“The second enemy of creativity, after having ‘good taste’, is being safe.”
So says Nicolas Winding Refn in his Director’s Note…
Love the live version of The Reatards’ “Memphis Blues” at the beginning of this movie.
"Indie rock is such a bratty culture, and I don’t see a lot of ugly people in it, either. I feel very proud to be hideous. Thank God I don’t look like every other fucking dude wearing their girlfriend’s fucking jeans out there on stage. That’s weak and emasculated— and I don’t think masculinity is equivalent to misogyny. It just seems like everything is like a cat that’s been declawed— it still tries to fight with you, but it’s harmless. Nobody wants to get scratched."
Whether you’re proud that you’re beautiful or proud that you’re hideous, you’re still letting pride dictate your perspective and that’s ignorant and irritating. Why is Deerhunter so set on separating themselves from the culture they occupy? They write great songs, they don’t have to wear wigs and lipstick on late night tv to get attention. Anyone who complains about image but at the same time works so hard to project one is just as phony as the phonies they hate.
But I’m still going to sing Monomania to myself in the shower.
i don’t think being image-obsessed is inherently negative, and i don’t think brad’s little game of dress up is artistic sin. i kinda like it actually. i think brad’s only mistake is thinking what he’s doing is anything other than theater. he’s closer to amanda palmer than stiv bators. that whole stumble off stage on fallon and saunter to the elevator while the band still plays thing was a scripted gag. entertaining? very. punx? nay, i say. i like what he’s doing right now. but make no mistake, it’s total theater.
george costanza mcdonalds commercial
i will forever love weirdo miscellaneous throwaway pop culture shit like this
Video for “She Rides,” from the first Danzig album, 1988. Yup.
On the show today, we excerpted Martin Scorsese’s 2013 National Endowment for the Arts Jefferson Lecture, titled “Persistence of Vision: Reading the Language of Cinema.” He shares his wide knowledge of film history (including Eadweard Muybridge’s images of animals in motion from the 1870s and 1880s) and speaks movingly and eloquently about falling in love with the movies as a kid:
My parents had a good reason for taking me to the movies all the time because I was always sick with asthma since I was 3 years old and I apparently couldn’t do any sports. Or that’s what they told me. But really my mother and father did love the movies. They weren’t in the habit of reading — that didn’t’ really exist where I came from — and so we connected through the movies and, over the years, I know now that the warmth of that connection with my family and with the images up on the screen gave me something very precious because we were experiencing something fundamental together: We were living through the emotional truths on the screen together, often in coded form. … Sometimes they were expressed in small things — gestures, glances, reactions between the characters, light, shadow. I mean, we experienced these things that we normally couldn’t discuss or wouldn’t discuss or even acknowledge in our own lives, and that’s actually part of the wonder. So whenever I hear people dismiss movies as fantasy or make a hard distinction between film and life, I think to myself that it’s just a way of avoiding the power of cinema.
Image by Eadweard Muybridge
today is neat, neat, neat!