#majchrzak

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Inland Empire (2006) David Lynch

February 3rd 2024

[jakubmajchrzakmusic]

09.09.2024 in Wrocław (PL). Live at Club Proza/Wrocławski Dom Literatury on Bliżej Kultury: Czytanie Sensoryczne event. Prose readings by the writer Olga Tokarczuk (reading "The Physics of Sorrow" by Georgi Gospodinov) and the actor Mariusz Bonaszewski (reading Tokarczuk's "The Books of Jacob") accompanied by music composed and performed by me on synthesizer between the readings.

[jakubmajchrzak]

Thinking for a change. Make the world better (2024)

Camera, editing, post-production and music by Jakub Majchrzak. Questions by Dr Karol Morawski.

[stateofsport211]

Amersfoort Ch R1: Filip J. Planinsek def. Kamil Majchrzak 6-4, 0-2 Match Stats

📸 ATP official website

Likely overcoming nerves during the start of play, Filip started to get the hang of the rhythm as soon as he unleashed his powerful strokes, with his volleys frequently finished it as he gradually moved forward. While maintaining the balance could be a challenge, his pacing also did the job in the pressing moments as he made Kamil uncomfortable in some baseline exchanges, suggesting that most of the flow was in his racquet. This way, he could optimize his 100% break point conversion rate out of just 1 break point toward the end of the first set compared to Kamil's 20% break point conversion rate from his 5 chances.

Interestingly, both players seemed to have distinct service game strengths before Kamil's retirement. Scoring 8 aces, Filip was stronger in his first serves as he won 71% points behind his first serves, 6% more than Kamil, which helped him to manage some troubles in between. However, even though neither player double-faulted, Filip's occasional shot rushes faded his second serve winning percentage 30% behind Kamil, who had an outstanding second serve winning percentage at 72%.

In the second round, Filip will face the winner between Stefano Travaglia and Enrico Dalla Valle. The latter's experience could be a decent test for the former's powerful play, as pacing would also play a critical role other than if either of them appeared more aggressive to stand out in this match. Could be one of the most exciting matches for the round!

[caarcas]

KONOPIELKA (Polonia, 1982).

KONOPIELKA dirigida por Witold Leszczynski – Polonia, 1982 – Drama, Comedia – 88 min. Película extraña, que arranca con ínfulas de comedia y deviene en una especie de drama social con posible centro en el conflicto entre mundos agrarios, premodernos, feudales y la llegada inminente del “progreso” capitalista o modernidad a ese universo que contiene la aldea y que en realidad es una burbuja…

[cinemaquiles]

O fim do mundo: O Bi, o Ba - O Fim da Civilização (Obi, OBa, the end of civilization, 1985)

[oldsardens]

Mateusz Majchrzak - R3. 2020

[mariacallous]

It’s a greyish Saturday afternoon in late August, and alongside other street party attenders, I’m watching two flamboyantly dressed women, one clutching a flute, backed by three male musicians while they shout out the lyrics to their new song, Kiddy Ska Party.

“I told you about my stitches / I told you about my stitches / Stop talking about my stitches / Stop talking about my stitches,” one is yelling. In the front, her almost-two-year-old daughter gestures towards her while an audience of adults, from old blokes with beers to young parents with prams, look alternately elated and amused. Somewhere near the jerk chicken stall my son runs up and down, having never played on a street without cars before. The scene is one of beautiful, eccentric mayhem.

This is postpartum punk, the ethos behind the band Pushy Pushy Pushy, “two fresh mothers and three sound candies”, on what they hope is a journey towards the Pyramid stage. Lead singers Ania Poullain-Majchrzak and Florence Devereux, who play alongside John on drums, Andrew on guitar and George on bass, were making music before they had children, but it was motherhood that liberated them creatively.

I spoke to the duo in a pub local to us. “I don’t want to swear,” Devereux grins a bit sheepishly, as though there are kids listening, “but you give less of a fuck, in a way. When you become a mum, your tolerance for caring becomes a lot less. So it kind of unleashed us.”

Considering all the screaming, bodily fluids and late nights, it’s ironic that punk and motherhood aren’t exactly known to go hand in hand (though Nico and Siouxsie and the Banshees wrote the occasional song about it, and Patti Smith collaborated with her daughter). But generally, as in the field of visual art, women with children have historically struggled to make space for themselves and to be taken seriously – despite the fact that every single human life on the planet is born of a mother, so it’s hardly the artistic niche it’s made out to be. Pushy Pushy Pushy have made it a personal mission to carve out space for mothers in the music industry to subvert this inequality.

Poullain-Majchrzak says that she used to censor herself, but after having a child she felt more free “to take the lid off and let it out”. I know that feeling well. There have been times since becoming a parent where I have wanted to go into the kitchen and scream. So why not scream into a microphone? The loss of identity, time, sleep, social life can make you feel rageful, certainly – but it can also make you feel as though you’re bursting with more creativity than you’ve ever possessed before.

“After giving birth, there’s that sense of desperation, in a way, around the limited time you have to express yourself,” says Devereux (a pertinent lyric: “I’m in a prison of my own making / Gave birth to my girl when I was shaking”). “That scarcity of time means that you cherish it even more. It focused our minds, it focused our energy,” Poullain-Majchrzak chips in. “You are desperately trying to save yourself, because you are under the pile of nappies.”

In refusing to buy into a picture-perfect vision of motherhood, Pushy Pushy Pushy are the antithesis of the tradwife movement and its fixation on home- and baby-making. I first saw them play a year ago, at another local street party, and though it felt cathartic, it was also huge fun. Their stage presence owes a lot to performance art: at a gig earlier this year, the band put together a Punk Mother Chaos Choir which they assembled by putting posters outside local stay-and-plays (I cannot tell you how much I love this, and how much seeing such a flyer would have felt like a life raft alongside all the notices for weaning workshops and breastfeeding groups).

“We had people who had children, who didn’t have children, who had different genders,” says Devereux. “Anyone who feels connected to that kind of, yeah, the primal energy of birthing.” It was a powerful moment being joined on stage. “They just basically … there was no rhyme or reason. They were just screaming and hitting the different instruments, as I remember. It was just chaos.” They now want to run regular jams with other mothers.

As a blueprint for maternal creativity, Pushy Pushy Pushy inspire. They recognise that you need art to survive, and that to pursue it requires two vital conditions: the time and space without children to write and record, and the entourage of friends and family who care collectively and free up that time. It should be comforting to any mother with art ambitions who feels she is treading a tightrope between care and self-expression. They dream of one day playing the Acropolis (“the day I hit menopausis”, according to their song Ciao Darwin), but their more immediate plan is to design a child-friendly tour bus. Will it one day take them to Glastonbury? They are certainly pushy enough to get there.

What’s working I am enjoying Helen Charman’s vital, meticulously researched Mother State: A Political History of Motherhood, which as well as telling the stories of the mothers fighting for change over the past 50 years in the UK and Ireland makes a radical case for liberated, collective mothering. I have a feeling it might end up being to our generation what Of Woman Born was to the women of the 1970s.

What’s not My boy isn’t sleeping well and hasn’t, really, all summer. I’m completely exhausted and trying to hold it all together, but at times it’s really, really hard. To all those sleep-deprived parents out there: I see you. Solidarity. I hope we all get some kip soon.

[patsuking]

Alesia Majchrzak

[emperornero]

zapiszę sekretne lore z planu filmowego qv 2001 które było w tamtym usuniętym wywiadzie póki jeszcze je pamiętam. jeżeli ktoś jakimś cudem ma tamten filmik / fragmenty niego cokolwiek błagam potrzebuję go. wywiad był chyba z 2016?? ale nie dam sobie ręki uciąć. nie wiem kto go przeprowadzał to chyba był jakiś kanał yt skupiony na filmach polskich ?

w wywiadzie byli na pewno paweł deląg [winicjusz] michał bajor [neron] małgorzata pieczyńska [akte] krzysztof majchrzak [tygellin]. autentycznie nie pamiętam nikogo innego i na pewno nie było bogusława lindy. a szkoda

deląg grał sceny jazdy konnej bez kaskadera zastępującego go oprócz jednej sceny bo miał przerwę. pozwolił grać kaskaderowi i poszedł na papierosa. akurat wtedy koń postanowił wjechać prosto w drzewo i kaskader trafił do szpitala

bajor mówił że wygrał rolę zaraz po tym jak się do niej zgłosił i że nie musiał o nią walczyć. good for him

bajor i pieczyńska spędzali większość czasu na planie razem i ona go nazywała michałek😭besties

majchrzak twierdził że żaden inny aktor go nie lubił i kiedy miał grać wszyscy byli bardziej drętwi niż zwykle. pan maruda niszczyciel dziecięcych uśmiechów........

przez tą rolę na występach bajora przedstawiali jako "nerona polskiej estrady"

[brokehorrorfan]

Inland Empire will be released on Blu-ray on March 21 via The Criterion Collection. The 2006 film is written and directed by David Lynch (Twin Peaks, Eraserhead).

Laura Dern, Jeremy Irons, Justin Theroux, Harry Dean Stanton, Karolina Gruszka, Peter J. Lucas. Krzysztof Majchrzak, and Julia Ormond star in the experimental horror movie.

Inland Empire has received a new HD digital master from a 4K restoration supervised by Lynch, with 5.1 surround DTS-HD Master Audio and uncompressed stereo soundtracks, newly remastered by Lynch and original rerecording mixers Dean Hurley and Ron Eng.

Special features for the two-disc set can be found below.

Special features:

LYNCH (one) and LYNCH2 - 2007 documentaries by blackANDwhite

A conversation with actors Laura Dern and Kyle MacLachlan (new)

More Things That Happened - 75 minutes of extra secens

Ballerina - 2007 short film by Davd Lynch

Reading by David Lynch of excerpts from Room to Dream, his 2018 book with critic Kristine McKenna

Trailer

Booklet with excerpts from Richard A. Barney’s book David Lynch: Interviews

The role of a lifetime, a Hollywood mystery, a woman in trouble . . . David Lynch’s first digitally shot feature makes visionary use of the medium to weave a vast meditation on the enigmas of time, identity, and cinema itself. Featuring a tour de force performance from Laura Dern as an actor on the edge, this labyrinthine Dream Factory nightmare tumbles down an endless series of unfathomably interconnected rabbit holes as it takes viewers on a hallucinatory odyssey into the deepest realms of the unconscious mind.

Pre-order Inland Empire.

[daikenkki]

X

[jakubmajchrzakmusic]

Live at Canti Spazializzati#15: PARTYTURY SŁUCHANIA / KONCERT at BWA Wrocław Główny, 21.10.2023.

Photos by Wojciech Chrubasik. Score photos by Daniel Brożek (Canti Spazializzati).

What I’ve composed for the performance in mind roughly found its graphic representation in the embroidered score . As I said on the stage, the piece does not have a strict chronology (except for this general, dramatic one) so the rag shows the individual embroidered phrases in the order in which they first appear. The order in which they are performed is sometimes arbitrary and intuitive, and sometimes, for example, involves building a melody out of individual phrases over time. In general, the direction of movement through the fabric is like that of a book: from left to right and than the next line, while the placement of the stitches within this logic reproduces the pitch relationships as closely and clearly as I could do it. In this sense, it resembles traditional musical notation, except that it moves through quarter-tone tuning. The guitar is broken into 3 signals (distributed to 8 speakers), the red thread on one side is the unprocessed signal, the red thread on the other side is the signal lowered by an octave and delayed in real time (by foot) and this blue thread mainly foloows mainly the third signal, that is, suspended sounds, not resounding ones. Oh, well, and this blue thread somehow guided me at one point so that I found myself on the other side of the fabric, so from the middle of the rag the order reversed (sorry).

Audio featured on the compilation of the recordings from the event: Strzał w kolano by Jakub Majchrzak

[jakubmajchrzak]

Alfons Slink "Minimal 2.0" (2024)

A music video, first one from the upcoming many, made by different artists that will end up on DVD collective videos release "Zdrowie Najważniejsze" to the music of Alfons Slik (Szymon "Pimpon" Gąsiorek and Grzegorz Tarwid duo). This off course next to regular CD release of their music with the same title.

[stateofsport211]

📸 🎥 ATP official website

Filip J. Planinsek, who currently studies in the University of Alabama and won the Men's Singles category of the NCAA (2023/24), made his Challenger-level debut as he faced a more experienced Kamil Majchrzak in the first round. This match turned out to deliver in one way or another, putting an emphasis to their balance of power and pacing in most of their rallies.

Here, Filip tried to overcome nerves as he minimized the gap before holding his serves to 1-1. Somehow, Kamil's backhand winner created his break point in the fourth game, but Filip still survived and held the said service game to 2-2. This was also the case in Filip's next service game, where Kamil made one of his break points through a backhand pass before Filip held the said service game to 3-3.

The massive hold in the sixth game then became crucial for the Slovenian as he started to press Kamil's position from the baseline more. Starting the seventh game by defending his position well before the final volley, he continued by scoring a backhand winner to force the first deuce, where this became a forever deuce situation before he created a break point thanks to his casual forehand pass response to Kamil's drop shot. Ultimately, Filip broke to 4-3 and consolidated to 5-3, earning his opportunity to serve for the first set two games later. However, he had 3 of his set points being saved, thr third one thanks to a working smash from Kamil, who went on saving the fifth set point through his forehand winner before Filip sealed the first set with an ace (6-4).

Nonetheless, Kamil took a medical timeout for his left wrist. Even though he had a decent start to the second set, as he held his service game (1-0) before paving his way to break through a working volley, Filip's backhand error caused the Pole to break early 2-0 to start the second set. It might have looked like Kamil did not want to risk it, likely precautionary, thus his retirement that brought Filip to the second round.