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27/10/12
Κατάληψη ΔΟΥ Θήρας
17/9/12
Chan Marshall, The absolute Fall's Beauty Icon..
Fallinspiration: Chan Marshall
I haven't posted one of these in awhile (make that: I haven't post anything in awhile), but I was
effortlessly cool about her style, and I'd give the Girl a big high five if I could. Here's an e-five to you,
Chan.
Source : blythehill.blogspot.gr
One of my fave Cat Power tunes:
Heres the GQ article about Chan
Sept/12, issue
No One Cat Should Have All That Power
Post-breakdown, post-breakup, Chan Marshall is finally ready to go big time. Only took nine albums
£ΜÀļ²Á¹¿Â 2012
Singer-songwriter Chan Marshall, a.k.a. Cat Power, hasn't released an
album of original music since 2006's The Greatest, a raw, soulful tour de force.
Life got rougher after that. The epically troubled singer suffered a psychotic
breakdown in 2006 and had to cancel a tour, leaving her nearly bankrupt and
in foreclosure. But now she's back with Sun, her ninth Cat Power record,
on which she's shed her band and her sad-indie-chanteuse sound for some-
thing pissed off, alive, and masterful. She spoke with GQ from a sidewalk café
in Hamburg, where she was having a drink or two.
What have you been up to the past few years?
I moved to Los Angeles to be with a man I loved. I started making this record three
I moved to Los Angeles to be with a man I loved. I started making this record three
and a half years ago in Silver Lake, and then someone from the label said the
songs sounded like "old, depressing Cat Power." I got depressed and didn't work on
them for eight months. I got the itch again, but then I ran out of money. I cashed
in a bond and bought some gear and rented a house in Malibu and wrote these
other songs. I saw on the Internet this morning that it was "a breakup record,"
and it made me wanna hit
something, because we broke up a couple of months after the record was done.
It's like it invalidates it somehow.
Sun doesn't sound like a breakup record. It sounds like you're riled up.
It's an outrageous time. It's not a politics record, but I am a human being
It's an outrageous time. It's not a politics record, but I am a human being
from America. I'm not super-educated, but I give a shit.
I felt like I was hearing your inner Mary J. Blige come out.
I would love to have that kind of pride—that Mary J., Beyoncé pride. Hip-hop
and R&B is mostly what I listen to. I don't have a connection with punk rock
—I just never had that experience. I listened to [Blige's] The Breakthrough
when I was coming out of the hospital; I was on that.
There's a lot of talk about how this is going to be your big crossover
record. Is that why you finally got a manager?
I got told so many times I needed a manager. For a long time I resisted, and
I finally got one so I can pay my mortgage, and it helped me from becoming
a homeless person.
You're offered a lot of opportunities, but it seems like you mostly say no.
How do you know what to turn down?
I am just going where the wine takes me. I got more guts than brains,
and that's my problem. My gut taught me a lot, so I know a little bit.
Does that answer the question? [laughs] This is my ninth record. I still don't
believe it. I definitely thought I would be married and have a couple of
children by now. I always thought for a boy's name...
I think it's Sarah in the Bible, she never found love, and finally a good man
shows up: Boaz.
I always thought I would name my son Boaz Mexico. "Mexico" just
because it sounds good. I had a dream I had a daughter and we were on
the beach and she was sayin' "Mama! Mama!" and I opened my eyes and
the sun was behind her head and I called her Tumbleweed. What do you
think of the name Tumbleweed for a girl?
It's hard to imagine it on a business card.
There will be no President Tumbleweed. [laughs] Since this is for GQ, can you
make sure they Photoshop me to look like I have a big penis?
Read More http://www.gq.com/entertainment/music/201209/cat-power-interview-chan-marshall#ixzz26jnYXSNP
10/7/12
I have forgiven Jesus, Moz / Morrissey
Moz will be at Athens Greece, Lycabettous Theatre, in a few days, but I have no money to go from Santorini isl.. Thats one of the reasons I got in mind, the belowmentioned lyrics from his song "I've forgiven Jesus".. What a Poetry..!!!!!!!!!!!!!!!!!
I was a good kidI wouldn’t do you no harmI was a nice kidWith a nice paper-roundForgive me any painI may have brung to youWith God’s help I knowI’ll always be near to you
But Jesus hurt meWhen He deserted me, but
I have forgiven JesusFor all the desire he placed in meWhen there’s nothing I can do with this desire
I was good kidThrough hail and snowI’d go just to moon youI carried my heart in my handDo you understand?Do you understand?
But Jesus hurt meWhen He deserted me, but
I have forgiven JesusFor all of the love he placed in meWhen there’s no one I can turn to with this love
Monday, humiliation, Tuesday, suffocationWednesday, condescension, Thursday is patheticBy Friday, life has killed meBy Friday, life has killed me
Why did you give me so much desire?When there is nowhere I can goTo offload this desire?And why did you give me so much loveIn a loveless world?When there is no one I can turn toTo unlock all this love
And why did you stick me inSelf-deprecating bones and skin?Jesus, do you hate me?Why did you stick me inSelf-deprecating bones and skin?Do you hate me?Do you hate me?Do you hate me?...
2/5/12
Η μούγκα των ασβών..
Μοναδικός ένοχος ο Ακης και μοναδικά σκάνδαλα στην ελεεινίτσα η siemens και το βατοπαίδι..
Μετά από τις δεκάδες αγορές του αιώνα, τα εκατοντάδες αεροπλάνα μόνο για εμπόρους, τους πυραύλους, τις πυραυλακάτους, τα βαπόρια, τα τραίνα, τα ποταμόπλοια, τα διαστημόπλοια και τις λοιπές θηριωδίες των διαστημικών υπερτιμολογήσεων της άκρως δυσαναλόγου ωφελιμότητας, τις επιδειξιομανικές υπό της σκατίνος αναβολικοολυμπιάδες υπερταχείας αναθέσεως, τα χιλιάδες δημόσια φαραωνικά έργα, τα χιλιάδες γιοφύρια της Αρτας για τον Υπεράρτο τον ΥπερΟύσιο, τα μοναδικά σκάνδαλα στα τελευταία 38 χρόνια της διαολοκαβαλημένης αδηφαγίας, είναι ΜΟΝΟΝ τα 3 στραβά αρμενίζοντα υποβρύχια και κάποια torr πυραυλάκια γάλακτος..
Καμία άλλη μνεία, καμία άλλη αποκάλυψις, όλα τα υπόλοιπα καλώς και ηθικώς καμωμένα..Κανένας άλλος ένοχος, κανείς, τίποτα, ούτε ψίθυρος, παρά μόνον ο Άκης με την σουσουδοκοπέλα του..
Ακόμα και αυτός όμως ο απίστευτος τύπος, θα την είχε γλυτώσει εύκολα, αν εξέλειπαν οι προηγούμενες γνωστές έρευνες επί του προκειμένου, της γερμανικής δικαιοσύνης..
Και κατά τα άλλα μας φταίνε οι ξένοι και όχι η χειρότερη, η πιο ιδιοτελής, η πιο μονομανιακή, η πιο εγωπαθής, η πιο εγωκεντρική φάρα που αναδύθηκε ποτέ στη παγκόσμια ιστορία..
Αυτή του βρωμερού νεοέλληνα..
8/4/12
Terry Papadinas, the "T 4 Trouble and the Self Admiration Society (2009)" docymovie from Mr Dimitris Athiridis ..
Terry Papadinas, a charismatic rockmusicMagicMaker, a "rock's greatest single body of riffs" in 70's rock stage in Greece, and an epic movie from Dimitris Athiridis..!!
I have seen that in Athens "Trianon" cinema, Patision, three yrs ago.. The afterparty at "An" club, Exarheia, with Him, playing his awe(inspiring)some songs was just unforgettable..
God bless You..
For much more about this movie : http://www.polytropon.gr/new_polytropon/htmls/record.php?id=147
7/4/12
Diner movie, 1982.. The influense..
Much Ado About Nothing
For a little movie without special effects, dramatic reveals, or cutting-edge sex scenes—a movie about nothing at all, really—Barry Levinson’s 1982 comedy,Diner, caused a tectonic shift in popular culture. It paved the way for Seinfeld, Pulp Fiction, The Office, and Judd Apatow’s career, and made stars of Mickey Rourke, Kevin Bacon, Ellen Barkin, and Paul Reiser. Three decades later, S. L. Price reports how a novice director and his raw cast broke all the rules—and stumbled into genius.
PHOTOGRAPH COURTESY OF PAUL REISER.
Nick Hornby knew better, but he didn’t care. Because suddenly there was that face—the upturned nose, the lupine grin, the wary expression barely softened by the passage of, what, three decades now? Everyone else in the London club that December night was flittering around Colin Firth, set aglow by the Oscar buzz for his performance in The King’s Speech. Hornby let them flit. For here stood … Kevin Bacon. Undisturbed. That knowing smirk may have derailed him as a leading man, but it has allowed for a career of darker, richer roles—and allows him still to cruise a cocktail party longer than most boldfaced names without some fanboy rushing up to say how wonderful he is.
God knows, Hornby had seen that too often: an actor friend, eyes darting, cornered by a gushing stranger. This belated celebration of Firth’s 50th birthday was a private bash where artists and actors, people like Firth and Bacon—and, well, Hornby—could expect to relax. After all, between best-selling books such as About a Boy and a 2010 Academy Award nod earlier in the year for his screenplay for An Education, he had been cornered plenty himself.
Yet when he saw Bacon, Hornby couldn’t help it. He edged closer. It was like that scene fromDiner when Bacon’s buddy sees a boyhood enemy in a crowd and breaks his nose: Hornby had no choice. In 1983 a girlfriend had brought home a tape of director Barry Levinson’s pitch-perfect comedy about twentysomething men, their nocturnal ramblings in 1959 Baltimore, their confused stumble to adulthood. Hornby was 26, a soccer fanatic, a writer searching for a subject. Diner dissected the male animal’s squirrelly devotion to sports, movies, music, and gambling. Diner had one man give his fiancée a football-trivia test and had another stick his penis through the bottom of a popcorn box. Hornby declared it, then and there, “a work of great genius.”
Midway through the movie, the ladies’ man Boogie, played by Mickey Rourke, is driving in the Maryland countryside with Bacon’s character, the perpetually tipsy Fenwick. They see a beautiful woman riding a horse. Boogie waves the woman down.
“What’s your name?,” Boogie asks.
“Jane Chisholm—as in the Chisholm Trail,” she says, and rides off.
Rourke throws up his hands and utters the words that Hornby, to this day, uses as an all-purpose response to life’s absurdities: “What fuckin’ Chisholm Trail?” And Fenwick responds with the line that, for Diner-lovers, best captures male befuddlement over women and the world: “You ever get the feeling there’s something going on that we don’t know about?”
In all, the scene encompasses only 13 lines of dialogue—an eternity if you’re Bacon at a party and a stranger knows them all. But Hornby wouldn’t be stopped. “I pinned that guy to the wall, and I quoted line after line,” Hornby recalls. “I thought, I don’t care. I’m never going to meet Kevin Bacon again. I need to get ‘What fuckin’ Chisholm Trail?’ off my chest.”
The Invention of Nothing
Hornby could not have planned a more apt tribute: Diner introduced to movies a character who compulsively recites lines from his favorite movie—and nothing else. And Hornby’s subsequent books about a fan obsessed with Arsenal football (Fever Pitch) and another obsessed with pop music (High Fidelity)—two postmodern London slackers who could easily have slid into a booth at the Fells Point Diner—are only the most obvious branches of the movie’s family tree.
Made for $5 million and first released in March 1982, Diner earned less than $15 million and lost out on the only Academy Award—best original screenplay—for which it was nominated. Critics did love it; indeed, a gang of New York writers, led by Pauline Kael, saved the movie from oblivion. But Diner has suffered the fate of the small-bore sleeper, its relevance these days hinging more on eyebrow-raising news like Barry Levinson’s plan to stage a musical version—with songwriter Sheryl Crow—on Broadway next fall, or reports romantically linking star Ellen Barkin with Levinson’s son Sam, also a director. The film itself, though, is rarely accorded its actual due.
Yet no movie from the 1980s has proved more influential. Diner has had far more impact on pop culture than the stylistic masterpiece Bladerunner, the indie darling Sex, Lies, and Videotape, or the academic favorites Raging Bull and Blue Velvet. Leave aside the fact thatDiner served as the launching pad for the astonishingly durable careers of Barkin, Paul Reiser, Steve Guttenberg, Daniel Stern, and Timothy Daly, plus Rourke and Bacon—not to mention Levinson, whose résumé includes Rain Man, Bugsy, and Al Pacino’s recent career reviver, You Don’t Know Jack. Diner’s groundbreaking evocation of male friendship changed the way men interact, not just in comedies and buddy movies, but in fictional Mob settings, in fictional police and fire stations, in commercials, on the radio. In 2009, The New Yorker’s TV critic Nancy Franklin, speaking about the TNT series Men of a Certain Age, observed that “Levinson should get royalties any time two or more men sit together in a coffee shop.” She got it only half right. They have to talk too.
What Franklin really meant is that, more than any other production, Diner invented … nothing. Or, to put it in quotes: Levinson invented the concept of “nothing” that was popularized eight years later with the premiere of Seinfeld. In Diner (as well as in Tin Men, his 1987 movie about older diner mavens), Levinson took the stuff that usually fills time between the car chase, the fiery kiss, the dramatic reveal—the seemingly meaningless banter (“Who do you make out to, Sinatra or Mathis?”) tossed about by men over drinks, behind the wheel, in front of a cooling plate of French fries—and made it central.
Of course, kitchen-sink films had been made before, featuring snippets of halting, realistic dialogue, as epitomized by Paddy Chayefsky’s Marty. And in 1981, Louis Malle’s My Dinner with Andre elevated one long conversation into an art-house hit. But producers and editors mostly found the imperatives of plot and pacing best served by verbal ping-pong matches where nobody is at a loss for words—snappy His Girl Friday lines that keep the viewer awake until the next thing happens. When making the 1973 Robert Redford-Barbra Streisand hit, The Way We Were, director Sydney Pollack had to argue furiously with producers to keep a scene where Redford and his friend Bradford Dillman lounge on a boat, trying to top each other by ranking the best city, day, and year. But it ended up saying far more about time and regret than did Streisand crooning about memories.
During postproduction on Diner, MGM/UA executive David Chasman complained to Levinson about one of its most famous set pieces, when Guttenberg’s Eddie and Reiser’s Modell argue ownership (“You gonna finish that?”) of a roast-beef sandwich. Chasman wanted it cut because it didn’t advance the story. “You don’t understand,” Levinson explained: between the lines about roast beef lies all you need to know about their fear, their competitiveness, their friendship. The roast beef is the story.
“I wanted the piece to be without any flourish, without anything other than basically saying, ‘This is all it was,’ ” Levinson says. “These conversations that can go on endlessly through the night—bets over the stupid fucking things that you can bet on—is it. Without gimmicks: nothing. Without gimmicks. This is it. Period.” John Wells, the executive producer of the kaleidoscopic 90s hospital series, ER—nominated for a record 122 Emmys during its 15-year run—and former president of the Writers Guild of America, West, was a graduate student at the U.S.C. film school when Diner came out. Mesmerized by Levinson’s “tremendous empathy for those characters even when they were being idiots,” Wells estimates he saw it 30 times in 1982 alone. He still makes a point of watching Diner once a year.
‘It influenced a whole generation of writers,” Wells says, “revolutionizing the way characters talk and how realistic we were going to be. And it was particularly influential with actors—this notion that you could play someone who was extremely real and at the same time be humorous and emotional. It had a complexity that not a lot of movies at the time had—they tended to be tremendously dramatic or broadly comic—and this was landing in a territory between, where somebody could be entertaining and humorous and also make you cry.”
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