January 30, 2012

January 30, 2012
The Luck Index: Season 1, Episode 1

Recapping Luck because my spirit animals, Milch and Mann, created it. Internet!

January 28, 2012
Marisa Berenson in Barry Lyndon, 1975
Dir. by Stanley Kubrick

Marisa Berenson in Barry Lyndon, 1975

Dir. by Stanley Kubrick

January 28, 2012
"The original score for Spartacus was composed and conducted by six-time Academy Award nominee Alex North. It was nominated by the American Film Institute for their list of greatest film scores. It is a textbook example of how modernist compositional styles can be adapted to the Hollywood leitmotif technique. North’s score is epic, as befits the scale of the film. After extensive research of music of that period, North gathered a collection of antique instruments that, while not authentically Roman, provided a strong dramatic effect. These instruments included a sarrusophone, Israeli recorder, Chinese oboe, lute, mandolin, Yugoslav flute, kythara, dulcimer, and bagpipes. North’s prize instrument was the ondioline, similar to an earlier version of the electronic synthesizer, which had never been used in film before. Much of the music is written without a tonal center, or flirts with tonality in ways that most film composers would not risk. One theme is used to represent both slavery and freedom, but is given different values in different scenes, so that it sounds like different themes."

On the music of Spartacus

January 28, 2012
[Flash 9 is required to listen to audio.]

Arctic Monkeys, “Katy On a Mission” (Katy B Cover)

This ought to be a new standard.

January 27, 2012

ScHoolboy Q, “NigHtmare On Figg St.”

(Source: youtube.com)

January 27, 2012

January 27, 2012

Important baby.

January 24, 2012
GQ: Ari, you’re about to finish up a run in Relatively Speaking on Broadway. It’s three one-act plays, and you’re in the one written by Woody Allen. Do you have a good Woody story?Ari Graynor: He was so present. I would be running out on stage and he’d say, “I have a new joke for you.” And he would give it to me. And I would give it back to him. And he would give us notes. The best thing was, opening night, he gave us all mezuzahs. 
GQ: The Jewish doorpost? Nice.Ari Graynor: So I have a mezuzah from Woody Allen. This is a little bit of backstory. So, there’s a moment in the play where we’re talking about these books that these characters have written. And I don’t say anything. I thought it was weird that I didn’t say anything. So in rehearsals, I asked John Turturro—who was the director—about it. He said, “You go up to Woody Allen and ask him.” I go, “Alright.” So I went up to Woody and I said, “I think maybe I should say something here.” And he took the pages and took off his glasses and he said, “I’ll go home and look at it tonight.” And then he came back and said, “I have a joke for you if you want to try it.” I said, “OK.” This was the joke: I say, “The character of Rosalie who performs oral sex at the Seder was based on me.” 
GQ: That’s funny.Ari Graynor: So when he gave me the mezuzah opening night, his handwritten card said, “You can come to my Seder anytime. Woody.” 
GQ: That’s amazing.Ari Graynor: It’s pretty much the most incredible thing that’s ever happened to me.

GQ: Ari, you’re about to finish up a run in Relatively Speaking on Broadway. It’s three one-act plays, and you’re in the one written by Woody Allen. Do you have a good Woody story?
Ari Graynor: He was so present. I would be running out on stage and he’d say, “I have a new joke for you.” And he would give it to me. And I would give it back to him. And he would give us notes. The best thing was, opening night, he gave us all mezuzahs.

GQ: The Jewish doorpost? Nice.
Ari Graynor: So I have a mezuzah from Woody Allen. This is a little bit of backstory. So, there’s a moment in the play where we’re talking about these books that these characters have written. And I don’t say anything. I thought it was weird that I didn’t say anything. So in rehearsals, I asked John Turturro—who was the director—about it. He said, “You go up to Woody Allen and ask him.” I go, “Alright.” So I went up to Woody and I said, “I think maybe I should say something here.” And he took the pages and took off his glasses and he said, “I’ll go home and look at it tonight.” And then he came back and said, “I have a joke for you if you want to try it.” I said, “OK.” This was the joke: I say, “The character of Rosalie who performs oral sex at the Seder was based on me.”

GQ: That’s funny.
Ari Graynor: So when he gave me the mezuzah opening night, his handwritten card said, “You can come to my Seder anytime. Woody.”

GQ: That’s amazing.
Ari Graynor: It’s pretty much the most incredible thing that’s ever happened to me.

January 24, 2012
In Utero.

In Utero.