I enjoyed this short (16:00) TED Talk by David Byrne. In it, he explores how the architectural design and context of musical venues alters the type of music created for it, from the rhythmic drumming of West Africa, to Gothic cathedrals, to CBGB, to bird calls on prairie fields. Along the way he touches on how this is also true of the visual arts as well as politics, and even sneaks in a cheeky backhanded compliment to U2’s arena rock.
I was fortunate enough to make David’s portrait during his “Playing The Building” project, and this talk puts his inspiration behind that work in a new context for me. I highly recommend watching it. (via World’s Best Ever)
"Of tradition and gender queer - This plant also vows rapper Niki de me, also born in New - Orleans…. Most recently, Niki de I took the piece and its sequel that hit, rape scene hyper - active in the best tradition called "Go Loco." Clip, directed by Clayton Kavit, ritual and fetishization around the buttocks and exaggerated parodies especially - to clip invented director what he calls "cam ass", during which the Minister Niki de me, when he wears a hat with the words "gay", surrounded by a sea of asses vibrating replicated. At the end of the video camera away from Earth collage made entirely of bouncing asses, and the camera looks down on the moon, also contracted the virus Htoork - relies on space station astronaut who shakes his ass at a dizzying pace. Unlike most of the clips in the genre, also shake the buttocks of women alongside men."
The Conversation (1974) by Francis Ford Coppola. Opening credits above.
Still mesmerizing and stylish almost 40 years later, this disturbing meditation on privacy and surveillance is even more relevant given recent revelations about the reach of America’s spy apparatus. The hypnotically glitchy sound design alone is worth experiencing.
Click image for my new Music Video: Nicky Da B “Go Loko” (NSFW, Seizure Warning)
It’s with great pride that I debut "Go Loko," the insanely fun new music video I directed for Nicky Da B. Prepare yourself for machine-gun New Orleans Bounce, twerking latex-clad bunnies, intergalactic booty constellations that would make Carl Sagan cry tears of joy, an asstronaut, a possibly demonic hairless cat, and perhaps my greatest invention yet: The Asscam™.
Turn your volume up and get down! If you love it, click over to the Vimeo page and drop something in the tip jar!
If you haven’t seen the stunning 2001 documentary “War Photographer" about prize-winning conflict photojournalist James Nachtwey, you really must. It’s a beautifully filmed, deeply contemplative study of what it means to be a photographer, and what it means to be a witness to conflict.
It also features an absolutely enthralling cinematic technique: a tiny camera mounted above Nachtwey’s own shutter button, so you can see the stream of time and context around each of his decisions to capture (or not capture.) You can see it in the trailer above, at the 1:17 mark.
And this brings me back to my recent essay, On the Constant Moment. If the Decisive Moment is Nachtwey’s shutter button there with the protestors on the West Bank in 2001, the Constant Moment is your ability to choose different moments from the video feed, from wherever you are, in 2013.
Freed from instant decision in the middle of chaos, able to pause and rewind, did you make different aesthetic choices about when to “shoot?” Would Nachtwey, if he could?
“10 min. edited video document detailing “The History of the Creole Wild West as Told by Themselves”. A performance and panel discussion with the Creole Wild West Tribe of the Mardi Gras Indians.
All events took place at the Louisiana Humanities Center on Saturday, April 19th 2008, 8pm. And were produced by the Louisiana Endowment for the Humanities and the New Orleans Mardi Gras Indian Council.”