Sunday, May 31, 2020
Friday, May 29, 2020
Thursday, May 28, 2020
Books.... Are FUN vol. 0000000
The Sluts poses a series of questions. Is sex under capitalism inherently violent? What is the distinction between pornography and art? Cooper’s portrayals of rape, murder, and pedophilia have prompted many in the literary world to dismiss him as a transgressive writer. But in the age of COVID-19, in which a fatally inadequate health-care system and a crumbling infrastructure have led to widespread death and unemployment, this is literature that reckons with the violence of our dystopian epoch.
Final Fantasy
Dennis Cooper’s The Sluts in the time of social distancing
Wednesday, May 27, 2020
Awwww Yeah vol. 160
Despite the Southern setting, ALL IN THE SEX FAMILY was lensed on Long Island—and therein lay the legal issues. It was the first pornographic film lensed in Suffolk County, and featured shots of recognizable local streets and landmarks. When it played in the Pine Cinema in Coram, NY, the Suffolk County District Attorney’s office got wind of it, and in April 1974, 12 people involved with the movie were arrested on obscenity and conspiracy charges.
When THE SEX FAMILY Went on Trial
Monday, May 25, 2020
Saturday, May 23, 2020
U.S.A.! U.S.A.! vol. 259
Not all who agitated for an end to the lockdowns think the pandemic is a hoax; most simply don’t care who it kills and are sick of staying home. The streets are full of people wearing masks around their necks, house parties are making a comeback, parents are scheduling secret playdates for their kids and crowds are flocking back to bars, as well as raucous events like Texas’ “Go Topless Jeep Weekend,” where almost 200 were arrested for petty crimes that had nothing to do with an overall failure to maintain social distance, which is too hard for cops to enforce anyway. This Jeepfest also included a shooting, because nothing says “fuck it” here like pulling a gun.
AMERICA IS OFFICIALLY IN ‘FUCK IT’ MODE
When doing the right thing is too hard, we give up and let fate run wild
Negation Aspiration vol. 219
"Nearly 100 frank opinions every day. I couldn’t deny that I was hurt. I'm dead. Thank you for giving me a mother. It was a life I wanted to be loved. Thank you to everyone who supported me. I love it. I'm weak, 'm sorry. I don't want to be a human anymore. It was a life I wanted to be loved. Thank you everyone, I love you. Bye."
Stardom Wrestler Hana Kimura Has Died At Age 22
Tired of Cyber Bullying, Hana Kimura Dies Aged 22 after Posting Photos of Self Harm and Suicide Note
Wednesday, May 20, 2020
Tuesday, May 19, 2020
Sunday, May 17, 2020
Awwww Yeah vol. 158
“I love when it’s the woman who’s the predator. That is so much more fun for me. And if the woman is the predator, she’s interested in her own pleasure.”
The Christopher Nolan of Porn Is Breaking Down Barriers
Thursday, May 14, 2020
Wednesday, May 13, 2020
We Are The Sprocket Holes vol. 384
get ready to see a man use a switchblade to remove his own eyeballs...
So what is CAPONE? Answers will run the gamut, but here's mine: fascinating. This is a go-for-broke movie on every level, from Tom Hardy's ferocious lead performance to Trank's aggressively non-conventional script to the grisly tableaux Trank gleefully parades Capone through as he tries to get inside this dying, increasingly-insane gangster's mind. The discourse surrounding this film has already become a reductive echo chamber of "lol Tom Hardy poops his pants" observations, which is pretty stunning when you consider how much more there is to chew on here. I'm honestly not sure what would motivate anyone to make this particular movie, but the fact that Josh Trank's the one behind it makes the whole thing even chewier. Given that, it's the sort of film you might feel compelled to decode, but I suspect that would ultimately prove to be a dead end. Capone can't trust his mind any more than we can trust the film itself (both are unreliable narrators of the highest order), and what clues we think we've found would likely turn out to be red herrings.
So what is CAPONE? Answers will run the gamut, but here's mine: fascinating. This is a go-for-broke movie on every level, from Tom Hardy's ferocious lead performance to Trank's aggressively non-conventional script to the grisly tableaux Trank gleefully parades Capone through as he tries to get inside this dying, increasingly-insane gangster's mind. The discourse surrounding this film has already become a reductive echo chamber of "lol Tom Hardy poops his pants" observations, which is pretty stunning when you consider how much more there is to chew on here. I'm honestly not sure what would motivate anyone to make this particular movie, but the fact that Josh Trank's the one behind it makes the whole thing even chewier. Given that, it's the sort of film you might feel compelled to decode, but I suspect that would ultimately prove to be a dead end. Capone can't trust his mind any more than we can trust the film itself (both are unreliable narrators of the highest order), and what clues we think we've found would likely turn out to be red herrings.
You see? Fascinating.
CAPONE’s Madness Is A Breath Of Fresh Air
The post-disaster artist
After his Fantastic Four reboot bombed and life fell apart, Josh Trank came back for more
Tuesday, May 12, 2020
U.S.A.! U.S.A.! vol. 256
Trump’s psychology is defined by his terror of rejection. The most stinging insult in his vast vocabulary of disdain is loser. And yet every poll, every powerful Biden TV ad, forces Trump to contemplate that he is headed toward a historic humiliation. He’ll stand with Jimmy Carter and Herbert Hoover, the incumbents rejected because they failed to manage economic crises.
Trump failed to prevent the crisis. Out of envy and spite, he dismantled the pandemic-warning apparatus his predecessors had bequeathed him.
Trump failed to manage the crisis. At every turn, he gave priority to the short-term management of the stock market instead.
Trump failed to message the crisis. He not only lacks empathy; he despises empathy.
Angry, scared, and aggrieved by the lack of praise for his efforts, Trump turns for safety to television, where his two-dimensional friends explain how everything is everybody else’s fault. They tell him that he is right and all his critics are wrong. They promise that miracle drugs will—poof!—make all his troubles vanish without effort. Sean and Tucker and Laura and Jeanine and the Fox & Friends romper room tell him stories that hold the terror at bay.
But those stories have drawn Trump into a twisting ghetto of craziness that is impenetrable to outsiders.
Trump Has Lost the Plot
Monday, May 11, 2020
Saturday, May 9, 2020
U.S.A.! U.S.A.! vol. 254
Katie Miller, White House coronavirus task force spokeswoman, contracts COVID-19
Oh man #thoughtsandprayers for Stephen Miller right now. I know what a struggle it must have been for him to find a woman who doesn't recoil in objection when he opens up about his habit of skull-fucking briefly microwaved mannequin heads that he boosted from the display case of a Baby Gap.
Thursday, May 7, 2020
U.S.A.! U.S.A.! vol. 254
Trump didn’t linger on the topic of death when Karen Whitsett, a state representative from Michigan, mentioned that she had “lost several family members” to COVID-19.
“No kidding,” Trump replied.
Trump rarely shows empathy in coronavirus crisis
Tuesday, May 5, 2020
We Are The Sprocket Holes vol. 382 / Awwww Yeah vol. 156 / #gorenoise vol. 23
Liberté, the latest from Catalan director Albert Serra, begins in 1774 with the Duc de Wand (Baptiste Pinteaux) recounting how he witnessed a criminal being publicly drawn and quartered. That anecdote is followed by another bewigged Frenchman ordering two comrades, in a wooded area, to fashion a “balm made of shit and dirt,” which will soon be used on one of their female companions, who will also have urine deposited into her backside while other men ejaculate into her mouth. “Her body will be the shrine of our world,” this superior states. Shortly thereafter, the Duc de Wand expresses to a female companion his own bestiality fantasy, and when she responds by saying that she’d participate by fondling the animal’s genitals, he chides her for her banal lack of daring.
In case you couldn’t tell by now, this is definitely not your new family-friendly quarantine viewing option.
In case you couldn’t tell by now, this is definitely not your new family-friendly quarantine viewing option.
A Sadistic French Film With Golden Showers, Bestiality Fantasies, and Lots of Butt Stuff
U.S.A.! U.S.A.! vol. 253
I could have picked a dozen other examples over the past 10 days, but these five will suffice. They illustrate some of the essential traits of Donald Trump: the shocking ignorance, ineptitude, and misinformation; his constant need to divide Americans and attack those who are trying to promote social solidarity; his narcissism, deep insecurity, utter lack of empathy, and desperate need to be loved; his feelings of victimization and grievance; his affinity for ruthless leaders; and his fondness for conspiracy theories.
None of these traits are new in Trump; they are part of the reason why some of us were warning about him long before he won the presidency, even going back to 2011. But, more and more, those traits are defining his presidency, producing a kind of creeping paralysis. We are witnessing the steady, uninterrupted intellectual and psychological decomposition of an American president. It’s something the Trump White House cannot hide—indeed, it doesn’t even try to hide it anymore. There is not even the slightest hint of normalcy.
The President Is Unraveling
Monday, May 4, 2020
Sunday, May 3, 2020
#gorenoise vol. 22
Asian giant hornets are the largest species of hornet in the world. They attack and destroy honeybee hives, entering a “slaughter phase” where they literally decapitate bees and take the hive as their own, using the thoraxes from the dead bees to feed their young, according to the WSDA. Just a few hornets can decimate a honey bee hive in a number of hours.
Invasive 'Murder Hornets' Have Appeared in the United States and Officials Worry They're Here to Stay
Saturday, May 2, 2020
#gorenoise vol. 21
When historians look back at these tumultuous times, much will be written of the politics, the science and the psychology of how the world handled this pandemic. No doubt they will tell the stories of the heroism of frontline workers, of the actions – and inactions – of the politicians, and the economic hardships that were endured. They will also write about how a society that was already stratified and polarized grappled with the extreme experience they went through together.
It’s also possible they will write about the time Alex Jones threatened to eat his neighbors.
“I’ll admit it. I will eat my neighbors…I’m just gonna be honest. I’m literally looking at my neighbors now going, ‘Am I ready to hang them up and gut them and skin them and chop them up?’ and you know what, I’m ready. I’ll eat my neighbors…I’ll eat your ass, I will.”
Please Don’t Eat Your Neighbor: Why What Alex Jones Just Said Is So Dangerous
Friday, May 1, 2020
We Are The Sprocket Holes vol. 380
stand out viewings for the month of April (WhAT HaVE YoU bEEn uP tO?)
(March)
BOILED ANGELS: THE TRIAL OF MIKE DIANA (2018, dir. Frank Henenlotter)
(sorry imabout to make this review about me)
i first became aware of Mike Diana's work at age 15 from the piece his did for the Iron Monkey record Our Problem. it was around that time that i began frequenting various fringe online music communities, where i saw some crude scans of his other work, namely Boiled Angel, and learned the details of his trial, a story that amused and frustrated in equal measure.
here we are over twenty years later, watching these baby head condoms in high-definition on a streaming platform owned and operated by one of the premiere heralds of the god Mammon.
VFW (2019, dir Joe Begos)
Begos really turned a corner with his previous release Bliss, and he keeps the momentum going with this slice of siege.
TFW NO GF (2020, dir. Alex Lee Moyer/)
attempts to sentimentalize the Incel community while irresponsibly eschewing the demonstrably toxic elements of the misguided movement.
SHOGUN'S SADISM (1976, dir, Yuji Makiguchi)
(once again making this about me. fuck it who cares no one has read a blog since 2009.)
been on my cinephile sketch-head bucket list since i began creeping around unsavory mall kiosks hocking bootlegs of deeply uncomfortable Asian films. takes the paradigms of Samurai narratives and draws & quarters them with whipped oxen.
INFLATABLE SEX DOLL OF THE WASTELANDS (1967, dir. Atsushi Yamatoya)
a pinku-eiga companion piece to Sejun Suzuki's cut-up method yakuza classic Branded to Kill (itself partially scripted by Yamatoya).
DON'T DELIVER US FROM EVIL (1971, dir. Joel Seria)
loosely inspired by the real-life crime that served as the basis for Peter Jackson's Heavenly Creatures, with the fairly tale delusions swapped out for the diseased pervo-poetry of Bataille, Baudelaire, and Lautremont
DIGGING UP THE MARROW (2014, dir. Adam Green)
head and shoulders above the kind of goofy convention-attendant nostalgia of Green's other work. really hope he revisits this Trance Formation Mideon sooner than later.
THE CREMATOR (1969, dir. Juraj Herz)
can easily see where films like Man Bites Dog, House that Jack Built, and other elevated iterations of the murder-fixated character study began to percolate.
BUSHWICK (2017, dir. Jonathan Milott, Cary Murion)
if the Purge universe is just a touch too heavy on the nu-metal wish-fulfillment pathos for you, give this more serious minded approach to the whole we-gotta-get-the-fuck-out-of-this-hellhole-before-the-mobs-eat-us-alive genre a peak.
ZIRNEKILIS (1992, dir. Vasil Mass
i'm convinced that sometime in the mid 90s, Danzig got his hands on a copy of this post-soviet curio and used it as grist for the mills of Albino Spider of Dajette
(March)
(sorry imabout to make this review about me)
i first became aware of Mike Diana's work at age 15 from the piece his did for the Iron Monkey record Our Problem. it was around that time that i began frequenting various fringe online music communities, where i saw some crude scans of his other work, namely Boiled Angel, and learned the details of his trial, a story that amused and frustrated in equal measure.
here we are over twenty years later, watching these baby head condoms in high-definition on a streaming platform owned and operated by one of the premiere heralds of the god Mammon.
Begos really turned a corner with his previous release Bliss, and he keeps the momentum going with this slice of siege.
attempts to sentimentalize the Incel community while irresponsibly eschewing the demonstrably toxic elements of the misguided movement.
(once again making this about me. fuck it who cares no one has read a blog since 2009.)
been on my cinephile sketch-head bucket list since i began creeping around unsavory mall kiosks hocking bootlegs of deeply uncomfortable Asian films. takes the paradigms of Samurai narratives and draws & quarters them with whipped oxen.
a pinku-eiga companion piece to Sejun Suzuki's cut-up method yakuza classic Branded to Kill (itself partially scripted by Yamatoya).
loosely inspired by the real-life crime that served as the basis for Peter Jackson's Heavenly Creatures, with the fairly tale delusions swapped out for the diseased pervo-poetry of Bataille, Baudelaire, and Lautremont
head and shoulders above the kind of goofy convention-attendant nostalgia of Green's other work. really hope he revisits this Trance Formation Mideon sooner than later.
can easily see where films like Man Bites Dog, House that Jack Built, and other elevated iterations of the murder-fixated character study began to percolate.
if the Purge universe is just a touch too heavy on the nu-metal wish-fulfillment pathos for you, give this more serious minded approach to the whole we-gotta-get-the-fuck-out-of-this-hellhole-before-the-mobs-eat-us-alive genre a peak.
i'm convinced that sometime in the mid 90s, Danzig got his hands on a copy of this post-soviet curio and used it as grist for the mills of Albino Spider of Dajette
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