bollywood

this is amazing. i need to start making music videos.

meats.

well, in celebration of eating tons of deer this last week.
here is some meats.


more here.

return of a clockwork orange

Documentary about the controversy surrounding Kubrick's A Clockwork Orange

"Almost 30 years ago, Stanley Kubrick imposed his own ... all » censorship on one of cinema's most controversial films, A Clockwork Orange, refusing to allow it to be shown in public.

FilmFour looks at the furor that surrounded the film's initial release and offers a re-appraisal through the eyes of Alexander Walker, Mark Kermode, Camille Paglia, Tony Kaye and Steven Soderbergh."

from wikipedia:
United States censorship

The film was rated X on its original release in the United States. Later, Kubrick voluntarily replaced roughly 30 seconds of footage from two scenes with less bawdy action for a 1973 re-release, rated R. It is a common myth that only the R-rated version can be seen nowadays, but in fact the opposite is true: all DVDs present the original X-rated form, and only some of the early 80s VHS editions are in the R-rated form.[5]

The film was rated C (for "condemned") by the United States Conference of Catholic Bishops' Office for Film and Broadcasting because of its explicit sexual and violent content; such a rating conceptually forbade Catholics from seeing the film. The "condemned" rating was abolished in 1982, and since then films deemed by the conference to have unacceptable levels of sex and/or violence have been rated O, meaning "morally offensive".

[edit] British withdrawal

In the United Kingdom, the sexual violence in the film was considered extreme. Furthermore, it was claimed that the film had inspired copycat behaviour. In March 1972, a prosecutor at a trial of a 14-year-old boy accused of the manslaughter of one of his classmates referred to A Clockwork Orange, telling the judge that the case had a macabre relevance to the film.[6]

The attacker, a boy age 16 from Bletchley, pleaded guilty after telling police that his friends had told him of the film "and the beating up of an old boy like this one"; defence counsel told the trial "the link between this crime and sensational literature, particularly A Clockwork Orange, is established beyond reasonable doubt".[7] The press also blamed the influence of the film for a rape in which the attackers sang "Singin' in the Rain". Kubrick subsequently requested that Warner Brothers withdraw the film from UK distribution.

At the time, it was widely believed that the copycat attacks were what led Kubrick to withdraw the film from distribution in the United Kingdom. However, in a television documentary made after Kubrick's death, his widow Christiane confirmed rumours that Kubrick had withdrawn A Clockwork Orange on police advice after threats were made against Kubrick and his family (the source of the threats was not discussed). That Warner Bros. acceded to Kubrick's request to withdraw the film is an indication of the remarkable relationship Kubrick had with the studio, particularly the executive Terry Semel.

The ban was vigorously pursued during Kubrick's lifetime. One art house cinema that defied the ban in 1993, and was sued and lost, was the Scala cinema at Kings Cross, London, on the same premises as the present-day Scala nightclub. Unable to meet the cost of the defence, the cinema club was forced into receivership. [8]

Whatever the reason for the film's withdrawal, it could not easily be seen in the United Kingdom for some 27 years. The first VHS and DVD releases followed shortly after Kubrick's death. It was also shown in many UK cinemas.

david bowie

so i'm thinking he's 16 or 17 here..
this is before he became david bowie.
"the mask"

and then we have life on mars? directed by mick rock.
this is unbelievable. look at that hair. and that fucking make up.

nations who have not yet joined the metric system

louis vuitton madness

louis vuitton pig!!!
by wim delvoye. an artist out of belgium who likes tattooing pigs. he does it at a place called the art farm in china. cuz the animal rights laws aren't quite as strict there... sneaky.
while we're on the louis vuitton kick.. we can add some li'l kim.. who got the LV treatment from dave lachapelle.

then we got the latest in louis vuitton disposable luxury:


and then.. we'll save the wildest for last....

An ad campaign for LOUIS VUITTON by Mamoru Hosoda (of Digimon fame). an updated alice in wonderland, in which a girl, searching for her lost cell phone, floats in a dizzying world of the company’s logos. While waiting to meet her friends outside of a Louis Vuitton store, Aya’s cell phone is eaten by the LV Panda, who then promptly swallows Aya - but the inside of his stomach is gateway to a psychadelic wonderland. Based on characters created by famed superflat artist Takashi Murakami.

flying hotel

French designer Jean-Marie Massaud's dreams of opening a large flying hotel look to be coming true. Technical design is underway for Massaud's "Manned Cloud," which will carry 40 guests and 15 employees and house a restaurant, library, bar, fitness center and a rooftop sun deck. The big blimp-tel is being billed as an eco-friendly sightseeing destination.

kate moss statue for sale

Artist Marc Quinn has agreed to donate Red Sphinx, a white-bronze sculpture of supermodel Kate Moss in a "heart-shaped yoga pose with red lips," to an auction on February 14 for Red, the brand created by U2 star Bono to raise money to fight the AIDS epidemic in Africa, reports the Wall Street Journal. Another Quinn sculpture, Sphinx (not sure what the difference is between "Red Sphinx" and "Sphinx"), depicting Moss in what looks like Dwi Pada Sirsasana, received controversial coverage when it was unveiled in 2006 because Moss doesn't do yoga (a model posed for the artist) nor does she lead a very yogic lifestyle. Says Quinn, "Kate is a mirror of ourselves, a twisted Venus of our age."

In his exhibition at Mary Boone Gallery, Quinn lionizes Moss by portraying her in goddess form. However, with one exception -- which I'll get to later -- she isn't made to resemble any particular deity. Quinn's parenthetical titles are the only obvious indicators of the goddess implication. Each sculpture is called 'Sphinx' followed by a goddess's name: 'Sphinx (Venus),' 'Sphinx (Victory),' 'Sphinx (Nike).' Coated in a snow-white semi-gloss paint, the bronzes look more like marble than metal (Quinn likens their appearance to "egg shells" or "cinema screens") and show the bikini-clad model bending her body into implausible human-pretzel positions. The legs arch over the shoulders, backwards and forwards, and the pelvis always aligns with the head, so the viewer finds duel focal points -- the crotch and the borehole eyes.

Marc Quinn, previously a constituent of the Young British Artists, is known as something of a body artist. His signal piece is the 1991 self-portrait, 'Self,' molded in nine pints of his own frozen blood. The following decade, he cast a portrait of his newborn son in frozen liquefied placenta. More similar to the Sphinxes are the marble portraits of limbless heroes, such as his monument to the very pregnant and armless artist Alison Lapper, in London's Trafalgar Square. At first, the Sphinxes seem a deviation from the Lapper portrait -- extreme limberness versus underdeveloped limbs -- but both examples manifest a Hellenistic affinity for sculpting the human figure exerted beyond presumed limits.

In reality, Moss lacks the flexibility needed to achieve the knotty feats demonstrated by the Sphinxes (While the sculptor used Moss's proportions, he found a more elastic sitter to strike the yoga poses). Though, that's the point; the Sphinxes are mythical. Moss has long been criticized for setting unattainable standards of female body image. Quinn exaggerates this perception by casting the waif as an expert contortionist who can twist into tantric stances that the viewer could only dream of executing. "Let's see you try, you stiff-jointed fatty," the Sphinxes seem to mock. On top of it all, the model's thirty-something-year-old features have been smoothed to perfection, making her appear even more childish; the only wrinkles reside in the svelte fingers and ballerina toes -- life casts of Moss's real hands and feet -- and in the kissable lips. Likewise, the face of each sculpture is jarringly symmetrical. If not a goddess, she's certainly superhuman.

The conceptual taunt referencing ungraspable beauty is not entirely clear upon first encountering the bronzes. Rather, they look like slick, misogynistic throwbacks from the 1980s. Far more striking than the concept is the craftsmanship: the subtle feline smirk, the detailed digits, the stretched bellybutton, the convoluted compositions. Quinn seems to enjoy the challenges posited by the yoga postures.

teens scream against sex

from gawker:
Were you alarmed by an unruly crowd of hundreds of screaming adolescents in the Times Square vicinity today? Don't worry. It was just the TEEN MANIA teens holding their RECREATE '08 rally, taking a vocal stand against those things young adults hate: "substance abuse, violence, premature sexuality, Internet porn and more." Least. Fun. Rally. Ever. Beware of New Jersey's Izod Center this weekend, where 10,000 more religious A students will gather maniacally. The press release explains their crusade of sobriety:

Hundreds of Teens Rally in Times Square to Change Pop Culture as We Know It, Feb. 8

While Presidential Candidates Promise "Change," Thousands of Teens Are Enacting Change and Asking the Candidates to Help

NEW YORK, Jan. 30, 2008--Representing a movement of more than 400,000 teens, hundreds of teenagers will rally on Military Island in TIMES SQUARE, FEB. 8, 3:30 p.m. ET.

The rally will highlight teens' concerns about the toll today's pop culture is taking on their generation--the largest generation of teens in U.S. history.* The teens oppose the "cool factor" pop culture entertainment associates with substance abuse, violence, premature sexuality, Internet porn and more. The rally, called RECREATE '08, will showcase the thousands of TEEN MANIA teens who are out to RE-create entertainment, fashion, the arts, and the Web into products that build up, not tear down, their generation.

"I want to use film and television to give this generation hope that they can break free from depression, substance abuse and hopelessness in their lives," says 19-year-old Katherine Haller of Baltimore. Haller, an organizer of the RECREATE '08 rally, is currently receiving film and television production experience through Teen Mania's Center for Creative Media.

Fueled by their faith, these Teen Mania teens have sparked a movement of more than 400,000 like-minded teenagers who have gathered at arena events from coast to coast over the past two years to impact pop culture for the good of their generation.

The RECREATE '08 rally in Times Square will feature teens in the act of RE-creating some of their generation's favorite products including:

*

MTV videos
*

Teen-produced TV shows and movie-shorts running on the Panasonic jumbo-tron in Times Square
*

Tag/Graffiti artists
*

Dance and more . . .

CALLING ON THE CANDIDATES
The teens will also issue a list of 8 QUESTIONS for the presidential candidates that reflect their top concerns including: youth exposure to Internet pornography, media glamorization of drugs, sex and alcohol, and the AIDS pandemic.

Following the rally, more than 10,000 teens will gather at New Jersey's Izod Center for a two day RECREATE '08 event featuring: New York Yankee pitcher Mariano Rivera, six-time GRAMMY® Award winner Kirk Franklin, the David Crowder Band, Bishop T.D. Jakes, and TEEN MANIA founder, Ron Luce.

picture of the day: powerglove

norway vs sweden

one piece at a time by johnny cash

"one piece at a time" was written by Wayne Kemp and recorded by Johnny Cash in 1976. It tells a story from the point of view of a Detroit auto worker who watches Cadillacs roll by day after day on the assembly line, all the while knowing that he will never be able to afford one on his salary. Envious, he decides to steal a Cadillac, avoiding getting caught by taking parts from the factory, as the title suggests, one piece at a time (presumably one part per day). The worker takes the small parts by hiding them in his large lunchbox, while larger parts are smuggled out via his friend's mobile home. Many years later, he finally achieves his goal, albeit with a very odd-looking vehicle: it was created from parts of many different models (years 1949 to 1973), requiring extensive effort to make all the parts fit together. The vehicle title weighed 60 pounds, requiring the entire staff at the courthouse to type it.

Bruce Fitzpatrick, owner of Abernathy Auto Parts and Hilltop Auto Salvage in Nashville, TN, was asked by the promoters of the song to build the vehicle for international promotion. Bruce had all the different models of Cadillacs mentioned in the song when it was released, and built a Cadillac using the song as a model. The car was presented to Cash in April of 1976. It was parked for a few weeks outside The House Of Cash in Hendersonville, Tennessee, until someone could find a place to store it.


Well, I left Kentucky back in '49
An' went to Detroit workin' on a 'sembly line
The first year they had me puttin' wheels on cadillacs

Every day I'd watch them beauties roll by
And sometimes I'd hang my head and cry
'Cause I always wanted me one that was long and black.

One day I devised myself a plan
That should be the envy of most any man
I'd sneak it out of there in a lunchbox in my hand
Now gettin' caught meant gettin' fired
But I figured I'd have it all by the time I retired
I'd have me a car worth at least a hundred grand.

CHORUS
I'd get it one piece at a time
And it wouldn't cost me a dime
You'll know it's me when I come through your town
I'm gonna ride around in style
I'm gonna drive everybody wild
'Cause I'll have the only one there is a round.

So the very next day when I punched in
With my big lunchbox and with help from my friends
I left that day with a lunch box full of gears
Now, I never considered myself a thief
GM wouldn't miss just one little piece
Especially if I strung it out over several years.

The first day I got me a fuel pump
And the next day I got me an engine and a trunk
Then I got me a transmission and all of the chrome
The little things I could get in my big lunchbox
Like nuts, an' bolts, and all four shocks
But the big stuff we snuck out in my buddy's mobile home.

Now, up to now my plan went all right
'Til we tried to put it all together one night
And that's when we noticed that something was definitely wrong.

The transmission was a '53
And the motor turned out to be a '73
And when we tried to put in the bolts all the holes were gone.

So we drilled it out so that it would fit
And with a little bit of help with an A-daptor kit
We had that engine runnin' just like a song
Now the headlight' was another sight
We had two on the left and one on the right
But when we pulled out the switch all three of 'em come on.

The back end looked kinda funny too
But we put it together and when we got thru
Well, that's when we noticed that we only had one tail-fin
About that time my wife walked out
And I could see in her eyes that she had her doubts
But she opened the door and said "Honey, take me for a spin."

So we drove up town just to get the tags
And I headed her right on down main drag
I could hear everybody laughin' for blocks around
But up there at the court house they didn't laugh
'Cause to type it up it took the whole staff
And when they got through the title weighed sixty pounds.

CHORUS
I got it one piece at a time
And it didn't cost me a dime
You'll know it's me when I come through your town
I'm gonna ride around in style
I'm gonna drive everybody wild
'Cause I'll have the only one there is around.

(Spoken) Ugh! Yow, RED RYDER
This is the COTTON MOUTH
In the PSYCHO-BILLY CADILLAC Come on

Huh, This is the COTTON MOUTH
And negatory on the cost of this mow-chine there RED RYDER
You might say I went right up to the factory
And picked it up, it's cheaper that way
Ugh!, what model is it?

Well, It's a '49, '50, '51, '52, '53, '54, '55, '56
'57, '58' 59' automobile
It's a '60, '61, '62, '63, '64, '65, '66, '67
'68, '69, '70 automobile.

maharishi died.

jai guru dev

aya takano

Aya Takano's drawings and paintings reminds us the delicious souvenirs of game and innocence with a disarming sincerity and without ever sink into nostalgia. Although her universe is filled with mythic and cultural references, specifically japanese, she attains to make this universe strangely familiar and intimate. The immediate, the sensuality of her drawings address a message to the living and to the imaginative part of each of us, whatever his age or his origin. Once discovered, her work provokea a profound, and almost affectionate, attachment for the characters she brings to life. The use of diluted paint ( gouache, acrylic) as principal medium reinforces the sensual simplicity of her images which combines the febrility of a child's drawing and the virtuosity of the remarkable drawer she has become.
that umm.. was translated from japanese.
link to gallery

charles simic

I was stolen by the gypsies. My parents stole me right back. Then the gypsies stole me again. This went on for some time. One minute I was in the caravan suckling the dark teat of my new mother, the next I sat at the long dining room table eating my breakfast with a silver spoon.
It was the first day of spring. One of my fathers was singing in the bathtub; the other one was painting a live sparrow the colors of a tropical bird.


photo by me. gypsy children in pushkar, rajasthan, india.

new joke

g: knock knock.

p: who's there?

g: tom brady.

p: tom brady who?

g: EXACTLY!

japanese vinyl toys!!!

so this dude has been collecting bandai ultra kaiju toys since 1981 and he's taken picture of them all.
they look totally rad. i want japanese monsters....

check out his flickr set here.