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The oh so very NSFW, anything goes, I-can't-believe-what-I'm-hearing music, video, performance art, and multi-media thread

Listen at your own peril. Not suitable for work or children.

 

Old classic Karen Finley.

 

Tales of Taboo (can't embed -- one of my favs)

 

 

 

 

 

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I'm craving chocolate and honey right now.

Or click here for a better quality. I can't embed that video, for some reason.

That's freaky. But too much nudity for me to finish watching at work.

I really like Lords of Acid, as well. I like the "I must increase my bust" song and "crablouse."

That censored bar on the screen that appears when she bends over reminds of a time in my 20s when I was at an SM party. This older woman bent over and I thought she was holding a jeweled purse or something between her legs. Then I realized it was all her labial piercings.

I just love GG Allin. So wonderfully offense on so many levels. Well, just one I guess. This is so NSFW. I know most of you are pretty accepting and open-minded, but some of you may wish to pass on these. They are offensive to every social norm!

 

 

 

 

 

 

Georges Bataille's The Story of the Eye in under 6 minutes. A visual montage. No sound.

Story of the Eye consists of several vignettes, centered around the sexual passion existing between the unnamed late adolescent male narrator and Simone, his primary female partner. Within this episodic narrative two secondary figures emerge: Marcelle, a mentally ill sixteen-year-old girl who comes to a sad end, and Lord Edmund, a voyeuristic, English émigré aristocrat.

Simone and the narrator first consummate their lust on a beach near their home, and involve Marcelle within their activity. The couple are exhibitionists, copulating within Simone's house in full view of her mother. During this second episode, Simone derives pleasure from inserting hard and soft boiled eggs for her vaginal and anal stimulation; she also experiences considerable enjoyment from the viscosity of various liquids.

The pair undertake an orgy with other adolescents, which involves some broken glass and involuntary bloodletting, and ends with Marcelle's psychological breakdown. The narrator flees his own parents' home taking a pistol from the office of his bedridden, senile, and violent father. They view Marcelle within a sanatorium, but fail to break her out. Naked, they flee during night back to Simone's home, and more displays of exhibitionist sex ensue before Simone's widowed mother. Later, they finally break Marcelle out of the institution, but unfortunately, Marcelle is totally insane. Deprived of her therapeutic environment, she hangs herself. The pair have sex next to her corpse.

After Marcelle's suicide, the two flee to Spain, where they meet Sir Edmund. They witness a Madrid bullfight, which involves the prowess of handsome twenty-year-old matador, El Granero. Initially, El Granero kills the first bull that he encounters and the animal is consequently castrated. Simone then pleasures herself by vaginally inserting these taurine testicles. Unfortunately, El Granero is killed by the next bull that he fights, and his face is mutilated. As the corpse of El Granero is removed from the stadium, his right eye has worked loose from its socket, and is hanging, bloody and distended.

Simone, Sir Edmund, and the narrator visit the Catholic Church of San Seville after the day's events. Simone aggressively seduces Don Aminado, a handsome, young, Catholic priest, fellating him while Simone and the narrator have sex. Sir Edmund undertakes a blasphemous parody of the Catholic Eucharist involving desecration of the bread and wine using Don Aminado's urine and semen before Simone strangles Don Aminado to death during his final orgasm. Sir Edmund enucleates one of the dead priests' eyes, and Simone inserts it within her vagina, while she and the narrator have sex. The trio successfully elude apprehension for the murder of Don Aminado, and make their way down Andalusia. Sir Edmund purchases an African-staffed yacht so that they can continue their debaucheries, whereupon the story ends.

In a postscript, Bataille reveals that the character of Marcelle may have been partially inspired by his own mother, who suffered from bipolar disorder, while the narrator's father is also a transcription of his own unhappy paternal relationship. In an English language edition, Roland Barthes and Susan Sontag provide critical comment on the events.

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