Ghanaian photographer Philip Kwame Apagya's relentlessly upbeat images of people at play and at rest. Using specially commissioned painted backdrops, the studio portraits depict (literally) the subjects' fantasies and desires. More often than not, these include new televisions or stereos and refrigerators full of fancy food. I like the ones showing less tangible ideals: a picnic on a well-kept lawn, or one's first adventure to the big city.
Hat tip to Weird Friends
Robert Rauschenberg, 1966
Paul Newman, 1964
Ike & Tina Turner, 1965
Signs of the Times, a comprehensive survey of Hopper's work, is up now through October 24th at the Tony Shafrazi Gallery. Additionally, Taschen has released a corresponding book.
Thee Oh Sees and the Fresh & Onlys, live at the Compound 9.21.09
I first saw this film in a high school film class. Filmed illegally in 1976, in the hazy minutes before dawn in Paris, Claude Lelouch's C'était un Rendez-Vous is simply nine minutes of reckless, high speed driving. All we can hear is the revving and down-shifting of the engine, the squeal of tires as corners are rounded. The low-mounted camera add to the thrill, allowing us to really feel the swift motion of the car.
The title card at the beginning states that "the film was produced without photographic tricks nor changes in camera speed," and though the consensus is that's true, there has been speculation that Lelouch dubbed in the engine noise from a different vehicle (perhaps a Ferrari of his) to produce a greater range of shifting sounds and engine RPMs. Likewise, various nerds have watched the film with a stopwatch in hand, mapping the route and claiming that Lelouch could have never topped more than 75mph. Whatever the case, Paris has rarely looked as good as it does in the final scene at Sacre Coeur.
Harbingers of the newest strain of mutant Memphis pop, the Magic Kids and the Barbaras (two bands who share a hand-full of members with each other and the current Jay Reatard band) are making waves with their twisted variants of the Ronettes/Beachboys/Specter sound. Nylon Magazine has already announced that it's got a "band crush" on the Magic Kids, and the Barbaras' profile keeps rising with every Reatard tour. Anyway, it seems like both of these bands are always playing whenever I'm in Memphis, whether it's a daytime bbq or a 4am after-Gonerfest house party. If you find yourself in the Bluff City anytime soon, keep an eye out.
Magic Kids: Cry With Me Baby
The Barbaras' first practice.
If you're in LA this weekend, make sure to head over Heath Ceramics' LA shop for Japanese potter Akio Nukaga's reception and opening. If you can't make it (it appears the event requires an RSVP), Nukaga is giving a free wheel throwing demonstration tomorrow, also at Heath. More info here.
Born in Kentucky but a nearly life-long resident of Chattaroy, West Virginia, Nimrod Workman was coal miner for 42 years. After developing black lung in the 1950's, Workman began a nearly-50 year second career as a union activist and folk balladeer, releasing a couple of albums in the 70's and appearing in the documentary Harlan County, USA and in the film Coal Miner's Daughter, about the life of Lorretta Lynn.
Possessor of high, reedy, and strong voice, despite chronic lung problems, Workman's music embodies what I love about the best songs and performers of Appalachia. Mournful but not self-pitying, the songs resonate with all the truth and beauty of life, instantly transporting the listener a place both specific and yet somehow universal.
The funeral scene from Coal Miner's Daughter, with Workman leading the mourners in Amazing Grace.
- ► 2010 (34)
- PHILIP KWAME APAGYA
- DENNIS HOPPER: PHOTOGRAPHS 1961-1967
- LIVE AT THE COMPOUND
- SPIDER SILK
- WILLIAM EGGLESTON: STRANDED IN CANTON
- WHITE MYSTERY
- MONDO VISION
- IT WAS A DATE
- MAGIC KIDS / BARBARAS
- THE ETERNAL
- AKIO NUKAGA IN LOS ANGELES
- MY NAME IS MY NAME
- PHOENIX COMMOTION
- PASSING THRU THE GARDEN: NIMROD WORKMAN
- ▼ September (17)