During the time I’ve known Eric Victorino and Giovanni Giusti, I’ve had some of the best nights of my life. Giovanni is from my hometown- a small suburb a stones throw away from the lively, honest and culture rich city of San Francisco, where we attended the same small town high school. I met him... more

During the time I’ve known Eric Victorino and Giovanni Giusti, I’ve had some of the best nights of my life. Giovanni is from my hometown- a small suburb a stones throw away from the lively, honest and culture rich city of San Francisco, where we attended the same small town high school. I met him while living in Oakland with an old boyfriend of mine, both of them studying sound engineering at a local college. Giovanni would endlessly pound away on his beat machine- day in and day out. To this day, he hasn’t changed a bit, and I can’t say the same for many people from our small town, which has become seemingly plagued with tragedy and wasted youth- drug addiction, suicide, reckless destruction in general.

I met Eric, the other essential 1/2 of the Limousines at a music video shoot for their song “The Future.” Instantly he fascinated me with his delicate prose, even during a simple conversation. What struck me most was his kind spirit. Eric and Giovanni have an auteur theory if you will, their medium being words and melody. Unlike so many peers in our society of constraint, boundaries and bullshit, they aren’t afraid to say what they think, or communicate simple and empirical observations of the natural world.

Right now Eric and Giovanni are touring Europe with The Sounds, and I jumped at the opportunity to pick their brains and hit on them in the most subtle of ways. This is what transpired.

Carrina Suicide: You’re touring all over Europe right now with The Sounds. How’s it going? 

Eric Victorino: Yeah, this has really been a dream come true for us, getting to see all these cities, meeting people from all over. The coolest shit is when we have these moments like, "we're 5,000 miles from home and people are singing along with our songs" - We're really lucky to be doing what we do. The nightlife has been an interesting thing to check out - The clubs are fucking weird, in some places they're dancing their asses off to Linkin Park songs from 2003, other places they're already bored of shit we haven't even heard yet.

CS: Do you think you’ll return to the states with bleached hair, loafers and perhaps even tighter jeans? Cause that might be hot. I’ve been told Europeans like to wear really colorful stretchy briefs, too. Oh dear, I’m getting off track...

EV: Ha, I don’t think my hair could be any more bleached or my pants any tighter!

CS: From the photos I’ve seen the venues were packed. Is there any particular place you really loved to play? I’ve been to your shows in the US, packed with kids screaming the lyrics to all your songs.  I hope the Europeans didn’t outdo us. 

EV: Some of these shows have been the first time in town for The Sounds so they haven't been as huge as, say Barcelona, Madrid or Munich - But they've got some really passionate fans. The Budapest show was kinda smaller in comparison but we had a lot of kids singing along with us there, we've had fans in every city, but for whatever reason the Hungarians really gave us some love. For a band that started the way we did, on only our third tour ever, just nuts. We've played a bunch of Germany dates on the tour so I've gotten to use some of the German I learned in high school.

CS: You are both northern California natives. What do you think growing up and being young in the SF bay area had to do with your lyrical style and sound? 

EV: I think where we're from might be partly responsible for our willingness to specifically mention things like photoshop and the Internet in our lyrics. We love the Bay, we love the support we've gotten from our hometown, it feels really great after having been a part of the local scene for so long, but I don't think that's influenced our sound much - When we started out there weren't really any electronic duos in the Bay. Mostly heavy rock bands. Lots of Hip Hop groups like us I guess, but nobody else really had the guts, or was stupid enough to be like, "fuck it, we don't need a gang of dudes to start a band, let's write songs and book some shows" - Now, a couple years into it the Bay Area is crawling with bands with all types of non-traditional lineups and instruments and a lot of 'electro-pop duos' It could be a big coincidence it happened that way, but I have my doubts.

CS: Speaking of youth, from spending some time with you guys, I can safely say the term isn’t necessarily a past tense description.  Maybe growing up is a lifelong process. Do you try to incorporate your learning experiences and evolving within your music? 

EV: This is the part where I'll throw a bunch of clichés at you like, yeah our next album is gonna be more mature and complex and blah blah blah... But it's true, we started out not writing together much, and some of my favorite songs on Get Sharp were the ones we actually wrote with the two of us in the same room, so I'm looking forward to making a lot more music that way. We've also both gone through some heavy shit in our personal lives since the last album. We've had tons of friends die in random ways, I've been diagnosed with Bipolar Disorder, relationships have fallen apart, just a rough couple of years… So while we'll probably always write some fun, catchy stuff, I think that darker side we've hinted at on Get Sharp will be a lot more evident as we go on.  

CS: There’s lots of brilliant minds who’ve been diagnosed as bipolar. It’s certainly inhibiting at times... but my thoughts are that it could make your style unique, not in that you’ll find yourself spiratically purchasing four thousand dollars of taxidermy memorabilia (or who knows, really) but... that it adds a kind of elusive quality to your creativity?

EV: The list of badasses on the Ole Bipolar team is pretty impressive. You know, the logic of like, “this mental disorder can be pretty bad sometimes but it makes me who I am and it might be partly to blame for my creativity” sounds OK when I’m feeling good. Saying that when I’m going through the tough parts would be like saying “man this stomach cancer’s gonna kill me someday but I sure do get a lot of writing done when I’m stuck in bed!” – It sucks being like this. I hate it. But I’m determined to try my best to live with it and not have to be hospitalized again.

CS: Eric, you’ve published two books. Coma Therapy first, followed by Trading Shadows for Sunshine. I’ve read them both and to say the least I was shocked, touched, and terrified. You’re kinda creepy and lovable at the same time. Do you think the Limousines lyrics also vary in this same way? 

EV: Creepy and lovable at the same time is a tough look to pull off! Limos lyrics definitely have two sides to them. Take a song like The Future, with the lyric "there's nothing we can say that people won't forget someday, there's nothing we can do that matters and that's okay" it's about how temporary we are as people. How unimportant we really are. On a long enough timeline nothing any of us do really matters. Not even presidents or sports heroes or people dropping nukes, nobody matters from a million feet up looking down or a million years later. I think the idea of god or any other intelligent supernatural being manipulating our lives judging our actions or giving a fuck what we do with our bodies is just plain silly.

CS: It’s refreshing to hear an artist publicly talk about things that are typically avoided so as not to “offend.” I was recently very impressed by Greg Graffin’s (lead singer of Bad Religion) Anarchy Evolution, from which we can conclude that after taking any evolutionary biology course, it may not be so necessary to be sending little Johnny to Sunday school classes.

EV: It's like a story you'd tell your kids to bribe them into being good, like using Santa Claus to make them behave during Christmas time but it's adults doing it to each other all year with Jesus, it's just crazy stuff if you're looking at it from the outside.

CS: People tend to get caught up when they’re faced with fire and brimstone and bullshit. I’m not as sure about the south bay as I am the east, but the kids I went to school with all got mad at me on Halloween when I stuffed a 40 in my pillow case. Cause your not afraid to be the way you are, were you sort of an outsider when you were a kid?

EV: I feel like I live in the middle of a weird worldwide theme park but I can't see any of the characters or something. So anyway, I get some of my views out in that song in sort of a condensed way but it's pretty at the same time and it's poppy and catchy. That's always fun, to sing that song and watch people dancing to lyrics about how little our lives matter and we should just try to laugh and love and fuck.

CS: Laughing and loving and fucking. That’s amazing.

EV: Who cares about anything else? I don't. 

CS: Giovanni, your background is in sound engineering. I remember when we were young you would be on your beat machine, incessantly going at it every single day.  You’ve always been very passionate about music. Back then, what did you think would come of it?

Giovanni Giusti: I thought I would end up a hip-hop producer for a crew, doing remixes for hip-hop labels and eventually marrying a black backup singer or something. I really never thought much of it, I was wrapped up in my love for making music and I never cared where it would take me - I was fascinated with the technical aspect of producing and creating new sounds, the rest of life's bullshit would disappear while I was locked in my room making music. I was around a lot of kids doing the same thing, trying to impress each other with what we could make - Trying to make each other jealous with our skills. There were internet forums I'd post my beats on, that kinda started getting me noticed. I never dreamed I'd be sitting in Prague, Czech Republic answering interview questions, no way. 
 
CS: Since Eric previously performed in Strata, and Giovanni composed music on his own under the name Nozebleed, how did you guys get together? Seems kind of like a match made in heaven. Literally, cause I’ve seen pictures of you guys kissing. In the most manly fashion, of course. It’s pretty adorable.

GG: We were introduced by our mutual friend Sam Pura who runs Panda Studios, we started to collaborate via email while I was in England recording the last Strata album and he was at home in the East Bay making beats for local hip hop artists. I really love Gio a lot. The fact that we got along when we met and have grown so close as friends in the years we've been doing this is really what kept the Limousines going. If we hadn't clicked when we met we wouldn't be doing it at all right now. Those couple songs we did when we were separated by the Atlantic ocean would have just been some random stuff I'd show my friends now, like "hey check out these songs I made with this one dude a while back." And yeah, I like to kiss him on the mouth on stage sometimes, it freaks out the homophobes, weeds out the idiots in the crowd. Sometimes it's even up on the jumbo-screen at festivals 'n stuff...

CS: You have two videos out now, “The Future” and “Internet Killed the Video Star.” Some people might call the latter morose or macabre with multiple death scenes and the demise of a Delorean. As for IKTVS, there’s blood and guts and zombies. Could you offer a bit of insight to those who might just say you’re out of your fucking minds? 

EV: We didn't set out to make two violent music videos, but we hate performance videos, so it's on us to come up with a concept that can keep your attention for a few minutes. When I wrote the treatment for the zombie video, Gio thought I was nuts, like there was no way we could pull off something so complicated. Then when he wrote the idea for the Future video I said the same thing to him. How the fuck could we pull that off? I mean, I happened to know a guy who owns a perfect replica of the Delorean from Back To The Future, but how are we gonna do the rest of it? We're both really into movies and video games as much as we're into music, so we just have a high standard - and short attention spans, so if something can't keep us interested it's not gonna get made.

CS: So how’d you pull it off?

EV: Both videos were directed by David Dutton of Dutton Films in San Francisco, without his tireless work ethic and patience we'd never have pulled those videos off. He'd been like a third member of the band when it comes to our videos.

CS: Since you guys mentioned it, SG fans are really into video games (there’s a group dedicated to it) and obviously music and movies as well. Are you guys secretly Elven characters on some dimension in World of Warcraft or some shit?

EV:Ahem… no! No way, ummm… that stuff’s for nerds? Yeah that’s it.

CS: Mhm. Sure thing, Eric! While we’re on the topic of the future, what would you like for it to hold? 

EV: I'd love to see stem cell based medicine make things like cancer and Parkinson's Disease, paralysis and organ failure a thing of the past.

CS: If it becomes a reality, can I have your consent to clone the both of you for my own personal entertainment? And or otherwise?

EV: I’ll put it in my will, you can have my zombie clone!

CS: Awesome! Please do so at your earliest convenience.

EV: It'll happen sooner than we think, but I'm scared it's not gonna be Americans doing it, since our country seems to have forgotten all about the separation of church and state, plus people are too lazy to read up about how it all works. Nano-technology is going to draw a line in history the same way we have B.C. and A.D. for years. There will be a point when common technology is indiscernible from magic to the ignorant people in the world. The same way having a functioning iPhone would make you a God if you managed to take it back to the 17th century, there are going to be technologies in everyday use that stupid people refuse to believe in. I'd also like to see batteries you only have to charge like once a month. Driverless cars are going to be fantastic. I'm really excited to be alive right now because I know I'm going to see all these things happen, well, I don't KNOW I'll be alive, but I hope I make it.

CS: I hope you do too. The both of you are a couple of my favorite human beings. On a final note, thanks for taking the time to answer my questions. Eric, you’re a great songwriter and Giovanni, you are a fucking mad scientist. It seems inevitable you guys are gonna go far. You’re fulfilling a dream that lots of people might call unrealistic or silly to chase. What would you say in response to that? 

EV: I'd say you're a fucking sweetheart, and thank you for being naked in our video!

The Limousines latest album Get Sharp is out now.

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years. This week we bring you Zoli! Zoli has been a SuicideGirl since 2006. She has 21 photo sets and has changed her... more

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years.

This week we bring you Zoli!

Zoli has been a SuicideGirl since 2006. She has 21 photo sets and has changed her hair color and style for just about each one. Enjoy this stylish look back at the ever-changing beautiful Zoli...

From her first photoset The Beat shot in 2006 by Amina:





From her colorful photoset Doll Face shot by Sawa:







From her photoset Sex in 2007 shot by Cymagen...the title pretty much explains it all:





Here's a glimpse into her dark side in her set Mannequin shot by Cymagen:





From her first photoset Military Green from 2008 shot by Cymagen:





You can't tame this wild kitten in her photoset Undomesticated shot by Zoetica:





Enjoy a fun morning with Zoli as she prepares for her day in her photoset A Lot of Fun shot by Missy:





Enjoy the view in her photoset Golden Gate shot by Taye:





Zoli can make anything look good, even a men's bow tie. Check her out in the set Classic Bow Tie shot by Napalm:





She shows off some skin in her hometown, the very City of Sin, in the set Tumbler shot by Fractal:





See her tied up in 2009 in To Be Bound shot by Zoetica:





Take a walk with her in Shady Lane shot by Cherry:





Decide for yourself if she is a criminal or an enforcer in her photoset Armoury shot by Cherry in 2010:





Last but definitely not least, we bring you her photoset Video Chat from 2011 shot by Zoetica:





Hope you enjoyed the beautiful look back at the stunning SuicideGirl Zoli! Be sure to keep an eye out for a new set coming soon to member review!

Become a member TODAY for only $4 a month (if you sign up for a year) to see all 21 nude pin-up photo sets of Zoli - http://suicidegirls.com/join/

by Steven-Elliot Altman (SG Member: Steven_Altman) Our Fiction Friday serialized novel, The Killswitch Review, is a futuristic murder mystery with killer sociopolitical commentary (and some of the best sex scenes we’ve ever read!). Written by bestselling sci-fi author Steven-Elliot Altman (with Diane... more

by Steven-Elliot Altman (SG Member: Steven_Altman)

Our Fiction Friday serialized novel, The Killswitch Review, is a futuristic murder mystery with killer sociopolitical commentary (and some of the best sex scenes we’ve ever read!). Written by bestselling sci-fi author Steven-Elliot Altman (with Diane DeKelb-Rittenhouse), it offers a terrifying postmodern vision in the tradition of Blade Runner and Brave New World...

By the year 2156, stem cell therapy has triumphed over aging and disease, extending the human lifespan indefinitely. But only for those who have achieved Conscientious Citizen Status. To combat overpopulation, the U.S. has sealed its borders, instituted compulsory contraception and a strict one child per couple policy for those who are permitted to breed, and made technology-assisted suicide readily available. But in a world where the old can remain vital forever, America’s youth have little hope of prosperity.

Jason Haggerty is an investigator for Black Buttons Inc, the government agency responsible for dispensing personal handheld Kevorkian devices, which afford the only legal form of suicide. An armed “Killswitch” monitors and records a citizen’s final moments — up to the point where they press a button and peacefully die. Post-press review agents — “button collectors” — are dispatched to review and judge these final recordings to rule out foul play.

When three teens stage an illegal public suicide, Haggerty suspects their deaths may have been murders. Now his race is on to uncover proof and prevent a nationwide epidemic of copycat suicides. Trouble is, for the first time in history, an entire generation might just decide they’re better off dead.

(Catch up with the previous installments of Killswitch – see links below – then continue reading after the jump…)



[THE KILLSWITCH REVIEW – CHAPTER TEN, PART ONE]

[PURGING THE SYSTEM]

[Previous Chapter]

Regina broke away from the group of people she was talking to as Elsa half carried Haggerty out of Svoboda’s quarters. He collapsed against a nearby mobile home. Moments later Regina was kneeling at his side.

“What’s wrong with him?” she asked Elsa.

“I’m not sure,” Elsa replied. “He began to throw up as he was accessing the Indranet. He appears feverish.”

“Did you uplink with full immersion, Jason?” Regina asked.

Haggerty nodded weakly.

“He must be suffering system separation,” she told Elsa. “It hits some people harder than others.”

Older people, Haggerty guessed she meant. The ants were massing for an all-out assault.

“Come to my room.”

He held out his hand, motioning Regina back as wave after wave of nausea passed over him. He tried to stagger to his feet. Elsa and Regina helped him stand. He concentrated on breathing, suppressing his need to vomit. He finally regained his footing as they passed through the makeshift square where a dozen or so people sat watching the viewscreen.

“It’s a live feed off Indra,” Regina explained.

The split screen held two images. On one side was a teenage boy with tears streaming down his face. Beside it was a picture of a pretty young girl holding a violin. “‘I can offer nothing but my death,’” the boy read from a sheet of notepaper. “‘I choose to represent the muse in the music and the dead in the dedication. Love, Samantha.’ Those were my girlfriend’s last words. I was holding her hand while she pressed. The media doesn’t think she’s important, but I want everyone to know. She died for the cause.”

Haggerty’s stomach knotted painfully. Ants dug trenches through his neural pathways. “Let’s keep moving,” he said.

Regina shifted to accept more of his weight. She stopped before a small wooden cabin and pulled back a curtain of strung shells at the entrance. The cabin was smaller than the pairplex she shared in the city, its one modest room divided by curtains into smaller spaces with bare walls and a sand floor. She set him down on her small foam cot.

“Rest here while I make some tea. Then I want to hear all about what you experienced online.”

Haggerty sent Elsa to keep watch outside. He glanced around the room. A makeshift nightstand that looked like it was made from antique auto parts held an airboard, a remote access terminal — and a flute, of all things. How little he knew about this girl who had insinuated herself so easily into his life.

Regina ignited a burner in a partially curtained-off alcove. “It’s Valerian Root,” she said over her shoulder. “Best thing for system separation. Sedates your overstimulated neural network.”

Haggerty began to shiver. The ants were closing in for the kill. “Where’s your bathroom?” he asked.

“Behind that other curtain,” she answered. “It’s just a hole in the ground — be forewarned.”

The few short feet felt like yards. He managed to drag himself through the curtain. His stomach wrenched at the sight of the hole in the floor. He leaned back, watching Regina prepare his tea through the curtain. He reached in his cargo pants for the white unit, staring at it. If he pressed again, the unit would empty, perhaps leaving only traces of evidence behind. Would it be enough to make the case? Could he justify leaving nothing but trace evidence when he had a full sample, far more useful, far more persuasive, in his hands?

But could he risk the erosion of his own ability to concentrate, to reason, that craving the drug would bring?

Haggerty watched in dull horror as his trembling finger reached for the button. He’d sworn to himself he wouldn’t. He’d sworn on his son’s grave. But he couldn’t seem to stop himself. How many lives were at stake if he failed to make his case because of insufficient evidence? Or would the failure to clear his mind be what put them at risk?

And then it didn’t matter, because his finger was on the button and even though he told himself he wouldn’t, couldn’t, even as he recoiled at the betrayal . . . he pressed. The reader clicked up to “7” as the box emptied.

Ecstasy rocketed through his system; he bit his hand to stifle a scream. The pleasure went on and on, sweeping away the ants.

“Jason, are you all right in there?” Regina’s voice called from a great distance.

A jangle of strung shells as the curtain jerked back. Haggerty reached out with the hand that held the white unit, his eyes glazed and pupils enlarged, his slack mouth contorted in a foolish grin.

Regina slapped it away. “How could you!” she said fiercely. “And here in my space!” She flung herself onto the cot.

“You don’t understand. I was forced to take it and now I’m sick and weak. I can’t concentrate without it. I held out as long as I could but I need it to function.”

“What’s in that box killed my brother,” she sobbed. “Now you’re going to die too. Why do I have to lose everybody?”

Haggerty sat beside her and took her hands. “Listen, Regina . . . Dawn. I know what it’s like to lose someone you love.”

“But it’s my fault. If I hadn’t brought Sunset here, he’d never have met Max. He never would have pressed.”

“You have survivor’s guilt, Regina,” he said.

She wiped the tears roughly from her face. “What are you, some kind of psychologist?”

“I’m a fellow survivor,” he whispered. “Because of me my son, my mother, and my wife are dead.” The drug sent him reeling off the cot onto the floor.

Regina knelt by his side, concern written on her face.

“Two years ago I was promoted to the highest rank and got a sizable raise,” he said. “I bought Lorraine the new suite of furniture she’d been wanting and a week at a spa resort, bought my son that huge viewscreen, got myself an expensive sportscar. Figured I’d earned it. I thought I’d take my mom and son out for a spin. Lorraine wasn’t getting back from the spa until later that afternoon. Dad was golfing. It didn’t matter. I could show off for them later. Mom didn’t want to go but I insisted. I’d had a few drinks and a dose of Sky, and flipped the controls over to manual. I bragged about buying another one for Dad but Mom said he didn’t need it.

“‘Buy one for me!’ Josh said, and we all laughed.

“‘Don’t think so, sport,’ I told him. ‘Do you want to give her a spin?’

“Mom thought it was a bad idea. I reminded her that Josh had his license and we changed places. Autodrive would have handled it fine but I was so wasted, I let my son have manual control.

“Josh breezed around a slotted car that was moving too slow for his taste. He swerved a hair, maybe an inch or so, over the line and into the opposite lane of traffic. The car’s internal warning sounded — scaring Josh. He jerked the yoke, sending the car reeling across the lane to the guardrail. Then the car leaped and flipped . . .”

The sounds of broken glass and grating steel reverberated in his overstimulated head.

“When I told Lorraine, she just walked into our bedroom. By the time I got there, she’d already pressed. Dad said it was an accident but he couldn’t live without Mom. I watched him try for a year — until the anniversary. He couldn’t pretend anymore. He went out into the desert and killed himself with an antique shotgun. He’d come to despise the black box as the easy way out. I found him at our cabin. BBI helped me cover up his illegal suicide. In the end I’d killed them all.”

“Oh, Jason,” she said softly, “I’m so sorry. That’s why you wanted to press, isn’t it?”

“You still think I don’t grok what you’re going through?” Hot tears coated his cheeks.

She took his face in her hands and kissed him softly, deeply.

Haggerty began shaking. He pulled back, his face ashen. His heart pounded in his chest. His throat went dry. His stomach spasmed. He began heaving.

“Jason, what’s wrong?” Regina asked.

He gripped his shoulders, tumbled backward, and convulsed in the sand.

“Elsa!” Regina yelled frantically. “We’ve got to get Jason to the infirmary!”

* * *

Excerpt from The Killswitch Review, published by Yard Dog Press. Copyright 2011 Steven-Elliot Altman.

Steven-Elliot Altman is a bestselling author, screenwriter, and videogame developer. He won multiple awards for his online role playing game, 9Dragons. His novels include Captain America is Dead, Zen in the Art of Slaying Vampires, Batman: Fear Itself, Batman: Infinite Mirror, The Killswitch Review, The Irregulars, and Deprivers. His writing has been compared to that of Stephen King, Dean Koontz, Michael Crichton and Philip K. Dick, and he has collaborated with world class writers such as Neil Gaiman, Michael Reaves, Harry Turtledove and Dr. Janet Asimov. He’s also the editor of the critically acclaimed anthology The Touch, and a contributor to Shadows Over Baker Street, a Hugo Award winning anthology of Sherlock Holmes meets H.P. Lovecraft stories.

Steven also bares ink on his body, and is bi, as in bi-coastal, between NYC and LA. He’s currently hard at work writing and directing his latest videogame Cursed Love, an online free to play gothic horror RPG from Dark Hermit Studios, set in Victorian London. Think Sherlock Holmes, Jack The Ripper and Dorian Gray mercilessly exploit the cast of Twilight. Friend Cursed Love (Official Closed Beta) on facebook and you can have fun playing out this tawdry, tragic romance with Steven while the game is being beta tested!

Diane DeKelb-Rittehouse spent several years in Manhattan as an actress before marrying her college sweetheart and returning to the Philadelphia area where she had been born. Diane first worked with Steven-Elliot Altman when they created the acclaimed, Publisher’s Weekly Starred-Review anthology The Touch: Epidemic of the Millennium, in which her story “Gifted” appeared. Diane has published a number of critically acclaimed short stories, most notably in the science fiction, murder, and horror genres. Her young adult fantasy novel, Fareie Rings: The Book of Forests, is now available in stores or online.

Interested in buying a printed copy of The Killswitch Review? Well, Steve’s publisher Yard Dog Press was kind enough to put up a special page where SuicideGirls can get a special discount and watch a sexy trailer. Just follow this link to KillswitchReview.com and click on the SG logo.

* * *

Related Posts:
Fiction Friday: The Killswitch Review – Chapter One
Fiction Friday: The Killswitch Review – Chapter One, Part Two
Fiction Friday: The Killswitch Review – Chapter One, Part Three
Fiction Friday: The Killswitch Review – Chapter One, Part Four
Fiction Friday: The Killswitch Review – Chapter Two, Part One
Fiction Friday: The Killswitch Review – Chapter Two, Part Two
Fiction Friday: The Killswitch Review – Chapter Two, Part Three
Fiction Friday: The Killswitch Review – Chapter Three, Part One
Fiction Friday: The Killswitch Review – Chapter Three, Part Two
Fiction Friday: The Killswitch Review – Chapter Three, Part Three
Fiction Friday: The Killswitch Review – Chapter Four, Part One
Fiction Friday: The Killswitch Review – Chapter Four, Part Two
Fiction Friday: The Killswitch Review – Chapter Four, Part Three
Fiction Friday: The Killswitch Review – Chapter Five, Part One
Fiction Friday: The Killswitch Review – Chapter Five, Part Two
Fiction Friday: The Killswitch Review – Chapter Five, Part Three
Fiction Friday: The Killswitch Review – Chapter Six, Part One
Fiction Friday: The Killswitch Review – Chapter Six, Part Two
Fiction Friday: The Killswitch Review – Chapter Six, Part Three
Fiction Friday: The Killswitch Review – Chapter Seven, Part One
Fiction Friday: The Killswitch Review – Chapter Seven, Part Two
Fiction Friday: The Killswitch Review – Chapter Seven, Part Three
Fiction Friday: The Killswitch Review – Chapter Seven, Part Four
Fiction Friday: The Killswitch Review – Chapter Seven, Part Five
Fiction Friday: The Killswitch Review – Chapter Eight, Part One
Fiction Friday: The Killswitch Review – Chapter Eight, Part Two
Fiction Friday: The Killswitch Review – Chapter Eight, Part Three
Fiction Friday: The Killswitch Review – Chapter Nine, Part One
Fiction Friday: The Killswitch Review – Chapter Nine, Part Two
Fiction Friday: The Killswitch Review – Chapter Nine, Part Three
Fiction Friday: The Killswitch Review – Chapter Nine, Part Four
Fiction Friday: The Killswitch Review – Chapter Nine, Part Five

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years. This week we bring you Zoli! Zoli has been a SuicideGirl since 2006. She has 21 photo sets and has changed her... more

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years.

This week we bring you Zoli!

Zoli has been a SuicideGirl since 2006. She has 21 photo sets and has changed her hair color and style for just about each one. Enjoy this stylish look back at the ever-changing beautiful Zoli...

From her first photoset The Beat shot in 2006 by Amina:





From her colorful photoset Doll Face shot by Sawa:







From her photoset Sex in 2007 shot by Cymagen...the title pretty much explains it all:





Here's a glimpse into her dark side in her set Mannequin shot by Cymagen:





From her first photoset Military Green from 2008 shot by Cymagen:





You can't tame this wild kitten in her photoset Undomesticated shot by Zoetica:





Enjoy a fun morning with Zoli as she prepares for her day in her photoset A Lot of Fun shot by Missy:





Enjoy the view in her photoset Golden Gate shot by Taye:





Zoli can make anything look good, even a men's bow tie. Check her out in the set Classic Bow Tie shot by Napalm:





She shows off some skin in her hometown, the very City of Sin, in the set Tumbler shot by Fractal:





See her tied up in 2009 in To Be Bound shot by Zoetica:





Take a walk with her in Shady Lane shot by Cherry:





Decide for yourself if she is a criminal or an enforcer in her photoset Armoury shot by Cherry in 2010:





Last but definitely not least, we bring you her photoset Video Chat from 2011 shot by Zoetica:





Hope you enjoyed the beautiful look back at the stunning SuicideGirl Zoli! Be sure to keep an eye out for a new set coming soon to member review!

Become a member TODAY for only $4 a month (if you sign up for a year) to see all 21 nude pin-up photo sets of Zoli - http://suicidegirls.com/join/

(image) by Blogbot (image) Artist / SG Member Name: My real name is Gary Mike, and my SG member name is Guss1470. Guss is just a name I like and used while online but I am starting to use my real name more often. (image) Mission Statement: For my art I really don't have one. I just like to draw and... more

by Blogbot



Artist / SG Member Name: My real name is Gary Mike, and my SG member name is Guss1470. Guss is just a name I like and used while online but I am starting to use my real name more often.



Mission Statement: For my art I really don't have one. I just like to draw and find out what I can do. The first and main purpose for my art is my own enjoyment, challenge, and to see people enjoy my work. I want to see if I can do it. I like to try different styles just to see if I can.



Medium: Well anything I can get my hands on. I think anything can be a medium but the main one I use is pencil and pen. With my computer it’s a Bamboo and Photoshop. I draw my art on paper first then scan, touch up or trace in Photoshop then color. In the past I have worked with watercolor, color pencil, acrylic, chalk, and clay. I even thought of buying a load of makeup from Mary Kay just to play with skin tones in my art.



Aesthetic: I really don't know. I like sketchy style, clean style. It's like the question "who is your favorite band" – it just depends on your mood, what your doing, and how your feeling.



Notable Achievements: I think just making people smile with my art. I really am not aiming for anything when I do my art except to challenge myself and make you smile.



Why We Should Care: Not to sound mean, but you don't have to. If no one cared about my art I still would be doing the same thing. I have been doing this since I was 3 or 4 and this is what I do for fun. I don't know any other way. I don't consider my work special. I draw all the time and throw away my sketches and finished work cause I can do it again. I have given away sketch books to friends, my ex, and to random people because I'm done with them and have no reason to keep them. I think it’s the people that see my art that consider it special so the question goes to you: Why do you like my art???



I Want Me Some: I don't do contests, I don't sell my art, I have no political agenda. If you want me to draw something I'll do it for free. If I have time, all you have to do is ask. You can also check out my work on DeviantArt.













***

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by A.J. Focht A new Avengers trailer promoting the IMAX 3D showings is out. A batch of behind-the-scenes photos have been released as well. The Avengers is only about a month out, but we’ve got some reassurance the group's adventures won’t end then. Black Widow has been confirmed for Iron Man... more

by A.J. Focht

A new Avengers trailer promoting the IMAX 3D showings is out. A batch of behind-the-scenes photos have been released as well. The Avengers is only about a month out, but we’ve got some reassurance the group's adventures won’t end then. Black Widow has been confirmed for Iron Man 3, so we know there will still be cross overs amongst The Avengers team.

Despite the poor performance of The Green Lantern, Warner Bros. hasn’t given up on making a movie for The Flash. The company is finalizing their marketing strategy for the DC heroes, but Flash is apparently high on the list. There will likely be more information about upcoming DC hero films after the release of The Dark Knight Rises.

During the Empire Awards, Michael Fassbender (Magneto) and James McAvoy (Xavier) took a moment to discuss the upcoming sequel to X-Men: First Class. While McAvoy seems to be out of the loop, Fassbender expects the film to start shooting soon.

The superhero movies this summer will have their work cut out to compete in a market where The Hunger Games made box-office history with the third largest opening weekend, taking the spot from Spider-Man 3 and falling just short of The Dark Knight. Hunger Games opened at $155 million in the Spring season and is the first movie in a trilogy. Most movies that make that kind of money are usually sequels released during the summer, so it has set the bar extremely high for movies like The Avengers, The Dark Knight Rises, and Amazing Spider-Man.

The upcoming RoboCop remake will be less robot and more cop, well more human at least. Joel Kinnaman, who has been chosen to play RoboCop, suggests the costume will be little more than an exaggerated sci-fi cop costume. This goes along with some of the new ideas that director Jose Padhila has suggested that concern new breakthroughs in neuroscience.

While some try respect the history of the works they are remaking, others seem to go out of their way to upset the apple cart. After fan outrage at Michael Bay's announcement that the Teenage Mutant Ninja Turtles would now be aliens, the director did some damage control suggesting that could mean as little as "the ooze was from space." Now there is a fear that they won’t be teenager as the movie's name has been changed to Ninja Turtles. This doesn’t mean they won’t be teenagers, but it has caused some concern.

Terra Nova’s last hope, Netflix, won’t be saving them after all. Talks concerning Netflix's attempt to pick up the show for a second season have fallen through. Netflix is however still considering picking up The River for a second season. In future, you can expect to see online networks like Hulu and Netflix pick up an increasing number of popular cancelled shows as they work on building up their own programming schedule.

You can now follow along with the activities on the set of Ender’s Game at the project's production blog. Only two entries have been posted so far, but one is of a utility deck panel from the ship set.



The first trailer for the new Doctor Who series was leaked after a convention in Wales. The pirated trailer hasn’t been taken down yet so watch it while you can. In related news, the Time Lord's new assistant has also been unveiled. Former UK soap actress Jenna-Louise Coleman will play Matt Smith's companion, though little else is known about her role.

As for another Doctor Who spinoff, Steven Moffat isn’t against it, but he doesn’t have the time to be the one making it. Moffat might not be opposed to a Doctor Who spinoff, but he has voiced his issues with the American version of the BBC’s Sherlock. He is upset that CBS is moving forward with Elementary even though they were denied rights by the BBC. Ultimately, he worries the CBS version will be bad and discredit the source show.

by Damon Martin (image) Veteran actor Michael Rooker has starred in dozens of films including Tombstone and the cult hit Mallrats, as well as making several guest appearances on TV in shows like Chuck and Criminal Minds. What Rooker has been best known as lately is the redneck knife wielding and now... more

by Damon Martin

Veteran actor Michael Rooker has starred in dozens of films including Tombstone and the cult hit Mallrats, as well as making several guest appearances on TV in shows like Chuck and Criminal Minds. What Rooker has been best known as lately is the redneck knife wielding and now armless badass Merle Dixon on The Walking Dead.

Rooker was a regular on Season 1 of the popular AMC series, and made a brief appearance in a dream sequence during Season 2, but with his character's current whereabouts unknown, is there a Merle Dixon sighting coming in Season 3?

Check out our interview with Michael Rooker in wich he reveals if Merle Dixon will be back when The Walking Dead returns in October.

Damon Martin: First before we get to anything else, it's the question that's on everybody's mind. Are we going to see Merle in season 3?

Michael Rooker: You going to see more Merle than maybe you ever wanted to see.

DM: During Season 2 you had a fantastic appearance alongside Norman Reedus (Daryl Dixon). What was it like being back on the show and did you have fun going back for that dream sequence?

MR: I was totally stoked. As soon as I walked on set, everyone was like 'Merle is back'. They're big fans of Merle as well, so when we got a chance to do the scene – Norman and I are good friends – and really when you think about it out of the first season and the second season, that's the only time we ever interacted on camera before, so it was awesome. I had a great time. It was tough love. It's big brother motivating little brother, motivating him to save his own life and sometimes you've got to be tough with people like that.

DM: We're all excited you're coming back for Season 3, but one of the interactions I always wanted to see was between Shane and Merle, but now Shane's gone.

MR: Isn't that a bitch? I was hoping they'd save Shane for me, but it didn't happen and that's just the way it is. I'm letting people know I'm coming back, Robert Kirkman (executive producer/creator) says I'm coming back, as a matter of fact Norman Reedus has stated in several interviews that his big brother is coming back.

DM: I think everybody knew when The Walking Dead came out that it had a chance to be a huge show, but it really has become a cultural phenomenon.

MR: Dude, it's killer and it's so amazing and I'm pretty damn honored to be involved with a group of actors, directors and producers and all these guys. I'm having a great time. Even playing the cat-and-mouse thing over this past season in my interviews, I can't really say anything, so I've gotten really good at talking for an hour without saying a damn word and giving anything away.

DM: I know you weren't directly involved in all of Season 2, but I know you watch the show. What did you think of the movement of the storyline this year?

MR: I enjoyed it because I like the fact that we get to know these people, almost too well. We know them so well that it's going to really hurt when even the ones that we don't like that much get eaten, whatever. It happens, it's a post apocalyptic zombie world, we humans can get eaten, we're not the head of the food chain anymore.

DM: So this is kind of a two-part question. Online everyone was asking when is Merle going to come back? Is Merle the Governor, the character coming up in Season 3? And now we know that you are coming back, the speculation continues to run. What does that mean to you as an actor to see the fan outpouring for your return, and can you give us any spoilers about what Merle will be doing in Season 3?

MR: No spoilers coming from this mouth, but I've got to tell you, the fan base is phenomenal. Even from Season 1 when I first appeared, there were fans that jumped on the bandwagon for Michael Rooker and Merle Dixon, and the Dixon brothers overall. We have several online groups, the Dixon's Vixens, the Rooker-holics, Rooker Nation, I mean you can get Rooker'd online now. It's very cool and I really, truly appreciate it.

DM: Season 3 starts filming in May and I've got to ask how excited are you to be back as a regular cast member? I know that so many people that have left have said how hard it was because The Walking Dead cast and crew is like a family, but that's a huge dynamic of this show – no one's safe.

MR: It's good that no one's safe. I don't want to be safe. I think not being safe makes you hungry and makes you fight more. I love everybody there. This is the first real show that I've been involved with. I did another one called Thief, we did six episodes, but I hardly ever worked with all the other actors. This time round we hang out, we live in a similar area so we go have coffee, and chill out and talk, so it is a good family atmosphere.

DM: Now that Season 2 is over we can all just get that much more excited for Season 3 of The Walking Dead when Merle walks back onto the canvas. I think everybody is super excited for what's coming next.

MR: It's gonna be awesome. Right on brother, we're going to have a damn good time.

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When you hear Jason Segal and Ed Helms star in Jeff, Who Lives At Home, you might think of some wacky screwball comedy. It is a comedy but not like you’d expect. Segal plays Jeff, and he has yet to move out, but he is a philosophical loser. He has embraced the movie Signs for its message that everything... more

When you hear Jason Segal and Ed Helms star in Jeff, Who Lives At Home, you might think of some wacky screwball comedy. It is a comedy but not like you’d expect. Segal plays Jeff, and he has yet to move out, but he is a philosophical loser. He has embraced the movie Signs for its message that everything happens for a reason, and he looks for signs to guide him through life. Indeed the events of the movie lead him to a spectacular conclusion.

Jeff is the fourth film written and directed by Jay and Mark Duplass. The indie filmmakers let their actors improvise, and they frequently mix tones. Their Puffy Chair and Cyrus also had family drama like Jeff, and Baghead was a horror movie. Besides Jeff’s spiritual awakening, the film also deals with the breakup of his brother (Helms)’ marriage.

Mark Duplass may have a face you recognize too. He appears in many movies and on TV’s The League. He is also a retired musician. When he heard a reporter from Suicide Girls was interviewing him it reminded him of his rock n’ roll days. He and Jay pretty much alternated answering questions, allowing a fair split of soundbites between them. They rarely interjected and certainly never interrupted each other.

Mark Duplass: I once had one of the songs from my old band on a Suicide Girls DVD. They were like, “Yeah, Suicide Girls wants to license your song.” We were like, “Do it! Free! Totally fine!”

SuicideGirls: Are they your type of girls?

MD: Not at all, nope, but they’re just cool.

SG: Are you guys still M. Night Shyamalan defenders through his oeuvre after Signs?

MD: We are neither defenders, offenders or anything. We are obsessed with the fact that Jeff would be obsessed with M. Night because that to us was the perfect, for lack of a better word, the perfect exposition element for Jeff. You think about how you want to set up a character efficiently, quickly and comedically, right? So we were like okay, how about a guy who is obsessed with the movie Signs and also is living his life according to the principals of the movie Signs.

Jeff Duplass: Yeah, he’s going one step beyond fan, one step beyond defender. He’s actually an implementer of the principals.

MD: What’s great about that is it kind of set the tone for what we wanted for this movie which is all right, that’s going to be really funny. It’s also kind of sad but also what’s great about it is it says that Jeff is no cynic. He is a believer and that’s rare in this day and age.

SG: I still am a defender and I’ll go to bat for The Happening and Last Airbender. I’m still with him.

MD: I have not seen those films.

SG: Was it important that Signs is a big enough film that a lot of the audience would know it?

JD: Yeah, that is an important part of it but also he talks in great detail about Signs and what in Signs is very important to him. He sort of appropriates details of it that weigh heavily in the film later on. Like Mark said, it really does come from the perspective of the character and his obsession with it.

SG: A lot of art in the last few years is expressing this belief in the connective tissue of the universe. Are you part of that movement?

MD: I honestly haven’t noticed that at all, or haven’t specifically noticed that. It’s interesting because we wrote the script about five years ago. It was one of the first scripts we wrote after we made The Puffy Chair and it kind of sat around until we felt like we were ready to make it and also that we could get the money to make it, because it is kind of the biggest film we’ve made yet. So I don't feel like we’re a part of any movement of people talking about the connectivity of signs or anything. It was really just a product of we liked that this character would do it and it provided that level of comedy/drama combo that we like.

SG: Is comedy a good way to create more connections between people?

JD: I think comedy’s just a great way to live in every way. Any time you can have an interaction with somebody and somebody can make a joke, it just makes everybody’s day better. That’s why everybody loves Jason Segal and Ed Helms, because they have such a great sense of humor. Mark and I, this film in particular, speaking of Jason and Ed it’s a very dramatic turn from what they normally do. There’s a ton of comedy in this movie and I don't think anybody’s going to be disappointed with the laugh quotient but Mark and I primarily are interested in honest characters and earnest characters too, people who are struggling with life and try to get their stuff done, try to figure out their place in the world. We find tragic elements to that as well as comedic elements to that. Most importantly heartfelt and hopeful elements. That’s the kind of tone that we’re obsessed with and we find challenging to execute well and that’s sort of what’s exciting about it for us.

SG: Is the title in some ways a misdirect because it sounds very wacky but it turns out be a spiritual story too.

MD: Yeah, we loved the title because it embodied what we think this movie feels like which is it’s goofy but it’s earnest. We like that idea that we are inviting people to come see a movie that’s very funny and that does feel kind of light up front. We don’t take ourselves too seriously but there is an existential component to this film and we like exploring that with not too heavy of a hand.

SG: Do you feel you’ve been instrumental in the naturalistic film movement?

JD: I don't know. Mark and I, our whole process is in every step of what we do is really about removing intellectualism from what we do.

MD: Shut the brain off.

JD: Our brains are just in the way all the time. We went to film school and we actually tried to be the Coen brothers and make movies like that. We tried to make movies from intellectual principals and they didn’t work. They just sucked. It wasn’t until we started just making movies from our heart about just the crap we were going through and how just embarrassing it is and how tragic it is and how hilarious it really is, that people started responding to our movies. That was honestly our big breakthrough. In terms of literally every step of the way, Mark and I really try and keep it very small and instinctual. We just ask each other the question of what do you want to see next. We try to trust the fact that our instincts and our own sense of personal timing and our own desires what we want to see, you’re asking us about whether or not we think about the interconnectivity of the universe and that stuff. It’s in the back there somewhere but we let it come out in our art. It’s not something that we’re consciously discussing.

MD: Judd Apatow, who’s a friend of ours and we test each other’s movies on each other, he was making TV shows before our stuff came out. He’s doing certainly a lot of naturalism. In one sense we’re all “in it” together but in the other sense, to Jay’s point, we are kind of almost like two rogue dudes in a cave. We live on the east side of Los Angeles a little bit away from the industry. We come over here to take our meetings and do our press and stuff like that but we’re just kind of making shit the way we did when we were five and eight years old. We just pick up a camera. I mean, you would laugh if you saw the budget documents and how we prepare our movies. It looks like arts and crafts in kindergarten.

SG: That doesn’t surprise me because even as a writer, I find you just do it. As soon as they ask you to make a report about it…

MD: The format, the this, just like fuck off, man. We’ve gotta get this thing done. That’s crazy. People are always saying, “How do you get your budgets down from the unions and the fringes?” I’m just like: gas, food, camera. That’s it, go. Go, go, go. We’ve almost turned into these unwitting Roger Corman forces in the micro budget world where we’re lending out our cameras and giving people money that we make on writing jobs to go make their shit.

JD: And telling them to stop using budget documents. We tell them don’t do that. Just figure out what you absolutely need, go buy it and then go shoot the thing. If you make a budget, then you’re making a budget. But if you’re making a movie, then you’re making a movie. It’s literally that stupid. That’s how we think. We have a philosophy called “Make movies, not meetings.” Because if you make meetings, what you usually get out of that is more meetings. If you make movies, what you usually get out of that is more movies. It sounds so ridiculous to say it and it’s 100% true.

MD: It sounds like we’re selling Amway here. We get it. But we believe it too so we can’t stop ourselves from saying it.

JD: We bought in so you’ve got to bar with us.

SG: Well, the practice speaks for itself. A lot of people talk about the movies they want to make and there are all these reasons why they haven’t done it yet, and then some people just make them.

MD: That’s right. There’s a word in Los Angeles called packaging. You’re packaging the film right now which all of a sudden makes it feel like a commodity and not a piece of art and this thing that is pending and waiting to be made. I guess our impatience has worked for us.

SG: I had fun interning in development though, seeing all those scripts not get made but everyone was getting paid and making a living.

JD: Not only did they not get made but people fought over them and lost friendships over them.

MD: Now it’s just like a little piece of air somewhere. It doesn’t even matte.r

JD: It doesn’t even exist. That’s wild.

SG: With the finale of the movie, the cars and stunts, could you do an action movie?

MD: We’ve thought about it a lot. It’s weird, you’d be surprised the scripts that come across our desk, big movies that come to us. We have thought like “What would it be like if we actually did this movie in space with our sensitive relationship approach to it?” It intrigues us. We tend to be modest and we tend to be a little bit more conservative about the budgets of the movies that we pursue because quite frankly, the movie that’s made the most money for us so far was Cyrus and that was only $10 million. But every movie that we’ve made has turned a profit because we make them at the right price. So I would be scared to go out and make a $100 million movie. What if either A, we couldn’t make it good or B, the studio didn’t allow us to make it the way we wanted to. That’s a pretty soul crushing experience that can also crush your reputation too.

JD: Yeah, it’s a two or three year process to make a movie. You’ve got to love it and you’ve got to feel like you can rely on your instincts to find a way.

SG: Or there’s gritty grindhouse style action movies you could do on your scale.

MD: Absolutely, absolutely and we’ve discussed all that. We’ve discussed honestly shrinking our budgets down a lot too. We love making movies like The Puffy Chair for $15,000.

JD: It just comes down to what are we going to do next and how are we going to do it?

MD: Yeah, every movie has its right size. You just look at the DNA of the movie and go, “Okay, this is what this should be.”

SG: Near the end of the movie, Jason Segal really throws up a lot. Do you share my pet peeve when actors throw up just a mouthful in movies?

JD: He is amazing. There is some throwing up in the film.

MD: What you see is what you get and the actors do their own stunts.

JD: We had pumps, we had machines, they didn’t look real and Jason just said, “Guys, I don't know if you’re aware of this, but I’m extremely large. I’m a very large man and I can contain within me a lot of liquid.” We were like, “This never looks real, it never looks good,” because it doesn’t. Throw up never looks real. He let that rip and Mark and I, everyone on set, literally their jaws dropped. Seriously.

MD: No sound effects in there either. All Segal. It was like the Dogme throw up scene. We did not separate sound from film. It was perfect.

SG: Mark, were you more interested in being an actor on the side also?

MD: I’m very interested in acting. Our writing/directing career has been first and foremost and it always will be. It’s the most creatively satisfying but it is fun Jay and I have our own little affairs. He’s starting to make short documentaries on his own and I go and act in other movies and I think that it’s good for us to do other things now and then to keep the relationship healthy.

Jeff, Who Lives At Home is now playing.

by Tita Suicide (image) (image) Ingredients: 1 1/2 cups all-purpose flour* 1 cup sugar 1/4 cup baking cocoa 1 teaspoon baking soda 1/2 teaspoon salt 1/3 cup vegetable oil 1 teaspoon white or cider vinegar 1/2 teaspoon vanilla 1 cup cold water *I often substitute wheat-free flour in this recipe,... more

by Tita Suicide

Ingredients:

• 1 1/2 cups all-purpose flour*


• 1 cup sugar


• 1/4 cup baking cocoa


• 1 teaspoon baking soda


• 1/2 teaspoon salt


• 1/3 cup vegetable oil


• 1 teaspoon white or cider vinegar


• 1/2 teaspoon vanilla


• 1 cup cold water

*I often substitute wheat-free flour in this recipe, and it comes out just as nicely!


Directions:

1. Heat oven to 350 degrees.

2. Grease bottom and side of 9-inch round pan or 8-inch square pan with shortening; lightly flour.

3. In a medium bowl, mix flour, sugar, cocoa, baking soda and salt. In a small bowl, stir oil, vinegar and vanilla until well mixed. Vigorously stir oil mixture and oil into flour mixture about 1 minute or until well blended. Immediately pour into pan.

4. Bake 30 to 35 minutes or until toothpick inserted in center comes out clean. Cool 15 minutes.

5. Top / decorate as desired.

6. As prepared (without frosting), each serving contains 230 calories, 10g total fat, 0mg cholesterol, 310mg sodium, 37g total carbohydrate and 3g protein.


If you’re in the Seattle area this weekend you can experience more of Tita Suicide’s hospitality at Lo-Fi on April 1st at the SuicideGirls Take The Northwest soiree to mark the closing night of Emerald City Comic Con. Full details can be found here.



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