#Singer Factory

[agiantmonster]

1/5

[the-cricket-chirps]

Andy Warhol

Debbie Harry, New York

1980

Polaroid photos

[legendarytragedynacho]

The Factory days

On Couch L to R: Gerard Malanga, Nico, Donovan, Barbara Rubin. Behind couch L to R: John Cale, Danny Williams, Sterling Morrison, Andy Warhol, Lou Reed, Moe Tucker and someone behind Lou and Andy

Photo by Nat Finkelstein

Source: Barbara Rubin Film IG

[bigyetimane]

I have been watching bad movies on purpose and keeping track of them on my Facebook and I thought I'd bring it over here.

This is the most complete review I've done so far, enjoy.

A sci-fi horror film featuring Walmart Han Solo.

I thought I was going to like this after we got the first jump scare but it went downhill fast.

Bryan Cranston shows a lot of Heisenberg, he even has space cancer.

The cool little creature that ate you from the inside quickly turned into a giant dragon like creature, looked cartoonish.

The soundtrack was whimsical. At 12:30 there is one of the most out of place music songs I've ever seen.

The scene after the opening credits features a space battle specializing in flashing blue lights so that sucked for my eyeballs.

Only 3 of the 10 actors featured any talent and Bryan Cranston would be the only performance I considered good.

The female lead was as stiff as a board and the character I wanted to die most. She constantly whines like a petulant child.

Would have liked it more of it kept the violence up but that was replaces by long drawn out boring scenes and a random desert adventure.

Attached at the end is a gif of my feelings about this film

[musicollage]

Beth Orton — Weather Alive. 2022 : Partisan.

! enjoy the album ★ buy me a coffee !

[bkenber]

'Trouble in Mind' Celebrates Its Anniversary Screening at New Beverly Cinema

http://www.allwallpapersfree.org WRITER’S NOTE: This article was written in 2010, back when this anniversary screening took place. Alan Rudolph’s 1985 neo-noir movie “Trouble in Mind” reached its 25th anniversary in 2010. This is especially significant because it got lost by its distributors about twenty years ago, and they only recently found a print of it. The movie has since been restored…

[bl-bam-beyond]

BAM- BEAUTIFUL ASIAN MEN

WEERAPONG ODHOENG

[Nickname: OPP]

[anlilmusic]

ANLIL Takes the Stage: Live at WFNM Showcase - RSVP NOW

We Found New Music (WFNM) is gearing up for yet another electrifying showcase on April 30th at Hotel Ziggy, and this time, all eyes and ears are eagerly awaiting the performance of ANLIL. With her captivating blend of dark pop and Middle Eastern influences, ANLIL promises to deliver a spellbinding experience that transcends boundaries and resonates deeply with listeners. Grant Owens, co-founder…

[mopsburgfalls]

chocolate & theatre kids

[savage-kult-of-gorthaur]

"IT'S EASY TO SEE DYLAN AS THE UN-ANDY..." -- A MEETING FOR THE AMERICAN HISTORY BOOKS IN '66.

PIC(S) INFO: Spotlight on shots of Bob Dylan dropping in on the infamous Factory, NYC (Andy Warhol, Gerard Malanga, and Barbara Rubin were present for the event), c. 1966. 📸: Nat Finkelstein.

OVERVIEW: "It’s easy to see Bob Dylan as the un-Andy: Jewish to Andy’s Catholic, straight to Andy’s gay; audio to Andy’s visual. And the Dylan camp, though heavy into amphetamines, was also heavy into downers — pot and heroin — while the Factory was Speedy Gonzalez central, amphetamines all the way.

Says Fields, “Dylan and Grossman [Dylan’s manager] didn’t like Andy, didn’t like the Factory. They were telling Edie that we were a bunch of fags who hated women, that we’d destroy her. Supposedly Grossman was going to manage her, and Dylan was going to make a movie with her. It never happened, but there was talk.’’

Of course, from a present-day vantage point, Dylan and Andy seem pretty evenly matched in terms of influence and renown. Not so in 1965, the year Dylan went electric. Says Jonathan Taplin, a former road manager for Grossman, “Music was huge at the time. As far as the counterculture was concerned, it was it. And there was no bigger star in music than Bob Dylan.” Edie’s head was turned.""

-- VANITY FAIR, "Andy Warhol and Edie Sedgwick: A Brief, White-Hot, and Totally Doomed Romance," c. Holiday 2017 issue

Sources: www.vanityfair.com/style/2017/12/andy-warhol-and-edie-sedgwick-a-brief-white-hot-and-totally-doomed-romance, Mutual Art, Pinterest, Reddit, various, etc...

[the-cricket-chirps]

Andy Warhol, Dolly Parton, 1980s Polaroid Photo

Andy Warhol, Dolly Parton, ca. 1985

Andy Warhol, Dolly Parton, 1982, Limited Edition Print

[in-sightpublishing]

Conversation with Professor Peter Singer Animal Ethics: Ira W. DeCamp Professor of Bioethics, Princeton University (4)

                        Publisher: In-Sight Publishing Publisher Founding: March 1, 2014 Web Domain: http://www.in-sightpublishing.com Location: Fort Langley, Township of Langley, British Columbia, Canada Journal: In-Sight: Independent Interview-Based Journal Journal Founding: August 2, 2012 Frequency: Three (3) Times Per Year Review Status: Non-Peer-Reviewed Access: Electronic/Digital & Open…

[thejoyofviolentmovement]

New Video: JOVM Mainstay Robert Finley Shares Swampy and Swaggering "Sneakin' Around"

New Video: JOVM Mainstay Robert Finley Shares Swampy and Swaggering "Sneakin' Around" @therobertfinley @easyeyesound @Bigfeatpr @danauerbach

 69 year-old Winnsboro, LA-born, Bernice, LA-based singer/songwriter and JOVM mainstay Robert Finley grew up one of eight children in a family of sharecroppers. As a child, Finley as unable to regularly attend school and often worked with his family in the cotton fields. When he was a teenager, he briefly attended a segregated school, but he was forced to drop out in the 10th grade to help the…

[fabiansociety]

we've been watching these #100MovieMusicals for almost two years now (good lord), and i have to say i personally find a lot less to talk about in the genre that i did with the horror movies. i don't think this is *necessarily* inherent to the format, but I do think it's maybe inherent to the *movie* format. musicals are frequently big productions in ways that horror simply doesn't need to be, and requires actual skills in a way that horror movies don't.

not that creating horror doesn't require skills, but a lot of the horror movies we watched were made by amateur crews starring amateur actors, with bad sound and writing, and not only did that not detract from their effectiveness, it might have enhanced it — carnival of souls is the obvious example there. that's much harder to get away with in a musical; you need people who can sing OR dance OR both and you need songs that are actually good, and those are all skills that take a long more time and focus to develop. you need to record the performances better, you need to light the performances more, it's a lot harder to fall back on a fantastic high concept and a few striking visual images in the same way.

all of that costs money, and money means you end up with a more conservative project — small c conservative, the kind of conservative you get with giant action movies that have to fill seats and can't get risk offending anyone too much. you don't get the multiple layers of subversion and subtext as much, which makes the movies harder to talk about. there was some of that in horror — big budget horror is much more conservative than low budget horror — but the floor is so much higher for musicals.

also also most american movies musicals are white supremacist on a structural level, and while that's interesting as a historical fact, and much more obvious after watching so many of them in sequence like this, it's not as fun to dig into the way unpicking the sweaty sexual anxiety and queerness of horror is. like, by white supremacist, i don't mean that musicals are overtly racist (thought definitely that too, sometimes) but that they are inextricably bound to american minstrelsy traditions in ways that echo through the decades even as the blackface and black performers disappear. like, channing tatum's character in step up is performing blackness in a white body no less than al jolson was in the jazz singer; there's continuity there, the same way there's a continuity between frankenstein and the hitcher, but horror identifies with the oppressed in a way that musicals, generally speaking, do not.

there are definitely peaks and valleys, though. the 1970s were a fantastic decade for downbeat, experimental musicals, and maybe my personal high water mark for the format so far — that run of Fiddler, Willy Wonka, Nashville, Rocky Horror, Sholay, Bugsy Malone, and Saturday Night Fever was incredible, if hard to watch all in a row — and there hasn't been a decade without something interesting to dig into, but i don't get giddy about the saddest music in the world the way i did about the innocents.

[fuckyourtriangles]

The opening theme song to Rune Factory 4 goes so hard, like... omg.

[purvlereign]

Black women carried the House genre.