Christofer Drew (birth name: Christopher Drew Ingle) was born on February 11, 1991 in Joplin, Missouri. At the age of fifteen, he dropped out of high school to pursue his music and art full-time. This decision led to problems at home and financial difficulties as well. But Drew made it work and by the time he was eighteen he had already been on several high-profile tours with the likes of Dashboard Confessional and Gym Class Heroes and won the MTV Woddie Award for best new artist…
One explanation is that Good has been trying to run away from the mainstream, radio-ready music of his former band for years, and at the Ballroom, his behavior could be seen as apprehension; everyone was calling out for him to play “Apparitions,” unarguably the Matthew Good Band’s biggest hit. In the CBC interview he expressed his dread of fans “crowd-surfing to ‘Apparitions.’”
Yes, let’s apply philosophy to a set of already predetermined, tightly controlled, and artificially influenced subjects. Not philosophy for philosophies sake but philosophy as an artificial device. A stand-in philosophy. The importance of the tool is dismissed for the insignificance of the object. It reeks of nihilism.
All I know is first you’ve got to get mad. You’ve got to say, “I’m a human being goddammit. My life has value.” So I want you to get up now. I want you to get out of your chairs and go to the window. Right now. I want you to go to the window, open it, and stick your head out and yell. I want you to yell, “I’m mad as hell, and I’m not going to take this anymore!”
The action scenes are all a beat or three too long, the jokes are just above that lowest common denominator range, and its presence as a product is transparent, no matter attempts at the self-aware bet-hedging—in fact, all those nods at the audience wind up like tics. For a film full of “confidence,” it sure seems to desire approval, just like its hero.
Kick-Ass invites us into the world of Dave Lizewsk (Aaron Johnson); an average New York high school kid who, while chatting to his friends in their local comic-book-come-coffee-shop stumbles across an obvious question which will change his mundane life for good. “How come nobody’s ever tried to be superhero?” he asks.
And now, Glamorama is one of my favorite books of all time. I love it for the writing, for the glamour, and for the sex. One of the things that always stood out to me about Glamorama, as well as in other Ellis novels, is that the boys have sex with boys, who still have sex with girls and it’s all fine. They’re not, like, g-a-y. It’s just sex, which is how I think it should be.
But some, possibly missing funerals and birthdays and anniversaries, are instead crying to the agents at the tourism kiosk. Perhaps they have a plan, and this is it: tears are more likely to yield discounts, vouchers, free nights. “Don’t cry,” the agent tells the woman next to us, repeating the words until they sound like a command. The subtext of it might be, Why don’t you give my city a chance.
Too proud to request help, he performs some amateur corrective measures and gets back on his motorbike, groin stinging. Disaster strikes: Beard’s penis falls off and lodges itself above the kneecap of his snowsuit. (“The hideous object, less than two inches long, was stiff like a bone. It did not feel, or it no longer felt, like a part of himself.”) In a panic, still aboard the motorbike, he contemplates the possibility of microsurgery for reattachment.
Muriel Spark (1918-2004), Edinburgh born and bred, became one of the twentieth century’s most distinguished writers. Spark was a feisty, outspoken, independent woman who made it on her own – no family money, no university education, no man to “depend” on – nothing but abundant talent, extraordinary perseverance, and singular dedication to craft.
A narrator in a motorized wheelchair – played hilariously by Colleen Werthmann as a cross between The Church Lady and Kids in the Hall’s Cancer Boy – gamely offers historical context, until Jackson tires of having his story told by someone else and picks her off with his rifle. “Sometimes you’ve got to shoot the storyteller,” the ensemble sings. “Sometimes you’ve got to kill everyone.”
My friends were probably right, if my ruling ambition were to make a name for myself. But my chief ambition, I discovered during our early years in Bloomington, was not to make a good career but to make a good life. And such a life, as I came to understand it, meant being a husband and a father first, and an employee second; it meant belonging to a place rather than to a profession…
Michel Houellebecq — the misanthropic, caninophilic French novelist — and William Burroughs both deploy thorough visions of the world. They proffer more or less elaborate cosmologies, ethics, and particularly critical assessments of humanity. And both view the act of writing in general…
Stannard gives us a Spark who personifies demonic energy and the Calvinist flintiness of the Scots. He tells us that she saw herself as “Lucrezia Borgia in trousers.” She let no one – editor, publicist, accountant – sell her out or tell her what to do…Publishers feared her, shrank from confrontation, and rarely asked her to go on publicity tours or give readings.
The shoot – a dinner party of a hip crowd of twenty-somethings– had been scheduled in mid January, but the actual story was to be published two months later, at the end of March.
Stern doesn’t sweat the impossibility of this premise, and he needn’t —— he’s admirably skilled at inventing a world in which a rabbi could inhabit a freezer for decades and emerge intact. “Some people got taxidermied pets in the attic, we got a frozen rabbi in the basement. It’s a family tradition,” Bernie is told by his father after the discovery is made.
Monderman had replaced fake clarity with real confusion, forcing drivers to slow down, think and solve the problem of traffic accidents by themselves. He’d undone years of traffic engineering work that had separated drivers and pedestrians, work that had created an illusion of safety that proved dangerous.
For the spirit I sing of is a life giver, a life affirmer. Unlike all other booze, tequila is a natural upper: it makes you high, not sloppy down. With tequila, you don’t feel drunk; you feel, yes, high. Really. So be careful. A long time bourbon drinker, I began to find the weight of whisky too much for my increasingly fatigued frame. And so I reached for a lighter elixir and found it in the strange, heady brew of the agave…
Unsurprisingly, it’s usually men who, to paraphrase Herzog, feel compelled “do battle” on cinema’s front lines. But there are exceptions, a notable one being the English actress Tilda Swinton. In 1995, for instance, she spent a week in a glass case at London’s Serpentine Gallery, as a live art tribute to the director Derek Jarman. Last year, she decided to pull a 37-ton cinema-lorry around the Scottish Highlands, in order to screen films – including a documentary about the making of Fitzcarraldo —— in towns bereft of movie theatres.
Bret Easton Ellis’ seventh novel Imperial Bedrooms will be released on June 15 2010. It is the sequel to his first novel Less Than Zero and picks up presumably 25 years after the original. The main crew is still alive –– Clay, Blair, Julian, Trent, and Rip. Just not very well. It turns out, middle age is even more joyless and depraved than adolescence.
The ads for True Blood play on this: “Thou shalt not crave they neighbor.” But of course we do crave each other –– for love, sex, money, nurturing, healing, playing. The dictum of the ad is ambivalent, a supersession of the known moral code. Yes, it tells us, there is an ethics. But they are not certain or fixed because human relations are contractual and complicated.
“Regarding” is a revoltingly unsentimental description of what a filmmaker does, but then Haneke is not a sentimental filmmaker. An affectless style traces out his signature mood: danger, glazed with calm, that gathers in quiet waves. Haneke’s camera rarely moves, and when it does, it lurks.
For Jack, I am learning, English is almost like a second language. His primary language is a more fluid yet deliberate sonic-speak: Music, instrumentation –– drumming, playing guitar, sampling, clapping, scoring. That is where Jack is most himself, most comfortable, most articulate. “The music is weightless and when I sing so am I” he larks…
Somewhere between the sips of beer and scotch at MacLaren’s, the high fives, “awesomes”, and “legendarys”, breathes a quiet whisper, an essence almost, of a man and his life — or at least the story that he tells about it.…
But what do we actually have to show for the crowd’s toil, years later? As recovering digital evangelist Jaron Lanier points out in his book You Are Not A Gadget, if 15 years ago he’d told people that all we’d have to show for this revolutionary approach to problem solving would be a new type of encyclopedia (Wikipedia) and an adapted operating system (Linux), people wouldn’t have been too impressed
The Wire performs what television can formally be, what it formally wants to be, how it wants to go. Television is not suited for the climax and dénouement that Hollywood loves so much. We watch television after work, in our pajamas, in our most intimate settings; it is intertwined with our lives. Television is not up there; it’s right here, in our living rooms.
Breaking Bread is a beautiful book, carefully organized, handsomely printed, and lavishly illustrated (perhaps “illuminated” is a better word, given the contents and the presentation). Maria met her husband, the late Paul Piccone, in 1990 and in the ensuing years they often returned to Aquila, his birthplace in the Abruzzo, approximately 50 miles due east of Rome.
Sitcoms are a tried and tested formula. They take a cross-section of everyday life; a family, a group of friends, co-workers, and at the chosen demographic, the writers throw in a mix of often everyday, sometimes wacky scenarios to keep the characters and episodes interesting. What’s different about Larry David’s Curb Your Enthusiasm ? Well to start with…
Is Barack Obama the fulfillment of Dr. Martin Luther King’s Dream or the American Dream? Because make no mistake about it: the two dreams are not the same. The first is the dream of greatness; the second is the dream of success. The first was inspired by the universal brotherhood and sisterhood of man. The second was inspired by the universal desire to be The Man.
During the course of the show, we are exposed to images of Noble engaging in self-harm and being… Shaky camcorder footage shows him insulting strangers and introducing unsavoury substances into packaged products on supermarket shelves. He encourages audience members to send abusive text messages to his ex-girlfriend and his former producer, who ran off together…
Just Kids is many things –– a cultural chronicle of the rock ‘n roll world of New York City in the late 60s and early 70s; a portrait of the artist –– as young woman, as young man; a series of exquisite illuminations; a handbook of saints; a heartbreaking love story. Most of all, perhaps, it is the spiritual autobiography of a cultural icon whose journey is far from over.
If I assume that great cities belong first of all to the young and the old, especially to college age students and the retired old who love to walk, why not New York in its thrilling size and modern sheen and in easy reach by car, train or bus from my New England town?
The tension between volatility and vulnerability runs throughout the album.. It is the sound of a man sweating out his demons and trying to contain, within a yogic frame of mind, the urge to throw rocks at cars. It is the sound of the lion endeavoring not to eat the lamb, and occasionally failing in that endeavor. It is the most thrilling release of the year so far.
Melrose Place is constantly bringing us there. It’s riveting and titillating magic. Euripides would have loved it. It’s absurdist literature for fans of Nip / Tuck and Desperate Housewives. It’s dark humor with a lurid a cover of glam and dazzling dynamics.
What makes A Serious Man so much more despairing than the Coens’ No Country For Old Men is that its mortal coil is wound tighter. Where No Country had the luxury of retirement, of throwing in the towel by choice, our serious man can only hope things end before they get worse…
The new Xiu Xiu music video “Dear God, I Hate Myself” is kind of like the art-school version of David Letterman’s extramarital confession. Or Lady Gaga for real monsters… It unveils what the mainstream constantly tries to veil: vulnerability, imperfection, and the (often) filthy grit of reality.
The question of who Dupre is and how she wound up a prostitute does not, in the end, seem difficult to answer: She was a resourceful babe who wanted money and was capable of making cruddy decisions. This describes a lot of people.
[White] says that he had had sex with a couple of hundred people before he was 16…[T]here was only one brief period, that between 1960 with the introduction of the birth control pill, and 1981, with the advent of a disease not yet named AIDS, when people were completely free to have sex where and with whom they chose.
“Hi, I’m Chilly Gonzales. If you don’t know me, I’m a Grammy-nominated producer. I hold the Guinness world record for longest continuous piano concert at 27 hours. I’ve got a lot of famous friends.” He pauses for effect, then, “In France, where I live, they call me un génie musicale.”
Douglas Wolk explores the psychology of Spider-Man and introduces Turn Off the Dark, the “circus rock ‘n’ roll drama, whose Broadway premiere has now been pushed back to the fall.
Due to the chaotic nature of the world during the turn of the twentieth century, literature (and culture more generally) responded to and actually instigated a pervasive sense of global revolution.
The problem is not with how we treat the Earth. It’s with how we treat ourselves. We work 40, 50, 60, 70 hours a week. And thanks to microcomputing, we work all the time. All the time. There is no leisure, there is no pleasure.
A decade after 69 Love Songs, the Magnetic Fields are still relying on formal stunts. This time, they’ve made an acoustic “folk” record–the joke being that Realism couldn’t be any less “realistic.”
July 1776 folds into February 2008: Jefferson and Obama merge. The visual motifs of McGiney revitalize the verse of Whitman. The gold rush pioneer morphs into the post-recession innovator or agent of change.
Roman à clef doesn’t make quite as much sense as a form now that we have Gawker and Perez Hilton to provide us with the real names and humiliations of anyone involved in a scandal.
When the zombie first appeared on film in the 1930s, audiences became hooked on what they saw. Often depicted with crazed, transfixed, and bloodshot eyes, an insatiable hunger for human flesh and above all, a reckless disregard for human life, these terrifying creatures were slow-moving pack travelers.
Listen, I am attracted to Obama just as I’m attracted to the fine produce of Whole Foods. But I am not so insane as to believe that voting for that guy or shopping at some goofy supermarket changes anything.
Inglorious Bastereds is a fuck you to the totalitarian cinema of any sort.
This is an album of strange pain. The cover artwork says so itself, just gaze into it: a blurry image of a naked woman tied up on a bed.