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Sissy Killer: Silence Of The Lambs’ “Good/Bad Queer” Dynamic

24 Mar Sissy Killers Queer Coding

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It’s been 25 years since Silence Of The Lambs was released, and there have already been plenty of hot takes to go around. Recently, Jos Truitt over at Feministing posted an unflinching and thorough deconstruction of what the character “Buffalo Bill” represents to the trans community. Naturally, cis people completely lost their shit.

“How could anyone identify with a serial killer?” they lamented. Good point, it’s not like Hannibal Lecter wound up in four novels, five films, and a television series currently on it’s third season where he is the protagonist. Oh wait.

sissykillers2Dinner’s Ready.

Why is it considered ok to empathize with Lecter and not Jame Gumb? Both were brutal mass murderers known for short tempers and for mutilating their victims. Gumb was a gender dysphoric survivor of child abuse and neglect, and Hannibal Lecter was a calculating abusive manipulator that shut her off from medical care and murdered her boyfriend. So why do people root for Gumb getting gunned down yet also for Lecter’s escape and promise to kill again?

Seriously, check out the last couple minutes of Silence Of The Lambs again. Lecter all decked out like Truman Fuckin Capote bragging about “having an old friend for dinner”. He’s a triumphant anti-hero rather than a villain. And it gets worse with each subsequent film/tv depiction.

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The answer is simple: Lecter represents the “good kind” of queer, and Bill represents the “bad kind”.

While I don’t share Truitt’s particular tattoo choice (although I have seriously considered both the spear wound and the “LOVE” hand tattoo), I do have a tramp stamp of “In Voluptas Mors”, and yes it is a reference to Silence Of The Lambs. I, also, have a bit of a soft spot for the movie. A particularly fascinating element of the movie is that it features two queer codedsissy villains”, but coded in different ways and pitted against each other.

What’s that? Hannibal Lecter isn’t actually gay? That’s ok, because Jame Gumb “isn’t actually transgender”, right?

sissykillers3Meanwhile, the only definitely gay person in the movie is dead.

In the book, the infamous “tucking scene” also invites the reader to voyeuristically review Gumb’s hormone regimen, thinning body hair, voice training, electrolysis and even passing mention of breast development. This is presented with both a clinical air and a sense of disdain at the progress. But this is ok because Gumb is not “really transgender”, right?

Later in the book Agent Crawford threatens to have federal funding cut from the Johns Hopkins sex-reassignment wing and have the surgery re-classified as of non-medical necessity. There’s no telling how many transsexuals ongoing medical treatment were effectively being held hostage as an afterthought in this power-play. But this is ok because Gumb is not “really transgender”, right?

I’m sure there is also something to be said about namechecking the Johns Hopkins Trans Surgery wing as a plot point in the book, considering the actual one was shut down a decade before.

And even as Ted Levine’s lumbering, gangly tr*nny monster performance is frequently superimposed over depictions of the lives of trans folks, and the spectre of which haunts discussions of everything from “bathroom bills” to TSA clearances, Lecter represents the opposite of this stereotype. Lecter is theatrical without camp. He is effette but not effeminate. He drips with sarcasm and is impeccably refined and cultural and worldly.

The comparisons don’t stop there. In the novel, through Agent Starling’s feminist hero eyes she recognizes Lecter as “small, sleek, and in his hands and arms she saw wiry strength like her own” in contrast to Gumb’s frequently referenced large hefty frame. In the film, Lecter is depicted as deliberately clinical and meticulously clean, a contrast to the squalor of Gumb’s living area and poor hygiene and posture. Anthony Hopkins came up with the idea of having Lecter dressed in white in order to invoke imagery of doctors and dentists and peoples instinctive unease around them. But it also positions him yet again as an virtous-appearing authority figure. Perhaps this is why we are expected to continue to take Lecter’s gatekeeping of Gumb’s dysphoria at face value, despite the fact that it’s coming from a man restrained in a strait jacket and spitter’s mask.

“He’s not a transsexual, Clarice. He just thinks he is, and he’s puzzled and angry because they won’t help him.”

There’s almost definitely a “high/low functioning” mental illness dynamic going on as well that someone may choose to explore further down the line. How does nobody ever question Lecter’s capacity to make psychological diagnoses not only without clinical observation but while also himself deemed in a dangerous enough capacity mentally to warrant institutionalization?

sissykillers4Definitely someone with authority’s best interest in mind – Everyone Somehow

It’s not like positioning the audience to arbiter Lecter as a gatekeeper of queer sexuality is limited to his interaction with Jame Gumb. I mentioned earlier his murder of Gumb’s boyfriend, named after a leftist French intellectual. In the opening to the movie Red Dragon Lecter is literally shown in judgement of Raspail’s performativity, and Jesus Christ as Lecter scowls at Raspail’s unsatisfactory ability to blow the flute I’m sure Freud was doing cartwheels in his grave. And then, in the following scene, a bunch of progressive intellectuals giggle over Raspail’s missing status and subsequently nonperson him based on the same inadequate perfomativity Lecter judged him worthy of death over.

sissykillers5He’s either decided to kill a man or poop himself.

This sort of gatekeeping, this arbitration of judgement over folks less desirable is clearly the role the unexamined audience wants from Lecter. He returns to this role over and over and over, evolving from a useful monster to a justified protagonist in his own universe, while his gruesome body count silently grows.

Maybe y’all should re-evaluate what you consider so identifiable in Hannibal Lecter.

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Godey’s Magazine Mockery Of An 1851 Men’s Rights Convention (With Actual Sources)

2 Jan

1851mensrights6Pic Unrelated

It’s a brand new year, and a weekend, so I can understand why folks may be choosing to phone it in at their chosen profession. “Best Of” Articles and such are all over the place; I get it. But the sadclowns over at A Voice For Men have taken it a step further, recycling material from two centuries ago. Unable to find an example of men’s oppression in the past two hundred years, they are currently ugly sobbing about a satirical article from 1852. 1851mensrights7

But rather than, you know, make any commentary on it, they just copy-pasted the text and called it a day. Because ethics in crying about 200 year old satire, I’m sure. They didn’t even post source material, just a couple half-ass links to Wikipedia. With about ten minutes on Google, I managed to track down the source material, which I will now post/reference because public domain. Also, I want this archived somewhere besides A Voice For Men.

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Anyway, the article comes from the April 1952 issue of Godey’s Magazine And Lady’s Book. The magazine itself was incredibly popular in pre-Civil War America. Edgar Allen Poe got his start there, when they published several of his short stories (including “The Cask Of Amontillado”!). You can find archives of the entire print run of the magazine at archive.org and at accessible-archives.com. The article in question can be found here:

https://archive.org/stream/godeysmagazine44gode#page/268/mode/2up

As for the author, Chericot, Google is really not helping much with finding details. Apparently they also wrote a short story (with a sequel) called “Who Wants A Monkey” for Arthur’s Home Magazine around the same time. Maybe a pen name?

The article itself is as vicious as it is hilarious, in an olde-tymey way.

On taking- a survey of the meeting, one thing struck us very forcibly—the uneasy and restless anxiety that characterized the demeanor of most of the men; the slightest noise caused a general sensation; and, in one instance, the shrill cry of a fishwoman threw a gentleman into hysterics, which he explained, on his recovery, to have resulted from his mistaking it for the voice of his wife.

The basic premise is that the author is beholding a formative “Men’s Rights” meeting, in which a bunch of 19th-century sensitive “nice guy” patriarchs get together to kvetch and wring hands about how empowered their wives have gotten. It’s pretty brutal.

That an unblushing claim has not only been made on our clothes, but on all our masculine privileges; and as this evil has resulted, in the first place, from the impunity with which the women have put their hands in our pockets, and as it will end only in the usurpation of our business, and of our sole right to the ballot-box, it becomes necessary for us to impress upon this rebellious sex our united determination to resist their aggressions

As a work, it definitely hasn’t aged well in terms of racism. There’s a scene involving a Native American MRA that is as embarrassing as it is unnecessary. Seriously, skipping over it doesn’t even make a hiccup in the narrative.

The proceedings themselves are a series of bickerings, non-sequitors and displays of plumery until such moment as the founder’s wife appears, beckoning him home. After which the henpecked revolutionaries tuck tail and disperse.

“Here I am, my dear 1” said a sharp voice, and a small, thin, vinegar-faced lady entered the room, and walked up to the platform, at the head of a numerous procession of females. “My love,” continued she, “it is late; I am afraid you will take cold. Hadn’t you better come home?”

“If you think so, my dear, certainly,” replied Mr. Husband, turning pale, and trembling so he could scarcely stand, perceiving which, his wife affectionately offered him her arm. Mr. Easyled meekly obeyed an imperative gesture from Mrs. Easyled, and Mrs. Bluster picked up the general, who had fainted, and carried him out in her arms.

Exeunt omnes, in wild confusion.

Scans of the article are below:

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Let’s Play (And Overthink) Clash At Demonhead: Part 1. #retrogaming #NES #

30 Jun

Honestly, I have no idea why this game was so obscure when it came out and didn’t become a classic with multiple sequels for this reason alone: THIS GAME GIVES YOU A JETPACK AND A SUIT THAT LETS YOU SWIM IN LAVA. Seriously, think about that for a second.

clashatdemonhead1Don’t worry, we’ll wait.

This game is amazing and full of wacky goodness, really. Anyway, this post is gonna focus more on the “Overthink” than “Let’s Play” part because there’s already plenty of play-by-play analysis of the game these days. I just want to compile all the oddball facts about the game into one place, because there is a surprisingly large amount of weird trivia for a one-off game.

clashatdemonhead8For instance, I went decades without knowing the names of all the bosses.

Also, I’m not gonna mention Scott Pilgrim. Because, meh.

Anyway, Clash At Demonhead was a platform game released on the NES in 1989 from Vic Tokai, the communications branch of a natural gas company. Seriously. A natural gas company. Apparently EVERYONE in Japan tried their hand at making video games in the late 80s.

The game has you playing Billy “Big Bang” Blitz, a secret agent who, for some reason, looks like he’s auditioning for My Chemical Romance. In the actual game itself, at least the English version, he’s just called Bang. However, his full name is leaked in this Nintendo Power spread about the game, which also mentions a few other things left out of the translation from the original, called Dengeki Big Bang.

clashatdemonhead2Which, incidentally, had a way cooler title screen.

Sargent Bang is pulled back to duty from vacation to rescue Professor Plum, who’s been captured by an evil gang called The Lawbreakers to build a Doomsday Bomb that threatens to blow the world up. What the gang planned to do after blowing literally everything up is not elaborated upon.

clashatdemonhead3These guys can’t collaborate on a dress code, much less a plan.

The bomb is set atop a mountain that dominates the map, which is possibly part of the Bear Lodge Mountain Range. You chase the members of the gang and other assorted baddies through this map, which might be set in North-Eastern Wyoming, based Devil’s Tower being a prominent in-game landmark.This would make the dense forests in the surrounding area part of the Black Hills Forest, which are dominated by pine and hardwood trees, much like the game depicts, and the winding river would be the Belle Fourche.

clashatdemonhead4I’ve, ahem, put a lot of thought into this.

As you go along, the plot spins completely out of control with a strange series of subplots involving demons and aliens, mind control, clones. At one point you even talk to a dead guy. You recover a magic sword and board a spaceship, fighting samurai, goblins, robots, punk rockers, bigfoots, and talking skeletons and mushrooms. And that’s before you even defuse the Doomsday Bomb. This game has everything.

clashatdemonhead6even, um, this

One of the really amazing things about this game, however, is the attention to detail and revolutionary programming/gameplay elements for a game with no licensed property involved. Apparently, it incorporates whatever Variable Width Fonts are, which is apparently a super rare thing. There’s also a huge range of dialog images depending on whether you are wearing any special suits. Not only that, but the outfit you wear changes the way some of the lower level enemies act around you.

clashatdemonhead7and they apparently get increasingly sarcastic

But seriously, the game is a whimsical treat with a ton of easter eggs and definitely worth tracking down. I plan on doing a sequel of this piece sometime where I follow a playthrough I created as a teenager, where you stumble across all the cut scenes in the correct (or at least most sensible) order and you don’t repeat paths (well, you don’t repeat paths more than a couple times, there’s some situations you can’t avoid it). There will also be comparisons between this and the import version.

6 Oddly Specific Types Of Inappropriately Sexualized Vintage Computer Ads #retrogaming

27 Jun

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Sex is the McGuffin of advertising. It’s delivered without justification, hell in some cases it’s expected to be its own justification. It’s there to catch the eye, engage the reptile brain, fill any plot holes, and logic be damned. It’s commonly accepted as just another trick of the trade.

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The computer and video game industry, primarily targeting young men, is no stranger to sexualization. In it’s early days, however, they apparently had no idea how to advertise their products and instead just smeared a greasy, sticky, sexy film on top of everything.

sexycomputer1I’ve barely started this article and I need a shower.

We’ve reviewed dozens of these images from the 1970s, 80s, and early 90s (for, um, research of course). It occurs to us that many of these can be broken down into highly specific (and completely batshit) categories.

1) Computer As Marital Aid

sexycomputer3Sharing a keyboard wasn’t a thing in 1983, and it isn’t now.

Here in the 21st century the idea of bringing a computer into bed isn’t quite as absurd as it was in the days of 8-bit computing. And yet several of these images involve folks with clunky console computers and CRT monitors in all sorts of ridiculously intimate situations. This was decades before RedTube; the folks in these pics are playing (dubiously) sexy text adventure games. Because nothing gets you in the mood like squinting at mononochrome not-graphics and typing in commands to keep the action going.

sexycomputer4Am I the only one that noticed the monitor text is faked?

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Well that just looks… unsafe.

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And this, this just looks… sad.

2) Sexy Ladies Are Waiting… At The Arcade!

sexycomputer8WHAT. DOES. THAT. EVEN. MEAN.

There’s a lot of these images from the 80s. Women in implausible Leg Avenue outfits in the general ambivalent proximity of an arcade machine. Not actually playing the games, mind you, but just sort of draped over them awkwardly to the accompaniment of increasingly incomprehensible “sexy” captions.

sexycomputer9“Oh hey, not like I’m playing a reflex-dependant arcade machine”

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“Yeah boys, just picture this joystick, that I have a suffocating death grip on, as your… ugh never mind can I sit down? This is obviously an incredibly uncomfortable way to stand.”

sexycomputer11“Yes, this is a plausible scenario.”

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“Why yes this anti-aircraft gun would likely give multiple 2nd degree burns to my unprotected legs. Are… you into that?

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WHAT. DOES. THAT. EVEN. MEAN.

3) Sexy Ladies Are Waiting… On Everquest?

Honestly, I haven’t found many examples of this one. However, the idea of marketing old online service subscriptions like Prodigy, and especially early MMORPGs like Everquest, like one would a phone sex line is too bizarre not to mention.

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4) Computer Users Sexily Doing Things You Should Never Do With Computers:

This one is pretty self-explanatory. Poses of women and computers, but also doing the opposite of demonstrating the computer and almost definitely endangering it. Because nothing speaks to the effectiveness of highly expensive, delicate electronic equipment like…

sexycomputer7…posing nervously with it next to a massive body of water…

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…standing on it, with a gogo boot, in the woods for some reason…

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…and whatever the hell is going on here.

5) Computer Literacy Makes You A Sex God.

This is, like the ultimate nerd revenge fantasy. All the years spent pecking away at machine language and studying error codes and… I dunno whatever. This knowledge makes them damn near godlike or something. All of that pays off when they discover the legions of sexy ladies craving that tech prowess.

This is extra depressing when you consider that computer programming was largely a realm of women throughout the early 20th century, and was turned into an interest for antisocial male nerds through calculated effort in the late-1960s. The fantasy of these ads is rooted in women craving the knowledge that had been theirs for decades before it was denied them and they were forced out of their own dominant field.

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Honestly, I look at these ads and root for one or all of those ladies to stab one of those smug bastards in the face Game Of Thrones-style.

6) Computers Themselves Are Sexy, Maybe Even Sexier Than Sex Itself.

And this… just turns the whole thing on it’s head. The ladies are still there, are still sexualized, but they’re a distraction. Because the machines and games themselves are the real object of desire.

sexycomputer20Like, seriously, he’s fucking that Game Gear isn’t he?

sexycomputer21This seems like the opposite of multitasking; doing both things badly.

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“So distracting you’ll forget you’re a serial killer.”
Seriously someone just needs to call 911 here.

These are ads that someone had to pitch and that magazines eventually ran. Dozens of people looked at these images along the way of their design and were like “Yes, this seems like a sensible way to represent our product”. Like even the one where it’s like “screw it, just fuck your Game Gear what do I care you hopeless chronic masturbator… that I hope will buy our product”.

I don’t even try to understand anymore.

LET’S PLAY (And Overthink): Conan: Hall Of Volta Apple ][ #Retrogaming #AppleII

15 Mar

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So first of all, I’m not writing about this game because it’s good… Oh Sweet Lord Satan No. But this game was a (incredibly vexing) part of my childhood, and it means a lot to deconstruct it. See, first of all it was the mid-to-late 1980s and I had a very serious fixation on hella buff dudes in loincloths for some reason.

conan8Let’s face it, at no point in my life was I ever heterosexual…

So anyway in one of my classes, along with the expectable classics like Oregon Trail, Where In The World Is Carmen Sandiego, and Karateka, they had a copy of this game. I made a copy to take home.

conan7The schools copy was “cracked“, by the way. Don’t Copy That Floppy!

Conan: The Hall Of Volta is a computer game by DataSoft, originally written for the Apple ][ and ported to other platforms. It was released in 1984 alongside the second Arnold Schwarzenegger Conan movie, although it has characters and scenarios independent of any canonical Conan The Barbarian storyline.

conan9One of the main characters is a bird, for instance.

It’s a pretty straightforward one-hit-death side-view platform puzzle game, one of the first of it’s kind. Adding to the replay value, there were stage-specific death messages when you game over.

conan5They were also terrible, just terrible, “puns” most of the time.

Getting through the stages takes some practice to get the timing right, but once you know what you’re doing, the game can be finished fairly quickly. Stage One gets you used to everything:

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You climb the ladders to go up, and you kill the Giant Bat (1) as soon as possible because it has access to the whole inside of the castle and has no qualm with killing you first. Once you reach the top of the castle, jump over to the tree (2) for a free life from your bird friend. Any time you see him throughout the whole game means a free life. Stage 2 introduces a new element (keys), but keeps up the same pace as the first and doesn’t have any monsters.

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You grab the key (1) to unlock the door (2). Pretty simple. You can also grab a free life from your bird friend (3) by jumping up to touch him at the end of the stage. Stage three brings in the third primary gameplay element (gems and gem holders) and is distinctly harder than the first two, the beginning of a difficulty jump that continues for the rest of the game.

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In stage three you use the teleporters (1) to get the gem (2) to place in the holder (3). Once the gem is in the holder, a bubble forms in the lava(4) that you can use to jump to the end of the stage.  Your avian friend is also here for the last time (5) to provide a free life, and keep in mind that the scorpions and ants on this level (6) are too low to the ground to hit with your weapon. The ants can also use the teleporter, which can seriously screw up any timing you were having for jumps and moving around the level.

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In stage 4, the length of time you can spend at this stage is completely random. You grab gems (1) as they randomly appear, and once you put two in the holders (2) you get access to the key (3) to open the door. Extra weapons (5) appear on the stage randomly as well, and you should keep an eye out for (6) the fall-away white parts of the platforms as well as the middle platform that periodically rises from the geyser beneath it. You can also snag extra gems on this stage if you’re patient, which makes the next level slightly easier.

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Stage 5 is a bastard. No way around it. Basically the best way to go about doing it is standing right around where pictured in (1) and shooting the dragons (2) until you get a key and gemstone for the door(3) and holder (4) on the top level. It might take a few tries to get it where you weapon comes back and you don’t lose it. With the gem in the holder, you get access to the other key (5) which you can use to unlock the door out of the stage (6). Hopefully the absurdly overkill number of gems (7) on the bottom level are clue enough that it’s a trap.

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Almost over… To get through stage 6, you need to kill the floating eyeballs (1) until the ladder (2) appears that gives you access to cut down the chandelier (3) that will smash the power generator (4) allowing you access to the door to the final stage (5). Also, you can get your weapons restored on the bottom level (6) if you need to.

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Final stage, and there is quite a bit going on. Your bird friend is in a cage (1) captured by Volta (2). Volta has some sort of device next to him that spits out gems and then turns them into green and purple magical bolts. Basically you wanna hit the green bolts with your weapon, which turn back into gems, and place them in the holders (3). With three gems in the holders, your bird friend goes free, throws Volta into the lava pit (4), and then flies you to the door at the end of the stage (6). If any of the bolts reach the lowest level, they can release one of the dragonflies captured there (7) which travel back and forth on that level. Also there is a pit in the middle of the stage (8) which drops you back to stage 6. Good if you’ve run out of weapons, not so great for any other reason. After this stage is the ending.

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For some reason, the Apple ][ ending features a knight in full armor instead of the barbarian. This is possibly a throwback to the first draft of the game, when it was called Visigoth. You can also see initials of the game designer and programmer snuck in the background as well (bottom left in blue and on the right in green). Later versions included a character much more recognizable to the theme of the game.

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This ending would have no doubt better satisfied the “burly barbarians in loincloths” fix I desired so much as a child “for some reason”.

conan19Seriously, who the fuck did I think I was fooling back then?

“Literal Hugboxing” – This #GamerGate Review Thread Of #GDC2015 Is Hilarious And Sad.

8 Mar

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So last weekend, the 2015 Game Designer’s Conference went down, the first noticeably haunted by the spectre of the GamerGate movement. Amongst all the frothing righteous fury over a dumb joke (jeez guys it’s just “satire”), I stumbled across this gem of a thread (that I’m not linking to) in KotakuInAction. It’s by a mysterious “minority in the games industry” that admits to being scared of hindering his career by reporting that he stumbled around the event in a daze like some elderly relic from the 1950s emerging from a fallout shelter into modern times.

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I couldn’t imagine why this dude would have concerns about his career, considering he spends the entire post screeching about how times are leaving him behind and the recognizable names are all “talentless hipsters”. Couldn’t imagine at all. He bemoans that folks in a career path rooted in creativity are expressing themselves creatively. He’s literally Hank Hill, and all these rainbow-haired kids need to get the hell off his well-manicured lawn.

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First of all, I LOVE the idea that people need to “earn” the right to dye their hair. Also, like, I took C++ in college in the 90s: I designed my own 2D side-scrolling platformer engine using fucking WordUp Graphics Toolkit when Seinfeld was still on the air. Who. The. Fuck. Cares.

literalhugbox4I never said anything about being GOOD at coding tho….

He’s a virtuoso metal guitarist frowning at a bunch of kids writing punk rock tracks; and that’s probably giving him too much credit. More likely, he’s a studio musician that spent his whole life crafting other people’s artistic visions and is baffled and embittered that these kids can flesh out entire projects without people like him. A fucking dinosaur; a sad relic with nothing left but bile and existential cries of his own impending obsolescence. But because this is GamerGate we’re talking about, he’s got a whole army of budding neocon Breatbart-reading Reagan Youth to pat him on the back and hearken for the days when professionals wore suits. No, fucking seriously.

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Considering how reactionary conservative these clowns are, you’d think they’d know a thing or two about the history of their little hobby but NOPE.

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Amongst the threads there was easily as much whining about the existence of gender-neutral restrooms as you’d imagine in a forum not unlike Free Republic. Like seriously, these people think it’s a literal conspiracy.

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But I really think the true coup de grace of the whole thing is the OP lamenting seeing “literal hugboxing” amongst indie developers, which really deserves broken down because damn.

First of all, for those that aren’t aware of slang terminology of child-porn sharing neckbeards that get off mocking handicapped children, “hugbox” is a reference to this tool counselors use to calm children that have trouble with social interaction and physical stimulation. It simulates human contact, basically, which apparently is hilarious to these people. So, you know, it’s use is a great calling card to let you know who is an asshole.

Second, keep in mind that hug machine devices *simulate* human affection. This person is so socially alienated from human social convention that he interprets physical affection amongst peers as requiring a layer of artifice. That, even face to face, they are somehow *simulating* care for each other.

You know, fuck the whole fallout shelter analogy, I have to assume the author of that OP must be from some empathy-challenged alien race. Stumbling around, baffled and infuriated by the informal and friendly interactions amongst people that actually give a shit about each other instead of huddling in some hateful internet forum clique seething at them from the outside. Fuck your lawn, grandpa.

Fabulous Youtube Playlist Of Packed Club Dance Floors 1986-1987

5 Mar

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Wound up stumbling across this awesome playlist of packed 80s dance clubs. And just wow. Some of them take a few watches just to try to catch everything going on. Seems like a lot of the places were New Wave-centric, because the crowd seems more goth/punk than one would expect. A lot of gangly guys in eyeliner and oversized jackets doing lopsided Napoleon Dynamite dances, a lot of regrettable hairstyles, but also some really amazing style… and some seriously hawt mohawk action going on.

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