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Insane Salvador Dalí haircut & other follicle follies

Salvador Dalí
San Antonio-based artist and hair stylist Roberto Perez AKA Rob The Original creates these pretty nutty haircuts with the scalp as a blank canvas and a photo of the subject to work off of for reference.

A lot of Rob’s subjects crafted on heads are of pop stars, sports stars and reality TV dum-dums (none of which I care about). I did, however, find of few of his works I really dig like Salvador Dalí, Bruce Lee, Cesar Chavez and a few others. I’d imagine the two dudes who got the Cheech & Chong hairdos would always have to stand together though, because it would be rather confusing to onlookers if they were separated with just a Tommy Chong on the one head. Where’s Cheech, dammit?!

I would also like to see these haircuts after two weeks of hair regrowth. Do they all turn into the Wolfman? I mean Tupac as the Wolfman would be kinda of hilarious and inexplicable to sport on yer head, no? You’d still have a lot of explaining to do. 

Bruce Lee

Cesar Chavez
More after the jump…

Posted by Tara McGinley | Leave a comment
Meet the great ‘English eccentric’ who financed the Surrealists

You may not have heard of Edward James, but you will certainly recognise the back of his head from the painting Not to be Reproduced by René Magritte. This was one of two portraits the Surrealist artist did of James, the other was The Pleasure Principle.

Edward William Frank James (1907–1984) was a poet and a patron of the arts, who used his vast wealth to publish writers (like poet John Betjeman), commission theatrical productions most notably Les Ballets and Bertolt Brecht and Kurt Weill’s last work together The Seven Deadly Sins in 1933. He also supported individuals, communities in Mexico and financed artisan workshops, but James is most famously known for his patronage of Surrealist art, in particular the artists Magritte, Leonora Carrington and Salvador Dalí. He also bought works by Giorgio de Chirico, Paul Klee, Pavel Tchelitchew, Pablo Picasso, Alberto Giacometti, Max Ernst and Paul Delvaux.

Being rich and aristocratic usually meant James was described as a great “English eccentric,” though he was never fond of the term claiming he was like “the boy with green hair,” just born that way. According to James he was the illegitimate son of King Edward VII, which may have indeed been possible as his mother was said to have been one of the royal’s many mistresses. When he was five, his father (or at least his mother’s husband) died leaving James the sole heir to his fortune and the 8,000 acre family estate of West Dean House in Sussex. James eventually gave away the family estate, financing its reuse as a college. He created his own Surrealist home in Monkton, and then in Las Pozas, Mexico, where he used his money to support its community employing villagers to build houses, a hotel, Surrealist sculptures and architectural follies.

This delightful film The Secret Life of Edward James made in 1978 was narrated by the late jazz singer, art critic and writer George Melly. James and Melly were good friends, united by their passion for Surrealism. Melly was a wonderfully outrageous and much loved performer whose exuberance for life was often matched by his attire. He also wrote three highly entertaining volumes of autobiography and released a whole bag of recordings. If you haven’t heard of George Melly he is worth investigating.
Magritte’s other portrait of Edward James ‘The Pleasure Principle’ (1937).

More after the jump…

Posted by Paul Gallagher | Leave a comment
Dali and Warhol’s Ultra Violet light goes out. R.I.P Superstar Ultra Violet
01:08 pm


Andy Warhol
Salvador Dali
Ultra Violet

Born Isabelle Collin Dufresne on September 6th 1935, but later but rechristened by Andy Warhol, Ultra Violet passed away Saturday after a long battle with cancer. She was brought up in a strictly religious upper-middle-class family, but she rebelled at an early age, and was supposedly exorcised at the insistence of her parents. Isabelle studied art in France and then ran to New York to live with her older sister.

After meeting Salvador Dali in the early 1950s she became his assistant, pupil and muse. Ten years later Dali introduced Isabelle to Andy Warhol and things would never the same.

When she was asked once for a short autobiography, she wrote this:

1935 - I was born a mystical child.
1940 - I was raised in France at the Sacred Heart Catholic convent where I became rebellious.
1950 - I was exorcised at age 15.
1951 - I was sent to a correction home at the age of 16.
1968 - I burned my bra as a sign of rebellion.
1972 - I questioned the masculinity imbued in religion and scriptures.
1998 - I had absorbed and accepted the gender differences.
Present - I believe Jesus Christ to be the Messiah and the Savior of the world.


At Warhol’s suggestion she changed her name to Ultra Violet as her hair was violet colored much of the time. Ultra Violet was one of Andy’s early Superstars and appeared in several of his underground films including I, a Man, The Life of Juanita Castro and Fuck aka ****. She was also in quite a few really good, weird, but more “above ground” exploitation or B films including The Telephone Book, Midnight Cowboy, Simon, King of the Witches, The Phynx, Cleopatra, Savages and Curse of the Headless Horseman.
Amazingly, you can watch The Life of Juanita Castro in its entirety via YouTube:

Ultra Violet narrated a very controversial “lost” film called Hot Parts, a compilation of hardcore porn scenes from vintage smokers and loops dating as far back as the turn of the century. It even had a soundtrack album released available here. The film was allowed to play as the police rushed in and busted it at its initial showing at the First Annual New York Erotic Film Festival. Still being talked about three years after the incident, this is from an article in Man to Man magazine from 1974:
Not too long after this, Ultra Violet made an LP for Capital Records. It was not promoted and had little to no publicity. Every known copy has a cut out hole, meaning it went directly to sale record bins, and usually sold for 99 cents. Today it sells on eBay for up to $5,200! Some tracks are actually pretty good. Ultra Violet really sounds like her friend Yoko Ono on this track, “Cool Mac Daddy.” The entire album is available on iTunes.


In 1973, a near-death experience launched Ultra Violet on a spiritual quest, culminating in her baptism in 1981, bringing her full circle back to her upbringing. From 1981 until her death, she was a practicing member of The Church of Jesus Christ of Latter-day Saints. Oddly enough one year before this Ultra Violet did her own version of The Last Supper.

“The Last Supper,” a performance and film—a re-enactment of the Last Supper—was conceived for the Kitchen by Ultra Violet in 1972 and performed by New York-based female artists. Recently it was shown at a Miami Beach Cinematheque screening for Art Basel in 2007 and is included in the collection of Centre Pompidou, Paris.
Ultra Violet never showed her work until much later in life when she devoted herself to her art and mounted celebrated shows the world over. She was also the author of the books, Famous for 15 minutes, Ultra Violet: Andy Warhol, Superstar and Ultra Violet: L’Ultratique. Her first book, Famous for 15 Minutes was made into an opera called Famous! with music by David Conte and a libretto by John Stirling Walker. That is something I’d really like to see. There’s a website with some video here.
Here’s a pretty in depth interview with Ultra Violet:

Posted by Howie Pyro | Leave a comment
Salvador Dali’s cookbook is every bit as insane as you would expect it to be
08:28 am


Salvador Dali

Dali's cookbook
Front view and back view
In 1973, French publisher Felicie put out a remarkable “cookbook” (quotation marks are important here) by the great Surrealist master Salvador Dalí. It delivers everything you would expect from such a volume: visual flair, a winking sense of humor, a disregard for accepted norms, and a heightened feeling for the absurd. The book was called Les Diners de Gala—I think the idea here is a conflation of a “gala dinner” and his wife, whose name, of course, was Gala.
Dali's cookbook
According to one source, only 400 copies of the cookbook were ever printed, although it’s difficult to say whether that was actually the case or not—a copy is always on eBay—it’s possible that Dalí was merely trying to foster an air of mysterious exclusivity. The hefty volume has become quite the collector’s item; prices on Amazon range from $300 to $490. Let’s take a look at the table of contents, which I’ll leave untranslated:

1. Les caprices pincés princiers (Exotic Dishes)
2. Les cannibalismes de l’automne (Eggs - Seafood)
3. Les suprêmes de malaises lilliputiens (Entrées)
4. Les entre-plats sodomisés (Meats)
5. Les spoutniks astiqués d’asticots statistiques (Snails - Frogs)
6. Les panaches panachés (Fish - Shellfish)
7. Les chairs monarchiques (Game - Poultry)
8. Les montres molles 1/2 sommeil (Pork)
9. L’atavisme désoxyribonucléique (Vegetables)
10. Les “je mange GALA” (Aphrodisiacs)
11. Les pios nonoches (Sweets - Desserts)
12. Les délices petits martyrs (Hors-d’oeuvres)

I don’t know what most of that means, but I do know that the title of chapter 10, dedicated to “Aphrodisiacs,” translates to “I eat GALA,” so right there in the table of contents you already have a bald reference to oral sex. Well done!
Dali's cookbook
In the book Dalí discusses his loathing for a certain leafy green vegetable: “I only like to eat what has a clear intelligible form. If I hate that detestable degrading vegetable called spinach, it is because it is shapeless, like Liberty.”

In 2011, two noted Minnesota dance troupes, Ballet of the Dolls and Zorongo Flamenco, put on a staged piece in Minneapolis called “Dali’s Cookbook: A Gastronomical Inquisition” that was inspired by the cookbook.
After the jump, a cocktail recipe and a bunch more pics from the book…....

Posted by Martin Schneider | Leave a comment
The insane ‘happening’ Salvador Dalí wanted to do for Aphrodite’s Child in 1972
07:34 am


Salvador Dali
Aphrodite's Child

Vangelis and Dalí
Vangelis and Dalí hanging out

Aphrodite’s Child was Greece’s most prominent contribution to the prog-rock scene in the late ‘60s and early ‘70s. They released End of the World in 1968 and It’s Five O’Clock in 1969, but their biggest accomplishment was still ahead of them: the double album 666, a rock opera about the Apocalypse of St. John as described in the Book of Revelations. The album was the brainchild of Vangelis Papathanassiou (music) and Costas Ferris (lyrics)—movie lovers will probably recognize the name Vangelis as the synth-y composer of the soundtracks to Chariots of Fire and Blade Runner, among others. 666 was extremely successful: although redolent of the excesses of the over-the-top prog scene of the day, the album sold 20 million albums, according to Wikipedia, and it is remembered fondly, garnering extremely positive notices from the likes of All-Music Guide and IGN in our own time. I must say, it holds up pretty well.
Once 666 was in the can, after toiling on it for the better part of 1970 and 1971, Vangelis and Ferris chanced to meet Salvador Dalí briefly in Paris. Afterwards Ferris decided to ask his PR man to get in touch with the great surrealist for the possibility of some kind of collaboration for the promotional materials. Dalí ended up visiting the band at the Europa Sonor studio, where he demanded to hear the entire album, all 80 minutes of it. Much to their surprise, Dalí was very enthusiastic about the album, calling it “a music of stone” (“une musique de pierre”) and saying that it reminded him of the great 16th-century woodcut master Albrecht Dürer (??).

Dalí proposed the following outline for a “happening,” to take place in Barcelona, then still under the rule of Generalissimo Francisco Franco, on the occasion of the release of 666:

1. Martial Law shall be ordered on a Sunday, in Barcelona. No one shall be allowed to walk in the streets, or watch the event. No cameras, no TV. Only a young couple of shepherds will have the privilege to witness the event. So, they can later describe it to the people, by oral speech.

2. Giant loudspeakers shall be put in the streets, playing all day the work 666, by Vangelis, Ferris and the Aphrodite’s Child. No live performance.

3. Soldiers dressed in Nazi uniforms, will walk in military march in the streets of Barcelona, arresting who-ever wants to break the law.

4. Hundreds of swans will be left to move in front of the Sagrada Famiglia, with pieces of dynamite in their bellies, which will explode in slow motion by special effects. (real living swans, that should be operated for putting the dynamite inside their belly).

5. Giant Navy planes, will fly all day in the sky of Barcelona, provoking big noise.

6. At 12:00 sharp, in the mid-day, those planes will start the bombardment of the great church, throwing all of their munitions.

7. Instead of bombs, they shall throw Elephants, Hippopotami, Whales and Archbishops carrying umbrellas.

Upon taking all of this in, Ferris dared to ask Dalí, “You mean, false archbishops, that is to say plastic or other dolls dressed as archbishops?” Dalí replied, “No, young man. When I say Archbishops, I mean real, living Archbishops. It’s about time to finish with the church!”

Alas, at some later point, Ferris ended up offending Dalí by bringing up Paul Éluard, to whom Dali’s wife Gala had been married before Dalí. Dalí was so upset that he mentioned having a duel (“Acceptez un duel, maintenant…”) and broke off contact with the band. (Personally I think the theatrics were a canny way out of having to follow through on an undeliverable promise ... slow-motion exploding swans?) 

Sadly, we can’t show you the happening—nobody can—but here’s the full album of 666 by Aphrodite’s Child:

via { feuilleton }

Posted by Martin Schneider | Leave a comment
Down the rabbit-hole with Salvador Dali’s ‘Alice in Wonderland’
09:35 am


Salvador Dali
Lewis Carroll

It seems like a perfect match, the master of Surrealist painting, Salvador Dali illustrating a classic of nonsense literature, Lewis Carroll’s Alice’s Adventures in Wonderland. In 1969, Dali produced thirteen illustrations for a special edition of Carroll’s book published by Maecenas Press-Random House, New York. Dali made twelve heliogravures of original gouaches for each of the book’s twelve chapters, and one engraving for the frontispiece. Dali’s work is startling and beautiful, but at times seems slightly unrelated to the original source material. Even so, they are quite delightful.

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, `and what is the use of a book,’ thought Alice `without pictures or conversation?’


The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well.


`Curiouser and curiouser!’ cried Alice (she was so much surprised, that for the moment she quite forgot how to speak good English); `now I’m opening out like the largest telescope that ever was! Good-bye, feet!’ (for when she looked down at her feet, they seemed to be almost out of sight, they were getting so far off).

More of Dali’s illustrations for ‘Alice in Wonderland,’ after the jump…

Posted by Paul Gallagher | Leave a comment
Art & Commerce: Andy Warhol and Salvador Dalí‘s commercials for Braniff Airways, 1967
06:53 am


Andy Warhol
Salvador Dali
George Lois

Andy Warhol and Sonny Liston
In 1967 legendary adman and designer George Lois conceived a hip new ad campaign for Braniff International Airways, in a style that was remarkably similar to his undying Esquire covers from around the same time. (If you’re at all interested in design, you’ve definitely seen a bunch of those covers, just Google it.)

In two TV spots, Andy Warhol tries to convince a not-buying-it Sonny Liston, then the world heavyweight champ, as to the artistic validity of his Campbell’s soup cans, and Yankee hurler Whitey Ford quizzes Salvador Dalí about the differences between the screwball and the knuckleball.

Lois, in his egotistical and yet charmingly frank (“out-bullshit” etc.) style, explains on his website what he was getting at with the Braniff ads. He mentions a bunch of other pairings that were presumably filmed, but, well, they ain’t on YouTube, anyway.



In 1967, When you got it—flaunt it! became an American colloquialism as well as a standard entry in the anthologies of American sayings, almost instantly. It was my slogan for Braniff—a zany, outrageous campaign that featured a smorgasbord of the world’s oddest couples, exchanging the screwiest and most sophisticated chatter heard on television. Our juxtaposition of unlikely couples was unprecedented, creating the perception that when you flew Braniff International, you never knew who might be in the seat next to you. Pop guru Andy Warhol tried (but failed) to engage the sullen heavyweight champ Sonny Liston…Salvador Dali (Wen yo godet—flawndet!) talked baseball with Whitey Ford…black baseball legend Satchel Paige talked about youth and fame with neophyte Dean Martin Jr….poet Marianne Moore discussed writing with crime novelist Mickey Spillane…Rex Reed dueled with Mickey Rooney…British comedienne Hermione Gingold trumped film legend George Raft at his own game, whilst inundating him with pretentious palaver.

Sounds wacky on the face of it, but as we eavesdrop on these odd couples trying to outflaunt each other, we hear everything that has to be said about Braniff. We also imply that you might bump into a celebrity or two on a Braniff flight. (Yet another spot was produced with a Braniff stewardess welcoming an eclectic procession of business travelers: Joe Namath, Emilio Pucci, the Italian fashion designer to the Jet Set, thespians Gina Lollobrigida, Tab Hunter and Sandra Locke, jockey Diane Crump and the Rock group Vanilla Fudge.) They are not idealized celebrities—they are famous people who are portrayed as lovable extroverts, combined to radiate a surreal kind of believability. A commercial has little credibility if we think its spokespersons are hustling a buck. Celebrities must not look like mercenaries. I make them believable by showing them in a human way, downplaying their celebrity.




Posted by Martin Schneider | Leave a comment
Salvador Dali’s Christmas cards
09:35 am


Salvador Dali
Christmas cards

Salvador Dali designed a series of nineteen Christmas cards between 1958 and 1976. These greeting cards were specially produced for the Barcelona-based company Hoechst Ibérica, and presented Dali’s take on traditional Christmas celebrations.

While popular in Spain, Dali’s greeting cards were not as successful in America, particularly with card manufacturer Hallmark, who thought his “surrealist take on Christmas proved a bit too avant garde for the average greeting card buyer.”
Rebecca M. Bender, Assistant Professor of Spanish Language and Literature has written a fascinating blog with more pictures of Dali’s festive work, which you can view here.

Happy Holidays!
Christmas 1974
Christmas 1960
More Dalinian holiday greetings, after the jump…

Posted by Paul Gallagher | Leave a comment
Soft Self-Portrait of Salvador Dali
12:05 pm


Salvador Dali

Max Bialystock’s advice from The Producers, “When you’ve got it flaunt it!” was never more apt for an artist than Salvador Dali. Like Mel Brooks’ fictional character, Dali was a showman, a performer who loved money, fame and success. Unlike Bialystock, Dali was good with his finances. As his publisher Peter Owen once told me, Dali wandered around playing the mad man until the issue of contracts and money was raised, then Dali dropped the pretense and became lucid for the duration of any negotiations. As Owen noted, “Dali was a notary’s son.”

Dali’s need to show-off often eclipsed his genius as an artist. His appearances in public often attracted more attention than his art, it was something he willingly indulged, once addressing an anarchist rally with a loaf of bread tied to his head; at the opening of the 1936 London Surrealists Exhibition, he wore a deep sea diving suit; and he was put on trial by his fellow Surrealists after he issued a public apology for attending a party dressed as the murdered baby Charles Lindbergh Jr., his wife, Gala dressed as the killer. It wasn’t the dressing up that offended the Surrealists, but Dali’s apology - “sorry” seemed to be the hardest word for Breton and co.

The Surrealists dismissed Dali as a grubby money grabber, but it is more likely they were jealous of his talent and envious that Dali had a sponsor, Edward James, a British millionaire, son of an American railroad magnate. James sponsored Dalí for a number of years and was repaid with his inclusion in Dali’s painting “Swans Reflecting Elephants”.

Dali’s need to show-off came from a greater need than just a love of money. Throughout his childhood, he fought against the memory of another Salvador - his older brother who had died in infancy. As Dali later wrote in his autobiography:

All my eccentricities I habitually perpetrate, are the tragic constant of my life. I want to prove I am not the dead brother but the living brother. By killing my brother I immortalize myself.”

Originally made for French television Soft Self-Portrait of Salvador Dali (1970) is a brilliant and beautiful film that captures the artist in fine fettle as he delights in performing for the camera. Here’s Dali indulging in his trademark mix of showman, clown and serious artist: hammering out a tuneless miaow on a cat piano (Dali associated pianos with sex after his father left an illustrated book on the effects of venereal diseases atop the family piano as a warning to the dangers of sexual intercourse); or sowing feathers in the air, as two children follow pushing the head of a plaster rhinoceros; or, his attempt to paint the sky.

Directed by Jean-Christopher Averty, with narration provided by Orson Welles.

Dali Salvador A Soft Self Portrait by le-pere-de-colombe


Posted by Paul Gallagher | Leave a comment
Salvador Dali tries his hand at ‘Dynamic Painting’ on ‘I’ve Got A Secret’ 1963
02:48 pm


Salvador Dali
Jackson Pollock

Francis Bacon described Jackson Pollock as the “lacemaker,” as he thought Pollock’s Action Paintings looked like the intricacies of fine lacework. The description was flippant, but in it was also the recognition of Pollock’s talent in creating such fluid and spontaneous artwork.

In 1963, Salvador Dali tried his hand at Action Painting, or as he termed it “Dynamic Painting,” on the panel show I’ve Got A Secret. Unlike Pollock, who used oil, enamel and aluminum paint, Dali opted for shaving foam (yes, shaving foam) to create his mini-masterpiece. As one would imagine, the resultant (comic) mess bears little resemblance to the quality of the lacemaker’s work—though I doubt that was ever the intention.

A longer version with Dali judging the panelists’ paintings, after the jump…

Posted by Paul Gallagher | Leave a comment
Serge Gainsbourg as Salvador Dali
07:51 am


Salvador Dali
Serge Gainsbourg


Both above photo and the below video are via the Melody Nelson 33 1/3 Twitter feed. Darran Anderson’s Serge Gainsbourg’s Histoire de Melody Nelson, an upcoming entrant in the famed 33 1/3 book series will be published later this year, is available for pre-order now. If you are a Gainsbourg fan, you might want to follow this feed, as I expect they’ll be posting a real bounty of Serge-related multimedia.

Below, an insanely cool short sequence edited from the French movie La Pacha (1968). Gainsbourg is seen here singing “Requiem pour un con” (“Requiem for a Twat”)

Listen to the organs
They play for you
That tune is terrible
I hope you like
It’s quite beautiful, isn’t it?
It’s the requiem for a twat

I composed it specially for you
In your sordid memory
It’s a pretty theme
You don’t find
The ressemblance to yourself?
Poor twat

I’ve never seen this clip before. It made me tres happy.

Posted by Richard Metzger | Leave a comment
Dirty Dali: The Great Masturbator
03:29 pm


Salvador Dali

Although British art critic Brian Sewell’s Dirty Dali: A Private View isn’t quite as salacious as the title makes it sound (and doesn’t include a fraction of the dirt that was in Ian Gibson’s fascinating 1997 biography, (The Shameful Life of Salvador Dalí) it’s still pretty darned interesting.

In fact, though less “warts and all” than Gibson’s book, Sewell’s 2007 documentary about the painter does have something Gibson’s account did not, and that is a personal sexual… experience (“encounter” would probably be too strong a word) with the voyeuristic Great Masturbator himself!

Sewell describes in the film how as a young man he came to stay in Port Lligat for four summers between 1968 and 1971 and was introduced into the Dali’s social circle at a time that the genius was thought to have seen his best days—and best work—now long behind him.

After a dinner, Dali convinced Sewell to recline on a sculpture of Christ and masturbate while he took photos and beat his own (apparently very tiny) meat. This sort of thing went on, obviously, with Gala’s disinterested blessing as she was into her very own swinging scene and was allegedly a complete nymphomaniac into a ripe old age. 

Although ultimately quite sympathetic to Dali, Sewell’s film depicts how unconstrained Dali was by conventional morality and yet how his own deep psychological (not to mention Catholic) shame at what he got up to, fed into his work in a perverse sort of guilty, self-loathing Freudian feedback loop.

But clearly, it worked for him…

Posted by Richard Metzger | Leave a comment
Salvador Dali vs. acid indigestion: Zany Alka Seltzer commercial from 1974
11:55 am


Salvador Dali
Alka Seltzer

“Plop, plop, fizz, fizz”

Salvador Dali takes an artistic approach to neutralizing stomach acid in this Alka Seltzer commercial from 1974.

Dali made himself available to do commercials for the price of $10,000 a minute. A bargain.

Posted by Marc Campbell | Leave a comment
Salvador Dali’s transsexual muse Amanda Lear in her first TV commercial, 1967
11:17 am

Pop Culture

Salvador Dali
Amanda Lear

Lear photographed by David Bailey for the December 1971 Dali-edited issue of French Vogue.

The glamorous Amanda Lear in her first TV commercial appearance, circa 1967, for Révillon’s Detchema fragrance.

The music is by cult figure French soundtrack composer, François de Roubaix.

Posted by Richard Metzger | Leave a comment
Salvador Dali’s bizarre design ideas for women’s swimwear, 1965
10:46 am


Salvador Dali

Besides the wacky signature Dalinian designs, the takeaway I was left with?

Dali was no fan of cleavage.

Via Nerdcore

Posted by Tara McGinley | Leave a comment
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