The recall election in Wisconsin is one of the most important American political events of our time. What happens in Wisconsin is not a “local” event, it will have repercussions that will continue to reverberate nationally—one way of the other—for a long time in this country. If progressives can’t win a victory in a state like Wisconsin, god help America, because the Reichwing fangs will be bared with a slobbering viciousness like they never have been before.
But if the little guys win, Republicans will think twice about pulling this kind of shit again. It’s that simple.
The positively heroic level of commitment from the state’s working people to the recall cause and rolling back the corrosive influence of the billionaire Koch Brothers on Wisconsin politics, has truly been a fantastic thing to watch. It’s one of the best things I’ve seen in America in my lifetime… but it’s not over yet.
Before next Tuesday’s Wisconsin recall election, this new ad—featuring a former Republican voter who’s had enough with the Republican Party—will run on television in the district of Republican State Sen. Alberta Darling, now fighting a recall challenge from Democrat Rep. Sandy Pasch.
The recall election in Wisconsin is only a few days away. If you can donate even $3, please go to ActBlue and help them buy airtime for this low-key, but quite effective ad.
It’s 1970 and the TV moderator is railing against the boring look of uniforms worn by German soccer teams. Isn’t it about time these fashion-challenged jocks got hip? Wouldn’t it make the games more exciting? We need color, we need sexier silhouettes, we need nylon and Spandex! And we need Brazilian music and dancing! Yes, yes, yes!
Redditor Surfbeaver says, “I saw these seeds in an antique shop. They are pre - WWII and the box it was in was marked, “US Department of Agriculture - Seeds of Industry”
I wonder if it’s possible to germinate these seeds? It’s not exactly like this is the Jurassic Park of weed, still I think it would be interesting to get a puff of what the government was growing back then.
What better way to freak the hell out of your house guests than with Dan Witz’s What the %$#@? Goat decal.
The WTF Michael “grate” graphic is backed by 1/8” thick plastic that lifts the art piece off the wall giving it a 3-D quality. 4 self-adhesive, removable 3M mounting squares are included for installation.
Velvet Underground chanteuse Nico and French avant-garde film director Philippe Garrel had a ten-year romantic relationship between 1969 and 1979. Garrel, acclaimed in his youth as being a sort of cinematic Rimbaud, was much admired by Jean-Luc Godard, but is almost completely unknown in the English speaking world. Nico appeared in seven of his films and sometimes gave him music for them that has not been heard elsewhere. Stills from his films appeared on the covers of her Desertshore and The End albums, which show how interested she was in promoting his work. Garrel made his own clothes at the time and began dressing Nico, encouraging her to dye her hair crimson and cut her bangs.
During their relationship, the pair became hardcore heroin addicts resorting to petty thievery from friends and acquaintances to support their habits. According to Richard Witts’ biography, Nico: The Life & Lies of an Icon, their Paris apartment was a “garret” that lacked gas, electricity, hot water, furniture and housed a gargantuan mountain of cigarette butts. The entire apartment was covered in two coats of glossy black enamel paint. Their bed, apparently, was Garrel’s overcoat.
To call Philippe Garrel’s films “tedious” and “self-indulgent” is a bit of an understatement. They’re preposterously tedious and self-indulgent—I believe the Monty Python “French Subtitled Film” sketch was directly inspired by Garrel’s work—but no more so than Matthew Barney’s movies, if you ask me. About half of her Desertshore album (and one otherwise unreleased song, the mind-blowing “König” see below) is used as the film’s soundtrack. (This again seems worth comparing to Matthew Barney’s Drawing Restraint 9, a collaboration with his wife, Bjork, herself a big Nico fan.)
To some, Garrel, who is still making films today, is an under-rated, visionary genius, whose work must be seen in the cinema to be fully appreciated. To them he is revered as some cinemaphiles worship John Cassavetes. To others, his films (the ones made during his relationship with Nico at least) look like what two junkies with a camera might get up to…
Phillipe’s Garrel’s early films are very difficult to see and he refuses to release them on DVD. I’ve only ever seen one of them, La Cicatrice Intérieure (“The Inner Scar”) which I found a bootleg of at Exene Cervenka’s general store in Silverlake maybe fifteen years ago. It’s a bit hard to watch. The dialogue, mostly made up right before they’d shoot it by Nico, consists of existential bitching, basically, as the pair walk around in barren, yet gorgeous landscapes shot in Sinai, Death Valley and Iceland. Garrel uses LONG static and simple linear tracking shots with minimal editing during scenes. Visually, the film is quite stunning—again think Matthew Barney—but the director forbade subtitles so unless you speak French, German and English, you’re bound to be confused. (A bootleg DVD popped up in 2005 with Japanese subtitles).
Nico does most of the speaking in La Cicatrice Intérieure, moaning throughout the film in her humorless, stentorian voice, at times coming off like some sort of prophetess of doom. As the Time Out reviewer said of the film when it was released in 1972: “You need a bloody big spliff to enjoy this. A miserable couple who you would not wish to meet at a party [Garrel, Nico] are joined by a naked weirdo [Pierre Clémenti, best-known for his role as gangster lover of Catherine Deneuve’s prostitute in Buñuel’s Belle de jour] with a bow and arrow and a desire to set everything on fire. That’s about it, frankly, unless I fell asleep, which is likely.”
Nico described the film like so:
“[It’s] an important film, a great film. It concerns the fragility of life. The film treats the story of a lunatic who starts to kill all of his sheep. It is not clear if he is a shepherd or a prince. He has no identity until I show up [of course!]. I am a queen on a journey. A queen finds a kingdom wherever she goes. There are more songs than dialogue in the film which I think is a good idea [of course!].
In the case of La Cicatrice Intérieure, she’s probably right about that, although the film does have its perplexing, often gorgeous, merits. But don’t take my word for it, La Cicatrice Intérieure is now in the public domain and a kind soul has uploaded it as a gift for Nico fans to download and watch. Yet another absolutely M.I.A. film that you can see without getting up from your seat. La Cicatrice Intérieure was once the litmus test case for obscure, nearly impossible to see movies, but obscure no more, eh?
Below, Nico and Garrel walk across a barren landscape as she yells weird stuff at him in La Cicatrice Intérieure:
“My Only Child” and “All That Is My Own” are heard in the following two sequence. The child is Nico’s son, Ari Boulogne.
Nico has some sort of freak-out while Garrel herds some animals. Then we hear “Abschied.”
In the closing moments of Garrel’s La Cicatrice Intérieure we hear “König,” an amazing song Nico recorded during the sessions for Desertshore with John Cale. This version of “König” can only be heard in the film, although Nico re-recorded the number for her 1985 Camera Obscura album.
Bonus clip: Nico and Philippe Garrel met when she contributed this gorgeous (and heard only in the film) version of “The Falconer” to his 1969 film Le Lit de la vierge, which starred Pierre Clémenti as Jesus:
Anthony is a web / graphic designer and musician who lives in New York. In 2009, Anthony created these rather fine faux adverts on his site Seriously Bleak.
Called Celebrity Endorsed the ads show a selection of strangely alluring and bizarre celebrity endorsed products - I’m all for the Merv Griffen scented trampoline, though several friend’s are torn between Ted Danson’s Siamese hot-dog and Armand Assante’s neck wallet. Whichever is your favorite, I do hope Anthony produces more of these fine celebrity endorsements asap.
“I can’t tell you how many times I’ve been stranded at sea and thought “Hey, I’d love some chips an dip right now.” Well now it’s a reality!”
And it’s directed by Drew Barrymore. It’s a beautiful looking four-minute recreation of West Side Story based in LA, featuring Chloe Moretnz (Kick Ass) and Tyler Posey (Teen Wolf) as star crossed lovers caught in the middle of a turf war, and it’s got a suckerpunch ending that is actually quite moving (a very rare feat for a pop promo). The song ain’t too shabby either:
Best Coast - “Our Deal”
To see the making of Best Coast’s “Our Deal” go here and you can find their album Crazy For Youhere.
Thee Oh Sees’ Castlemania is a real contender for my top ten records of 2011.
My introduction to TOS was at SXSW in 2009 when they performed an exhilaratingly demented show at Emo’s. Frontman and group mastermind John Dwyer attacked his guitar like a man wrestling an alligator while inhaling his microphone with the gusto of a amphetamine-crazed porn star auditioning for Deep Throat 3D . It was one of the most riveting and ridiculous live shows I’ve ever scene. And the band was as tight as a baby’s scrotal sac.
Castlemania consists of 16 tracks of garage rocking mayhem and twisted psychedelia sure to please the hearts and souls of fans of The Fugs, Velvets, Holy Modal Rounders, Zappa, Beefheart, Roky Erickson, The Troggs and The Archies.
Here’s a taste of Thee Oh Sees’ Castlemania.
A video to give you the jitters, “Meat Step Lively” from 2009’s Help after the jump…