Conjured by o~ SeMeN SPeRmS ~o on December 3, 2016
Biohackers Are Engineering Yeast to Make THC
Insane Record Collections and the People Who Own Them
Hookah: Like Smoking 40 Cigarettes & Kissing Everybody
The Babushkas of Chernobyl: Defying Death for the Love of Home
Fire therapy is burning up in China
Being burned is thought to cure stress, indigestion and even cancer
Crystal doorknob refracted the sun’s rays and set a dressing gown on fire, destroying bedroom in $2.5m home
UK chain removes baby sleep suits from stores after parents notice clothing covered in penis drawings
Online game addicted young Chinese couple sells 2 newborns to buy in-game items
The Mystery of the Blinking Mummy
Blackest is the new black: Scientists have developed a material so dark that you can’t see it
These Tiny Robots Are Powered by Living Tissue
Creeping machines use real skeletal muscle to power their movements
Iron Dome: the public relations weapon
Israel says 90% success rate, expert says 5% or less
German politician admits to using crystal meth to improve work performance
Meet Catey Shaw: The Rebecca Black Of Brooklyn Gentrification
The Worst Things Of All Time
Conjured by o~ SeMeN SPeRmS ~o on July 19, 2014
A documentary that explores the counterculture of San Francisco in the mid-1960’s
The sex is free. The pot is cheap. Everyone can afford the acid.
Peace, love and groovy, mind-altering drugs are the topics at hand in this San Francisco freak-out documentary. It’s a crude but heartfelt time capsule, released in the summer of ’68, just before the Haight Asbury scene turned into one big, unwashed bummer. And even if director Jack O’Connell (THE GREENWICH VILLAGE STORY, SWEDISH FLY GIRLS) may not have made a great movie, he was at the right time, at the right place, and (most important) with the right tripped-out attitude… Much of the movie is random footage of the hippie phenomenon, while a cute, blond, 20-year-old runaway named “Today Malone” provides a (slight) framework to this ragged mess. And a bigger bunch of long-haired, wide-eyed freaks I’ve never seen — crammed shoulder-to-shoulder, celebrating the summer solstice in the Golden Gate Park. God, the stench of patchouli must’ve been nauseating!
Bands blast away, hippie chicks spin in circles, the lightshow begins, and it’s the same old acid haze we’ve come to know and love. Along the way, some interesting tidbits sneak in, including firsthand tales of getting busted, posted notes to runaway children, Ms. Malone unsuccessfully begging passers-by for spare change, a middle-aged nun describing how she’s similar to these “hippie girls,” and a typical hairball asked if he worries about chromosome damage from too much acid (when it’s, obviously, already too late). Of course, what movie about drugs is complete without a few suited “experts” (including San Francisco’s Director of Public Health and the thick-necked Chief of Police) warning about the evils of this new generation’s chemical dependence. But in the long run, this is a refreshingly pro-drug, pro-hippie pic that pushes the joys of LSD when Today doses on camera, and flies off on its mind-altering effects (actually, all they do is sit around a room, rolling their eyes and feeling a peach).
The filmmakers have all the bases covered. They document the oddest niches of Hippiedom, which appeals to the curious. There are plenty of groovy visuals, in case you’re dosed. They even toss in some nude performance art to suck in the T&A crowd. It also features ragamuffin fashion at its worst (not as ratty as today’s Squatter Chic look, but close), plus music by Country Joe and The Fish, Quicksilver Messenger Service, and The Steve Miller Band… Nowadays, this nonsense is impossible to watch without laughing at these naive, burnt-out rebels, and it’s a reality check for folks who think the hippie subculture was exactly like PSYCH-OUT or THE TRIP. Unfortunately, real life was a lot less charismatic than reel life. And whenever one these wide-eyed innocents vows they’ll never conform to The System, I’ll give you odds that nowadays, they’re somewhere in suburbia, selling Amway products and falling asleep to AMERICA’S FUNNIEST HOME VIDEOS.
Conjured by o~ SeMeN SPeRmS ~o on June 4, 2014
The Dirk Diggler Story is a 1988 mockumentary short film written and directed by Paul Thomas Anderson. It follows the rise and fall of Dirk Diggler, a well-endowed male porn star. The character was modeled on American porn actor John Holmes. The film was later expanded into Anderson’s successful 1997 breakout film Boogie Nights.
Dirk Diggler (Michael Stein) was born as Steven Samuel Adams on April 15, 1961 outside of Saint Paul, Minnesota. His parents are a construction worker and a boutique shop owner who attend church every Sunday and believe in God. Looking for a career as a male model, Diggler drops out of school at age 16 and leaves home. Jack Horner (Robert Ridgely) discovers Diggler at a falafel stand. Diggler meets his friend, Reed Rothchild (Eddie Delcore), through Horner in 1979, while working on a film.
Horner slowly introduces Diggler to the business until Diggler became noticeable within the industry. Diggler becomes a prominent model and begins appearing in pornographic films. Diggler has critical and box office hits which leads him to stardom. The hits and publicity lead to fame and money, which lead Diggler to the world of drugs. With the amount of money Diggler is making he is able to support both his and Rothchild’s addictions. The drugs eventually cause a breakup between Diggler and Horner, since Diggler is having issues with his performance on set.
After the breakup Diggler tries to make a film himself, but it is never completed. He then attempts a music career, which is successful but leads him deeper into drugs because of the amount of money he is making. He then stars in a TV show, which is a failure both critically and commercially. Having failed and with no work, Diggler returns to the porn industry, taking roles in low-budget homosexual films to help support his habit. On July 17, 1981, during a film shoot, Diggler dies of a drug overdose.
The film ends with a quote from Diggler: “All I ever wanted was a cool ’78 ‘Vette and a house in the country.”
The film was Anderson’s first real production having experimented with what he called “standard fare”. Anderson conceived the film when he was 17 years old and a senior at Montclair College Preparatory School. Anderson called his friend Michael Stein, telling him to come over for a production meeting, and told Stein his idea: “John Holmes”. Stein loved the idea and was cast to play the role of Dirk Diggler; he selected his own wardrobe. Stein showed Anderson some video of his friend Eddie Dalcour, who was a professional body builder, which Anderson loved and cast him in the role of Reed Rothchild. Anderson’s father, Ernie Anderson, narrated the film and Robert Ridgely, a friend of Anderson’s father, played the role of Jack Horner
The film was shot in 1987 using a video camera and steadicam provided by Anderson’s father. Some scenes were shot at a motel. Anderson raised money for the film by cleaning cages in a pet store. Being influenced by This is Spinal Tap at the time, he decided to do a mockumentary and used the John Holmes documentary, Exhausted, as a model for the film, even taking some dialogue almost word-for-word. Anderson worked from a shot list and wanted the actors to be serious since the characters took their work seriously. Anderson edited the film using two VCRs. According to Anderson, the film drew admiring laughs when it was was shown at a University of Southern California film festival.
The Dirk Diggler Story was expanded into Anderson’s 1997 breakout film Boogie Nights with a number of scenes appearing almost verbatim in both films. Two actors had roles in both films; in Boogie Nights, Robert Ridgely played The Colonel, a pornography financier, and Michael Stein had a cameo appearance as a stereo store customer. The main differences between The Dirk Diggler Story and Boogie Nights are the mockumentary versus narratives styles in the former and latter films, respectively; Diggler’s stint in gay porn in the first film versus his prostitution in the second; and Diggler’s dying from an overdose in the first film versus his happy return to his former roles and lifestyle in the second.
Conjured by o~ SeMeN SPeRmS ~o on May 30, 2014
It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, “Give Up The Funk (Tear The Roof Off The Sucker),” a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other.
Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs —a rare opportunity for everyone to get their proper dose of The P-Funk.
Do That Stuff
Gamin’ On Ya!
Standing On The Verge Of Getting It On
Children Of Productions
Mothership Connection (Star Child)
Swing Down Sweet Chariot
Comin’ Round The Mountain
P-Funk (Wants To Get Funked Up)
Give Up The Funk (Tear The Roof Off The Sucker)
Night Of The Thumpasorus Peoples
Funkin’ For Fun
Conjured by o~ SeMeN SPeRmS ~o on May 24, 2014
Usta love this show as a kid, cool to find all the episodes on Youtube. Enjoy!
The Young Ones is a British sitcom, first broadcast in 1982, which ran for two series on BBC2. Its anarchic, offbeat humour helped bring alternative comedy to television in the 1980s and made household names of its writers and performers. Soon afterwards, it was shown on MTV, one of the first non-music television shows on the fledgling channel.
The main characters were four undergraduate students sharing a house: violent punk Vyvyan (Adrian Edmondson), pompous would-be anarchist Rick (Rik Mayall), long-suffering paranoid hippie Neil (Nigel Planer), and the suave, diminutive and shady Mike (Christopher Ryan). It also featured Alexei Sayle, who played various members of the Balowski family—most often Jerzei Balowski, the quartet’s landlord—and occasional independent characters, such as the train driver in “Bambi” and the Mussolini-lookalike Police Chief in “Cash”.
The show combined traditional sitcom style with violent slapstick, non-sequitur plot turns, and surrealism. These older styles were mixed with the working and lower-middle class attitudes of the growing 1980s alternative comedy boom, in which all the principal performers except Ryan had been involved. Every episode except one featured a live performance by a band, including Madness, Motörhead, and The Damned. – Wikipedia
Conjured by o~ SeMeN SPeRmS ~o on May 23, 2014
Alcohol kills 3.3 million people worldwide each year, more than AIDS, tuberculosis and violence combined
Woman who wrote fake Holocaust memoir must pay back $22.5M to publisher
The NSA has been covertly implanting interception tools in US servers heading overseas
The Bud Light-ification of Bud – Homogenizing Marijuana
Bobby Lund – Trepanation Interview
From Martin Luther King to Anonymous, the state targets dissenters not just “bad guys”
A Doctor Explains Why Getting Kicked in the Balls Hurts So Damn Much
New brain cells erase old memories
Diesel Dope, Monster Trucks, and Snotty Dispensary Clerks: A Veteran Pot Grower’s Back-to-the-Land Adventure
Amazon Is Deleting Sex Workers’ Wish Lists Without Warning
Your Food Is Poisoning You
Study: People Ignored On Facebook Feel Isolation, Less ‘Meaningful Existence’
Dusted Naked Dancing Man Draws Crowd Disturbs Parents
‘He was doing the Beyonce, the surf bort, twerking,the Nae Nae’
Conjured by o~ SeMeN SPeRmS ~o on May 14, 2014
The Riverport Riot was a riot at the Riverport Amphitheater (now named Verizon Wireless Amphitheater St. Louis) in Maryland Heights, Missouri (near St. Louis) at a Guns N’ Roses concert on July 2, 1991. It is also known as the “Rocket Queen Riot.”
During the band’s performance of “Rocket Queen“, the 15th song in the set (counting drum & guitar solos), lead singer Axl Rose, in the middle of the chorus, pointed out a fan who was taking still pictures of the show, saying “…Hey, take that! Take that! Now, get that guy and take that!” When security failed to deal with the person, Rose decided to confiscate the camera himself, saying “I’ll take it, god damn it!” and then jumped into the audience and tackled the person. After taking the camera, striking members of the audience and the security team, and being pulled out of the audience by members of the crew, Rose grabs his microphone and said “Well, thanks to the lame-ass security, I’m going home!”, slammed his microphone on the ground and left the stage.
The sound the microphone made sounded to some fans like a gunshot. After Rose left, band member Slash quickly told the audience, “He just smashed the microphone. We’re out of here.” The angry crowd began to riot and dozens of people were injured. The footage was captured by Robert John, who was documenting the entire tour for the band. Rose was charged with having incited the riot, but police were unable to arrest him until almost a year later, as the band went overseas to continue the tour. Charges were filed against Rose but a judge ruled that he did not directly incite the riot.
Rose later stated that the Guns N’ Roses security team had made four separate requests to the venue’s security staff to remove the camera, all of which were ignored, that other members of the band had reported being hit by bottles from the audience and that the venue’s security had not been very strict, allowing weapons into the arena and refusing to enforce a drinking limit. Consequently, Use Your Illusion I and II‘s artwork featured a hidden message amidst the Thank You section of the album insert: “Fuck You, St. Louis!”
Conjured by o~ SeMeN SPeRmS ~o on November 19, 2013