Always hated fucking KISS (except for maybe a couple songs).  One of the worst songs is fucking “Beth”.  Here’s the same song done better by Scrawl.  I like the version on Smallmouth better - it has a really interesting vulnerability/ambivalence - but this one’s really good too.   

Not a fan of Mustangs, but for this I will make an exception.

Not a fan of Mustangs, but for this I will make an exception.

Taste: Buffalo Trace Antique Collection 2014

bourbonbabe:

image

Buffalo Trace 2014 Antique Collection

Every fall, Buffalo Trace Distillery in Frankfort, Ky., releases a collection of five limited-release whiskeys - George T. Stagg, Eagle Rare 17 Year, William Larue Weller. Sazerac Rye 18 Year and Thomas H. Handy Sazerac Rye - that have become cult favorites with aficionados. This year’s crop should hit stores late this month or early in October, with a suggested retail price of $80 each per 750ml. They will go fast, so it’s not too soon to start looking/buddying up to your favorite local merchant. But if I can purchase only one, you might be asking, which one should it be? My friends at Buffalo Trace sent me 50ml samples to help answer that question. Doing tasting notes on five very different whiskeys in one sitting is not easy, but I am nothing if not devoted to my readers.

Eagle Rare 17-year-old (90 proof)

Aged on second, third and sixth floors of Warehouses I and K

The aroma: Very light, no alcohol burn; vanilla laced with wintergreen

The taste: Very front-forward. Sweet and a little buttery until the minty, somewhat flat finish; reminded me of nothing so much as those hard candies you get at Christmastime that look like ribbons.

George T. Stagg (138 proof)

Aged 16 years (distilled spring 1998); barrels selected from Warehouses C, H, I, K, L, P and Q; uncut and unfiltered

The aroma: Again, no burn, which was a bit surprising considering that high proof (last year’s was 128.2). Brown sugar, bacon, leather - sweet and savory.

The taste: Very, very smooth - again, I would never have guessed this was 138 proof. Full and warming, with flavors of cinnamon, vanilla and coffee, and again a trace of that savory bacon. The tingle stays on the tongue - there is nothing harsh or fiery in the long finish.

William Larue Weller (140.2 proof)

This is the strongest Weller release ever. The wheated recipe bourbon was aged on the second, third, fourth and sixth floors of Warehouses D, K and L for 12 years (distilled spring 2002) and is uncut and unfiltered.

The aroma: Buttered bread, very little heat 

The taste: White pepper, dark molasses, toffee; brief brightness on the mid-palate but increases in heat as it goes down, even after swallowing. Smooth, but not as smooth as the Stagg.

Sazerac 18-Year-Old (90 proof)

Aged in Warehouse K

The aroma: Herbal, lots of rye - almost a beer-like aroma

The taste: Licorice, all-spice, rather flat and metallic to my taste; long, dry finish. Not nearly as sweet as last year’s version. 

Thomas H. Handy Sazerac Rye (129.2 proof)

This 6-year-old (distilled spring 2008) uncut, unfiltered straight rye whiskey was aged on the fifth floor of Warehouse M.

The aroma: Very balanced between sweetness and spice

The taste: Peppery on the front, transitioning to an herbal character mid-palate, this rye finishies warmly with clove, coconut and mint.

The verdict: The clear-cut winner for me this year is the George T. Stagg, followed by the Eagle Rare and the Thomas H. Handy Sazerac Rye. Happy hunting!

Oh my.  My birthday is soon.  That Stagg looks great, but all of it looks good.

awewwe:

extraterrestrial-origins:

hhobbess:

collab w/ cheyennesophia, los angeles
sept 2014

omg you guys this is so good!!!

i need a beer

awewwe:

extraterrestrial-origins:

hhobbess:

collab w/ cheyennesophia, los angeles

sept 2014

omg you guys this is so good!!!

i need a beer

experimentalcinema:

‘Kenneth Anger: Film as Magical Ritual’: Jaw-dropping German TV doc from 1970 

If you’re a Kenneth Anger fan, be prepared to be seriously blown away by this astonishing German television documentary from 1970 that shows the master at work on Lucifer Rising. It’s fun to ponder, as you watch, what the average German must have thought about this film, which doesn’t flinch from presenting some of the most outrageous ideas and imagery ever to be broadcast to an entire (unsuspecting) nation. It’s magnificently freaky stuff.

Not only would this have been the first look the world would get of Anger’s magnum opus (which he is seen shooting Méliès-style in a tiny space) there are substantial excerpts from Fireworks, Inauguration of the Pleasure Dome, Rabbit’s Moon, Puce Moment, and Invocation of My Demon Brother, which showed hash smoking (and cocks!) on TV. It’s impossible to imagine something like this ever getting on television in America 44 years ago, but I don’t think the BBC would have touched something this insane at the time, either.

As filmmaker Reinhold E. Thiel admits in his voiceover, it was Anger directing himself that they got on film. As he states, Anger really wasn’t that into allowing them to film him in the first place, but when he did relent it was on his terms. Anger’s interview segments were shot as he sat behind a makeshift altar, lit in magenta and inside of the magical “war gods” circle seen at the end of the film.
Of special note is we see Anger flipping through his “Puce Women” sketchbook (he’s an excellent illustrator) of his unmade tribute to the female archetypes of Hollywood’s golden era and the architecture of movie star homes (This notebook was on display at the Anger exhibit at MOCA in Los Angeles). Anger is also seen here shooting scenes with his Lucifer, Leslie Huggins (both interior shots in Anger’s makeshift studio and among the stones at Avebury) and with the adept in the war gods circle. Oddly, we can hear what the adept is saying (“Haven’t I seen you somewhere before?”) whereas in the final film he just seems to be muttering something mysterious when Lucifer appears.

Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices.

This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating.

(via dadoodoflow)


Ximena CristiBouquet à  la Fenêtre, 1920

Ximena Cristi
Bouquet à  la Fenêtre, 1920

(via antediluviancurrent)