Gerald Butler and the rest of the Point Break 2 team saw some ridiculously huge conditions at Jaws the other day.
The Inertia has two articles, one arguing why the sequel idea is awesome:
Cheap used boards.
Every dingus on Earth is going to rush out and buy the leanest, meanest carbon fiber shred sled the industry has to offer. Of course, once they realize that learning to surf is hard as fuck, and takes longer than a four-minute musical montage, those boards will end up gathering dust in the garage, sandwiched between a rotting skateboard and rusting mountain bike. Six months later, they’re going to need to make some space for their latest discarded interest. Cut to Craigslist where you’ll be able to scoop up boards on the cheap.
And one on why it’s not the best idea:
Rumor has it that you’re going to play Bodhi. You’re good, G (can I call you that?), but you’re no Swayze. Take a look in the mirror. See that handsome mug staring back at you? IT’S NOT SWAYZE’S MUG. Go watch Roadhouse. Go watch Ghost. Then go watch Chasing Mavericks and P.S I Love You. I dare you to sit through P.S. I Love You. How much did you hate filming that? Did you hate it as much as I hated watching the first 20 minutes before I threw up in my mouth and stabbed my eyes out with my own thumbs?
Oh yeah and they’re remaking Bladerunner. Just fantastic.
Pete Seeger RIP
(May 3, 1919 – January 27, 2014)
The New York Times wrote:
His agenda paralleled the concerns of the American left: He sang for the labor movement in the 1940s and 1950s, for civil rights marches and anti-Vietnam War rallies in the 1960s, and for environmental and antiwar causes in the 1970s and beyond. “We Shall Overcome,” which Mr. Seeger adapted from old spirituals, became a civil rights anthem.
I never knew much about Pete Seeger, but I’m very impressed by his 1966 short documentary Afro-American Work Songs In a Texas Prison. It documents the music African American prisoners used to survive their forced hard labour. With modernisation and integration, these worksongs died out shortly after this film was finished.
Here’s the opening, or you can watch the full film at folkstream
Bruce Jackson wrote in his notes about the film:
“Black slaves used work songs in the plantations exactly as they had used them before they had been taken prisoner and sold to the white men. The difference was this: in Africa the songs were used to time body movements and to give poetic voice to things of interest because people wanted to do their work that way; in the plantations there was added a component of survival. If a man were singled out as working too slowly, he would often be brutally punished. The songs kept everyone together, so no one could be singled out as working more slowly than everyone else.”
Last night Neil Young covered Bert Jansch’s Needle of Death
He’s going to release a new album too, with the help of Jack White
An unheard collection of rediscovered songs from the past recorded on ancient electro-mechanical technology captures and unleashes the essence of something that could have been gone forever.
Photo: Michael Loccisano
Gregory Watching the Snow Fall, Kyoto, Feb 21, 1983 (1983)
(91.44 X 93.98 cm) Colour coupler print collage.
You think you are sitting at this table. I knew in any photograph normally, you’re not quite connected with it, there’s a gap between you and the world actually, there’s an edge and that’s what the camera does. I was breaking that, meaning you could decide where the edges were like in drawing or painting. I got fascinated with it. What could you do with it. It led eventually to secret knowledge, it did, that’s where it got me.
There’s three new image galleries worth a look at EDIS
- Slim Aarons (Check out these crazy cashed up Gatsbys, looks like a damn Wes Anderson set)
A sunbather on a rock by the seaside pool at Jacques Couelle’s home ‘Monte Mano’, on the Costa Smeralda, Sardinia, Italy, August 1973.
- Neil Leifer (Great boxing pics)
Muhammad Ali looks towards the River Zaire during a sunset before the WBC/ WBA World Heavyweight Title fight versus George Foreman at the presidential complex outside of Kinshasa. 1974
- Hunter S Thompson (Just a super well adjusted, totally relaxed, motorcycle party demon)
Sandy and Agar II, Big Sur, California. 1961
Needless to say, they’re pretty unrelated viewpoints.
But sometimes everyone just needs to go to the water.
Fast Eddie and the Boys
Directed by Jerome Liebling, Roger Sherman and Buddy Squires. (1992)
earthquake-weather: A short doc on the brash Big Apple retirees that form a community playing in the sunny handball courts of Miami’s Flamingo Park. Filmed by Jerome Liebling, Roger Sherman, and Buddy Squires, it’s being presented online as a visual accompaniment to a story in Victory Journal, a great zine that has fantastic photography and stories from the margins of sports - well worth checking out.
See the film here.
This is great! These dudes have a distinct Izzy Mandelbaum vibe huh.
My favourite is the woman with who must have done Patty and Selma’s voices around 5:30.
Loving the previously unreleased demo of Wigwam from Bob Dylan’s The Bootleg Series Vol. 10: Another Self Portrait. Another great track is Pretty Saro but the whole album is excellent, definitely not deserving a RS review that opened with 'What is this shit?'
Another bootleg favourite is this version of Fourth Time Around
'As you know the Premier loves surprises'
Could be the best line in my favourite film.
Stanley Kubrick’s Dr Strangelove has turned 50. It also turns out that most of what happens in this film happened in real life. Great.
Almost Everything in ‘Dr Strangelove’ was True
Posted by Eric Schlosser
The most unlikely and absurd plot element in “Strangelove” is the existence of a Soviet “Doomsday Machine.” The device would trigger itself, automatically, if the Soviet Union were attacked with nuclear weapons. It was meant to be the ultimate deterrent, a threat to destroy the world in order to prevent an American nuclear strike. But the failure of the Soviets to tell the United States about the contraption defeats its purpose and, at the end of the film, inadvertently causes a nuclear Armageddon. “The whole point of the Doomsday Machine is lost,” Dr. Strangelove, the President’s science adviser, explains to the Soviet Ambassador, “if you keep it a secret!”
A decade after the release of “Strangelove,” the Soviet Union began work on the Perimeter system—-a network of sensors and computers that could allow junior military officials to launch missiles without oversight from the Soviet leadership. Perhaps nobody at the Kremlin had seen the film. Completed in 1985, the system was known as the Dead Hand. Once it was activated, Perimeter would order the launch of long-range missiles at the United States if it detected nuclear detonations on Soviet soil and Soviet leaders couldn’t be reached. Like the Doomsday Machine in “Strangelove,” Perimeter was kept secret from the United States; its existence was not revealed until years after the Cold War ended.
In retrospect, Kubrick’s black comedy provided a far more accurate description of the dangers inherent in nuclear command-and-control systems than the ones that the American people got from the White House, the Pentagon, and the mainstream media.
“This is absolute madness, Ambassador,” President Merkin Muffley says in the film, after being told about the Soviets’ automated retaliatory system. “Why should you build such a thing?” Fifty years later, that question remains unanswered, and “Strangelove” seems all the more brilliant, bleak, and terrifyingly on the mark.
Read the rest of the article to hear about some funny stories about drunk, high, incompetent or depressed folks in charge of nuclear weapons.
I’d also recommend reading his book Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety. Which despite a dry title is actual full of hilarious near miss nuclear accidents.
Right now thousands of missiles are hidden away, literally out of sight, topped with warheads and ready to go, awaiting the right electrical signal. They are a collective death wish, barely suppressed. Every one of them is an accident waiting to happen, a potential act of mass murder. They are out there, waiting, soulless and mechanical, sustained by our denial—and they work.
I don’t think they’re ever going away.