Hauptstraße 155, home to Bowie and Iggy Pop, Kreuzberg, Berlin, 1976-77 (later, for Iggy)
Shots from 1977 (Iggy, Iggy & Esther Friedman, street views) and late 2000s
Ornette Coleman: Do you ever ask yourself if the language that you speak now interferes with your actual thoughts? Can a language of origin influence your thoughts?
This conversation excerpt = !
Wow, Q Magazine is finally going to get to the bottom of this whole Oasis thing! FINALLY! They’d only done 50,000 Oasis cover stories before (All of which have had “Liam: “I fornicated with a vagina-shaped cake at my birthday party” or whatever on the cover), but I really think this is the one that’s going to solve the Murder of Sir Winton Slimbottom once and for all. This is the one where they get Liam to say who the murderer is. Finally! Thank you, Q Magazine— thank you for pledging to put Oasis on your cover once a month until Sir Slimbottom is finally avenged!
We listen to women the same way we look at them. Like beauty, a woman’s voice emanates from her body without visible effort. Listeners don’t hear the voice as an instrument, but as a primal extension of the singer herself, a through-line from her anatomy to yours. The voice is a component of a woman’s affect—never learned, never forced, but something she’s born possessing. Watch the audition episodes of shows like American Idol and the Voice. Like beauty, vocal talent rests on a binary: You have it or you don’t.
The kind of article that had me looking back through my own reviews — few of which, at least in recent months, centered around women-fronted albums — and wondering if/where I’d avoided this trend, and how to avoid it in the future. (One that jumped to mind immediately: me being disappointed by Kelis’ Food because Sitek’s production kept interfering with her voice.)
The Cinefamily trailer for The Outside Man, a 1972 French thriller set in Los Angeles. Not safe for work-ish.
I like how the first thing in the trailer is ‘As seen in Los Angeles Plays Itself’, since this movie was near the top of the list of stuff I convinced myself I absolutely had to see based solely on its appearance in that documentary. (Second only to The Exiles, actually.)
This came out in June.
Not ONE of y’all told me about it. Y’all are not real friends. We are not as cool as I thought we were. This is the single most important document in my life now (aside from my mom’s turkey dressing recipe). So many feelings
- Confusion. Why are both Xscape AND SWV above EnVogue?
- Disrespect. Why did they use a picture of DC3 in the actual triangle when that didn’t become the lineup until 2000?
- Pride. I know at least one song from every group until Elusion. Who? If they had a half-hit on the R&B chart, I’m supposed to know about it. Now I have to go research.
- Disappointment. I wish duos had been included in this. I know technically they’re not girl groups, but acts like Zhane and Changing Faces and Trina & Tamara and KP & Envyi fill those same slots in my musical arsenal as girl groups of three or more.
- Excitement. LOOK AT ALL THESE GROUPS I NEVER HEARD OF. Just the names alone have me salivating with anticipation of these musical discoveries. Assorted Phlavors? Drama? Harmony Innocents??? Best day of my life.
This is everything to me.
I saw this a while back but, yea, the bolding of number five is my doing.
If we could get a box like One Kiss Can Lead to Another centered around this particular corner of the popular music universe, well hey
I have known a number of people in my life that refused to give “Hard Boiled” a go. It’s usually because they like the action but don’t like the Hong Kong style of plotting and character development.
It’s a shame really because they miss out on what is easily the single greatest action finale of all time. The entire hospital scene is amazing and the single take shootouts perfectly done.
I’d say it’s John Woo’s finest cinematic moment and I’m a fan of Woo’s, bar that fucking horrendous Ben Affleck film he did.
A fun little bit of trivia about this scene: the whole place is just one set, one floor. When they get on the elevator, the crew had about 30 seconds to clean the whole place so it looked like they’d emerged into a whole different floor. And of course, the whole thing was filmed in one take because fuck it, we don’t have time for retakes.
I can’t imagine anyone not wanting to watch Hard-Boiled, especially since the pacing is nowhere near as bizarre as, say, A Better Tomorrow 2.
“We are the abandoned children of garage”: Logan Sama on the marginalisation facing grime and dancehall
If you wanted to feel really glum about stuff today, read this.
"People get out of the habit of consuming it because it’s not there for them to readily get. When it comes to music – and just generally everything in life – people are happy to consume what’s put in front of them. Grime isn’t something that’s put in front of many people because there aren’t any dedicated grime shows on mainstream radio, nothing on mainstream TV covering the culture, very little in the way of live events. There’s quarterlies, Eskimo Dance two or three times a year, but there aren’t as many dedicated events as there are for dubstep or house or drum ‘n’ bass."
As someone living in the American Midwest, this is pretty much the case for me — plus I feel like it’s being reinforced by media outlets, especially in the States, that grime is supposed to be marginally relevant at best and why bother when there’s DJ Mustard or whatever. And that’s probably because it’s a distinctly British thing that hasn’t had its big American-market crossover moment a’la Skrillex/Afrojack/Pendulum/etc., Danny Brown co-signs notwithstanding. (For what it’s worth, Danny Brown co-signs may not result in six-figure Vegas EDM engagements but they are generally pretty damn trustworthy.) Like, the closest we got was Dizzee Rascal, and even though I still stand by how many schools his run from Boy in Da Corner through Maths + English rules (answer: All of the Schools), he didn’t really conquer the States like I’d hoped he would, and maybe that was a semi-jingoistic “who cares, we have our own rap” sentiment building the ramparts. Now that I hear the scene seems to be lagging in the UK, despite the strong quality of relatively recent efforts, it feels like a weird dichotomy for me of being into something for primarily aesthetic reasons — what few scenester-cred points remain in the States be damned — while not entirely being sure just how quickly that aesthetic might be fading, and how part of that might just be my geographic and cultural distance from it.
And yet on the other hand, this concept crosses the Atlantic with no need for translation:
"Now I’m not going to say that the risk of violent escalation [in a music scene] is the same with middle class students from Oxfordshire and middle of nowhere in England, but the amount of fear, ridiculous exaggeration and ignorance about the audience that listens to this music is inexcusable.
We have problems with the police and form 696 – which is still pretty much unconstitutional – and investment is always difficult as with anything that’s generally focused on the working classes. Youth centres were a huge part of bringing through new talent who couldn’t get on pirate radio, they could go to their local youth centre where there would be a set of decks, a mixer, some speakers and a microphone. They could go down there and do their thing.
There’s less and less of that for young people and grime’s definitely for the young people. It’s their voice, message and culture. It’s alright when it can be safely bottled up. JD Sports sell tracksuits and fitted caps so people can dress like boys off the estate and make millions. It’s done very well off that culture, but actually doing something with the voice of that culture hasn’t really happened.
You’ve just got a disenfranchised mass of people doing whatever they want to do and that’s why grime is always exciting to me. That first Dizzee Rascal album was full of the thoughts, opinion, feelings and emotions of young people in London at the time and across Britain. The fact that there aren’t more opportunities for that is a shame.”
Grand Theft Auto trailer from 1977.
This trailer is the best thing ever directed by Ron Howard.
GEARHEAD/MOVIE DORK NOTES:
1) No, that’s not an actual Carrera RS that gets trashed, just a regular 911 with the spoiler and decals added on.
2) There’s a brief appearance (in the full movie, not the trailer) by a Fiat X1/9 that has something of a shoutout? That, or there’s some “555 phone number” standard for movie fake license plates I didn’t know about.