Orgy for your eyeballs!

What we have here are a few very nice collections of illustrations. Granted, these files aren't always very big, but I for one am not complaining.


First up, via WFMU, a collection of nearly 1500 nude album covers - something old, something new, something borrowed, and much that is blue. More nudity here than you can shake your dick at!







Also, with *over* 1500 images is The Pin-Up Files, a cheesecake database with not only the classic artists of yesteryear (like Earl Moran, Peter Driben, or Gil Elvgren), but newer talent drawing pin-ups as well.



That still not enough for you?

Bosnuk has more weird posters than your fragile little mind can handle.

The Glass Guillotine hasn't posted for a couple of weeks now (hope everything is OK). This is a fairly addictive site of strange images. Lots of great stuff.

You say you like motorcycle club colours (or patches)? How about mod scooter run patches?

If you like club patches, *this* is a real find -- The Colors of Leather, a treasure trove of leather club history and leather club colours. Check the patch gallery. There's also info on related magazines, artists (like Bill Ward or Eric Stanton, for instance) and publishers (example: Satan Press and Bizarre/Eros) and different clubs, bars, etc. For anyone interested in S&M and the leather scene, this should flip your head back.







Still here?

If you're like me and dig Godflesh but aren't too keen on Jesu, you may be thrilled to hear Justin K. Broadrick is involved in a new project (with Dave Cochrane, no less) called Grey Machine. You can download a track off the forthcoming Disconnected album called Vultures Descend. It is very good indeed.

The Offence

Detective Sergeant Johnson:

A man with a face, burned away, his face. Acid. They tied him to a chair. He knew, they thought he knew something...to do with money, I don't remember. He was in this room, he had no face. I didn't know what to do, I didn't know how to make it stop - the pain, the screaming. I didn't know.

Red on white, Timmy Miles. The man had a thimble of pain, Timmy told us, for naughty boys the man said. But Timmy was a good boy. He did what the man told him to do. Filthy, obscene things, the man told him. Things...

He was well-spoken, posh, Timmy thought. Eight years old, blue eyes, fair hair, cut short, fresh complexion, wearing a school blazer with a badge on the breast pocket. Grey, grey trousers, white shirt, school tie. Timmy was missing for three days. The man had him for three days.

She was dead when we found her. She was dead. The wheels of the train had cut one leg off just above the knee. It was still there when we arrived beside the line. The girl was half a mile away. She crawled after the train cut... She crawled. God knows where she thought she was going, she didn't get there. 'Course she wanted to die, so...that was alright.

Now, she's dead. She went through the windscreen, bloke got the steering wheel. His mother said he just went up climbing after the cat and the railing just happened to be there when he fell, the bloke didn't know what he was doing.

He used twice too much jelly on the safe, painted the walls with himself and his mates, and the girl was pregnant and she wasn't married. Didn't have anyone, you know, to talk to. She went into the woods, deep into this wood, and hanged herself. That was in the winter, November they reckon sometime. We cut her down in March.

Running, burning streets. Burnt alleys, standing in doorways, dark corners, always night. No one there. Silent, empty, people dying. No one, bloody dying, no one. Oh, I've seen it.

Three weeks in the water, hung up on a branch, hidden under a bush. There wasn't a lot left. A baby, you could tell it was a baby, you couldn't tell much else. Fished it out, couldn't leave it there, leave to rot, go on rotting. Fished it out, no sweat, no fuss about the job. Plenty of things people have lost, thrown away...

(screenplay by John Hopkins)

Klute 02

Bree Daniels: The only responsibility you have to me is to enjoy yourself. Oh, inhibitions are always nice because they're so nice to overcome. Because I'm very bad, you know. I'm wicked.

Peter Cable: In what way? How are you bad?

Bree Daniels: In my head. I have very wicked ideas. Lots of them. I'm sure that as you're sitting at your great desk, you have all sorts of strange things going through your mind. You should never be ashamed of things like that, nothing is wrong. You know that I - I will do anything you ask. I think the only way that any of us can ever be happy is to...is to let it all hang out, you know, do it all and - fuck it.

(screenplay by Andy Lewis & Dave Lewis)

Water Power

Burt: October 16th. I feel at last that my life has some kind of purpose. I've always known that the filthy whorey element of the city was growing, getting bigger, but I never knew what to do about it. Now I know what I can do.

This girl, the stewardess, she was different from all the others, she was clean and good. She didn't do bad things with men, she didn't let men touch her with their cocks. She was pure, she was mine. All that's changed now. She let that man do terrible things to her and he didn't force her, I saw them, she let him do it.

Now she's dirty, but maybe she can be alright again. I couldn't want her if she was dirty, but maybe she can be cleaned out. If I cleaned her out, she could be clean again. She could be alright. She could have good thoughts. Now she's dirty, and it's shit thoughts, puke thoughts. But I can fix that. I'll give her an enema.

She has vile humors, that's why she's acting like this. I'll clean out her vile humors. She might not understand right away because she's having bad thoughts but after it's over she'll be glad, I know she will. She'll be glad I cleaned her out.


(screenplay by Shaun Costello)

M

Hans Beckert: It's there all the time, driving me out to wander the streets, following me, silently, but I can feel it there. It's me, pursuing myself! I want to escape, to escape from myself! But it's impossible. I can't escape, I have to obey it. I have to run, run...endless streets. I want to escape, to get away! And I'm pursued by ghosts. Ghosts of mothers and of those children...they never leave me. They are always there...always, always, always! except when I do it, when I...

(screenplay by Fritz Lang and Thea von Harbou)

Klute 01

Peter Cable: I have no idea what I'm going to do. I am so deeply puzzled. I've done terrible things. I've killed three people. And yet I don't consider myself a terrible man. No more than - than others.

You see, Tom Gruneman discovered me. We were here on business together. And he found me and Jane McKenna in my hotel room - and she had become hysterical and she started screaming and I - I guess I hit her, I - I don't actually recall, it all happened so quickly. Anyway, she fell and hit her head and that's when Tom came in the room. I guess he must have heard her screaming. But I never understood really why she did that, she...she had never screamed before.

And it was the - revulsion and contempt that I saw in his face. And the certainty that, sooner or later, he would use it against me within the company. And I - I tried to endure that as long as I possibly could, you see...you just want me to keep on talking, don't you?

Bree Daniels: No, I don't. I do understand. I really do.

Peter Cable: Well, that's what you all do. You make a man think that he's accepted. It's all just a big game to you. And you're all obviously too warped to do anything meaningful with your life so you - prey upon the sexual fantasies of others.

I'm sure it comes as no great surprise to you when I say that there are little corners in everyone which were better off left alone; sicknesses, weaknesses which - which should never be exposed. But that's your stock and trade, isn't it? A man's weakness. And I was never really fully aware of mine. Until you brought them out.

(screenplay by Andy Lewis & Dave Lewis)