"On a rather ironic note, though her primary occupation is costume and wardrobe, her feature film debut was completely naked and on a motorcycle in the cult classic, Vanishing Point"
Which by the way I watched last night and despite the surplus of bad acting (you know I'm not talking about Cleavon Little and Dean Jagger) I very much enjoyed. No, and not because of Gilda Texter's nude motorcycle role, I mean all that objectifying of women in movies, the gratuitous nudity and all, it just makes me sick. If you feel the same way don't watch the clip because there's a bit of her in it.
Which by the way I watched last night and despite the surplus of bad acting (you know I'm not talking about Cleavon Little and Dean Jagger) I very much enjoyed. No, and not because of Gilda Texter's nude motorcycle role, I mean all that objectifying of women in movies, the gratuitous nudity and all, it just makes me sick. If you feel the same way don't watch the clip because there's a bit of her in it.
roasting plant of orchard st
the debate rages on...
happy birthday, maid marian. she and sister joan feud on into their 90s.
making major boobage
hal to the chief
meg ryan, youre no norma shearer.
amc to remake the prisoner starring jesus and gandalf.
dont look back
i still cant believe i was hanging out with richard leacock once upon a time and i had no idea who he was. just seemed like an old self possessed documentary filmmaker who happened to be dating my girlfriends cousin. he was making a film about his love of eating eggs at the time for french tv. what the fuck was i supposed to think, that he was in part responsible for some of the most reknown documenaries in history?
then again maybe i was better off not knowing. i might have professed my appreciation for scalawags.
i still cant believe i was hanging out with richard leacock once upon a time and i had no idea who he was. just seemed like an old self possessed documentary filmmaker who happened to be dating my girlfriends cousin. he was making a film about his love of eating eggs at the time for french tv. what the fuck was i supposed to think, that he was in part responsible for some of the most reknown documenaries in history?
then again maybe i was better off not knowing. i might have professed my appreciation for scalawags.
“I happen not to like the things that everybody else loves about it,” he says. While he shot some of the footage of Hendrix setting fire to his Stratocaster, Leacock found it “disgusting,” he said. “I don’t appreciate that kind of bullshit.” And he didn’t care much for Janis Joplin, either. “She was always just full of drugs and alcohol. I remember her coming to look at the film afterwards at our place in New York. She was lying there stone drunk, sucking on a bottle of Southern Comfort.”
murnau at midnight on tcm
ganja queen - hbo monday 9pm
wine library springfield, millburn, summit exit off rt 78
in the five minutes since i was last at the site, hulu has added the first two seasons of hill street blues, the last police procedural show i can recall watching, at least with any enthusiasm.
hershys kisses
You watching the tennis Dave? I can't figure out all the times / channels up here without a good guide (and plus I don't really know the stations yet.) Any help is appreciated!
the first saturday night live reruns tonight. george carlin hosted.
to fu
For no apparent reason here's a couple unrelated things I've been thinking:
WTF is Obama doing re FISA? Hello? Is it really just because he's taking a pile of money from AT&T?
One good thing for Obama that comes from having McCain as an opponent (where I otherwise see McCain as probably the toughest Republican he could be facing) is that it makes Obama's strategy of targeting all 50 states (or at least way more than most Dems have traditionally targeted) doubly powerful. McCain is an old man. He's going to be physically exhausted by being forced to travel to so many traditionally republican states. It doesn't seem implausible that he just won't be able to do it. Health may really play a roll. If he looks old and tired in the debates he is toast.
And I thought this comment from Yglesias' page was pretty astute:
WTF is Obama doing re FISA? Hello? Is it really just because he's taking a pile of money from AT&T?
One good thing for Obama that comes from having McCain as an opponent (where I otherwise see McCain as probably the toughest Republican he could be facing) is that it makes Obama's strategy of targeting all 50 states (or at least way more than most Dems have traditionally targeted) doubly powerful. McCain is an old man. He's going to be physically exhausted by being forced to travel to so many traditionally republican states. It doesn't seem implausible that he just won't be able to do it. Health may really play a roll. If he looks old and tired in the debates he is toast.
And I thought this comment from Yglesias' page was pretty astute:
One of the reasons I can see for the Obama Campaign's curious decision to target Georgia is that Georgia's Republicans are disproportionately the types, who look at McCain and say, meh. And, the kinds of things McCain would have to say to the Georgia Republicans to motivate them to vote for him are exactly the kinds of things, which if he says them too loudly, too close to November, will discourage independents in, say, Michigan or Missouri, from voting for McCain.
The Obama campaign has to find some places in the country, where McCain can be pressured to make the kinds of statements he made regularly in the primary. Georgia is one of those places.
this might be very good....
"Progress"
on view July 11, 2008 - November 30, 2008
“Progress” brings together works from the Whitney’s permanent collection, highlighting connections between art and visions of utopia. In the early part of the twentieth century, artists and architects like Joseph Albers, Naum Gabo, and Frederick Kiesler carried the revolutionary aims of the European avant-garde to America. The utopian impulse of these artists found its parallel in America’s optimism in developing new technology and
the rise of consumer culture--advancements registered in the emergence of Minimalism and Pop Art in the 1950s and ’60s.
This presentation includes works in a variety of media at once representing and critiquing the social and aesthetic goals of Modernism. Artists such as Dan Flavin, Ad Reinhardt, and Sherrie Levine recorded the myriad responses, both hopeful and critical, to the transformation in American culture brought on by the influx of utopian ideals. Other artists address the linear advancement of modernity from a distance, neither celebrating nor critiquing the changes it has brought, but tracking its effects over the passage of time. “Progress” also presents more recent works by artists including Paul Sietsema and Joel Sternfeld, who mine Modernism’s utopian moments in order to gauge how the familiar narratives of progress in the United States continue to haunt and inspire contemporary experience.
"Progress"
on view July 11, 2008 - November 30, 2008
“Progress” brings together works from the Whitney’s permanent collection, highlighting connections between art and visions of utopia. In the early part of the twentieth century, artists and architects like Joseph Albers, Naum Gabo, and Frederick Kiesler carried the revolutionary aims of the European avant-garde to America. The utopian impulse of these artists found its parallel in America’s optimism in developing new technology and
the rise of consumer culture--advancements registered in the emergence of Minimalism and Pop Art in the 1950s and ’60s.
This presentation includes works in a variety of media at once representing and critiquing the social and aesthetic goals of Modernism. Artists such as Dan Flavin, Ad Reinhardt, and Sherrie Levine recorded the myriad responses, both hopeful and critical, to the transformation in American culture brought on by the influx of utopian ideals. Other artists address the linear advancement of modernity from a distance, neither celebrating nor critiquing the changes it has brought, but tracking its effects over the passage of time. “Progress” also presents more recent works by artists including Paul Sietsema and Joel Sternfeld, who mine Modernism’s utopian moments in order to gauge how the familiar narratives of progress in the United States continue to haunt and inspire contemporary experience.
