- On Sunday I was this close to finishing off my record. Then I realized my basement carpet was damp. Ha. The tribulations of going through MN winters, I suppose. But yep… just about done with her. She’ll be 21 tracks, running about 55 to 57 minutes. Just short of an hour. Self titled, because she will chronicle the section of my life that made me start doing this to begin with. So it’s sort-of a “birth of…” thing, if you will. But what… I’m gonna call it “The Birth Of…”?? C’mon, I’m an asshole but I’m not that pretentious. Other self news: I’m leaving for Memphis Monday for my new job. So I’m not sure I’ll be posting here much. Course, this could go the opposite direction and I could be so bored with what to do with myself that I’ll be posting several times a night in my hotel room. It’s looking like the release date should be in May; until then keep up with Black Lantern Music cause some really cool stuff is going to be coming out between now and then.
- Sooo… this is only the second time in history we’ve discovered a triple quasar. The easiest way to define a quasar is a “galactic seed, or nucleus”. With double-quasars, it’s believed to be a result of two galaxies colliding. In other words, there’s crazy shit going on out there… we’re not even specs of dust. We’re specs of dust on one side of an electron only. Here’s the article.
- Years before Rian Johnson scored a moderately mainstream hit movie in last year’s Looper, he directed Brick. A neo-Noir throwback to the crime, in over your head flicks and novels of the late 30′s and 40′s taking place in an American suburban high school. It strangely works very well. And I have a feeling it would have been taken more seriously if the film starred adults and not teenagers. Anyways, yesterday The Onion’s AV Club posted an article about the opening sequence of Brick.
“There’s also sorrow in the juxtaposition of a slow push into Gordon-Levitt’s face, half-hidden behind hands clasped together in a classic thinker’s pose, with inserts of the girl’s lifeless body at the edge of the water. It was during this back-and-forth, as the camera measures Gordon-Levitt by way of his non-reaction to shoes, hair, and odd-shaped bracelets, that I mentally wrote the note “Dear Dear Wendy: Sorry.” Until then, though, I couldn’t necessarily articulate what made this sequence of shots seem so powerful. Watching it again, I belatedly realized something: Gordon-Levitt’s eyeline never changes. We see him ostensibly looking at different details each time, but that’s never cued by eye movement. And then I realized something else, which I can’t believe I never noticed before: Those inserts aren’t from the angle at which he’s viewing them. From where he is, her feet should be at the top of the frame; instead, they’re at the bottom, shot from her other side. The other two shots are likewise reversed. You could call that an error, I suppose, but coupled with the fixed eyeline, what it suggests (and I think this is what I always responded to, unconsciously) is that Gordon-Levitt can’t process what he’s seeing.”
- Relatedly, Danny Boyle’s 7 film-making tips.
- ARTIST OF THE DAY is M.S. Corley. Here’s a commission he did for a “Blighted Druid”: