Amoeblog

Taking the Lynch Meme Challenge: Canonizing David Lynch

Posted by Charles Reece, October 6, 2009 11:33pm | Post a Comment
No, I haven't given up on talking Inglourious Basterds to death; I'm almost finished, cross my heart. It's just that Dave Fiore distracted me with thinking about how I'd rank Lynch's feature films (The Grandmother and The Alphabet are probably my favorite shorts). Nothing will pull me into a conversation faster than my favorite living director. One thing I've noticed about my enjoyment of his films is that over time it's negatively correlated with my initial reaction: the less I liked them on first viewing, the more I like them with each re-viewing, and vice versa. Another is that I prefer the ratio-narrative Lynch to the one who lets his dreams/"ideas" take him wherever (granted, many, including Fiore, don't much agree that my preferred Lynch even exists). So, in order of my enjoyment/rewatchability/hours of mental masturbation afforded:

I. Lost Highway (1997)

lynch lost highway poster

Well, actually, it's the first half and finale with Bill Pullman's Fred Madison that place the film on top. For sure, LH contains some of Lynch's weakest moments: Balthazar Getty's Pete Dayton ("you liked it, hunh?"), music chosen by Trent Reznor (Bowie's "Lost Highway" over Payne's -- really?), and a menacing cameo by Marilyn Manson and Twiggy (about as spooky as W.A.S.P. in Ghoulies 2). Nevertheless, most of Lynch's major themes receive their fullest and most direct expression here: Vertig-inous duality (Renee vs. Alice), repression and oneiric escapism (the hallways, Fred's fugue state as a release from his impotence and murderous deed), and the demands of the always elusive Real (the intrusive mirror, phone calls, video tapes and, of course, Robert Blake's Virgil, the white-faced Mystery Man). Some poor casting and music supervision can't ultimately diminish Lynch and co-writer Barry Gifford's perfect construct.

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WALRUS DAY 2009: 2

Posted by Job O Brother, October 6, 2009 06:28pm | Post a Comment
Only 2 more days until
WALRUS DAY!



INTERVIEW WITH DEEANDROID & CELSKIII ABOUT SKRATCHPAD

Posted by Billyjam, October 6, 2009 12:50pm | Post a Comment

In the male dominated music world, female DJs are in the minority, especially when it comes to hip-hop. And when it comes to female scratch DJs, aka turntablists, the number of female artists is even smaller. Exceptions include DJ Shortee, Kuttin Kandi, and the Bay Area DJ duo of Deeandroid and Celskiii, who have been busy perfecting their game for over a decade now.

Tonight the Filipino female DJ duo, who were invited on tour by KRS-One a few years back, will be throwing their popular twice-monthly Skratchpad turntablist event (every first and third Tuesday) at The Cellar in San Francisco. The event had been on hiatus for a few years and returned just this May. I caught up with the two Vallejo natives to ask them about their party (including its "funky freestyle jam") and other aspects of the hip-hop DJ music they both so passionately love. They, like many other diehards, spell "skratch" with a K.

Amoeblog: Can you run down the history of Skratchpad -- from the first time out to the revised 2009 version?

Deeandroid: We started Skratchpad at the (old) Sublounge in May 2003. The Resident DJs were Celskiii, Wint-One, Amerriica and myself. We had a desire to organize and start up an open turntable event, since the Bay Area is like a DJ mecca. We loved to skratch and party and really missed the inspiration from when they had night events like the Beat Lounge at Deco. Celskiii and myself
were very influenced by the Beat Lounge weekly party/DJ session that was held at Deco back in 1997, where we [were] exposed to a great selection of rare & original music from DJs that were very talented, guests and rotating DJ residents/turntablists that were making some noise in the DJ scene at that time. The showcases and DJ sets were amazing, from cats like Apollo, Vin Roc, Derrick D, Shortkut, Spydamonkey, Snaykeyes, etc. So when Beat Lounge stopped...years later, Cel, Winst-One and I thought it would be dope if we created our own space for the DJs in the Bay Area to network, come together, and just jam in honor of Beat Lounge and to inspire new heads and practitioners of the DJ arts.

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Gustavo Dudamel Wins Over Los Angeles In an Instant

Posted by Amoebite, October 6, 2009 10:47am | Post a Comment
gustavo dudamel

Gustavo! Gustavo! Gustavo!


It’s unlikely that anyone driving around LA lately hasn’t noticed the signs, billboards and banners welcoming famed conductor Gustavo Dudamel to the city. They’re pretty hard to miss. Although I was glad to see them, I did wonder to myself how many other people glancing at them knew who the gustavo dudamel los angeles philharmonichandsome young Venezuelan is, or, for that matter, even cared.

Being a somewhat optimistic classical music fan, and having refused to buy into the current myth (and despite what you’ve heard, it is a myth) that so-called “classical” music is at death’s door, and that the only people still interested in this art form are white-haired eighty-somethings driving motorized wheelchairs equipped with state-of-the-art oxygen tanks, I naturally have welcomed the coming of St. Gustavo with open arms. But I did believe that, despite the press blitz, most of Los Angeles would remain apathetic toward a man who represents (next to Lawrence Welk or Liberace, perhaps) the least hip genre of music imaginable. But now I think I might be wrong. And I’m oh so glad I am.

There hasn’t been a welcome of this nature for a classical musician in this city since, perhaps, the days of Stokowski or Leonard Bernstein. I certainly haven’t seen such a thing in my lifetime (I just turned forty-three). And you may be thinking that it’s all hype. Believe me, it ain’t.

First off, Dudamel, despite his youth (he’s only twenty-eight), is a great musician. He most certainly is not a creation of the press, and the accolades he has received have been well earned. He single-handedlygustavo dudamel turned the Simon Bolivar Youth Orchestra of Venezuela (of which Dudamel is a native son) into a world class ensemble, with recordings of Mahler’s 5th Symphony and the Tchaikovsky 5th (both released on Deutsche Grammaphon) that are second to none. But beyond that is the energy that Dudamel exudes on the podium – it’s real, it’s palpable, you can taste it. Add to that the mixture his personal charm and magnanimous personality and you have the makings of the perfect ambassador for “classical” music.

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New 12" Electronic Releases at Amoeba Hollywood - 10/09/09

Posted by Oliver / Matt / Jordan, October 5, 2009 03:21pm | Post a Comment
 

New Techno/Electro 12"s Coming This Weekend:



Italoboyz
TECHNO TOWER 12"
MSHIP022

These guys fuse organic and electric sounds and make them collide with elements of jazz and folk. "TECHNO TOWER" and "CHINESE" are a testament to these roots and will turn some heads on the dancefloor. This isn't your average tech house or techno.




Roland Appel
COLD BLOODED REMIX 12"
AUS0923

Deep techno starts the record with "COLD BLOODED." HORSE MEAT DISCO fav "SNOW IN THE SPRINGTIME" gets a full single release, old school disco in every way. DFA darlings RUNAWAY turn it in a slow burning house direction that builds the tension.


Batty Ranks DOWNTOWN CLOWN 7" TART100

Beatconductor 
TRICK IN THE WALL EP 12" SPICY008 

Featurecast 
ONE STEP RE-EDIT 7" DP004

Ghetto Battle Weaponz 
ROUND ONE EP 12" GBW101

IAMTHATIAM 
AND ON THE THIRD DAY EP 12" MATH029

Trevor Loveys 
ORGAN GRINDER (NEW) 12" CHEAP013X 

Art Bleek 
FUTURE MEMORY EP 12" VIEW004  

Dinner Jazz 
#8 BELLEVILLE 12" DJAZZ8

La Roux 
I'M NOT YOUR TOY REMIXES 12" 2720745

Lakaband 
I HAVE TO DANCE 12" MEKA001

Metronomy 
NOT MADE FOR LOVE 12" BEC5772573 

Redshape 
THE DANCE PARADOX DLP 80DSRLP

Roland Appel 
COLD BLOODED REMIX 12" AUS0923

Secret Cinema 
JAZZ ME 12" COR12066 

Sweat X 
I'M THAT ALLEY-MIKE SLOTT 12" NITE13 

Tiger Stripes 
EDEN 12" DCR58

Turzi 
BUENOS AIRES 12" REC61
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