Oh, hey! Fancy writing you here.
Where? Vegas, baby. Yours truly is currently 29 floors above desert level, tucked inside the golden, looming Mandalay Bay Hotel and Casino on The Strip of Las Vegas, Nevada.
Corey, the dude I’m totally in a relationship with, and I left early this morning (if you ask him) or late this morning (if you ask me) and hit the freeway.
His car’s stereo plays MP3’s, and I’m notorious for making gigantic mix CD’s for the slightest road trip. (“Oh, we’re driving to Trader Joe’s? Better burn a ‘Going to Trader Joe’s’ mix!”) Corey, who finds my ravenous appetite for music overwhelming, manages to be patient as I force hundreds of hours of tunes upon him.
A couple weeks ago we were driving back from a romantic getaway in Santa Barbara, listening to the mix I had made for our trip to Disneyland, because we had already listened to the mix for driving to Santa Barbara on the way there (you following?). The mix for driving to Disneyland was mostly chipper, romantic songs – lots of doo-wop, some schmaltzy kitsch, with some Disney songs here and there for good measure. One of the songs was “Sweet Caroline” by Neil Diamond. Corey smiled and said, “Now this is music!”
What Corey would say, as he’s said to me countless times, is that he “finds an album he likes, then listens to it over and over for weeks – maybe months – until he’s tired of it”. MP3’s containing entire discographies, however, are daunting.
Roughly occurring at the same time as the more well-known and more celebrated French Nouvelle Vague (or New Wave), another group of frequently collaborative film-makers were grouped together under the moniker "Rive Gauche," named after Paris' artsy side. These film-makers (Agnès Varda, Chris Marker, Jean Cayrol, Henri Colpi, Marguerite Duras, Alain Robbe-Grillet,) applied to film the concepts which defined the Nouveau Romain in contemporaneous literature. Duras and Robbe-Grillet were also writers and associated with the literary movement in which experimental authors sought to create a new style with each work. Together, they produced an amazing body of film which remains largely overshadowed by the much more popular New Wave, though no less interesting or significant.
Because of the film-makers' approach to art and their being French, as well as contemporaries of the New Wave, they're often lumped in with them even though the New Wave, while radically experimental, was more stylistically consistent due its focus on the director as the film's author. Ironically, the New Wave view served to encourage the personal and recognizable authorial nature of film, whereas members of the Rive Gauche often sought to depersonalize their works in an attempt to defy expectations, placing them in polar opposition in this regard.
Alain Resnais began making films in the 1940s. He is best known for his films Nuit Et Brouiilard (1955), Hiroshima Mon Amour (1959) and L'Anee Derniere a Marienbad (1961).
Nuit Et Brouillard stands alone in cinematic history in its depiction of the Jewish Holocaust. Resnais avoided the familiar black and white stock-footage for most of the film and instead presented tranquil scenes of the by-then abandoned concentration camps in color, with flowers growing through the cracks and sun beams shining on the desolate remains. Compare, for example, Nuit Et Brouiilard to a cinematically conservative film like Schindler's List. Spielberg chose to film in black and white (both literally and morally), with big name actors and with action unfolding in a familiarly un-ending winter that makes the events seem cliche and safely remote.
With a heavy attack of electric guitar (a la Hendrix) the band grooved into the first song on the album "Dragonfly Pie." The band was on from the start, seemingly commanded by Janet Weiss’ super tight style on the house drum kit, “the best borrowed kit I’ve ever used,” she commented. However, throughout the performance, all eyes looked to Malkmus for cues.
There had been a bit of equipment talk prior to starting – Malkmus pointed out that his guitar was plugged into the amp Jack White of the White Stripes was notorious for using. “Let’s see what we can do!” He even joked, “can we pass on the store credit and keep some of this equipment?”