Don’t Deliver Us From Evil

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.


John Waters Introduces ‘The Girl Can’t Help It’

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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.…

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David Cronenberg’s Videodrome

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.


The Incredible Chesty Morgan

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.


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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.


Subjective Character Analysis

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)

More & More info.


Stereo | Cronenberg’s first feature-length effort

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.


Does Your Child “Sissy Bounce”? The Dangerous Anal Dance Trend Sweeping America’s Colleges

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.

This warn­ing about the evils of “Sissy Bounce” is taken from an arti­cle called ‘Does Your Child “Sissy Bounce”? The Dan­ger­ous Anal Dance Trend Sweep­ing America’s Col­leges’, check it out, it’s real and it’s fuck­ing hilarious!:

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.’

Bril­liant, now start shak­ing that azz!


Jörg Buttgereit’s Nekromantik & Der Todesking

JB Hand

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.

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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.

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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 | Another Shock site | NSFW

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.