Estos son los Radiohead que me gustan y que sorprendieron al mundo con tres discos, Pablo Honey, The Bends y Ok Computer, este último considerado por muchos el mejor disco de los 90, y que despues se metieron en royos experimentales con Kid A y Amnesiac, previa depresión de Thom Yorke.

Disfrutad con Street Spirit (Fade Out), tema número 12 de The Bends, dirigido por Jonathan Glazer (que despues tambien dirigiría Karma Police, otra canción, y video, geniales):

The first is this baby:

It's a rolling invisible zipper foot by H.A. Kidd (or Unique depending on which area you're in) and it's my new BFF. Anyone who knows anything about my sewing habits knows that I abhore installing zippers and absolutely despise replacing zippers which is why, when asked, I give a quote of 123 bajillion dollars to do such a chore. Well this puppy changes everything (and reduces zipper replacement prices to 118 bajillion dollars) as it nicely makes those lovely invisible zipper folds and it will make an invisible out of a visible and has universal attachments for just about every type of presser foot shank for an entire $3.79 CDN. The only bother is that I actually have to unscrew the foot snap from the shank on my machine in order to use it, but that certainly beats ripping out seams any day. Thank you, thank you lovely fellow Fabricland customer for introducing this to me!

So the other thing is two-fold; firstly there is Victory Art Supplies - a new art supply store on Rubidge Street, downtown (yay!) A proper art supply store, you know the kind where you can smell the oil paints before you make it through the door? Yeah, that kind. My favourite. So I went in a picked up a set of watercolour paints and some paper. My first set of watercolours ever. They're intimidating. I mucked about with them for a bit on the front porch saturday, just playing with mixing and colours and brushes. I managed to produce a lowly little lemon before I had to call it quits for fear of sunstroke and after lighting the newspaper which was on the ground beside me on fire (we won't talk about that.)

It's not finished yet, obviously (I fully intend to put it on a plate with a little lowly fish or something) but wanted to post as evidence, really, that I just don't 'get' watercolours...yet...hopefully that qualifier applies. I've always stuck to the kinds of paints which have me making rough outlines and filling them in, see? It's difficult to make the mental renegotiation of positive and negative space as one has to with watercolours (because using white paint is cheating.) So you can see here that I layer colour in like I would with acrylics or oils. Ugh. So frustrating but I will push on.

Beyond that I spent a good chunk of time frollicking in the fields of eye candy that is the Director's Label series and being reminded that Jonathan Glazer's treatment of Rabbit in Your Headlights is likely my favourite music video ever.

You should go watch it.

En su día pasé por alto esta película, de la que sólo recuerdo un site web magnético y aunque entregado a la causa del marketing, dejaba entrever valores poco corrientes en el cine de las majors. El film descoloca, no hay duda. Así le pasó a los ejecutivos de la New Line Cinema cuando vieron la creación y decidieron postponer un tiempo su lanzamiento. Por suerte para todos, el director Jonathan Glazer estrenó su historia, que podría haberse derrumbado en los cinco primeros minutos, pero que gracias a fuertes pilares actorales y sobre todo, a un planteamiento escénico y sonoro fascinante, consigue lo que se propone, perturbar y hacer creíble su micromundo.

Birth es una pelícuña extraña, que convierte cualquier atisbo de morbo sexual en maravillosa sucesión de momentos casi mágicos, que busca y resuelve con ambiguedad todo su texto, y que hace de su planificación de camara y fotografía, gran piedra angular en el que sostener su débil propuesta narrativa. No es un film perfecto, y eso es, como en otros casos excepcionales, lo que la convierte en rareza que merece la pena ser revisada.

Como prueba de su encanto y radicalidad escénica, os dejo con un intensísimo plano de dos minutos con Nicole Kidman al llegar al teatro, en el que por primera vez se plantea seriamente lo que la película viene a contarnos: que un niño de 10 años se proclama como el marido reencarnado de una viuda, a punto de contraer un segundo matrimonio.

Ultimi due giorni di B-sides e finiamo, è proprio il caso di dirlo, con il botto. Jonathan Glazer, ora (pessimo) regista hollywoodiano, è la mente dietro a questo inquietante video degli U.n.k.l.e. (uno dei tanti pseudonimi del producer brittanico Dj Shadow). Glazer riprende qui tante intuizioni della videografia degli anni '90 (in particolare da Spike Jonze e da Chris Cunningham), abbandonando definitivamente la forma videoclip tradizionale, a vantaggio di una sua ibridazione con il cortometraggio. Il montaggio delle immagini rimane strettamente legato agli accenti e al ritmo della musica, ma la canzone non è la sola protagonista della colonna sonora. Essa si fonde infatti con i suoni della strada, delle auto e con il folle e perpetuo brontolio dell'uomo. Fino all'esplosione finale, catartica e risolutoria.

(Unkle feat. Thom Yorke - Rabbit In Your Headlights/Director: Jonathan Glazer)

Buona visione.

Made me think of this video by Radiohead for the song "Karma Police". It looks really simple, but there's a lot going on behind the scenes. I sense a process trailer.

Directed by Jonathan Glazer 

To easily navigate all previous episodes, click here.

Zoals ik reeds eerder zei op deze blog: beter goed gestolen dan slecht verzonnen.
Genoeg zever, hier de spot:

De spot zelf is al een tijdje oud, ik had 'm echter nog nooit gezien. En voor wie het zich zou afvragen, ik heb geen VAG-aandelen. Eerlijk gezegd vind ikde boodschap eigenlijk een beetje bullshit, ik zal me namelijk sneller veilig voelen in een enorme auto dan in een kleine. Maar esthetisch gezien is het gewoon een fantastische spot. Respect!