Roving fetish night LUTHER is embarking on a mini-tour over the next couple weeks, hitting hedonistic parties in three North American cities. The event is the leather-centric sister party to San Francisco’s Honey Soundsystem, Provincetown’s FAG BASH, New York’s Wrecked and D.C.’s RAW/The Needle Exchange.
The LUTHER crew like to keep their identities anonymous by wearing leather masks and business suits when they DJ, but they sent us a backgrounder elaborating on what the party is all about. Here’s the best bit:
LUTHER’s sound forges the dying aesthetic of your neighborhood leather/gay biker bar with the driving force of gritty Chicago/Detroit inspired house and techno. LUTHER’s live sets range from sludgy banging drum tracks to surgically edited dance-floor edits of bands often heard from the urinal of an Eagle Tavern but never on a 1,000-person dancefloor.
Basically, if you’re longing for a leather daddy poltergeist to emerge from your TV set and pimp-slap your ass into one of the club scenes from Cruising, LUTHER is probably your jam.
Check out LUTHER’s tour trailer above and their Fist Putin mix and upcoming dates below:
LUTHER fall 2013 tour dates:
September 28 – San Francisco, CA @ Folsom Saturday
October 11 – Montreal, QC @ Black & Blue
October 13 – New York, NY @ Hustlaball
16 year-old Cassidy Lynn Campbell was born, Lance Campbell, but has been living as a woman for the past 3 years. Recently, her highschool, Marina High School in Huntington Beach, California nominated her as their upcoming homecoming queen.
Cassidy, who has been bullied and called names in the past, has pushed through her highschool struggle, and is now becoming known for her Youtube channel where she offers all kinds of advice on new beauty products, and tips on transitioning like “How to Self-Inject Estrogen”, all the while documenting her very own journey.
Cassidy hopes that her homecoming nomination will help others with acceptance, and her message is simple:
“It’s okay to be transgender and it doesn’t matter what kind of girl you are — you can still be a queen.”
You can check out Cassidy’s Youtube channel HERE!
UPDATE: Looks like Cassidy done snatched that crown and won! The school released a statement:
“We’re proud the message from the home of the Vikings has been one of equity, acceptance, tolerance and respect.”
Someone call Wade Robson, because in today’s world, if you are making minimum wage, feel like you’re being mistreated, and want to stand up for workers rights, you better be willing to serve up some complex choreography!
That’s what happened at a Raleigh, NC Walmart this week when a Workers Rights group asked the store to honour a petition and reinstate mistreated workers. The managers weren’t having any of it, so it left the workers no choice but to serve them with some hot choreography, and make the managers shit their pants. Check out the video after the jump.
This is going to make me sound ancient, but when I try to imagine growing up as a kid in today’s age of social networks or try to picture having had access to the many social devices people now use (but in my teen years) — it scares the shit out of me!
I think about all of the terrible Youtube videos I could have posted, bored in my room in the suburbs, and I thank the Lord-baby-JESUS that I was one of the last generations to grow up without that type of technology. I would not be running for president… let’s just put it that way. However, one diamond-in-the-rough in a sea of terrible, glittery, Beyonce lip-sync videos is 12 year old Lillian Powers.
This girl has a sense of humour I can relate to. She is giving me Thora Birch in Ghost World, reincarnated. When Lillian asks if you can “come out and play”, she’s bringing new meaning to the term. She’s not playing with Barbies, she’s tracking down rednecks at the Home Depot just to toy with them!
If you happen to be a fan of artist Ryan Trecartin, you’ll just love Lillian! Check out some of her strongest Vine moments after the jump.
Launched by UK film talent nurturing project Collabor8te Alex Taylor’s Spaceship centers around a fatalistic alien apocalyptic RPG meeting group who contemplate the idea that they themselves are aliens “without spaceships” [to escape].
Thus we follow a female group member who has been told she has energetic connections to angels and relates more to creatures than people; discarding her prescribed female anatomy and gender so she may painfully and publicly ani-morph into her own imaginary creature friend [a personification of everything she wanted to be as a child], a sort of creature couture with a tail and heels to boot.
As Taylor’s docu-style short delves into the protagonist’s fantasized lycanthropy she discusses a void of affection in her younger years which she feels now towards Beanie Baby-style cuddly Alien Trilogy ‘chestburster‘ creatures who’s invasive task in life-stage is to grow inside their human host and burst forth through said host’s chest…adorable of course.
Taylor’s tale culminates in an affectionate meeting between our couture creature-come-chainsaw wielding manga maniac humanoid ‘alien’ and a fellow druid-knight in cotton armor as she expresses her hopes for a post-invasion world:
“Afterwards is like a new world, people treat each other as equals and there are no wars as we stop assuming what people are like before we’ve met them, stop judging them and start being loving towards each other”
I hear you sister; me and Molder [not scepto-Scully] and the gender variants, and the D&D geeks, and Sigourney…ish !
Created by Architect Ouida Angelica Biddle , Artist Nicolau Vergueiro and animated by Joao Rosa The New World of Lina Bo Bardi illustrates excerpts from late Italian/Brazilian Architect and Architectural Theorist Lina Bo Bardi’s Bela Criança ahead of a MoMA retrospective, supposedly in the works.
Described by the creators as a “commercial for the brain of Lina Bo Bardi” the video -beginning with a walking double-bum creature that EATS AND SHATS FARTITECTURE- illustrates cross-design-disciplinary Bo Bardi’s personification of Brazilian architecture as a child in need of nurturing and her aversion to cliché, routine and that misogynistic modernism that “[demoralizes] the spirit of new architecture.”
“She was unafraid to be childlike and vulgar, yet also unafraid to lead with boldness in a foreign country. Her work transcends institutional permission and speaks right to a space of fantasy.” __video creators Ouida Angelica Biddle & Nicolau Vergueiro.
With Cover art by Claire -Grimes- Boucher “[who] wants [him] to make sure to tell [us] that her original drawing is much better than it appears to be on the cover because [he] drew over a photo of it and made it look squiggly”, James Brooks presents his Stop Pretending EP [listen below] under his most recent iteration as Default Genders [as of a week ago formerly known as Dead Girlfriends].
On opening track Words With Friends, the first sound we are met with has Enya written all over it IN INVISIBLE INK and 15 seconds in it’s all Ibiza sunset vibe, offset by some heavy words [with friends] and further offset by the featherlight drum’n’bass-y chorus.
Omertà -the name of the second track- refers to a “code of silence and non-cooperation with authorities”…a very punk idea at heart yet quite poetically expressed through the instrumental’s lack of lyrics. The contemplative piano and drawn-out woodwindy tones create a space of silence amongst an otherwise wordy EP.
The title track Stop Pretending has a pop-punk anthem quality to it, although rides the line between an interesting stringy manga child adventure time and a Blink 182 album closer.
His fourth and final track On Fraternity uses Four Tet-esque Gamalan-y plucks and reverse cymbal revs to underscore Brooks’ sing-talky voice’s further exploration of the concept of ‘omertà’:
“who cares if it’s right as long as it’s punk?
so if someone gets hurt and then the cops come then
DG’s ‘Stop Pretending’ EP is an important exploration of how aggressive punk ideals fit with an anti-misogynistic temperament, as Default Genders tussles with the male-centric etymology of the word [from the Spanish “hombredad” or “manliness”]. The soft sensitive sounds he uses in tracks 1, 2 and 4 combined with the concentrated personable lyrics come across as a sort of POTPOURRI PUNK, which constructs his very own arena of musical dialogue around the conflicting duality of ideals.