born when that movie came out—what the fuck do I know? Besides, he spells it different. C-a-r-y."

"Add an s, dude, and you've got scary." . . .

And from near the end:

He unlocked the door of his room. It wasn't yet midnight, and he was expecting to find Cary home with the television on, not unlike his mother really, he realized just then, opening the door, the light behind him sweeping into the room. Cary's bed was empty. He was sleeping in the lacrosse player's bed.

"What are you doing?" the lacrosse player asked, turning on the light. Cary bolted upright, his face wrinkled from the press of the pillow. He didn't say anything, though, offered no explanation. He put his feet on the floor and uncovered himself—he was naked and hard—and walked across the room to his own bed. So big, the lacrosse player thought, seeing the stiff bob of Cary's cock—huge, he was thinking, his hand on the door knob, cold, hearing the radiator knock, Cary settling into his sheets, drifting back into sleep, his cock, the lacrosse player thought, his cock.

It's ruined, the lacrosse player realized. Everything was ruined. Something bad had happened, although he could not say what that badness was, not just then, but it had something to do with Cary's old movies and his mother trading her queen-sized bed for his old twin; it had something to do with the man in the shower, and the wrinkled skin of his own fingertips that day, unable to leave once he was finished, once he was clean. He put down his bag and turned around. He left the room, closing the door, aware that he was leaving home the second time that day. He'd go back later, the next day, when Cary was at the student union where he worked at the information desk, and clear out his things. He'd move in with the other lacrosse players and steer clear of all fine lines. He would become unambiguous, get good grades, prepare for the future. And he would never touch a man with an open hand without thinking of Cary and his long toes, which—if only Cary could have known—would have made Cary the happiest boy in Blake Hall.



____
Disquiet




Preface 1:
“The mystics and epic poets idealize illicit love as the only true one.”
-Alain Danielou, The Four Aims of Life in the Tradition of Ancient India: Virtue, Success, Pleasure, & Liberation, p.120, 1993

Preface 2:
“According to Shaivite prophecy, humanity’s sole hope of survival resides in the current revolutionary struggle for sexual liberation. Only the worship of the principle of life and its symbol the phallus can draw down heaven’s blessing on humankind, which is threatened by divine wrath at a civilization whose ethic, instead of happiness, joy, and pleasure, pursues war, sexual repression, hypocrisy, and the persecution of love. The Shaivite Puranas tell us that in the Kali Yuga (the era of conflicts in which we are now living), only the “fervent in love”–the adepts of the cult of Shiva-Dionysus who practice the bacchanalia—can save the world from destruction.”
-Alain Danielou, The Hindu Temple, Deification of Eroticism, p. 2

Preface 3:
“We should not wonder at the fact that representations of human love—the search for voluptuous pleasure—recognize none of the limits that social ethics wish to impose. The most different postures of the erotic act are studied in works that form an essential part of sacred literature. The Kama Shastra constitutes a fundamental science connected to the literature of the Rig Veda. The sculptures decorating the temples consequently represent the most complex erotic acts, which are not limited to what we might term, more or less arbitrarily, ‘natural acts.’ All parts of the body seek to be imbued with pleasure. They comprise every possible relation between men and women, as well as various relations between persons of the same sex and between human beings and animals. Indeed, since it is through voluptuousness that we can realize divine nature most directly, such an experience should have no limits.”
-Alain Daniélou, The Hindu Temple, p.108

My favorite sacred Dionysian (or sexual, or pornographic if you like) text:

This story is mostly Hogg's.

But first I have to tell you some about me.

Behind the landing of the stairs that went to the basement, by the blistered radiator, I used to suck off a kid named Pedro. He was a sad-looking thirteen-year-old spic, who wore baggy gray pants with a three-inch rip in the side seam-I don't think he *ever* changed them-and a white short-sleeve shirt he put on Sunday mornings; Saturday nights it was gray. With his shiny hair bumping against the underside of the steps and their hanging drips of dirt, he would grind his sneakers on the gritty boards and rub the heel of his hand on the hard place above his groin where his dad's belt was tied. (The buckle had come off.) His knuckles were red from chewing. "You want it?" He'd dart around scared glances. "Come on, take it now. Go on, take it." His zipper was always half open.

Squatting, I'd nose between the brass teeth to smell his sweat. He would push penis, both testicles, and the two little fingers of his left hand into my mouth. Holding his thin hips, I toweled my tongue inside his foreskin till, leaning and grunting, he would spurt his greasy juice and, quickly limp, a tablespoon of urine.

Once he told me, when I stood up, "You look funny down there. You really look funny."

I was eleven.
-Samuel R. Delany, Hogg, 1969

"I think I ain't never met a normal, I mean normal, man who wasn't crazy! Loon crazy, take 'em off and put 'em away crazy, which is what they would do if there wasn't so many of them. Every normal man -- I mean sexually normal, now -- man I ever met figures the whole thing runs between two points: What he wants, and what he thinks should be. Every thought in his head is directed to fixing a rule-straight line between them, and he calls that line: What Is. [...] On the other hand, every faggot or panty-sucker, or whip jockey, or SM freak, or baby-fucker, or even a motherfucker like me, we know --" and his hands came down like he was pushing something away: "We know, man, that there is what we want, there is what should be, and there is what is: and don't none of them got anything to do with each other unless --" The bartender was shaking his head."-- unless we make it," Hogg went on anyway.

-Samuel R. Delany, Hogg, 1969, p. 121



__
mizu


Delta of Venus: Excerpt from The Basque and Bijou





As a fiction writer, Anais Nin is certainly not a favorite of mine,, but her pornography, written for a wealthy American businessman when she was strapped for cash, is really something unique. There’s a kind of quaint antiquity to the language that she somehow manages to direct into erotic little explosions, making her readers quietly wet between the legs.. The words are never vulgar; their effect is always sensual and dreamy, whether she’s writing about threesomes, masturbation, couples, or gay sex. This is thoroughly a lady pornographer at work, all the way.


...Behind the curtain, the Basque was smiling at Viviane's excellent performance. The man and woman were fascinated. They stood right next to the bed, with dilated eyes. Bijou said to them: "Do you want to see how we make love when we feel lazy?"

"Turn over," she commanded Viviane. Viviane turned on her right side. Bijou laid herself against her, entangling their feet. Viviane closed her eyes. Then, with her two hands Bijou made room for her entrance, spreading the dark-brown flesh of Viviane's buttocks so she could slip the penis in, and she began to push. Viviane did not move. She let her push, thump. Then unexpectedly she gave a jerk like that of a horse kicking. Bijou, as if to punish her, withdrew. But the Basque saw the rubber penis glistening now, almost like a real one, still triumphantly erect.

Bijou began teasing again. She touched Viviane's mouth with the tip of the penis, her ears, her neck, she rested it between her breasts. Viviane pressed her breasts together to hold it. She moved to join Bijou's body, to rub herself against her, but Bijou was evasive now that Viviane was becoming a little wild. The man, bending over them, began to grow restless. He wanted to fall on the women. His companion would not let him, though her face was flushed.

The Basque suddenly opened the door. He bowed and said, "You wanted a man and here I am." He threw off his clothes. Viviane looked at him gratefully. The Basque realized she was in heat. Two virilities would satisfy her more than that teasing, elusive one. He threw himself between the women. Everywhere the foreign man and woman looked something was happening that enthralled them. A hand was opening someone's buttocks and slipping in an inquisitive finger. A mouth was closing upon a leaping, charging penis. Another mouth was enclosing a nipple. Faces were covered by breasts or buried in pubic hair. Legs were closing over a burrowing hand. A glistening wet penis would appear and plunge again into flesh. The ivory skin and the gypsy skin were tangled with the man's muscular body.

Then a strange thing happened. Bijou lay full length under the Basque. Viviane was abandoned for a moment. The Basque was crouching over this woman who bloomed under him like some hothouse flower, odorous, moist, with erotic eyes and wet lips, a full-blown woman, ripe and voluptuous; yet her rubber penis stood erect between them, and the Basque was overtaken with an odd feeling. The penis touched his own and defended the opening of the woman like a lance. He commanded almost angrily: "Take it off." She slid her hands under her back, unfastened the belt and pulled the rubber penis off. Then he threw himself on her, and she, still holding the penis, held it over the buttocks of the man who was now buried inside of her. When he raised himself to thump into her again, she pushed the rubber penis inside of his buttocks. He leaped like a wild animal and attacked her only more furiously. Each time he raised himself, he found himself attacked from behind. He felt the breasts of the woman crushed beneath him, rolling under his chest, her ivory-skinned belly heaving under his, her hips against his, her moist vagina engulfing him; and each time she plunged the penis into him, he felt not only his turmoil but hers as well. He thought the doubled sensation would drive him mad. Viviane lay there watching them, panting. The foreign man and woman, still clothed, had fallen over her and were rubbing against her frantically, too confused in wild sensations to seek an opening.

The Basque was sliding back and forth. The bed rocked as they rolled, clutching and folding, all curves filled, the machine of Bijou's voluptuous body yielding honey. Ripples extended from the roots of their hair to the tips of their toes. Their toes sought each other and intertwined. Their tongues projected like pistils. Bijou's cries now mounted in endless spirals, ah, ah, ah, ah, widening, expanding, becoming more savage. The Basque answered every cry with only a deeper plunge. They were oblivious to the twisted bodies near them; he must now possess her to annihilation—Bijou, this whore, with a thousand tentacles on his body, lying first under him and then over him, and seeming to be everywhere inside of him, her fingers everywhere, her breasts in his mouth.

She cried as if he had murdered her.

*
Read the entirety here



___
adjoun


here are 2 short found-footage texts for porn writing day.

the friar

Sono un orso e mi piace vestirmi da frate, indossare una cintura di castità e farmi leccare sandali e piedi da uno schiavo per mooolto tempo; poi il gioco continua. . .

Non essendo molto esperto mi piacerebbe avere un "maestro" (padre superiore?) da cui apprendere nuove tecniche.

Top Bear who love to dress up like a Friar, to wear a chastity belt and to have someone who licks His sandals while locked in a chastity belt. Then the chastity belt is off and the game goes on...


the davinci code

we were having a lot of fun in bed as i admired your handsome looks and beautifl physique....i sucked your cock too and your dick was so excited and you came first....all over me....the we ended up having some really red hot steamy sex....you wanted to suck my dick and drink my cum...but you could see i still had much more to give...so you raised your legs and i entered you....it was hard at first....but soon i was inside....and in ym dream i remember you felt so nice and tight...i started gently and was soon deep inside you...it felt like i was in heaven...and i could see your eyes sparkle and you urged me to go deeper and faster....i fucked you as hard as i could...and i was going really fast and it was so exciting as i exploded inside you and i filled you with my hot sperms....it was a beautiful dream....and we were both very very happy....i would love you to come into my dreams any time...and i hope my dick and i appear in your dreams too....if you are happy....then i am happy!!



________
Jason Lingard




DON'T TELL MUM THE BABYSITTER FUCKED ME

It was raining again, it seemed like it would rain forever. Most of the time it was fun living on a farm, there was so much to do– help with the farmwork, play with the animals, ride bikes, play soccer in the paddocks, build huts… but rainy days like that day were no fun.
    “Mum, I’m bored…”
    “Simon, I’m just gonna get you some lunch and you’ll have someone to play with soon when the babysitter gets here.”
    “Who?” I asked nervously “I don’t wanna new babysitter, I don’t even need one.” I was always wary of new people, nothing made me more nervous than meeting strangers for the first time. Mum always described me to her friends as ‘deathly shy’, I always found that phrase kind of strange, just so dramatic.
    “Oh yes you do! I’m not leaving a 12 year old at home alone.”
    “Whatever.” I replied flatly.
    “His name is Mark Williamson and his family have just moved onto the farm down the road. I met his Mum the other day and she mentioned he was looking for work… I offered that he could look after you sometimes for extra money. ”
    “Oh” I replied flatly.
    “Look I’m sure he’s a nice boy, not too much older than you, he’s 16. I’m sure you’ll have fun playing Masters of the Universe or Lego or something.”
    “Will he even like Masters of the Universe?”
    “Sure he will! Every boy loves Masters of the Universe.” She smiled. A blue car raced down the gravel driveway. I ran to the window in my room and peered carefully through the net curtains as to not make it obvious I was looking. A woman got out of the car, she was younger than my Mum, not prettier but probably the same– just younger. Next a boy, who I guessed was Mark , hopped out of the passenger seat. Oh boy, he seemed so sure of himself the way he bounded down our path looking around, no matter that it was raining, he didn’t care. Not only was he older, but he was taller and far more athletic and tan than me. I didn’t spend nearly as much time outdoors as other boys my age did, and I was fair and skinny to prove that. I crept up behind my Mother as she beckoned for them to come in. Seeing Mark up-close he was really handsome, tall like I had noticed before with dark brown hair and matching dark brown eyes. He wore pale blue jeans and a thin white Reebok t-shirt, which was patchy with rain and sticking to his chest and stomach.
    “Lorraine I can’t stay I’m running late already for my appointment…”
    “That’s fine, you just get going” Mum smiled, “actually I’ll come with you I have to go out on the farm now anyway. I’ve got some lunch ready for the boys, and afterwards Simon and Mark can play until I get back.”
    “Nice to meet you Simon, don’t let Mark boss you around too much.”
    I didn’t answer.
    “Hey little Simon, you ready to have some fun?” Mark smiled at me.
    “Ahh, yup I guess so.” I said quietly.
    “OK then” Mark’s Mum interrupted, “us girls will get out of here and leave you to it.”
    “You be good Simon, do what you’re told.” The same thing she always says, even though Mum knows that I’m always well-behaved.
    “Bye” Me and Mark said in unison as they went out the door. After getting wet in the rain Mark was drying off in the bathroom. I couldn’t stop thinking about him, for some reason I found him completely fascinating. I went down the hall to the bathroom where the door was slightly ajar. I tip-toed closer so I could see in, and there
he was drying his hair with a towel. He finished and then let the towel drop to the floor.
    “You can borrow a tshirt if you need one.” I stood in the doorway.
    “Oh hey buddy…” Mark looked at my reflection in the mirror, a bit surprised.
    “Umm, I mean if yours is too wet.” I suddenly felt embarrassed for intruding.
    “Yeah that’d be great.”
    “OK, cool I hope I have something that’s good enough for you. I’ve got a new Billabong one that’s really cool. I got it for Christmas from my Nana. It’s green…” I trailed off realising I was babbling. Mark suddenly peeled off his shirt. I looked down in embarrassment. God what was wrong with me? I was so nervous and felt so funny. The blood drained from my face as I realised that I had an erection. I just stood there my penis obviously hard under my flimsy basketball shorts. He took a step toward me, I thought maybe he was going to leave the room or at least ask me to leave. But instead he started rubbing my cock through my basketball shorts. I had never felt a guys hand on my groin, it had me harder than I could have imagined.
    “Is this what you want?” he asked.I opened my mouth to answer, but all I could do was shake my head yes in response. Still grinning from ear to ear he peeled off my tshirt. He was so close to me, I could feel his body heat and I could smell his slight underarm scent.
    “God you’re beautiful.” He whispered.
    I couldn’t believe what was happening, I was totally helpless as I stood there not moving.
    I was still in a bit of a shock. With a smile he unbuttoned his jeans and pulled down his boxers. His cock was out and cupped in his hands. It was tan and smooth like the rest of him and he had very little pubic hair. He had such a nice penis, he had no foreskin and the head was dark too, not purple like mine. It was also a lot thicker and bigger. He took my hand in his and placed it on his dick. It was the most amazing feeling having another man’s dick in my hand. As I stroked it, a little bit of liquid oozed from the tip. I could smell it, I knew it was like when I masturbated, but I had never fully came like boys at school talked about. I boldly took some of his pre-cum on my finger and put it to my lips. It was salty. Stroking his dick felt so good and he was getting so much pleasure from it, but I wanted to know more. I wanted to taste it, and he was definitely leading me to do that. Before I could back out he forced me onto my knees, I closed my eyes and opened my mouth. He guided his cock between my lips. I could feel every inch of it sliding into my throat. It was quite big, and I had to struggle a bit to contain it all, I could feel the mushroom shaped head hit the back of my throat causing me to gag and choke a little. It took me a second to get adjusted, but once I did I closed my mouth on it, wrapping my lips tightly around the base of his cock. With my tongue I felt up and down his shaft. I started sucking on him, and licking it from root to tip, it was just automatic like I was possessed. His moans grew louder in approval, so I kept sucking. He ran his fingers through my hair and grabbed my hair roughly and forced my head down harder onto his cock. His thrusts came at me faster, I gagged a couple of times, he didn’t care, he just kept pounding into my mouth. Before I realised what was happening, he let out a loud moan.
    “Fuck, fuck, fuck…yeah” and his thrusts nearly stopped, then I felt this rush of hot liquid flood my mouth. Every time he thrust into me he unloaded another mouthful of cum. I had no idea what to do so I just swallowed, every last drop of it. I didn’t even notice the taste I was so turned on. When he had finished exploding in my mouth he pulled out, his dick still very hard. He pulled me up and kissed me really hard, his tongue exploring my mouth. I always wondered what it would be like to kiss another boy, I never imagined it would be like this. As we kissed his hands explored my body, stripping me of what clothes I had on. It wasn’t much longer before I was completely naked, my dick was hard and rubbed against his still erect cock.
    “God you are so sexy, so innocent.” He muttered. “I can totally keep going.”
    I pressed my body to his, wrapping my arms around him as we kissed. Pulling away he roughly directed me to the shower and pushed me inside. The cool water felt so good against my burning skin. He soaped our hands and we explored each other’s bodies. His nipples were quite dark, his chest was really toned and stomach flat and hard. I worked my way down his stomach, to the base of his cock, which was still very hard. He suddenly whipped my hands away. He flipped me around and pushed my face against the glass. He reached around and started stroking my cock, with his other hand he lathered up my balls and massaged and squeezed them. He started quickly rubbing his soapy fingers against my asshole while he kept wanking my cock. Oh man his fingers felt so good against my hole, just teasing slightly, his fingertips going into the entrance quickly and then pulling out. It sent electric shocks through my body. Mark got down on his knees. I kept my face and hands against the glass, my ass sticking out, water rushing down my back. I was convinced I was paralysed. He spread my ass cheeks apart and started poking his index finger in and out of my hole quickly. He slowly forced it in deep, then another one until two fingers were inside me. I could feel my ass was very tight around his fingers, the stretching hurt but that was overcome by the immense pleasure. He fingered me hard and deep with two fingers as I cried out in a mix of pleasure and pain. He curled and flexed his fingers upwards to feeling around the inside of my ass. He put his hands around my waist, now I could feel his cock against my asshole. He kissed my neck as his hands travelled up and down the side of my body then stopped on my hips. I could feel the head of his cock pressing hard against my hole, seeking a way in, I knew I was very tight. He pulled my hips backwards and guided my ass down onto him. His cock slipped in. He pulled my hips back harder until his big cock was all the way in. I also pushed back into him, opening myself up to him. It was almost unbearable as he forced his thick cock in and out of me. I turned my face sideways towards his, and his tongue licked frantically at mine. Loosening up for him, I allowed him to enter more of me.
    When he was totally inside it took me a minute to get adjusted, I had another man’s cock inside of me, it was something I couldn’t get a hold of in my mind. He had total control over me. I had a firm grasp on him with my ass and there was no feeling like him sliding in and out of me. Suddenly he pulled out. He reached out of the shower as I watched paralysed and confused. He grabbed a plastic mop and violently snapped off the mop end so he was left with a long pole. He turned off the shower and pulled me out, pushing me down on to all fours. I had no idea what was happening, but was still turned on. Suddenly he forced the rounded end of the handle into my ass. It was colder and harder than his cock, and pushed a lot deeper. It hurt at first, but he moved it around and around like he was churning the inside of my ass. I could feel my ass ring stretching and giving into his forcing. After about five minutes of fucking me with the pole he discarded it and then pushed me down, pinning me to the ground. My face was squashed against the cold, wet tiles as he pushed has hands on my back. He slipped his cock back into my gaping hole, not being gentle at all. He rammed it in and out quickly, his body slapping against my ass cheeks. It wasn’t long before I was begging him to go harder and faster. He pounded into me, jack-hammering that big cock of his into my tight ass with uncontrollable force. It was an indescribable feeling that overtook my whole body. Before I knew it, my body was shaking and I was whimpering as wave after wave of sticky cum shot out of me onto the tiles.
    As I shot my last drop of cum, his fingernails clawed into my ass cheeks and I could feel his cock throbbing as he shot his load. My insides were flooded with his warm liquid. While cumming he slipped his cock out, wanking it in one hand and fingering my wet, sticky asshole with the other. Cum was dripping out of my ass running down my legs, as he shot more of his load over my cheeks. We collapsed together on the floor. He held me tightly from behind. Neither of us cared that the floor was hard and cold.
    “Have I been good?” I whispered after a long silence.
    “So good.” He whispered back in my ear. “You’re been a very good boy.”



_
jax


This is from a story called ‘Tripping’, published in ‘Eros Ex Machina’, edited by M. Christian (the anthology also includes a very cool story by Kevin Killian). I was daft for JG Ballard’s ‘Crash’. at the time and fascinated by America’s love-affair with the automobile, so ‘Tripping’ is a sort of porn-y take on the idea of being turned on by things car-ish.

In the security lights' blind-spot, Mac stood up and scanned the recent-arrivals' area, searching for the caved-in roof of a Peugot 260.
    And found it. The metal skeleton had been crumpled further by the wreckers' claws. Mac hoped the inside would be intact.
    He laughed aloud.
    The dogs barked once, then fell silent.
    His own detachment surprised him. Two years ago he'd been unable to pass a parking-lot without getting hard. These days, he was driving one of the things, ten times a week, no sweat...
    ...once a tripper, always a tripper?
    Oily mud squelched under his feet. He walked over to the vehicle. The engine had been removed - Mac knew that. But if his instinct was right, there was life inside. He stuck his head though a jagged space, groping in the darkness. Fingers contacted with metal.
    Cold metal.
    Cold, hard metal.
    The denuded hand-brake was at an almost ninety-degree angle. Mac's balls tightened as he fumbled towards the shattered dashboard.
    Dry. Crystaline. He raised shaking fingers to his lips and tasted...
    ...saltiness. Not blood-saltiness, though he could smell there was plenty of that around. Another more intimate, equally vital body-fluid.
    Mac's guts turned over. Licking dried spunk from his fingers, he closed his eyes.
    Skinned metal rubbed his thigh.
    His cock started to stretch inside his pants. Mac groaned, leaning back further. He inhaled the smell of two spent life-forces.
    One drilled from deep in the ground.
    The other fucked from deep in a man's balls.
    Before he knew what he was doing, his pants were down and cold metal was pressing against his hole. Mac gripped the edge of the roof-frame and began to gyrate. His fingers slipped a couple of times as he circled the hand-brake, teasing himself. Re-adjusting his hold, he swung back, raising his legs and planting his feet on the dashboard. Crushed safety-glass crunched under his boots. He hung there, suspended, then began to bear down.
    His thighs spasmed uncontrollably. Mac stared through the shattered windscreen into darkness as the hand-brake pushed past his sphincter.
    He hovered there, the first inch of hard, solid steel inside his ass. Mac savoured the invasion, the way the muscle clenched around the cold shaft. He could feel the bevelled finger-indentations, feel his sphincter tighten around the first...
    ...then second..third...
    ...at the fourth finger-grip, Mac's right hand released the roof-frame and grabbed his cock.
    He was out of condition. The muscles in his left arm screamed as he used his feet to lever himself back up the hand-brake...
    ...then down again. He closed his eyes, inhaling the freeway smell of blood and gas and sweat and spunk. Mac fucked himself harder and faster, jacking his cock as the steel shaft buried and reburied itself in his ass.
    The car moved beneath him, grating and grinding. Mac blinked back another saltiness as the pain in his left arm became almost unbearable. His cock was agony, his balls knitting together...
    ...he howled when he came, splattering the dashboard with another layer of milky liquid. And the wreckers' dogs howled with him.



_________
land of the bat


    An old dude--he was maybe 65--once asked me if I’d like to have lunch with him. It was a sunny day and I was too hot from walking. I took his offer because he was paying attention to me, telling me I was special. We ate at a café up the coast. He watched me as I ate a salmon sandwich. I loved him watching me. He snuck me two glasses of wine and I let him watch me drink those, too. After lunch, we walked out to his car. It started raining. He asked me to jerk off for him so I did. He just sat there, the windshield wipers squeaking across the windshield, as I unzipped my pants and got hard.

    When I came, he looked happy, like my coming was a miracle, like it was special. I remember I could smell my balls, that I needed a shower bad. I got out of his car after that and walked on the beach in the rain. I felt so good about myself for the first time in forever.


(This is a very short excerpt from an unpublished novel I'm writing called Scrappy Soldier.)



______
Statictick


I have always loved porn, but it never seems to fit in my writing, as much as I'd like it to do some tricks for me.

Porn, for me, is image-bound. Meaning, I don't want to read something that conjures an image that then might excite me. I've written about sex, but with a degree of separation that prevents it from being what it should. I guess I'm blaming that on my father's Penthouse Forums and the faggot equivalents I managed to buy. I always liked the pix better. I'd rather see Danny Sommers bend and "grit" than I would read about it.

Therefore, this is Cooper's most challenging day for me.

I was feeding on my boyfriend's stupidly hung wang, and then letting him pretty much chew my asshole off, then fuck me, when I was thinking "so how do I represent this?" It was great. It was a sperm throwing contest. I think I came three times before he even started to plow.

I took to the challenge Weavie gave me: get on that thing now or just take a fucking bus home.

That was pleasant, but my head went compute-compute-compute. I managed to come in his nostrils (still sneezing three days later), but I wasn't getting words from it.

Words: grab me under my balls and give yourself a little whap with my cock; whap me more with yours, it has the smell of the only sort of syrup I'd eat, so at least try; everything inside of my ass has been conspicuously removed by me, so at least try to suffocate for effect's sake; when you fit that in and ignore me enough to ram a little, think I'm whoever you need to. Right now, I'm thinking you're Hot Older Man Big Dick I've Known For Two Decades. Right now, you're thinking, shut the fuck up, you whiny bottom, and let my I- know- it's- bigger- than- your- grimace do you properly in. All they think is "in." Ok, go in.

Played.




*

p.s. Hey. So, I was looking through the blog's past the other day for whatever reason, and I found this post, and I realized that it hasn't been findable or viewable for years due to technical reasons, and so I decided to restate it and give it a weekend because it's giant. ** _Black_Acrylic, Hi, Ben. Yeah, I was trying to find the Kafka in that fountain too. Maybe the revolving penises? I don't know why that seems Kafka-esque to me. Oh, good, I'll snuggle up with some Cheetos or something and watch the sugar-coated shitstorm tonight. Yay! New Art101 news would be awesome, obviously. And thanks much for the Prurient/Bennett link. Very interesting combo. ** David Ehrenstein, Hi. Yeah, that fountain is so fabulous that I decided that if I included it, the others would be dwarfed. ** Sypha, Hi, James. Oh, good one: Anger = fountain. ** Tosh Berman, Hi, Tosh. Yeah, I love that Los Feliz fountain and park too. When I was in LA briefly a bit back, I got to see the upgrade. It was really nice. Agreed about the St. Michel fountain. A big fave. Oh, btw, your wonderful 'report' on the Stones show at the Fonda had me going and my jaw on my upper chest for quite a few paragraphs. When you said they did 'We Love You', my favorite Stones song, I did a seat hop. But right about then is also when I went, 'Wait a minute'. Anyway, that was a brilliant and very seductive thing you did right there. ** Steevee, Hi. Ugh, that is a pile up of ugh. I'm glad you had a little breakthrough before the day was over. Brooding, yeah, horrible. I have a tendency to do that too. My stress gets manifested that way if I don't catch and try to curtail it. Brooding is badly addictive. Anyway, here's to sudden and rapidly increasing appreciation of you by the editorial powers that be. ** Kier, Hi, Kinkier. Wow, that one's strange. Thanks. They'e small and nasty: finger cramps. I guess they must be pretty rare, thankfully. Waiting sucks, it's not just you. I'll take bug hugs as long as they're not from mosquitoes. I'm so in the mood for pancakes that even a tasteless one made me go 'yum'. That's sad. 'Food-wreck': that's really nice. I don't even completely understand what it means, which makes it even more exciting, of course. There aren't horse toys? Weird. We should invent one. My day: First the funeral. It was, you know, disorienting and sad. There were a ton of people there, including a lot of French literati, and that was good, I guess, even if, you know, he'll never know. Anyway, that happened. Then I worked. Then I met up with Zac and went over the current draft of our next film script with him. He made a bunch of extremely great suggestions and stuff, so now I'm doing a revision. Guys had been here very noisily redoing the space in the building below my apartment ever since I moved in, and they finally finished yesterday. I peeked in. I don't know what it is. Not an apartment, for sure. It faces onto the courtyard where you enter the building, and I think it might be a fashion showroom. It's very swank. And I also think that because there was a celebration party for the finishing in the courtyard last night, it was just nothing but beautiful, incredibly long-legged model-looking boys and girls. So I watched that and worked a little and slept. How did your weekend pan out, my dear pal? ** Rewritedept, Whoa, hi there, man! I haven't seen you in ages. Ah, still with spotty computer access, gotcha. Thanks for sending me an email. I'll find it. As you undoubtedly know, I am complete shit at email correspondence, so I'll try to catch up that way, but don't expect anything. Lots of home changes. That sounds okay. A blog day? Wait, a two-parter? Cool, thank you so much! I'm in sore need of guest-posts, and I'm sure it/they are great. Penciled in, okay, sure. Love and hugs right back. ** Thomas Moronic, Thanks, T! Shit, no, I spaced and didn't get the O'Rourke as planned. Hold on. I just reminded myself to do that today the old fashioned way with pen and paper. ** Cal Graves, Hey, Cal. Being unable to keep a tight schedule can be one of the signs of a superb mind. Yeah, now that I'm over here in the right time zone, it's easier to watch Eurovision since it's basically live minus an hour or something. I started your thing, but I'm not finished yet because I had that funeral and internal weirdness due to it and some film stuff that came up. But I will finish over the weekend. I love it so far! Snakes, interesting. Yeah, they're cool, for sure. I don't like zoos either, but I'm like you. There's this famous zoo here in Paris that just got restored and updated after being closed for 20 years or something, and you reminded me that I want to go check it out. No, I wouldn't be in an alien's zoo unless I had no choice, and, I suppose, aliens being aliens, I wouldn't. I'd probably go look at it, though. Maybe even frequently. Oh, guest-post, thank you! Vape-ly, Dennis. (I"m not into vaping, by the way. I do like the word, though. Or I used to. That 'vape-ly' is retroactive). ** Right. I intro'd the post up above. See what you think about all the dirty words provided to the blog years ago by frequenters of the blog both long since departed and still here. See you on Monday.

Janie Geiser Day

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'In his account of the origin of art, Pliny asserts that the history of art begins with the tracing of a shadow. In the apocryphal story, the daughter of Butades, a potter of Sicyon in Corinth, traces her lover’s shadow on the wall soon before he is to depart. The potter then presses clay to the outline to form a relief. Victor Stoichita notes that “[t]he real shadow accompanies the one who is leaving, while his outline, captured once and for all on the wall, immortalizes a presence in the form of an image, captures an instant and makes it last.” The various artistic inscriptions based on the shadow are a marker of the one who has left. In some ways they are more than the person because they persist after the individual is gone; yet, they are also less, lacking expression, detail, or depth. In the experimental films of Janie Geiser, the shadow itself also becomes the space of projection, the space where the imagined other, in the form of a video image, makes its unexpected return.

'Three of Geiser’s films employ the use of rephotography from a television monitor: The Fourth Watch (2000), Ultima Thule (2002), and Terrace 49 (2004). Each film was shot on 16 mm film, though at key moments during shooting the camera was turned to the television screen. Therefore the rephotographed footage, which is drawn mostly from film history — Disney animated features in Ultima Thule, silent horror films in The Fourth Watch, and television cartoons in Terrace 49— appears not as film but as video images. They stage an intermedial encounter: the confrontation of film and its video ghosts. As such, Geiser’s rephotography strategy reclaims film for film. Yet, the video intermediary remains, leaving its indelible mark, its medium-specific scar.

'Geiser’s rephotography films both borrow from and exceed the categories of animation and found-footage filmmaking. Typical of her films, Ultima Thule and Terrace 49 use stop-motion animation strategies, with dolls, wooden figures, toys, and various “found” textures such as wallpaper and scientific diagrams. The heterogeneity of her films is a nod to her involvement in the theater arts and puppetry, where her performances combine a diverse array of elements, including live actors, filmed sequences, and even the occasional glimpse of the puppeteer’s hand. In the three rephotography films, the layering of the found footage elements over the stop-motion animation adds to the density and complexity of the film frame. Beyond the typical concerns of found footage, such as the self-conscious recuperation of film history or the shifting vectors between mainstream and avant-garde cinema, Geiser’s films force film and video into contact with each other as media. When considered alongside found objects, the addition of found footage, or “moving” objects, complicates the status of the animated element. The interplay of filmic layers creates a complex aesthetic of collage, a term borrowed from art history but also used in cinema to describe the collage film or, more generally, the principle of montage.

'The collagist structures of Geiser’s rephotography films engage critical issues of surface, space, and film history in distinctly hauntological terms, which, following Derrida, constitute an aberrant space, wholly other, infinite and ungraspable. While the found footage films of Bruce Conner, Phil Solomon, and Martin Arnold, which manipulate or resequence their source material, maintain the underlying linearity of the narrative cinema they implicitly critique, Geiser’s gesture is more akin to cubist collage in the way she collapses disparate media within a single frame. In her work, video and film, two distinct systems of representation, are forced into explicit spatial contact. In their uneasy encounter, they contaminate each other, destabilize the integrity of the whole, and produce an elusive, uncanny space that belongs to neither medium. The radicality of Geiser’s gesture, however, is less that it produces an extramedial space, than that it reveals unstable, impure elements already present within each medium. By way of the intermedial encounter, film and video are exposed for the limits of what each may represent and what, in the end, may fall outside the realm of representation altogether.

In Geiser’s rephotography films, the video-generated images act as a kind of “surface-declaring device.” Where collage artists might layer objects and images, a collage filmmaker like Geiser adds to this combination a layering of exposures, collapsing multiple views and temporalities onto a single celluloid plane. While collage bears an implicit connection to montage and film in general, the hermeneutic strategies applied by collage filmmakers are more explicitly aligned with that of their fine-arts counterparts, emphasizing material properties of the medium or critically examining the mass cultural imagery from which their “reality fragments” derive. Yet, even within the milieu of collage filmmakers, Geiser is unique: collage filmmakers typically compose in timed sequences, laying one strip of found footage after another, but her practice is more closely related to the shared spatial terrain of collage artists because of the way she composes a multiplicity of views within a single frame. Depth here refers not only to the three-dimensional representation (or presentation) of an object, after a Bazinian notion of composition-in-depth, but also to the density of an image overlaid with multiple exposures.

'In this way, the rephotographed video images of Gesier’s films cast peculiar kinds of shadows. Because the 29.97 frames per second of video fit awkwardly into film’s 24 frames per second, the video images appear to roll across the screen. This is most pronounced in The Fourth Watch, where, at any given moment, part of the rephotographed video image is visible while the rest is not. In these blank spaces, different layers are exposed, if only momentarily. The films are thus pervaded by an indeterminancy of image, a vagueness that suggests the surface is not fixed but imbued with its own depth, like a body of water. The presence of video alongside film recapitulates the terms of the image and object in collage; yet, as collage films, Geiser’s work incorporates the added dimension of time and, with it, time’s uncanny surprises. Although the intermedial exchange between film and video foregrounds the flatness of the film screen, the element of time suggests an indeterminate thickness of that surface. Time, too, is a form of depth, compressed in painting but given extended form in cinema, as seen in the temporal disjunction between film and video artifacts. In Geiser’s work, time renders visible another dimension of collage in the juxtaposition of two systems of moving image representation. More than a disjunction in luminosity or color, the most significant gap is that of time: film and video adhere to different rhythms and cannot synchronize. To adopt the eloquent title of Geiser’s 1999 film, the alignment of the two media necessarily results in “lost motion,” pockets of time that point to an unrecoverable beyond. The combination of collage aesthetics and cinematic time in Geiser’s work thus offers more than a flat optic sea; it produces one in which anything can emerge, or be hidden away, at any moment.' -- Genevieve Yue



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Stills






































































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Further

Janie Geiser Official Website
Janie Geiser @ IMDb
'Imitation of Life: Films by Janie Geiser'
'Experimental Narratives: Janie Geiser's Evocative Puppetry'
Janie Geiser's films @ FANDOR
'Cardboard, Paint, and Style: A Brief Look at the Work of Janie Geiser'
Janie Geiser @ Facebook
'Miwa Matreyek and Janie Geiser on Collaboration, Wonder and the Importance of Tinkering'
'Stage Light'
Janie Geiser @ MUBI
'THE SECRET LIVES OF INANIMATE OBJECTS: THE FILMS OF JANIE GEISER'
'Janie Geiser Recasts the Cinema of Attractions'
'Toward a Feminist "Coney Island of the Avant-Garde"'
'Five Women Animators Who Shook Up the Industry'
'The Sharpest Point, Animation at the End of Cinema: Janie Geiser
'The Intrigue of Animating the Inanimate'
'Puppet Noir: On Janie Geiser'



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Selected Theater

'In addition to her celebrated films. Jamie Geiser is one of the pioneers of the renaissance of American avant-garde object performance. Geiser creates innovative, hypnotic works that merge puppetry, film/video and performance. Geiser’s performances have toured nationally and internationally, and her films have been screened at museums and festivals around the globe.'-- collaged

FUGITIVE TIME (2014)
'Conceived/Directed by Janie Geiser, and developed with an ensemble of Los Angeles performers and designers, FUGITIVE TIME is a multidisciplinary performance inspired by the dual histories of illness and health in the early 20th Century.. Promoted as the land of eternal sunshine, LA became a haven (and often final) destination for sufferers of tuberculosis. FUGITIVE TIME merges puppetry, miniature landscapes, film, live-feed video, and music/sound to create an immersive, elliptical meditation on the body, illness, nature, and time. This history was paralleled across the US and Europe, as part of a global Sanitorium movement.'-- JG


Excerpts


Clouded Sulphur (2013)
'Created in response to the tragic, unsolved murder of a 15 year old Los Angeles girl, Clouded Sulphur (death is a knot undone) navigates a complex terrain of family, loss, revenge, and unexpected hope through a multidisciplinary performance work that merges puppetry, projection, text, and music. Set at the edge of Los Angeles, where the untamed landscape meets the city, the performance centers on absence and the range of feelings that flow through brokenness (revenge, disbelief, unexpected floods of compassion and hope).'-- JG


Excerpt


The Reptile Under the Flowers (2011)
'The Reptile Under the Flowers is a peepshow/diorama performance in 12 scenes that incorporates puppetry, mechanical performing objects, small projections, music and sound to create a an intimate miniature spectacle. Performed by an ensemble of 15 performers for groups of 8 people at a time, who travel through the diorama-performance. The Reptile Under the Flowers builds its narrative through the accumulation of small actions and events, without text or dialogue, and follows the intersecting lives of a father and son.'-- JG


Excerpts



_____
Interview
from L.A. Record




What was the first puppet you made like?

Janie Geiser: The first puppet—beyond experiments—was actually from college. I was taking a fabric design class, and it was getting back to how fabric was made, like the weaving and things like that—and I’m not prone to that direction. For our final project, it was kind of left open, and since we had been doing a lot of hand stitching, I decided to make a hand stitched puppet. I made it by cutting out an arm, covering it completely in wool embroidery, and then the face, and the eyes, and it ended up kind of looking like a skinny Charles Laughton which wasn’t my intention at all. I was just kind of doing it free form. It was kind of a magical character for me. I liked it. It showed a certain kind of obsessiveness I have—every single bit of it was covered with stitching—so it had a kind of satisfying quality of obsession about it. So I called him Charles Laughton because it reminded me of him.

In a lot of your films, your puppets seem to be flailing about, dealing with all kinds of boundaries and limits. Do you think inanimate objects have emotional lives?

JG: Oh, absolutely! Not that they have them themselves, but we project them onto them. A lot of puppeteers get into, ‘It’s alive!’ and I think we’re bringing it to life through the person performing it and the collaboration with the audience. And it’s because we just bring many powerful associations to objects, and so using that inherent power, that’s already there—it’s kind of like a Rorschach test. You see an inkblot and project into it really emotional things and memories. I think it’s the same thing with objects, and that’s why I’m really into using found objects in my films. The first couple films I made, that were more kind of full films, like the puppet film, and then I made a couple of painted, cut-out films, which I like but started to think they’d all start looking alike if I kept working that way. From the beginning, I was putting objects into them as well, and I got really excited about what they can do, and now I’m always on the lookout for new characters.

Jan Svankmajor said that having puppets when he was a kid was an amazing gift because he could use puppets to play out all life’s injustices, correcting them, taking revenge. Why do you like working with puppets? What do you get out of it?

JG: I don’t know that I’m taking revenge, but I am for myself, trying to get closer to the meanings of things, and hopefully other people are able to find something in that. These ‘Nervous Films,’ they’re about the nervous energy and the world we live in now, how crazy everything is right now. Maybe it’s battling despair. If I’m really paying attention—which I do, unfortunately—to the politics and how things are going everywhere, I would be in despair. I have to have something to do to fight that.

What about the world today are you most nervous about?

JG: A kind of ignorance—not stupidity—but willful ignorance, and a kind of meanness that’s out there, and a greed that’s out there. It’s exemplified in all the budget debates. People would sacrifice everyone who needs help, and they don’t need help because they’re not trying, but because everything in the system is failing them. For political game, people are trying to turn the argument to make those people—it’s the most frustrating thing. You hear people saying things like, ‘50% of Americans don’t pay taxes.’ Well, what that really means is they actually don’t make enough money to pay taxes! It’s characterized as if they’re good for nothing, lazy people—50% of the people in America—and there are new ways that the corporate people are being described as the productive class, the job creators, and all these terms that ignore the greed that’s going on. And I feel despair for the planet. I have a thirteen-year-old son, and I can’t show him that despair. We talk about these things, and I wonder, what is his world going to be like if we keep heading in that direction? But it’s a beautiful day out… ha! We need all these things: food, clothing, shelter, and meaning, and people find it in different ways. I find it through making things. It helps me stay alive and sane—even if what’s in the film is kind of agitated.

The press release says Ghost Algebra suggests one of the original meanings of the word “algebra” is the science of restoring what is missing, the reunion of broken parts. What was missing from your life when you made this film? What has since come back together?

JG: I was actually having a strange health problem, where is sort of where the whole “Nervous” films have come from. I haven’t really ever talked about this, but it’s been a couple years now. I just suddenly started feeling all the electricity in my nerves. It was … unnerving. All those nervous words suddenly became real. It might’ve been caused by something getting pinched, because it did happen right after I had a massage, and I was having a massage because I was so tense. It could’ve been a vitamin deficiency. It could’ve been a combination of things, and they never figured it out. I went to all kinds of doctors, had an MRI, been to a neurologist, and what seemed to help the most was a combination of acupuncture and herbs. But my body was not a familiar vessel anymore.

Would you have preferred to know what the specific problem was, or was not knowing more comfortable? Which would cause most anxiety for you?

JG: I think the not knowing. I never had physical anxiety in my life, and as it went longer, and nobody could tell me what to do to make it better, that’s when anxiety kicked in. So I made Ghost Algebra at the height of not knowing. It’s not about me in that sense—though there are a lot of body parts in there—I was transmitting another kind of nervousness that we have about war. The woman is looking at this old World War I compound by the ocean where they’re hiding and she’s looking into it and seeing the history of sadness and war and killing and bodies. I’m not so interested in being completely autobiographical and confessional because I don’t think my story is that important. I’m more interested in using things that are motivating to me and looking at them in a bigger picture way, but through a very small world.

Your films deal a lot with childhood, with looking back at the past, but seem to suggest that the wholeness of the past is entirely retrievable, because stories are never revealed in their entirety. What’s something experienced as a kid that will always stick with you that you think you remember in its entirety?

JG: It goes to my father. I was not sick very much as a kid, and I come from a big family of six kids, and I was the second child. Looking back as an adult, I feel like part of what I’ve always have longed for is the kind of attention that you get from your parents—I mean they loved us all equally, somehow—but that attention that you get when you’re really little just kept going to the next kid. So I even helped my parents a lot with the next kid as part of that system of love. But when I was about four or five, I got some kind of bad fever. It was like 104. So my parents too me to the hospital, because they had actually lost their first child to some kind of virus. She got a fever and was dead in two days. So they were really sensitive to fever. I was there for a couple of days, and my dad picked me up. He wrapped me in a blanket and lifted me and carried me and I hadn’t been carried in a long time because there were always littler kids to carry and I remember it was an amazing feeling. I still carry my son, probably for that reason. He’s getting too old though.

Nancy Andrews told me that she thinks life and death are always arbitrary—“We think we control such things, or someone controls such things, but it might all me dumb luck or no luck.” What do you think?

JG: I think that’s pretty true. You can stop smoking maybe, but you might just get hit by a car too. There’s murder, there’s war, and those are not random, but maybe it’s random who survives and who doesn’t once you’re in it. I remember my dad my dad telling me about this scar he had. It was at the end of World War II, and a bullet just grazed him. That’s pretty random. That’s luck. Some kid gets shot in a drive-by—that’s terrible luck. Often they have nothing to do with it. They just were there at the wrong time. Drunk drivers. There’s some control with personal behaviors you have, but it’s usually the other person’s personal behavior that unduly effects you. We’re all going to die—it’s nothing profound to say that—but we push it. I found this book at the Last Bookstore downtown, and I haven’t read it yet, but it’s The Denial of Death. I do think we just live because we don’t want to think about the other option. That was the thing with the nerve problem. I just thought, ‘I really don’t want to die right now. At least til my son is twenty to die.’ I don’t want him to be one of those kids whose mother dies when they’re thirteen.



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10 of Janie Geiser's 15 films

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Lost Motion (1999)
'Lost Motion uses small cast metal figures, toy trains, decayed skyscrapers, and other found objects to follow a mans search for a mysterious woman. From an illegible note found on a dollhouse bed, through impossible landscapes, the man waits for her train which never arrives. His wanderings lead him to the other side of the tracks, a forgotten landscape of derelict erector- set buildings populated by lost souls. Dream merges with nightmare in this post-industrial land of vivid night.'-- Freewaves



the entire film



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The Fourth Watch (2000)
'The ancient Greeks divided the night into four sections; the last section before morning was called the fourth watch. In these hours before dawn, an endless succession of rooms is inhabited by silent film figures occupying flickering space in a midcentury house made of printed tin. Their presence is at once inevitable and uncanny. A boy turns his head in dread, a woman's eyes look askance, a sleepwalker reaches into a cabinet which dissolves with her touch, and hands write letters behind disappearing windows. The rooms reveal themselves and fill with impossible, shadowed light. It is not clear who is watching and who is trespassing in this nocturnal drama of lost souls.'-- Freewaves



the entire film



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Spiral Vessel (2000)
'A found psychological test kit yields puzzle figures with cutout ears, cutoff heads, and pullaway body parts. The ear opens into an interior world of shifting science book images which, when isolated, evoke mysteries more than they reveal facts.'-- JG



Excerpt



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The Spider’s Wheels (2006)
'Geiser was inspired by the heroines in early film serials, known as the “serial queens,” along with the display of heightened feminine power in film throughout history and how they are reflected in political and cultural movements. The Spider’s Wheels is a cinematic diorama-installation combining projection, sculpture, and film. The piece is centered on the star of a fictitious serial about a female detective known as “The Spider.” Found footage of a contemporary actress playing a silent film star heroine is projected throughout the different areas of the installation. The projection areas include sculptural areas such as a Plexiglas box with metal flaps that serves as a silver screen, a wire mesh screen resembling a web that rises and falls in a three-minute cycle while the footage is projected onto it, and a staircase that leads to a door where the viewer must look through a peephole in order to view the scene.'-- collaged



Documentation




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Ghost Algebra (2010)
'Geiser’s ‘algebra’ theme seems to peek through at times in images of severed limbs or broken bones, teeth, spilled blood, and of course the various number machines that pop up. The word algebra apparently used to have a meaning related to restoration or reunion, sometimes applying to the setting of broken bones which was often done in medieval times by a dentist who also performed bloodlettings. Interesting. But this film is not really about mathematics. At least not the usual kind. It’s about piecing together a vision of the world. Immersion.'-- Candlelight Stories



the entire film



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Kindness Villain (2010)
'In Kindless Villain, two boys wander through a stone fortress, while the history of never-ending battle forms traces in the waters below. Seemingly alone in their island world, the boys succumb to fatigue, and to rituals of power. Scratched phrases from an ancient recording of Hamlet reveal a sad cry for vengeance. War is a child’s game, played quietly in this forgotten world.'-- JG



Excerpt



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The Floor of the World (2011)
'The title comes from a phrase in a book by Mozambican author Mia Coute: "The floor of the world is the ceiling of the world below." Collage images and objects are use to suggest narratives of burying, uncovering, building, destroying, longing, and loss. The sound collage uses vinyl recordings, including a 1940's radio play of Frankenstein, as well as recorded live sounds. Premiered at 2010 NY Film Festival.'-- JG



Excerpt



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RICKY (2011)
'The realms of childhood, war, and loss echo through Ricky. A found sound recording forms the spine of the film...an scratched audio letter from father to son.'-- JG



Excerpts



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Arbor (2012)
'From a set of photographs found in a thrift store, Geiser creates a liminal space between representation and abstraction, figure and landscape, fiction and memory. ARBOR suggests the fragility and ephemerality of memory and its artifacts through subtle manipulations of the photographs: reframings, layerings, inversions, and the introduction of natural elements, including flowers and leaves. The photographs’ subjects rarely engage the camera; they are glimpsed, rather than seen. They look elsewhere, and wait for something inevitable. Gathering on a hillside, lounging on the grass beyond now-lost trees, the inhabitants of ARBOR cycle through their one elusive afternoon, gradually succumbing to time or dissolving into landscape, reserving for themselves what we can’t know---and becoming shadows in their own stories.'-- JG



Excerpt



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The Hummingbird Wars (2014)
'A collage film, collapsing time and place: turn-of-the-last-century performers apply stage makeup as if for war, to engage in battle for the soul of the world. The injuries are more emotional than physical, but cut deeply just the same. A visual/aural collage film, drawing on sources as seemingly disparate as Ibsen’s A Doll House, Japanese Gagaku music, makeup illustrations for 19th Century actors, the biography of a Shakespearean performer, blooming and decaying flowers, and a World War 1 First Aid Book, The Hummingbird Wars suggests theater in a time of war, which is the theater of any time.'-- JG



Excerpts




*

p.s. Hey. ** James, I hope you don't mind me saying that I hope you don't find it. Well, unless it stops at 'want', at least. ** David Ehrenstein, Yep, Ireland did the right thing. ** Steevee, Hi. No, unfortunately. Thanks, I'll go see what Gaspar has to say. Big smile about your depression abating. Yeah, I've read about flakka. Scary shit. I never trust news reports about drugs ever since the almost surreal LSD scare-mongering back in the Sixties. ** Bernard Welt, Hi, B. Hm, another porn Day. Interesting. Yeah, not a bad idea. The PostIt has been inscribed. With the free/porn videos, I'm fascinated by the code that uploaders have developed to try to disguise the porns vis-à-vis their makers and prevent the videos from being removed on demand. The code has become consistent, like a new language. Like the word 'Wellhote', which a lot of them use. What does that mean/indicate, and where did that come from? ** Damien Ark, Hi, Damien. Wow, cool, glad it had a lightning kind of strike. ** White tiger, Ah, youth. Ours, at least. xxx, me. ** Alistair McCartney, Hi, Alistair! Surprise! I know, nine years ago, holy moly. I'm settling in, yeah. Maybe even settled. Hooray in multiples that you novel is still on track for a 2015 'i'-dotting. So excited! ** Thomas Moronic, That old thing is what lured you inside here? Nice. Yeah, looking back through the blog's youth, it has changed, in some ways a lot, in some way not at al. The comments arena changes all the time. That has definitely changed. On its own accord and inexplicably, to me at least. Which is good, I can only think. ** Richard, Hi. Wait, you're Mr. Labonte, aren't you? If I'm right, yay, and how are you, and it's so awesome to get see you, or see your words at least. Much respect and love from me and here! ** _Black_Acrylic, Hi, Ben. I watched all of the entries do their numbers, but then I crashed before the results. I had read a bunch of predictions that the top three would be exactly what the top three ended up being, which seems weird. I was for Latvia too. I also sort of liked, in a goofy way ... shit, I can't remember the country. The one with the female singer in bad Goth fashion, black feathers on the shoulders, doing that song that sounded like a mix between an 80s disco diva thing and Crystal Castles. I liked how blown-out and overstuffed the background EuroTechno track was. ** Misanthrope, Have you changed that much? Am I that inattentive? Or have I changed that much? Guardianship, gotcha. Wow, Tuesday, okay. Well, it does seem like she might cut her losses and sign it. Hope so. But, yeah, I know from your stories that she often doesn't seem to know her losses. Really big luck with that. ** Jeffrey Coleman, Hi, Jeff. Thanks much for the recommendation re: the Richard Weiner book. I'll look right into it. ** Bill, Hey. Yeah, it was like a blog high school reunion this weekend. Columbarium ... do I know that? I'll google some photos, etc. Gig, nice. What's the gig? I corresponded with that 'Snow White' recommending guy once a while back. About something I've forgotten. I can pop back into his field of vision and put in a good word. ** Okay. The other day Chilly Jay Chill asked me if I'd done a post about Janie Geiser's work, and I hadn't, and it made me think about her work, and, for me, often the best way to think about someone's work is to put together a post as a formal structure around my thinking, and, in this case, that's what I did. Enjoy, please. See you tomorrow.

Roller coaster futures

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Battersea Power Station Roller Coaster
'An abandoned power station that has been an iconic part of London’s skyline since 1933 is transformed into a playground and museum in the proposal by Atelier Zündel Cristea. The concept makes use of the Battersea Power Station, which was decommissioned in 1983, preserving its history while making it both an educational and recreational attraction.

'The former coal-fired power station (which has been featured in a number of films and music videos) is notable for its original Art Deco interior fittings and decor, but throughout the thirty years of its abandonment, its condition has deteriorated severely. Former owners considered making the station an indoor theme park in the 1987, and work began on converting the site, but lack of funding brought the project to a halt.

'The new proposal revives this idea, making it even more grand with a roller coaster that winds around the building itself, making it the center of attention during the ride. Paths created by the scaffolding-like support of the roller coaster offer opportunities for walking tours.

'“Our project puts the power station on centre stage, the structure itself enhancing the site through its impressive scale, its architecture, and its unique brick material. Our created pathway links together a number of spaces for discovery: the square in front of the museum, clearings, footpaths outside and above and inside, footpaths traversing courtyards and exhibition rooms. The angles and perspectives created by the rail’s pathway, through the movement within and outside of the structure, place visitors in a position where they can perceive simultaneously the container and its contents, the work and nature. They come to participate in several simultaneous experiences: enjoying the displayed works, being moved by the beauty of the structure and the city: river, park, buildings.”'-- Web Urbanist









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The cantilevered coaster #1
'This ride is conceived and designed by Nick Weisenberger and based on an incredible invention by John Hogg. For a future theme park ride, the cantilevered roller coaster (CRC) could revolutionize the industry by taking the thrill ride to the next level of unpredictability and excitement. The CRC system uses two tracks, each with a chassis on it, one above the other. A support arm is mounted to the lower chassis and runs up through a gimbaled, sliding bearing in the upper chassis. The guests ride in the themed portion of the vehicle mounted to the top of the arm above the upper track and chassis.

'The CRC was conceived as a way to get the ride vehicle up and away from the main track system. It’s similar to those those ride systems that employ a multi-axis simulator sitting on a tracked chassis (e.g. Indiana Jones Adventure, Harry Potter and the Forbidden Journey), but without all the complex hydraulics, servos, and electronics of those systems, plus the ability to move on an undulating coaster track.'-- Theme Park Tourist






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Rings of Saturn
'Why is Thomas Casey’s Rings of Saturn amusement ride not available to ride at an amusement park near me? I’m very excited about the possibility of throwing up on strangers and being thrown up from multiple angles upon this ride. Ideally, this ride would have three or four or even five rings with vomit just showering down upon riders from all angles.'-- The Sly Oyster






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Phantom
'Phantom is a Vekoma Flying Dutchman shuttle coaster designed to be set partially inside an old castle or cathedral and is part dark ride, coaster and drop tower. Riders will be pulled to the top of the first tower whilst viewing scenes in front of them before light, sound and air blasts signal the first drop. Here riders plummet back down in the style of a drop tower, shoot back through the station at 53 mph and into the first half of the coaster section. The second tower is much quicker and simply speeds the train up the tower before releasing it quickly to go forwards again, reaching 52 mph. The train is slowed by the station brakes and allowed to roll into the first tower again before it is then brought to a complete stop in the station.'-- Tower Street





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G3 RoboCoaster
'KUKA Robotics is currently working on the G3, a high-speed version of the G2 robotic system in use on the Harry Potter and the Forbidden Journey ride in Orlando. The new version will be a thrill ride running at 30km/h, improving on the G2's 7.2km/h. Riding in automatically-guided vehicles (AGV) would provide each passenger with a unique entertainment experience, as the robots would be reactive. Instead of having one frontal wheel, or two wheels steering, four traction wheels would be integrated at the corner of each vehicle and kinematically mapped together. This would allow the AGVs to navigate safely at high speeds, simulating a variety of effects such as slides and skids.

'Vehicles could work together in platoons, with a combination of ground vehicles and drones interacting and acting out role plays with the passengers inside. The whole system is also completely trackless, giving a wider creative scope. I think that AGVs will eventually have more of an impact on the amusement industry than robotics already has.'-- E&T







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Brainstorming for E=mj2 Roller Coaster Project







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Collar Coaster
'The Collar Coaster is a concept for a new form of thrill ride combining elements of a steel coaster and a traditional free fall ride. Traditional free fall rides position passengers outward on a car from a center track. The ride experience then becomes more personal as each passenger has minimal view of other passengers and ride mechanics. Traditional free fall rides, however, are limited to a vertical motion. The Collar Coaster allows for all motions of standard steel coaster with the personalized experience of a free fall ride. By leaving a section of the circular car open, the track is capable of additional support structures to provide car motions that are not vertical. Each set is hinged so if the collar spins on the track, the seats will pivot.'-- Wonder Barry






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Kodiak Canyon: The multi-path roller coaster
'This ride is concieved and designed by Joel Bullock, the experienced Coaster Critic. Kodiak Canyon will take interactive roller coasters to a whole new level. We've seen rides like Hollywood, Rip, Ride, Rockit where guests can choose the song that they ride to, but on Kodiak Canyon riders will choose the layout that they'll experience. At two brake runs during the ride, a switch track will redirect the trains if the riders have chosen a different path via the on-board vote buttons. This ground-breaking coaster will offer four different ride experiences, so expect lots of re-rides.'-- Theme Park Tourist





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The Return of Jigsaw Coaster





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Inception Park
'The warm air of sunny downtown Buenos Aires is suddenly pierced with screams as a roller coaster zooms along the side of the building. In mid-air. With no tracks. Film director Fernando Livschitz of Black Sheep Films has created a strikingly realistic video in which this exact scenario occurs, a surreal spectacle that bends our perception of reality.'-- Web Urbanist







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Roller Coaster Tycoon glitch?
Q: As an massive fan of RCT1 and 2 (3 I played a small amount) I don't remember a scenario where you had a rival park. I remember one where your park was split over a highway in RCT2 but nothing described like this. Was there a park with this mechanic in any of the RCT PC games? A: I highly doubt there was a scenario like this. Programming AI is hard and they would not have spend the time for a single scenario. I can't remember something like this either. And the launching people into the rivals park seems ridiculous, not sure about the mechanics but you would think the dead's get count to the owner of the coaster where they died in.





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Ice Age
'Proposed "Ice Age"-themed family roller coaster ride conceived for Twentieth Century Fox's long planned, ever delayed theme park in Malaysia. The "ice" mountain would be transparent, built out of a new synthetic material recently developed in Russia that is allegedly as strong as steel. Visitors to the park could watch the coaster's riders when they were both inside and outside the see-through mountain, but their views of the interior portions of the ride would be warped by the building's undulated surface. Riders would experience similar although stronger disorienting effect as the outside work would be fully visible but constantly rippling, something like the landscape at the bottom of a river.'-- Them Park Outsider





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Roller coasters in the city
'These heady manipulations are the work of Robert Jahns, a 26-year-old art director from Hamburg, Germany. Jahns started in the digital arts 15 years ago with Photoshop, but technology has advanced so rapidly that he now makes his stunning images with just an iPhone 5s and a few apps (ArtStudio and Filterstorm, for instance).'-- Guy Cookson







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Elevator Ride
'We designed and built a service elevator simulator for a collaborative project between MIT course 2.744 Product Design, 5-Wits Entertainment, and The International Spy Museum in Washington, DC. The elevator simulator is now part of Operation Spy, the museum’s new interactive, role-playing adventure. The elevator “connects” a technical operations room on the ground floor of a building with a secret tunnel passageway several stories underground while not actually displacing vertically.

An assortment of effects, including scrolling walls, floor vibrations, sounds, and lighting contribute to the sensation of actually descending multiple stories. The following showcases the design evolution of the service elevator.'-- Wonder Barry







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The indoor mega-coaster
'This attraction would use both actual sets and projected high-definition 3-D media to immerse riders in a story such as The Wizard of Oz. The ride system would be a launched coaster that would be capable of moving through environments at a slower, dark ride-style pace as well as at high-speed, true thrill-ride levels.

'The real breakthrough, however, and the most audacious aspect of the attraction is that it would be a tall coaster, of 175 to 200 feet, with big drops and plenty of airtime (to simulate a tornado, flying monkeys, flying witches, and/or flying/falling hot air balloons), but would be housed inside an enormous building. Think Superdome or Tropicana Field enormous. This would allow a full-size coaster to go through its paces in a controlled environment. It would include multiple, incredibly large screens, perhaps 125 feet high by 300 feet long, past which the coaster trains would rush at high speeds but would still be able to discern the action and feel part of the story. Because it would involve slower, more conventional dark ride sequences as well as high-speed coaster sequences, it would be relatively long, 5-minute experience.'-- Arthur Levine





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L's Coaster





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The Centrifuge Brain Project
'People go on amusement park rides not because they're amusing, or fun. Board games are fun. Amusement park rides are meant to be thrilling. Whatever's on your mind is temporarily displaced by acceleration, gravity and G-forces. As your body is hurtled through space in completely unnatural ways, your mind is temporarily set free; no one can calculate a mortgage payment while upside down doing 100 miles per hour at 2.7 Gs.

In his mockumentary The Centrifuge Brain Project, digital artist, designer and filmmaker Till Nowak posits that amusement park rides actually increase brain function. We see a fictional scientist/ engineer (brilliantly played by Les Barany) explaining his research—and showing video of mind-bendingly fantastical rides—at the fictional Institute for Centrifugal Research.'-- core777.com








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Golf Roller Coaster
Concept by Concept/Object, Boulder, Colorado






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The Great Cosmic Roller-Coaster
String theory is the leading candidate for a fundamental theory of nature, but it lacks decisive experimental tests. Cosmic inflation is the leading description of the universe's first instants, but it lacks an explanation in terms of fundamental physics. Might string theory and inflation be the solution to each other's problems? As parallel universes postulated by string theory bump into one another or higher dimensions of space get reshaped, the space within our universe may be driven to expand at an accelerated rate.





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Ezra Bloom's The Doomsday Ride





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SW7 Roller coaster concept
'Last year I was fortunate enough to work with some very clever people at Merlin entertainment. These were preliminary concept visuals and were not used for the final ride design.'-- Three Wise Monkeys












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The interactive flat ride
'Imagine a new breed of flat rides, catering specifically to you. Heart rate monitors, audio input, and individual touch-screens could design your premium experience in mere seconds. Select an intensity level and grab onto the heart rate bar in front of your seat. Through the ride, it will measure your body’s response to flips, spins, and twirls and re-evaluate its path in real time to get your blood pumping (unless, of course, you prefer to keep a nice resting rate)! Measuring audio, words like “stop” could calm the cycle in your individual car; conversely, a few too many seconds of silence could urge the ride to do something to earn a laugh or a scream.

'Connect this concept to RFID bracelets and the ride could track your preferences and even present one or two post-ride questions on its touch screen as you wait to disembark, storing all its findings for your next visit to any other equipped ride. Retaining their massive range of styles, shapes, and sizes, flat rides of the future could be universally united and yet individually tailored. With your personal amusement information stored securely in the cloud, you could have increasingly perfect experiences on the great-great grandchildren of today’s carnival classics.'-- Brian Krosnick





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The Cantilevered Coaster #2
'The Cantilevered Coaster System, or CRC is the first roller coaster ride system that truly places the ride vehicle and its passengers away from the track system, and at varying distances and angles. We are sure that as you read more about the CRC you will agree that it is one of the most radical ride systems ever conceived, even though it makes use of economically simple mechanical principles to get there. We at Cantilevered Coaster systems believe that attractions based on the CRC system will be the next innovative step in the roller coaster and dark ride world. Concealment of the track with the ability to have "flying" vehicles is the obvious ideal in ride teechnology. Other systems have tried to achieve this ideal, but the CRC system concept can actually reach it.

Example: The Turbine: The CRC themed as "The Turbine" a ride that takes you both across water and over land. Lauched using a LIM system or a similar system, the vehicle heads out over a lake, skimming and bouncing over the water surface like a low flying aircraft.The track system is concealed in a channel below the water. After reaching land, the Turbine charges up the shore and in to a rockwork landscape reminiscent of a race track on some alien planet. In the land-based portion of this outdoor ride, the CRC track system is concealed by scenic rockwork, landscaping, and below-ground channels.'-- CCS







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Peak
'Constructed into a fabricated mountain spire, this high speed coaster's marquee attribute is the peak departing world's highest vertical loop. At ground level, the themed inclined queue mimics a base camp that leads the rider up the slope to a boarding tent. The car then travels along the face of and throughout the mountain and is hurried towards the peak using a drive tire slope that releases back into the mountain and then out into the vertical loop. The car then scrapes the face of the mountain, once again returning inside for a conclusive vertical loop which exits from the interior and returns the car to the 'base camp'.'-- tvmiller.com








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Freefall Roller Coaster
This is an animation for my Degree Show at Coventry University. This concept, and animation are copyrighted by Richard Irvin. It's an inverted roller coaster with an extreme twist. It was influenced by sky diving and bungee jumping. I modeled it in Maya and Vue, animated it all in Maya, and composited it in Adobe Premiere.





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Zero Gravity Roller Coaster
'BRC drew its concept from the "Vomit Comet," the plane NASA uses to train astronauts. The KC-135A aircraft flies a looping parabolic path, creating about 25 seconds of microgravity each time it zips up and over the parabola's camelback hump. BRC's proposed theme-park ride would travel a somewhat simpler trajectory—up and then back down a soaring steel edifice, similar to the existing "Superman: Escape from Krypton" coaster at Six Flags Magic Mountain in California. But unlike Superman and other open-car coasters, the vomit-comet ride would be fully enclosed. Rather than the thrill of hurtling forward to one's perceived doom, riders would enjoy the illusion of floating within a stable chamber.

'To create that illusion, a linear induction motor system would speed coasters up the track with unprecedented precision. As the coaster approached a top speed of more than 100 mph, it would suddenly and ever so slightly decelerate—just enough to throw the passengers up from their seats, like stones from a catapult—and then quickly adjust its speed to fly in formation with and around the passengers. (The ride's calculations would correspond to the unique heft of any particular group.) As the coaster reached the top of the track and began to drop back down, the computer system would continue to match its speed to that of the falling passengers, extending the sensation of weightlessness for several additional seconds, and finally rapidly decelerate to a stop back at the base station.

'Roller coasters typically cost no more than $30 million, but Bob Rogers, BRC's founder and chief creative officer, says the zero-gravity ride would cost $50 million or more, in large part because the precision-response propulsion system is so complex. But if someone were to write a check today, Rogers says, his company could be sending riders on weightless journeys by the end of 2013—and the new owners could make money on the side by renting the coaster after hours to scientists who wanted to perform the tests they now run using NASA's original Vomit Comet. Simply by heading over to the amusement park, they too will be able to experience the equivalent of eight seconds in outer space—which, Rogers says, "will feel like forever."' -- popsci.com







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p.s. Hey. ** David Ehrenstein, Hi. I'm glad it intrigued you, and your comparisons were excellent. ** James, Hi, J. Oh, good. I like dark silliness. Cool, and glad you dug that Geiser piece. ** Steevee, Hi. Oh, sure, sometimes they get it right. But it's a shame or something that you can't just trust their reports as fact. I'll read the balanced flakka thing, thank you. Curious name: flakka. ** H., Hi! No, no relationship to the theater work. I asked Gisele, and she said he didn't know Geiser's work, which surprised me since she's pretty investigative about that area. Thank you very, very much for the email and the pdf! I'm excited to read it! I hope to extremely soon once I get some involved, bearing-down writing done. Oh, re: scariness in my work: Well, once it's language, it doesn't scare me anymore. At that point, I'm only involved in finessing the effect of the scariness and, at the same time, trying to preserve its original power over me. Thank you again, and the best of the very best to you! ** Bernard Welt, Hi, B. Of course it's A-okay and beyond. Let me do my spreading it around, italicized thing. Everyone, Here's the great Bernard Welt to tell/ask you something. Read every word savoringly and react according to your proximity, thank you. Bernard Welt: 'Hey gang. I'll be conducting workshops on the dream journal for artists, writers, and anyone wishing to activate creativity in Asheville NC at a new art space called Revolve in the River Arts District, directed by Colby Caldwell. Revolve is very friendly to all explorations of creativity, innovation, craft, and interdisciplinary collaboration, and is fast becoming a real hub for arts in Asheville. There are four options for dream journal workshops, to suit your availability weekends or weeknights. Look here! I'll also hold two free Open Dream Group Sessions at Revolve on Sunday, May 31 and Sunday, June 14. AND there'll be two dream-related film programs--the first a free, family-friendly showing of Dr. Seuss' The 5000 Fingers of Dr. T Friday, May 29. I'd be very grateful if you would share this with Asheville-area friends and contacts and helped get this great project off the ground. Bernard. PS There will also be two programs on "Queer Visionaries," experimental film makers of the 70s like Kenneth Anger and James Broughton, and I'll post those, too.''Welcome to Me': I don't know of that. I'll will set off in its direction. Thank you kindly, Bernard. ** Etc etc etc, Hi, Casey. Yeah, I'm not much of a Roth fan. Granted, I haven't tried anything of his in years, or not anything post-the early, more compact, less 'serious' stuff. I love Gary Lutz. His sentences are insane genius. Reading them makes my head explode in the greatest way. Mostly at the moment I'm trying to make interesting linguistic/ typographical sentences exit my head and appear magically on the page, but I look forward to intaking such things again. Best to you! ** _Black_Acrylic, Yes, that was it: Georgia. Nice to see it again. It holds up. Fingers crossed into gnarled things unrecognizable as fingers re: Art101-related everything! ** Thomas Moronic, Hello, Mr. M. Really glad you liked her stuff. Yes, excellent interview with Mark. I read it yesterday. Giant kudos to you both. Everyone, This is awesome: Mark Gluth and Thomas 'Moore' Moronic, two giant-sized literary talents if there ever were such things, have had a conversation about Mark's marvelous recent Kiddiepunk Press tome 'The Goners' and his only slightly less recent and incredible Sator Press title 'No Other' over on the always crucial Fanzine, and I most highly recommend you read their heady and most entertaining/revealing exchange. Do so here. ** Kier, Hey, hey! 15 hours, whoa. You guys have so many Jesus holidays, which is weird, to me only, I'm guessing, since I think of Norway as being so secular. But then so does relatively quite secular France. Oh, the poor, sweet, sick lamb. I so hope she makes it. Kind of a heavy if beautiful, if that's not insensitive (to the lamb) to say, day you had. The feast with your co-workers seemed like a really nice ending or intermission. I hope today has a miracle in it for you and for her. My recent days ... Let me try to parse the blur that they've become. Uh, well, a lot of working on the script for Zac's and my new film. We want to get it to a place where we can start looking for people to produce and finance it soon. And before we can do that, we'll need to get it translated into French because Zac wants to shoot the film in French. So, I'm very concentrated on writing the script right now. Zac and I have our next talk about how close the script is to being right today. Uh, the guy who was supposedly going to do the special effects work on 'LCtG' didn't pan out, so now we have to find another person 'cos 'LCtG' needs to be completely finished asap. Uh, I met up with Gisele and Zac on Sunday, and we hung out and compared notes on how 'The Ventriloquists Convention' is going and she gave us more detailed guidelines of what she wants for the puppet show TV pilot we'll be writing for her very shortly. I got my haircut finally. My mop was getting pretty ugly, so that's good. Gosh, I think the last few days have been very writing- and meeting-heavy and not full of entertainment value, alas. I'll try again. How was good old Tuesday for you? ** Misanthrope, Well, venturing a guess, that guess would be that either the material she uses is free-use, or the way in which she distorts/alters the material causes it to become something else to a degree that it's not an illegal coopting situation, or that she got permission. I feel like I'm the same as I was and really different at the same time. I suppose that's possible. For me and for you. Isn't day the day you do the LPS thing? If so, man, I hope it goes well. Let me know, for sure, okay? Love, me. ** Chris Dankland, Hi, Chris! Oh, I guess I did what I told Kier just above. Oliver Mol's book is heading towards me, I've been told. I'm looking forward to it. I'm going to check out Marilynne Robinson. It's high time. Your comparison to Malick/Bresson re: religiousness in her work intrigues me very much. Exciting to share the power outage with you. I've been reading about the flooding in Texas. I assume your storm and that fooding must be related. Don't get flooded. I haven't actually seen the entirety of 'P’tit Quinquin', just parts. That film/series is, on the one hand, very involved in Dumont's concerns and style but also quite different. He's never worked with comedy before, or hardly at all. So, his other films are different. Recommendation-wise, hm, I would join Steevee in recommending 'Humanite', and ... well, his films are always very good. I like 'Hors Satan' quite a lot. 'Hadewijch' is beautiful. 'Flandres' too. You have a most excellent morning, man! Mine is excellent-ish so far. ** Paul Curran, Hi, Paul! Big awesome to see you, maestro buddy! How's tricks? Yeah, we're on for Tokyo. The issue is when. The bad part of having our film submitted to film festivals that we have to try to keep ourselves free and available during the time of the festival in case our film gets selected. So, we're trying to find the right window betwixt those possibilities. So the time-frame is still in question. It could be in the early fall rather than the summer. I'll let you as soon as we get that figured out. How's the novel? How's everything? ** Bill, Hi, B. My pleasure. I'll hunt for the Snow White dude's contact info, and, if I have it, I'll do some pointed, roundabout, la-di-dah thing. I should have it somewhere. Cool seeming event! I'm glad you'll get to reward it with your stuff by proxy at least. ** Right. There's some exciting stuff happening in the tech corner of roller coaster development and in the imaginations of roller coaster fans too, and the blog has laid out some of that for you today. See you tomorrow.

Cal Graves presents ... VHS LOVE

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p.s. Hey. Today the heavily talent-infused Cal Graves has applied his gifts to the food of the gods, i.e. gifs, which, I have it on high authority, is all those picky gods will eat. And the result is smart, saucy, and so much more. Nothing is guaranteed in this life, but I'll wager you had plenty of fun, at the very least, scrolling down to this p.s., and why don't you tell Cal about that presumed fun in your comments du jour? Thank you a literal ton, Cal. ** Nick Toti, Hi, Nick, Welcome to here! And thank for penetrating here. Yes, it's crazy, but I somehow completely spaced on the euthanizing roller coaster while I was gathering the coasters for the post, an oversight that boggles my mind. But, thanks to you, I can slip it in belatedly. Everyone, kindly blog visitor Nick Toti would like to direct your attention to a roller coaster that makes all the coasters I showed you yesterday seem like milquetoast. If you don't already know of it, it's a roller coaster that kills its riders via euthanasia. You want to see/know this coaster. And you can. Here. Thank you again very much! Please come back anytime! ** David Ehrenstein, I couldn't watch your ROLLER GIRL due to the video being withheld from people who love in the country in which I live. Sucks. ** _Black_Acrylic, I know, right? I forget what Battersea is actually being transformed into. Let me guess ... luxury apartments? ** Steevee, I haven't played Roller Coater Designer or Roller Coaster Tycoon, another coaster-building computer game, but I've watched people have at them, and I've observed some youtube demos, and I really need to play them, that's for absolutely sure. Have you? 'Gueros' is noted, and I will investigate it asap. On an entirely different note, today I'm seeing 'San Andreas' on opening day on a huge screen in 3D, and I could not be more excited, but disaster movies are catnip to me. ** Misanthrope, Man, the waiting game. When should the serving happen? Candles lit, sigils drawn, gods prayed to, authorities paid off, and everything else I can do from here to make it happen easily. I have to scrunch into most coaster cars myself due to height issues. No, I never raise my arms, not because I'm scared but because I think it's uncouth. ** Paul Curran, Hi, Paul. I know, about Battersea, sigh. They should wrap one of those around the Louvre. Yeah, I've definitely thought about the positives of skipping Tokyo summer. We'll see. As I think I said, it'll be a trip both to Tokyo and to Australia, so it's a biggie, and we need to find a considerable swath of free days. Taiwan, that should be really interesting. Never been there. Have always wanted to. Cool. 'Japanese Democracy' ha ha. 'Japanese "Smile",' at the very, very least. ** Kyler, Hi, K. Space Mountain is nice, but it's kind of wussy. Not that I'm saying you're a wuss. It only. Why has the competition at WSP grown more competitive than it was before, if that's what you mean? Who are your biggest competitors? Do let us know when that guy does that thing with your book. Sweet. I'm good. The new piece with Gisele is going to hugely surprise people at the very least. ** Thomas Moronic, Hi,T. I think the only ones that will possibly become real are the ones proposing to use advancing tech. The ones that are 80% fantasy will likely remain so. Sadly. ** Bill, Whoa, the Legendary Pink Dots. That's a massive oeuvre to explore. They're very awesome, as you already know. Gosh, ... 'The Maria Dimension' is incredible. 'Asylum' is as well. I could go on, but those two are really up there. Hm, I should do a LPD gig. Maybe I will. Fine day to you, Mr, H. ** Okay. Wiggle back up into Cal's sterling stack, please. See you tomorrow.

Starring Taylor Mead

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'Taylor Mead, an underground cinema legend whose comic charm and sense of the surreal inspired Andy Warhol and other seminal figures in the alternative film world, died in early May, 2013 in Denver. He was 88. A fixture of bohemian New York who was also a poet and artist, Mead was visiting family in Colorado when he had a stroke, said his niece, Priscilla Mead.

'Called "the Charlie Chaplin of the 1960s underground," Mead was an elfin figure with kewpie-doll eyes who appeared, by his count, in 130 films, starting with the 1960 art house classic The Flower Thief. In a review for the Village Voice, film critic J. Hoberman pronounced him "the first underground movie star." He later became one of Warhol's first superstars, appearing in films such as Tarzan and Jane Regained … Sort Of and Lonesome Cowboys. He also was known for his work in Ron Rice's The Queen of Sheba Meets the Atom Man and Robert Downey Sr.'s Babo 73. Indie auteur Jim Jarmusch, who cast Mead in a moving vignette that closed his 2003 film Coffee and Cigarettes, considered Mead one of his heroes.

'A dropout from a life of privilege, Mead allied himself with Allen Ginsberg, Jack Kerouac and other early leaders of the San Francisco Beat scene of the 1950s before settling in New York to eke out a living as a member of its thriving arts underground. He was a familiar face on Manhattan's Lower East Side, where he wandered the streets with a notebook, read his poetry in coffeehouses – often against a background of a Charles Mingus recording – and fed feral cats in the predawn hours.

'"Taylor was a spark who inspired filmmakers, poets and artists on both coasts," said Haden Guest, director of the Harvard Film Archive, which sponsored a Mead retrospective last fall. "He saw his life as his art and his art as his life and didn't separate them the way we do today." He was the subject of Excavating Taylor Mead, a 2005 documentary by William Kirkley that knits the actor's personal history with later struggles to hold on to his decrepit New York apartment and maintain his free-spirited life.

'Born on the last day of 1924 in Grosse Pointe, Mich., Mead was the son of a wealthy businessman and his socialite wife who divorced before he was born. He floated through boarding schools and a number of colleges before his father found him a job in a brokerage house, which was not to his liking. Openly gay since he was about 12, he left the East Coast in the mid-1950s, hitchhiked to California and studied acting at the Pasadena Playhouse.

'Inspired by Pull My Daisy, a short 1959 film based on the Kerouac play Beat Generation, he collaborated with Rice on The Flower Thief, a somewhat haphazardly structured film shot with a handheld camera that features Mead wandering through San Francisco coffeehouses and dives carrying a flower, an American flag and a teddy bear. "There was no plot, no planning," he told the Philadelphia City Paper in 2005. "It was … extremely spontaneous, and all of us were just crazy anyway." Village Voice critic J. Hoberman praised it as "the beatnik film par excellence," with Mead playing "a kind of Zen village idiot."

'In 1964, before Warhol was a pop-art mega-celebrity, he invited Mead on a road trip to California for the opening of a gallery show. They wound up making Tarzan and Jane Regained…Sort Of, a spoof of Hollywood adventure movies that was Warhol's first partially scripted feature. It starred Mead as a Hollywood Tarzan cavorting with a naked Jane in a bathtub at the Beverly Hills Hotel, exercising on Venice Beach and having a bicep-flexing contest with Dennis Hopper as a rival Tarzan. Mead would appear in about 10 Warhol films over the next decade, including a curious 76-minute piece featuring his naked rear end.

'Calling himself "a drifter in the arts," Mead also acted on stage, winning an Obie Award in 1963 for his performance in the Frank O'Hara play The General Returns From One Place to Another. He published poetry and three volumes of his journals, displayed his art in the 2006 Whitney Biennial and read his poems weekly at Manhattan's Bowery Poetry Club. "His whole campaign was, stay creative, active, busy. And he did," said filmmaker and friend Clayton Patterson.

'He made his biggest splash in decades in 2003 in Jarmusch's Coffee and Cigarettes, a loosely connected series of vignettes with a wide-ranging cast including Bill Murray, Cate Blanchett, Tom Waits and Iggy Pop. Critics were moved by Mead's performance as a janitor on a coffee break who doesn't want to go back to work. The film ends with Mead closing his eyes to the strains of a favorite Mahler song, which resonated with his colorful past: I am dead to the world's tumult, / And I rest in a quiet realm! / I live alone in my heaven, / In my love and in my song!'-- Elaine Woo




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Stills






















































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Quotes

'Art is all a scandal – life tries to be, Taylor Mead succeeds, and I come close.'-- Tennessee Williams

'The source of his art is the deepest and purest of all: he just gives himself, wholly and without reserve, to some bizarre autistic fantasy. Nothing is more attractive in a person, but it is extremely rare after the age of 4.'-- Susan Sontag

'Taylor taught all us little punks from CBGB’s what a real “New York City Star” was.'-- Patti Astor

'To quote Taylor Mead, the great Taylor Mead, "Enjoy your amateur status".'-- Al Pacino

'Once we walked downtown from an event in Times Square, stopping on 6th Ave so he could leer at bodybuilders in a gym on 17th street. Later we headed to Bowery Bar, where his presence produced a Parting of the Red Sea and afforded us entry into a snooty, vile watering-hole for young urban professionals immersed in a particularly repellant form of toxic narcissism that inexplicably enthralled Taylor. As muscle bound Ken Dolls reached around Taylor to grab their brewskies while engaging in besotted mating rituals with assembly-line Barbie Dolls exuding a noxious inbred plasticity, I asked Taylor if this was his idea of “fun.” “These are MY people!” he exclaimed. “You need to get out of the Lower East Side, Nick.” “But THIS IS THE LOWER EAST SIDE, TAYLOR!” I replied.'-- Nick Zedd

'Taylor Mead is the Shirley Temple of the Underground.'-- Elizabeth Taylor

'Taylor Mead looks like a cross between a zombie and a kewpie and speaks as if his mind and mouth were full of marshmallow.'-- Orson Welles

'Taylor said the only comfort he had allowed himself as a child was the logic that even though God surely didn’t like him, that still, if He really hated him, He would have struck him dead.'-- Andy Warhol

'I used to pretend I was Taylor Mead when I wrote songs. The whole "Blonde on Blonde" record is a Taylor Mead seance.'-- Bob Dylan

'Oh shit — I’m a mistake.'-- Taylor Mead



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Nonfiction


Taylor Mead, The Lower East Side Biography Project


Quentin Crisp in conversation with Taylor Mead


Taylor Mead Remembers Jackie, Candy, & Holly


Taylor Mead, Song to Jake Gyllenhall


Taylor Mead talks about French and American Film Avant-Gardes


Excavating Taylor Mead: Trailer



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Interview
from Brooklyn Rail




As a witness of a certain time you have your own memory and then there is the history you remember. Could you talk a little about where you come from and your first memory of New York?

Taylor Mead: I’m coming from Detroit; my father was a Von Hindenburg, a Michigan political boss. My mother was high society with no money. They divorced before I was born. I went to boarding schools in Connecticut and grew up in the middle of the tracks as the expression goes. High society on one side and then a father from another background. My mother died when I was 13 and then my father took over. When I moved into downtown Detroit at the time I didn’t know what a great jazz city it was. I was used to a whole different life. I worked in a brokerage house and was fascinated by the stock market. I could have been a very good broker. But there was no nightlife and of course, I had to have nightlife. I had to have a love life. There was nothing. Detroit was a dead city as far as I was concerned. I couldn’t have a private life because my father was The Boss. So I just went away one day and began hitchhiking through the country, traveling through the whole United States and then the world, being thrown in jail and having tremendous experiences.

As I know from Warhol and Hackett’s Popism, you were influenced by Kerouac’s On the Road and by Ginsberg’s "Howl."

Mead: Who wasn’t? My first influence was from George Bernard Shaw. People kept talking about the movie Pygmalion and I missed seeing it. So I went to the library; I found a book with a preface by Bernard Shaw on parents and children. It talked about how bourgeoisie sent their children to boarding school to get rid of them. All the schizophrenia in the upper-class families just struck me and it opened up my mind. Then I came back to Detroit in time for World War II but I didn’t go into the army because my eye droops. I was very upset because I believed in WWII. I didn’t know it was from an accident at birth because my head is so big and brilliant that the forceps slipped. I didn’t know. The forceps just couldn’t get a grip.

It is a mark of your fate. A special sign.

Mead: I hitchhiked to California and in the mid-50s, when Allen was blossoming, reading "Howl." I forget when "Howl" came in but it was terribly important. Robert Frank came out with his film Pull my Daisy, which influenced all of us making our first films. I think I may have already visited New York then, coming down for Broadway shows in the 40s. I was afraid of New York. I wanted to go to Cape Cod and look for Tennessee Williams, but then I went through New York one hot summer day and I could see people sitting on their stoops in another world and minding their own business, and I knew that’s where I belonged.

Then came the 50s. In North Beach I knew there was a great excitement in the air and then the police kicked me out of San Francisco because they were doing a storm trooper kind of thing, eliminating non-desirables from the streets, because they knew there was this tremendous beat movement going on. No one gave a shit when we were protesting middle class America. Everyone knew the establishment was bullshit. Before he left office even Eisenhower warned against the military/ industrial complex, the power it had, and that was exactly where I’d come from. The police were down on everybody. They would go around with a big wagon and pick up people off of the street and threaten them and put them in jail. It was horrendous. Then the beat got cool and there was money around and they let up some. And that was 15, 20 years before the "Summer of Love." The same thing happened in here in the 80s, downtown after the 70s.

Money was around?

Mead: When Allen and Ferlinghetti won a freedom of speech thing with "Howl," it was terribly important for writers, for artists, for everybody. So I returned and went back to New York.

In the late 50s the coffeehouses were opening. Everyone read poetry. Larry Poons, who is a famous artist who does circles, had this house where poets would read with toilet seats around their necks; they would try to get rid of the audience. They saw me writing in a book all the time so they insisted I read. I was so shy I had to sit at a table to read. Everything I read people responded to tremendously. From then on I got up on stage and couldn’t be stopped. I couldn’t get rid of the audience, so they got rid of me. No, not really!

So you never had the idea of yourself as an actor?

Mead: I was always a star. I was B.A. (before Andy), because Andy discovered me long before I discovered him reading poetry. Woody Allen and Bill Cosby and Allen Ginsberg, Bob Dylan and Peter Orlovsky, we were all reading because the poetry in New York in the early 60s was becoming tremendous. So Andy knew about me.

Do you still have any good friends from the 60s time?

Mead: Oh yeah, at funerals. So many died by the time they were 50. There was Charles Henri-Ford, lover of the painter Tchelitchev, he was 94 I think. You find out more about the person you knew at a memorial. People will give wonderful anecdotes of a phase of the person that you didn’t know. Very, very interesting. The last funeral though was for Billy Kluver. We were having a memorial for him just the other week at No Name. A delightful, pseudo ill-tempered man.

Tell us about Warhol’s funeral.

Mead: It was a major event in New York—several thousand people. The people that read were outside the Warhol circle, generally. They had no wild readers, just everyone doing these ordinary things about how wonderful Andy was and how awful we were—those 60s people. Where would Andy be without his movies?

As Jonas Mekas puts it, "What would they have done out on the streets?" He describes Warhol as a psychiatrist who kept everyone together, but without them he wouldn’t have made his movies. He was like a vacuum. One of the lines, he said, "I glued myself together before going out." Do you know "like a moth to the light"—this beautiful song by Marlene Dietrich?

Mead: He was Marlene Dietrich. He knew what was au courant. He knew what the rich liked too. He was a conduit between the very rich and the people who bought paintings and gave him a great deal of money for his commercials. He was a conduit and he knew what was coming.

So he was a double agent in a way.

Mead: He was always photographing or recording. He was so easy to talk to. He was so demure. Oh yeah, he would talk. We had a big conversation on a plane from La Jolla, California where we made a movie called San Diego Surf. On the plane—I think it was ’68 or so—he outlined my career. 1968 was a very productive year for Andy after Chelsea Girls. We had done three or four movies that year and then I did The Secret Life. I was to be his biggest star with the use of all movie equipment, publishing my book, pushing my paintings, readings of my work. Unfortunately, two days later he was shot. I never brought up the matter of what he promised because he promised people everything anyway.

He changed after that.

Mead: The energy went out of him and he brought in the Countesses and the children of European aristocracy. He felt safer with them. We were sort of left out. We were all excluded. Then Paul and Andy were still close.

Paul Morrissey. Paul was another type.

Mead: Paul Morrissey. Well, I made my first movie with Paul. Before when I tried to introduce him to Andy, he didn’t want to meet Andy. It just happened a couple years later.

What movie was it?

Mead: Taylor Mead Sings and Dances Sort Of. I think it comes to 20 or 30 minutes or something like that, and I’m in a Rolls Royce throwing money out the window. Silly. I made a great film with Peter Beard, Jonas and Adolphas Mekas, Hallelujah The Hills, up in Vermont. It won at the Lacarno Film Festival.

So you traveled around Europe?

Mead: Yeah, my friend Jerome Hill had a villa in Cassis. Forty miles east of Marseilles on the Mediterranean and I was a guest there, along with Peter Beard who would work on putting trip books together. We all did trip books. Anyway then I went to stay in Rome for a year, and showed The Queen of Sheba Meets the Atom Man, by Ron Rice, who died at 28 or 29 years old. It is my favorite movie and it’s not by Andy Warhol. It’s B.A., before Andy. In fact it influenced Andy immensely. I showed it to Gallery Tataruga and Gallery Marlborough, to Antonioni, and Moravia wrote a big article. I was very famous in Italy for two weeks. Fifteen minutes plus two weeks.

Did you have the feeling that the Europeans were different from the Americans then?

Mead: A little more elegant. They were more elegant and they were extremely interested. At the cinemathéque in Paris they showed Chelsea Girls and I was with Jean-Jacques Lebel and all the young avant-garde French painters. They all walked out on Chelsea Girls. And I thought what am I doing in la dolce vita land? Chelsea Girls is for real.

What other projects have you been working on lately? You have a couple of films now?

Mead: Yes, there’s The Excavation of Taylor Mead—they didn’t realize that I was going to be excavated. All my things being thrown in the backyard, life is very parallel. All the movies I made came about close to the reality that we were living. These kids are doing a great job of editing. They have a hundred hours that they are editing down to two. Some big companies like Miramax and HBO have a lot of interest. We had a showing at the Angelika, my favorite movie house. And then there’s Curious White Boy by Wright Thomas, which we’ve been making for five years. It’s where I went to boarding school for 50 years because my family doesn’t know what to do with me. It’s been showing around, the most beautiful film you’ll never see. My brother says it is a biography. And there’s Jim Jarmusch’s Cigarettes and Coffee, or Coffee and Cigarettes I can’t remember which. It should be out in May. And then there’s another one made by Sebastiano Piras called Exposing Taylor Mead, or Taylor Mead Unleashed, which is a very charming film.

I find that in general, independent film has filtered into the mainstream Hollywood establishment. With all the different festivals here and there, it’s unlike the time you and Warhol and other people were doing it—when independent films was still made marginally.

Mead: We were sort of uncontrollable. We and Ron Rice were fascinated by the image of the film. His whole thing was picking people and locations and letting us loose and he’d send it to the lab and the moment it came back from the lab we would show it in a coffeehouse and get an immediate response. It was almost like being in a play. Now you work on a film and in a couple of years it comes out. I still love watching myself on screen, even when I’m not in there.

This is very interesting because the process now is much more immediate. We’re sitting here and taping you and can watch it as we are taping it.

Mead: But as a result you make 10 times more film and it takes a couple of years to edit it.



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19 of Taylor Mead's 53 film roles

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Ron Rice The Flower Thief (1960)
'Experimental filmmaker Ron Rice, whose 16mm $1,000 feature film The Flower Thief (shot in 1959; released in 1960) is one of the signature works of the New American Cinema. Ron Rice was one of the original wild men of the New York underground film scene; working with the brilliantly gifted Taylor Mead, Rice improvised the entirety of The Flower Thief on location in San Francisco, shooting the film on 50 ft. cartridges of outdated, surplus World War II aerial gunnery film donated by none other than Sam Katzman, the most notoriously cost-conscious producer in Hollywood, at the absolute last minute. The finished film is raw, anarchic, and utterly assured, all at once. Rice uses very inch of film available to him, and Mead’s Chaplinesque everyman is the perfect artistic collaborator for such an enterprise; the film gets its title from a hastily staged sequence in which Mead “steals” a flower from a street vendor, and then, imagining that the police are after him, makes good his “escape” in a child’s Radio Flyer truck down a San Francisco street in blissful slow motion. As Rice said of The Flower Thief, in the program notes for the film’s premiere, “in the old Hollywood days movie studios would keep a man on the set who, when all other sources of ideas failed (writers, directors) was called upon to ‘cook up’ something for filming. He was called The Wild Man. The Flower Thief has been put together in memory of all dead wild men who died unnoticed in the field of stunt.”'-- Frame by Frame



Stolen Flowers (for Ron Rice)



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Adolfas Mekas Hallelujah the Hills (1963)
'HALLELUJAH proved clearly that Adolfas Mekas is someone to be reckoned with. He is a master in the field of pure invention, that is to say, in working dangerously – ‘without a net.’ His film, made according to the good old principle – one idea for each shot – has the lovely scent of fresh ingenuity and crafty sweetness. Physical efforts and intellectual gags are boldly put together. The slightest thing moves you and makes you laugh – a badly framed bush, a banana stuck in a pocket, a majorette in the snow. He shows life as defined by Ramuz: ‘As with a dance, such pleasure to begin, a piston, a clarinet, such sorrow to be done, the head spins and night has come.'-- Jean Luc-Godard



Excerpt



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Ron Rice The Queen of Sheba Meets the Atom Man (1963)
'As the title characters, Winifred Bryan and Taylor Mead are a comic-strip Adam and Eve in a distinctly non-Edenic industrial wasteland. Made shortly before his death in 1964 at age 29, Ron Rice's magnum opus also features an all-star supporting cast: Jack Smith, Jonas Mekas, Judith Malina, Julian Beck and many others, including Rice himself. Mead's performance exhibits the charm and impish physicality of the great silent comedians. His Atom Man is no superhero but rather a Cold War-era everyman at play. Unfinished at the time of Rice's death, Mead created the present version from available footage and added a soundtrack in the 1980s with the assistance of Anthology Film Archives.'-- Harvard Film Archive



Excerpt


the entire film with muted sound



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Robert Downey Sr. Babo 73 (1964)
'Downey saw Ron Rice’s 1960 film The Flower Thief (“The beatnik film par excellence,” according to J. Hoberman and Jonathan Rosenbaum’s book Midnight Movies), which starred Taylor Mead, a stockbroker turned Beat poet and performer extraordinaire (he would eventually become a featured player of Andy Warhol’s). Captivated by Mead’s sincere and eccentric persona, Downey tailored a role to his oddball talents, casting him as the president of the “United Status” in his first long-form film, the bonkers, all-purpose political satire Babo 73. Mead’s President Sandy Studsbury, whose qualifications include having majored in hotel management at Millard Fillmore University, presides over an administration of ne’er-do-wells like Chester Kitty-Litter (Studsbury’s “left-hand man”), Lawrence Silver-Sky (“The fascist gun in the West”), and Phillipe Green (who “majored in self-flagellation at the University of Hard Knocks”). They conduct important Cabinet meetings from folding chairs on a deserted beach, kill the prime minister of Luxembourg, discuss ways to combat contraceptives produced by “the Red Siamese,” try to forge a disarmament agreement with Albania, and make inspiring declarations like “Every man has a right to be a bigot!” Though much of Babo 73 takes place in a ragged nowheresville—on that beach, along desolate highways, in and around a crumbling Victorian house with a caved-in roof, known as the White House—Downey and his intrepid crew also shot all over Washington, D.C., capturing Mead and his cronies scrambling around on the Capitol steps and in front of the real White House. (Luckily, Downey has said, President Kennedy was in Europe, so security was loose.) At one point, Downey even filmed Mead insinuating himself into a real-life military parade.'-- Michael Koresky



Robert Downey Sr. and Paul Thomas Anderson on 'Babo 73'



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Andy Warhol Taylor Mead's Ass (1964)
'According to Watson's Factory Made: Warhol and the Sixties, Taylor Mead had achieved a degree of fame that "inspired a backlash." One example was a letter to the editors at The Village Voice in August 1964 which complained about "films focusing on Taylor Mead's ass for two hours." Mead replied in a letter to the publication that no such film was found in the archives, but "we are rectifying this undersight." Two days later, Warhol shot the "sixty-minute opus that consisted entirely of Taylor Mead's Ass, during which Mead first exhibits a variety of movement, then appears to "shove a variety of objects up his ass." The film was Mead's last for Warhol "for more than three years", at the end of 1964, "Mead felt betrayed by Warhol for not showing the film." The film was described as "seventy-six seriocomic minutes of this poet/actor's buttocks absorbing light, attention, debris" by Wayne Koestenbaum, in Artforum. In his book, Andy Warhol, Koestenbaum writes "Staring at his cleft moon for 76 minutes, I begin to understand its abstractions: high-contrast lighting conscripts the ass into being a figure for whiteness itself, particularly when the ass merges with the blank leader at each reel's end. The buttocks, seen in isolation, seem explicitly double: two cheeks, divided in the centre by a dark line. The bottom's double structure recalls Andy's two-paneled paintings . . . ".'-- Wikipedia



LIVE PERFORMANCE OF TAYLOR MEAD'S ASS (excerpt)



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Andy Warhol The Nude Restaurant (1967)
'Andy Warhol shot two versions of The Nude Restaurant on the same day at the Mad Hatter restaurant in October 1967. The original concept was to edit both versions into a final one. One version contained footage of an all nude all male cast and was never released publicly as an independent film. The other version, with both actors and actresses wearing G-strings, was shown at the Hudson Theater on West Forty-fourth Street as one of Warhol's series of sexploitation films or "nudies" as Warhol liked to call them. The all male nude version is often referred to as Restaurant but should not be confused with the film of the same name from 1965 that starred Edie Sedgwick. The nude footage may also have been included in Warhol's twenty five hour movie, **** (Four Stars) as Allen Restaurant.' -- warholstars.com



Excerpt



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Andy Warhol Lonesome Cowboys (1968)
'An outrageously funny spoof on the Western film, in the Warhol tradition, this film is immediately historic for several reasons. It is like a synthesis of Warhol’s most recent sorties into the New York underworld, but much more humorous and with closer adherence to a nonsensical plot. The film was photographed in Arizona, in a ghost town where (somehow) two of Warhol’s superstars are discovered. These two incongruous mountebanks happen to be Viva, as chic and sarcastic as she was in Bike Boy, resembling a displaced model for Hound and Horn, and she is accompanied by Taylor Mead. Mead is the zany of our time, reminiscent of the ghost of Jimmy Savo, and when five mysterious cowhands saunter into town, the hilarity commences. The cowboys are an odd assortment, a bit androgynous and city-wise, and they interact with the two in varying attitudes of lust and indifference. Since both Viva and Mead are not averse to erotic suggestiveness, some of the episodes are inspired set pieces of film comedy. Often, Lonesome Cowboys reaches the ultimate in surrealist imagery: Taylor Mead in cowboy deputy’s outfit, performing the Lupe Velez Twist, his own choreographic distortion; one of the cowboys performs ballet exercises at the hitching post and Viva’s languorous seduction of the most innocent-looking among the cowboys is actually a satirical comment on sexual artifice. This erotic, sagebrush comedy has its cruel edge, and one feels that Andy Warhol attempts to make some statement about the nature of brotherly love and the impossibility of virtue rewarded in these times of fallen idols. However, put the film in the category of a Zane Gray idea, written by Aristophanes and performed by recent inmates of De Sade’s stock company Charenton: It is, in short, a total gas.'-- Albert Johnson



Excerpt


Italian trailer



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Andy Warhol San Diego Surf (1968)
'A characteristically informal narrative, San Diego Surf concerns an unhappily married couple (Taylor Mead and Viva), new parents who rent their beach house to a group of surfers. Filmed with two 16mm cameras by Warhol and Paul Morrissey in May 1968, San Diego Surf was the first movie Warhol made in California in the five years since Tarzan and Jane Regained, Sort of…. It was also one of the last films in which the artist had direct involvement; in June 1968, Warhol was shot by Valerie Solanas, after which his work behind the movie camera came largely to an end. San Diego Surf was only partially edited and never released. In 1995, The Andy Warhol Foundation for the Visual Arts, Inc. commissioned Paul Morrissey to complete the editing, based on existing notes and the rough cut.'-- MoMA



Trailer



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John Schlesinger Midnight Cowboy (1969)
'In Midnight Cowboy, I had a magnificent scene coming down a winding staircase in drag singing "I’m flying" from Peter Pan. Schlesinger said, "Do you want to rehearse it or wing it?" I said, "Just do it." At the bottom of the stairs, Viva is a movie newsperson who tries to interview me and asks, "How is show business?" I pull out my fake breasts and my wig and throw it at the camera and say, "Show business is easy, it’s when you reach the stage door that things get rough." The set exploded and the grips and everyone came up screaming, "Now we have a movie, now we have a movie!" And they didn’t invite me to the screening of it. The old queen Schlesinger cut me out. I hear he’s dying now. Well, good luck John! But I loved his pictures. I love Midnight Cowboy. When they restored the movie, I asked Jon Voight, "Is my scene back in?" and he said, "No, no." I think they couldn’t get the rights to the song as sung by me. It was too much and Schlesinger wrote some scenes that he hated to cut but they unbalanced the movie. The real Factory unbalanced their idea of the Factory. Andy was very upset about that—as much as he could be [snort]. He thought it was the only scene that reflected the Factory, when the Factory was trying to make a party scene.'-- Taylor Mead



Trailer



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Wynn Chamberlain Brand X (1970)
'Brand X was born on a snowy weekend in early 1969 in Staatsburg, N.Y., where Mr. Chamberlain and his wife, Sally, had a weekend cottage. Sally recalls, “We couldn’t get out; the only thing to do was watch television, We hadn’t watched much daytime television, and Wynn was immediately struck by its banality and superficiality.” Mr. Chamberlain was by then an established Pop-realist painter and a fixture in the New York art scene, with work in the Whitney Museum of American Art and what is now the Smithsonian American Art Museum and a social set that included Allen Ginsberg, Frank O’Hara and John Cage as well as Warhol and the Factory denizens. He was also, like most of his friends, enamored of the counterculture and dismayed by the conservatism of mainstream culture, as embodied by the television he watched that day. He wrote a script, cast Mr. Mead as his lead and cobbled together $10,000 from supporters. Much of the rest of the cast came together by osmosis. The film was shot over several months in the spring and summer, in and around places where the Chamberlain family lived and worked: Bard College, where Mr. Chamberlain taught art history; the Staatsburg house; a loft in the Bowery building where he kept a studio. A distribution deal was signed with New Line Cinema after the initial run, and Brand X went on to tour several college campuses.'-- Sam Shepard



Trailer



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Anton Perich Candy and Daddy (1972)
'Candy and Daddy stars Taylor Mead and Candy Darling, who is best described as "a riotous satire of Park Avenue life." Mead plays a pervert and increasingly drunk father of Darling, who, with her boyfriend (Craig Vandenburg), has just thrown a wild party and destroyed their Central Park West apartment that is filled with large Marilyn and flower paintings by Warhol. Within this tranquil domestic setting, Daddy attempts to seduce his daughter and her boyfriend.'-- Purple



the entire film



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Anton Perich The Aging Rock Star (1973)
'In The Aging Rock Star (1973, 30 minutes, B&W), a gaggle of “ladies” and one highly cute gent all try to seduce Mead’s retired songster, who claims he only has $500,000 of the $6 million dollars he earned at the height of his career. Totally adlibbed, plot lines and facts keep getting confused as Candy Darling and others can’t remember if they’re one of Mead’s wives or daughters. But it doesn’t matter when Mead intones, “I’m thinking of going back on speed . . .” and Darling responds, “Don’t do that! It destroys all the vitamin C.” Some time passes and Darling notes for no reason at all that she was “the only blonde in darkest Africa,” Mead, after sniffing a shoe, accuses her of murder, “You killed Wally Cox!” Verbal mayhem ensues. For example, after being told he has varicose veins, Mead admits, “Drugs destroy your toenails.” Then the game cast that also includes Darsea D’Wilde and Nancy North all break into song.'-- Culture Catch



the entire film



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Eric Mitchell Underground U.S.A. (1980)
'Underground USA is a satire of contemporary New York “scenemaking” in the form of an update of Sunset Boulevard, Underground USA is both a personal triumph for its creator, actor-director Eric Mitchell, and a further indication of the importance of New York’s new-wave film movement. New-wave filmmakers like Mitchell have emerged to challenge both commercial movie making and the avant-garde. Shown in rock clubs and lofts, these loose, free-form super-8mm narratives quickly gained a loyal cult following for their witty explorations of hip urban life and times. In a style combining amateur enthusiasm with sophisticated visual know-how and a sharp sense of social and political observation, these films are the diametric opposite of the staid formalism of the ’’experimental’’ establishment. ... Underground USA is, on the surface, less political than these other films, but in moving the super-8 underground into the 16mm big time, Mitchell has managed to remain true to his “outlaw” origins while at the same time bringing the New Wave movement to the attention of a larger public than it has ever enjoyed.'-- David Ehrenstein



Excerpt



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Alyce Wittenstein The Deflowering (1990)
'The Deflowering by Alyce Wittenstein is not not exactly anti-sex, but it proposes that full body condoms and test-tube babies are the way to go.'-- collaged



the entire film



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Rebecca Horn Buster's Bedroom (1991)
'Buster's Bedroom is a 1990 independent German comedy film directed by the renowned visual artist Rebecca Horn. The film follows a young woman with an infatuation for Buster Keaton. The film was shown at the Marché du Film of the Cannes Film Festival in May 1990. Later that year it was shown at the Museum of Contemporary Art, Los Angeles together with Horn's exhibition. The objects of the exhibition were connected to the film, as themes, character references and props. The film was released in Germany on 9 May 1991. The film stars Amanda Ooms, Donald Sutherland, Taylor Mead, and Geraldine Chaplin.'-- Wikipedia



Excerpt dubbed into Russian



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John Gutierrez Doses of Roger (2006)
'Taylor Mead stars in a short film where a scientist's manufactured memories become his ultimate addiction.'-- collaged



the entire film



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Jonas Mekas January 6, 2007 (2007)
'Mekas' film The Brig was awarded the Grand Prize at the Venice Film Festival in 1963. Other films include Walden (1969), Reminiscences of a Journey to Lithuania (1972), Lost Lost Lost (1975), Scenes from the Life of Andy Warhol (1990), Scenes from the Life of George Maciunas (1992), As I was Moving Ahead I saw Brief Glimpses of Beauty (2000), Letter from Greenpoint (2005), Sleepless Nights Stories (2011) and Out-takes from the Life of a Happy Man. In 2007, he completed a series of 365 short films released on the internet -- one film every day -- and since then has continued to share new work on his website.'-- JM



the entire film



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Lloyd Kaufman Citizen Toxie: The Toxic Avenger IV (2000)
'Citizen Toxie is Troma’'s most ambitious and successful movie. When the notorious Diaper Mafia take hostage the Tromaville School for the Very Special, only the Toxic Avenger and his morbidly obese sidekick Lardass can save Tromaville. However, a horrific explosion creates a dimensional portal between Tromaville and its dimensional mirror image, Amortville. While the Toxic Avenger (Toxie) is trapped in Amortville, Tromaville comes under the control of Toxie’s evil doppelganger, the Noxious Offender (Noxie). Will Toxie return to Tromaville in time to stop Noxie’s rampage or is he doomed to remain a second-class citizen in Amortville forever? How did Toxie’s wife Sarah become pregnant with two babies from two different fathers? Will Tito, the Retarded Rebel, ever get over his teen angst and become a productive member of society?'-- Troma



Trailer



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Jim Jarmusch Coffee and Cigarettes (2003)
'Coffee and Cigarettes is the title of three short films and a 2003 feature film by independent director Jim Jarmusch. The film consists of 11 short stories which share coffee and cigarettes as a common thread, and includes the earlier three films. William "Bill" Rice and Taylor Mead spend their coffee break having a nostalgic conversation, whilst Janet Baker singing "Ich bin der Welt abhanden gekommen" from Mahler's Rückert-Lieder appears from nowhere. William Rice repeats Jack White's line, "Nikola Tesla perceived the earth as a conductor of acoustical resonance." It is possible to interpret the relevance of this line to the constant recurrent themes throughout the seemingly unconnected segments.'-- collaged



Excerpt dubbed into Italian




*

p.s. Hey. ** Thomas Moronic, Hi, T. Yeah, death sucks and is massive, but ... I don't know. I'm fine. My week is going well, thanks. Yours? Whoa, that close to the finis? Awesome, man. That's very exciting. Well, ha ha, I'm 100% in favor of short novels, so don't worry about that, I say. How long is it? ** Keaton, Hey! You're there! Wow! So, the vibe seems to be positive about said locale so far, no? A red marble ball appearing inside your head has to be a good omen. I can't see it as anything but. ** Kyler, Ah. music, I see. That is competitive, even if it is a banjo band, ugh. But people love that stuff. There's a troupe of roaming, busking musicians that you see all over Paris. There must be 18 of them, all playing trombones. They perform all-trombone versions of current hits. It's completely intolerable, but they always seem to be encircled by delighted hundreds. ** David Ehrenstein, Ha ha. ** James, Hi. Oh, I'll go find your email. Thanks a lot! ** Steevee, Well, if you don't like disaster porn, you probably shouldn't see it. Disaster porn is the reason I'm a sucker for disaster movies. It's a very good example. It's about 80% disaster porn, which is quite an excellent percentage. The exposition and character development is compact and minimal. It lets the plot twists and storyline be completely implausible, which is how I think it should be done in that genre. I loved it. I had a total blast. Oh, lucky you re: the new Andersson. I so want to see that. Great that it's the peak. It still hasn't opened here for some unknown reason. Thank you for the report! ** Cal Graves, Yay Cal! Yesterday rocked everything and made everything moist! Gif stacks are an addictive thing. Be careful, or else be like me, i.e. not very careful. Editing, the best part! Sorry you're not yet under some moneyed wing. I accept your vibes with open arms, just so you know. Oh, cool, behind the scenes hints and tips! Let me help all and sundry. Everyone, master Cal Graves, the one responsible re: yesterday's mega-stack, lets you on his methodology. Listen up and click. Here's Mr. Graves: ' gonna give some credit where it's due: Here's the blog where I found that drawing at the end of the stack. Simply great artist., Got a lot from this place, both for this one and some other gif stuff. It's a gold mine., and Here's Steven Purtill/Mancy's blog. Also a gold mine of wondrous things.' Paranormally, Dennis. ** _Black_Acrylic, Hi, Ben. Thank you for that link! You know me well. It sounds cool, but the article itself was very too vague and non-forthcoming. No pix, no event descriptions beyond the rote. I'll google around for better accounts. Anyway, yeah, even so, it was a total pleasure. Big hooray about DJ day! Very excited! ** Paul Curran, Hi, Paul! Not totally sure other than Melbourne and, for sure, Tasmania. I'm very excited see Tasmania. The plan is that Zac and I will time our trip with Kiddiepunk and Oscar, so we'll have a native to help and accompany us. The idea is that we'll try to travel all over the place as much as we can via car and, I would imagine, plane: outback, reefs, red lake, desert, here and there. It should be amazing. Do you have must-sees and tips? ** Misanthrope, I'm kind of couthful in my own weird way even though millions would disagree maybe. Tomorrow ... you mean today? I hope ... what do I hope? I don't wish horribleness on her. I hope ... she does the right thing and that the right thing is done to her. Whatever that means. ** Bill, Hi, Bill. I'm looking into the LPS possibility. If there's a way, there's a will. ** Right. As you have no doubt seen unless you have something set up on your computer/phone whereby this page opens at the p.s., I have devoted the blog today to a number of film performances by the very great ... I might even say sublime ... Taylor Mead. I hope you enjoy. See you as soon as tomorrow happens.

Jewelry

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Dutch designer Eric Klarenbeek, 29, has developed jewelry consisting of tiny crystals or flowers that hang directly from the eye via micro-thin medical wire attached to either prescription or blank contact lenses and, in the light, give the appearance of tears streaming down the cheek.






Does anyone have a lighter? Keep your eternal flame lit with the original lighter ring. Measures .25" wide.





The ‘Blood Bridge’ by industrial designer Naomi Kizhne is a piece of jewelry with hypodermic needles that are inserted into the veins of your arm, allowing blood flows through it and back into your body. Theoretically, it will create a gold “micro turbine” which generates energy.












Created by American jewelry designer Jennifer Crupi, the pieces have been created to interpret and force various actions and positions of the body. "Part of my interest in body language also stems from the fact that I have always been a very self-conscious person. I seem to constantly be aware of how I look and am perceived by others," explained Jennifer. Believing that jewellery plays a great part in body language and the way people portray themselves to others, Jennifer has created a series called 'Ornamental Hands' which references elegant hand positions often seen in artworks throughout the centuries.






Tulip Rings by Alida Alic.





The new skill must be activated. To do so you must go the the Mysterious Robed Girl and chose the option to level up hero skill. A new window will appear, here place one of each jewel, Diamond, Emerald, Sapphire, Ruby, and Topaz. Leveling your new Hero skill is like upgrading your equips. You sacrifice the five jewels for each attempt. For fast usage you may double click the Jewels in inventory and they will automatic place themselves in upgrade window.





Inspired by the death of her dog, London-based designer Tithi Kutchamuch has designed a range of jewellery pieces with animal-shaped bases to keep them on. "My dog died a month before I got back to my parents' home," explains Kutchamuch. "I would love to bring her everywhere with me if I could."





Bloody ax & saw charms. Red and gold toned. Gold plated chain 18"l. By the Beard of Zeus. ("Blood" placement will vary slightly from photo.)






The Tooth Ring is created with fake teeth that designer Emily Lewis removes from used dentures, which she buys "for a pittance" from a sympathetic funeral home director in Dayton, Ohio.





Marble necklace.













Zhdenek Vacek (Zdeněk Vacek) and Daniel Posta (Daniel Pošta) , also known as the designer duo from the Czech Republic Zorya , recently presented its luxury jewelry collection Virus in Prague. Young people have long studied the chemical and biological processes of development and spread of viruses to be reflected in the original jewelry. If you do not know the biological background to the collection, bracelets and necklaces look quite innocuous. Still: stylized rope of red and gold were “attacked” baroque pearls, raw diamonds, and pyrites, successfully performing the role of viruses. In general, according to the author’s idea, jewelry compositions are intended to illustrate the process of “capture” of an object foreign substances. So far, the jewelry from the collection of Virus can only be purchased in the Czech capital.






Wearing a tight-fitting tan sweater and black pants, British rocker Pete Doherty models a necklace as he launches his Albion Trinketry jewelry line at Westbourne Grove. The line, which features items from chains to cufflinks, is a collaboration with jeweler Hannah Martin and reflects on his knack for "personalizing his antique finds."





Founded by Japanese dentist Taro Hanabusa, Fangophilia creates one-of-a-kind teeth and silver accessories custom molded to the wearer’s body.






Ring by OPEN Design & Concepts.





If you happen to see a guy or gal wearing a wrist knife like this and approaching you on a darkly lit street, you’re gonna wanna run like hell. I think it’s safe to say that this thing could probably gut you real fast. What could be scarier then than this? The price. At under $40, any psycho stalker, or goth D & D misfit can afford one and take to the street.










This very special horror choker is, as usual, a Von Erickson Laboratories Original Design. This one is cast in a lovely anemic off white tone.







Jewelry designer Imme van der Haak created a line of face distorting jewelry. With eyebrow stretchers, nostril flarers, and a golden booger, there's plenty of options to choose from.











Milk Moustache nose ring: yunju lee is a recent graduate from the jewelery program at london's central st. martins. her works takes a decidedly opposite perspective to the idea of beauty in jewelery. while the subject in her work is commonplace and unconventional, she executes them in more traditional silver, gold and enamel.





A burglary suspect swallowed a pair of necklaces he stole from a Florida residence hoping they would remain undetected. And they were, that is until he had to undergo an X-ray before being booked into county jail.






The 'jewelry toothbrush' was patented on September 13, 2005, by Michael E. Berglass of Port Washington, New York. "Dentists are constantly reminding their patients to brush after every meal," he writes. "This is a difficult task for children in school or away at camp. The present invention overcomes these problems by providing a jewelry bracelet that incorporates a toothbrush."












Waveform Series by designer Sakurako Shimizu consists of laser-cut shapes of various human sounds she has recorded, rendered in silver, gold or other precious metal and presented as wearable brooches. Human expressions such as yawn, sneeze, or giggle were used for earlier pieces. (seen from top to bottom: 'Wow, 'Sneeze', and 'Yawn').





Skeleton Hand Ring.












Icelandic fashion designer Sruli Recht has put more than just his creative mind into his latest piece of incredibly weird jewelry: he has also included a piece of his own flesh. The designer had a strip of his own skin removed from his belly via surgery. The skin was then salted and tanned for preservation purposes. With the strip of flesh, which contains belly hair, he then attached it to a 24 carat gold ring. For anyone with an expensive and questionable appetite for jewelry with hairy human bacon on them, the ring is available for almost $500,000.





"In 2004 while driving out of town at 4 am, I saw a football-field length black triangle that slowly moved perpendicular to my car. I seemed to drive under it for an eternity, which is how I judged its size. It was hovering over I-210 with no lights and making absolutely no noise, just a bone-jarring vibration. The only reason I spotted it was because the stars disappeared in a cloudless sky. I don’t do drugs; neither do I drink, so this thing was real," says Ann Shelby. "I’ve been studying the UFO phenomena ever since. And even though I wasn’t “abducted” that morning, the event inspired me to make a series of abduction earrings, including cows, cars and dinosaurs. Maybe it was the aliens who put the idea in my head. And for that, I thank them."












Leave it to JoMama to come up with such a unique organic cuff. It’s guaranteed that no-one at any costume party or dress-up social function you attend will have anything as scary as this eye! Bet you look at bark differently for a while.





Karin Tremonti creates Dream Jewellery that speaks the language of luxury. Her creations express the passion for natural Gemstones that endure generations. Every Tremonti Jewel is inspired by intuition, a sensation, the curiosity for detail, translated into design and form. Incomparable Jewellery with strong character, whose spirit melds with the personality of those who wear it. A Jewellery collection that stands apart from anything ordinary.










For $265 you can have a Black boy hold your mink closed courtesy of the racist kitsch bartering site Deja-Voodoo.








Margaux Lange’s Plastic Body Series art jewelry collection utilizes salvaged Barbie doll parts in combination with sterling silver and pigmented resins. The series is a result of Lange’s desire to re-purpose mass produced materials into handmade, wearable art. It is meant to examine and celebrate her own as well as pop culture’s relationship with the icon known simply as: Barbie.





The Little Girl Rabbit Hunter Necklace is part of Alex Metal Arts's current series working to dispel pervasive gender stereotypes involving children, with a nod to locavores and hunters.






Rare and unusual “Femme Fatale” ring pistol, originates from France, third quarter of the 19th century. Sold at Auction: $11,350.






Miley designed all the accessories for the Jeremy Scott show, bringing her colourful junk pieces to the runway via a myriad of brightly-coloured beaded bracelets, crazy head pieces and necklaces that included a ton of random, weird shit like miniature toys and Magic Tree car air fresheners. The collaboration happened because Miley and Jeremy are neighbours in LA and one night he was at her house and she showed him all the weird stuff she was making. Jeremy thought it kind of looked like his collection and asked if she would do the jewellery for his show. She thought he was joking, but he texted her the next day and was like, ‘BTW, I was deadly serious about the jewellery thing,’ and she was like, ‘Oh, amazing.’ Miley actually made everything mostly by herself, although she said the guy who built the big teddy bear for her Bangerz tour helped her with some practical stuff.





This pendant is a combination of many different symbols: alchemy, pentagram, septagram / heptagram, zodiac signs, Chaos Magick sigil, and more.










Piercing eyes - the process of implantation of tiny jewels in the eye's surface. Jewelry is a specially designed jewelry - insert a diameter of about 3.5 mm. The procedure for implantation of jewelry in the eye takes about fifteen minutes and costs between $ 600 - $ 1200.





Damian Hirst is known to create all types of art including things that are shaped like medicine pills. The pill design Hirst given up a while back is now resurrected with a two piece line named, the Cathedral Collection. A collaborative effort with the Santa Monica-based luxury jeweler Hoorsenbuhs, they are created under his own label, Other Criteria. The collection includes a limited edition beaded pill rosary necklace and a pill cocktail ring. Available in options 18 karat yellow, rose or white gold, both the pill rosary and the pill ring are set with rubies, white and black diamonds. On Pill Rosary the crucifix is being replaced by an open pill filled with precious stones. Both items are limited to 25 each and come stamped and numbered. As for the pricing they are sky high, the Pill Ring has a price tag of £18,000 (approx. $28,000) while the Prozac branded Pill Necklace is listed for £43,200 (approx. $68,000).





'Cut My Head Off Necklace'.





The unique design of Qian Jiang's pendant necklace is a play on the condom. Thus making this product much more interesting and allows the person wearing it to let their personality come to life. The condom pendent allows the user to put out their cigarette butt in the condom shaped design, instead of throwing it on the ground. Once they are near a trash bin, the butt can then be discarded. So not only are you wearing a very distinctive design around your neck, but you are also showing your respect for our world.












Satomi Kawai: I observe every solid surface among materials surrounding me and fundamental physical matters in both macro and micro views. In addition, I view the flow patterns of gas and liquid, including changing the shapes of clouds and flow patterns. It is fascinating for me to view many changes with phase transitions; a surface pattern change and a color change. Utilization of enamel on steel pieces allows me to get unique patterns, which reminiscent of patterns I observe. That is how I preserve the moment with life and nature.





Jewelry weapons by Diddo can become the kind of the most sophisticated weapon you can have. The designer breaks the limits and goes against the rules. He tries to define the border between perception and reality. Shock your girlfriend by the grenade with the Cartier ring as the safety pin. But be careful! This may become the most dangerous joke in your life.













Reid Peppard makes accessories out of taxidermy. Like this guinea pig hair comb. Peppard also makes rat bowties ("black leather bowtie with medium white rat head" and blue Swarovski crystal eyes) and rat medallions and rat coin purses and pigeon wing head pieces.





Rebecca Ward, a Brisbane designer, works with recycled glass. These stunning bracelets are created from broken window fragments.





Live beetles covered in jewelry are all the rage in Mexico. These bling covered pets are part of a centuries old tradition.





Olga Grove, a mother of two from central Pennsylvania, is a mom who's preserving her breast milk in the form of jewelry that holds the liquid. Her daughter, now nearly 1, is still nursing and although Grove will allow her daughter to self-wean, she already sees the frequency slowing down. And it has made her nostalgic. "We don't have plans for any more children," she said, "and I'm getting sentimental. I truly enjoy nursing."




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p.s. Hey. ** Riya Ahuja, Thank you, I will most certainly take advantage of your generous offer the next time I'm in Delhi, and I'll pass along the link to your bounty-filled site to all my Delhi-bound friends too. ** James, I would certainly think so. ** David S. Estornell, Thank you kindly, Mr, Estornell. ** David Ehrenstein, I most certainly agree, and I treasure my copy of that book as well. ** Tosh Berman, Hi, Tosh. So crazy that the wee-er version of you was in that film. So awesome. I can only think and hope that a ton more of Mead's writings will be issued, and reissued in the case of the o.o.p. stuff. His writing is magical. ** Steevee, Hi. Oh, that was just a marketing technique. There's nothing like that in the film. I could barely make it through that 'response' to Bejar's interview, which I did read, yes. That 'response' just seems like the millionth example of aesthetic conservatism guised-up by a snarky, needling, condescending tone employed as outrage bait in the hopes of creating yet another pointless collective online resolution-less emotional tempest for the sake of ... who knows. It just seemed like the usual practice du jour of someone trolling some artist's thoughtful opinions and misusing some vulnerable fragment as an excuse to toss out argumentative nattering in an attempt to create the usual 15 minute mini-controversy. Bejar doesn't like what Taylor Swift does. That was asked and answered in a context that was about parsing Bejar's work and his thinking about his work. Spinning that into troll-fodder is just pop culture fracking. Gross. ** Thomas Moronic, Thank you. He's something else. Yeah, gosh, that doesn't seem short to me at all. I don't know the word count on my own novels, but I'm pretty sure that, say, 'God Jr.' and 'Period' are within those parameters at least. Yeah, editing, yum. I'm all about editing. I hate writing fiction, but I adore editing. That's where everything happens. ** _Black_Acrylic, Oh, wow, now that article is much juicier, and that horrid event seems even more ... horrid. Time for another rip-off UK children-swallowing-themed post, I think. Thank you a lot, Benster! Also, I barely knew what FIFA was until all of this stuff erupted. Interesting to know. ** Chilly Jay Chill, Thank you very much, Jeff. I too was plenty surprised by the amount of available footage from Mead's work that's out there. So, so nice about the Geiser screening. Right now, re: our film, we're waiting to see if this guy who said he might have time to do the final special effects and color correcting for us is available. We should know by today. If so, he'll do that, which shouldn't take more than three or four days, and then the film will be utterly finished at last. Basically, the Cannes thing was just schmoozing and passing along a link to the near-finished film to interested parties, and then we'll find out over time if anything was scored. We're in the next round of festival submissions at the moment -- burning BluRays, filling out paperwork, and hitting the post office or FedEx. Glad that you have wheels again, and best of luck, as if it's needed, on the novel work. ** Misanthrope, Is that true? It's weird being inside a body and not having any clue about how it's presenting itself. Oh, boy, that's complicated and plot-twisty about the LPS mom situation. So, ... shit, if she didn't file the petition, and if she's vacationing, uh, what happens? Glad your old job center is safe enough for you again. ** Keaton, Hiya, K. This place missed you. I have it on high authority. Everyone sounds really high: that seems like utopia. Well, if it makes buying cigarettes and chewing gum laborious, maybe not. Heart y'all's face too. Ha ha: Blanchot. ** Cal Graves, Hi, Cal. They are. I'm making a gif thing right now. But I'm in the 'tearing my hair out trying to find the right gif to complete a sequence' phase. Which is fun too, of course. Who needs hair. Yeah, editing ... I guess it's about using the clinginess as an attribute within a way of thinking about your work's final state that's more objective. It's a weird thing to suss out. It took me a long time to get the balance right It's very complicated, but then, when you get the right approach, it's like ... sailing? Shit, about the flooding. That sucks, obviously. Be prepared to make a beeline for the roof, okay? Exfoliating-ly, Dennis. ** Okay. I did another one of those posts that I've been into making lately for whatever reason. And this time I chose jewelry as a challenge because I have basically no interest in or knowledge about jewelry. And that, ladies and gentlemen and non-identifiers, is the background story on this post. See you tomorrow.

Meet dontBEsad, Coachella, PsilocybinSlave, ForestFan, and DC's other select international male slaves for the month of May 2015

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onREPEATmode, 24
dreaming of a hetero?

Yes you have read it right... hetero for you...
dreamed about owning a womaniser?
Here is your chance.... lots of qualities and talents with easily erected 19cm pulsing pleasure.

I will do ANYTHING you want. Anything.
I also have a nice dick that you can suck freely.
I want to interrested in you.

I've been trying to stay away from this but couldn't.







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moreHotter, 19
Hi to everyone dominating. Let us be friends. I love parties. Sex is my passion. Alcohol and coffee are my addiction. Sex tastes better if we talk a little. I love to earn breakfast. I prefer to be alone but it doesn't mean I'm lonely. I just don't want to involve myself with people with hidden agendas. I almost didn't write that because it sounded sad. It is.

Not my real picture however I am more Hotter.





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lovehairyarse, 23
I am looking for some to have sex with go to concerts with





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inslavemee, 18
i cn b ur slave...ppl wid good looks...n sexy body pls hurt me...others jst fuck off...

Comments on inslavemee

Anonymous - 10.Apr.2015
A big competition will disassemble bitch her pussy she expect it this bitch!

PIPOSTAR - 7.Apr.2015
this boy is not nice ... WARNING nag from the agricultural show are not going to damage it

No-Diggity - 4.Apr.2015
Good couch

Anonymous - 3.Apr.2015
a well-known greenhouse hole that opened just in time to bring your hard cock an abysmal depth.

Anonymous - 30.Mar.2015
I really want to eat her ass arched this goat







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ForestFan, 24
Former cocky top/arrogant jock now well and truly on the way to becoming a blank set of holes into which an 18 inch dong can fit most of the way or even all the way down. Been thinking about this for way too long. Time to get it done to me. Want it done right. Maybe you can tell me all about yourself while I'm sheathing you. Thanks and God bless us all.







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VanishingAct, 22
Hey I might not like you since I hate every fucking living thing starting with animals and then humans. I dream of one day breaking into your houses and murdering your kind. My favourite band is Cradle of Filth. People change from one day to the next. Today you are everything for them, tomorrow you're nothing. I am smooth/hairless neck down, 5 inch pierced cock, pierced tongue. I'm off all day and tonight. That was how it began.





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moemoe, 21
for those who like that sort of thing
that is the sort of thing they like






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littleboypussy, 18
Here for fetish not for a fuck. Bitch pussy is everywhere like flies.
If "you be" is in your profile K.I.M
If "want" is in your profile K.I.M
If you have the thought of asking for a picture K.I.M
I am here to whine like a true sex PIG not cry like a baby.
Ass soft like Bieber's when he had the dyke hair. It tastes good.
Everything harsh is alright unless I haven't heard of it.





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hungarian-fakers, 24
HUNGARIAN FAKER SLAVE CLAN IN VIENNA
be used (at the moment), these nicks
- stickitin
- SuBHoSE
- victsub_sexy
- base2breed
- suckonu001
- WillUSpankMeSir
... Of course there's more nicks, much get the spastos still together
- Images consistently way too good, that is faked (sorry, no offense love hungarians)
- All profiles without telnr
- Phony profile comments on dilettanische own entries and cross-earning Ender
- Want to submit, and then pull leash
- Moronic-outrageous, German-speaking madam / administrative staff "mediated"

Relevant information to the police:
Phone +41044247 22 11
POLICE circle Guard Vienna-Schwamendingen: Phone +41044411 83 33
Or any other police station.

Stay away from this laughing numbers ... My advice

if you want to convince yourself, despite these well-intentioned warning, be prepared for anything

LOVE BALKAN VEGETABLES ... of course .... is a matter of honor!










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tallsissy, 22
Do I look dead to you?

I'm not looking for trobles.





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JamIAm, 23
Hey lads I'm jamil. just call my jam lol. nice down to earth Yorkshire piglet. Also gotta a bubble butt hahaha. Very easy to get on with and very easy on the eye lol ;) . I wouldnt go as far as to so a great interletual but I'm very knowledgable and have a great apresiation for art and culture. I can go from quiet mouse to very wild and extreme haha. just depends what ur after lol. I'm into most thing, I'm vet bottom but happy to find perfetiun in ur pride and to see nothing in the light ha. come get some haha.






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YoungEagerStudent, 21
Hey, college kid here. Saw some porn on this and think its super hot so looking to maybe replace the guy in the porn who made me horny by getting rough stuff done to him.

Always been willing to get fucked, poppered up and cast away by anyone, but I do have a type, so just cause I let you fuck me doesn't mean i'm interested in you doing more.

My type is controlling, young, hot, slightly psycho and encyclopedic since I don't know much.

05/13/15 Now owned by a sadist pimp
Dont message or contact me






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For_the_day_after, 18
Hi sir
I am a cheap skinny dog slave and prisoner in Sydney for certain type of people.
I just want to enjoy anything to be happy but NO LOVE, NOTHING WITH FEELINGS!!!
When I get too old to be cute I want to be a musician and play classical music.






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ALittleTart, 20
I'm just an innocent looking boy hoping to find another innocent looking boy to do horrible horrible unspeakable things with.






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cockintomymouth, 19
Helo are you serious? I wait to give me pleasure are you feel fantastic? Please make me feel like you.

My name is Mike's job is mainly looking for a dungeon or brothel house to explode my fully loaded cum for you

I'm a nice guy cant even bisexual preferences do not speak very good English but now I learn you do not know me and want to talk







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PsilocybinSlave, 25
"In performance art, the artist’s medium is the body, and the live actions he or she performs are the work of art. [...] Performance art usually consists of four elements: time, space, the performer’s body, and a relationship between audience and performer."

Beautiful boy for BEAUTIFUL MASTERS, inside and outside.
i'm here trying to meet INTERESTING PEOPLE and have GOOD TIME with them.
I CAN'T HOST so we can stay in your home or hotel room.
I'm ITALIAN.
I'm a NORMAL TEEN GUY so if u are searching for a model or a big black dick you are in the wrong place.
NO FEMININE MEN, I'm not a lesbian thank you.
NO BAREBACK ME.
Enjoy you day.





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dontBEsad, 18
I get fuck, you fuck. i suck, you get suck. You fist me, i get fist. Sport -sex -drink- i dont like. me good boy? yes






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StrangleMeNow, 22
I will fill this out more thoroughly tonight, but for now I'm straight and have a fiance. Not looking for a relationship or cuddling or kissing. Nothing like that.

Wanting to meet someone who is as fucked up in the head as me and make me pay for it dearly. Someone who is into absolutely forcing someone to obey no matter what it takes then doing everything they want including something very very Xtreme. I'm not here to be turned on I'm here because I want to experience something brutally beyond my control.







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Frombirth, 19
I was born a dog, I firmly think. I should be a dog. New to this. Don't real know anything.







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Coachella, 20
I am young 20y gay slave/ekmo/scene/goth/wierd/ whatever else you wanna call me that happens to have horrible depression. I guess im looking for a master/boyfriend/father but maybe not they always leave so whats the point for falling for someone. But whenever you feel lonely, hit me up anyway. It is always better to feel lonely with someone.





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perseus9, 20
here is Mike.

I am very passive and very self-destructive for all of you who likes to beat and chem me until my brain cells drop like flies and slam fuck my excellent little ass to oblivion unsupervised.

I like to watch while you playing with my cock balls. I love to fist my ass punch it harder and harder and make my ass wet and then fist it hard and deep Bitch!

I am obviously doing the anal sex WITH NO CONDOM ONLY.

Kisses
Your Mike





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Hornwhore, 20
New in slave.....for fun.....for....stay with uh....can....





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levie12345678910, 22
Nice to meet you im LEVIE , . How are you? And your family.

As I looked around your Facebook account , I can say that I have some feelings I felt. Sexy feelings was loomed most. I can say that you can be the man in my dreams. But first of all let's know each other more further.

I work in a restaurant and I did not expect , I am alone this moments , my parents already depart in ethics world and I live alone by my self , always sad but sometime happy , I have birth mark in my chess.

I know full well that I can find the man in my dreams so that my life will change . it can be you (if you're single ) because as I write this message for you my heart beats faster and I think you will be that man.

I am not a Choosey person I only want to have a responsible and aggressive man reach or poor can be , ugly or handsome can be. I will choose that guy if he have it all and most of all if that guy has a faith to God.

From levie

Comments on levie12345678910

Anonymous - 20.May.2015
who hath because you puked on the pizza?
Do you have what about dinner?

Anonymous - 01.May.2015
fucking; 9 points
mimic; 10 points
kissing: zero points :(
genuineness: 10 points
reliability: 10 points
correctness; 10 points
humor; 9 points

Anonymous - 31.April.2015
you´re are so
unsurprisingly good for me.







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CAN_U_AFFORD_ME, 24
Have Apartment in Zurich Adress: Forchstrasse 163. I know what Iam sexy/handsome/cute model slave.SO EXPENSIVE. I can take your breath way. In addition, I want you to heat remembered our meeting and I think that one is over. IF YOU ENJOY FUCK A TIGHT ASS I AM INTO THAT. if you want to get fucked I EVEN GONNA PENETRATE DEEP INSIDE YOUR ASS WITH MY COCK. if you don't have money not write me. IF YOU DONT HAVE MONEY PLASE Don't SEND ME MESSAGE!






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MormonSubby, 23
Ok so... well, I m not much into sex. I m really in just for the pleasure/joy of swallowing (anything ... as long as it comes out of a male's body). Of course, if I have to suck, be gang banged, whored out, fucked raw and hard, knocked around or out, to get fed a male body's meal, I ll endure mostly anything.

Needless to say that, the joy of swallowing is only a true joy when it's someone strict, ruthless, kinda violent (I like over jealous, the kind to get violent at the littlest thing), into dirty...

On a possibly unrelated topic, my most intense fantasy since I was a child is getting whacked by the mafia. I would be sitting in an Italian restaurant eating my pasta (... I m the only person in the world who does like Italian food, so that must be part of it ...) and a bunch of mafia guys burst in the door with machine guns and blow me to pieces ^.^

If the two could be combined some how, it would be a pleasure as dark, magnificent, as wild as moments of mystic creation - dazzling, ecstatic , exalted.







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ASlaversLifeForMe, 20
The following is a very short version about my upbringing and life. I do have a detailed report on my life as a slave and can provide it, all you need to do is ask.

I was brought up with a very Dominant father who trained and used me from a young age until I was a teenager. I grew up in a small town in Montana and anyone that was gay was called a FAGGOT and so grew up knowing I was a faggot and have been trained from a early age to be a submissive faggot. Beginning in my early teens I would seek out men to attack me.

Beginning at 16 I was owned by some Master's and was trained as a no limit slave. I have been pierced and tattooed and scarred and operated on in several places and that is very fitting for being a no limit slave. A few Master's did some body modifications and some might think of it as a plus, while others might view it as damage merchandise, so to speak.

So, now what am I looking for or seeking.......well I'm not sure. No limits slavery has its plus and minuses, the same is true with a Dom/sub relationship with limits. What I do know is that the Man, Dom or Master realize that just because I was raised and trained to be a no limit slave, that I am not totally stupid.





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Readytogo, 21
Bring me death.








*

p.s. Hey. ** Thomas Moronic, Thanks, buddy. The only jewelry I have are meaning-attached keepsakes from the past that are in storage somewhere. Well, and lots of badges for bands, mostly from the punk era Do those count? I guess they're 'brooches' of a sort. 'Non-linear moving in time order' sounds like manna. Time adherence is a versatile organizing principle. I use it a lot too. Sounds superb, T. ** James, Oh, cool. 'Weirdly fascinating' sounds ideal on almost all occasions. I don't think my high school had rings. Wait, maybe. They must have been clunky and ugly. Cool backstory, man. Oh, I say I hate the writing part, but when it's working, it's gorgeous. I guess for me that part is often hard and frustratingly very stop and start. With editing, I can do that 24/7 and never lose my interest or energy. Hm, interesting question about the structure strictures. To non-movement? No, because, as strict as my pre-planned structures almost always are, I don't feel devotion to them, and I don't mind breaking their rules in hopes of finding a more interesting structure through trial and error. I like building very limiting-seeming structures as a place to start, for sure. The structure you've devised sounds very exciting, and, yeah, Oulipian, which is another word for sublime in my book. I think it sounds fantastic, and I think you absolutely should go for it, no questions asked. It could work really well and have just the right amount of formal fun/intrigue. All that stuff: 'pinpoints, ligatures, scarfing via words and sentences': you already know I'm really into that. Do it and dig deep at the same time. ** David Ehrenstein, Oh, her. Ha ha. You like classy jewels, you classy fella. ** Steevee, Hi. Good question. I forget. Let me see if I can find out real fast. Hold on. I tried. All I found re: the material is 'polymer'. Finding that jewelry was basically just a matter of doing seemingly endless searches using, first, the word 'jewelry' plus the word 'weird' because that's the only way I've found to get around looking at a lot of blah. Then, based on what I found, refining and particularizing the search terms, following links on pages I found, etc. Laborious process, but I seem to find it relaxing or something. ** H, Hi. Oh, yeah, the brooch was nice and smart, I thought so too. I think I might even wear some sort of discrete jewelry if I designed it myself. Huh. That's cool. I hope your recuperating does the trick in not so distantly spaced increments. My new apartment is old and kind of fucked up -- my kitchen sink, for instance, is currently so clogged with centuries or whatever that I have to get a plumber in here to clear it. There's little stuff like that. But I like it. It's 'huge' relative to the room at the Recollets. Not quite as quiet but quiet enough. ** Bill, Glad you liked 'em or select 'em. What were the tiny masks like? Any photos? What an interesting thing for you do. I'm intrigued. Any evidence or more info on them or your reasoning or anything? It must warmish in Berlin by now. It's not quite warmish here yet. ** Cal Graves, Hi, Cal. I know, about the perfect gif. I'm still looking for that same one today. I really don't want to axe the little sequence that it would complete, but, if I have to ... Mud is really interesting to contemplate from a safe distance. You don't have any cool relatives who would be similarly at the wedding under duress with whom you could critique your relatives in an incisive, amusing way? I have plans/thoughts to go the zoo too. A huge one here that reopened recently after having been closed for rebuilding for 10 years. I mostly want to go to see this large fake mountain they built there, which you can see here while was it was under construction. Immeasurably, Dennis. ** _Black_Acrylic, Hi. Oh, your brother's girlfriends makes, like, real jewelry. Like classical-ish jewelry. That's interesting. My dad was really into rock polishing when I was a kid. He had this whole rock polishing area set up in our basement, and he was down there a lot polishing rocks. ** Sypha, I can totally see you all Goth-ed out in jewels and strategically 'torn' trench coat. What made you stop wearing that and being that? Was there a definable reason and moment when you bailed? I knew you'd get busy again. I wasn't worried at all. Yow, a huge Sypha Nadon album. 'Tales of Topographic Oceans'-sized. ** Misanthrope, Huh, that's interesting. I think of myself as very bumbling. How curious. But then I don't remotely think you sound like a hillbilly. That comparison has never crossed my mind. You seem perfectly sophisto and suave enough to me. Sounds like a hell full of stress, man. The 'mom' thing. Those friends of yours who think it should be easy are probably trying to magically make it easy by convincing you it is. Very New Age approach. Steamy hot subways suck beans. Hm, I wonder why subway sandwiches are called that. Is it because someone thought they look like subway cars or subway tunnels or what? ** Kyler, When someone lends me a dime, I make sure I give them back a quarter. My grandpa used to say that. So maybe it's the same with me and jewelry, except I'm not giving the sites where I borrowed the jewels anything, so maybe it's like that mixed with some kind of Robin Hood thing. I don't know. Thank you, in any case. Cool about your scot-free June. Oh, Jesus, I wish I could ship you the trombone people. You can have them. Take them, please. ** Right. It's the last blog day of the month, and you all know what that means, blog-wise, by now. See you on Monday.

"Pet""Shop"

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The Kokeromin Cat Musical Instrument Hand Puppet
It's harder than it looks and it's literally more interesting than it sounds. It actually takes a lot of skill and creativity to make good tunes and melodies just with your hand movements inside the puppet. The unique musical toy offers proper scales and 12 different types of tones and sounds, including drums!





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揺れる!猫田ジュニア(Jr)
ワンワンパピードットコム http://www.wanwan-puppy.com
可愛いネコが木馬に乗ってゆ~らゆら!歌を歌いながらのんびり揺れるよ!





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Pi-chan Talking Bird
In total, Pi-chan can make 24 types of chirps and has fives songs that he can sing to you. Available in a range of six cute colors, Pi-chan will also imitate your voice when you talk to him. A perfect companion for young children.





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ウォーキートーキーモンキー(おちょくりモンキー)
モヤモヤさまぁ~ず2(2013年:駒込の回)で登場した言葉を"おうむ返­し"しながらバタバタ動き回る『愛嬌満点』の憎めない猿です 御鑑賞アリガトウ御座います!癒しになったとのコト、幸いです!­コヤツ(猿)は久し振りに100%満足できた買い物でした





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Moving Toy "YOCHI YOCHI KUMAMON"
Kumamon is a famous character which acts as a mascot for a Kumamoto prefecture Japan. Such characters in Japan are called "yuru-kyara".





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かわいい!話す人の声や音をマネして楽しくおしゃべり元気にダン
「こえマネ わんちゃん」はこちらが話した言葉や音を覚えて、動きながらマネしてくれる、とっても­かわいい玩具です。ネコのミーちゃん、ペンギンのペンちゃん、犬のワンちゃん、パンダ­のリンちゃん、ハムスターのハムちゃんがいます。





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Robi Jr
This little fellow is more than just a toy. He's a household friend who can speak, sing, move his arms and head. He talks to you using around 1,000 phrases and can even understand certain expressions. Call his name to get his attention. While he can only speak in Japanese, he offers fortune-telling, seasonal phrases, comments about the time of day, and more. His eyes flash in different colors so you can see his mood. With his infrared sensors he can also detect where you are and turn to face you when he speaks.





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イワシタナオキ
最近流行ってるらしいね?嫁にクリスマスプレゼントであげちゃいました♪





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Ghost Pet
Bouncing happy pet that laughs at your jokes and repeats what you've said. Great gift to take to business meetings or gift for the kids.





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Bandai SmartPet Robot Dog
All hail the next generation of Aibo, the SmartPet by Bandai, the robot dog pet for the iPhone or iPod user. Interact with your pet via the touchscreen and also get him to do things according to what he sees and hears thanks to the camera. And put another Smartpet nearby and they will use Bluetooth to interact and communicate.





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癒しロボット犬猫HV
私は動物が大~好きです(特に犬猫は),,,
しかし私の歴史の中に悲しい事を経験、
動物は家族の一員!!! 本当の愛情を思うと飼えない





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Hide and Seek clock-chan Happy (Pink)
Tell time clock-Chan "chatted" with. Delight in action appearing face, hands and feet when talking! Our watch and talk, like your friends time announcement function will tell the time in the word and at a set time to alarm wake me up, as well.





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Cat Grey LOL Rollover Laughing Plush Toy
The laugh out loud rolling, laughing pet! You can't help but laugh along with the LOL Rollover Pet. It rolls around back and forth on the floor laughing hysterically.





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Electronic Butterfly in a Jar
There is absolutely no way you can look at a Electronic Butterfly in a Jar and not smile. It is like having a piece of magic nature on your desk that defies death.





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DJ Rap Mimicry Pet Talking Electronic Rabbit
If you talk to MC Mimicry, it will repeat your words back to you, but in a rap song! You can turn the music on and off. MC Mimicry is just waiting to snuggle with you and be your best friend so buy it now!





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PakuPaku Chorus Cat Puppet Instrument
During the puppet with four buttons! Cute doremi? s authentic sounds played."in the sound of an animal animal puppet doll in with four buttons! You can play the Notes 8 scales with a combination of buttons. Has animal sounds are all become her meowing the cat.






*

p.s. Hey. ** Thomas Moronic, Gorgeous to a one, maestro. As always, but even more so? Always so grateful to be the curator of the guys who are their fount. ** H, Oh, people can do with the escort posts as they wish. Unlike with the escorts themselves, ha ha. I haven't read the pdf yet, no, as I'm still charging through some writing that would make reading too choppy. Very soon, though. Excited to, obviously! Oh, that's okay about Bresson. His imperative relationship to my stuff is ultimately between his stuff and me, you know? Kitchen sink is fixed after a short but taxing trial. A wind chime, wow. Thank you! This place and its setting are even very conducive to one. I hope your weekend was lovely and that June started like a treasure hunt. ** James, Hi. Oh, that's very kind of you to say, sir. I don't ... think you told me that story before. It's really tenable. I don't know why the heart finds endangered ones are so magnetic. I think it might be entangled with the reason that the heart wants one to be a writer maybe. I'm happy if my encouragement re: the Oulipian novel resulted in more excitement re: it on your part. Really? You're going to wait to start, even with your excitement? That's a discipline I don't have. Sorry I haven't gotten to your email. I'm way behind on non-work stuff, even for me. I will. ** David Ehrenstein, Cool. ** Sypha, Hi. Wow, hell froze over, ha ha. Ah, right, interesting. About acceptance by the campus group trumping your wish to come off Goth. Yeah, I didn't mean it will be as dreadful and drawn out as 'ToTO'. I think I was just trying to be clever and using the biggest length-related reference point that I knew you would know that I could think of in the moment. ** Bill, Hi, B. Awesome that you got to see the almighty Wire. The couch seems to be the key. From clay, wow, yeah. Theoretically, that work seems really different from the work of yours that I know, but there is some ... connection, if I'm imagining them correctly. Hm, re: scale of the gesture vs. scale of the presentation? Or something? ** Misanthrope, Well, sir, I haven't had a hat on my head since I was 17 years old, so I call bogus on your otherwise romanic Pont Neuf anecdote. Yeah, I'm clumsy. I spill sometimes and nearly spill frequently. That's why I'm happy I don't remember my dreams. God knows what unwelcome shit goes on in them. Right, subs. My brain was mixed up, and I was thinking of Subway, the chain. Did you know that Subway is the most successful/popular fast food chain restaurant in the US? Or so I read somewhere somewhat recently. I can't figure that out at all. Their vaunted fresh-made bread is horrible. Slaves count loyalty among their greatest virtues so you might be on to something there. ** Keaton, Awwww. DC's loves the K too. Designer gum is a good idea. I'm going to patent it. I like books too! What were the odds? I don't know what dolphin bites are like. They sound ... large. Dolphins are the Kanye West of the sea. Happy for you for your beauty in bed score. ** Steevee, Good call on the Prurient recommendation. ** Jeffrey Coleman, Hi, Jeff. ** Hunter, Hi, welcome! You seem to have figured out the commenting system very well, and thank you for doing so. Thanks too for wanting the scrapbook. There's been talking of reprinting it, but I don't know what's up with that. Yeah, I was super fascinated by Gacy's victims at he time I was making that scrapbook. And there used to be a lot of salacious True Detective-style magazines on the market that would print info and photos re: Gacy's or whoever's fresh crimes that the mainstream newspapers, etc. wouldn't touch. Which made investigating them thoroughly a real possibility. Anyway, cool how that hooked into your own interests. Thanks again. Come back anytime. ** _Black_Acrylic, Hi, Ben. Happy that happy memories have a been a bonus feature of the post making. 'They Had Four Years' is a really nice title for that show, obviously. It looks pretty good in general, in the photos. I'll try to hear Inigo Kennedy's 'Vaudeville'. Thanks for the tip. I hope the meeting with Andrew today is really fruitful. ** Cal Graves, Hi, Cal. I had to kill the hoped-for sequence ultimately. But, while trying to find the gif to complete it, I ended up finding/ making an entirely new sequence, so I didn't kill it in vain. Family city, man, urgh. Sorry. It's ... good for the soul or something? I can be very pragmatic. Yeah, I want to go to that zoo this week, I hope. Nice that you liked 'Victims'. Jeppesen is very good. I just saw the other day that some other press has reissued 'Victims'. I didn't know that or that it was so unavailable as to need reprinting. Nobody ever tells me anything, or something. I don't read manga all that much. Don't know why. I used to more often. I really like it. I do watch anime whenever possible still, yeah. Have you ever seen 'Tamala 2010: Punk Cat in Space'? It's my favorite anime, I think. God-I-hate-it-when-cigarettes-bend-it's-so-unfair-and-uncalled-for-ly, Dennis. ** Okay. With that, I invite you to pick out a "pet" from my "shop" and give it a good home. See you tomorrow.

4 lately reissued books I read at some point & loved: Gary Indiana Do Everything in the Dark, Eileen Myles Chelsea Girls, Bernadette Mayer Eating The Colors Of A Lineup Of Words: The Early Books, Lynne Tillman Motion Sickness

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'It is not just that Gary Indiana’s novel, Do Everything in the Dark, is about, or fictively triggered by, old photos (and letters), but that the form the book takes captures this random recall in its ability to fit its pieces together, almost. Is a roman à clef a story told on its head? Or is it merely standing upright, a little off center from the “real” story it simultaneously cloaks and exposes? Indiana ends this novel with an epigraph (with this placement, is it an epitaph for a generation or epoch?) by Guy Debord: “In a world that really has been turned on its head, truth is a moment of falsehood” (from Society of the Spectacle). To this end, Indiana has posited that the former question I pose is true, perhaps; and so, false, as well. The sidestepping question, however, is also one that must be answered in the affirmative, as any retelling, of story or character, in these pages, offers a recognizability of the real world’s textual twins, and in that Indiana has created a story that works almost all the way around, literally, and even moves these characters (for which there are real-life (and deceased) referents) forward a little bit, into the now, not unlike ghosts for which substance has never been an issue.

'Do Everything in the Dark (a reissue; original publication year was 2003) consists of 74 entries, which focus on friends of the narrator, Gary, and how the lives of the friends intertwine. “I found Arthur’s letters in Jesse’s storage boxes. A letter always arrives at its destination. These had passed through Jesse on their way to me. I thought. It’s my destiny to collect any evidence that everyone’s life hasn’t been a hallucination, even if it feels like one.” (107), for this novel is a witnessing, of events, crimes, life, and death.

'These entries are not in chronological order, but in order of how and when they are remembered. With this, Indiana deftly uses bricolage to strive for a holistic picture, managing to bring back a particular lineage just at the moment the reader may fail to keep that particular line in mind. Given the devastation of the ‘80s and ‘90s among Indiana’s contemporaries, this feat of re-membering the dead is a beautiful endeavor, which he lands—by way of current-day entries—in 2001, in the months leading up to September 11. There is no real portent here, only events in their quotidian and spectacular, and spectacularly banal, happening.

'Indiana’s writing feels like reportage. As in his book about Andrew Cunanan, the man who shot and killed fashion designer Gianni Versace in 1997 (Three Month Fever: The Andrew Cunanan Story, 1999) and in the novel about the Menendez brothers, Lyle and Erik, who were convicted of murdering their parents in 1994 by a California jury (Resentment: A Comedy, 1998), he carries the reader through events loosely, constructing distance in order to remind the reader that all representation occupies this very space of falsehood.'-- Michaela Mullin








Gary Indiana Do Everything in the Dark
Itna Press

'Faced with photos of a once-tumultuous New York art world, the narrator's mind in this scathing, darkly funny novel begins to erupt. Memories jostle for center stage, just as those that they are about always did. These brilliant but broken survivors of the '80s and '90s have now reached the brink of middle age and are facing the challenge of continuing to feel authentic. Luminous with imagery, cackling with bitter humor, and with a new foreword by the author, this roman à clé spares no one. It's a canny portrait of one era's vaporization, and a study of the perpetual need that some of us feel to reconstruct ourselves—atom by atom.'-- Itna Press

'With scrupulously intense sentences—pitch-perfect, pitch-dark—Indiana conjures a hugely sad New York novel that feels at once state-of-the-art and stunningly ancient.'-- The Believer

' ...a great book—melancholic and funny and wicked smart... '-- Michael Miller

'Gary Indiana delves into the minds of his creepy, appalling characters with such probing wit and lip-smacking glee that we actually enjoy our time with these amoral monsters.'-- John Waters



Excerpts

Boredom can be viewed as a kind of fossil fuel, poured into inertia and ignited with fabulous results, but I am skeptical of this view, which reeks of unempirical optimism. We were ex­cited for a while by drugs and sex, sometimes by escape from stultifying provincial childhoods, by ideological manias that were in the wind, by Che Guevara and Mao's Little Red Book, by Rolfing massage and Maharishi meditation, by rock and roll, pun, rock, hip-hop, marketing brainstorms, junk bonds, liver transplants, by ever-refined electronic gadgets that seemed to afford some control over the gathering chaos. But eventually ever thing new became a short-lived palliative for the fatal gash of boredom. We began manufacturing problems that sounded deeper, worthier of analysis, than the Oblomov syndrome pro­duced by getting older in an age when everybody had seen too much by the time they were thirty-five.

*


1

So people do, as the poet remarked, come here in order to live. Our necropolis with anvils of memory chained to every street and building, every tourist postcard view. All its sunsets and bridges and mutilated dawns. Haunted house of mortal dreams, ectoplasms flickering in obsidian windows. People come here to live, after all. You'd think they were here to die. Well, aren't we all. I will achieve grandeur, proclaimed another poet, but not in this apartment.

2

Last year I lived in Paris. Now I live here, more or less. People tell me things. I listen. I watch and wait. I have discovered the junction of lapidary beauty and sublime ugliness known as the spirit of the age. Like stout Cortez or fat Balboa, whose vicious eyes popped wide in wild surmise, however that dumb poem goes.
    Zeitgeist is a historian's favorite hallucination: a confidence trick, quanta leaping over the specific. "These people lived and died clutching statistically measured expectations to their breasts, delusions wired into their brains by lulls in the convulsions of time." We missed the big picture because our eyes locked on some whirling dervish in the lower left corner. All of us, except a few far-thinking individuals, avatars who shift history with their bare hands, starvation protests, atom bombs, religious manias, or the raw will to power.
    The rest of us were caught by surprise when we woke up buried to our necks in shit.
    Let's assume, at least, that the big picture isn't a rectangle, a film of watered silk in a frame, or a mastermind's jump cut, but something more like an urn on a mantelpiece.
Not everyone gets buried. Some burn.
    Last spring, an eternity ago, as I passed in front of the Brasserie Lipp, a boy hawking Le Monde Economique hollered, "Bush assassiné! Bush assassiné!," hoping to whip up trade. People going in and out of Lipp applauded him....

*


Something was taking its vile course.
    I felt it in waves, in my sleep, when I woke.
    I replaced the air conditioner. I got a haircut.
    What news? I asked my demon. What news? What now?
    It rippled the air as I walked down the Bowery to Leon Ivray's loft.
    In the waning light, rainbow-skulled couples morphed into Micronesian cannibals. Tin ornaments and tattoos skewed flesh into mosaic dreamscapes. Weirdly angled dormitories, thrown up like mineralized shark fins over the parking lots where Joel Rifkin, mousy thrill killer, used to strangle prostitutes before taking their corpses for joyrides in his panelled truck. The buildings spewed a continuous stream of dewy cutenesses, cell phones sprouting from their ears. These podlike mammals draped themselves in product logos and designer alphabets, like free-ranging billboards. Men wearing sandwich boards used to roam sidewalks as ambulating publicity Now millions did it for free, like serfs declaring fealty to corporate gods. All right. Something vile was taking its course.
    Did I really want to scream into those moist rodent faces, HOW FUCKING SOLD OUT CAN YOU BE? IS IT A COMPE­TITION? No. If I opened my mouth to scream, a blast of silence would fill my head and a moray eel I mistook for my tongue would slither out. People were turning into things, had already turned into things. Electric wires and plastic organs grew inside their bodies. If you sliced them open with a scalpel, you'd un­cover a factory of blue winking lights and cathode tubes and microchips and fiber optic cables fused with scattered organic matter.
    This is how it was, or how I was, that summer: I wanted to accept the world in its true condition, as it hurtled to its stony end. To meet it on its own filthy terms. Even force some plea­sure out of it, though I couldn't. I did not believe that Oxfam, Doctors Without Borders, Greenpeace, or the Nature Conser­vancy could rescue this lemming species and its cell phones. I wrote checks to these organizations as a futile, half-assed ges­ture. It was too late, too late, too late.
    Office workers moved in ziggurat patterns toward the black cube in Astor Place, sucked into the subway like lint gobbled by a vacuum cleaner. Ruminant tourists dreamed of killing and dismemberment. Sleepwalkers armed with credit cards spilled along the sidewalks, filling outdoor tables of fifth-rate pizzerias and bistros--the East Village's Kmart parody of Montmartre. In the gray innards of a rockabilly joint, its facade open to the street, a band tuned its instruments, squawking feedback into the hum and gurgle of deaf automatons. A crackle of incipient mayhem strafed the area as the summer twilight blackened into night. The Bowery was a treadmill for exhibitionists and the criminally insane.
    Sky, clotted clouds. As I reach Leon's corner, the tempera­ture spills down, the clouds rip apart. Rain rakes the side­walk, just enough to wilt my clothes. Then it falls hard, soaking me as I wait for Leon's sluggish new elevator to reach the lobby Through the wire mesh in the street door windows, I watch the elevator numbers light and fade, stalling at each digit long enough for thirty people to load the elevator with furniture.



Gary Indiana interviewed


Gary Indiana "Diving for Teeth"


Gary Indiana reads "Bella is Bella"




________________




'"You can’t force a story that doesn’t want to be told.” This is the first line in “1969,” an essay in Myles’s collection Chelsea Girls. Published in 1994, the book is a nonfiction novel, or a fictional nonfiction, a Künstlerroman (“artists’ novel”) about a young woman, named Eileen Myles, who is from Arlington, Massachusetts. She is a poet, and she likes women but “didn’t know there was anything you could do with those feelings.”

'The first thing I noted about Myles was that her voice on the page reads like she is reading to me. She was reading to me that day in San Diego, sitting on my Craigslist couch with grad-school applications laid out on the floor across the room, about to go study creative nonfiction, whatever that meant. Chelsea Girls is a book of prose that reads like memoir and is called fiction. I didn’t know this at the time. I thought it was all true, all about Myles, and in a big way I still think so.

'The essays jump around thematically and sequentially, beginning in a gay bar in Augusta, Maine, where Myles tackles a police officer: “I’m a poet, you fools, you asshole cops!” She describes New York in the eighties, taking the F train to Queens to collect her “light blue pills,” which she would buy for thirty-five dollars and sell for a hundred: “Go someplace out of your life, come back new, bring it around and make a little money. Clean your apartment. Write some.” Myles has a boyfriend: “I thought we looked alike … ‘Is that all,’ I asked as his dick ‘entered’ me. That’s all I’ve got, he said.” She has a girlfriend: “The first woman put her head between my legs and the complete sin, the absolute moment of sex came back and I was all in one piece coming apart. I was willing to sacrifice all for that moment.”

'She publishes a book of poetry, A Fresh Young Voice from the Plains (1981), and throws a party at her publisher’s loft, where her friends found her discomfort amusing: “How’re you doing, Eileen? [Ted] put this faggy little turn on ‘Eileen,’ like it was a made-up name, something I’m pretending to be. It sounded right.” She works at Little, Brown in Boston, a position “underpaid but prestigious,” sneaking poems on her electric typewriter. She lives in the East Village on $250 a month, and friends offer her drinks, drugs, and cigarettes, but she is too embarrassed to ask for a steak: “I was thirty-one years old and it was too humiliating to admit I wanted food.”

'She attends a kid’s birthday party and realizes she is the only adult who expects to get fed: “Kids’ parties were a spectator sport, and that any real adult would have known to eat before they came.” She recounts her sexual escapades to Jimmy Schuyler, her part-time employer in the Chelsea Hotel who paid her to make him French toast. How she has sex with women who are cruel, who are younger, who are involved with other people. How having an affair is “a gorgeous grey feeling.” She recounts what it’s like to have sex with another Catholic: “I loved the moment when Mary said should we go to a hotel. She kind of snickered like a dirty girl. I was glad I was not with a complete sophisticate.”

'Eileen is a mess, Chelsea Girls is a mess, and I was a mess when I read it. My writing meaning nothing and everything: “Wet words on soft limp paper. Holy Holy Holy.” I loved every one of Myles’s sentences; I couldn’t get enough. I could be like her, this fictional nonfiction character—this mild sort of fuckup—if I wanted to be. “There would be such a future because something would happen to me. Soon. I was sure of that.”

The Rumpus interview with Eileen Myles, April 28, 2011: “It’s a little hard, because I don’t want to be stuck, I don’t want to give the copyright to someone that I’m uncomfortable with. So a number of people have asked to publish Chelsea Girls, and what I keep waiting for is a publisher that I’m excited about. That was the plan with this book Inferno: A Poet’s Novel, but I’m always too weird. With fiction I’ve always had agents who are always like, ‘Of course you’ll be able to sell this book!’ And then people are so weird about my work. With Chelsea Girls it was like, ‘These stories just kinda crumble, they don’t, you know … arc.’ Or, ‘They kind of deteriorate.’ And I was like, Yes! Yes. I’ve had a few editors in the mainstream who have been interested. They’ll say to me—and this is even in the nineties when I had published a lot of books—they’d say, ‘We’ll have to work very closely with you because it’s a first book.’ It’s like, you’re kidding. So what I felt time and again is what I’m being told is they’re going to help me fix my work. Fix that bad English. Make those stories pop at the end.”'-- Rachel Hurn, The Paris Review









Eileen Myles Chelsea Girls
Ecco

'Eileen Myles has an incredible gift for nailing down a moment, or for that matter, a sweep of years. Each image is carefully chosen and tacked into place, and what rises is the edifice of a life. The metaphor is probably too static. Myles's prose is exhilarating even at its bleakest, it's full of breathless speed. There's plenty that is bleak here--a sad alcoholic father who dies before his daugher's eyes; an awful, floundering gang-rape; poverty, drugs, booze, ambition thwarted and bitterly fulfilled. It's the great American sadness, and it would be unbearable if Myles didn't write with such wit, elegance, and an utter lack of self-pity. The writer that comes to mind is Henry Miller, but a Henry Miller who didn't hate women.'-- A Customer


Excerpt

Robin

    Right away, I’d like to separate this Robin from all the other Robins you or I have ever known. This Robin I am about to tell you about is not someone that any of us would know. She is somebody I found and I would like to tell her secret.
    I call her Robin because she is red and black and angular and resembles a bird in her speed and in her cruelty. I fell in love with her briefly, last year. I’m just not in love with her anymore but there’s this residue.
    She was sort of a famous junkie, which I thought was pretty exotic, never having been particularly involved with heroin, having had a taste here and there – I was at an art event a couple of years ago and a friend dragged me to the dinner table afterwards and Robin entertained our end of the table with a story about how she had been busted for dealing dope, but instead of going to jail she informed on somebody else. She knew that she would die in jail, she knew she couldn’t take it. I was appalled and thrilled by her coldness. She spoke carefully, slowly, halting, choosing her words... how is it that junkies talk, very ornate, piercing and hollow and obviously this girl was a prince. A dead one. She smelled of flowers, she smiled at me when she got up to leave. I’m so glad you’re here she said intensely like I was the only soul in the room, or a soul who had a soul like hers.
    I knew Robin had a girlfriend. Historically, they were kind of merged. My friends who used to do heroin said Robin ‘n Babe as if it were one word. Babe played in a band, played ‘til all the band members were so strung out that they were no band. By then Robin n’ Babe were an item so they teamed up and Robin sold drugs and Babe did them and they held sort of an elite junkie salon for a few years. Robin knew everyone in New York. Everyone on that trendy glamour junkie circuit. She wanted to write, had been doing so for years. In notebooks, in between experiences I guess. I think I had what Robin wanted and vice versa.
    One day I was in her apartment and I found myself touching her leg. Her apartment was nice. Actually it was Babe’s. It was hard to unravel where one stopped and the other began – It was Babe’s bombed-out junkie rock star haven and Robin moved in when Babe kicked Lulu, the old girlfriend, out. Lulu died of AIDS. She would up hooking on 3rd Avenue after they kicked her out of the band because she was so bad. The lives of drunks and druggies is such a treacherous moral landscape with avalanches and peaks and nasty pitfalls. Robin moved in and cleaned house, eventually at some point of successful drug dealing had extensive carpentry work done, the apartment had modernesque divides, shelves for aeons of rock star clothes and shoes, millions of records and Robin’s little dealing room lined with scales and books. There she sat with her extraordinary stark white-face, a weirdly shaped skull, kind of cubist and long, with ravenish black hair. I adored her because she was a masque. This, combined with her sensibility, literary and scrupulous, made her essentially Aquarian to me, an endless revolving door.
    Just before I put my hand on her leg I asked her about her and Babe. We’re roommates she said in her voice that was of the air, tentative yet treacherous. Actually, she leaned forward stretching her arms down to her pointed toes. “I don’t really know. We don’t really talk about it. Babe is not disposed to discuss anything so abstract as our relationship. She is not...” She sighed, thinking the better of continuing. “I don’t know what she’s doing.” “Honesty,” her face telegraphed. Robin had a deep morality of which she never spoke, but she communicated it’s breadth and its depth, by her protective pauses. You knew she was a good person because she held back at moments of deepest revelation. She did not spill, and I always felt that to push her a bit would be sloppy and expose my own lack of a system to conduct.
    So I put my hand on this woman who smelled so good. her fragrance was coming my way. When we smell a person’s perfume we think that we’re smelling their essence, their identity somehow. The body has to be there for the perfume to stick to, but when they’re gone it’s the perfume that we know. I’ve forgotten its name. I asked her once.
    Some kind of sexy thirties jazz was playing on the stereo. I knew I was in her house now, not Babe’s. The design was hers, but the ornaments were Babe’s. Babe’s paintings and the guitars and record collection. She had made a home for Babe, kind of a mother or a wife. I found that so hot to discover an ex- heroin dealer in the middle of the art world who was really a good woman, once I told her that – I couldn’t believe how hokey it sounded and by her silence I knew she horrified. I bet she wanted to break the silence of our affair just to tell Babe some of the stupid things I said.
    Okay well if this is alright I put my hand on her leg. It seemed seductive enough. I’m really attracted to you I said. The feeling is mutual she replied. Soon we were half-dancing half making out and it was really hot, I mean she had a hard desperate mouth, her hands were up my shirt and I was feeling her ass. All my instincts were on target in the particular way I felt like a bow and arrow notched, then release.
    Soon we were on the bed, ripping our pants off and this was when I began to feel in the middle of their relationship because you knew you were going wild in the precise same place where a couple woke each morning and looked at that painting, Babe’s.
    I think this is going to be a problem she said. She got up and sat on the chair, lit up a cigarette. A move I regard as “womanning” me – I’ve felt it before. It’s the gesture of a torn, or badly married, man.
    Well, are you going to tell Babe. Yes, I’m quite certain that we are due to have a conversation about this, among other things. She bit each syllable as she spoke. Robin had to go to work, she was a cook, a neat transformation for a dealer, though actually she was a cook first, that’s how she started dealing drugs. Cooking in all of Ricky Mountain’s restaurants. Even sold him the drugs he’d OD’d on the legend says, though Robin says it’s not true. And she was the one who told me the legend. Someone else got him those. It was weird she said to have your boss coming in the kitchen to buy from you. They always came to me, she said of her connections. It was never something I decided to do. They knew I could help them, she said.
    So she went to work, pretty wonderful, all vulnerable and pink. The pretty Robin. One of many. I guess I went home. I went running down in the
park by the East River. I needed to stretch out my feelings that were really making me crazy all furled & unfurled.
   We had a date the next day at 4. I don’t know how I tolerated my home, I think I was working or something, some piece of writing, but I stopped at three to let feeling build, and then it was 4:15, 4:30 I was out of my mind. Quarter of 5 she called. Where are you? Well I’m out doing a few errands. It took a little longer than I thought. Are you coming over? Well I had thought I would still do that, but it is pretty late. She was almost needling me off the phone. Yeah, c’mon I said. Up the stairs came this angry woman who I sometimes thought resembled Elizabeth Taylor or Keith Richards and sometimes when she was really nice, Donovan. Hello, I said, holding the door. I was no longer in fun-affair with vulnerable married woman. In one day that was already over. She sat in her white jacket on the small orange couch. Do you want a drink? I had automatically stored exactly what she had served me from her refrigerator the day before. I was glad she said no because I would have been ashamed to reveal what a copy-cat I was. Raspberry Soho Cola. Your furniture is not very comfortable she said.
    I feel nervous I confided nervously teetering over the counter that faced the itchy couch. “Why do you feel nervous, would it make you feel better to tell me?” These utterances thundered like the I Ching. What a jerk I am. I never wanted to go to hell, but I could date the devil. “I feel funny.” Do you want to go up on the roof I asked. No I don’t. Why would I want to go up on the roof? This is awful I have invited a wolf into my home. I went over and started knocking into, touching, kissing the wolf. It was the only thing I could think of doing. C’mere get up I huskily growled. Where are we going she whispered. Tamed.

(cont.)



Eileen Myles reads 'An American Poem'


Eileen Myles reads 'My Revolution'


Trailer: Eileen Myles's 'Inferno (a poet's novel)'




_______________




Susan Howe: I think you mentioned Bill Berkson’s workshop in New York —

Bernadette Mayer: It was my first connection with any other poets, except for the fact that I had known Vito Acconci since I was about fifteen years old, and he was devoted to becoming a writer. That enabled me to really think about that as a possible thing to do. He was more than devoted to it, I suppose. He was obsessed. He was really the first connection to the outside world. Then, in Bill’s workshop I met a lot of the people who are now considered to be the New York School of poets. They were the first poets that I ever talked to. It was a great workshop. Bill would bring in the complete works of Ezra Pound and T. S. Eliot, and he would do wonderful things with them like pile them up side by side and say “Look how high Ezra Pound’s pile is and look how short T. S. Eliot’s pile is!” Bill was very eloquent and inspiring. I was in that workshop about a year or two before I started doing 0 to 9.

Howe: Was Vito in that workshop too?

Mayer: Well in the early years, Vito was a devoted writer. He didn’t actually think about conceptual art until towards the end of the last issue of 0 to 9, which was full of the works of Robert Smithson and many of the conceptual artists who were not well known at the time, and who had never published in magazines before. We broke the bank publishing that issue because it was full of illustrations. Not only could we no longer afford to publish the magazine as a result, but Vito decided as a result of that issue he wanted to go into that world, and he was very adamant about no longer writing. I wasn’t sure what I wanted to do. So then when we stopped publishing the magazine I began to think about it and I inadvertently started to write Moving. And after I finished Moving I realized I really still wanted to write, and not try to be an artist.

Howe: I would say that the conceptual artists brought your work a lot of strength, though. I mean, there’s a kind of experimenting going on in it.

Mayer: Well, there was also a rigorous kind of argumentation that was going on all that time that was really forcing everyone to think a little bit too hard. It wasn’t easy to defend writing at that point in time.

Howe: The two writers who, to me, it’s almost as if they were your parents in literature, would be, I assume, Gertrude Stein and Nathaniel Hawthorne.

Mayer: What a couple! I suppose I could talk about them at once and in the same way, in the sense that here all these sentences that were endlessly interesting to me, both of those completely, two completely different kinds of sentences, from which I could lay them out side by side and tell you how I learned to write by just observing the sentences of Gertrude Stein next to the sentences of Nathaniel Hawthorne. I feel an affinity to those writers beyond that, almost in a mystical sense — although it’s “not okay” to talk about Gertrude Stein anymore, you know? She’s too famous now. But we can still speak of Nathaniel Hawthorne.

Howe: You seem more closed talking in an interview than you do in some work you do, in diary work that you’ve done or dream work that you’ve done. Do you find the interview situation unpleasant?

Mayer: [Laughs.] I guess it’s just a self-protective feeling. One doesn’t want to particularly have a personality in an interview. Then again, the other thing that happens is, in writing, where it’s between you and the writing, and you can make great leaps. Those leaps and that ability to take the thing higher, a little bit higher, enables you to approximate the truth better. It relates to critical writing, too, because in discursive writing and in discursive speaking, then one feels that the truth is fleeting much more so. You always feel that you’ve possibly said the wrong thing. [Laughs.] It’s a moral attitude.








Bernadette Mayer Eating The Colors Of A Lineup Of Words: The Early Books
Station Hill Press

'Bernadette Mayer is among the most influential American poets of the late 20th century and the present, and much of that influence is based on her early books, previously available only in fragmentary form. As a Brooklyn high school student at the beginning of the 1960s, Mayer began writing with an embodied directness and resource belying her youth. Over the next two decades, this precocious start would culminate in a body of writing extraordinary in its range and impact. Even in a New York milieu given to radical practice—as evidenced in the journal 0 TO 9 that she co-edited in the late '60s—these books in their collective force represent an explosion of poetic forms and investigation as profound and sustained as any in contemporary poetry. The poems—some short, some book-length, written in the city as well as the country—are irreverent and sacred, jocular and aching, gentle and tough, erotic and reflective, rigorously fashioned and off the cuff—a poetic skill, intelligence and generosity scaling the heights.' -- Station Hill Press


Excerpt
from Moving











Bernadette Mayer 'Eve of Easter'


Free Verse: Bernadette Mayer


Bernadette Mayer 'New House Poem'




_______________




'You never quite realize what Lynne Tillman’s done until it’s too late. She takes formal adventures in flavors of novels that had never before welcomed them. She carefully embeds details deep in her texts that others would dutifully (and dully) trot out up front. She crafts what feels like one distinctive, coherent fictional reality without explicitly connecting any of her long-form stories to one another. Published over two decades, her five novels so far build and explore what I call the “Tillmanverse” through the eyes and ears of worldly, culturally keen women (and one man), shapen or misshapen by their undeniable compulsions, obscure fixations, and grimly complex senses of humor.

'The travel bug bites Motion Sickness’ unnamed American heroine harder, so much harder that she never stops traveling — indeed, barely pauses in any one place — rendering normal whatever “motion sickness” she suffers. This twitchy peripateticism offers Tillman the chance to structure the novel both in fragments and geographically: you read a shard of narrative in Paris, then one in Istanbul, then one in Agia Galini, then one in Amsterdam, then another in Istanbul, and so on. The protagonist’s financial support? A bit of savings and a small loan from Mom — no wandering aristocrat, she. Her cultural armory? Copies of The Interpretation of Dreams, The Quiet American, and My Gun is Quick, and a love of Chantal Akerman and Luis Buñuel.

'Despite her intriguing taste in books and films and merciless drive toward perpetual flight, this woman reveals remarkably little about herself. Yes, we’ve all read narrators who do and say much while concealing even more, but Tillman somehow casts aside even our standard desire to get further into her interior. A swirl of secondary characters, almost all compulsive travelers with a tendency to turn up in several different nations, offers a distraction: our heroine helps an aged eccentric assemble her memoirs, signs on to a tour of aggressive sightseeing with a pair of English brothers, drinks with an ill-fated ex-cop, separately encounters a Buddhist American single mother and her runaway husband, and falls for a Yugoslavian who argues, with increasing strenuousness, for the melancholic weight of history that supposedly hunches all Europeans.

'But does this supporting cast counterbalance the failure to probe of the narrator’s deeper character, or do the countless, always-developing nuances of her various relationships with them constitute her deeper character? Haunting cafés with one, momentarily shacking up in a rented room with another, writing postcards to many others but tearing most of them up — these actions, and nothing else, could prove enough to make a human being. “In a sociology course I took the professor said that what we call personality doesn’t exist except in relation to others,” Tillman, with an uncharacteristic explicitness, has her protagonist say toward the book’s end.'-- Colin Marshall, The Millions










Lynne Tillman Motion Sickness
Red Lemonade

'For the narrator of Motion Sickness, life is an unguided tour. Adrift in Europe, she improvises a life and a self. In London, she's befriended by an expatriate American Buddhist and her mysterious husband, or may or may not be stalking her. In Paris, she shacks up with Arlette, an art historian obsessed with Velazquez;s painting "Las Meinas." In Amsterdam, she teams up with a Belgian friend, who is studying prostitutes, and she tours Italy with deeply mismatched English brothers. And, as with an epic journey, the true trajectory is inwards, ever inwards, into her own dreams and desires... '-- Red Lemonade


Excerpt

There's a message at the desk which Pradip hands me absentmindedly. He's got headphones on. The small stud in his left ear is a new addition: He's reading an Indian movie magazine which his cousin brought back from New Delhi. He's laughing. I tell him I like fanzines. This one's mad, he says, really mad. I can borrow it when he's through. The message is from Alfred and Paul, They want to see a movie tomorrow night, at least Paul does, after dinner.

No one's ever in the hallway down below. People are in or out. I'd like to watch them spring from their rooms simultaneously. I never see any of them, or hardly ever hear telltale noises. No arguments. No grunts. No farts. I don't go to breakfast anymore. The chambermaid has been here, I see traces of her neatening touch. I jump on the bed and rustle the spread. I don't like tidy rooms. They reek of isolation. Neat beds, coffins and death. I'm glad I'm not married to my associations or forced to announce them in public. I might be set in stocks for them, socially humiliated. Maybe I am married to my associations and can never get a divorce. Jessica tells me that one of the worst things that can happen to an English person is to be embarrassed. It means something else here, she says. We can't possibly understand it.

In another world bloodhounds might be trained to sniff out humiliating episodes, devastating scenes. Or maybe that's how analysts are seen. This sniffing-?out-?the-?married-?man business that I ought to have done, according to Sarah, if I'd had the nose for it. With the machine called the simulator, Zoran would've been revealed in no time. Some police departments in the States use the simulator. It's a computer that shows movies and slides of crimes about to happen. The viewer, a cop, is hooked up to the machine and to a heart monitor which measures the cop's responses. As the cop's pulse rate goes up, the slides, chosen by the computer from a bank of images, display more threatening scenes. The pulse goes up. The heart doesn't lie. It can't be controlled. What you think you should feel is different from what you do feel.

It's in your body. The enemy within. The racist. The sexist. The bully. The selfish baby. Greedy miserable feelings can't be hidden or contained. The reporter Fowler says of his loss of the Vietnamese woman to the quiet American: “It was as though she were being taken away from me by a nation rather than by a man.”

I can't ask Alfred or Paul about embarrassment, though I'd like to. I might just wait until one of them is embarrassed. But how could I tell? If embarrassment is such an awful experience, their defenses must be powerful and subtle and I would never be able to discern telltale marks that another English person could easily recognize. Alfred hems and haws through dinner. Maybe I have embarrassed him. Or perhaps I ought to be embarrassed by something I've done. Something I will never understand. Finally, after three glasses of wine, I ask Alfred, What embarrasses you most? His cheeks blush pink. Paul clears his throat and answers for him, Direct questions.

Alfred leaves us without saying where he's going, just saunters vaguely into the night. To his girlfriend's fat, I suppose. Paul and I are going to see a revival of A Place in the Sun, with Monty and Liz. I don't know if I've ever seen it except on TV. Paul is delighted to view it with an American. It's based, he tells me, on Dreiser's An American Tragedy. l could tell him that I've read the novel. That might embarrass him. Instead I bear up under the weight of being a native informant. There's an amazing shot in the movie, when the boss's poor relation, Monty Clift, is seducing the poor factory worker, Shelley Winters. The radio is on the windowsill, romantic music's playing. Shelley and Monty are inside her dreary bedroom. Outside, the camera moves slowly, sinuously, along the bushes, rustling the leaves, heading toward the house and the open window. Behind the open window are Shelley and Monty. The camera settles on the radio which sits on the windowsill. The tune's poignant, melancholy, the soundtrack for a still and hot night. Shelley is being undone by Monty, factory worker seduced by factory owner's poor relation. The tragedy is set in motion and all will be lost.

Paul compares that camera movement, full of longing and prohibited desire, with what we both agree is the single most disturbing shot in movies. In Hitchcock's Frenzy the camera backs down the stairs in one continuous movement as the pervert is about to torture and kill yet another woman behind a closed door. The camera tracks down the stairs, pulling away from the closed door, out the front door, into the street, to reveal Covent Garden—when it was still a fruit and vegetable market—in all its ordinariness. A woman is being raped and murdered. The camera keeps moving back until the murderous space disappears into daily life. Paul and I walk to the tube. The train lurches forward more quietly than subways taking off in New York. I keep thinking about the camera moving toward the window, evoking longing, and tracking away from the door, evincing horror.

Sylvie running down the stairs after learning that Sal was murdered, the camera pulling back until she's out of sight. Out of sight and out of mind. It's funny about longing. Or how longing and horror sometimes meet inside oneself, in a private Dracula.

Vampirish need. When longing's absent, when I feel no specific desire for anything, anything I can name, I vacillate, feel determined, content or empty. With it inside me, a clenched baby's fist below my heart, probably in the neighborhood of the solar plexus, uneasiness surges through my body and I'm not sure where to look, what to eat, what to do. Alfred appeals to me. And fills me with a sort of low-?key horror. Since he has a girlfriend, and has had for months, maybe even since before we were in the hill towns, I'm assured that he can do it, but he's unavailable. I might like to lead him astray. Or be led astray. Hideous, ungracious longing. It would be better and more simple to push down treacherous desire, like swallowing poison or the awful truth. If Alfred were in front of me, I might permit myself a betrayal, my hand might touch the back of his neck, or I might permit myself a betrayal that would go no further than one thought traveling to another. Visitors can do that with impunity.



Lynne Tillman reading at the Poetry Project


Lynne Tillman on Bookworm [2003]


Reading by Lynne Tillman, 5.16.14




*

p.s. Hey. I only realized this morning that that the Eileen Myles reprint doesn't come out until the fall, oops, but I recommend that you get the jump and pre-order it. ** James, Oh, that's just my antsy methodology, but there's value in letting things grow in your head for a while first, for absolutely sure. I have a pretty good imagination, but I don't think I would even need it to imagine that wrecking yards are scary at night. ** David Ehrenstein, Ha ha, I knew someone was going to add "Boys". Someone pointed out that New Yorker referencing me thing yesterday. That's nice. Thank you very much for alerting me. Have you watched 'Cucumber'? I haven't. ** H, I want that butterfly too. My finger was a borderline trigger finger when it found the Purchase button. A little duck! So nice. There's a pigeon building its nest on my window sill at this very moment. Now I have to find a different one to be my smoking window. ** Bill, I agree. I half-thought of asking Zac if he was into making the all-animal, all-puppet horror movie equivalent of Haynes's 'Superstar'. I must have watched the cat hand puppet video a dozen times. Terrifying. Oh, I can see the puppetry interest backgrounding in your videos now that you mention it. Huh, that's fascinating. I am liking this apartment. I has the internal, practical problems that come with a very old apartment, but not to a dissuading degree yet. The neighborhood is taking some getting used to. It's cool, don't get me wrong, but it's very touristy, which is disconcerting after living in the 10th, which tourists don't care about or visit. But, yeah, I like being here increasingly. ** Steevee, It's true. But I wonder if there aren't a slew of Japanese robot pet horror movies that haven't gotten international distribution. I just read yesterday how Tyler tweeted that OF is dead. No one seems to believe him, though. Holy crap: that DMX thing, that's hilarious. Thanks! ** _Black_Acrylic, Ghost Pet had a little something extra. Not only its great sense of humor. ** Hunter, Hi! Glad you came back! That's really, really nice and very kind of you to say. Thank you very much. Do you write yourself? Or ... What do you do and/or see yourself doing with your talents, if you don't mind saying? It's cool to get to talk to you too. ** Misanthrope, Not me, no. God knows where your false memories come from. It's the question all of America would be asking were most of America capable of deep inquisitiveness. Subway's bread is the boulangerie equivalent of those tiny sponge balls that you put in water and they magically expand into bunny rabbit shapes. The only fast food chain restaurant I eat at over here is Paris's one Chipotle. Loyalty is very important. Interesting phobia, especially given your addiction to fisting twinks. ** Sypha, The cat hand puppet is insane and rules. To be the weirdest person in a group is a status that everyone should always aspire to. No, I haven't gotten your new book yet, shit, thank you for reminding me. This new apartment has done a temporary number on many of my usual skills. Well, hopefully your co-workers will begin treating you as the superior being that you are, if they don't already, right? I think that's a logical outcome. ** Cal Graves, Hey ho hey ho, Cal. Yeah, the orphaned gif :( What's that saying, ... 'Die young, stay pretty.' I know, the robot butterfly, I hear you. Uh, I don't know if 'Victims' was hard to find. I doubt it was in, like, Barnes & Noble, but then I bet the reprinted version isn't either. I don't get the non-liking of anime either, but I don't get most things, I guess. I know a lot of people think their storylines are 'incoherent' as opposed to more exciting and less rote, which is the truth of the matter. I'm on the 'Fullmetal Alchemist' search, thank you! And 'Angel Beats'! Yum, coolness, thank you. Poems' foundations are the best. Awesome. Are you building upon yours yet? The-worst-is-when-your-lighter-dies-and-you-think-oh-I'll-use-the-stove-until-you-remember-that-you-have-an-electric-stove-like-I-do-ly, Dennis ** Fin. All of the books up there are very well worth your time, I guarantee you. See you tomorrow.

Henri Plaat Mini-Day

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'To register, I want to register places and things before it gets destroyed by modernity and progression. Before it is lost forever.'-- Henri Plaat

'The versatile Dutch artist, photographer and film maker Henri Plaat traveled a lot. He visited Greece, the Middle-East, India and Latin America, where remains of ‘places of history’, fascinated him. He filmed such locations and like in his drawings and paintings fantasy and reality supplemented each other in 8mm and 16mm footage. Plaat made some forty different films full of fragments of reality, sometimes absurd, surreal or melancholic.'-- Re:Voir

'Filmmaker and artist Henri Plaat (Amsterdam 1936) made about forty short films. Plaat's films could be described as a series of 'travel documentaries without a narrative line' that he made alongside surrealistically tinted films. In these travelogues, the boundaries between film and visual art have disappeared. In his films, Plaat emphasises the autonomy of the visual material in a poetic way. This can be seen in Spurs of Tango for which Plaat was given a Golden Calf in 1981, Moroccan Light (1995), and Luz Y Sombra (1989). The mood in Plaat's oeuvre, which he describes as 'the beauty of decay' is shaped in the travelogues by the often fixed camera standpoint, as a result of which landscapes, people, animals or objects pass the eye in a stream of sometimes hallucinogenic images. Thus, the sequence of images, the precision of the framing and the frequent and subtle use of music play a major role.'-- Brooklyn Film Festival

'Henri Platt is a visual artist who has been working with film since 1968, while continuing to paint, draw and make collages. In his films, Plaat combines a mild absurdum with documentary images he records on his travels through Europe, Asia, America and North Africa. These two styles are connected in his works through association. Fragments of reality – apparently unimportant villages on far mountain slopes, a turning fan in beautiful black and white, a man with an enormous lollypop... all the images are equally curious. The mystery of beauty is celebrated with exquisite compositions in the beautiful colours of the kodachrome 16mm reversal film.'-- Past Incubate



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Film stills






















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A little further

Henri Plaat Website
Henri Plaat @ IMDb
DVD: 'Seven Films by Henri Plaat'
'Roger Katwijk; Henri Plaat – Mede te nemen bij brand!'
Henri Plaat @ mubi



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Portrait: Henri Platt
'A pinhole movie presented by Jérôme Schlomoff. This film proposes a cinematographic portrait of the Dutch artist Henri Plaat, by filming the processing of the silver print letting appear its photographic portrait. At the same time as the image is created in the darkroom, the hands of Henri Plaat tear a board of paperboard. It creates in its turn, randomly of this uncontrolled “work of destruction” the ghostly images with the torn pieces. Characters, animals, landscapes, architectures, boats, as many images belonging to the artistic Universe of Henri Plaat, who practices painting, cutting paper & cinema.'-- JS






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Kettel meets Henri Plaat
'Electronic music producer KETTEL creates a score for Henri Plaat's films.'-- Cinesonic






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Collages





















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4 of Henri Platt's 35 films

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Other Thoughts 4 (2008)
'Other Thoughts 4 is een serie portretten met als bindend element verstilde beelden. Een surrealistische wereld die niet vreemd is, maar eerder bestaat uit flarden van dromen en soms van zorgen. De montage wordt bepaald door beeld en sfeer. Een melancholische film die is samengesteld uit materiaal dat Plaat in de loop van zijn verschillende reizen verzamelde.'-- iffr.com



the entire film



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2nd War Hats (1986-87)
'2nd War Hats shows a series of heads with absurd sumptuous covering peeping out of manhole covers. A number of questions emerge: prairie dogs sniffing, deciding whether or nor to come out of their burrows? Men dressed up as women? Unsafe to come out from the man-hole?'-- Senses of Cinema



Excerpt



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Fragments of Decay (1983)
'Architectural shots of abandoned buildings, walls, the kind that appear in the nether landscapes of Cocteau’s Orpheus (1949), but emptied, worn, eroded, silent, pensive and wise.'-- Cine Sonic



the entire film



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I am an old smoking, moving Indian Movie Star (1968)
'A veiled Indian lady talks to the camera (silent). Her story is told in images.'-- re-voir.com



the entire film




*

p.s. Hey. It's a Mini-Day because there's not much out there about Henri Plaat. Basically, I saw someone interesting express admiration for his films, and I had never heard of him, so I did an investigation and made a post at the same time. ** David Ehrenstein, I obviously agree with you about them. I only watched maybe an episode and a half of 'Queer as Folk', and I didn't take to it at all. I'm mostly curious about his new thing because the multiple, intertwined, concurrent shows and the supposed experimental-lite structure of the 'Cucumber' portion intrigues me a bit. ** Tosh Berman, Thanks, Tosh. I think it's the bread. The bread tastes like it was made by a 3D printer. Have you heard the Sparks/Ferdinand album yet? Obviously, I'm very curious about that. They're playing here, but unfortunately in this dreadfully big and otherwise uninteresting rock festival. ** Thomas Moronic, Yep. 'DEitD' is one of Gary's best novels, I think. ** _Black_Acrylic, Oh, cool. That Tillman is my favorite of her novels, I think, although they're all excellent. Sweet about the YnY reunion. The hole it left has not been filled. I read that about Blatt's resignation. I know squat about FIFA, like I said, but it sure seems like a good step. Fingers crossed. ** Cal Graves, Howdy, Cal. Well, Zac and I are meeting with the guy whom we hope will do the final compositing and special effects work on our film tonight, and, if he's good and game, the film should be finished in a week maybe. The theater piece is in its final refining and polishing phase. Gisele is now in Germany working non-stop to get it right, and I'll be going there in 9 days to do my part in making that happen. New stuff? Yeah, a lot. The script for Zac's and my next film is getting close to being finished. As soon as it is, he and I have to write the pilot for the puppet TV show that Gisele is hoping to direct/ produce for French television. I'm easing back into my long-dormant novel. And I'm putting together a 'book' of my short gif works that Kiddiepunk will likely put out fairly soon. And other stuff. Busy time. I guess I'm not supposed to be happy that my books are in Half Price books, but I am, actually. Affordability is big. Yay about the new poems and the progress and general productivity and busyness. It's nice, right? High five. I-wish-some-company-would-hire-me-to-design-an-ashtray-for-them-ly, Dennis. ** Steevee, Hi. The Myles is terrif. I'm just barely in touch with Akashic, and not in a while. They get in touch once in a while to press me to start up the flow of LHotB books again, but I'm not ready. Their 'product' has always been all over the place. From wonderful to niche-marketed stuff to earn the press some dough. ** Keaton, Butts' grip is a floaty thing when everyone is lucky. Gum is the dentures of the gods. Okay, I'm going to google dolphin bites. Life being good is the epitome of good. Which Hitchcock? Writers who try to look badass in their photos mostly look like dopes, I think. I would go for neutrality. ** Hunter, Hi, Hunter. So you do write. That's cool. Yeah, I mean, I didn't publish anything I wrote for a long, long time. It took me ages to get the ideas in my mind and the ideas in my fingers properly lined up. I wouldn't worry, just keep trying to illustrate pages, and it'll happen. Sooner than you think, even. NYC is intense. It's a good place to live at some point, for a while at least. I lived there twice, both for about two years, which is when it became too much for me, and I left. Chicago has seemed really nice when I've visited it. Oh, me? I do really love Paris a lot. And LA, my hometown. I think the most exciting city I've been to is Tokyo. It's huge and seems like it has millions of exciting things to find and to do, and it's alienating in a very interesting way because people there are so relentlessly kind and polite. Have an awesome day, man. It's great talking to you too. ** Misanthrope, I hit your funny bone, cool. Granted, in Paris there's not a lot of choice on the edible Mexican food front, although increasingly more, but I like the Chipotle food. If they had, say, a Baja Fresh or a Poquito Mas here, I'd be there instead. But it's good, man, or at least not bad at all. No, I missed that 'South Park'. I'll find it. Somehow. Yum dinner you had there. I didn't like Moscow at all. I've been there three times. I found it oppressive and depressing. But I too know people who really like it, and I can not for the life of me figure out how that could be. But apparently it's possible. You got me as per why. ** Okay. I did my post intro, such as it was, up above, and I'll see you tomorrow.

Back from the dead: Merzbow Day (orig. 07/23/07)

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"I named my project Merzbow after a great work by the German
collage artist Kurt Schwitters which he called "The Cathedral
of Erotic Misery". He made an art from oddments
he picked up from the street, just as I make sound from the scum
that surrounds my life. I was very inspired by Dada and
Surrealism. Probably the greatest idea of Surrealism for me
is "Everything is Erotic, Everywhere Erotic". for me, Noise
is the most erotic form of sound...that's why all of my
works relate to the erotic."
-- Masami Akita




'Merzbow (Japanese; メルツバウ) is the name used by Japanese musician Masami Akita (秋田昌美 Akita Masami) (b. 1956) for most of his experimental noise records, and is considered by many to be the earliest project among others in what has become known as the 'Japanese noise scene'. He has released over 300 CDs, LPs and cassettes since the early 1980s.

'His earliest music was made with tape loops and creatively recorded percussion and metal, and has been compared to Throbbing Gristle and Nurse With Wound (an acknowledged influence). Early methods included what he referred to as "Material Action", in which he would closely amplify small sounds so as to distort them through the microphone; later, he made several albums of "SCUM" ("Scissors for Cutting Up Merzbow"/"Society for Cutting Up Merzbow"), for which he would cut up previous Merzbow albums until they resembled something new. His tendency to work in themed phases recalls his training as a visual artist.

'He released his music on cassettes through his own record label, Lowest Music & Arts, which was founded in 1979. In the early 1980s, after meeting the Italian avant-gardist noise artist Maurizio Bianchi/M. B. in Milan, he founded a second label, ZSF Produkt.

'He later began to use more electronic instruments and electric guitars, but his music still consisted of what most people would think of as "noise". In the past few years, Merzbow has begun to use digital technology more in his music. At a live performance these days, it is normal for him to produce all his music with two laptop computers, or combination of a laptop and analog synthesizers. In 2000, the Extreme record label released Merzbox, a 50 CD set of Merzbow records, 20 of them not previously released. The set also included stickers, postcards, poster, "merzdallion", book, CD-ROM, and T-shirt; initial copies included extra posters and double album.

'Merzbow's most recent phase has an added political dimension, being explicitly related to animal rights and similar themes. An example of this is Minazo Vol. 1 and Vol. 2, dedicated to an elephant seal he visited often at the zoo, and Bloody Sea, a protest against Japanese whaling. He has even produced several works centered around recordings of his pet chickens (notably Animal Magnetism and Turmeric).'-- collaged
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PUNISHMENT AND THE BEAUTY OF JAPANESE BONDAGE (KINBAKU)
by Masami Akita

The History of S&M in Japan

S&M Art has taken many forms in Japan and this relates directly to the history of Japan. One established genre of S&M art in Japan is what is known as the Joshu or female prisoners stuff. When we say "female prisoners" or "Joshu" stuff, we generally refer to those pictures of torture from the period between the battle of Onin (1467) throughout Sengoku and Edo periods to Meiji. Sengoku period is noted for its cruel methods of torture - fire, knife (to cut off parts of the body), tattoo, rocks, boiling water, divining blocks and rocking horses, and so on and so on. The most brutal forms of execution and torture were employed during this period of hell on earth. The methods of torture and execution used against the Christians were most barbaric. It should be noted, however, that there is nothing uncommon about brutal religious prosecutions throughout history. Elsewhere the believers of 'wrong' religions have been treated separately from the rest of the population. Christians in Japan got their ears, fingers and noses chopped oft, which were originally punishments for those who committed the crime of treachery and deceit. It was meant to give maximum public humiliation by physical deformation.

The Tokugawa government laid out in 1742 the foundation of crime laws, which spelled out seven different types of punishment - death, exile, slavery, forced labour and so forth, as well as four kinds of torture - .whip (mutchiuchi), pressing stone (ishidaki), bend by rope (ebizeme) and hung by rope (tsurizeme). It has to be noted that all four official methods of torture from this period ore still considered the main stream torture patterns in the S&M ort today. You could say the foundation of today's S&M art was laid down then. (the entirety)



*

The Beauty of Noise
an interview with Masami Akita
by Chad Hensley

What first attracted you to Noise?

I was influenced by aggressive Blues Rock guitar sounds like Jimi Hendrix, Lou Reed, Robert Fripp and fuzz organ sounds such as Mike Ratledge of Soft Machine. But the most structured Noise influence would have to be Free Jazz such as Albert Ayler, Cecil Taylor, and Frank Wright. I saw the Cecil Taylor Unit in 1973 and it was very influential. I was a drummer for a free form Rock band in the late '70s and I became very interested in the pulse beat of the drums within Free Jazz. I thought it was more aggressive than Rock drums. I also became interested in electronic kinds of sounds. I started listening to more electro-acoustic music like Pierre Henry, Stockhausen, Fancois Bayle, Gordon Mumma and Xenakis. Then I found the forum for mixing these influences into pure electronic noise. I was trying to create an extreme form of free music. In the beginning, I had a very conceptual mind set. I tried to quit using any instruments which related to, or were played by, the human body. It was then that I found tape. I tried to just be the operator of the tape machine-- I'm glad that tape is a very anonymous media. My early live performances were very dis-human and dis-communicative. I was using a slide projector in a dark room at that point. I was concentrating on studio works until 1989 then I assembled some basic equipment before I started doing live Noise performances. Equipment included an audio mixer, contact mike, delay, distortion, ring modulator and bowed metal instruments. Basically, my main sound was created by mixer feedback. It was not until after 1990, on my first American tour, that I started performing live Noise Music for presentation to audiences. The first US tour was a turning point for finding a certain pleasure in using the body in the performance. Right now I'm using mixer feedback with filters, ring, DOD Buzz Box, DOD Meat Box, and a Korg multi-distortion unit. I am using more physically rooted Noise Music not as conceptually anti-instrument and anti-body as before. If music was sex, Merzbow would be pornography. (cont.)



*

The True Story of the Merzbow Car

The Story of the Merzbow CD packaged in a car has spread itself across the globe. Alot of rumors have circulated and the truth has been hard to come by. To coincide with the "Resist the Factory" I decided to talk directly to Anders at Releasing Eskimo, the Swedish label that put out the Merzbow car.

Here's what he said:

"A while ago I had a Mercedes 230 that I didn't drive much. The police told me that I had to move it or they'd tow it away. Well, I didn't want to keep it and I didn't have anywahere to store it so I decided to use it for something else. I rigged the car's CD player with our latest release of Merzbow's "Noise Embryo" CD so that the music started when the car was turned on and it was impossible to turn it off. I put it up for sale as an extremely limited edition of the "Noise Embryo" CD but no one ever bought it, and in the end the car broke down. So we took out the CD and got rid of the car. Now I'm thinking about if it's possible to release a record in a Boeing 747..."


*

EXPANDED NOISEHANDS
The noise music of Merzbow
by Carlos M. Pozo

The Austalian Extreme label's announcement of a forthcoming $500 50 (fifty) CD boxed set (the "Merzbox") of Merzbow's music provoked the following selected reviews of the CD output of Masami Akita from 1990 to the present day. With the knowledge that this is forthcoming, to include a complete discography in this article is as ridiculous as it is pointless. Maybe Masami himself has kept track- I personally doubt he has a complete listing of his recorded works- but I wouldn't be surprised if he does. A listening guide of some sort is also pointless- noise seems to be even more subjective than non-noise musics. One man's masterpiece is literally unlistenable to another, and for the most part, the fact that some noise music is unlistenable is the aesthetic victory the noise musician is striving for. Merzbow music is unlistenable in that sense. But it's not just about the music, its the man himself, the mystery engendered by the endless stream of music emanating from his home studio. It's the fact that he's been doing this for so long, and can pull it off live worldwide. He's an art critic noise rock and roller who writes articles about pornography for a living. (cont.)
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Five notable collaborations


Merzbow & Genesis P-OrridgeA Perfect Pain (Cold Spring Records): ''This is a whistle-stop journey through the redded tooth and claw of Natural Selection, where the strong survive and the weak are incapable of stemming the bloody flow that Masami Akita has induced from their beleagured eardrums. A long-awaited masterpiece.' -- Synthesis




Alec Empire vs. MerzbowLive at CBGB's 1998 (Digital Hardcore): 'The CD races through all 58mins at a phenomenal speed, leaving a burning trail of splatter breaks and white noise in its wake. There are many moments when the sheer volume of different layers of beats and screaming machines threatens to collapse under its own weight but its fascinating to listen to and spot where the underlaying substructure of cohesion is coming from. Often this is supplied by the strong and driving rhythms which alternate between styles such as drum n bass, industrial and hip hop loops, but at other times its the job of the pounding synths to maintain at least a shadow of order over the run-away percussion.' -- amazon review

Merzbow / Carlos Giffoni / Jim O’RourkeElectric Dress (No Fun): 'Whirring static, spurting effects, heavy drones: everything you'd expect from three prolific noisemakers is here, all doled out in big, dense brush strokes. Yet Electric Dress is no oppressive onslaught. Each participant is careful to share and trade sonic space with the other, and what could have been claustrophobic or suffocating is instead a balanced improvisation, akin to a thoughtful free jazz session.' -- Pitchfork


Maldoror (Merzbow & Mike Patton)She (Ipecac): 'I think the last reviewer, who gave one star, was possibly expecting something a bit more musical from mike patton, or perhaps has never heard merzbow.' -- amazon review







Merzbow & BorisSun Baked Snow Cave (HydraHead) 'In all likelihood, you'll have to take a break from Sun Baked Snow Cave halfway through and listen to some mainstream pop to cleanse your palate -- otherwise the degenerating sine waves and disintegrating guitars will start to sound like the showers at Auschwitz.' -- Splendid Magazine
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Video Components


Documentaries


Beyond Ultra Violence, a Merzbow Documentary (1998)


MERZBOW - Part of Viva2 documentary from 2000 [VHS rip]


Live


Masami Akita's supergroup Bust Monsters live '91


Merzbow 'Minus Zero' music video




Merzbow live at the No Fun Fest 2007


Masonna and Merzbow live in Osaka w/ interview


Sonic Youth w/ Merzbow @ Roskilde Festival, 2005


Boris & Merzbow Boiler Room Tokyo Live Set


Merzbow with Wolf Eyes live at Kings Raleigh NC 8/6/13


Merzbow & Balazs Pandi - Saint Vitus 2012


Recorded


Merzbow - Pulse Demon (Full Album)


Merzbow - 1930 [Full Album]


Merzbow - Venereology [Full Album]


Merzbow - Electric Salad [Full Album]


Xiu Xiu + Merzbow - Merzxiu B


Merzbow / Mats Gustafsson / Balázs Pándi / Thurston Moore - Divided By Steel




*

p.s. Hey. ** David Ehrenstein, Indeed. That last Oliveira film looks really beautiful. I'll watch it ASAP today. Thank you, David! ** Steevee, Hi. Great! Fascinated to read that! Everyone, Here's opinion master Steevee on Roy Andersson's new film 'A Pigeon Sat On a Branch Reflecting On Existence', which is on my most-excited-to-see short list, and maybe yours? Check it out. People love that Jim O'Rourke album. I haven't been able to get into it at all. Even though they're very different records, it's kind of like, for me, how everyone was so gung-ho about '69 Love Songs', and I could never ever get it. I'm sure it's just that I'm not being receptive for whatever reason, but it does make me wonder how much of the appeal has to do with the charisma of the idea of an experimentalist going bared-boned and singer-songwriter. I don't know. I've just found the album dull so far. But one of these days. ** Tosh Berman, Hi, T. Yeah, he had totally escaped my radar too until a few days ago. More Sparks than Franz is a very good thing, in my humble opinion. So, they're essentially Ron and Russell's band on the record? I'm not so into FF's music, but it's twisty and muscly, which sounds right. I do so and still love the Sparks w/ rock band era, i.e. 'Angst in My Pants' and prior, especially. That stream isn't available here in France, but I'll find something. Thanks a whole bunch, Tosh! ** Scunnard, Hi, J-Man. I'm good, real good. No, dang, I need to order Broken Grey Wires zine today. Thanks for the reminder. Kier is indeed in it, yes! Where in Switzerland? Man, Rome, awesome. Other than the July heat, or even with. Sorry, I'm a heat wuss. Rome is awesome. You been there before? Sweet to get to talk to you! ** H, Hi. Oh, I hate photos of myself, but I guess most people do. And I'm okay with the 'TotW' cover photo, mostly I guess because it shows my 1981 bedroom 'shrine' in the background. Wow! Congratulations to say the least! Whoo-hoo!!!!!! I sure hope your friends have made the fuss that such a momentous, long awaited achievement deserves! Great! Hugs and skies full of fireworks to you! ** Keaton, They can be, god knows. And they can really not be. They're versatile. Piercing pic! I might just hit the grilled cheese restaurant down the street from me, now that you mention it. Don't know when you'll see the film. The length and structure of how we get from this point -- i.e, three or four days from being finished through screenings on the festival circuit to theater release to DVD -- is unknown to me, and our producers are not the most transparent people in the world, to say the least. ** Misanthrope, The best Mexican restaurant in Paris is a tiny corner place in the 10th, El Guacamole. I'll take you there if you ever come back here. I'm sure I've heard all of those songs in passing, but I had no idea who they were by or their names or anything. I've still never knowingly heard even five seconds of a Taylor Swift song. I heard a little Ed Sheeran which seemed dishwater dull. I didn't like anything about what I heard, but it's not thing, clearly. ** Etc etc etc, Hi, Casey. Lynne (Tillman) rules and is inimitable, vocally and writerly, yep. Sure, I've read a bunch of theory. I go through phases of reading little but, but not in quite a while, I guess. Zac loves Deleuze, so I read a bunch of him a while back after realizing I'd never read him before, weirdly. I always read theory for pleasure. I was only in university for a year, and it was a hippie school that talked about literary theory like it was a chandelier in some bourgeois palace. All I hear about the Noe is that it's an interesting to somewhat interesting failure. I want to see it, natch, 'cos I'm a huge fan of his, but my expectations aren't high. The new script is close to being finished, I think. I'm waiting for Zac to give me his notes, and, unless they wish for drastic changes, which I seriously doubt, I'll do another revision, and hopefully that'll be that. Zac wants to shoot the film in French, so the next step will be getting the script translated whereupon we'll start looking for a willing producer. Otherwise, new theater piece is very close to finished. And then, in addition to some other writing projects, finishing my novel will finally be the priority again. Bon day, man! ** Cal Graves, Hey, Cal! That was an interestingly truncated comment there. It perked me mysteriously. ** Armando, Hey man right back to you. I'm good. No, I haven't read your poems. I'm incredibly far behind. I've been working/ outputting non-stop and everything that will feed me is still waiting for me. Soon. Oh, okay, I'll read the new versions. Thank you! And thank you for your patience! I'm seeing Michael in Lyon this weekend, and I will tell him that. Love, hugs to you! ** Right. Someone here recently asked if I had done a Merzbow Day. And I had. And I went looking for it only to discover that I had made it back when, due to the strange way I was formatting posts at that time, it has been completely unseeable for seven years. So I decided to correct that. Today. And so it goes. See you tomorrow.

Toys

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Sheepish Walking Dog Toy
by Miel Margarita Paredes






Evil Stick
A mother in Dayton, Ohio was shocked this week when she purchased a toy wand for her child at a dollar store only to find it ran not on unicorn hair but a picture of a child slicing her arm open. In fairness to the dollar store, the product was named 'EVIL STICK', though the pink lettering, fairies, swirls and snowflakes on the packaging ensured it would catch the eye of toddlers. The fact that the wand emits a cackling laugh when activated is probably permissible, the horrific hidden image less so. "It's a picture of a girl slitting her wrists. I'm outraged over it," mother Nicole Allen, who bought the toy for her two-year-old daughter. "I want to know how they think that that is suitable for a child. There was barbie dolls on one side and baby toys on the other side, and these were right in the middle."







Mugen Peri Peri
Opening presents is a great feeling…why not replicate it forever? Mugen Peri Peri (Infinite tearing open) is the latest “infinite action” gadget that simulates the feeling of opening packages such as Fed-Ex envelopes, Pocky, and boxes. No money to buy packages to open? Have a shopaholic friend who just loves opening new boxes? Mugen Peri Peri is the solution to such addictions.







Classic Wrecks Beat Up Car Toy
Don't give your child false hopes with a toy car in the form of a Porsche or Lamborghini. Be more realistic with this rusted 1984 Chevy Citation.






Slip 'N Slide
The Slip ‘N Slide had a design that made people above a certain weight vulnerable to possible neck fractures. The original manufacturer, Wham-O, discontinued the product in the 1970s after three reports of broken necks. But after Wham-O was sold in 1982, the new owner brought back the Slip ‘N Slide, leading to additional deaths and injuries resulting in quadriplegia. Lawsuits brought the danger of the Slip ‘N Slide to public attention, and as a result the company stopped making the product, recalled products from retail shelves and issued a safety alert.






Evil Vinyl
Here are the “Evil Vinyl” from the British studio Evil Corp, which designed some beautiful toys inspired by characters from cult movies and series! You will find of course Clockwork Orange, The Shining or Freddy, but also the characters of IT Crowd and The Office, the characters of Simon Pegg and Nick Frost in the Cornetto trilogy or even tributes to the roles of David Bowie and Bill Murray.











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The Strange Change Machine
This "electrical toy,” manufactured in 1967 is actually but a small hot plate or heating chamber of sorts. What this comes down to, essentially, is this: with a pair of blue plastic tongs (included), you would insert small red, yellow and green "capsules" into the heating chamber (and on top of the hot plate). As they heated up, the cubes would unfold in glorious slow-motion into, as the box copy reads, "Membrane Men, Fragments of Space Creatures... Crawlers... fliers... Skeletons of Human Types.... Mummies... Robots." This Mattel invention also came complete with a "compressor" on the red heating unit so you could crush the 16 hidden wonders back into their original cube forms and start all over again. The box implored kids to: “CREATE 'EM! CRUSH 'EM! and CREATE 'EM! AGAIN AND AGAIN In the STRANGE CHANGE MACHINE.






Fighting Ear of Corn






Marx Toy Soldier Casualties
I first remembered these toys during a conversation, some recent years back, with a friend of mine who was going through a seemingly inexplicable, plastic dinosaur freak-out. The discussion set my mind to ruminating over my own childhood’s crappy plastic dinosaurs, cowboys and Indians, and army men. I voiced having once had some WWII figures that included both American GI’s and Germans. Not only that but *dead* Germans and wounded Americans. My friend was dubious of this assertion, not daring to believe that a toy company of the time would have made anything as heinous as a wounded American GI – but my mental image remained – I knew it to be true. Were they a rarity, manufactured by some weird, little company? A few creative eBay searches later and I am rewarded. There they are and more than I had remembered: the stretcher bearers with patient, the crawling wounded Marine, the injured soldier slung over a compatriot’s shoulders, the shot soldier with his flapping helmet and dropping pistol.










Evil Boy
Building upon Die Antwoord’s one-day exhibition at FIFTY24SF Gallery this summer, Upper Playground has once again teamed up with the famed South African hip-hop group and vinyl figure company Good Smile to release two new colorways of the Ninja designed “Evil Boy” figure. Previously only available during shows of Die Antwoord’s continuous world tour, Upper Playground is pleased to announce a “Red” and “Black" and "Green" edition of "Evil Boy". The “Evil Boy” Red Edition was made in a limited release of 168, and stand at 6″ tall. The Black Edition was made in a limited release of 216, and stands at 6″ tall. The Green Edition was made in a limited release of 96, and stands at 6″ tall.








Cinema of Fear
Cinema Of Fear was a toy line of action figures, plush dolls, "screen grab" dioramas, and limited edition toys based on New Line's horror franchises: Friday the 13th, The Texas Chain Saw Massacre, A Nightmare on Elm Street, and Rob Zombie's Halloween II remake.









Ryan Sheckler Omnitech Skateboard Figure
The Ryan Sheckler Omnitech Figure is the most realistic skateboarding action figure ever made! Instead of holding on to your action figure, the patented Omni Tech handle allows you to take your hands off the figure and flip, spin, and grind the board in any combination.








Coarse Toys
Mark Landwehr and Sven Waschk started Coarse, a company that creates resin and vinyl toys, both and small and life-size. Up until now their toys, like most toys on the market, have remained inanimate (and I don’t just mean battery-operated). Their latest release, however, breathes new life into the world of toys, literally. The project is called Oops, and it arrives on your doorstep as a seven-inch embryo. There’s a whole line-up of embryos to choose from, iconic Coarse characters in their most infantile state so fans can experience the birth, growth and eventual death of their favorites. The embryo starts out as a spore and then becomes a shoot, then a fruit and, finally, flesh. Once it has reached this stage it emerges from its protective pod and life begins.




Oops



Buried Passion



Milky Bliss



Sprouting Noop




Moon Shoes






Toy Piano






Shimajiro Toilet Training Tiger
The Shimajiro Toilet Training Tiger videos feature an animated tiger struggling with potty training and his animated personified waste. The accompanying toy attaches to the toilet paper roll holder and yells out encouraging phrases while you go.






Hpp&Lgg Brand funny scary nausea alien model luminous large maggots toy








Untitled (Lamp/Bear)
Cutting-edge contemporary artist Urs Fischer's monumental outdoor sculpture Untitled (Lamp/Bear) achieved $6,802,500 at the Post-War & Contemporary Art Evening Sale in New York on 11 May 2011. The price established a new world auction record for the Fischer, six times the artist’s previous record.







Remco Baby Laugh-a-Lot Doll






Dog Toy Eyeball Squeaker Toy
It's not fun and games until your dog pokes someone's eye out... and then plays with it. Inside the toy is a squeaker and stuffing. My crocheted toys are more durable than your average store bought fabric toy so your doggy will be able to enjoy it longer! Meowadays' toys have been tested on Lydia, a pug, who gives it her seal of approval. Lydia received her dog toy a year ago and still enjoys playing with the intact toy to this day. Meowadays' dog toys are recommended for smaller breeds of dogs.






Tuttuki Bako Finger Game
Tuttuki Bako Finger Game is a small box with a screen that begs you to stick your finger in its hole and see what happens, and although that would normally be a terrible idea the Tuttuki Bako makes poking around fun again! Each stage features something you interact with by poking it. Stick your finger in the box and a digital representation appears on the screen mimicking your motions. From what we can tell the various stages of the game include terrorizing a tiny stick man, poking a girl in the face and flicking a tiny panda.






Remco Toy Drive-In Theater
We can all bewail the loss of drive-in movie theaters, but perhaps some of our more enterprising readers will invest in a theater of their own. This Remco toy might be a little smaller than you were thinking, but here's a drive-in theater that's ready to go... no messy dealings with movie distributors, and no cleaning up after your little plastic patrons. For just south of a thousand dollars you can pick up this mint boxed toy drive-in from 1959. It includes toy cars, changeable movie marquees, and most impressively it has a built-in projector for showing filmstrips taken from actual movies.








Piglet Weapon
A mother who killed her three-year-old daughter by suffocating her with a Piglet toy is facing life in jail. Mum-of-four Helen Caudwell, 42, murdered Bethany in October with the Winnie the Pooh character. She had led a double life, convincing two men they were the girl’s father. Caudwell, of Stockport, was convicted at Manchester Crown Court despite claiming she had been suffering an “abnormality of the mind”.






Statue of Liberty is Too Free
One of Japan's newest toy lines features the Statue Of Liberty feeling all kinds of free, just like a real life lady! She lounges around looking at her tablet, bends over backwards in some sort of Yoga position and generally defies the stereotype that she's a big stiff.







Space Shuttle Columbia Kit






(0-0) Toys Ltd.
New line of knitted, stuffed toys for Fall 2015









Jarts
Lawn Darts were a game from a simpler, more naive time. Sure, they could embed themselves in your little sister's head just as easily as the lawn, but they were fun. Now they're back. They're back thanks to the unfortunately named Jarts In Your Heart web site, which sells the banned items thanks to a little bit of legal gymnastics. You see, since lawn darts (or "Jarts" as they're known here) transform so easily from an innocent backyard game into deadly weapon depending on who's holding them, Jarts In Your Heart has to sell the plastic fins and metal tips separately. Sad.







God Jesus Robot
This strange all knowing Japanese toy debuted in the 80’s and answered your questions in a magic 8-ball style.






Easy Out






Potato Chips Tank Scary Prop Toy
Do you want to be the superstar during the party? If do, this toy will be your best choice. Carrying this, you will be the most horrible, insane, and the king/queen of scare. You can carry it on parties, masquerades, birthday parties and wedding occasions. Carry this and feel the fun. It is suitable for girls.






Dangerous Popsicles
Would you lick a popsicle if it was in the shape of a deadly virus or bacteria such as HIV, MRSA, E. coli or the chicken pox? Designer Wei Li created popsicle sticks, which she calls Dangerous Popsicles, in the shape of these viruses to see if a person's preexisting knowledge of something would effect the way they perceive something else. "You look at the popsicle and you are intrigued by what it will taste like," Li told the Daily News. "At the same time, your brain is bringing up all of these other associations."







Pull Toy
by Monty Monty






Charles Ray 'Firetruck'
Best known for his sculptures of almost imperceptibly altered, or wildly exaggerated, familiar objects, Charles Ray creates mesmerizing, disorienting works that challenge perception. With Firetruck (1993), for example, Ray enlarged a toy Tonka truck to the proportions of an actual fire truck and “parked” it in front of the Whitney Museum in New York. From afar, Firetruck looked real. It was only upon approach that viewers saw that it was not.








Murder Nova Slot Car







KFC Chicken Keyboard & Mouse
Because fried chicken is the greatest thing in the history of the world, and considering Japan is from the future, it's surprising they got their first KFC only 30 years ago. To celebrate that anniversary, the franchise is currently holding a contest on Facebook and Twitter with probably the most amazing prizes ever. The first prize is a KFC Original Keyboard - a specially-designed keyboard that looks like a KFC plastic tray with lots of chicken on it. Every single key has been designed to have a chicken drumstick, a thigh piece, or a chicken wing sticking out of the key. Although the actual definitions of the keys are in white next to the keys, for the most part, it's a sea of chicken, with only the letters "K", "F" and "C" as actual letter keys. The KFC logo replaces the Windows key and the keyboard also comes with a miniature Colonel Sanders standing by, as well as a KFC milkshake and a KFC bucket on the edges. If that's not good enough, you could also hope to walk away with a signature KFC wired PC mouse, which is shaped like a chicken drumstick, or a USB memory stick, which has a USB connector hidden in the middle of the plastic chicken piece.








Incriminating Lego
Lucille Johnson, 78, was strangled and beaten to death in her Salt Lake City home in February 1991. The murder has been unsolved for the last 23 years. Last year it was reopened and investigators made a breakthrough with DNA found on some Lego toys taken as evidence from the house linked them to John Sansing, 47, a convicted murderer. Fingerprints on the toys matched that of Sansing's juvenile son. Police believe the boy was playing with the Lego in the house when Sansing killed Mrs Johnson. Sansing is currently on death row in Arizona for the murder of a church worker who was delivering a charity food package to his family.







Freeny Anatomical Cartoon Dolls
An artist has created a series of gruesome anatomical dolls stripping family favourite cartoon characters down to their bare bones and internal organs. American designer Jason Freeny, 43, claims his gruesome dolls of the likes of Papa Smurf, Barbie, Hello Kitty and Family Guy star Stewie Griffin, were designed to reveal the inner character of some of the world's most famous fictional faces. But buyers of the dolls should be prepared to pay a hefty sum if they want to take one home, with most characters costing several thousand pounds.










Rupert's corpse
Last night, Rupert, joey of Rowena the toy kangaroo, was badly mauled and mutilated. By the time we found him, he had severe facial trauma and half an ear missing. My plastic surgery skills weren’t up to the task, so unfortunately, we had to pronounce Rupert dead.






Toy Tank
A visitor looks at artist Amy Cheung’s full size wooden ‘Toy Tank’, which visitors can climb into and operate, at the ‘Hong Kong Eye’ exhibition at Saatchi Gallery on December 4, 2012 in London, England.









Scary Car for Children
This toy car is not good for child as they may scared of it.... But this cool baby is so brave that he rides of that car...







Pachi Pachi Clappy
One handed clapping is now ridiculously easy thanks to the Pachi Pachi Clappy toy, the toy that does all the clapping for you! Pachi Pachi Clappy has two "big soft squishy hands" on top and a funny lil' face in front, so you can carry your own private cheering section around with you wherever you go!







Marx Whistling Spooky Kooky Trees
1960s. 13" tall tin litho with soft plastic simulated leaves on top. Wonderful design and actions including whistling sound, moving leaves, eyes move up and down, mouth opens and closes, arms move up and down and bump and go action. Works well. Dark brown variety. Scattered light wear with a few small scratches here and there. VF appearance. In the top ten of battery toys.








Monster Science Colossal Water Balls
This recall involves marble-sized toys that absorb water and grow up to 400 times their original size. They were sold as Monster Science Colossal Water Balls. Monster Science packages contain eight balls and “Growth Powder.” The balls were sold in an assortment of blue, green, orange, purple, red, yellow or clear colors. Many children ingested the delicious-looking toys, which their genius designers made capable of expanding within a child’s body. Woe be to those who also choked down the ominously labeled “Growth Powder.” From there they caused life-threatening episodes of vomiting and dehydration. To top it all off, these things were impossible to X-ray and required surgery to remove.






Junkie Jane






Ooze It
Here is one of the most obscure 1970s toys ever. It is made of latex and does get filled with a type of syrup. Ooze it was thought up and designed by a family in Metairie, Louisiana and produced overseas in Hong Kong. Oooze It Incorporated produced only this toy that has become its "one hit wonder". Ooze It is so incredibly rare that only 5 are currently known to exist at the present time.







Lucky Dog Unchoken
If money is burning a hole in your pocket, then let it burn a hole in this pooch's powerful digestive tract instead. Just pop a coin in his greedy gaping mouth and watch as he eagerly snaffles it up. His wide eyes dart about, his tail starts to wag and his hind legs begin quivering frantically as he spins round, squats and "deposits" your cherished coin into the box beneath him.







Small World: Meg Williams
I don’t know why I started collecting toys. They could be worthless and broken but they had to have a certain look and I haunted Camberwell Market looking for figures with this essential quality. Some time after I have finished a picture I usually realize what it is really about, and it’s generally something quite serious, but I never know its purpose at the time of painting. It’s a message sent to me from my unconscious, via the toys.









Supply the whole person pen inserted Funny Tricky Toy Toy murder the entire human voice Toys






Aqua Dots
Aqua Dots would seem inadvisable for little kids even if the toy didn’t release a date-rape drug when ingested. The thing’s basic component is small beads. Using a smart-looking applicator, kids arrange the beads on a grid in little crafty patterns. Then you spray the beads with water and, voilà, they fuse together. The finished product looks something like three-dimensional beady works of needlepoint. Kids love Aqua Dots! In Australia, where they’re sold under the brand Bindeez, they were named the country’s Toy of the Year. Let me say this again: Aqua Dots are small beads that look like M&Ms. It’s kind of like a toy involving candy cigarettes, except that the cigarettes aren’t made of candy but tobacco. And they’re made of a date-rape drug. In a fantastic piece today, the New York Times’ Keith Bradsher explains how doctors in Sydney, Australia, spent a couple weeks getting to the bottom of the menace posed by Aqua Dots — leading to international recalls of the product, including one in the United States this week by the Consumer Products Safety Commission.







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p.s. Hey. ** David Ehrenstein, Hi. He kind of is. ** Tosh Berman, Hi, Tosh. I've always liked both songs and noise and the in-between, but, for whatever reason, I'm increasingly less interested in songs, unless I feel like they have some kind of genius or undergrowth that lets me feel like their forms have risen phoenix-like out of some brain's need to formalize the noise of its ideas thusly. Or something. I only came to O'Rourke during his experimental work phase, which would be when ... During his Sonic Youth tenure-ish? I need to investigate his history as a 'songwriter'. The new one isn't grabbing me, but maybe some songwriting history/context would clarify it or something. I like his thoughts on music a lot too. Cool, a fun Sparks LP is way good enough. I mean, the only Sparks record in their whole history that I don't like at least parts of a ton is 'Sparks in Outer Space', so I'm easy. ** Damien Ark, Aw, thank, buddy. I'll check out that most intriguing sounding video post-haste. You good? Writing and everything else going okay or hopefully much better? ** Steevee, Hi. I believe so. I think I listened to bits of that stuff at some point. I don't remember much about it. Maybe I remember the songs sounding a little stranger? Or maybe the Roeg connection caused me to imagine and interject strangeness? I'll try that era's work again, Thanks! Your mention of the I.L.Y.s is the first I've heard of them, but, loving Death Grips as I do, I will go stream that album today, you can bet. Thank you again! ** _Black_Acrylic, Hi, Ben. Oh, man, I'm so sorry. That's so frustrating. Collaboration can be the best thing, but its tuning is so delicate. And a clashing between the tempos of collaborators is one of the roughest things/pitfalls. You can't organize a time to get together with him and do what he's supposed to be doing in tandem? Sometimes that works. Anyway, it's going to be great, you know that, man. ** Misanthrope, Hey. Next year maybe, groovy. Yeah, I was surprised when 'dishwater dull' exited my head too. I'm going to find the perfect time to use WTFF, if that's okay with you. Have fun with your NBA Finals, and I hope your spiritual other Lebron gets the job done for you. ** Thomas Moronic, Hi, T. Oh, man, don't let this place get in the way of your editing. Parse and spruce and knock that thing out the park as only you can do. ** Armando, Hi. Okay, yeah, I saw your email. I will read those latest versions instead. No problem: I get very perfectionist that with my stuff too. Thank you! ** Rewritedept, Well hi there! I saw the email/post just minutes ago. No, I can't run it this weekend. I would have had to receive it earlier than one day before the weekend to do that, sorry. I'll run it next week. I'll write you back and let you know the date. Hopefully his album will still be plenty fresh by next week, and I'm sure it will be. I'll send you my address when I write to you. Uh, things are mostly pretty great, yeah. Glad you're happy in your new place. And thank you for the link to the podcast. I will indeed indulge in it. Everyone, Do you want to hear the new episode of a new podcast series called, I think, 'Bee Master Brian', hosted by, I think, The Dudeist Papers, one of whose papers is none other than d.l./writer/swell guy Rewritedept. I think you do, right? If I'm right, it's here. ** Keaton, Indian food: good. When it's good. Ethiopian ditto, if not even moreso. You're so popular with guys you think are attractive. That's obviously a very positive thing, and I both salute and congratulate you in that regard. Remember when Ohio was just splattering out so much great rock music? From Pere Ubu, Devo, etc., et. al, through, duh, GbV. Is it still? ** Okay. I made the latest in the series of my posts about things today, and this one does its selective blanketing number on toys. See you tomorrow.

34 gusts, a documentary about the wind (for Zac)

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p.s. Hey. FYI, I'm heading down to Lyon today for the premiere of Christophe Honore's new opera within which Kiddiepunk aka Michael Salerno has created the scenic effects aka film/visuals, and I'll be back in Paris on Monday afternoon, which means that on Monday you'll get a rerun post and a limited, non-interactive p.s. ** Scunnard, Right? Most of them. Good question about the baby piano. The Alps! Way up! Sweet. Is it near Sils St. Marie? That's the only place high up in the Alps that I've ever set foot. Rome is super. You can pretty easily walk its whole length, or the length of its original main area. But, yeah, SunBlock and a giant hip-flash full of Vittel is highly recommended. Things are very good here with me, yeah. And with you, it sure seems. Synchronicity is the key to happiness or something. ** David Ehrenstein, I think I remember you mentioning that about your father and your life on the road. That's so great, so 'Day of the Locust' or Aaron Copland or something that's really American in the good way. Unfortunately for me, that film isn't downloadable in France, but I'll spread the word. Everyone, Mr. Ehrenstein urges you to download a film which he characterizes as 'A Masterpiece of Non-Fiction Filmmaking Not To Be Missed Under Any circumstances', and, unless you live in a country that blocks you, which is the case for me, you can score it here. ** Nicola, Hey, bud! Yes, I did very luckily get your book just two days ago because my former place of residence, les Recollets, kindly gave me the chance to come up there and retrieve your package rather than just refusing it as 'addressee unknown.' Of course I will share your thing. Sounds really valuable and great. Everyone, Nicola is a very longtime d.l. of this humble blog, and she has something that I think is of great interest and opportunity to tell you about, so please read this and do what's what. Nicola: 'So ... I was wondering if you could put in a mention to a new blog called Feminist Academic Collective (which resides at feministacademiccollective.com)? It's literally only just started (yesterday!) but we'd love for anyone who's interested to join us. Just email us at feministacademiccollective@gmail.com and we'll add you - and if anyone wants to post that would be so cool too! The posts only need to be really brief and on anything related to feminist, queer, trans*, gender, masculinities, sexualities, etc theory and/or politics. The idea is not to be 'productive' but to be 'collective' so it's totally fine for people to join us but not to post. Anyway, we'd love to include anyone for whom it might be 'their bag'.' ** Etc etc etc, Hi, C. MM, 'Merzbox', yum, me too. Hm, I don't know re: your changing tastes thing. I've just, at least temporarily, lost almost all interest in 'the song', or in the standard song, which, little tweaks notwithstanding, is what seemingly 90% of contempt music makers play reverently with. Weird since I was such a devoted indie rock guy for so long. My opinion on Barney overall is positive in the sense of supporting what he does and tries to do, and mixed tilting slightly to the negative on the work itself, but the guy can make some great moments. I had dinner with him, and he's a cool guy. Happiest weekend to you! ** Bill, Hi. Yeah, I was surprised by how many cool ones I managed to find out there. The Tuttuki Bako finger thing and the kooky, spooky trees are my favorites, I think. I do remember the Spawn figures. Wow. I interviewed Clive Barker once when he was in the middle of being involved with them. He was very wide-eyed, kid-like about getting to do them. ** H, Hi! I love the spooky tree toy! If it wasn't insanely rare and expensive, it would already be wending its way to me through the post. No, I ordered 'Breezeway', but it hasn't arrived yet. I'm very excited to read it. He's incapable of anything but greatness in my book. Bon weekend! ** Adrienne White, Howdy, my dear pal, Adrienne! So great to see you! Beados, sweet, I'll look into them. Hooray for your masterful kiddo! I hope everything is wonderfulness incarnate with you! ** _Black_Acrylic, I can only imagine, Ben, and I do, and I just hope there's a huge breakthrough in the immediate offing. Hooray about the shape taking of your DJ Day! I'm super excited! ** Rewritedept, Barring any last minute shift to the slightly nearer or further, which I will alert you to, if so, your post will launch here next Friday. I haven't listened to the podcast yet, but I'm angling to let it cushion my train ride to Lyon today. Oh, yes, I'll send you my new address. ASAP. Thanks! Thanks for the Ohio answer. Thought that might be the case. Lovely weekend to you too. ** Sypha, Me too. It broke my brother's arm. ** Alistair McCartney, Hi, Alistair! Yes, to LACMA! And with perfect timing since I'll be able to do my annual Halloween in LA visit at the same time. Two birds with one gig. Not sure yet when I'll head to Australia. We (Zac and I) are trying for this summer. Late summer. Might be early fall, though. It's a big trip to try to organize, but yeah, very excited! And particularly about Tasmania, partly to get to see, yes, the great art museum there. Shame that the timing will probably exclude you and Tim and us  hooking up there, but who knows. Good weekend to you too, dear pal! ** Misanthrope, Oh, that paragraph was perfectly interesting. You know I like incomprehensible prose, ha ha. I was tired as fuck yesterday, but today I'm just south of quite perky. God, those are sad stories about your co-workers. That second guy's manager is beyond a dick. Wtf?! I hope your weekend is a magic flying carpet. With guard rails, of course. ** Okay. I made a new gif work, and it's my proudest one yet, if that matters whatsoever. You're welcome to spend your local weekend time doing anything from enjoying/taking it seriously to using it as an excuse to play the game of identifying the gifs' sources to show yourself what a smarty pants you are, or anything in between. The blog will see you on Monday, and I will see you on Tuesday.

Rerun: chrisg presents ... jonathan lerman day (orig. 09/07/07)

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Jonathan Lerman

i read dc's every day but i have never made a comment yet. i got inspired to be a guest host and i hope that is o.k. with everyone. it was something around a year ago that a friend of mine gave me a gift book entitled jonathan lerman: the drawings of a boy with autism. in a general way i'm not interested in outsider art or art made by "idiot savant" very much but i fell in love with jonathan lerman's drawings. i don't think you need the crutch of knowing he's autistic to appreciate them and that's a real difference with most outsider art. his drawings remind me more of some of the trendy contemporary artists like brian calvin and elizabeth peyton only deeper and stranger. he's now around 20 years-old and has been drawing since he was around 10 years-old. he developed autism at 2 years-old and his iq is 53. the drawings in the book are mostly from when he was between the ages of 13 and 14 and they're very imaginative and strange. i love the later drawings he made around the ages of 15 and 16 the best because they're more realistic and about things that people around our age (i'm 17) relate to like rock bands (bright eyes, cobain, the strokes) and sex and portraits of people our age. the drawings i chose to show you are all from when he was around 16. you can read more about him and see more drawings of his if you try the links. thank you!


all artworks: charcoal on paper, 2002, 2003

















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p.s. Hey. I'm on way back to Paris from Lyon this morning, so the blog is having to fend for itself without me. It has gambled on this old guest-post of what I hope will be some degree of considerable interest. I'll see you in-person with newness tomorrow.

Gig #77: Of late 21: Samuel Kerridge, Twisted Krister, Container, Kara-Lis Coverdale, Odour Trail, No, CROSSS, Thomas Brinkmann, Chaos Echœs, Loke Rahbek & Puce Mary, William Basinski, Grasscut, Locrian, RSS BOYS, Rectal Hygienics

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Samuel Kerridgelive @ Varvara Festival
'Samuel Kerridge may have only released one EP to date, the almost impossibly accomplished Auris Interna on Horizontal Ground, but youʼre about to hear a great deal more from him, beginning with his new Waiting For Love 12", which is about to be released through Regis' Downwards label. Bleak techno may have been attracting a great deal of press lately, but he's no bandwagon-jumper. Dripping with distortion, his is a slow and sensuous take on the genre that draws from classic 4/4 music, but also the tectonic drones of Sunn O))), the occult industrial electronics of The Haxan Cloak, and even Pink Floyd, all the while retaining a caustic and noisy edge. Kick drums are frequently squashed into the background, but that never seems to detract from the musicʼs forceful impact – sometimes it even strengthens it.'-- The Quietus







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Twisted Krister Monolog
'Twisted Krister is a young man living amidst a motley assortment of musical junk in the Töölö area of Helsinki. Krister´s was born in Sweden and has spent time living in some of the remotest locations in Finland. Twisted Krister also produces music under the names of Huuhkaja and Silmu. Krister´s conception of an ideal music: a combination of ‘excellently stupid’, simple rhythms and laconic observations on the current state of affairs of the world in which we live.'-- HIAP







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ContainerEject
'LP is the most explosive offering in the Container oeuvre, capturing the raw and unhinged essence of the live Container experience while exploring new compositional and sonic limits. The opening "Eject" wastes no time with it's instant feedback squeal backed by a barrage of pounding, distorted percussion. The concomitant storm of misfiring FX and derailed drum patterns set the stage the for aural pandemonium that this third LP delivers. Ten Schofield has enigmatically crafted his most insane Container album to be the most architecturally dextrous and club-minded, never compromising his fundamentals while evolving the project in an utterly satisfying fashion. LP is the most locked-in full length recording to date, long overdue and absolutely essential.'-- Spectrum Spools







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Kara-Lis CoverdaleIMGS /R
'Kara-Lis Coverdale explores and celebrates the multiple voices of the machine. Synthetic instruments sourced from VSTs, sound banks, and personal archives are arranged into holograms of dreams once inspired by physical origin. Through digital superimposition processes, instrument profiles mutate and take on new forms of articulation. Crystalline organs support and prop plastic voices and insistent water flutes dance with metallically chromatic snake-like motifs in vignettes of compositional schizophrenia. Absurd and delightful fusions seething through temporal portholes are unexpectedly swiped left, enveloped by dense clouds of lament and remembrance.'-- Sacred Phrases







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Odour TrailUntitled (A)
'Odour Trail ‎– Feminist Performance Artist Challenges The Phallic Mythology Of Male Creativity, 1993. Comes in large envelope with pasted on artwork and includes insert. Limited to 80 copies.'-- collaged







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NoRevert
'For me, the centerpiece of No has always been the guitar-playing; if you've followed the UK hardcore scene of the past several years closely, you'll know Ralph's name from Sceptres, Satellites of Love, and DiE. He is a really fascinating guitar player--he has ways of putting together a riff that just boggle my mind--and No seems to be his band where he lets loose a torrent of ideas in frighteningly quick succession while the rest of the band does their best to keep up. And not that I haven't hyped up Ralph's guitar wizardry enough, but this record is really something else. You can tell that there are two guitar tracks on here that are slightly out of tune with one another (a distinctive technique he first deployed on the first DiE EP), and there's something about the dissonance of the two guitar tracks matched with the virtuosity of the actual playing that directly stimulates my musical pleasure center. At the end of the day No are quite cerebral--especially for hardcore--so I imagine that there will be plenty of people who just don't get this, but I think it is just staggeringly brilliant.'-- Sorry State Records







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CROSSS Interlocutor
'CROSSS is a Canadian trio who take inspiration from 70’s proto-drone, lo-fi indie, noise and metal. Their dirge, punishing volume, and composition intensity is offset by haunting and memorable vocal melodies. Prodigious drumming and ambitious improvised guitar create moments of complex prolonged trance and meditative phrase. The group began in Halifax, Canada in 2012 as a duo, but following several relocations and lineup shifts, is now based in Toronto, Canada and has grown into a trio.'-- Exploding in Sound







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Thomas BrinkmannOxidrot
'Thomas Brinkmann’s What You Hear (Is What You Hear) is the process of elimination at work par excellence. As an electronic music artist, Brinkmann is already familiar with and has utilized the many styles that fall between techno and ambient. Minimalism/isolationism is nothing new to him, his listeners, or people who regularly check out releases from the Editions Mego label. What Brinkmann has done on his collaboration with Oren Ambarchi and now on What You Hear (Is What You Hear) is he’s taken a deep, deep dive between minimalism and isolationism. The usual signposts are gone. Notions of climaxes and falling action are no longer there. Even the concept of a piece’s beginning and ending feel like they’re casually saying goodbye in the unfamiliar haze. What You Hear is sound without the shape. There are no artistic aspirations and no antsy need to communicate a theme. The Editions Mego website haughtily calls it “a strident development in the conceptual thinking of Brinkmann’s solid career[.]” But there’s probably something to that. What You Hear is purely machine-driven, underpinned by a feeling of detachment. If one of Thomas Brinkmann’s goals was to put no personal stamp on this recording, then bravo.'-- Pop Matters







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Chaos EchœsKyoraksuhugi
'This is a French group formed with the intention of expanding the thick, narrow walls of death metal by taking a improvisational, free form approach to the otherwise rigid structures of the genre. The album ‘Transient’ opens with bells chiming as dark, dissonant droning sounds builds up underneath creating a sort of ritualistic atmosphere, before turning into this slow churning marching beat, where a heavily processed, effect-laden voice is chanting, sounding like an otherworldly sermon. And though they tear through some brutal blast beats and evil riffing, I still think they owe more to free-jazz, avant garde composers like John Zorn (especially his ‘Moonchild’ series), and experimental rock and metal groups like The Melvins and Neurosis, than any of the current or former standard of death or black metal.'-- Metal Gallows







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Loke Rahbek & Puce MaryA Body Reimagined
'The Female Form is the second collaborative record by two of Copenhagen's most prolific experimental music personas. Frederikke Hoffmeier's Puce Mary project is known from several solo records on Posh Isolation and her collaborative releases with Sewer Election, as well as countless shows and performances all over the world. Loke Rahbek is probably best known as a co-founder of Posh Isolation and his projects under the aliases Croatian Amor, Damien Dubrovnik, Lust for Youth, Vår, and an impressive body of work manifested both as records, performances, and strange places in between. The Female Form picks up where The Closed Room left of, walking a path in between industrial, drone, and electroacoustic music. The room is still closed, the doors are shut, and windows covered, and whatever insight the listener is granted is the kind of insight you get peeping through the keyhole or the crack between the curtains. Every motion is obscured and the outcome uncertain.'-- Forced Exposure







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William BasinskiCascade (excerpt) live
'Basinski's work has always crept up on a listener only to emotionally erupt at their cue. But here, he’s stripped aside much of the theoretical sprawl, resulting in a work that feels both minor, even by his standards, and gargantuan, even by his standards. Here we’re adrift among crystalline shards of piano and minor chords, which work because they work, with little else to hold on to. We can grasp onto his craft for help — there’s no doubting that a simple loop wouldn’t yield the power his nearly-unnoticeable but methodic, thorough manipulation of timings do — but his craft is so subtle that it nearly eludes us. This stripping down leads to strange avenues — Does one feel cheated? Have we approached the terrain of the “merely cinematic”? What does it mean to feel this much when there’s no signifier to attach it to? (Those burning towers made it so easy for us, validated our misery, put a narrative to it.) Is a sadness for no one in particular merely a form of ego-love?'-- Jeffery Dunn Rovinelli







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GrasscutCurlews
'The band’s most live and organic album to date, Everyone Was A Bird sees Grasscut’s cinematic and immersive mix of electronica, post-rock and song augmented by live strings, drums, piano and guitar.The album is a search for identity and meaning, both through closely observing the places in which we live, and through digging around in the landscapes of our ancestors. Islander is set in the Jersey where Phillips grew up; The Field and Snowdown in the Sussex Downs, close to his current home in Brighton. The other songs are based in and around the Mawddach Estuary in mid Wales where his family comes from, and where he continues to spend much of his time. The album’s title meanwhile comes from the Siegfried Sassoon poem Everyone Sang. It concerns a moment of release in the World War One trenches, in which everyone bursts into song, and also reflects the album’s own journey from the landlocked Islander, via first single Curlews, to the soaring closer Red Kite.'-- Lo & Behold







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LocrianAn Index of Air
'Devastating drone metal unit Locrian have shared the first ear-rupturing preview from their forthcoming Infinite Dissolution LP. Though the song title "An Index of Air" may initially come across as safe, it won't take long to realize that the band are working with higher gale force winds. It's a slow build, though, as the song spends its first three-and-a-half minutes examining a cyclical thud of drums and what might be the angriest sounding tea kettle of all time. At its breaking point, it erupts into a swell of blast beats, ethereal guitar lines pushed deep into the red, and glass-shattering shrieking. The back end is played much more melodically, though the amp levels are still punishing.'-- Exclaim







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RSS B0YSYYXXTTRRYYMM
'The Polish duo RSS B0YS isn’t just an ordinary electronic group. It’s an artistic concept, an exercise in anonymity in the age of information overload, a total work of art. But the music of RSS B0YS is not as much an escape as it is an exit, the best part being the fact they don’t always follow the same structures. Sometimes the track will begin crumbling halfway in, at other times a track won’t even form a full rhythm or melody in favor of a series of glitches. It’s a bit similar to the approach of Actress’s Ghettoville, but while Cunningham’s effort was a downer urban panorama limited by concrete towers and cracked asphalt, HDDN is much more playful and experimental while retaining the same dark mood and lo-fi aesthetics. It’s an album that crafts a new sonic map out of hard electronic beats, distorted washes of synth, and occasional, vaguely exotic references dotting the landscape, never distracting from its own open-structured, loose ideas. RSS B0YS don’t really give a shit whether you like them or not; they just keep making music they enjoy — and if you happen to enjoy it too, all the better.'-- Tiny Mix Tapes







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Rectal Hygienicslive @ Permanent Records
'Sludgey noise-rock locals Rectal Hygienics welcome their brand-new Permanent Records release tomorrow night with two in-town shows, the first of which is an all-ages, free in-store at Permanent. The new record, Ultimate Purity, showcases the band's twisted, heavy-handed Brainbombs worship, and today's 12 O'Clock Track is the first public glimpse at the damaged LP, "Grandeur." Employing the "play one riff over and over until it hurts" formula, the band smashes out the devastating, one-part song, its crushing tones and bad vibes steamrolling everything in its path. On top of it all is lead vocalist Matt Ibarra, spitting mean, distorted depravity. No dynamics, no melody, no pop sensibility—this is plain and simple old-fashioned sonic punishment that can destroy moods and eardrums with the best of the noise-rock greats. Rectal Hygienics are one of the gnarliest, most confrontational bands in Chicago right now, so this release event isn't one to miss.'-- The Bleader







*

p.s. Hey. ** Saturday ** Nicola, Hi. No problem. ** Dennis Cooper, Morning. ** David Ehrenstein, Oh, I'm not sorry, ha ha. Sorry. What is that 'perfect' gif from? ** Tosh Berman, Thank you very much, Tosh! ** Misanthrope, Lyon was good. Kiddiepunk's work was great, no surprise. It was boiling hot in Lyon, and then it would literally pound down the best rain plus thunder and lightning ever. ** Thomas Moronic, Thank you very, very much, T! It means a lot! I would say congrats on almost finishing your novel, but I looked ahead and saw that you did finish the next day, so even huger congrats on that from the near-past! ** White tiger, Thanks a huge bunch, Math! You doing great? ** MANCY, Thank you, Stephen! I'm really psyched for your Kiddiepunk siamese twin zines! ** James, Quite a fantasy you have there. Thank you for the very kind words about my documentary. I was up all night until 6 am this morning finishing our film, so I would say this week has been even over-productive so far. ** Steevee, I don't know. Not on purpose anyway. ** Keaton, Hi. Wow, a lot of stink in that dialogue. Wind's good. Thank you! ** Alistair McCartney, Hi, A! Yeah, real excited about the Australia trip. We were just trying to start figuring out when we can go over the weekend. Thank you about my wind thing. No, the gif work is very separate from the text novel, but I'm just as serious about the gif work as I am about my text work these days. The Honore opera is very good! Very strange and tight and, yeah, Michael's visuals are amazing, and of course Christophe's direction is fascinating. A true winner, I think! Me too, re: LA. I'm pretty sure so. Take care! ** Monday ** Nicola, Howdy. ** Scunnard, Hi, J. Away was really good. It was too hot, only. You're going to drive? In a car? That should be really fun, if so. I've only done that betwixt thing by train, which, is you, know nice too. ** David Ehrenstein, Happy Tuesday morning. ** Cal Graves, Hi, Cal. Trip was very nice, fun, artistically rewarding, etc. By train. It's only two hours away by train. It's practically Paris's neighbor. Yay about your poetry rolling. Being a post is the best, in and of itself, and, also, I think being a poet is, like, an ideal stepping stone if you ever want to write novels or make films or, I don't know, make gif fiction or whatever. It's a much better place to be and also to start as an artist in general than centering your talent at the outset in a medium that has heavy conventions attached to it. I was in Lyon to see the premiere of an opera directed by the French film director Christophe Honore, who's also one of the producers of Zac's and my film, with video projections by Kiddiepunk aka filmmaker/ artist/ publisher/ etc. Michael Salerno, who was the head cameraman and Director of Photography for our film. Thanks about my gif work, man! Re-calibrating-ly, Dennis ** Thomas Moronic, And, now, at the right time, mega-congrats on finishing your novel! What now with it, man? Very exciting! Very awesome! ** _Black_Acrylic, Hi, Ben. That is very good news about Art101! Fingers crossed re: the seeming smooth-ish final sailing! And the zine project sounds very intriguing and fun! ** Steeevee, Interesting thing to make a documentary about. Interesting to think about how it will be handled. How did you feel about it? I was just looking at snaps of Grace Jones's topless perf. at the Parklife Festival in London. ** Armando, Hi, man. I'm good, but kind of out of it since I was up working all night, and I'm usually an early to bed/early riser kind of guy. Lyon was good and fun. I'm still wary of that new Larry Clark, but I will see it at some point for sure. Okay, yeah, I will keep you in mind should any me-related gig arise. Hugs, love back to you! ** Chris Cochrane, Hey, Chris! How very awesome to see you! Three foot surgeries?! Holy shit, man. Did that problem arise recently? You seemed pretty fleet the last time I saw you. I hope your recovery from that goes incredibly well. Excellent, excellent about the new music projects! Even the folky and sweet ones, ha ha! Yeah, it would be sweetness, key, and even necessary to get to see you sooner than later. I guess in New York? Buckets upon buckets of love right back to you! ** Keaton, Who's Mary Ellen Trainor? I'll go look. Fishing, interesting. Train from Lyon was pretty easy and uneventful. Waking up on a train entering a London wherein everyone is friendly to each other does sound like theater. Even like experimental theater. ** Right. I made a gig. Those of you who are interested in the gigs, please enjoy. The rest of you do whatever it is you do on the gig days. See you tomorrow.

Rex Roth presents ... David DeCoteau Day

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'David DeCoteau is the kind of film director who isn’t ever likely to get written up in a textbook on the history of cinema, or to have his films released in limited edition DVDs from the Criterion Collection. He is, like Joseph Sargent, a “workhorse” director–one of the industry stalwarts who works a lot, usually in low-budget features, but who can at least be counted on to get the job done. If you look at Mr. DeCoteau’s IMDB sheet, you’ll see his film credits are a mile long. Most of the movies he’s made don’t sound like they’re going to win any awards, with titles like Creepozoids and Beach Babes From Beyond. He specializes in low budget horror and exploitation films.

'But, in his own way, David DeCoteau is a sort of auteur. Some of his movies have a certain…well, shall we say, a quality about them that’s unusual than other low-budget horror films. Check out the trailer from his 2010 film 1313: Giant Killer Bees. Notice anything, er…different? That the movie, ostensibly a monster flick about (predictably) giant killer bees, seems inordinately preoccupied with attractive young men in their underwear? Yeah. You’re not imagining that. Then there’s the trailer from one of his more famous films, the 2000 magnum opus Voodoo Academy, which spawned a sequel in 2012.

'So, you see what’s going on here. None of these films are pornographic. They’re not even particularly explicit. They’re all pretty much like the trailers: cheesy effects, hackneyed storylines, ropey dialogue, and lots and lots of attractive young guys in their underwear.

'Although at first glance it’s not clear exactly who these films are aimed at–gay men? teenage girls? desperate housewives?–what is clear is that DeCoteau, who is actually a pretty talented filmmaker, knows exactly what he’s doing. I found it very interesting to learn that DeCoteau’s mentor in the film business was classic B movie producer/director Roger Corman, and if you watch a few of DeCoteau’s movies – Leeches! for instance, which is one of my favorites–you’ll definitely see a strong Corman-esque influence. These movies, cheesy as they are, are actually pretty well put together. Dialogue may be terrible and special effects courtesy of Mac Book Pro, but for what they are, these homoerotic horror films usually deliver 100% of what they promise.

'I’ve heard David DeCoteau denounced as a “bad” director, and compared to Ed Wood, Phil Tucker or other legendary crash-and-burn directors over the years. I think those comparisons are totally off base. Ed Wood’s movies were so bad because he was incompetent, but he was famous because he didn’t know he was incompetent, and probably wouldn’t have cared. Take a bad movie made by a really good director – Heaven’s Gate, for instance–and you see the opposite effect: a movie that is technically brilliant, but utterly awful precisely because of the competence of its filmmakers. Heaven’s Gate is a bad film, but it’s an extremely well-made bad film, although its creators were under the impression they were making Citizen Kane.

'As for the young guys in underwear caressing themselves, I think that’s the key to the whole thing. Here are movies whose plots or characters usually have nothing to do with homosexuality. Leeches! is a classic ’50s-style monster movie. Yet David DeCoteau is thought of as an important LGBT director–even though he doesn’t make “gay” movies in the sense of, movies dealing with gay themes. The brilliance of that! The subtlety of that! Who but a very skilled director can take a hokey script for a movie about rubber leeches killing people and turn it into a bold stroke for LGBT cinema? David DeCoteau can.'-- Sean Munger



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Stills



































































































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Further

David DeCoteau @ IMDb
Rapid Heart Pictures
David DeCoteau interviewed @ Flavorwire
David DeCoteau @ Twitter
The World of Cult Filmmaker David DeCoteau



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Film Buff


David DeCoteau on ROLLER BOOGIE


David DeCoteau on TOURIST TRAP


David DeCoteau on TEN LITTLE INDIANS


David DeCoteau on CHAIN GANG WOMEN


David DeCoteau on BLOODY PIT OF HORROR


David DeCoteau on MONSTER ON THE CAMPUS



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Who is the Intended Audience For David DeCoteau's Movies?

If you want to watch naked or near naked hunks, there's plenty of free porn on the Internet. What's the point of having a bunch of scantily clad himbos running around in this schlock? It looks cheap and idiotic. Do gay men like this shit?

—Anonymous

How did the one with Fabio from Survivor go?

—Anonymous

It would be watchable if the writing wasn't always so bad. It's truly atrocious. I don't know how he keeps getting funding to make these movies. Meanwhile, talented directors can't make a film. Go figure.

—I've FF''d Through My Share of His Films

After watching the clip, I forget to mention his special effects are always crap as well.

—R2

What's odd is that he never seems to show nudity - not even ass. He just shows guys in tight briefs.

—Anonymous

That seems to be a fetish of his, [R4]. Guys are always in underwear in his movies.

—Anonymous

I don't mind seeing hot guys in underwear - as long as they end up taking it off at some point.

Anyone see the movie with Fabio from Survivor?

—Anonymous

Here is DeCoteau's rationalization for never doing nudity or 'overtly' gay storylines. I still don't get why anyone would want to watch this nonsense; they're not even passable as schlock. "Here's the list of reasons why after 26 years in the film business I have followed this carefully chosen formula. One, these are the types of films I want to make. Two, I can't compete in the saturated T&A market. There is too much product. Three, none of the actors I hire will do anything beyond what I have done. No nudity, no gay kissing, no overtly gay characters. If they were to do these things, it would be for a big-time director on a huge budget with a film opening on 1,000 screens and co-starring a big name like Julia Roberts. Four, no overt nudity or sex or violence allows for seamless export to all foreign countries. It also allows for R or PG-13 ratings and distribution to Blockbuster, Wal-Mart, etc. Five, no nudity also opens up my talent pool to 95 percent more actors, and allows those actors to use my movie to get more work in legit movies. Almost all actors come from other parts of the country and some are very conservative."

—Anonymous

How did I know he was responsible for The Brotherhood before clicking on IMDB?

—Anonymous

And yet after 26 years he hasn't been able to make anything resembling a good movie.

—Anonymous

Thread Closed.



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26 of David DeCoteau's 118 films

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Creepozoids (1987)
'Creepozoids is a lot of fun. DeCoteau is a relatively talented journeyman shlock huckster, and this film is reasonably stylish and fun. The minimal lighting isn’t quite artful enough to achieve the dingy cool of Alien or early X-Files, and the fun monster effects are broken up by too many sequences of the main characters diddling around in crawlspaces, but Creepozoids makes far more attempts at simply being entertaining than some of DeCoteau’s lazier efforts, and I suppose that must be respected to some degree.'-- vhshitfest


the entire film



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Sorority Babes in the Slimeball Bowl-O-Rama (1988)
'Sure, it’s a trashy piece of exploitation. But at least it’s a trashy piece of exploitation that keeps its tongue firmly wedged in its cheek. So what if pretty much all of the Imp’s wisecracking falls horribly flat? At least lame gags are preferable to the sadistic brutality that was present in so many of comparable films of the same era. And who really cares that the film doesn't live up to the expectations that would surround any movie that brings together Linnea Quigley, Brinke Stevens and Michelle Bauer, because you have to wonder what film could? At the end of the day, for all of its flaws, there are a many worse ways of spending 76-minutes than joining these sorority babes on their visit to the 'Slimeball Bowl-O-Rama'.'-- Home Cinema Choice


Trailer



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Puppet Master III: Toulon's Revenge (1991)
'The continuity is pretty screwed up, as I don’t understand why Toulon would’ve taken his own life, since these puppets could easily take out two Nazi’s. Before, I was under the impression that the puppets had never killed anyone, but they obviously weren’t banking on making a prequel quite yet. It’s also hard to reconcile the Toulon of Puppet Master 3 with the Toulon of Puppet Master 2 -- especially in regards to how he treats Leach Woman. Yet this is the first time I felt that the plot wasn’t a convoluted mess. I understood everything because the presentation of all the information was much more coherent. While I made fun of the cheap sets, I did think the night shots of those streets were pretty moody. David DeCoteau is a very workmanlike director compared to his predecessors, who tended to be more experimental with their styles, yet this also means less self indulgence. The story is simple and the execution of said story was just as simple, with the primary emphasis being on showing its target audience a good time. But more importantly…demonic puppets killing Nazi’s!!! Who cares about all this critic crap when Puppet Master 3 delivers on that alone. It’s silly, cheesy and maybe even a bit dumb.'-- Bit Fister


Trailer



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Prehysteria! 3 (1995)
'The final installment in the Prehisteria franchise was not as good as the first two, but the miniature golf scenes are just too crazy to pass up. If you like Dinosaurs, you're bound to find something interesting in this movie that has really nothing to do with dinosaurs. The real plot has more to do with a failing business owner, somehow it made sense on it's release.'-- Conner Rainwater


Trailer



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Petticoat Planet (1996)
'When a low-rent space traveler lands on "Petticoat Planet," he discovers a world populated with frisky women...all right! Commander Steve Rogers adds a welcome dash of testosterone to this realm of sex-starved cowgirls who guzzle hooch, shoot six-guns, and wear as small a loincloth as local conventions permit.'-- Full Moon Direct


Trailer



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The Journey: Absolution (1997)
'Mario "Didn't Peak In High School, But Did Peak In A Sitcom About High School" Lopez leads an endless parade of chiseled man meat through a top secret Arctic military academy/alien invasion HQ/finishing school for failed male models, and we all learn a valuable lesson about casting Richard Grieco in anything ever. Introduces the idea of a "gentle, banking plot turn", which combines a plot twist and foreshadowing in just the right way so all the merits of both are completely ruined.'-- Something Awful


Trailer



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Leather Jacket Love Story (1997)
'Kyle is 18, an aspiring poet hoping to find inspiration by moving to the arty Silver Lake neighborhood of LA, and maybe love too. On day one, he finds a funky coffee shop, where he hopes to do some writing, but instead meets an older hunk. Leather Jacket Love Story is a black-and-white happy-go-lucky film that deals in old-school cinematic tropes like the old spunky sprightly scored nudie films. It doesn't present a dour take on gay cinema, nor does it neuter the gay culture by refusing to take out the gay sexuality. It's not exactly deep. It's about the first three days of a first love between two shallow gays in LA. Sure, it occasionally acts really hilariously derpy, such as when Kyle starts berating Mike for putting their child up for adoption and Mike gets all hilarious defensive saying that he didn't get proper sex ed in his high school. But, its a cutesy hilarious piece of gay bait.'-- letterboxd.com


Excerpt



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Shrieker (1998)
'The creature? Yeah, it and the movie it stars in. Hell would seem infinitely more frightening if the damned were forced to watch this for all eternity. Six college students shack up in a condemned hospital to save money and end up victims of an ancient monster who must claim five victims before it returns to "the shadowy world from which it came!" Other than having major logic and coherence problems (plus the fact it appears to be unfinished), this disaster is terribly acted, written, edited (by J.R. Bookwalter) and directed, and the make-up FX are almost nonexistent. It's also significantly shorter than it claims (at only 80 minutes), but I'm not complaining. It's the worst movie I've seen from executive producer Charles Band's Full Moon productions and boy is that BAD!'-- capkronos


Trailer



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Curse of the Puppet Master (1998)
'Less awful, but still pretty bad, Curse of the Puppet Master is a mess of a film, but compared to future entries, it's not as bad. Still the film is yet another poorly done sequel of which the potential completely wasted on-screen. I don't even know why they filmed a sequel to the alleged final chapter of the series, of which only the first film was good. This is a lazy film with a boring plot, poor acting and poor directing. This film should never have been made in the first place because afterwards, all the sequels in the Puppet Master series took a hefty nose dive and become even worst by each entry.'-- Alex Roy


Excerpt



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Frankenstein Reborn! (1998)
'A wonderfully gruesome opening (a woman is slammed onto a table and has her legs ripped off) leads into a marvellously effective title sequence (backed with a nice score by Regan) that rightly signposts to the viewer that the makers (Leigh Slawner has worked with much of the same cast on various productions) are taking this adaptation seriously and not pandering to the over-used comical approach to much Indy horror output. The acting by all concerned is perfectly acceptable and never grating, and Giles and Downey are especially good. Giles has fun with Franks, but he never makes fun of him or plays up to the camera ensuring that (wobbly accent aside) Franks remains a serious villain throughout the movie. Some of the conversations though are made difficult to understand at times due to a pretty lousy sound mix that often has dialogue coming through very quietly and often drown out by ambient noise. Something that does seem to be an ongoing problem with many Asylum productions if Internet feedback is anything to go by. But a spot of remote control manipulation solves the problem.'-- Horror Express


Trailer



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The Killer Eye (1999)
'In an attempt to prove his theory that the human eye is the gateway to another dimension, a brilliant ophthalmogist performs his final experiment on an unwitting homeless subject. As in all previous attempts, it seems to be yet another miserable waste of life. But something begins to stir in one of the still eye sockets of the victim. The dead man's eye rises into the air and expands to enormous size. A new form of life has begun. A seemingly invincible being of pure light energy – driven by a hunger for knowledge and a taste for young women. It's feeding time.'-- Full Moon Streaming


Excerpt



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Witchouse (1999)
'On Mayday 1998 in the town of Dunwich, Massachusetts, Elizabeth gathers together a group of specially selected friends for a rather odd party. It turns out that she is the descendent of a malevolent witch named Lilith who was burned at the stake precisely three hundred years ago. Now Elizabeth hopes to resurrect her dreadful ancestor and has a specific (and murderous) need for the guests she has chosen.'-- letterboxd.com


Trailer



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Retro Puppet Master (1999)
'Pointless seventh entry that definitely never should have seen the light of day, I'm curious to know why they keep making bad films. Retro Puppet Master is an awful film with yet another poorly constructed story. This time around there are supernatural elements thrown into the Sci Fi horror formula, unfortunately it doesn't pay off, far from it. I personally think k it's a shame that it was made this, as I quite enjoyed the original Puppet Master. That film was a cheesy, so bad it's good Sci fi flick with killer puppets. There could have been so many great ideas for sequels, and with this one it seemed like they were finally taking a step in the right direction. Unfortunately fifteen minutes in, you realize that this was just going to your typical Puppet Master mess of a film. The ideas may have been good, but the problem was a bad script, bad directing and overall lazy filming. This is a film with wasted potential and what could have been comes crashing down. The film is like every other sequel unfortunately, poorly constructed, directed and acted. Watch something else instead. Retro Puppet Master just doesn't deliver anything worth watching. I personally think that this is a film not worth anyone's times and there are better sequels and horror flicks in the genre than this one. Don't expect anything good here, as this is after all, the seventh entry in a series that should been long concluded.'-- Alex Roy


Excerpt



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The Brotherhood II: Young Warlocks (2001)
'A sequel in name and underwear only, The Brotherhood II: Young Warlocks hops over to an upscale private academy where John (Sean Faris) suffers daily torment from a gang of preppy bullies, who are apparently jealous of the attentions given to him by pretty Mary (Stacey Scowley). During a nocturnal swimming pool bash, a strange buffed outsider, Luc (Forrest Cochran), offers John and two of his buddies a chance at untold power by joining an ancient sect of warlocks, who cast black magic in their skivvies and walk around the campus wearing black shades.'-- Mondo Digital


Excerpt



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The Frightening (2001)
'Take a homoerotic slash course in teen terror! To the staff and students the new kid in school, Corey, seems to be a regular teenager. But beneath the surface, Corey hides a sinister and evil past. Strange events begin to occur at his new school, not least some unexplained gruesome deaths and the mysterious disappearance of fellow students. The rest of the students and the school principal seem strangely unconcerned by the evil events going on around them. Only a small group of misfits are willing to confide in Corey and share the truth and his new school, and they're being killed off one by one!'-- Ryan Saunders


Trailer



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Leeches! (2003)
'Members of a college swim team take anabolic steroids to enhance their performance. While on a daytrip to a local lake, a couple of the members pick up some leeches, which feed on the steroids in their blood. The leeches end up washed down a shower drain, where they grow to enormous size and return for more feedings. Following the deaths of several members of the team and a college administrator, the few surviving team members and one of their girlfriends hatch a plan to kill off the monster leeches. They will draw them to the campus swimming pool by having one of the swimmers act as bait. Then they'll electrify the pool, electrocuting the leeches. Tragically, the team coach, who's been infested by a leech, attacks them, delaying the electrification just long enough to allow the leeches to kill one last swimmer. Finally the coach is subdued and the switch is thrown, frying the leeches.'-- Wikipedia


Leeches: The Edited Version



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Speed Demon (2003)
'This is the original trailer to the 2003 movie Speed Demon. Written and directed by the incomparably incompetent David DeCoteau, Speed Demon is the reason why people no longer hold out any hope for the continued existence of humanity.'-- bmoviereviews


Trailer



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Ring of Darkness (2004)
'This is from a really terrible horror movie from 2004 about an undead boy band. I guess they didn't have enough movie so they padded it with bizarre filler scenes like this one.'-- William Rose


Excerpt



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Killer Bash (2005)
'Young Becky Jeckyl is such a loser. All the guys ignore her, all the girls mock her, and even her parents would rather strand her at the college rather than let her come home and join them for a family vacation. Who can blame these people for shunning young Becky Jeckyl? She’s smart, shy, doesn’t wear make-up, wears glasses, and wears her hair back. My god, she’s a damn freak like the Elephant Man! Every moment she appears on the screen I threw up in my mouth just a little bit. The Nazis had it right when they took the physically deformed like this girl and euthanized them. The movie is a series of incidents that give director David DeCoteau to sneak in some of that patented David DeCoteau style homoeroticism he’s known for. Yep, the studly jocks that are the Delta Boys just love stripping down to their shorts and engaging in all sorts of sweaty activities, whether it be weightlifting or just standing around and feeling the need to de-shirt themselves. DeCoteau isn’t as blatant this time out as he is many of his other films, but you can’t help but notice that the film spends far longer than necessary establishing that Becky is attracted to young, sweaty musclemen with perfect abs.'-- collaged


Trailer



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Beastly Boyz (2006)
'In this homoerotic horror movie from David DeCoteau a young man, Travis (hottie Sebastian Gacki) avenges the death of his twin sister and vows to avenge her murder by punish her killers one by one – even if it costs him his soul. Prolific cult filmmaker David DeCoteau unleashes a new diabolical experiment in extreme and provocative horror with Beastly Boyz– a twisted tale of revenge. With a retro 70’s grindhouse style and a dreamlike European sensibility, this “Dark and fetishistic tale” (mondo-digital.com) is reminiscent of the films of controversioal French shock-master Jean Rolling. With limited dialogue and loads of visceral imagery, Beastly Boyz is a unique and truly original bizarre excursion into perversion!'-- Wolfe Video


Excerpt



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The Brotherhood V: Alumni (2009)
'The Brotherhood V: Alumni is the fifth of the Brotherhood series of homoerotic horror films that started with The Brotherhood, directed by David DeCoteau, and was released in 2009. A year after a mean-spirited prom prank turned deadly, the most popular students of Sunnydale High are summoned back for a surprise reunion, only to find themselves at the mercy of a relentless killer.'-- Wikipedia


Excerpt



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Puppet Master: Axis of Evil (2010)
'Oh David DeCoteau! I liked the part when the girl says to the guy - "Maybe you would like me more if I was made of wood." This movie was crap. The puppets looked like crap. The acting was crap. Everything was crap. Just crap. Crap.'-- Hollie Horror


Trailer



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1313: Actor Slash Model (2011)
'More than anything else, I'm just boggled by this movies. It's slickly shot on HD video, and looks nice. But the acting is poor, and there's nothing of any interest happening in any exploitable way - there's no nudity (male or female); there's no onscreen violence (graphic or not); no sex scenes, nothing. You do get a lot of guys in shorts and speedos though - and maybe that's what DeCoteau is going for - very bland "starter" horror for gay teens (or girls - though there's enough gay subtext to maybe put them off) with lots of eye candy and little else. But even with that theory - why do the movies have to be this padded and inert? The first time Trent does his post-kill monologue while wandering the house - it's fine. The fourth or fifth time it's just ludicrous. I understand these are extremely low budget movies (the IMDB lists them at a budget of $1,000,000 each - BWAH -HA-HA-HA! If they spent $10,000 on any of them I'd be surprised.) and they're probably shot in three days - but some crisp dialogue and a clever plot that actually runs for 72 minutes wouldn't cost any more to produce if handled correctly. Do I even need to mention the slow running end credits with lots of fake names?'-- Let's Get Out of Here!


Trailer



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1313: UFO Invasion (2012)
'David DeCoteau is a money grabbing hack. Working on this review has made me hate this untalented fuck. I HATE YOU DAVID.'-- Doc


Trailer



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Hansel & Gretel: Warriors of Witchcraft (2013)
'I love that Hansel and Gretel not only had a big theatrical film at the end of 2012, but also had an Asylum release (with Dee Wallace) and this even lower film, directed by David DeCouteau. The fairy tale theme has been milked hard lately (we also had two Snow Whites), and nowhere has it probably been milked harder than in this film. At least we have Eric Roberts! He is not credited on IMDb -- perhaps he no longer wants to get credit for his cheesy work, or they could not afford his SAG salary. But there he is, in glasses! Although this film is bad, it is not quite as bad as some have made it out to be. I suspect they have not seen much of DeCouteau's more recent work. Compared to some of his films in the last ten years (which seem to be excuses to have young men take their shirts off), this one actually made some attempt at being a story.'-- gavin6942


Trailer



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Bigfoot vs. D.B. Cooper (2014)
'On June 10th, David DeCoteau’s Rapid Heart Productions presents a crazy theory as to what truly happened to D.B. Cooper. The answer involves the Pacific Northwest’s other great enduring legend: Bigfoot. The trailer for Bigfoot vs. D.B. Cooper is a dizzying array of random shots of shirtless dudes with very modern beach bods, blurry Bigfoot action, and stock footage of planes. Not seen in the trailer are top-billed stars Eric Roberts and Linnea Quigley, or anything that looks accurate to 1971 for that matter. Well, maybe the Bigfoot suit.'-- Dread Central


Trailer




*

p.s. Hey. True story: A silent, dedicated reader of this blog, Rex Roth, wrote to me last week and dared me to do one of my posts about film directors on David DeCoteau, a prolific out-putter of very crappy, often loosely horror genre movies, most of which appear to be flimsy excuses to parade around a bunch of shirtless, conventionally attractive hunk type guys. Not my thing in the remotest slightest. Rex warned me of their terribleness, but he said he has a fascination with the particularities of their awfulness. I had never heard of DeCoteau before, although I guess I did watch 'Creepozoid' at some point a long ago. I was in a kind of strange, dare-positive mood, so I told Rex that if he curated the film program, and if he gave me links to stuff that I could use in the post, and if I could credit the post to him, I would do it. And he did that, so I did this. Thank you, Rex. I hope it was worth it, ha ha. ** David Ehrenstein, Thanks for looking! I didn't know that Jean Gruault had died. RIP, for sure. He was a true great. Big loss. ** Chilly Jay Chill, Welcome back from your trip and internet impairment. I am a fan of both the 'La Belle Captive' book and film. The former is back in my LA bookshelf. I certainly encourage you in their directions if you want and need encouragement. Michael's visuals were beautiful, of course. And they were a very important part of the opera, as important both aesthetically and in terms of telling the opera's story as the stuff going on onstage, if not even more so. I'm well. Trust and hope you are as well. ** Sypha, Hi, James. I suppose most of those artists are mostly only known amongst fans and followers of that kind of music, but William Basinkski is pretty famous more generally. Yeah, as you know, I've never seen a peep of 'Game of Thrones', so I'm out of my league re: that one. ** Etc etc etc, Hi, Casey. I am re-ensconced for the time being, yes. Ah, I am in no work lull right now, that's for sure. Our film has to be finished this week -- I was up until 5:30 am yesterday working on it -- and the theater piece is entering the final rehearsal stage which means extra work there until I head to Germany in a week or so, and I'm trying to finish the script for the new film ASAP, and other stuff. I'm looking hard for a lull, and it should come in a week or probably more like a couple of weeks. Nudging is fine and good and even necessary with me, but I'm still un-nudgeable at the moment. Wow, your Gaddis thing is out! Luckily, I don't need a lull to read that. Congrats! Exciting! Everyone, This is very cool and rewarding: Etc etc etc, the nom de blog of excellent writer Casey Michael Henry, has a piece newly up at Bookforum about 'the literature if obsolescence' with William Gaddis as topic, starting point, and filter, and I'm about to read it greedily, and I highly suggest that you join me. It's so easily accessible via one click. Awesome! Very productive and beyond thoughts/day to you, sir. ** Nicola, Hi. ** Thomas Moronic, Hi, T. Basinkski has two new albums out simultaneously. 'Cascade' seems like maybe the more interesting of the two, but they're both wonderful. RS has a 'first look' thing, I see I hope they're wise, and, if even not, the sky's the limit. ** Jonathan, Hey, buddy! You sound incredibly busy. It sounds good though. Excellent about your talk. Was it recorded, and, if so, will be uploaded anywhere? Thanks about the gig. Yeah, the Brinkmann is awesome/nuts. I don't know most of your personal playlist, but I've scribbled everything down, and I'll be off in their direction shortly. Oh, 'Crush', cool. I blurbed that originally, but I don't know if the current version still uses it. I want to see 'Ex Machina'. I wonder if it's out here. The new Andersson finally opens here this week. I might take the 'low' road and go see the new 'Jurassic Park' via IMAX 3D today. Oh, wow, I don't know if my semi-coffeed brain could do justice to that Aoki mouth-centric masterpiece at the moment. It might take a sonnet or something. But I'll see if I can get a first draft of that down today. Love, me. ** _Black_Acrylic, Hi, Ben. Kerridge is awesome, I totally agree. Nice live clip, right? I peeked at the DJ Day this morning. It looks incredible! I'll set it up today, and I'll let you know if there are any issues with the imbedding. Barring news to the contrary, I'll launch it here not this coming Saturday but the next one, the 20th. Thank you a billion, maestro! ** Steevee, Hi. Codeine, huh, that's curious. The film sounds kind of quite exciting, I'll see it. Thank you kindly for the report! Akitsa is terrific, I totally agree! ** Keaton, Hi. I think it must have been Thomas. Trains kind of rule. I even like the metro. I am kind of bored of Line 5 though at the moment since it's the new thoroughfare. I still like it better than my old thoroughfare -- Line 4 -- though. Nice parents! Egypt? Wow. That seems stressful. Aw, my heart feels blessed. Shall I bless yours? Hm, let me think. ... Why, yes, I will bless your heart. Done. ** MANCY, Hi, Stephen! It's soon, too, right? Your zines. I think Michael said it's soon or at least the very next Kiddiepunk item! Yay! ** Armando, Hi. I do like Clark's photography. I just don't like most of his films all that much. But this one is set in Paris, I think, so that interests me, obviously. Michael is good, He has been crazy busy with the opera. I did tell him, of course. Love and hugs boomerang! ** Okay. Please see what Rex Roth's usage of the filmmaker post format to lionize DeCoteau's stuff does to you. See you tomorrow.

Scale models

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A Canadian guy named Joe has been digging out the basement of his house using nothing but radio-controlled scale model construction equipment... since 1997. At an average rate of eight or nine cubic feet of earth moved each year, the process has been absolutely glacial. But what do you expect when every morning he drives his little excavator on its transport truck down to the basement, unloads it, and then uses it to dig out the basement walls. Then Joe uses the excavators to load R/C trucks and they work their way up a spiral ramp to the basement window where the soil gets dumped outside. Then, once it's outside, he uses bulldozers to consolidate the pile of excavated dirt.
















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Tom McKenzie tweeted an image after finding a model of the Taj Mahal made from toast at the end of his street near Queens Road Peckham station.





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The Insurance Institute for Business & Home Safety Research Center, a $40 million hangar of destruction in South Carolina, is where experts can destroy full scale scale model houses with rainstorms, hail, tornadoes and wildfire. The 21,000 square foot test chamber is as tall as a six-story building, and big enough to accommodate nine 2,300 square foot model homes at the same time.







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There are two things that are incredibly difficult to represent in scale -- water and flight -- but difficult doesn't mean impossible. A Tamiya 1/350 King George by Chris Flodberg, is my pick as best build of the year. I have never seen the action of water captured as realistically as Chris has done on this model. You can practically hear the sound of the water rushing over the deck of the ship. You can see the ship being tossed from side to side over the waves. Just an amazing example of scale modeling.







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Scale model of the proposed Mary Mother of the Poor shrine for devotees of healing priest Fr. Fernando Suarez LEO SABANGAN II





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Emilio Ruiz del Río was responsible for many of the special effect foreground miniatures for David Lynch's film Dune. These pictures are from his personal collection, and were kindly supplied by his son-in-law.










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Phil Collins saved Mark Lemon’s scale model of the Alamo from being lost to history. Visitors to San Antonio can see the model at the History Shop on E. Houston Street. Narration by the rock star helps walk you through the story of the historic battle.





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A skilled German has hand-carved a life-sized replica of the classic 1955 Mercedes-Benz 300SL ‘Gullwing’, the sports car with the flip-up doors. The model is made not partly, but entirely of wood, and features all the intricate detail you might expect, including the wheels, tyres, M-B star, steering wheel, cockpit instruments, even the headlights - though these won’t light up unless you set fire to the creation.






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A 75-meter-long ice pool at Aker Arctic Technology Inc's ice laboratory, in Helsinki, Finland. The company specializes in the design, testing, evaluation, simulation and development of icebreakers.





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Robert Bresson Action Figure





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Walt Disney proudly recapping where Disneyland was in 1966. Check out the working “It's a Small World” scale model clock.








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For the film Speed 2: Cruise Control, a full-scale mock-up of the ship's bow, known as the "rail ship" was placed a top a rail and propelled into the set constructed in Marigot.






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An investment forum in Sochi presented the scale model for the new ski resort “Logo-Naki.” All went well until the guests noticed the tiny figures having sex, crashed skiers, dead animals run over by cars, and several suicides.









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The Iowa State University’s Tornado/Microburst Simulator can generate a translating microburst-like jet (6.0 ft diameter) and a tornado-like vortex (4.0 ft diameter) for model testing, in order to understand the effects of tornados on buildings and other structures.






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If there ever was such a thing as a dream job, it would be a lifelong Marvel comic book fan getting to work on The Avengers live action film. Well, that's me. I helped build the model set for the Thor/Loki confrontation on a rocky cliff dubbed The Promontory. The following are progress photos from start to finish. It also is an example of many big budget movie sets these days that are a small section of real surface that get extended digitally.I was one of a crew of sculptors sent to Albuquerque, NM to be part of set construction.








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After leaving this page and stepping back into the build environment, it shocks how much the building across from you, with its cheap-looking touches of faux masonry or abundant technical supplies, starts to evoke similarities with this so called “horrific, dystopian, retro past aesthetic” concert hall by Isaïe Bloch. What or who influenced this project? IB: Ship dismantling, collapse, Ferropolis, postmodernism, Juliaan Lampens, Filip Dujardin, Robert Gilson, Étienne-Louis Boullée, Gehard Demetz. Whose work is currently on your radar? IB: Abhominal, kokkugia, Preston Scott Cohen, former Studio Prix students.






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Martin Müller is a aeroplane modelling genius. He made this perfectly functional Airbus A310-200 at a 1:22 scale and flew it during an indoor airshow in Leipzing, Germany, three years ago.





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In the film Cleopatra (1963), when Cleopatra arrives in Rome, you can see the shadows of the movie set scaffolding on the black sphynx.






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Archaeological dig begins to unearth scale model of one of World War One's bloodiest battlefields created by German prisoners of war.






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A company specializing in creating custom props, mnfx, created these scale model works for Trex Decking & Railing as part of a marketing campaign. This scale model decks were constructed using actual Trex decking material that was milled down into 1:12 scale pieces and assembled into the models you see below.






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This is the world's largest shake table earthquake simulator in Miki City, near Kobe, Japan. Measuring approximately 65 feet by 49 feet, the table can support 1:1 scale building experiments weighing up to 2.5 million pounds, like the million-pound seven-story condominium below, subjected to a simulated 6.7 magnitude earthquake.





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Film director Ron Howard has had the movie set created in order to film scenes for Angels and Demons, the prequel to The Da Vinci Code, after the Vatican banned filming in its grounds.






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Adam Savage Builds a Huge Scale Model of the Hedge Maze From Stanley Kubrick’s The Shining.








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Jim Casebere 'Falling House with Fire', 2012





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Alec Garrard, 78, has dedicated a massive 33,000 hours to constructing the ancient Herod's Temple, which measures a whopping 20ft by 12ft. The pensioner has hand-baked and painted every clay brick and tile and even sculpted 4,000 tiny human figures to populate the courtyards. "I've always loved making models and as I was getting older I started to think about making one big project which would see me through to the end of my life," he said. "I have an interest in buildings and religion so I thought maybe I could combine the two and I came up with the idea of doing the Temple. I'd seen one or two examples of it in Biblical exhibitions, but I thought they were rubbish and I knew I could do better." He says his wife Kathleen thinks he is mad. "She wishes she'd married a normal person".










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Where Eagles Dare set model, MGM British (Borehamwood) - Backlot (1968)






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The Naval Surface Warfare Center Carderock Division's newly renovated "Indoor Ocean", called the Maneuvering and Seakeeping Basin (MASK) facility, helps the Navy to understand extreme maritime circumstances. MASK was built in 1962, and it’s still the Navy’s biggest wave pool: 360 feet long, 240 feet wide, and holds approximately 12 million gallons of water.







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Addams Family Dark Ride model kit






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Free Shipping 1/6 Scale Movie Action Figure Model Toys Head Sculpt Accessories For 12" Action Figure Model













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Scott Weaver's piece, made with over 100,000 toothpicks over the course of 35 years, is a depiction of San Francisco, with multiple ball runs that allow you to go on "tours" of different parts of the city.





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Dubailand








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Walthers Cornerstone Skyview Drive-In Model Kit: Actually Watch & Hear Your Favorite Movies on the Big Screen Any Time! Simply Slide Your Tablet into the Screen to Bring Your Drive-In to Life - Remove at Any Time. Works with Most 7" Tablets including Apple(R) Ipad mini, Amazon(R) Kindle Fire, Samsung(R) Galaxy Tab 2.0 and Many More (sold separately). Compatible with Tablets up to 7-7/8 x 5-5/16" (20 x 13.4 cm) and from 9/32 to 15/32" (0.7cm to 12mm) Thick . Enjoy Full Sound Quality from Your Tablet Through Open Ports in Rear of Screen.







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Dry Ice and LEDs Make Drifting RC Cars Look Even More Realistic





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Wes Anderson is fond of using mind-numbingly detailed models in his movies that stand in for his larger set pieces. For The Grand Budapest Hotel, that meant a scale replica of the hotel with a working funicular.









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The largest small-scale model ever built, representing 41% of the US in miniature, was the Mississippi River Basin Model Waterways Experiment Station, located near Clinton, Mississippi. It was a large-scale hydraulic model of the entire Mississippi River basin, covering an area of 200 acres. The model was built from 1943 to 1966 and in operation from 1949 until 1973. In 1964, the site was opened to visitors for self-guided tours, and facilities included an assembly centre, 40 ft observation tower, operation observation room, and elevated platforms, drawing about 5000 visitors a year. The cost of maintaining the site as a tourist attraction was too high, so the model was abandoned and became overgrown.










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The Haunted Mansion





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Storefronts






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Long before the cast and crew of Zabriskie Point ever reached Carefree, a luxurious new housing development in the Arizona desert near Phoenix, the local citizens knew something out of the ordinary was happening in their parts. Over the weeks they had noticed a house being built several hundred yards off the main highway. As its form became more definite, they were astonished to see that it was an exact duplicate of the newest and most talked about dwelling in the Phoenix area, the $400,000 home of Carl Hovgard, tax research expert and founder of the Research Institute of America. However, they soon learned that only the exterior was being duplicated. The interior was just a skeleton. The mock-up was built in eight weeks by an MGM construction crew. A good deal of the material used in the original house was incorporated including a concrete slab roof, individually cast concrete blocks and stone for the entire front of the house. It cost more than $100,000. But its life was short. Filled with dynamite and gallons of gas and benzine, the house was guarded carefully and the exact time of the explosion was revealed to no one. Still, many local people lined the highway in front of the house in the late afternoon of demolition day. In ten seconds two-and-a-half-months’ worth of work vanished although it took hours for the fire to completely die out. There were, miraculously, no injuries and all 17 cameras operated perfectly. Michelangelo Antonioni would have two hours of footage from which to choose a few seconds for his crucial scene.









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p.s. Hey. ** Nicola, Hi. Offend me? I don't understand. No, of course not. I honestly don't know where the question is coming from. Why did you ask me that? Lots of love, me. ** David Ehrenstein, Hi. Scuzzy seems like a very apt locale in which to locate his work, from what I've seen. I think I was in that Hollywood theater. Well, actually I think I was in a few of those theaters. They must be so long gone by now, yes? That Graham junior guy sure is something horrible else, Jesus. Nice FaBlog. ** Etc etc etc, Hi, Casey. It's an excellent piece. I enjoyed and admired it muchly! Made me think newly on top of the oohing and ahhing. The new Andersson film opened here yesterday, and I'm so there as soon as logistically possible. Best to you, man. ** Thomas Moronic, Hi, T. Yeah, it was strange. Good strange. I.e., devoting that kind of close attention to something so understandably (to me) off my radar. Doing an assignment, I guess. It made the blog's formalities feel kind of like choreography. Working to be surprised, and not being. Etc. Fingers as crossed as necessary! ** _Black_Acrylic, Hi, Ben! Being on a panel is interesting. I've been on some. Very mixed experiences. Ultimately very political almost always. Lots of lobbying and compromising. Unless you end up in a magical situation where your and your fellow panelists' tastes and opinions and aesthetics weirdly align. Curious to hear how that goes. ** Steevee, Hi. Yeah, ultimately, I felt like the biggest problem with DeCoteau's stuff is how wishy-washy it is. There's this weird noncommittal quality to it, whether it's going for thinly disguised ogling material or more straight out horror or other genre trope employment. ** Keaton, Line 5 has this lazy vibe about it that can be okay. Line 4 is always intense until it gets past Montparnasse on the one side and Gare du Nord on the other. Chatelet is the worst. So bad that I 'immortalized' its badness in 'The Marbled Swarm'. Hard at work on what? Oh, your new blog thing? I like your new blog thing. As I just quickly skimmed it, by p.s.-related necessity, I knew I would be returning to it again shortly with the eyes of an owl. Everyone, Keaton has returned to his blog work, lucky us, and the result is a kind of visual/literary hybrid form thing with a centralized axe thematic that is quite wonderful. It's called 'I'll be the teaspoon'. Check it the fuck out, motherfuckers!** Misanthrope, G-man. Kiddiepunk's stuff was great, you betcha! I hope the critics agree. We got caught out in that Lyon pelting rain, and it was a weird, interesting way of getting wet. Like getting painted. By Jackson Pollock.  I've seen bits of John's commencement speech. It's almost paranormal how John always knows the right thing to say. He never puts a verbal foot wrong, and I mean ever. It's spooky. Good luck with the craziness. Let me know what's up when letting me or someone know what's up becomes a good and doable idea. ** James, Hello, James. My day was semi-productive, which was a sufficient amount of productivity for that particular day, I believe. How about you? ** Armando, Yep, he was, for the past ... 5, 6 weeks? Dude, no deal on the 'forgetting you existed' thing. I hope your horrible mood passes as soon as possible. Love, me. ** Right. The latest in my series of thematic post things that I seem to be into doing right now is about scale models, and have at it, please, if you will. See you tomorrow.

Rewritedept presents ... Introducing: Bee Master.

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As legend has it, the Bee Master resides in a cave in the smoldering desert and rises every thirteen moons to feed and vanquish his enemies. "Better not to leave your homes; the Bee Master will grind your bones; dirt and dust and ash and stones; the Bee Master will grind your bones..."

And, yeah, that's not actually true. The facts as we know them:
  -Bee Master are four dudes from Vegas who are ready to melt faces with their tasty riff selections.
  -The eponymous album, available now from several outlets online and shipping soon to anywhere you want a copy, is a catchy burst of mathy rock action, sure to set asses shaking and toes tapping.
  -The dudes are:
    Brian Cantrell - vocals, guitars, some keyboards.
    Brett Bolton - drums.
    Michael Montoya - bass.
    Brendan Scholz - guitar, vocals, new guy.
  -On this album, they were joined by Brock Frabbiele and Ryan Ray for backup vocals (Ryan recorded it, too). Anywhere you hear keyboards that sound really good, they were more than likely played by Eric Zellner.


 photo 11220821_832033880209906_7325791863747427056_n_zpswtv6vrco.jpg
Clockwise from top left: Mike, Brendan, Brett, Brian.


The Positive Press (so far):
"It was not a pizza. I was disappointed. I expected pizza."
  -Chris Gugino, esteemed journalist/man about town.
"Album of the Year, 2012-2016."
  -Aaron Thomas, driver to the stars.
"Can be said that it contains 11 tracks. There are loud parts, and not-so-loud parts."
  -Chris Gugino, no relation.
"Bee Master will mess up your hair and erase your fondest memories."
  -Brian 'not the guy from the band you're reading about' Cantrell, corporate guy.


Influences:


My Bloody Valentine - Only Shallow.


Smashing Pumpkins - Rocket.


Queen - Killer Queen.


Queens of the Stone Age - First it Giveth.


The Velvet Teen - No Star.


Fugazi - Turnover.


Nirvana - In Bloom.


Sleater-Kinney - A New Wave.


Menomena - Wet and Rusting.


At the Drive-In - Cosmonaut.


H¸sker D¸ - Makes No Sense at All.


Flaming Lips - Bad Days.


Cursive - From the Hips.


Lyrically, Brian's biggest influences include Kurt Vonnegut, Futurama, Wu-Tang Clan and things he reads on the back of cereal boxes.


Ephemera, etc.

BandCamp.

Facebook.

The Dudeist Papers podcast, episode 4 - featuring Brian Cantrell and Chris Gugino.

Live at First Sting for Bee Master, Las Vegas Review-Journal, 3 Jun 2015.

Punks in Vegas Stripped Down Session, featuring performances of Television and End.

Punks in Vegas: Five Questions with Brian Cantrell.




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p.s. RIP: Ornette Coleman. If there's a greater artist and a greater loss to art's advancement, I can't think of who that could be. Today the multi-talent of local and beyond renown who goes by the local name of Rewritedept and the beyond name of Chris Gugino introduces all and sundry to the brand new album by the brand-ish new band Bee Master. Please dig into the details, background, and side trips today. Thanks, and thanks a literal bunch, Re/Chris! ** Michael_karo, Well, thank you kindly, Michael. Yeah, I read amidst my post material gathering that Phil Collins is an Alamo fan/obsessive, which makes no sense at all, but surely must. A new album by you! Been too long a while, whoa. Do come back and link us up, obviously, yes! ** Nicola, Hi. Oh, yeah, the hi was a sincere and reverberating one and not a fridge of any sort, for sure. Oh, cool, I'm excited to read your rant, and let me ... Everyone, d.l. Nicola has written a thing of no doubt great interest, and ... she'll tell you: 'In case it's of any interest to the queer theory aficionados on here, here's (my latest) epic rant about Lee Edelman's 'No Future'.' It's over on the Feminist Academic Collective blog, and it's called 'Let’s stop equating reproductive futurity with socially reproductive labour', and please partake. x, D. ** Torn porter, Torn! Buddy boy! You guys are in Europe? Where? Oh, okay, given its length, I'll have to take a little time to watch and give you my reaction to that video you linked me to, but I will. Thanks, man. Awesome to see you! ** David Ehrenstein, Yes, RIP: Christopher Lee. And Dusty Rhodes, and Ron Moody. Death was savage yesterday. I really need to retry '1941' one of these days given your high regard for it. I saw it on release and thought it was just awful. But mistakes happen. Exciting about the new Barthes bio. In English too? I'll try to find out. ** James, Hi. Epic blog post sounds epically great and giant-ly welcome. Thank you ultra-much! ** Bill, Yeah, right? My fave is the guy who's spent 15 or whatever years digging up his basement with mini-earth moving equipment. I know, Ornette Coleman, terrible. So incredibly great. And Christopher Lee too, obviously. You're in Berlin now! How is it so far? What's up? ** _Black_Acrylic, I fully agree with you that 'Unpainted Sculpture' is one of the great art works. Glad the panel thing was interesting. Yes, there's that plus -- i.e getting a bead on sussing out how to suss out panels as an applicant. ** Steevee, Hi. I don't know those people/artists. Huh. I'll go find out. Thank you! Everyone, here Steevee interviews director Laura Nix and the Yes Men about 'their' new documentary film 'The Yes Men Are Revolting'. Read it, why don't you. We just started getting those horrible high temperatures here yesterday too. In my place, and in 90% of Parisian places as well, we have to rely on cross-breeze. ** Cal Graves, Hi, Cal. They are so-o-o-o-o long. They make for good gifs sometimes. People who love poetry love poetry more intensely than people who love fiction, essays, etc. love fiction, essays, etc. It's magic. I'm good. Masks? Yeah, not wearing them, but I like seeing and touching them for completely sure. It depends, re: 'quality'. With, say, monster masks, which I particularly like, the new sophisto ones don't interest me as much as the older analog ones from the 90s and prior. I think they're scarier and more interesting when they're a little technically imperfect or something. Why do you ask? Are you especially into masks? If so, what kind(s)? I didn't know that American Chordata was actually out! Cool, thank you! I wish Zach, wherever he is, would have alerted me so I could do a big birth shebang post. I guess I still could. D.l. Zach, are you out there? Want me to do a 'welcome to the world' post about American Chordata with you assistance? In the meantime, ... Everyone, American Chordata, a new literary magazine, one of whose editors is beloved d.l. Zach, is out publicly with its first issue, which looks great, and which has work by our own Cal Graves in it. Get it. It's totally, totally free, and it's right here. Yay! Beeline-for-the-fridge-ly, Dennis ** Chilly Jay Chill, Hi, Jeff. Yeah, so huge and horrible about Ornette Coleman. I got to see him perform live only once in the early 80s. It was just insanely great, of course. No, I haven't seen the Andersson yet, but I hope to maybe this weekend. Hm, okay, I'll prepare myself for the late tone problem. I haven't seen anything new, film-wise, of late other than 'San Andreas', just stuff online re: making posts, mostly. I just watched a bunch of Harun Farocki while making a post about his work. That was fantastic. With luck, we will be putting the very, very final touches on the film starting today and hopefully finishing over the weekend at long last! ** Misanthrope, Nutsy nature rules. Well, except in cases of fire and really bad earthquakes. But rain, thunder, lightning, ahhh. John Waters is a god. Point blank. Inarguably. Oh, shit, about the mom stuff. So, I guess getting her to sign off on LPS is not going to be easy? Shit, man, best of the best re: all of that. Ugh. I like the old way with models and miniatures and massive built sets and stuff, but I do like CGI too. I kind of like how CGI is slathered onto skeletal sets and green screens and stuff. But it's always cold. That's a drawback, although I do like the coldness. I don't know, weird. ** Keaton, Me? Nah. But thanks. Really liked your latest post. A lot. Me too, about the bend of the metro trains. There's a great one on Line 1, I think between Gare de Lyon and Bastille, which is also the train where, if you can get into the first car, you get to look down the tunnel ahead. I don't think they have dill pickles over here. Oh, wait, in American chain joints they do. Hummus is Satan's orgasm. In the good way. ** Okay. Try to add Bee Master to your favorite new bands list, if that happens to happen to you today. See you tomorrow.

4 books I read recently & loved: Jessica Hopper The First Collection of Criticism by a Living Female Rock Critic, Sarah Jean Alexander Wildlives, Sean H. Doyle This Must Be the Place, Ron Padgett Alone and Not Alone

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PAPER: When did you first start writing about music?

Jessica Hopper: When I was 15 or 16 years old is when I started getting my first checks for my rock criticism, and that came from when I would read the local papers in Minneapolis. I would call and say, ' you got this whole article wrong, and you guys don't understand this band like I do.' I really felt like I was living in a time in Minneapolis where bands like Babes In Toyland -- who were the sort of band I was seeing every week -- were being labeled by men as being 'caustic,' or 'hysterical,' rather than 'canonical.' Whereas I thought Babes In Toyland was the greatest band that had ever existed. Because it spoke to me so loud and clear.

P: What made you go from feeling like a band you loved was misunderstood to becoming a critic?

JH: I knew my perspective mattered, so I was pretty assertive about putting it out there. We see that a lot today -- that there's a lot more value being placed on a multitude of perspectives in music media, and I feel like that was a long time coming. I think there was so long where we defaulted, and in some places we still do default to a macho ideal of good; a white ideal of good; and when I first started writing about music I was, like, in 10th grade and I wholly did not subscribe to the ideals that were being put on me.

P: You were very involved with politics as a very young teenager, how did you transition to writing about music?

JH: I had a lot of interest in my own independence as a woman, and I saw a lot of the truth of the way women were treated in the world because I was paying an inordinate amount of attention. I loved music and I got burnt out on a lot of that political stuff...I was speaking at pro-choice rallies and stuff. I took myself very seriously -- and then I found punk rock. Shortly after getting into punk rock was the first Bikini Kill tour in the US and I was working in a record store and the people I was working with were like, 'we have this Bikini Kill tape and this seems like your kinda thing.' And through that I found a place in the world that was everything I was interested in, underscored a lot of my beliefs, and gave that feeling a name, and that was radical feminism and punk rock. All of those things, I believed in quite altruistically.

P: Writing about music can still feel like a political act -- there is still that feeling that you have to prove your worth in order to have a voice, you have to prove your credentials, while the canon of male critics gets to write whatever they want. Do you feel like, as a mentor, girls still have to prove themselves.

JH: Part of the reason I gave the book the title I did is because I feel like there are days when it just confounds me that some of these wonderful young writers who are light-years past where everyone is at 21 and 22, have to endure the same stupidity that I had to when I was coming up 19 years ago. I was lucky that when I was their age, people had to be angry enough to confront me in person, or people had to write me a letter. You have to be really angry to write a letter, as opposed to firing off some irate tweet and hoping it scalds the other person, the person you're looking to undermine. I think now young female writers, or young writers who aren't straight white dudes, have to have another layer or resilience in order to have a strong opinion.








Jessica Hopper The First Collection of Criticism by a Living Female Rock Critic
Featherproof Books

'With this premiere volume, spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why the New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful and humorous writing, this book serves as a document of the last 20 years of American music making and the shifting landscape of music consumption. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music, the ideas in songs and albums, how fantasies of artists become complicated by real life, and just what happens when you follow that obsession into muddy festival fields, dank basements, corporate offices or court records.'-- Featherproof Books


Excerpt

How Selling Out Saved Indie Rock

It’s 2 p.m., the Friday before Christmas 2012, on the 21st floor of the Leo Burnett building in downtown Chicago. Young executives, creatives, admins, and interns are all packed into a large meeting room, giddy and restless; today is special. Canadian sister folk-pop duo Tegan and Sara step onto a foot-high stage and play three songs — including the first two singles from their seventh album, Heartthrob, which they will release the following month. The fluorescent lights stay on, the city’s skyline splayed out behind them. Afterward, nearly all of the 200-odd employees in attendance will stand in line, phone at the ready, to pose for pictures with the band, just like fans after any concert.

And Tegan and Sara, who eventually cracked the Top 20 with Heartthrob’s “Closer,” need to win over this audience just as they would at any concert. A track in the right commercial could bring about the kind of attention that magazine covers and radio play alone can no longer garner. Commercial placement, or a sync, has evidenced itself as the last unimpeded pathway to our ears — what was once considered to be the lowest form of selling out, of betraying fans and compromising principles, is now regarded as a crucial cornerstone of success. And as ads have become a lifeline for bands in recent years, the stigma of doing them has all but eroded. But with desperate bands flooding the market, the money at stake has dropped precipitously. Even the life raft has a hole in it.

“A tiny sliver of bands are doing well,” says the duo’s Sara Quin. “The rest of us are just middle class, looking for a way to break through that glass ceiling. The second ‘Closer’ got Top 40 radio play, we were involved in meetings with radio and marketing people who said, ‘The next step is getting a commercial.’ I can see why some bands might find that grotesque, but it’s part of the business now.”

Fifteen years ago, the music industry was still a high-functioning behemoth pulling in $38 billion a year at its peak, able to ignore the digital revolution that was about to denude it entirely. Starting in 1999, sales of recorded music fell an average of 8% a year; 2012 was the first time since then that sales went up — 0.3%. Last year, it reported $16.5 billion in global revenue. America accounted for $4.43 billion of that — approximately the same amount spent by AT&T, Chevy, McDonald’s, and Geico on ad buys in the U.S. alone.

Back in the early ’90s, when the music industry was thriving, commercials weren’t a way indie bands got ahead — the punitive value outweighed the relatively small financial gains bands made for licensing a song to a commercial campaign. Band manager Howard Greynolds, who looks after the careers of Iron and Wine and Swell Season, was an employee at indie label Thrill Jockey when two of its flagship bands, Tortoise and Freakwater, licensed a song for a 1995 CK One campaign.

“I remember people calling us saying, ‘I can’t fucking believe they did that, I can’t support this band anymore!’” says Greynolds. “We were overly transparent then, we told people, ‘Listen, this $5,000 bought them a van — fuck off.’” A few years later, another Thrill Jockey band, Trans Am, were outspoken about turning down a rumored $100,000 deal to license a song for a Hummer commercial. A generation ago, refusing these kinds of offers was a way for bands to telegraph where they stood, the sort of thing that showed their allegiance to the underground and their community.

It’s been nearly 30 years since Lou Reed hawked Honda scooters with “Walk on the Wild Side” and 26 since Nike used (and was summarily sued for using) the Beatles’ “Revolution” to sell sneakers, but the diminishing of this notion’s ability to outrage has sped up over the last decade. Volkswagen used Nick Drake’s “Pink Moon” and a half-dozen Wilco songs, Apple placements are gold medals rather than albatrosses for relative newcomers like Feist and rock royalty like U2 alike, and no less an anticommercialism scold than Pearl Jam got in bed with Target in 2009. Such moves are barely even press-cycle talking points by now.

Greynolds says what expedited this change wasn’t just the huge drop in record sales, but as layoffs swept through the record industry, contacts from labels and distributors went to marketing, advertising, and brands. “All of the sudden those were the people at music houses,” says Greynolds. “People from your world. They might be feeding you a line of shit, but there was trust. They were different.”

These new players within the advertising industry proved to be capable navigators of both the ad world as well and the music underground. They could help forge lucrative connections between brands and cash-strapped bands — and their fan bases. Decades of posturing and sanctimony were rendered moot once artists realized that corporate gigs were the only paying gigs in town, a (very) necessary evil.

(cont.)



St Vincent with Jessica Hopper discussing David Bowie


If This Is How the New Journalism Is, Count Us Out!: Jessica Hopper


LIVE! @ your library: Jessica Hopper




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'Wildlives is concerned with both literal and figurative explorations of space, and which metaphors we choose to ignore or flood with attention, particularly when the two coalesce in heightened moments of intimacy between people. “The Edge-Parts of Different Places” begins with the lines “It is hard for one human / to fit inside another human”–describing a moment with a partner as a locus of both physical and emotional contradiction. As the poem goes on, its language becomes increasingly surreal, closing with the image of a Woman made out of bats.

'This image depicts that creation of a kind of creepy, closely-knit darkness that provides comfort, claustrophobia, and even escape. Alexander conjures intimacy with a kind of haunting, low-grade psychic violence–I am reminded of Dorothea Lasky’s Thunderbirds at some moments. (Though Alexander’s poetics is complex, unusual and uniquely her own, I feel also compelled to bring up Tomaž Šalamun, Cassandra Gillig, and Melissa Broder–who aptly, blurbed the book.) Invocations of the surreal are echoed and answered on the next page, as the piece “Humid Air and Three Blankets” closes with its speaker uttering the phrase: “I am here to remind you / that this is happening”–a kind of choral remark that speaks to not only these pieces, but Alexander’s poetics more generally.

'Though Wildlives is full of relatable, confessional poetic moments, it is not an egocentric collection: the author displaces her sensations onto dead stars, unwieldy mountains, bodies become forage, and mosquitos transported across state lines. Alexander’s announcements of amorphous longing take on refreshing physicality that isn’t amorphous at all. “The biggest stars in the universe are called red supergiants,” she announces, reflecting simply that: “I shouldn’t have let you become mine.”

'Though I don’t know if there is a word for it, I want to say that Sarah Jean Alexander’s poems are the opposite form of the Whitmanesque expansive impulse–instead of making herself larger, the author manipulates language to make herself and the objects of her fascination so incredibly small they seem racked with detail–as if nothing else exists.

'“I am tiny next to you,” begins the poem “695,800 kilometers.” The next moment, lovers have swapped appendages. Like my favorite of Alexander’s poems, this begins somewhere safe and lyric but quickly becomes an arrangement of tiny, eerie memento moris–a still life the author moves through, shifting seamlessly from light to solemn, play to lament, dreaming to waking, yet always herself manages to emerge intact, guiding us out in some new, direction we could never have dreamed up ourselves.'-- Lucy Tiven, Fanzine








Sarah Jean Alexander Wildlives
Big Lucks

'Wildlives is a scrapbook of poems and of short stories, of nightmares and of daydreams, of love letters and of prayer cards. In her debut collection, Sarah Jean Alexander asks (and answers) the hardest questions about love and loneliness and 21st century human survival. Wildlives excavates the depths of heartbreak, hope, and helplessness that can exist between two people in a small, human world.'-- Big Lucks

'I've only met Sarah Jean Alexander once, but it was intense time and a wild time. I think that's how you have to define Sarah Jean, and I think that's how we have to define the work we find on these pages: free and brutal and savage and, yes, wild. I'm reading this author and it feels as if she really knows truth. It feels as if she is my best friend. It feels as if her heart and her fears are exactly the same as mine. For these reasons, it doesn't matter that I've only met Sarah Jean Alexander once: thanks to the strength of this book and the weight of these letters, I am convinced that we will always be together.'-- Luna Miguel


Excerpt
from The Quietus

WAYS IN WHICH IT IS TRUE

You are the reason people still search
for new people to kiss

Similarly to the way that you are the gateway chip to,
“Yes, I have eaten the whole bag”

I have never been satisfied and known it
In other words, I have simply never tried

It’s true that I run faster than I give myself credit for
just in case someone is going to try to race me for fun
when I am already too tired

and don’t want to have any fun

It’s true that while wearing sunglasses in public
a person becomes imperceptible

Not in the way that

no one can see you
or tell that you are walking in front of them on the sidewalk

But imperceptible in every other way

My stomach rarely flushes with embarrassment
but does especially when my hands
are holding the two of your cheeks
like they are going to melt away
And your cheeks are being held
like they are considering becoming more heavy

As if a body can expand and shrink on command
in a way that is more dangerous
than breathing

And what about breathing, anyway

What if it’s not that we need to breathe in order to stay alive
but it’s our breaths that are the owners of our soul

and it’s the soul that needs this body to keep on going

What's life for if not taking everything
spoken to me as a sign to move in closer

What's life for if not using another body
as a placeholder for your fear

You are big moves in the morning

when I am wanting to be there too

but instead I am many miles away and still asleep

You are hard work in the night
when I am texting you good bye

and the messages are green and not going through
because one of us is underground

and neither of us are being easy

together

Sometimes I become so frightened

that a person I knew will become a person I know, again
and that I will have to follow through

on an infinite amount of dormant promises

that seemed nice to make at the time

It’s true that being in love

is the only way I know how to pay for gratitude

without feeling like I am going to run out of something else

It’s true that every time I open my eyes
I am bewildered that so far,

my body has not completely failed
me in a new and exciting final way

I am unconvinced that inside all of us
an at times dull, at times screamingly apparent pain
isn’t making a home

But maybe I am just cold outside in the air
and you are outside in a cold air with me

In the cold air it is difficult for anything to make a home
even if it tries very hard

Fold with me into ourselves like baby paper cranes
who don’t know how to exist without sinking

Hold onto my cheeks similarly to the way
I held onto yours

Learn how to melt away
and then do it



Sarah Jean Alexander reads some of her poems


sarah jean alexander & theo thimo reading SJTB at $ young money poetry $


v erotic




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'If we put three people in a room together and asked them to define loyalty or honor or respect, we’d get different answers from each one of them. Some of the answers might overlap and some of the answers might come out angry or defeated or even terrified of being seen.

'We are living in the age of hyper-connectivity, but nobody is connecting.

******

'I’ve been having panic attacks again. They keep starting in weird places inside of my body. Sometimes they start in the soles of my feet and feel like electric eels climbing up my Achilles and into my calves and then they explode like arcing light through my thighs and into my torso. Other times they start in my colon—a twitch or a gurgle that isn’t anticipated will happen and then everything inside of me goes dayglow and slithery—which isn’t a spot I am used to them beginning.

'I am all out of my anxiety medication and I feel like that is a good thing. I feel like not relying on the pill as an act of desperation is a better option than me taking a pill and going fetal wherever I am until it kicks in and does the smoothing out thing. I want to feel it all right now. I want to sweat and convulse a little. I want to taste the pennies in my mouth and I want to feel the current in my limbs.

'Ride your fucking ride.

******

'I almost got married when I was nineteen years old. It was such a quick and wild thing, this sudden aloneness turning into impending marriage and all that. Everything was a blur. I remember telling my Senior Chief on the ship that I was flying to Arizona to get married and he looked at me like I was crazy and said “You have a girl? Had no clue.” My mother was stoked, because she really loved the girl. I loved the girl. My sister loved the girl. The girl, well, she fell in love with someone else before I could get back there and do the marrying thing.

******

I' always enjoy how on a holiday meant to remember the dead, Americans of all shapes/sizes/ages will use it as an excuse to drink too much alcohol, scorch dead animals on grills, and ramble their rambles about those who have
served.

'Don’t even get an old fuck like me started on the honor part.'-- Sean H. Doyle








Sean H. Doyle This Must Be the Place
Civil Coping Mechanisms

'Doyle lays himself bare […] without eliciting pity or scorn. In others’ hands, similar material — drug abuse, desperate sex, violence, suicidal thoughts — have often resulted in wallowing or descriptions of depravity for depravity’s sake. It is a testament to Doyle’s clear examination and probing of his past that when he drops us into one charged situation after another we neither sink nor are incredulous at the messes he finds himself in. His spare words rescue us from despair, while still communicating the profound pain of just being alive with pinprick precision.' -- The Chicago Tribune

'This Must Be the Place is the book of an orphan in the wake of his delirium struggling to make sense of the loss that caused it. Sean H. Doyle is a walker of fire and slayer of ghouls whose numberless prolonged trials have stripped him of human dross and discrimination alike. Absence is a mentor, in his world, anguish a mold, compassion the reward. If after reading Doyle’s story you don’t fancy him caressing the brow of Despair itself, it won’t be because he’s failed to tell it well. It broke me, this book, then it took my hand and kissed me. I am changed, now, and so much the better, too.' -- D Foy

'Reading This Must Be The Place is like getting mugged, and then once the mugger takes your wallet, they push you on the ground. And then once you’re on the ground, they kick you in the stomach, over and over and over again. And then when you think they’ve finally decided to leave you alone, they kick you once more in the teeth. The only difference is that when Sean H. Doyle is mugging you, the experience is cleansing, invigorating, something that tests your heart but also makes it glow, an experience you don’t want to ever stop. Otherwise, they’re basically identical.'-- Juliet Escoria


Excerpt
from Everyday Genius

The Willow House, 3rd Ave and McDowell Road, Phoenix, June, 1994—
I come here after my shift at the record store and sit around at picnic tables outside, scribbling into notebooks while drinking shitty coffee and waiting for my girlfriend, Velvet, to get off work so we can go get high. The crowd here is varied: AA people alongside art people and punks alongside dirty Deadheads and downtown casualties. There are many open mic poetry events, usually outdoors at dusk. One night I decide to read. I go to the mic and drop weapons. I go to the mic and read about Kuwait City and southern Iraq. I go to the mic and read about prostitutes and hashish and drinking homemade wine made out of grape juice in the middle of the Indian Ocean. I go to the mic and curse over and over again. Nobody claps. Nobody moves. I am not asked to read again.

Desert Sky Pavilion, West Phoenix, October 18th, 1995—
I am loaded on a belly full of pills and Sarah is gyrating wild-like in front of me, dancing like the world is ending and she is the only one who knows it is ending. We are surrounded by thousands and thousands of people at a Nine Inch Nails/David Bowie concert. The concert is outdoors, so I have packed the tips of a few cigarettes with weed. Sarah is still dancing like someone who has been injected with methamphetamine. I light one of the loaded cigs and Nine Inch Nails launch into “Closer” and Sarah runs her hands back to the front of my jeans and starts playing with me while I get high. There are mothers and fathers and uncles and aunts surrounding us. Sarah is still dancing and she pulls my zipper down and starts to rub me. Someone from behind us makes a comment about the weed smell but I do not care because my cock is getting harder and Sarah is getting faster as the song builds. Someone from the side of us throws a beer at us and Sarah keeps gyrating and rubbing and I lean my head all the way back and look up at the sky and the noise is beautiful and I don’t fucking care.

AZP Skatepark, Flagstaff, AZ, December 1995—
Grass has come up to Flagstaff to play a show with Julia—an incredible screamo band from San Diego—and Primitive Tribes—a local Flagstaff band made up of peace punks and crusties. The show is inside of a skate park and the skate park has no heat and it is thirteen degrees. As always, our second guitar player, Reid, couldn’t make the show. This has happened three or four times now. I am very close to quitting the band, but I love playing with Brian and Anthony, so I put up with Shawn’s weird mope shit and persevere, for the rock action. A band of hessians show up at the skate park and beg to get put on the bill. They’re on tour from the Midwest and just want to play a show. They’re called Ritual Device and seem like nice enough dudes. We let them go on before us. They destroy everything and everyone in the place with a solid and guttural Jesus Lizard-like sludge and stomp. I wish I was in that band and on that tour. We play our set and every animal comes out of my body and there is steam rising from my hands on the fretboard and I run halfway up the halfpipe and slide down on my knees while playing and Shawn is mewling and Brian is thumping and Anthony is pounding and I leave my body with the animals and never notice the blood from my frozen fingers until after, when I can feel every sting.

Scripps Memorial Hospital, 9888 Genesee Ave, La Jolla, CA, April, 1996—
My mother is in a coma because the radiation treatment weakened her colon so much that a portion of it burst and went septic. The doctors found some strange bacteria in her body and because of this anyone who goes into the room to be with her has to scrub up and wear medical scrubs. I have just returned from my mother’s dentist after getting a broken tooth pulled and my mouth is full of bloodied gauze and I do not say anything to my mother’s nurse about it because I am not going to let some bacteria get in the way of me spending time with my mother while machines are breathing for her and she is dreaming of another life. I pull out the bloodied gauze and put it into a trashcan next to the bed and sit down and hold my mother’s hand and tell her about my life, about how at night I go to the strip club near the Sports Arena because none of the women there will ask me how I feel or what I feel or anything of the sort and I can be alone there at a table in a darkened corner and the music is loud and the cokes are ice cold and I can disappear.



Trailer: This Must Be the Place


Sean H. Doyle at the February 2014 NYC Sunday Salon


Sean H. Doyle reads 'The Huffer'




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'Ron Padgett is a writer with a consummate sense of the fantastical as it intersects the quotidian. A prominent second-generation New York School poet, Padgett’s publication history is impressively varied; a finalist for the Pulitzer Prize in Poetry in 2012, Padgett, in addition to his many volumes of poetry, has produced distinguished translations from the French of work by Apollinaire and Reverdy, among others.

'Reading Padgett’s disarming poems is always a delight, and Alone and Not Alone certainly does not disappoint.

'Notwithstanding this poet’s famously seductive wit, the poems in Alone and Not Alone are often accompanied by a tinge of metaphysical melancholy bordering on bemused fatalism.

'“Reality,” he writes in the poem by that name, “has a transparent veneer/that looks exactly like the reality beneath it,” a veneer that will sometimes “. . . flicker and vanish,/though it is still there./You must wait a day or two/before attempting to see it again.” When Padgett reminds us that “Sometimes the veneer becomes detached/and moves slightly away from reality,” he is moving us (with his characteristic lightness of touch) smack dab into the middle of epistemology.

'And isn’t epistemology—the nature of a more generalized knowing—arguably the natural habitat of poetry? In the poem, “Face Value,” Padgett writes, “The Wall of Forgetting” is “. . . not a wall it’s a mirror/that picks your face up off the floor/and whirls it onto a head/that has gone on without you.”

'Padgett’s head is filled with serendipitous metaphor and seemingly wacky, though at the same time eminently sane, aphorisms. “Everyone is warm enough/to be alive,” he writes in “The Plank and the Screw”. In the poem, It All Depends, he comments on the 19th century during which “Cottages go by/and music piles up/like excited dead people.”

'No one writes like this, but Ron Padgett is definitely somebody, and he writes like this.'-- New York Journal of Books








Ron Padgett Alone and Not Alone
Coffee House Press

'The latest from Pulitzer Prize finalist Ron Padgett, Alone and Not Alone follows 2013′s triumphant Collected Poems (winner of the LA Times Book Prize and the William Carlos Williams Prize) with new poems that demonstrate how vital Padgett’s skills as a poet remain, continuously reminding us that the world may be seen in a clearer and more generous light.'-- Coffee Hoise Press



Excerpts

Survivor Guilt

It’s very easy to get.
Just keep living and you’ll find yourself
getting more and more of it.
You can keep it or pass it on,
but it’s a good idea to keep a small portion
for those nights when you’re feeling so good
you forget you’re human. Then drudge it up
and float down from the ceiling
that is covered with stars that glow in the dark
for the sole purpose of being beautiful for you,
and as you sink their beauty dims and goes out—
I mean it flies out the nearest door or window,
its whoosh raising the hair on your forearms.
If only your arms were green, you could have two small lawns!
But your arms are just there and you are kaput.
It’s all your fault, anyway, and it always has been—
the kind word you thought of saying but didn’t,
the appalling decline of human decency, global warming,
thermonuclear nightmares, your own small cowardice,
your stupid idea that you would live forever—
all tua culpa. John Phillip Sousa
invented the sousaphone, which is also your fault.
Its notes resound like monstrous ricochets.

But when you wake up your body
seems to fit fairly well, like a tailored suit,
and you don’t look too bad in the mirror.
Hi there, feller! Old feller, young feller, who cares?
Whoever it was who felt guilty last night,
to hell with him. That was then.


The Way You Wear Your Hat

Boing, boing, boing
is the sound the exclamation point makes
when it leaps around the page alone
like Fred Astaire in a tux at night
when he thinks that Ginger Rogers
is mad at him and only his toes
will lighten the glumness. Oh!
what a beautiful way to start a dance,
just a slow slide of the toe
along glittering black marble.
And in her hotel boudoir, Ginger
in a white satin gown, arms
crossed and lips pursed —
hey, she is mad. And no wonder:
they are in different films
being shown at different theaters!
And they will never, ever meet again,
for they have tricked each other
out of existence.


This for That

What will I have for breakfast?
I wish I had some plums
like the ones in Williams’s poem.
He apologized to his wife
for eating them
but what he did not
do was apologize to those
who would read his poem
and also not be able to eat them.
That is why I like his poem
when I am not hungry.
Right now I do not like him
or his poem. This is just
to say that.


Bargain Hunt
for Tessie

Suppose you found a bargain so incredible
you stood there stunned for a moment
unable to believe that this thing could be
for sale at such a low price: that is what happens
when you are born, and as the years go by
the price goes up and up until, near the end
of your life, it is so high that you lie there
stunned forever.



Ron Padgett reading 'Nothing in That Drawer'


Ron Padgett: Reading and Writing Long Poems


Ron Padgett: Poetic Beginnings




*

p.s. Hey. ** Nicola, Hi. Oh, gosh, blessings back to you. We're making a swarm of blessings. It's cool. Love, me. ** Bill, So you're still doing Berlin in a lag, or did you escape time's evil change? Sounds fun, in any case. That link was of interest, you can betcha. Man, that guac bowl looks greasy in a genius way. Wow, I'll be flying to Halle on the very day you're flying out of Berlin. May our jet trails draw a big X in the sky or something. Anyway, tell me all the German pooh. ** David Ehrenstein, Hi. How weird, or weird to me or something, that Carol Channing and Christopher Lee were/are the same age. I think of Carol Channing as being someone from the immense past, and CL ... well, he recorded a Black Metal album three years ago. Age, so curious, so relative. ** Steevee, Hi. I saw a thing for 'The Wolfpack,' and I didn't know what it was, and, based on the poster or whatever that I saw, I thought it might be about the Emo sub-sect of 'wolves', but I guess it isn't. Looking forward to the read! Everyone. Mr. Steve Erickson aka Steevee has interviewed director Crystal Moselle about her new documentary film 'The Wolfpack', which 'opens with six long-haired teenage brothers reenacting a scene from Reservoir Dogs, complete with guns made from duct tape', which is enough to make me see it, at least. In the meantime, hear what she tells Ste(e)ve(e) here on Studio Daily. Funny story/mental image about the Tyler appearance Anthology Film Archives. It almost sounds like a scene out of Justin Bieber at his fame's height holding court from his Paris hotel room window vis-a-vis hundreds of adoring French teens in the street below, which I stumbled by/upon a few years ago. Weird juxtaposition, in other words. ** _Black_Acrylic, Hi. Yeah, great painting, for sure. Huh, I know the name Max Stirner, and strongly suspect I've read his writings, and, in fact, I'm sure I have, but I think only in pieces. Interesting. I'll see what's what with that book, Thanks a lot, man! ** Chilly Jay Chill, Hi, Jeff. Yeah I saw you did a Pat O'Neill gig. Awesome about the turn out! I'm a really big fan of his work. His visual art is excellent as well. His LA gallery Cherry + Martin mounted a great show of his stuff here at the Art Fair last year. I did try to make a post about his films maybe six months ago, but there weren't enough film clips online to make it work. I'm going to try again. I do feature one of his films in an upcoming Los Angeles experimental film post that I'm putting together. Terrible news re: your novel ... fuck, man, I hope not too terrible. Please relay what's going on in that regard whenever you're ready. I don't know that translation. I know of the book, but I haven't read it. I've only read Rimbaud's letters in a piece-meal fashion usually when they're inserted into collections of his poems. I'll check it out. Thanks, pal. ** Rewritedept Hi, Chris. Thanks a bunch again! There wasn't an embedded player in the post you sent me. I would have alerted you if it had been there and didn't work. Enjoy the actual bed. I'm good. Everything's good. A picture, cool, I'll go tiptoe into FB and check it out. Thank you. And send you my address, yeah, sorry, I spaced, as usual. Fantasy stuff is cool. Why wouldn't it be? It's like the jazz of genres or something maybe. ** Armando, Man, that's a very complicated-to-impossible comment to respond to. I'm going to be pragmatic with you, because I am. To make an announcement like that to someone (me, for instance), who only knows you in the limited way that conversing once in a while on a blog with someone allows, and who is very far away physically and psychically, does nothing but induce a feeling of helplessness and worrying that can not be resolved. You're in a lot of pain, and I know you need to make people know that, but the effect, unintended, feels aggressive because, like I said, and as you must know, there is nothing I can do and, not knowing you very well or your situation at all, nothing productive that I can say other than to say I hope you find something or someone in your immediate life that will avert you from the blackness and into enjoying yourself and your life because, from what little I know of you, you seem very smart and interesting. I really hope you find that turnaround. ** H, Hi! I'm very interested to read your thoughts on Mike's book! Everyone, great d.l. H has written on writer extraordinaire and d.l. M Kitchell's book 'Forest Wound' over on goodreads, and this is a meeting of excellent minds if there ever was such a thing, and, so, I encourage you to click this and read/get the spoils. I'm good. Thanks for your progressing thoughts on the wind chime. Just the thoughts re: it on my end are a great pleasure. ** Cal Graves, Hey, Cal. Long and great are definitely not mutually exclusive. It sounds like you are re: them like I am re: disaster movies. Poet people are pretty intensely into poetry. Back when I was a poet -- well, I still am, but I mean back when I was primarily a poet -- and was heavily in the poetry scene in LA, it was like being in the literary scene equivalent of an orgy or something in a way. Ooh, the poster for Mirrormask is exciting. I'll see if I can rent that or something. Yeah, that looks yum. My favorite Zelda game is 'Majorca's Mask'. That must mean something. Coolness. Do you have a fun bordering on maybe even amazing weekend plan(s)? Amaze-balls-ly, Dennis. ** Keaton, Vampire! On Titus! ** Right. This weekend I present you with four more books that I think would be very worth your time, if you have both the time and the means to acquire then read said books. Give it a thought. See you on Monday.
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