Two Catholic schoolgirls (with the help of a retarded gardener) pledge their lives to Satan and a life of evil. Never released in the United States and “banned” for blasphemy.
“…we renounce forever Jesus Christ and all his works…”
Influenced by their reading of forbidden books, they decide to explore the world of perversion and cruelty.
Once they have stepped over the line, they find it impossible to stop. Soon they are contemplating the ultimate evil act.
It’s a film that should be viewed only by those with very open minds.
The Girl Can’t Help It is the garish acme of CinemaScope and DeLuxe Color, monumentally loud and blatantly exploitative —a veritable Parthenon of vulgarity and a supremely unfunny comedy that is pure eau de Fifty-Six. This satire of Elvis and Marilyn (or rather, of their clones) shimmers with radioactive pinks and cobalt blues; at once strident and static, the movie defines the atomic-Wurlitzer chrome– tailfin Fontainebleau-lobby look. Producer-director-co-writer Frank Tashlin is one of the very few Hollywood directors who broke into movies as an animator and, like the Dean Martin–Jerry Lewis comedies that preceded it, The Girl Can’t Help It is something like a live-action Looney Tune.
Appropriated by John Waters some 15 years later as the only suitable way to introduce his 300-pound gender-blur Divine in Pink Flamingos.
Grotesque stereotypes collide with billboard-sized caricatures. This proto Pop Art pathology might be too painful to contemplate were it not for the exotic life forms flourishing around its periphery. Climaxing with a rock show performed for an audience of teenage white zombies, The Girl Can’t Help It is populated by all manner of failed honkers and would-be cool cats—as well as Fats Domino, the Platters, a gospel-shouting Abbey Lincoln.
The coolest presence ever recorded by a Hollywood camera may be Little Richard, first seen standing entranced before a piano—as if wondering whether to pulverize or incinerate it.
“In Albania, is anything so bad it’s good?” “Little Richard was “…the King of Rock ‘n Roll, and the Queen of Rock ‘n Roll.“
Here, our beloved Pope of Trash introduces Frank Tashlin’s gemstone for everyone to enjoy.…
The president of Civic TV Channel 83, Max Renn, is always looking for new cheap and erotic movies for his station.
When his employee, Harlan, decodes a pirate video broadcast showing torture, murder, and mutilation called “Videodrome,” Max becomes obsessed to get this series for his channel.
He contacts his supplier, Masha, and asks her to find the party responsible for the transmission.
A couple of days later, Masha tells that “Videodrome” is real snuff movies. Max’s sado-masochistic girlfriend Nicki Brand decides to travel to Pittsburgh, where the show is based, to audition.
Max investigates further, and through a video by the media prophet Brian O’Blivion, he learns that that TV screens are the retina of the mind’s eye, being part of the brain, and “Videodrome” transmissions create a brain tumor in the viewer, changing the reality through video hallucination.
One thing we like at ‘The Remains’ is a good pair of Juggs. And no one delivered more in that field than Chesty Morgan. A tiny (around 4 foot 8inches) but surprisingly attractive woman, for many she represents the epitome of the big-tit pinup queen.
Chesty didn’t have it easy in life. Born around 1928 in Poland, as Lillian Wilczkowsky (now Lillian Stello), losing both her parents when she was a child in the Nazi invasion in 1939. Morgan married an American and moved to the United States in the 1960s; her husband was later killed in a robbery.The police told her that armed robbers herded her husband and two employees into a refrigerator and shot and stabbed them to death. Tabloids call the crime “the icebox murders.”She began her career as an exotic dancer in the early 1970s.
Her billing title boasted that she had “The World’s Largest Naturally Occurring Bosom”. At one point, she had a poster entitled “The Spirit of 76 (Inches)” She was immensely popular on the striptease circuit in the 60’s, known for her 73-inch bust size. However, at some point, she came to the attention of the incredibly filmmaker, Doris Wishman. And in 1973, Doris cast Chesty in the role of Krystal in the film Deadly Weapons. This was followed in 1974 with Double Agent 73.
Deadly Weapons (1973) and Double Agent 73 (1974) — are among Wishman’s best-known and most outrageous work. The two films have become cult movies, due to their highly unconventional plots, which were written by Wishman’s niece, Judy J. Kushner. In Double Agent 73, for example, Morgan plays a secret agent who has both a camera and a bomb installed in her breasts. Such a thing might not seem wholly out of place in a comedy, but these films are played straight — the tone is more serious than a James Bond movie.
Wishman’s films are filled with contradictions, particularly about sex. Rather than erotic, many of her movies could actually be described as anti-sexual. In 1976 Federico Fellini is in New York to promote his latest movie, Amarcord, and catches a glimpse of Chesty. He invites her to be in his upcoming film, Fellini’s Casanova.
She dyes her hair black and flies to Rome. Casanova, played by Donald Sutherland, chases Barbarina, played by Chesty, around and around a table. Fellini cuts her part from the film, but her scene remains in a documentary that still circulates on the Internet.
Ms Morgan’s film career began again in the 1990’s. In 1994, filmmaker John Waters used footage of Chesty from the film Double Agent 73 in his 1994 film Serial Mom. Additionally, Waters wrote a role for her in his (never made) sequel to Pink Flamingos (Flamingos Forever).
You can watch here a compilation of clips of Miss Chesty in all her Glory. Loves to Chesty.
A few days ago we posted a mash-up article about Bob Mizer and thanks to it being mentioned by Claire B. Potter on his blog Tenured Radical, I realized there was an exhibition going on in Manhattan, so I decided to go see the Bob Mizer show at Invisible Exports, a tiny gallery on Orchard Street.
Given the size of the original archive (about 2 million pictures), the size of the exhibition (just a few pictures) was a little disappointing, however it was still totally worth it to take the time to see some of the pictures they have. The one at the top is the one I liked the most.
One thing that caught my attention though was the page with symbols below which I saw on the book Bob’s World in the gallery.
“Those familiar with the photo studio Athletic Model Guild will remember that many of their publications, Physique Pictorials, included sort of horoscope-looking cryptic symbols next to many models’ bios. No explanation was given within Physiqe Pictorial for these symbols and should a customer inquire to their purpose, he was often told they were for AMG’s own record-keeping.
However, if a customer continued to be on AMG’s mailing list for a some time and AMG became somewhat assured that the patron was not a cop, he was sent a copy of the legend, called “Subjective Character Analysis”. The wording of the legend is dubious and reads as some Jungian personality-test mumbo-jumbo which, in itself, is interesting enough. One only has to read between the lines, though, to understand the real message, ie: the size of the dick under those posing straps, whether the model was gay or straight, what exactly he was willing to do for money, etc.
Most of the information was based on the photographer’s interviews while photographing the model as well as gossip provided by associates and acquaintances. (One assumes it was probably a very SMALL world).
The reasoning behind presenting the information in such an arcane and guarded way was, simply, so it’s real intent couldn’t be proved in court. Remember, this is a time when posing straps and wrestling were as close to nudity and sex that one could legally publish. As secretive and furtive as AMG tried to be with this information, though, the firm was once closed down by authorities as being a front for an escort/hustler service — purely based on the existence of these Character Analysis codes.” (Taken from Monte Hanson)
Stereo purports to be part of a “mosaic” of educational resources by the Canadian Academy of Erotic Enquiry. It documents an experiment by the unseen Dr. Luther Stringfellow. A young man (Ronald Mlodzik) in a black cloak is seen arriving at the Academy, where he joins a group of young volunteers who are being endowed with telepathic abilities which they are encouraged to develop through sexual exploration. It is hoped that telepathic groups, bonded in polymorphous sexual relationships, will form a socially stabilizing replacement for the “obsolescent family unit”.
One girl develops a secondary personality in order to cope with her new state of consciousness, which gradually ousts her original personality. As the volunteers’ abilities develop, the experimenters find themselves increasingly unable to control the progress of the experiment. They decide to separate the telepaths, which results in two suicides. The final sequence shows the young woman who developed an extra personality wearing the black cloak.
Stereo is more self-consciously avant-garde, and less visceral, than his later work. Nevertheless, many of the usual Cronenberg concerns are present: a futuristic setting, bizarre scientific experimentation, and an obsessive exploration of perverse forms of sexuality.
If you don’t know New Orleans Bounce Music or Sissy Bounce you’re seriously missing out! Bounce Music is an original New Orleans form of rap that’s been dominating radio and street culture locally for over 15 years!
For several years, social theorist rockstar Alix Chapman has been studying black queer performance and politics. He is currently researching Post-Katrina New Orleans ‘Sissy Bounce’ culture within the context of gender and race. Over the past several months Sissy Bounce artists such as Big Freedia, Vockah Redu and the Cru, Sissy Nobby, and Katey Red have made a huge impact, touring to New York and Los Angeles, attracting the attention of dance music pioneer Diplo, playing several showcases at SXSW.
The one thing that’s missing in the midst of the hype is an explanation of the history of the phenomenon, and very few people can speak on the history of this aspect of black trans/queer culture with as much authority as Chapman. In 2006 I started to hear about Sissy Bounce from queer activist friends who traveled to New Orleans to help out with the Common Ground Relief Organization. They were excited to find a really strong synergy in the DIY crossover of Bounce and Punk Rock, and started to spread the music around. I was thrilled when I found out Alix was deeply involved in research into the Sissy Bounce culture. In terms of street cred, he was one of the vocalists for Seattle’s infamous Infernal Noise Brigade who came to notoriety during the WTO protests in 1999.
‘As more and more people attempt to “sissy dance,” the consequences will be tragic. We may very well see a sharp upsurge in twenty-somethings trying college sodomy experiments. For white women, this can often lead to a lifetime within the insufferable walls of the big city sadomasochism, pleasuring ever larger black phalluses as they seek to feel something, anything in that overviolated back passages. These women will end up in the lowest depths, casting their white friends aside for the pungent musk, the hard bodies and the rapid pounding that are all hallmarks of the black intercourse experience.
For white males, the exposure to the homosexual lifestyle is simply tragic. They can look forward to a world of secret interracial orgies and a selling their bodies on waterfront piers just to feel that cheap thrill again, that 12-inch beer can girth crushing you against a wall and making you whimper like an injured puppy, screaming, crying for it to end when you really dream that it will never end. No, this is truly a nightmare no parent would ever want for their child.’
Today’s Jorg Buttgereit’s Birthday, and we celebrate by revisiting two of his great classics.…
With Nekromantik, Jörg Buttgereit mixes cheap gore, transgressive imagery, and cosmic dread into a cult-classic examination of sex, death, and boredom among the youth of pre-reunification Germany. Passive, blank-faced Rob (Daktari Lorenz) spends his days collecting human roadkill from the side of the Autobahn and his nights enacting a quietly macabre domesticity with girlfriend Betty (Beatrice Manowski, credited here as Beatrice M.) in their autopsy/industrial/Nazi-themed apartment.
Rob is a disturbed morgue attendant who depends on his job for more than a paycheck. His girlfriend Betty loves him madly. When a cadaverous third fills out a ménage à trois from beyond the grave, the madness propels Nekromantik to its ghastly, razor-edged conclusion! Oddly though this is s love story too. Featuring some of the darkest, most stomach churning scenes ever committed to celluloid, director Jorg Buttgereit’s Nekromantik has been lauded by critics as the first post-modern horror film. But to hardcore gore fans it’s much, much more. A carefully crafted tale, throbbing with sick honesty-never cutting from perversity. This is almost the real thing.
One day Rob delights Betty by bringing home a decomposed corpse dredged from a swampy roadside lagoon; with a sawed-off bedpost in place of its rotted genitalia, the body serves alternately as a vile wall decoration and the third member of a grotesque and quite graphic ménage à trois. When Rob loses his job, material girl Betty hoofs it, and her divorce settlement includes the couple’s favorite sex aid. An alienated Rob soon turns to horror movies, animal torture, prostitutes, and graveyard sex in his quest to find the unique combination of utter degradation and total acceptance he shared with his one true necrophile love.
Meanwhile, the haunting image of a rabbit being skinned plays like a cartoon in the young man’s imagination, perhaps a childhood memory, perhaps an existential dream. Ultimately, this slaughterhouse motif leads Rob to enact a painfully final solution to his deadly eroticism; his journey would nevertheless continue in Buttgereit’s Nekromantik 2 a few years later. Although it received its German premiere in 1988, work on Nekromantik started in late 1986, when Buttgereit, the veteran of several shorts, began fashioning the corpse that would figure so heavily in the story; the director knew that without a realistic-looking prop, the project wouldn’t be worth filming in the first place.
As Nekromantik’s cult following grew slowly in Germany, then abroad, rumors abounded that the filmmakers had used actual dead bodies during the shoot. In fact, the film’s main corpse was largely synthetic, although real pig eyes from a slaughterhouse filled its sockets — and, in some scenes, the characters’ mouths. Manowski would go on to appear in Wim Wenders’ Wings of Desire, while composer/co-star Lorenz would largely give up acting in favor of his musical activities, which included several more collaborations with Buttgereit.
Der Todesking (aka The Death King) is a 1989 German horror film directed by Jörg Buttgereit. This experimental style movie which does not use central characters explores the topic of suicide and violent death in the form of seven episodes, each one attributed to one day of the week. These episodes are enframed by the vision of a human body, slowly rotting during the course of the movie.
Goatse is one of the most widespread shock sites on the web. The site has been notoriously used for bait-and-switch pranks or website vandalisms to provoke reactions of disgust. Although the original domain was taken down in 2004, the image continues to circulate online through mirrored sites.
The site was first launched in 1999 under the domain name Goatse.cx. According to Wikipedia, the earliest known instance of the shock image was uploaded circa 1997 as “gap3.jpg” in a set of 40 additional images compressed into a single zip file named “Gap.zip.” According to Gawker’s investigative report published in April 2012, the photo set initially spread across gay porn communities on Usenet. Watch some reactions below:
If you’ve ever seen it, I’m sure you thought “Oh God, I need to show this to everyone.” Since the late ‘90s, this sequence of events has been repeated often enough that it’s safe to say that millions of people have shared the “joy” of their first Goatse.
Curious already? It would be strange if you have not yet seen Goatse, but I’m sure there’s still a few people that have not. So this is for you to show to some naive friends. Warning: Not Safe for Work. If you dare, click the image below:
The story of Goatse begins with a mustachioed, wiry man in his late forties who goes by the name “Kirk Johnson.” Johnson is a prominent practitioner of extreme penetration, which is the extreme penetration community’s term of art for sticking huge objects up your ass. For years, Johnson has been rumored to be the Goatse man, based on their similar frame, skills, and matching moles on both Goatse’s and Johnson’s ass.
On January 14, 2004, the domain name goatse.cx was suspended by Christmas Island Internet Administration for Acceptable Use Policy violations in response to a complaint, but many mirrors of the site are still available, remaining on display on many other websites. A Christmas Island resident named Rhonda Clarke filed the complaint that resulted in the suspension of Goatse.cx’s domain name.
Kirk Johnson’s bios on his many porn site profiles describe a bisexual man with a penchant for huge black dildos. He’s anywhere from 45 to 48 years old, depending on which profile you go by. He’s stunningly prolific. His profile on the adult image-sharing site Imagefap, which holds the most complete collection of his work, boasts 15,156 photos, all of which have been compiled over the last five and a half years. His videos of xTube have been collectively viewed more than 22 million times.
