Category Archives: film

RiP…Dennis Hopper


Dennis Hopper, who was part of a new generation of Hollywood rebels in portrayals of drug-addled misfits in the landmark films “Easy Rider,” “Apocalypse Now” and “Blue Velvet” and then went on to great success as a prolific character actor, died on Saturday at his home in Venice, Calif. He was 74.

The cause was complications from metastasized prostate cancer, according to a statement issued by Alex Hitz, a family friend.

Mr. Hopper, who said he stopped drinking and using drugs in the mid-1980s, followed that change with a tireless phase of his career in which he claimed to have turned down no parts. His credits include no fewer than six films released in 2008 and at least 25 over the past 10 years.

Most recently, Mr. Hopper starred in the television series “Crash,” an adaptation of the Oscar-winning film of the same title. Produced for the Starz cable channel, the show had Mr. Hopper portraying a music producer unhinged by years of drug use.

During a promotional tour last fall for that series, he fell ill; shortly thereafter, he began a new round of treatments for prostate cancer, which he said had been first diagnosed a decade ago.

Mr. Hopper was hospitalized in Los Angeles in January, at which time he also filed for divorce from his fifth wife, Victoria Duffy, with whom he had a young daughter. Mr. Hopper issued a news release citing “irreconcilable differences” for the filing.

“I wish Victoria the best but only want to spend these difficult days surrounded by my children and close friends,” he said in the release.

Mr. Hopper first won praise in Hollywood as a teenager in 1955 for his portrayal of an epileptic on the NBC series “Medic” and for a small part in the film “Rebel Without a Cause,” which starred James Dean, who was a friend of his.

Mr. Hopper confirmed his status as a rising star as the son of a wealthy rancher and his wife, played by Rock Hudson and Elizabeth Taylor, in “Giant” (1956), the epic western with Dean.

In those years, he was linked romantically with Natalie Wood and Joanne Woodward.

Yet that success brought with it a growing hubris, and in 1958 Mr. Hopper found himself in a battle of wills with the director Henry Hathaway on the set of “From Hell to Texas.”

The story has several versions; the most common is that his refusal to play a scene in the manner that the director requested resulted in Mr. Hopper’s stubbornly performing more than 80 takes before he finally followed orders.

Upon wrapping the scene, Mr. Hopper later recalled, Mr. Hathaway told him that his career in Hollywood was finished.

He soon left for New York, where he studied with Lee Strasberg for several years, performed onstage and acted in more than 100 episodes of television shows.

It was not until after his marriage in 1961 to Brooke Hayward — who, as the daughter of Leland Hayward, a producer and agent, and Margaret Sullavan, the actress, was part of Hollywood royalty — that Mr. Hopper was regularly offered film roles again.

He wrangled small parts in big studio films like “The Sons of Katie Elder” (1965) — directed by his former nemesis Henry Hathaway — as well as “Cool Hand Luke” (1967) and “Hang ’Em High” (1968).

And he grew close to his wife’s childhood friend Peter Fonda, who, with Mr. Hopper and a few others, began mulling over a film whose story line followed traditional western themes but substituted motorcycles for horses.

That film, “Easy Rider,” which Mr. Hopper wrote with Mr. Fonda and Terry Southern and directed, followed a pair of truth-seeking bikers (Mr. Fonda and Mr. Hopper) on a cross-country journey to New Orleans.

It won the prize for best first film at the 1969 Cannes Film Festival (though it faced only one competitor, as the critic Vincent Canby pointed out in a tepid 1969 review in The New York Times).

Mr. Hopper also shared an Oscar nomination for writing the film, while a nomination for best supporting actor went to a little-known Jack Nicholson.

“Easy Rider” introduced much of its audience, if not Mr. Hopper, to cocaine, and the film’s success accelerated a period of intense drug and alcohol use that Mr. Hopper later said nearly killed him and turned him into a professional pariah.

Given nearly $1 million by Universal for a follow-up project, he retreated with a cadre of hippies to Peru to shoot “The Last Movie,” a hallucinogenic film about the making of a movie. It won a top prize at the 1971 Venice Film Festival, but it failed with critics and at the box office.

Mr. Hopper edited the film while living at Los Gallos, a 22-room adobe house in Taos, N.M., that he rechristened the Mud Palace and envisioned as a counterculture Hollywood.

It was there that his drug-induced paranoia took full flower, including a period in which he posted armed guards on the roof.

“I was terribly naïve in those days,” he told The New York Times in 2002. “I thought the crazier you behaved, the better artist you would be. And there was a time when I had a lot of energy to display how crazy that was.”

Mr. Hopper was seen mostly in small film parts until he returned to prominence with his performance in “Apocalypse Now” (1979).

In a 1993 interview with the British newspaper The Guardian, Mr. Hopper credited Marlon Brando, a star of the film, with the idea of having him portray a freewheeling photojournalist, rather than the smaller role of a C.I.A. officer, in which he was originally cast.

But Mr. Hopper’s after-hours style continued to affect his work; in “Hearts of Darkness: A Filmmaker’s Apocalypse,” a documentary about the making of that film, the director, Francis Ford Coppola, is seen lamenting that Mr. Hopper cannot seem to learn his lines.

After becoming sober in the 1980s, Mr. Hopper began taking on roles in several films a year, becoming one of the most recognizable character actors of the day.

He earned a second Oscar nomination for best supporting actor for his role as the alcoholic father of a troubled high school basketball star in “Hoosiers” (1986), and he honed his portrayal of unhinged villains in films like “Blue Velvet” (also in 1986), “Speed” (1994) and “Waterworld” (1995), as well as in the first season of the television series “24” (2002).


Mr. Hopper had several artistic pursuits beyond film. Early in his career, he painted and wrote poetry, though many of his works were destroyed in a 1961 fire that burned scores of homes, including his, in the Los Angeles enclave Bel Air.

Around that time, Ms. Hayward gave him a camera as a gift, and Mr. Hopper took up photography.

His intimate and unguarded images of celebrities like Ike and Tina Turner, Andy Warhol and Jane Fonda were the subject of gallery shows and were collected in a book, “1712 North Crescent Heights.” The book, whose title was his address in the Hollywood Hills in the 1960s, was edited by Marin Hopper, his daughter by Ms. Hayward.

He also built an extensive collection of works by artists he knew, including Warhol, Ed Ruscha and Julian Schnabel.

Born on May 17, 1936, in Dodge City, Kan., and raised on a nearby farm, Dennis Lee Hopper moved with his family to San Diego in the late 1940s.

He studied at the Old Globe Theater there while in high school, then signed a contract with Warner Brothers and moved to Los Angeles.

Mr. Hopper’s five marriages included one of eight days in 1970 to the singer Michelle Phillips of the Mamas and the Papas. He is survived by four children, all of the Los Angeles area: Marin Hopper; Ruthanna Hopper, his daughter by Daria Halprin, his third wife; a son, Henry Lee Hopper, whose mother is Katherine LaNasa; and Galen, his daughter by Ms. Duffy.

On March 26, surrounded by friends like Mr. Nicholson and David Lynch, the director of “Blue Velvet,” Mr. Hopper received a star on the Hollywood Walk of Fame. Looking frail, he began his brief acceptance speech by sardonically thanking the paparazzi for supposedly distracting him and causing him to lose his balance and fall the day before. He continued, “Everyone here today that I’ve invited — and obviously some that I haven’t invited — have enriched my life tremendously.”
from New York Times…By Edward Wyatt

Sad day for film…..

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Who Are You, Polly Maggoo?


Polly Maggoo (Dorothy MacGowan) is a bucktoothed, freckle-faced American girl working as a model in Paris. She is everyone’s fantasy and the obsession of television reporter Gregoire (Jean Rochefort), who is filming the gamine for his journalistic personality show Who Are You?. In between this fantasy figure and this supposedly grounded intellectual is a whole culture obsessed with Polly, fashion, and the new. The film begins with a fashion show where an avant-garde designer (Jacques Seiler) displays his new line of dresses made from bent sheets of aluminum, and the influential magazine editor Miss Maxwell (Grayson Hall, zinging Diana Vreeland) declares that he is magnificent and that he has reinvented the concept of woman. Apparently, the entire female gender was out of date.


Who Are You, Polly Maggoo? (directed by William Klein) casts a wide satirical net, but since its biggest target is a staple of popular culture, it’s rather prescient of Klein to see how far his net needs to go. Though the eye of his storm is the over-inflated importance of the fashion world, his Polly is really a mirror to the society that worships her. When we gaze at her gazing at us from a magazine cover, we’re really looking at ourselves. Gregoire claims to want to get to know the real Polly, but he really wants to see her conform to his preconceived theory than truly uncover the girl behind the beautiful face. So, too, is Prince Igor imagining her for the role she plays in his own Cinderella story. His wild daydreams show her in a pretty standard fairy tale, but the longer these fantasies go on, the more an independent Polly asserts herself and the less he likes it.


Cinderella as a metaphor comes up time and again in Who Are You, Polly Maggoo? How it pertains to Polly changes with each telling, each person having their own idea of what the glass slipper would be, allowing Klein to emphasize the cruel fetish of male possession. This also ties into fashion, which abstracts the female form and jails it in absurd concoctions. More than once, Polly is accused as a con artist that is part of some great duping of the feminine mind. Playing Polly, MacGowan stays fabulously above the fray. Though she may be a cypher in many eyes, Klein lets her be a real girl, herself, never hemmed in by the camera lens.


Of course, Klein never lets anything be hemmed in by the lens. His camera is always moving, if not literally, then by never lingering too long on one shot, cutting from one elaborate staged composition to another. There is no technique he isn’t willing to employ, including using stills and freeze frame images, jump cuts that drop frames out of a sequence, musical numbers, and even animation. His sets are like art installations, populated with fads and objects of ’60s modernism; overpopulated, you might say, to the point that they look futuristic. (One would suspect Roman Coppola watched Polly Maggoo when putting together CQ.) Who Are You, Polly Maggoo? is a film that is never at rest, alive with Klein’s anarchic sense of humor, reminiscent of the cinematic practical jokes Richard Lester played with the Beatles. It’s glorious to watch it all happen.

Arguably, Klein’s inability to sit still predicts the attention deficit disorder we find in current pop culture. As much as Who Are You, Polly Maggoo? parodies the 1960s, it also seems like Klein had a crystal ball where he saw MTV, the paparazzi, and other aspects of our celebrity-obsessed media. He even beats Andy Warhol to the “fifteen minutes of fame” punch by a couple of years, shining a light on the fickleness of public taste. By the end of the movie, Polly Maggoo is out of style, and people are moving on to find new faces to love.
excerpt by Jaime S. Rich (check out his great film blog HERE

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Guy Maddin


“I work under the banner of primitivity,” Maddin has proclaimed, and for the past two decades he has invoked the codes and forms of silent cinema and early talkies, of the film noirs and color-coded melodramas of the ’40s and ’50s, in his search for the cinematic sublime. Such Maddin classics as Tales from the Gimli Hospital (1988), Archangel (1990), and Careful (1992) aim to look exhumed, their tales of amnesia, incest, death, and transfiguration decked out in low-rent expressionism and dime-store surrealism. Whether shot in high-contrast black and white or aggressively artificial color (as in the exquisitely tinctured Twilight of the Ice Nymphs [1997]), the films rely on such superannuated devices as the iris, the lap dissolve, and superimposition, and on the cheap, dreamy blur provided by Vaseline, store-bought fog, and fake snow. The radical anachronism of this style is wedded to empurpled dialogue, crackly, muffled sound tracks, and a playhouse aesthetic in costume and set design, in which everything looks handmade, outsize, and illogical, keyed to the (soap) operatic passions and masochistic emotions of Maddin’s bushy-browed characters. Non sequiturs and convolutions proliferate in both narrative and style, until one is left adrift in an obscure, obsessive spectacle conjured up from disinterred art forms and private compulsions. (Though Maddin is frequently compared to David Lynch and the Quay Brothers, his funny, puzzling, and often overstretched first films have surprising affinities with the early work of German director Werner Schroeter.)

Maddin insists that no matter how outlandish his films are, they are all in some way autobiographical. Born in 1956 in Winnipeg, he escaped the laconic, Lutheran culture of the prairie Icelanders by watching films in the local cinemas, on late-night television, and, later, at home after he discovered a trove of 16 mm silent films. This mock-Canuck Cinema Paradiso account of his childhood underscores the semi-apocryphal nature of Maddin’s biography, whose formative events–his father’s Willy Loman life and early death, his brother’s suicide on the grave of his girlfriend, his own youth as a slacker surrounded by equally slothful male friends called “drones”–sometimes sound “heightened,” to use a favorite Maddin locution. An artist who invents the traditions that inspire him, is influenced by films he hasn’t seen, and makes versions of films that don’t exist and whose stock-in-trade is imagined memories and fake nostalgia…
Words by James Quandt for ArtForum

Here’s a clip of him talking about 2008’s “My Winnipeg”…

And here’s his wonderful short “The Heart of the World”

And some of “The Saddest Music in the World”

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Donkey Skin (Peau d’Ane)


“Children do not marry their parents.” In the fairy tale Blue Kingdom, beloved monarch Jean Marais grants his dying queen Catherine Deneuve’s last request: if he remarries, it must only be to a princess even more beautiful than herself. But the only one who fits the bill is his own daughter (Deneuve again), who tries putting him off with seemingly-impossible demands: dresses that rival the sun and the moon and “the color of the weather,” and then — the absolute limit — the skin of the kingdom’s treasurer, a donkey that poops gold and jewels. But just as it looks as though Mother Goose will go Freudian, it’s Deneuve’s ultra-chic fairy godmother Delphine Seyrig to the rescue, airily lending out her magic wand (“I’ve got a spare”) and then whisking Deneuve, disguised as malodorous scullion “Donkey Skin,” to the neighboring Red Kingdom. Still to come are a crone who spits frogs, a talking rose, a singing parrot, a cat and bird bal masqué (complete with an orchestra of mice), a one-size-fits-one ring that will determine the fate of charming prince Jacques Perrin, and the most insouciant of wrap-ups. Exquisite. . . the film lasts in the memory, because it gives pleasure. – Stanley Kauffmann of Film Forum


A Fantasy French Pop Musical….what more could you ask for?

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Jean Painlevé


Probably no substantial dimension of film history has been so thoroughly ignored by American film critics, historians, and theorists as the nature film (or “wildlife film”): those works of cinema that purport to reveal the lives of other species. This lack of scholarly attention seems to have resulted from the mistaken assumption that nature filmmakers do not reveal any philosophical or cinematic vision in their work, that nature films merely present facts. In recent years, a few books have begun to correct this misconception, including Gregg Mitman’s Reel Nature: America’s Romance with Wild life on Film, Derek Bousé’s Wildlife Films, Cynthia Chris’s Watching Wildlife, and Science Is Fiction: The Films of Jean Painlevé, edited by Andy Masaki Bellows and Marina McDougall, with Birgitte Berg. But these are the exceptions that prove the rule, and we have a long way to go before the accomplishments of this aspect of cinema history are appreciated and understood. In coming to terms with the immense world of nature cinema, a very good place to begin, as Science Is Fiction makes clear, is with French scientist-educator-filmmaker Jean Painlevé, whose groundbreaking work consistently revealed not only a commitment to informed science and effective communication but to the creative expression of ideas as well.
Scott Macdonald

Let’s face it…Science is Cool, Always has been. With that being said let’s focus on Jean Painlevé, the French scientist/filmmaker/theorist who led a very interesting life full of films, essays, plays, and biological research. He was a very modern thinker, and at one point was even affiliated with the Dada and Surrealist movements. He collaborated with Yvan Goll and when Man Ray needed starfish footage for his L’étoile de mer (1928), Painlevé worked his magic. His “Science” films (even though some were made over 70 years ago) are pretty stunning. And he was one of the first people to get underwater footage, by putting his camera in a custom designed waterproof box with a glass plate which allowed the lens to shoot…clever. 23 of his films available on a great 3-DVD collection called “Science Is Fiction“.

Here’s one film about Liquid Crystals…awesome electronic soundtrack starts after credits

And here’s another great one about the “vampire” bat, and it also has Seahorses and Octopuses…sorry no English subtitles

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CRÍA CUERVOS


“Cria cuervos is a sad film, yes. But that’s part of my belief that childhood is one of the most terrible parts in the life of a human being. What I’m trying to say is that at that age you’ve no idea where it is you are going, only that people are taking you somewhere, leading you, pulling you and you are frightened. You don’t know where you’re going or who you are or what you are going to do. It’s a time of terrible indecision.” – director Carlos Saura

Set almost entirely in a large, gloomy house walled up against the chaotic life of Madrid outside. Cria Cuervos paints a haunting portrait of the legacy of Fascism and its effects on a middle-class family. Ana Torrent portrays the disturbed eight-year-old Ana, living in Madrid with her two sisters and mourning the death of mother, whom she conjures as a ghost (played by an ethereal Geraldine Chaplin). And shortly after her mother passes, Ana finds her philandering father dead in bed with a married lover. Frosty Aunt Paulina arrives to look after the young girl and her two sisters. The all-female household is completed by the children’s grandmother, mute and immobile in a wheelchair, and the feisty, fleshy housekeeper, Rosa (veteran character actress Florinda Chico), who fills Ana in on the mysteries of sex. Seamlessly shifting between fantasy and reality, the film subtly evokes both the complex feelings of childhood and the struggles of a nation emerging from the shadows.
-excerpt from DVD notes

I’ll admit…this movie is a little dark, dead parents and lonely children, harsh subject matter. But there’s so much more to this great film, it transports you into the mind of an 8yr old girl who’s split between two worlds, her make believe one and the heavy real one. She doesn’t know how to cope with what just happened so her imagination runs wild and she starts talking to her dead mother and re-lives past memories that interweave with reality. The film is not all morose though, the 3 young actresses playing the sisters have perfect chemistry making for some very memorable scenes. Also there is this amazing song by Jeanette called “Por Que Te Vas” that reoccurs throughout the film making the viewing experience even better, and you can get it below…

Link: Jeanette – Por Que Te Vas

And here’s a scene from the film…i couldn’t find it w/ English subtitles

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Mondo Cane


My first exposure to the 60’s ‘shockumentary’ Mondo Cane was a while back when my friend Schroeder came by my work at the video store and found a VHS copy of it tucked away in the Cult Classics section. He watched it and then hyped it to me for weeks knowing that I’m usually a fan of stunningly absurd films with great soundtracks. And I’ll admit I was a bet hesitant, one of my “movie snob” moments. But soon enough I whipped out my VCR and experienced the strangeness that is Mondo Cane. The film is basically a “series of travelogue vignettes providing glimpses into cultural practices throughout the world intended to shock or surprise.” At times you can’t tell if what you’re watching is real or staged. Crazy locations, the footage is outrageous, the music is very theater-esque, and I thought it was pretty fascinating either way. Ha, my other friend and co-worker John says this is fake and boring piece of shit…everyone has their own opinion. Go see for yourself, they’re on DVD. The film was done by Italian filmmakers Paolo Cavara, Gualtiero Jacopetti, and Franco Prosperi and it spawned 5 sequels and the start of the Mondo Film exploitation documentary franchise. Strange stuff.

Click HERE for the soundtrack.

And for a little glimpse of Mondo Cane…

And the sequel…

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QUE VIVA MEXICO!


QUE VIVA MEXICO! is a film gem from the early 30’s. In 1927, 2 years afters the release of his amazing revolutionary propaganda film The Battleship Potemkin, Sergei Eisenstein had the pleasure of meeting Mexican muralist Diego Rivera, who was visiting Moscow and who spoke to Eisenstein “obsessively of the Mexican artistic heritage” exposing Eisenstein to the wonders of the ancient art and architecture of Mexico. And 3 years later Eisenstein found himself in Mexico with an amazing film crew on-hand. Filming began immediately and visual imagery was Eisenstein’s main focus, seeing as how they arrived without any sort of script in mind. The film is was originally supposed to be broken into 4 episodes which dramatize and explore different cultures of pre-Conquest era Mexico. Eisenstein filmed for about a year and a half until the funding for the film ran out and production came to a halt, and the film was recut in someone else’s hands. There have been various versions of this film/documentary but in 2001 it was restored to try and recreate Eisenstein’s vision and it was released on DVD by Kino Video….oh yeah!

“Having revolutionized film editing through such masterworks of montage as POTEMKIN and STRIKE, Soviet director Sergei Eisenstein emigrated west in hope of testing the capabilities of the American film industry. Quickly ostracized from Hollywood, Eisenstein, Grigory Alexandrov and photographer Eduard Tisse (at the urging of author Upton Sinclair) wandered south of the border where they began filming a highly stylized documentary on the people and volatile social climate of Mexico.
A blend of the ethnographic, the political, the scenic and the surreal, QUE VIVA MEXICO! is nothing short of brillant and remains superior to the legion of films it strongly influenced: Orson Welles’ IT’S ALL TRUE, Jodorowsky’s EL TOPO and the works of Sergio Leone. With sequences devoted to the Edenic land of Tehuantepec, the savage majesty of the bullfight, the struggles of the noble peon and the hypnotic imagery of the Day of the Dead, QUE VIVA MEXICO! is a vivid tapestry of Mexican life which takes its rightful place alongside Eisenstein’s other legendary works.”

If you can’t find the DVD at the local video store, then you can download it/watch it for free HERE on IMDB.
Below is an excerpt from the film….Check it out!

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topss by Eloi


Yupyup, it’s my turn to turn myself into a stereotype and make a year-end list. Personally i feel that these lists are kinda ridiculous yet, somewhat essential. 2009 = Too Many Bands That Sound the Same + Too Few Great Movies. Don’t get me wrong there was definitely some wonderful jemz that will stand the test of time, so let’s get to it (while i wait for the this damn Lost Season 6 premiere).

Sound Releases::::::::::::

Matrix MetalsFlamingo Breeze
2009 was a huge year for cassettes. Lo-Fi was all the rage. Yeah it’s been done, but this year some bands killed it with their DIY recordings. And this here my friends, was one spectacular display of that lo-fi goodness. This is what they’ll be playing at the club in 2169……check it out HERE.

Matias AguayoAy Ay Ay
Kompakt is completely on the international label tip, since their roster pretty much spans the globe. 2 years ago they came with the one-two punch of The Field and Gui Boratto, and 2009 saw the arrival of Matias Aguayo to the Kompakt family. This album is like a carnival of irresistible fluid like melodies. Matias has made his own harmonious Wonderland. We posted a few months ago….get it HERE.

Black DiceRepo
Brooklyn’s three piece presented us this year with an album that showed them continuing their musical journey in new directions. Pretty much melted my ears upon first hearing it, causing it to stay in my constantly changing music rotation. This album reminds me of their crazy visual/extremely loud live show. Go see them any chance you get, they’ll take you places you’ve never been.

Tim HeckerAn Imaginary Country
Joyful noise/Ambient Doom maestro Tim Hecker returned this year with another album that will make ones senses all fuzzy-like. It wasn’t the hugest leap forward in his musical ability but it still continues to amaze my ears even after countless listens. I guess this was considered a “concept” album and each of the tracks is for a different region of Tim’s imaginary country. Nice.

Junior BoysBegone Dull Care
To be honest, I was not a huge fan of Junior Boys before I heard this album. But once the sounds of this album reached my ears I was hooked. Totally infectious electro pop songs. Cheesy yes, but in the most perfect way. This album barely made it on the list…..some days i feel that Sally Shapiro’s My Guilty Pleasure is better. Still, both are great.

Films/Talkies:::::::::::
It’s kinda hard for me to make a list of my favorite 2009 films since I haven’t seen a lot of the 2009 films. For instance if i had seen them, probably Broken Embraces, The White Ribbon, A Serious Man, and The Road might have been on this list. But anyhow, here it goes:

Thirst – takes a dump in Twilight’s mouth

Anti-Christ – Pretty much…..speachless

Gomorrah – new generation of mafia films has begun

The Limits of Control – Come on…Spain, Jim Jarmusch, and a bunch of good looking international superstars who rendevous with a hitman to exchange encrypted messages, who doesn’t want to watch that.

District 9 – Finally…Sci-Fi is back

And FINALLY……..some musical reminders of why 2009 was so great::::::::::::::::::

Disc One – LINK
here is the playlist:
Walkabout (feat. Noah Lennox) – Atlas Sound
Love Is a Wave – Crystal Stilts
Can’t Get Over You – Vivian Girls
MLKs – The Strange Boys
Big Wave Rider – Rainbow Bridge
Despicable Dogs – Small Black
Weak For Me – Nite Jewel
Greek Ambassador – Geneva Jacuzzi
Asleep At A Party – Memory Cassette
New Theory – Washed Out
Behind The Bank – Oneohtrix Point Never
Turned On – Ecstatic Sunshine
Mega Secrets – Family Portrait
In My Room – Best Coast
Don’t Mind – Spectrals
Old Folks – Real Estate
WARRIOR – The Bitters
Revamper – The Pheromoans
Hair – Ganglians
See Inside – Factums
Dream For Your Bathwater – Terror Bird
Memory Of Self – Dolphins Into The Future

Disc Two (Electronics) – LINK
here is the playlist:
Walter Neff – Matias Aguayo
Moonlight Dance – Sally Shapiro
Hazel – Junior Boys
Start Something – Morten Sorenson
Bail Me Out – Trus’me
Jeffer – Boys Noize
Feast Your Eyes – Afrobutt
Bursting The Bubble – Gatto Fritto
A New Bot – The Juan MacLean
Poison Lips – Vitalic
Fire Power (Original Mix) – Wolfgang Gartner
Narrier – Nathan Fake
00/346 & 00/380 (Dandy Jack & The Queen Of Mars Remix) – Conrad Schnitzler
Mouth [Brad Peep’s Remix For Friends] – Iz & Diz
Geode – Emeralds

Muy Bueno!

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topss by bobby peru


So it’s time for the all important list of top music releases and movies, that categorizes me into one stereotype or the other….I’ve been holding out on you. haha. It’s been a year of summer time anthems for music and end of the world themed flicks. Anyways, here are my pickz.

Releases:

Various Artist– Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981

This album has filled my world music fix for the past few months. Amazing grooves and vocal patterns make this album my top pick. This is the Label that released the Nigerian Disco Funk Special a couple years back, which is one of my favorites. I remember when liking world music was lame. haha.

Hudson Mohawke– Polyfolk Dance EP

This dudes beats will fade anyone.

Neon Indian– Psychic Chasms

The two hits on this album made the rest of the album tolerable, just check out Dead Beat Summer and Terminally Chill. I probably wouldn’t go to one of their shows but the music is fun and hazy at the same time, that’s always a good time.

Abe Vigoda– Reviver

I listened to this EP way too much in the beginning of the year, it’s great. Dark and morose but at the same time still up beat. They are self proclaimed tropical punk. I can dig it, can you?

Prefuse 73– Everything she touched turned Ampexian

I will pretty much side with Prefuse on any debate. Even though this isn’t a debate I am picking this album mostly because I want Prefuse to not sound like Prefuse any more. This album was an expected step for the journeyman beat smith. The only feeling this album gives me is… what’s next, dude?


Movin Pictures

When it comes to films I mostly stick to the ones that have the most explosions rather than most interesting camera angle, while I appreciate the art of film making I mostly like the movies that are meant to entertain rather than insight and enlighten me. I pretty much like movies that have a character who is a Badass. That’s right… a fucking BADASS. Here are my top 5 BADASS movies of the year two thousand and nine…!

Sin Nombre

Tyson

Bad Lieutenant

Black Dynamite

Inglourious Basterds

SOOOOO>>>>>>

I also included a playlist of some of my favorite beat oriented tracks from this past year. This goes out to all my low brow, scandalous, scummy, under paid, procrastinating brothers and sisters. Nod your head and blaze a Bleeeeeeeeee.!

2010 is for us to get our shit together. yeeYEE!
Happy New Year.

PLAYLIST:

JUST JAMM IT 2:10 Breakfast Mountain
Beep 16 1:11 Koushik
Fire Wood Drumstix (feat. Doom) 1:31 J Dilla
Anything Worse 4:15 The Gaslamp Killer
Party 2:59 Powell Beatnicks Tape #02
Polkadot Blues 3:00 Hudson Mohawke
1685/Bach 2:48 Nosaj Thing
Freak Love 2:52 Toro Y Moi
Luck 2:14 Washed Out
S’Vive 4:06 Bibio
vibrationz 2:12 Javelin
Parachute Panador 1:04 Prefuse 73
Want You Back 4:10 Nite Jewel
Thin Moon 2:56 James Pants
My Step 3:27 Little Dragon
Bebey (DJ /rupture and Matt Shadetek Remix) 5:13 Gang Gang Dance
Antillas (Banana Clipz (Bersa Discos) Remix) 3:46 El Guincho
Love Cry (Joy Orbison Remix) 4:54 Four Tet
Stop Talking 7:05 Memory Tapes


Now that the electronic music is covered I felt one sided, so here is a collection of some other tunes I dug this year that didn’t categorize as beatz. It’s mostly indie rock tunes, an Animal Collective Remix, and a Re Issue of the song Tamale.

I call this play list… et al:

Mirando (Animal Collective remix) 9:57 Ratatat
Mickey Mouse 5:31 Wavves
House 4:07 Abe Vigoda
Dark House 3:53 The Mayfair Set
Die Tonight 2:18 Ty Segall Lemons
Angry Charlie 3:40 Generationals
Sparxxx 2:42 The Love Language
I Just Want To See You Underwater 4:47 Here We Go Magic
Trashy Boys 4:57 Tickley Feather
Tamale 3:11 Pagadeja
Remade Horizon 3:55 The Dirty Projectors
Suburban Dogs 4:36 Real Estate
Pleasant Experience 3:33 Small Black
Highway Ribbon 3:54 Brian Glaze
One track mind 2:03 Mayer Hawthorne

Eloi’s list will be up soon, son!

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