Posted by Billyjam, September 14, 2009 01:13pm | Post a Comment

Jim Carroll "People Who Died" 

At the relatively young age of 60, Jim Carroll, the poet and punk rocker best known for his book adapted into the Leonardo DiCaprio-starring movie The Basketball Diaries, and whose most famous song is "People Who Died" (above), himself died a few days ago from a heart attack in his NYC home.
basketball diaries
A key part of the legendary downtown New York art scene in the 1970s, Carroll was known for associating with the likes of Patti Smith, Andy Warhol, and Robert Mapplethorpe. Carroll was also known for his drug use/abuse, never keeping it a secret but rather drawing from it extensively in his writing. First he was a poet and then a musician, on the urging of Patti Smith reportedly. His poems effortlessly morphed into songs such as the aforementioned "People Who Died," which was a poem first and then adapted to music on his much revered 1980 album, Catholic Boy.

The Basketball Diaries was Carroll's autobiographical tale of life as a sports star at an elite Manhattan private high school. He attended on a scholarship. Initially it began as the artist's own personal diary but it soon shaped into a book. The finished novel was first published in 1978 and has remained popular ever since. It became even more widely known after the 1995 film adaptation.

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Photographic Memory, Part 2

Posted by Job O Brother, September 14, 2009 12:01pm | Post a Comment
This is another installment of music and/or movies that I’m reminded of when looking at old photos of myself, my family and my friends. It was brought to you by the letter E and the number 8. And through a generous donation from the Karen Silkwood Driving Academy. And from Viewers Like You.

angry kid
"I hate you."

Here’s a picture of the dude that’s writing the sentence you’re reading right now. It was taken while he was in Kindergarten. The expression on the boy’s face sets the tone for the rest of his scholastic experience.

I don’t know what happened to make me look so surly in a photograph. It could’ve been as simple as the photographer telling me to “Smile!” which is an order I have never responded to well. I mean, if someone wants me to smile, they should be creative about it. Try saying something like:

“I’ve bought you 8 pints of ice cream and a spoon!” or

“I managed to destroy every last recording of the song ‘Entry Of The Gladiators!'” or

“I am John Gavin, and I’m going to kiss you.”

Something that would make me smile for reals. Don’t just bark orders at me! Especially to portray an emotion. That’s too personal. I AM NOT A LABRADOR RETRIEVER, PEOPLE!


Posted by Mr. Chadwick, September 13, 2009 11:25pm | Post a Comment
claudja berry trippin on the moonringo starr goodnight viennageorge wallace heroes like you and me
we cam in peace for all mankindb.t. express 1980parliament mothership connection
first choice so let us entertain you
billy thorpe 21st century manlarry graham star walk
disco rocketcamel i can see your house from herethe now explostion
john williams boston pops in spacesteppin out discos greatest hitsglass family mr dj yuo know how to make me dance
undisputed truth higher than highundisputed truth

The Tarantino Solution 1: Inglourious Basterds (2009), A Moral Defense

Posted by Charles Reece, September 13, 2009 11:00pm | Post a Comment
inglorious basterds logo

So, there's been a whole lot of hoo-ha surrounding what's quite obviously the most interesting and entertaining movie of the year, Quentin Tarantino's Inglourious Basterds. The moralistic critics have done their best to trivialize the white power movement's Holocaust revisionism by suggesting the film turns "Jews into Nazis" (Daniel Mendelsohn) and one wonders "what it was (and is) about the film that seems morally akin to Holocaust denial" (Jonathan Rosenbaum). On the other, "with friends like these ...," side, the defense hasn't amounted to much, either, the typical suggestion being some variation on the line that as pure entertainiment/fantasy, the movie has no morality, nor does it need it. Patooehy! I agree that entertainment is the film's virtue, but disagree that it occurs at the expense of morality. In fact, its morality grounds and justifies what Mendelsohn and Rosenbaum see as the Jews acting like Nazis, but what I call the aesthetic enjoyment of the film. Thus, I think a moral defense is in order. Be forewarned: MANY SPOILERS WILL OCCUR!

The Dreyfus Affair

What all retributive theories seem to share is the claim that the relation between crime and punishment is (primarily) conceptual (or “internal”). The justification of punishment is that punishment in itself is an appropriate response to crime. [...] Reaffirming the wrongness of the crime is good in itself, good enough (all else equal) to justify the punishment. Telling the truth about a crime is itself an important good.
                      -- Moral philosopher Michael Davis explaining the basic tenet of retributive justice

In his review, Mendelsohn is particularly offended by the final chapter that features Shosanna Dreyfus trapping --  with the aid of her boyfriend, Marcel -- the entire Nazi high command in a theater, then burning it down (referencing some science learned from Hitchcock). The fact that Shosanna is a Jew who barely escaped with her own life after watching a group of Nazis being led by Colonel Hans Landa slaughter her family in chapter one has no bearing on Mendelsohn's indignation. Violence is evidently content-free, the violent what-fer being morally equated to the violent crime. Even the dimmest of ardent capital punishment opponents should be able to free himself from Mendelsohn's mental paper bag here. That is, even if one holds that the state should never be able to kill murderers, it takes quite a bit of willpower to get mixed up on the order of events involved: there would be no state-sanctioned violence without the criminal act of murder occurring first. Now, there might be other good, moral reasons for not wanting the state to kill murderers, but they in no way make the two killings morally equivalent, or equally justified. Similarly, not all vengeful fantasies are the same, either. Here's a thought experiment:

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Os Mutantes Live At Amoeba Hollywood 9/8/09

Posted by Gomez Comes Alive!, September 13, 2009 02:56am | Post a Comment
os mutantes
With every Brazilian Independence Day (Sept. 7th) usually comes a plethora of great Brazilian music to Los Angeles. Still, it was a shock to see Os Mutantes on the Amoeba instore calendar when it was posted back in August. I’m sure it was more of a coincidence than something planned, but In the back of my mind I thought, “How cool is that!?” To say that I’m a fan of Os Mutantes is an understatement; in fact, it's probably one of the few groups that most Amoeba employees with all our collective vast tastes in music can agree upon. Since their reunion, or rather, their resurgence back in 2006, I have managed to miss all their shows in Los Angeles due to plain old bad timing. At last, I would finally see the band that was the gateway for me and so many others to discovering Brazilian music.

In the early nineties, I read an article on Os Mutantes. They were referred to as “The Brazilian Beatles,” but that is not what drew me to them. It was that they, along with the other Tropicalistas Gilberto Gil, Gal Costa, Caetano Veloso and Tom Zé were radicals and into taking all inflos mutantesuences, whether they was Brazilian, European, Avant-garde or folk music, and putting them all together. Mutantes were the easiest to digest because they had much in common with other Psychedelic groups of that era, but after listening to them on a continuous basis, I started to notice their musicianship and songwriting was much more advanced than most groups of that time. They were the best of the Avant-garde rock bands because they could swing better than any of them. I remembering going to a record store and buying all their import CDs that I could find. From there I got into Caetano, Gilberto Gil, Tom Ze and soon started to venture out into other non-Tropicalia artist such as Milton Nascimento and Jorge Ben. From then on, the doors of Brazilian music became wide open. My discovery of Brazilian music from Jobim to Funk Carioca is due in part to Os Mutantes.

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