The Bizarre and Terrifying Propaganda Art of the Children of God 
The Children of God movement was founded in 1968 in Huntington Beach, California, by former pastor David Brandt Berg, known to his followers as Moses David, Mo, King David, Dad, and Grandpa. Essentially a communist cult founded around banding together to proselytize the word of Jesus in the streets, the group maintained an “old world” idea of Christianity, which, at least in Berg’s view, centered largely around sex. By the time the organization changed its name to The Family of Love in 1978, Berg had introduced a process called “flirty fishing,” which involved the women of the group recruiting new members by fucking them.
The use of sex within the Family did not end at the recruiting stage. When the group changed its name again, for a second time, in 1987, to simply “The Family,” numerous allegations of abduction, pedophilia, and various sexual abuses were leveled at the group, which by this time had locations in countries all over the world. In 1993, more than 70 percent of the group’s 10,000 members were under the age of 18, operating under a strict and insane set of guidelines laid out by Berg and his wife, Karen Zerby, the latter of whom still heads the organization to this day, under their current moniker, the Family International.
I have paraphrased 20 of the Family’s foundational ideas below.

1. God loves sex, because sex is love.
2. Satan hates sex, because sex is beautiful.
3. Incest is OK, because there’s no better place for a young man to learn about doing it than from his own mother.
4. Eleven-year-olds are capable of becoming pregnant, so why shouldn’t they be having sex?
5. Fucking your grandpa is awesome.
6. Everybody is married to everybody else.
7. Children should have at least an eighth grade education, provided by their parents, and if the children want more education, it is “up to the parents to see if the Home can comply.”
8. Pictures of naked congregation members, referred to as “nudie-cuties,” make good bookmarks for the Bible.
9. It is OK to lie to non-believers in order to protect God’s work.
10. Men should not be gay, but it is hot when women are gay.
Continue

The Bizarre and Terrifying Propaganda Art of the Children of God 

The Children of God movement was founded in 1968 in Huntington Beach, California, by former pastor David Brandt Berg, known to his followers as Moses David, Mo, King David, Dad, and Grandpa. Essentially a communist cult founded around banding together to proselytize the word of Jesus in the streets, the group maintained an “old world” idea of Christianity, which, at least in Berg’s view, centered largely around sex. By the time the organization changed its name to The Family of Love in 1978, Berg had introduced a process called “flirty fishing,” which involved the women of the group recruiting new members by fucking them.

The use of sex within the Family did not end at the recruiting stage. When the group changed its name again, for a second time, in 1987, to simply “The Family,” numerous allegations of abduction, pedophilia, and various sexual abuses were leveled at the group, which by this time had locations in countries all over the world. In 1993, more than 70 percent of the group’s 10,000 members were under the age of 18, operating under a strict and insane set of guidelines laid out by Berg and his wife, Karen Zerby, the latter of whom still heads the organization to this day, under their current moniker, the Family International.

I have paraphrased 20 of the Family’s foundational ideas below.

1. God loves sex, because sex is love.

2. Satan hates sex, because sex is beautiful.

3. Incest is OK, because there’s no better place for a young man to learn about doing it than from his own mother.

4. Eleven-year-olds are capable of becoming pregnant, so why shouldn’t they be having sex?

5. Fucking your grandpa is awesome.

6. Everybody is married to everybody else.

7. Children should have at least an eighth grade education, provided by their parents, and if the children want more education, it is “up to the parents to see if the Home can comply.”

8. Pictures of naked congregation members, referred to as “nudie-cuties,” make good bookmarks for the Bible.

9. It is OK to lie to non-believers in order to protect God’s work.

10. Men should not be gay, but it is hot when women are gay.

Continue

In Randal Levenson’s practice, insiders and outsiders become one. His series In Search of the Monkey Girl comprises photographs of enigmatic freaks, pictures of carnies, and sideshow scenes taken from his travels across North America in the 70s. His subjects included such illustrious figures as the Man with Two Faces, the World’s Smallest Mother, Penguin Boy, Willie “Popeye” Ingram, and the iconic Artoria Gibbons. In 1982, Aperture published In Search of the Monkey Girl as a book, which featured an essay by Spalding Gray titled Stories From the 1981 Tennessee State Fair.
 
The pictures are now on view at La Petite Mort Gallery, Ottawa, Canada, so we sat down with Levenson to talk about his days on the road, getting to know sideshow freaks, and being able to photograph who people really are inside.
 
VICE: What motivates your practice?
Randal Levenson: I am interested in how people work to solve or adapt to life’s problems. The camera has provided me with a means to enter environments where it might otherwise be difficult or impossible to interact.
 
When did you begin In Search of the Monkey Girl
In 1971, I traveled from Ottawa to visit a friend who lived in Fryeburg, Maine, at the time of the Fryeburg fair. I spent the eight days of the fair photographing both the agricultural and carnival side—that is, both the livestock arenas as well as the carnies brought in to operate the independent midway. I traveled to the next fair, the last of the season, in Topsham, Maine, living in and working out of an old Sears canvas tent I set up in the woods adjacent to the fairgrounds. 
 
From that initial encounter with fairs, I determined to work toward a book that would document the people and places I encountered while traveling from fair to fair. I soon gravitated toward the carnies and especially the sideshow part of the business. My last was the Tennessee Sate Fair in 1981. The bulk of the work was done from 1974 to 1978, when I was able to be on the road nearly full time, thanks in part to a couple of grants.
How would you describe your experience of the circus or carnival subculture? 
There is no “circus” in the carnival, and carnies are generally looked down upon by circus folk. Carnies do not have much use for circus people, either. It’s a different culture entirely. In a circus, everybody is on a payroll, and most carnies except, for the roustabouts, get paid from their own independent arrangements with the main show promoter. 

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70s Porn

70s Porn

70s Porn

The super special September issue of VICE was exclusively culled from the archives of Bob Guccione Sr.—the legendary magazine publisher who built a media empire that started with Penthouse. This portion of the issue features an interview with a frustrated Playboy butler who was fired for “an intrusion on his personal life.”
Read about what the Playboy butler saw

The super special September issue of VICE was exclusively culled from the archives of Bob Guccione Sr.—the legendary magazine publisher who built a media empire that started with Penthouse. This portion of the issue features an interview with a frustrated Playboy butler who was fired for “an intrusion on his personal life.”

Read about what the Playboy butler saw

Resurrecting the Man Behind the Penthouse Empire
It was a dark February evening. Jeremy Frommer, a former Wall Street trader turned entrepreneur and financier, had spent the day overseeing a successful storage-locker auction with his daughter, a fan of the show “Storage Wars.” They’d bought every unit except for one. Now, he was driving to a sketchy warehouse on Long Island—alone—to meet a Russian contractor who’d outbid him for that final unit.
When Jeremy arrived at the warehouse, he saw the contents of the storage unit the Russian had bought spread out: household stuff, junk, and pottery. For a moment he was disappointed. He’d hoped the contents of this unit might hold something of immense value: the rest of a unique collection Jeremy had discovered in the neighboring unit. But it wasn’t there.
Then he spotted the boxes, piled up near the trashcans. The boxes were filled with slides. The Russian contractor “thought the slides were garbage and didn’t give a shit about them,” Jeremy told me. In a hasty negotiation, he bought the entire storage unit for $2,000 cash, loaded the contents into his SUV, and drove breathlessly to the nearest gas station to dig through the boxes. It was the treasure he had been hoping for: the personal photographs of Bob Guccione, publishing magnate and kingpin of the Penthouse empire.
The combined total of Jeremy’s purchases that day amounted to a substantial portion of Guccione’s abandoned stuff: hundreds of slides, photographs, and personal letters. Rarities from the annals of Penthouse. A Japanese film reel of Caligula, the bloated Dionysian-porno-biopic Guccione produced against great odds in 1976. The final piece was the phone numbers, which led Jeremy to the real jackpot lingering with a creditor in Phoenix: the entire Guccione estate.
In time, Jeremy bought that too.
Continue

Resurrecting the Man Behind the Penthouse Empire

It was a dark February evening. Jeremy Frommer, a former Wall Street trader turned entrepreneur and financier, had spent the day overseeing a successful storage-locker auction with his daughter, a fan of the show “Storage Wars.” They’d bought every unit except for one. Now, he was driving to a sketchy warehouse on Long Island—alone—to meet a Russian contractor who’d outbid him for that final unit.

When Jeremy arrived at the warehouse, he saw the contents of the storage unit the Russian had bought spread out: household stuff, junk, and pottery. For a moment he was disappointed. He’d hoped the contents of this unit might hold something of immense value: the rest of a unique collection Jeremy had discovered in the neighboring unit. But it wasn’t there.

Then he spotted the boxes, piled up near the trashcans. The boxes were filled with slides. The Russian contractor “thought the slides were garbage and didn’t give a shit about them,” Jeremy told me. In a hasty negotiation, he bought the entire storage unit for $2,000 cash, loaded the contents into his SUV, and drove breathlessly to the nearest gas station to dig through the boxes. It was the treasure he had been hoping for: the personal photographs of Bob Guccione, publishing magnate and kingpin of the Penthouse empire.

The combined total of Jeremy’s purchases that day amounted to a substantial portion of Guccione’s abandoned stuff: hundreds of slides, photographs, and personal letters. Rarities from the annals of Penthouse. A Japanese film reel of Caligula, the bloated Dionysian-porno-biopic Guccione produced against great odds in 1976. The final piece was the phone numbers, which led Jeremy to the real jackpot lingering with a creditor in Phoenix: the entire Guccione estate.

In time, Jeremy bought that too.

Continue

Tom Bianchi Photographed His Gay Paradise Before It Disappeared Forever
Close your eyes for a second and imagine you are at the party of your dreams. Everyone you love and are infatuated with is around you, the music you loved in your teens is playing, and bad trips are not a concept. You dance and you love and you spin and you love some more, and then all of your friends die.
I know it’s harsh, but it’s also sort of what happened to Tom Bianchi in the early 1980s, with the onset of AIDS. It’s also the subject of his latest book, Fire Island Pines - Polaroids 1975-1983—a selection of photos taken in a small part of Long Island called the Pines, that functioned as a kind of IRL utopia for a large community of incredibly beautiful and charismatic gay men in the 1970s.
Tom’s name, by the way, is one of those you should know, because he’s been integral in making the world you live in a nicer place than how you found it. You see Bianchi—who, in the early 70s, also worked as a lawyer in New York and Washington, DC—has spent most of his life fighting AIDS and weird heterosexual attitudes toward gay culture. He is the co-founder of a biotech company researching AIDS medication and, if he feels like it, he can also boast a long catalogue of incredibly affectionate photography, poetry, and video work.
With the release of his new book as an excuse, I called Tom up to talk desire and grow up a little.
VICE: Hi Tom, how are you today?Tom Bianchi: I’m very good, I just had a lovely breakfast out by the swimming pool. I’m ready to go today.OK, let’s do it. Shall we start by telling the story of how this book came to be?Growing up and coming out in Middle America, you had to imagine a world very different to the one you were living in. The world we were living in disregarded us and called us perverts. So the brilliance of Fire Island was that it was built by those people who imagined a different world and set out to create it. We carved out the tiniest little place just for ourselves, where we could be safe and laugh and play with one another on the beach, and not have any negative judgement surrounding us. What that did was attract the best and the brightest gays from all over America—particularly because of its proximity to New York, which was the centre of so much culture, fashion, style, and even film. It was a very glamorous time.
Was the creation of this neighborhood planned or circumstantial?The island is a 36 mile-long barrier a few miles off the Long Island coast, separated into small communities by extended open sand dunes. The Pines, which is one of these little villages, is a mile-long grid of boardwalks connecting about 600 houses built on telephone pole stilts sunk into the sand. Back then, some real-estate guys got to building on this virgin terrace, and it just so happened that the place began to attract bohemian New Yorkers; writers and artists would come out and live in little shacks. It wasn’t intended for the gay community, but it made sense when it formed to be a home for it.
And you happened to be there with a fancy, new Polaroid camera, too.I was a lawyer at Columbia Pictures at the time. At an executive conference in Miami, we were given an SX-70 Polaroid camera. It was this little plastic thing, which I took to Fire Island a little while later and started taking pictures of my friends. At the time, a lot of people were still in the closet so, as you can understand, they were extremely wary of having their picture taken. So, the important thing about this camera was that it allowed me to take the picture and a few minutes later put it out on the table for people to take a look. It made everyone immediately more comfortable and I very quickly formed the intention to show the world what a cool, amazing place the capital of Queerdom was. Or the provincial part of it [laughs].
Continue

Tom Bianchi Photographed His Gay Paradise Before It Disappeared Forever

Close your eyes for a second and imagine you are at the party of your dreams. Everyone you love and are infatuated with is around you, the music you loved in your teens is playing, and bad trips are not a concept. You dance and you love and you spin and you love some more, and then all of your friends die.

I know it’s harsh, but it’s also sort of what happened to Tom Bianchi in the early 1980s, with the onset of AIDS. It’s also the subject of his latest book, Fire Island Pines - Polaroids 1975-1983—a selection of photos taken in a small part of Long Island called the Pines, that functioned as a kind of IRL utopia for a large community of incredibly beautiful and charismatic gay men in the 1970s.

Tom’s name, by the way, is one of those you should know, because he’s been integral in making the world you live in a nicer place than how you found it. You see Bianchi—who, in the early 70s, also worked as a lawyer in New York and Washington, DC—has spent most of his life fighting AIDS and weird heterosexual attitudes toward gay culture. He is the co-founder of a biotech company researching AIDS medication and, if he feels like it, he can also boast a long catalogue of incredibly affectionate photography, poetry, and video work.

With the release of his new book as an excuse, I called Tom up to talk desire and grow up a little.

VICE: Hi Tom, how are you today?
Tom Bianchi: 
I’m very good, I just had a lovely breakfast out by the swimming pool. I’m ready to go today.

OK, let’s do it. Shall we start by telling the story of how this book came to be?
Growing up and coming out in Middle America, you had to imagine a world very different to the one you were living in. The world we were living in disregarded us and called us perverts. So the brilliance of Fire Island was that it was built by those people who imagined a different world and set out to create it. We carved out the tiniest little place just for ourselves, where we could be safe and laugh and play with one another on the beach, and not have any negative judgement surrounding us. What that did was attract the best and the brightest gays from all over America—particularly because of its proximity to New York, which was the centre of so much culture, fashion, style, and even film. It was a very glamorous time.



Was the creation of this neighborhood planned or circumstantial?
The island is a 36 mile-long barrier a few miles off the Long Island coast, separated into small communities by extended open sand dunes. The Pines, which is one of these little villages, is a mile-long grid of boardwalks connecting about 600 houses built on telephone pole stilts sunk into the sand. Back then, some real-estate guys got to building on this virgin terrace, and it just so happened that the place began to attract bohemian New Yorkers; writers and artists would come out and live in little shacks. It wasn’t intended for the gay community, but it made sense when it formed to be a home for it.

And you happened to be there with a fancy, new Polaroid camera, too.
I was a lawyer at Columbia Pictures at the time. At an executive conference in Miami, we were given an SX-70 Polaroid camera. It was this little plastic thing, which I took to Fire Island a little while later and started taking pictures of my friends. At the time, a lot of people were still in the closet so, as you can understand, they were extremely wary of having their picture taken. So, the important thing about this camera was that it allowed me to take the picture and a few minutes later put it out on the table for people to take a look. It made everyone immediately more comfortable and I very quickly formed the intention to show the world what a cool, amazing place the capital of Queerdom was. Or the provincial part of it [laughs].

Continue

Epicly Later’d - Eric Dressen, Part 2

In part two of the Eric Dressen Epicly series, Eric makes a return to skating, and this time he hits up Venice and gets a pass into the scene that was ground zero for modern street skating. Enjoy.
Watch

Epicly Later’d - Eric Dressen, Part 2

In part two of the Eric Dressen Epicly series, Eric makes a return to skating, and this time he hits up Venice and gets a pass into the scene that was ground zero for modern street skating. Enjoy.

Watch


In the new episode of the Thom deVita Tattoo Age series we explore the neighborhood in which Thom lived and worked, the Lower East Side of Manhattan. We also go into the types of tattoos Thom did, and what it took to talk someone into getting a tattoo that was a little out of the ordinary.

In the new episode of the Thom deVita Tattoo Age series we explore the neighborhood in which Thom lived and worked, the Lower East Side of Manhattan. We also go into the types of tattoos Thom did, and what it took to talk someone into getting a tattoo that was a little out of the ordinary.