Gay Porn Stars Fight Like Queens

"Let There Be Light"

Interesting piece by Nebojsa Seric Shoba commenting on the startling presence of the United States in geopolitics, and its capacity to illuminate in contrast to the dark world over which it can illuminate, from which it derives the resources to illuminate:

diamond black hearted boy

Endless Spankings

Animation of an LSD fueled "No Hitter"

Hearts of Darknessess + Shitface

Movie Trailer for a collaboration between band Hearts of Darknessess and filmmaker Shitface.

This Made My Sunday, I Believe It Previews a New Album for Las Vaderramas?

Tracks that Occupy the Space of Dread Leading Up to Prospectus Draft Submission

The first is a track by Chavela Vargas, a lesbian caught up in the heady days of México's revolutionaries and vanguards. Reconfiguring the traditional, torch-song ranchera songs, with some queer flavor. For a brief period she had an affair with Frida Kahlo.


Chavela vargas - la llorona by laodameia





Death Grips. I tend to think that more often than not rock/punk/hip hop intersections don't always work out for the best. I think a good example of this might be Mad Decent World's podcast that set punk and hardcore anthems in a kind of hip hop ambience as podcast/mixtape which doesn't completely fit with the irruptive qualities of punk/hardcore, at least in places. This does an interesting merger by not always trying to balance elements to give each their due, but rather in cases merely channeling a punk angry affect, in other cases chanting more than rapping to reduce the dissonance between the two elements. Download this full album free at the Death Grips website.

Stay+ (formerly Christian AIDS, but had to change the name after a cease and desist order from Christian Aid the NGO). This track is double reminiscent of both 1980s era New Order-like melancholy, '90s dance pop, but is also an indirect tribute to the intensely driven, urgent, and anti-establishment activism of ACT-UP in the 1990s (an organization I have a lot of respect for) in response to the accelerating AIDS crisis to which the Reagan administration turned a blind eye (in the end killing thousands just in New York City). Download some of their material here.





In my endless pursuit of musical material that appeals to my punk/metal interests that nonetheless is something I can read, write, or study to, I recently stumbled upon this beautiful video by Kerretta.





Sunglitters have incredibly chill tracks perfect for a panic-stricken summer:





Also, Cayos, supply me with some tracks to lower the blood pressure:



IceAge, some atypical Danish teens, producing a post-punk fuzz ridden track that instills occasional desire to start dancing


Iceage - New Brigade from iceage on Vimeo.

Primitive Accumulation is Now

La guerre des resources by odjag

(i.e. Rosa Luxembourg was right)

Jean-Luc Godard's Commercial for Schick

A central figure in France's mid-20th century Nouvelle Vague film movement, Jean-Luc Godard made a commercial for Schick. This would seem a break with Godard's relatively overt anti-capitalist politics, in films such as La Chinoise, wherein French Students under the auspices of Maoism form a revolutionary cell and begin carrying out assassinations.

Nicholas Rombes writes about it over at the Rumpus in his Art Film Roundup:

Schick was owned by ultra-Conservative, capitalist extraordinaire Patrick Frawley. Does this matter, that Godard made a commercial to help sell products for a company whose profits supported political causes antithetical to his own? We are all complicit in these hypocrisies, small and large, as we use and consume objects each day whose sources in the global matrix are often obscure. If Godard made the commercial to help fund his more radical projects (perhaps Tout va bien, the following year?) then do the two projects cancel each other out? Is there some sort of ledger to keep track? Is it okay to denounce the enemy, and then collaborate with the enemy, as long as you can come up with some sort of intellectual rationalization for your actions?

Here at Filmmaker, Zach Wigon writes about Godard and the role of the socially-engaged director. His lede:

Jean-Luc Godard was a guest at the University of Southern California in 1968, discussing his work on a panel with King Vidor, Roger Corman, Peter Bogdanovich and Sam Fuller. This was at the close of a cinematic decade that Godard had owned; now, breaking with his previous work, he was becoming more political and less accessible. One of the discussion’s most telling moments came toward the end, when an audience member asked, “Monsieur Godard, are you more interested in making films or making social commentary?” Godard coolly replied, “I see no difference between the two.”



I think the discussion from Inpursuitofsilence blog has a few interesting points to make on the commercial:

As is Godard’s seductive way, the subject of the mini-scenario is a gorgeous young couple. In this case, a man and woman rising from bed in the morning light, already deep into a noisy spat, which is compounded by loud shifting electroacoustical broadcaster and music tracks. The fight gets noisier and the din gets uglier as they proceed, in tandem, into the bathroom. And then, at a certain point, the man picks up the bottle of aftershave, pops the lid and — abracadabra! — the broadcasts vanish; the fight ends; there’s a second or two of silence, before the woman expresses her appreciation of the scent. She takes the bottle, smells, and the commercial closes with soft, wet kisses.

It’s amusing, effective — and weirdly evocative of where we are now as a culture. If we have the means, we buy our quiet, if not quite in the form of a geni in a bottle of aftershave, in “quiet products” that can shave a handful of decibels off the noise of vacuum cleaners, dishwashers and the like for considerably more money than their rattling, roaring rank and file appliance-cousins cost. We purchase spa sessions and soundproofing technology and other miracles of padding, muffling, filtering and muting — the velvet, noise-cancelling armor that the affluent don to charge the world, or to flee the chase. But what about everyone else? All those people who lack resources (educational as well as financial) to perform their own sonic schick trick?

The Classic Stance of Feminine Seduction

From Fritz Lang's Metropolis (1927).

Lesbic Jams on a Rainy Day

Medieval Chic

Woodkid - Iron from WOODKID on Vimeo.

Black Elk, Can't Stop Listening to This Track

Voces De Cambio

An interesting vernacular visual/literacy project:

"Voces de Cambio (Voices of Change) is an extraordinary after-school program for teenage girls in Quetzaltenango, Guatemala. Since 2006 the program has used writing and still photography to help teenage girls explore issues such as discrimination, gender equality, youth leadership, and civic engagement."



(Another instance of the NGO-ification of empowerment politics?)

2010 Review Part 1

One of my graduate school friends labelled the 2009-2010 complex as "one of the worst years of our lives." So, because I haven't posted in sometime, and want to find some positives from this year, I will do my best to keep some positives in mind as I proceed, to compile some bests.

Best Tracks of 2010, for me:

Kanye has always been an interesting producer, but here he's becoming a much better songwriter. Also Nicki Minaj's portion of the track makes it to my mind. The psychotic killer vs. the profit motivated gangster cold blooded killer I think is an interesting variation for pop-hip hop



Justin Pearson's musical career shaped my personal aesthetic and sensibility probably more than it should have in the last few years of the 20th and the first few years of the 21st centuries. That said, this turn toward the more danceable and slightly more gay in these two tracks is just what the doctor order (although the quasi-hawk not so much):





I already posted this, but I love British lesbian art music.



Not really one for the ages, but a motivator for right at the end of the semester:



A like songs that occasionally make you feel like your life will or should be over in whatever way. Here is one the years most important with a stunning queer video (sometimes verges on a parody of itself I'll admit. As in, why are those women playing tennis with a liver?):



Kylesa, I will always love Male/female dueling vocals. Spiral Shadow is a fantastic new album:



The lyrics are trite and the video is a little overblown, but I really love this track, and Kelis' lesbic style here:




Best Continuing/ Resurgent Musical Trend:

Homocore!!

Brontez Purnell of, being a black gay man of note in the San Francisco punk scene has his own band:



Homo Black Flag cover band with appropriate American Modeling Guild Video:



Last.fm recommended this to me and they were absolutely correct:

Joe Diebes

Visual and sound artist Joe Diebes explores in this video the ways in which musical virtuosity can approximate and approach the mechanical, and machine-like:

excerpt from Scherzo from Joe Diebes on Vimeo.

This is what I anticipate my face will look like after my oral exams this Friday.

Major Lazer

This made a morning of outlining and writing exam essays worth it for me.

To be consumed...

Video by Pittsburgh artist Michelle Fried

Restaurant Fodder from Michelle Fried on Vimeo.