Friday, 30 March 2012
Mekas on Britney Spears
"Nervous breakdowns are very necessary, The artists that don't go through nervous breakdowns i don't trust them, i don't think i even trust them they are too square, too normal. For an artist to be normal, is a disaster."
"Dangerous. Very dangerous. To be an artist, to be a poet..." Oh dear.
Someone commented saying that he lives the collapse between high and low art, it's true, he judges Britney as an artist however popular her songs are or however uncool it may be, not to say she's a good one, but because she's working in that sphere he judges her with the same criteria as any other. I wonder how different it would be if there was a photograph with her scrunching up her eyes...
"Nervous breakdowns are very necessary, The artists that don't go through nervous breakdowns i don't trust them, i don't think i even trust them they are too square, too normal. For an artist to be normal, is a disaster."
"Dangerous. Very dangerous. To be an artist, to be a poet..." Oh dear.
Someone commented saying that he lives the collapse between high and low art, it's true, he judges Britney as an artist however popular her songs are or however uncool it may be, not to say she's a good one, but because she's working in that sphere he judges her with the same criteria as any other. I wonder how different it would be if there was a photograph with her scrunching up her eyes...
Jonas Mekas on Paris Hilton
Why is this so magical? How has he held my attention span with just his face and hesitating words and strange accent? Why do I feel so completely inspired? Is he using something to hold me? The effects of his legacy of incredible filmaking, the mass respect, his venerable age, looking back at us from across his years of experience... the hat? Or is he just saying he believes, is he just talking truth. I really don't know but I don't that i love this.
When I wax lyrical about trust, about belief, that you have to BELIEVE the artist, trust them. Maybe that's it, that's what he's got here. Just total belief. In himself? In the subject matter? In human people? I don't know. But Mekas believes, you better believe it.
Why is this so magical? How has he held my attention span with just his face and hesitating words and strange accent? Why do I feel so completely inspired? Is he using something to hold me? The effects of his legacy of incredible filmaking, the mass respect, his venerable age, looking back at us from across his years of experience... the hat? Or is he just saying he believes, is he just talking truth. I really don't know but I don't that i love this.
When I wax lyrical about trust, about belief, that you have to BELIEVE the artist, trust them. Maybe that's it, that's what he's got here. Just total belief. In himself? In the subject matter? In human people? I don't know. But Mekas believes, you better believe it.
Thursday, 29 March 2012
From Natalie Wilson's dissertation of 2011- very interesting
Possibly the most famous critic of the impact of new technologies is Nicholas Carr (who I previously quoted). Carr’s most well-known and influential text on the subject is 'The Shallows: How the Internet is Changing the Way We Think, Read and Remember' (2010). Although his argument regarding the damaging effect technology is having on our capacity to think and concentrate is quite contentious, he is not the first person to negatively chart the impact of new technologies. Socrates expresses similar fears when he condemns the invention of the alphabet by Theuth a famous old God:
'And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.'
(Plato, 1956, p.62) dissertation
Monday, 26 March 2012
What life is about
The submitter of this photo swears that the following story is 100% true. No posse was hidden in the car with their discreet video cameras and slow-smirks blazing, but maybe this was a masterpiece of NYC subway performance art all the same:
“When I ride the R train I like to beatbox. If I hold my hand out sometimes people give me money, other times I get dap from the youngsters (it’s a sign of respect apparently), but most of the time people try to ignore me as I remind them that even after all these years It’s (still) All About The Benjamins.
This day was different. On this day my musical stylings were matched by this lyrical genius. He tilted his hat, folded his newspaper and proceeded to be the Fresh Prince to my Jazzy Jeff. We held the train under the spell of our call-and-response. We channeled the greats from an almost forgotten era…Pete Rock & CL Smooth, Premier & Guru (RIP), Eric B. & Rakim. For a brief moment, time stopped. We were a two-man revolution. There were no contenders. We never spoke again.”
Saturday, 24 March 2012
Vibeke Tandberg: It feels like this
Something interesting about this that i can't put my finger on, to do with that it should be really bad but somehow isn't.
How to Know Whether the Voice Around You, Promising Unspeakable Pain, Is Reciting 50 Cent Lyrics or Waging Real Threats to Your Life.
http://www.mcsweeneys.net/articles/how-to-know-whether-the-voice-around-you-promising-unspeakable-pain-is-reciting-50-cent-lyrics-or-waging-real-threats-to-your-life
an open letter
"If we don’t try to make meaning out of all our experiences, from the profound to the ridiculous, we’re probably just standing still."
An interesting Article in McSweeney's
One Settled Comfortably In the Cuckoo’s Nest
No one wants to talk about Uncle Bob’s chronic depression or why it is that Aunt Sue refuses to travel anywhere by boat. Grandpa’s electric shock therapy and Grandma’s time in the state mental hospital are seldom the focus of conversation. On rare occasions, a distant cousin will hint to some less-than-glamorous faction of family history after one too many wine spritzers at the annual family reunion. A new, married-into-the-family member will allude to the fact that someone has “issues,” the comment delivered with a tinge of sarcasm, as humor is always easier to stomach than the cold hard truth that some of us come, quite frankly, from families of wackos.
What’s worse than acknowledging this history, is admitting to yourself and the loved ones nearby, that some level of mental illness has quite possibly set up shop inside of us as well. Some insist that we’re just not trying enough alternative remedies to cure whatever ails us. Something’s wrong? Fix it! Immediately! Buy something! Or let go of attachments! Change your outlook on life! Manifest the happiness that resides within! You need a detox diet! Smudge your bedroom with sage! You create your own reality! We’re all supposed to be happy! Everything is so good! We can manifest joy! Try harder!
Sure, some people are “cured” with didgeridoo sound healings, 5-HTP supplements and tapping all over their faces while chanting positive affirmations. That is super great for them, as they are likely not suffering from the gnarly chronic depression and anxiety I’m referring to. For some of us, color therapy and yoga don’t make it go away.
Not that we don’t try. Some of us try everything because we’re afraid of being judged by our “liberal, do-good” communities if we take medication. We undergo hypnotherapy, past life regression, tarot readings. We visit shamans and get acupuncture treatments. We’ll become cyclists, participating in every 100-mile ride we can find, attempting to out-ride whatever keeps grasping at us with it’s viscous claws. We do eight million sun salutations. We drive two days through the desert to see the Dalai Lama. We borrow our friends’ light therapy boxes, eat mounds of Omega-3 fatty acid-rich food. Sometimes we give up and eat two pounds of bacon in a weekend. We’ll churn our own butter and stand alone in the kitchen devouring it by the spoonful before smearing it onto chocolate cake that we often consume while soaking in the bathtub, reading Pema Chödrön, listening to Iron and Wine. Crying. Defeated. Our ulcers hurt.
After a break up, we’re expected to cut our hair and pull on a new tight-fitting red dress to chase away any residual sadness with a series of one-night stands. If we lose a job, it’s off to happy hour to pound back some pints, listen to jokes and head on our way to Craigslist where we send countless résumés off with the naïve optimism of new liberal arts graduates. If a loved one dies, we get two to three bereavement days—if we’re lucky—to pick up the pieces, get the kids to school on time, drag ourselves back to the office and start filing, making non-fat lattes for underweight women or returning to classrooms full of screaming preschoolers. We smile while finger-paint gets smeared down our legs. “It’ll be good for you to be back at work,” our well-meaning friends say. “You need to move on.”
And aside from the situational depression or anxiety we’re all plagued with when relationships end, loved ones die, or our homes foreclose, some of us are just wired differently. We have stunted nervous systems. Miswired synapses. Surges of imbalanced chemicals. Physical and emotional trauma that we never really get over. Even when the sun shines its glorious brightness on our faces, the bills are paid and the people in our lives really, really love us, some of us can’t help it. It’s not that we are ungrateful. We just hurt. A lot.
On top of whatever predispositions we’re born with, maybe something horrible happened to us. Maybe we have chronic health issues. Maybe someone we thought would be here forever suddenly died. Maybe we thought it was our fault. Maybe we visited a place so dark that we couldn’t see anything but the trauma or our loved one’s absence and maybe when we came back, part of that place stuck to us like a layer of soot across our eyes. Or an iron weight in our throat. A shadow that filters how we feel and think about the world, tinging everything with shades of gray.
And we don’t want to talk about it. Or we do, but we’re afraid to.
Some may fear that talking about our long-standing relationships with mental illness may set up road blocks. We’re afraid that if we tell our lovers something awful that someone did to us—and how it affected us—that they won’t touch us anymore. And oh my God, we need to be touched. We’re afraid we’ll lose our friends, our jobs, our families. We’re worried that our depression or anxiety or PTSD or struggles with addiction will become scapegoats for someone else’s bad choices. If we’re women, we are viewed as crazy, hormonal bitches. If we’re men, we need to “man up” and stop being pussies. If we are children, we just get lost.
So we stay home and cry on the floor of our daughter’s bedroom and listen to Elliot Smith for hours when we find out someone we love killed himself. We spend days alone in the woods with a bag of pumpkin seeds and Emergen-C packets after we watch our friend die of cancer. Some of us cut ourselves. Some of us overeat. Some of us starve ourselves. We poison ourselves with substances of every sort. We do these things because we don’t think we deserve better. Or we don’t know how to stop. We’ll switch our phones off, turn out the lights and crawl under dirty sheets with tiny bottles of essential oils, just waiting for what feels like a blizzard of shit to pass. Waiting and waiting and waiting, sometimes hating ourselves for not feeling “normal” and for feeling too much about everything, all of the time.
Sometimes we take lovers who we know will break our hearts as more often than not, we’re attracted to the same dark madness that we see in ourselves. And sometimes we try really, really hard to have “normal” relationships with “normal” people who have no idea who we are inside. And we’ll feel guilty about who we are and we’ll think—and even believe—that we’re not good enough so sometimes we’ll sabotage it because being alone, watching documentaries about Darfur every weekend is more comforting than admitting who we are.
Sometimes, some of us will make the most of it. I will write such great poetry when I come out of this. And we’ll overindulge. We might start smoking because it seems dark and sexy, even though it makes our stomachs hurt, and we’ll sit on the front porch alone, with a cigarette, a bottle of Chianti and a bowl of kalamata olives, coughing, watching the sun sink, the muffled sound of recorded violins drifting out a nearby window. Sunset and empty wine bottle as metaphors. Unbearable loneliness pressed against our chests. Sometimes we’ll believe we’re on a mystical spiritual journey. Maybe we are. Who even knows what that means?
And the truth is, we don’t all make it. Some of us will relapse, overdose and die. Some of us will drink too much and never wake up. Some will drive off of cliffs. Some of us will take too many pills or use a gun or a knife. Some of us will check into a hospital and never come out. This will chip at us and we’ll feel guilty that we’re still here. Our bodies transform into glass. Already cracked, we hold onto fear of catching one last pebble that will drop us, shattering us to glossy bits across the floor.
“Is this where I am heading? What if I can’t find my way out of this? What if I end up like her? Like him? Dead?”
We’re all—us, the chronically depressed and anxiety-ridden—thinking it, though no one will say it out loud.
For the lucky ones, we learn to adapt and stockpile an arsenal of tools to help us get through the black holes that become regularly featured guests in our lives. We settle comfortably into a cuckoo’s nest. It’s a part of us. If we have money, we fly to Belize and smoke weed on sailboats. Or we stay home and get help in the form of therapists and pills and good food and learn to turn down the inner voice that tells us we suck. When that doesn’t work, we learn to call our friends. When our friends aren’t home, we learn to call hotlines or take meds or hold it together until the kids go to bed and then sit in the dark and let our minds go to bad places, remembering that we’ve been there before and its OK to visit as long as we have some sort of road map to lead us back. We watch Fight Club and Children of Men and soothe ourselves with David Attenborough-narrated ocean documentaries while clinging to hot water bottles in order to feel warmth—tricking our minds into believing we’re not alone. Then we crawl into bed with our kids, holding their tiny hands while they sleep. Their breath keeps us from unraveling.
Sometimes we blast Public Enemy and Crimpshrine and scream. We tear everything off of the walls and paint them red. Or Green. Or gray. We read somewhere that changing our environment can change our moods. We’ll break shit and burn things and chop wood or take a mandolin that we can’t even play and sit and watch our chickens scratch and peck at leftover salad. And we’ll cry.
We still try to help each other, delivering tacos by bike, driving each other to doctors and funerals and the unemployment office. We’ll send inappropriate texts to make each other laugh out loud at work or on the bus. We sleep on kitchen floors with each other while we wait for inevitable bad news to come. We cook together and for each other and never turn away.
And, if we’re really fortunate, we can wipe some soot from our eyes and see it all as a twisted and necessary gift. Not like a new watch or a first edition autographed copy of our favorite novel, mind you, but a gift nonetheless, one that gives us the super power of loving with the passion of fifty sex-crazed poets. One that helps us find more than cracked sand dollars and polished glass as we sift through sand at the beach. One that reminds us how incredible and beautifully disastrous life is when the shadow lifts for that month or year and we can smile again and all of our depressed friends think we are total fuckers.
We know it will come back, like an audit or a flat tire late at night—unexpectedly, ruthlessly—so we enjoy the sunshine while it lasts.
Our therapists say we’re doing OK, that we are actually coping quite well in our cuckoo’s nest.
And one day, with what feels like scratching the silver from a winning lottery ticket, we’ll wake up and actually believe it’s true.
What’s worse than acknowledging this history, is admitting to yourself and the loved ones nearby, that some level of mental illness has quite possibly set up shop inside of us as well. Some insist that we’re just not trying enough alternative remedies to cure whatever ails us. Something’s wrong? Fix it! Immediately! Buy something! Or let go of attachments! Change your outlook on life! Manifest the happiness that resides within! You need a detox diet! Smudge your bedroom with sage! You create your own reality! We’re all supposed to be happy! Everything is so good! We can manifest joy! Try harder!
Sure, some people are “cured” with didgeridoo sound healings, 5-HTP supplements and tapping all over their faces while chanting positive affirmations. That is super great for them, as they are likely not suffering from the gnarly chronic depression and anxiety I’m referring to. For some of us, color therapy and yoga don’t make it go away.
Not that we don’t try. Some of us try everything because we’re afraid of being judged by our “liberal, do-good” communities if we take medication. We undergo hypnotherapy, past life regression, tarot readings. We visit shamans and get acupuncture treatments. We’ll become cyclists, participating in every 100-mile ride we can find, attempting to out-ride whatever keeps grasping at us with it’s viscous claws. We do eight million sun salutations. We drive two days through the desert to see the Dalai Lama. We borrow our friends’ light therapy boxes, eat mounds of Omega-3 fatty acid-rich food. Sometimes we give up and eat two pounds of bacon in a weekend. We’ll churn our own butter and stand alone in the kitchen devouring it by the spoonful before smearing it onto chocolate cake that we often consume while soaking in the bathtub, reading Pema Chödrön, listening to Iron and Wine. Crying. Defeated. Our ulcers hurt.
After a break up, we’re expected to cut our hair and pull on a new tight-fitting red dress to chase away any residual sadness with a series of one-night stands. If we lose a job, it’s off to happy hour to pound back some pints, listen to jokes and head on our way to Craigslist where we send countless résumés off with the naïve optimism of new liberal arts graduates. If a loved one dies, we get two to three bereavement days—if we’re lucky—to pick up the pieces, get the kids to school on time, drag ourselves back to the office and start filing, making non-fat lattes for underweight women or returning to classrooms full of screaming preschoolers. We smile while finger-paint gets smeared down our legs. “It’ll be good for you to be back at work,” our well-meaning friends say. “You need to move on.”
And aside from the situational depression or anxiety we’re all plagued with when relationships end, loved ones die, or our homes foreclose, some of us are just wired differently. We have stunted nervous systems. Miswired synapses. Surges of imbalanced chemicals. Physical and emotional trauma that we never really get over. Even when the sun shines its glorious brightness on our faces, the bills are paid and the people in our lives really, really love us, some of us can’t help it. It’s not that we are ungrateful. We just hurt. A lot.
On top of whatever predispositions we’re born with, maybe something horrible happened to us. Maybe we have chronic health issues. Maybe someone we thought would be here forever suddenly died. Maybe we thought it was our fault. Maybe we visited a place so dark that we couldn’t see anything but the trauma or our loved one’s absence and maybe when we came back, part of that place stuck to us like a layer of soot across our eyes. Or an iron weight in our throat. A shadow that filters how we feel and think about the world, tinging everything with shades of gray.
And we don’t want to talk about it. Or we do, but we’re afraid to.
Some may fear that talking about our long-standing relationships with mental illness may set up road blocks. We’re afraid that if we tell our lovers something awful that someone did to us—and how it affected us—that they won’t touch us anymore. And oh my God, we need to be touched. We’re afraid we’ll lose our friends, our jobs, our families. We’re worried that our depression or anxiety or PTSD or struggles with addiction will become scapegoats for someone else’s bad choices. If we’re women, we are viewed as crazy, hormonal bitches. If we’re men, we need to “man up” and stop being pussies. If we are children, we just get lost.
So we stay home and cry on the floor of our daughter’s bedroom and listen to Elliot Smith for hours when we find out someone we love killed himself. We spend days alone in the woods with a bag of pumpkin seeds and Emergen-C packets after we watch our friend die of cancer. Some of us cut ourselves. Some of us overeat. Some of us starve ourselves. We poison ourselves with substances of every sort. We do these things because we don’t think we deserve better. Or we don’t know how to stop. We’ll switch our phones off, turn out the lights and crawl under dirty sheets with tiny bottles of essential oils, just waiting for what feels like a blizzard of shit to pass. Waiting and waiting and waiting, sometimes hating ourselves for not feeling “normal” and for feeling too much about everything, all of the time.
Sometimes we take lovers who we know will break our hearts as more often than not, we’re attracted to the same dark madness that we see in ourselves. And sometimes we try really, really hard to have “normal” relationships with “normal” people who have no idea who we are inside. And we’ll feel guilty about who we are and we’ll think—and even believe—that we’re not good enough so sometimes we’ll sabotage it because being alone, watching documentaries about Darfur every weekend is more comforting than admitting who we are.
Sometimes, some of us will make the most of it. I will write such great poetry when I come out of this. And we’ll overindulge. We might start smoking because it seems dark and sexy, even though it makes our stomachs hurt, and we’ll sit on the front porch alone, with a cigarette, a bottle of Chianti and a bowl of kalamata olives, coughing, watching the sun sink, the muffled sound of recorded violins drifting out a nearby window. Sunset and empty wine bottle as metaphors. Unbearable loneliness pressed against our chests. Sometimes we’ll believe we’re on a mystical spiritual journey. Maybe we are. Who even knows what that means?
And the truth is, we don’t all make it. Some of us will relapse, overdose and die. Some of us will drink too much and never wake up. Some will drive off of cliffs. Some of us will take too many pills or use a gun or a knife. Some of us will check into a hospital and never come out. This will chip at us and we’ll feel guilty that we’re still here. Our bodies transform into glass. Already cracked, we hold onto fear of catching one last pebble that will drop us, shattering us to glossy bits across the floor.
“Is this where I am heading? What if I can’t find my way out of this? What if I end up like her? Like him? Dead?”
We’re all—us, the chronically depressed and anxiety-ridden—thinking it, though no one will say it out loud.
For the lucky ones, we learn to adapt and stockpile an arsenal of tools to help us get through the black holes that become regularly featured guests in our lives. We settle comfortably into a cuckoo’s nest. It’s a part of us. If we have money, we fly to Belize and smoke weed on sailboats. Or we stay home and get help in the form of therapists and pills and good food and learn to turn down the inner voice that tells us we suck. When that doesn’t work, we learn to call our friends. When our friends aren’t home, we learn to call hotlines or take meds or hold it together until the kids go to bed and then sit in the dark and let our minds go to bad places, remembering that we’ve been there before and its OK to visit as long as we have some sort of road map to lead us back. We watch Fight Club and Children of Men and soothe ourselves with David Attenborough-narrated ocean documentaries while clinging to hot water bottles in order to feel warmth—tricking our minds into believing we’re not alone. Then we crawl into bed with our kids, holding their tiny hands while they sleep. Their breath keeps us from unraveling.
Sometimes we blast Public Enemy and Crimpshrine and scream. We tear everything off of the walls and paint them red. Or Green. Or gray. We read somewhere that changing our environment can change our moods. We’ll break shit and burn things and chop wood or take a mandolin that we can’t even play and sit and watch our chickens scratch and peck at leftover salad. And we’ll cry.
We still try to help each other, delivering tacos by bike, driving each other to doctors and funerals and the unemployment office. We’ll send inappropriate texts to make each other laugh out loud at work or on the bus. We sleep on kitchen floors with each other while we wait for inevitable bad news to come. We cook together and for each other and never turn away.
And, if we’re really fortunate, we can wipe some soot from our eyes and see it all as a twisted and necessary gift. Not like a new watch or a first edition autographed copy of our favorite novel, mind you, but a gift nonetheless, one that gives us the super power of loving with the passion of fifty sex-crazed poets. One that helps us find more than cracked sand dollars and polished glass as we sift through sand at the beach. One that reminds us how incredible and beautifully disastrous life is when the shadow lifts for that month or year and we can smile again and all of our depressed friends think we are total fuckers.
We know it will come back, like an audit or a flat tire late at night—unexpectedly, ruthlessly—so we enjoy the sunshine while it lasts.
Our therapists say we’re doing OK, that we are actually coping quite well in our cuckoo’s nest.
And one day, with what feels like scratching the silver from a winning lottery ticket, we’ll wake up and actually believe it’s true.
By Dani Burlinson
McSweeney'sFriday, 23 March 2012
Poems by Richard Brautigan.
When i write this kind of stuff, I think it's stupid. But I like it when R.B. does it, it's nice to see, it makes it a bit more okay.
LOADING MERCURY WITH A PITCHFORK
Loading mercury with a pitchforkyour truck is almost full. The neighbors
take a certain pride in you. They
stand around watching.
IT’S TIME TO TRAIN YOURSELF
It’s time to train yourselfto sleep alone again
and it’s so fucking hard.
THE ACT OF:
DEATH-DEFYING AFFECTION
The act of: death-defying affectioninsures the constancy of the stars
and their place at the beginning of
everything.
INFORMATION
Any thought that I have right nowisn’t worth a shit because I’m totally
fucked up.
WE MEET. WE TRY. NOTHING HAPPENS, BUT
We meet. We try. Nothing happens, butafterwards we are always embarrassed
when we see each other. We look away.
IMPASSE
I talked a good hellobut she talked an even
better good-bye.
THE NECESSITY OF APPEARING
IN YOUR OWN FACE
There are days when that is the last placein the world where you want to be but you
have to be there, like a movie, because it
features you.
FOR FEAR YOU WILL BE ALONE
For fear you will be aloneyou do so many things
that aren’t you at all
EVERYTHING INCLUDES US
The thought of her handstouching his hair
makes me want to vomit.
I’LL AFFECT YOU SLOWLY
I’ll affect you slowlyas if you were having
a picnic in a dream.
There will be no ants.
It won’t rain.
AT THE GUESS OF A SIMPLE HELLO
At the guess of a simple helloit can all begin
toward crying yourself to sleep,
wondering where the fuck
she is.
SEXUAL ACCIDENT
The sexual accidentthat turned out to be your wife,
the mother of your children
and the end of our life, is home
cooking dinner for all your friends.
FUCK ME LIKE FRIED POTATOES
Fuck me like fried potatoeson the most beautifully hungry
morning of my God-damn life.
THE CURVE OF FORGOTTEN THINGS
Things slowly curve out of sightUntil they are gone. Afterwards
Only the curve
Remains.
DIVE-BOMBING THE LOWER EMOTIONS
I was dive-bombing the loweremotions on a typical yesterday
after
I had sworn never to do it again.
I guess never’s too long a time to stay
out of the cockpit
with the wind screaming down the wings
and the target almost praying itself into your
sights.
EARLY SPRING MUD PUDDLE
AT AN OFF ANGLE
That’s how I
feel.
NOBODY KNOWS
WHAT THE PORTFOLIO IS WORTH
Nobody knows what the Portfolio is worthbut it’s better than sitting on your hands,
I keep telling myself.
If you do not imagine people as sexual beings you are so wrong. I see sex everywhere I go.
From a man to a woman who is a prostitute:
You may not fulfil everything I need, but you are here right now. Just for right now, I can use you to fill this hole and you can use me and we can be together. We can help each other. You are waiting for your knight in shining armour, the man who you will fall in love with and with every man you wonder if he will be the one, but when you meet me you will know I am not him. But you will pretend I am anyway, for some of your moments.
Tuesday, 20 March 2012
Sunday, 18 March 2012
Wednesday, 14 March 2012
The Best Policy
"Giving Robert Lowell any kind of poetry prize is obscene. Ditto worrying about Ezra Pound. And the Yale Poetry series. The colleges are meant to kill. Four years in which to kill you. And if you don't extend your stay, the draft, by and for old people, waits to kill you. Kill your instincts, your love, the music. The music is the only live, living thing. Draft only those over forty. It's their war, let them kill each other." - The View From the Bandstand
I just like anything that condemns college because I fucked it up so badly. Everyone else I know has got involved with the experience and it has taught them. I tried, but sporadically, not hard enough, I let myself give up far too easily. But it's not too late. I won't say I don't care because I really do. And just because I hate myself now and all the trite shit I come out with anytime I try, and the fact that I can't write, paint, draw (I can decorate) doesn't mean it will always be so. I'm ready to try when I'm so lost there's nothing to lose. I'm ready to be inspired and not call it all a crock of shit because I'm jealous or too lazy to understand. I might be ready to be in the world and not lie anymore, because if i'm not I will completely become something I hate. So i'm ready to be honest.
I just like anything that condemns college because I fucked it up so badly. Everyone else I know has got involved with the experience and it has taught them. I tried, but sporadically, not hard enough, I let myself give up far too easily. But it's not too late. I won't say I don't care because I really do. And just because I hate myself now and all the trite shit I come out with anytime I try, and the fact that I can't write, paint, draw (I can decorate) doesn't mean it will always be so. I'm ready to try when I'm so lost there's nothing to lose. I'm ready to be inspired and not call it all a crock of shit because I'm jealous or too lazy to understand. I might be ready to be in the world and not lie anymore, because if i'm not I will completely become something I hate. So i'm ready to be honest.
Lou Reed- The View from the Bandstand
The View from the Bandstand
Didn't really know he wrote. Got a copy of The Raven's lyrics in America in book form. Lou Reed made an album called 'the raven' heavily influenced/ as a tribute to Edgar Allen Poe in 2003 including a cover with Anthony Hegarty from Anthony and the Johnsons of 'Perfect Day' and Laurie Anderson and David Bowie somewhere in there too. I could never have imagined it covered like that, but it's perfect. The perfect cover of his own song.
Didn't really know he wrote. Got a copy of The Raven's lyrics in America in book form. Lou Reed made an album called 'the raven' heavily influenced/ as a tribute to Edgar Allen Poe in 2003 including a cover with Anthony Hegarty from Anthony and the Johnsons of 'Perfect Day' and Laurie Anderson and David Bowie somewhere in there too. I could never have imagined it covered like that, but it's perfect. The perfect cover of his own song.
Einstein on the Beach
Einstein on the Beachdocumentary about Einstein on the Beach, 80's opera with Philip Glass and Robert Wilson.
Tuesday, 13 March 2012
5 th draft
I'm in your old room
You are gone.
The light looks different
Actually, the light looks wrong.
As I stand and look at where
Your bed met the wall
There's very little I can feel
Of what I used to feel when i was standing here.
My hand is warm, the iron foot
Cooled of certain words you wrote,
The mountains, the daffodils
Suddenly relieved of a specific gravitas that was once bestowed upon them.
There was never much to look at;
Some things held up with bluetac
A bedside table book
A ceiling drying rack.
But it was still too much
The nerves glow in my palms
Everything was something,
Everything was actually nothing, but then again maybe something particularly special that was really quite poignant when you actually think about it.
You are gone.
The light looks different
Actually, the light looks wrong.
As I stand and look at where
Your bed met the wall
There's very little I can feel
Of what I used to feel when i was standing here.
My hand is warm, the iron foot
Cooled of certain words you wrote,
The mountains, the daffodils
Suddenly relieved of a specific gravitas that was once bestowed upon them.
There was never much to look at;
Some things held up with bluetac
A bedside table book
A ceiling drying rack.
But it was still too much
The nerves glow in my palms
Everything was something,
Everything was actually nothing, but then again maybe something particularly special that was really quite poignant when you actually think about it.
Wednesday, 7 March 2012
Hmmmmm
Make-up commercial starring Angelina Jolie
Doing some research on youtube, some kind of wormhole led me to this video. Clearly someone has a bit of a thing for her; taken their favourite shots from the original ad, and simply repeated them over an over again in a different order with no words and some inoffensive music. It's just an unexplained homage to how physically attractive the author finds the star.
The result is interesting. It's like the bones of an advert revealing itself over and over like a less-than-timid lover dropping their clothes. No product shot. No description of what is going on. Nothing giving any kind of context. Just Angelina; tilting her head back, raising one eyebrow, stroking her jaw; her brow, gazing at herself; at us; at off-screen camera; at us again, swimming into focus; swimming out, rolling her head, swiping her lips; and again; in close up, then doing it all over again. For a moment, without a reason for her actions (the product), every meaningful glance, every sideways look, loses all possible intended meaning and is meaningless.
However, a second later and all that she does is suddenly filled with ten times the narrative and importance. What is she doing? How long was she doing it for? Why? Without the excuse of the commercial context, all these questions are suddenly activated. Mainly, what the hell is she doing?
She is so brightly lit as to be unrecognisable. But she is her own currency. Every single thing Angelina Jolie does is added to her public image and perceived persona so it is important to her career and by extension her life. It is how she earns her living and a lot in her life depends on a public perception of her, whether she likes it or not. So in this, if we can still it as an advert, she looks very little like what we have come to expect from her. She has not been allowed any personal expression or personality. She is simply a representation of a very desired way to look, using a lip product on famously huge lips.
Why has she done this? Surely she is depleting her cultural capital. Here she could be any other model, she is almost unrecognisable. She is completely negating the rebellious 'bad girl' image, or even humanitarian 'extreme mother' image she has built for herself. She appears vacuous, unprincipled and boringly beautiful- this impression is definitely not helped by the 'new edit'. It reminds us of the truth of how fake the whole scenario is and how many shots it must actually have taken to gain those perfect few. It's interesting how I might have unquestioningly accepted her poses had they been safely within a cultural context i recognised and was very familiar with. And the author had no intention I'm sure of exposing the inherent falsity, he or she just wanted to gaze longer at Jolie turning her head this way and that. I'm not quite sure what point i'm trying to make here, whether it's at all original or not, but something about this struck me as, i suppose, at odds with itself, and I thought it worth sharing.
Doing some research on youtube, some kind of wormhole led me to this video. Clearly someone has a bit of a thing for her; taken their favourite shots from the original ad, and simply repeated them over an over again in a different order with no words and some inoffensive music. It's just an unexplained homage to how physically attractive the author finds the star.
The result is interesting. It's like the bones of an advert revealing itself over and over like a less-than-timid lover dropping their clothes. No product shot. No description of what is going on. Nothing giving any kind of context. Just Angelina; tilting her head back, raising one eyebrow, stroking her jaw; her brow, gazing at herself; at us; at off-screen camera; at us again, swimming into focus; swimming out, rolling her head, swiping her lips; and again; in close up, then doing it all over again. For a moment, without a reason for her actions (the product), every meaningful glance, every sideways look, loses all possible intended meaning and is meaningless.
However, a second later and all that she does is suddenly filled with ten times the narrative and importance. What is she doing? How long was she doing it for? Why? Without the excuse of the commercial context, all these questions are suddenly activated. Mainly, what the hell is she doing?
She is so brightly lit as to be unrecognisable. But she is her own currency. Every single thing Angelina Jolie does is added to her public image and perceived persona so it is important to her career and by extension her life. It is how she earns her living and a lot in her life depends on a public perception of her, whether she likes it or not. So in this, if we can still it as an advert, she looks very little like what we have come to expect from her. She has not been allowed any personal expression or personality. She is simply a representation of a very desired way to look, using a lip product on famously huge lips.
Why has she done this? Surely she is depleting her cultural capital. Here she could be any other model, she is almost unrecognisable. She is completely negating the rebellious 'bad girl' image, or even humanitarian 'extreme mother' image she has built for herself. She appears vacuous, unprincipled and boringly beautiful- this impression is definitely not helped by the 'new edit'. It reminds us of the truth of how fake the whole scenario is and how many shots it must actually have taken to gain those perfect few. It's interesting how I might have unquestioningly accepted her poses had they been safely within a cultural context i recognised and was very familiar with. And the author had no intention I'm sure of exposing the inherent falsity, he or she just wanted to gaze longer at Jolie turning her head this way and that. I'm not quite sure what point i'm trying to make here, whether it's at all original or not, but something about this struck me as, i suppose, at odds with itself, and I thought it worth sharing.
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