Shared for the Taylor Swift video. Not much of a fan of her music, but props to the visuals.
The new federal anti-trafficking act means: lots of money will be given to people who want to harass, arrest and deport sex workers.
— mistressmatisse (@mistressmatisse) May 20, 2015
— Pink & White (@PinkWhite) May 19, 2015
— Tantus, Inc. (@tantus) May 20, 2015
Even within the crazy world of Mad Max: Fury Road, Coma the Doof Warrior stood out as a particularly crazy creation. Which was all the more remarkable because he doesn’t have a single line in the film. In fact, there’s a good chance you don’t even recognize him by name. But if you’ve seen the movie, you definitely remember him: he’s the guy rocking the combination flamethrower/guitar.
Though the movie doesn’t spend a lot of time delving into Coma’s history, director George Miller and actor iOTA devised one for him anyway. Hit the jump to read the Mad Max Doof backstory.
I knew that George had said that Coma was found by Immortan Joe in a Cave and taken under his wing and he learned to be a musician. I kind of embellished that for myself. Basically, my story was that Coma was found with his mother’s head, after she had been killed, and he was clinging to it and Immortan Joe came and found him and Coma took her face off and made the mask out of her face, to honor her when he went to war.
Creepy. Oh, and that amazing red onesie? That was all iOTA’s idea:
Coma didn’t really have a costume, as such. So there was lots of trying stuff on and I remember thinking that an old farcical onesie would be good with the butt flap hanging out the back. The mask was something that was worked on and influence came from everyone. And certainly Angus and AC/DC was an influence.
Part of what makes Coma fun is the sheer WTF-ery of his presence. But as Miller explained to The Daily Beast, Doof actually serves an important function within Immortan Joe’s army:
He’s logical to that world. Pre-modern communications, there was always the music of war—the bugle, horns, bagpipes, drummers. Every war culture had some sound to signal the troops… ours is just weaponized, so it’s a flamethrower as well.
Which, fair enough. It’s not like Immortan Joe could just plug in an iPod. In that light, what better way to rally the troops than by strapping a onesie-clad warrior-musician to a car loaded up with amps, speakers, giant drums, and a flamethrower guitar?
Although the flamethrower guitar was really real, iOTA reveals it looked better than it sounded:
Well, it made a noise. You wouldn’t want to do an album with it. It was pretty shit. It made a great sound and, to me, it felt perfect for the environment. In the sun and the dust in the cold, it was perfect. But it was always going to be a bit shit.
And while iOTA says he’d “absolutely” return for a sequel, he seems wary of taking the character too far. After all, Coma’s mystique adds to his rock star appeal. “I guess there’s a good backstory there, but maybe this is enough,” he said. “Maybe any more would ruin it.”
The post ‘Mad Max: Fury Road’s Flamethrower Guitar Guy Has a Backstory appeared first on /Film.
put on your tinfoil lacefront, hennies
Have at you!
In the great tradition of Tumblr mash-up memes, Feminist Lisa Frank juxtaposes neon animals and quotes by Gloria Steinem, Shonda Rhimes, and more. Read the rest
One of my biggest pet peeves is when someone takes a photo in terrible light. It’s dark, everything is quiet and then huge flash goes off. I think ” You just ruined that.”
Most people are blissfully ignorant to the importance of light in art, not just in photography, but anything visual. Which, I assume, is one of the reasons why artist Raid 71 is calling his latest solo show Illuminate. The pop culture art show features works from films like Blade Runner, Tron, The City of Lost Children, Akira, Mean Streets, Dark City, Midnight Cowboy, The Fisher King, Taxi Driver and more that focus on light, and light juxtaposed with architecture, in cinema. The show opens May 15 at the Bottleneck Gallery in Brooklyn, NY and below you can see a bunch of art from the show.
Illuminate, the second solo exhibit by Raid 71, opens at 7 p.m. May 15 at the Bottleneck Gallery, 60 Broadway, Brooklyn NY. All unsold screen prints and original prints will go on sale at noon EST May 16 at www.bottleneckgallery.com.
Here are a few of the pieces in the show. Mouse over east for the subject.
Blade Runner aside, I love that Raid 71 decided to do so many different films for this show. It would have been so, so easy to focus on light in all the of the usual films: Star Wars, Jurassic Park, Pulp Fiction, Back to the Future etc. But The Fisher King? Mean Streets? Midnight Cowboy? These are great films that very rarely get love on the pop culture art circuit. Plus I really like this distinct, almost hypnotic style. The use of color and more specifically point of view really do give a the work a unique and exciting look. We’re looking at this movies in a way we’ve never seen them.
What do you think of the latest Raid 71 Bottleneck Gallery show?
The post Gallery: Raid 71’s ‘Illuminate’ Pop Culture Art Show in Brooklyn, NY appeared first on /Film.
“I had both of them that afternoon, and I came to the conclusion that white boys are so delicious. That time back in my dance studio ranks as one of the most celestial experiences of my life. Those two beauties transported me to heaven. I never knew that lovemaking could be so beautiful.”
-Eartha Kitt on her threesome with James Dean and Paul Newman
April 6th, 2015 is the day I found out Eartha Kitt, Paul Newman, and James Dean had a threesome. My life will never be the same. Knowing this happened in the time that it happened makes me so happy. Humanity may have already achieved it’s highest point. *swooning forever*
The stars of Hayao Miyazaki's films recede into the background in a series of prints inspired by Japanese woodblock artist Kawase Hasui. Read the rest
Honey Badger don't care.
I love my cute butt.
Environmental organization Hong Kong Cleanup is using DNA analysis to create digital renderings of the faces of actual Hong Kong litter scofflaws in a new anti-littering campaign. The renderings, which are examples of DNA phenotyping, are based both on DNA found on litter samples as well as demographic information based on context clues like type of litter and neighborhood. Starting today–Earth Day–the litterbug faces are being posted on the Hong Kong transit system, social media, and print media. The campaign was produced in partnership with Ecozine and The Nature Conservancy and was created by Ogilvy.
images via Hong Kong Cleanup
submitted via Laughing Squid Tips
Instructor Housetsu Sato and his students at the Japan School of Wool Art made this monstrous beauty. The piece will be on display in the Tokyo Metropolitan Art Museum April 18 through the 23rd. They're even entertaining the idea of renting it out once it's done, in case you really need to ruin some child's birthday party.
Submitted by: (via Cat Doll)
My goodness, this is weird. (more…)
Violet Blue so definately NSFW but I must say, I'm impressed with the strides VR has made.
— FutureofSex (@FutureofSex) April 6, 2015
god fucking damnit
Sci-Fi-O-Rama proudly present a very special feature on Chris Foss, as profiled by Jeff Love, owner and admin of the sublime Sci-Fi art blog Ski-ffy.
Born in 1946 in Guernsey, Channel Islands, Chris Foss is a British illustrator and a powerhouse of science fiction design and invention. His work is a celebration of future machinery, impossibly sized constructions exist on a planetary scale; a showcase of hardware so large that the human figure is dwarfed by comparison.
Arriving in the SF illustration field in the early 1970s, he is a cult figure, influential and universally admired. For British SF and SF art, his work can be seen as a catalyst; his prolific output was used abundantly in the UK paperback market, particularly by publishing houses like Panther, Coronet (Hodder & Stoughton) and Granada. Foss’ iconic paintings adorned the covers of American classics; E. E. Smith’s Lensman and Family d’Alembert series, reprints of the works of Asimov, James Blish and Philip K. Dick. These colourful scenes of gargantuan spacecraft, space-scenes and enormous robots not only influenced an entire school of imitators, but instilled a love of future-tech amongst several generations of science fiction fans.
His early life encouraged an interest in art, his endeavours with pencil won him a scholarship to a public school in Dorset. Exploration of the surrounding area yielded numerous influences; elements of post-war, semi-derelict, bombed-out buildings and shipyards can be seen in numerous examples of later work.
As a young man during the 1960s – by way of compromise – he found himself studying architecture at Cambridge University. His parents (both teachers) disapproved of his wishes to become a commercial artist. Finding architecture too drab a subject, Foss was reportedly something of an absentee student and by his second year he found himself providing strips of erotic artwork to Bob Guccione’s (later to publish OMNI) Penthouse magazine. The former being so impressed with the young artist that he put him on retainer to illustrate a Barbarella style strip.
Though he found steady work working for an architectural sculptor, the following years were not easy. After a few false starts whilst working various jobs to support himself, Foss career finally began to grow following an introduction to a design agency. Though he produced cover art for miscellaneous non-SF titles at first, this also included interior illustrations; careful line drawings for Alex Comfort’s The Joy Of Sex (1972) that showcased his talent as a varied and capable draughtsman. Meanwhile his reputation for skilfully depicting starships and future themes become so, that authors such as Isaac Asimov and Arthur C. Clarke would specifically ask for his work to be used on the covers of their novels.
As Foss’ name and portfolio grew, Hollywood called. Conceptual work followed for the planet Krypton (Richard Donner’s Superman – 1978) and early designs of the Leviathan and Nostromo spacecraft (Ridley Scott’s Alien – 1978) but perhaps most famous are his contributions to Alejandro Jodorowsky’s unrealised 1975 film adaptation of Frank Herbert’s Science Fiction classic Dune.
It is as a cover artist, however, that Foss is best-known. His arrival and rise in popularity initiated something of a renaissance amongst publishing houses and art editors. Previously (particularly in the UK), paperback covers – more often than not – were one of two ways: utilizing (or re-using) artwork previously found on the covers of American novels, nebulous, bland patterns or photography that suggested space as a theme, but depicted very little. There were exceptions of course, but Foss’ creations surely motivated on two fronts: in the eyes of the book buying public, as well as that of the publishers and art editors who had on their hands a skilful demonstration of the importance of jacket design, proof – if any were needed – that books can sell solely on the merit of the cover.
A new wave of artists soon followed in his footsteps as publishers sought artwork similar in tone and execution, similarly talented, wielding airbrushes. Not to diminish their talents: Tim White, Chris Moore, Peter Jones and Angus McKie’s early works often bear more than a passing resemblance, each frequently mistaken for the other, though each developed into their own, individual and recognizable artists in their own right. However, unlike the majority of his contemporaries, Foss is not a fan of SF, and as such did not read the books his was commissioned to illustrate jackets for. Scenes are rendered entirely from the imagination and as such do not illustrate scenes found inside novels. In this sense they can be seen as vague, or meaningless abstraction – but serve the purpose of creating interest in the books they appear on very well. The attraction is the technology; art for art’s sake.
Foss’ legacy is a body of work that informs us that in regards to fantastical spacecraft, elegance in appearance is not strictly necessary. Spacefaring vehicles could be as floating cathedrals, organic, asymmetrical leviathans as large as the imagination might allow. His visualisations of space hardware show incredible attention to detail: behemoths with scale reinforced by scatterings of pinpricks of light. Rejecting the needle-pointed, aerodynamic and militaristic rocket shapes established by pulp heroes, he opted instead for enormous and colourful industrial vessels, floating relics rendered with a weight of authenticity; free from the restrictions of mass in a vacuum.
Foss’ vessels may be enormous, but space is always bigger.
Many, many Thanks to Jeff Love for this bloody brilliant article! be sure to check out his blog http://ski-ffy.blogspot.co.uk
To read up more about Foss please check the following articles:
And finally If your interested in the very latest from Chris Foss himself check his site: chrisfossart.com
A24 has released the second official trailer for their upcoming sci-fi thriller film Ex Machina (previously) directed by Alex Garland, the writer of 28 Days Later and Sunshine. The trailer features young coder Caleb Smith blindly falling for the beautiful artificially intelligent robot named Ava. Smith quickly goes from being the tester to being tested. It’s currently scheduled to arrive in theaters on April 10, 2015.
Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), a breathtaking A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined.
— Ex Machina (@ExMachinaMovie) March 20, 2015
image via Ex Machina
Want to see one day.
I spent 4 nights outside of Fairbanks in February – two of those nights were entirely overcast and not a light could be seen. The other two nights were electrifying. I stood outside for hours – shooting and gazing in awe at the orchestral dance above and around me. I felt more awake than ever during those moments. I hope my interpretation in images portrays that feeling.
photos by Alexis Coram