We know you. You want to look smart, opinionated and stand out in a crowd of non-pony-lovers in plain white tees. Luckily, Isle of Printing knows you too, and they've devised a limited-edition batch of T-shirts that will help you publicly declare whatever it is you truly love — whether dinosaurs, coffee or Jesus. You know, the usual lineup.
The All Hail This project features an assortment of woodblock prints that are made-to-order, and only available through next Wednesday, at which point Isle of Printing will tally up the orders and see which design was the most popular, declaring it the ultimate winner. My money's on the dinosaurs.
Check out all their designs here, and place your order carefully — nobody wants to make the mistake of hailing the wrong thing.
Let’s revisit Mr. Bluth for a quick second. I spoke about his illustrious history in a previous CL post, but for Gen. VHS purposes, he deserved another mention.
As a kid, I had no idea who Don Bluth was. I had no idea that he was the guy who inspired the Land Before Time direct-to-video releases I gobbled up before nap time. I had seen the original Land Before Time (the only one Bluth was involved with), The Pebble and the Penguin, A Troll in Central Park and Anastasia, but I had no clue who to thank. Sure, I knew who Walt Disney was, but Bluth? No dice.
Movies in the Park: Pitch Perfect
Where: Elmington Park, 3531 West End Ave.
When: Thu., June 27, 4 p.m.
For those who haven’t attended Movies in the Park yet at its new home of Elmington Park, we can report firsthand what you’re missing: kids’ faces barely visible in glowstick phosphorescence; chocolate mint snowballs of powdery ice; babies snuggled soundly on blankets with their mommies; daredevil Frisbee catches; Pizza Perfect slices suitable for folding; and the rolling campus of West End Middle School converted into one large outdoor movie screen.
You have one last chance this summer to experience it for yourself, and the final feature this year is a surprise musical/comedy hit from last year — think Bring It On meets Glee. As always, the Scene-sponsored event is free and open to the public; bring lawn chairs, blankets, picnic baskets and what have you, and arrive early for games, prizes and other goodies.
[Join Ettes leader and Fond Object founder Coco Hames as she moves through the Janus Films Essential Art House DVD box set one film at a time.]
THE 400 BLOWS directed by FRANCOIS TRUFFAUT (1959)
Running time: 99 minutes
In French with subtitles
Many an art house film fan was introduced to The 400 Blows by some vague and all-encompassing entry level film course (that guy had booze in his travel coffee cup), or else by their jerky artsy boyfriend (what was I thinking), or maybe TCM busted it out. Maybe I even went looking for it (I can't remember). But it's hard to write about The 400 Blows because it is arguably the most widely known film of the French New Wave, and a major part of the life of the lover of cinema. What's there to say?
Well, François Truffaut was 27 years old when he dropped The 400 Blows on the world, featuring a protagonist who was the director's pint-size alter ego, so young that adolescents that very same age were not allowed to see the film. It is a portrait of the artist as a street punk, typewriter thief, defiant delinquent and budding intellectual cinephile — all things Truffaut was when he was one of the coolest kids who ever walked the planet. It is indelibly human, which makes it so relatable, which is why this film, and Truffaut in general, have a permanent place in my heart.
Antoine Doinel (played forever by Jean-Pierre Leaud) is a 12-year-old boy in Paris having a rough go of it, at home, in school, and in life. He witnesses and reacts to very real things with his parents and classmates, and we watch him navigate his world, make his own decisions (not all them good, nor all them his fault), all the while being sensitive, trying to think large and poetically, observing all the time.
For fans of Antoine who aren't aware, he lived a kind of parallel-universe version of Truffaut's life in a series of later films — all charming, to varying degrees, but never quite matching what you'd hope for that kid frozen in time at the movie's end. There is a collection of movies featuring the character as he grows up, falls in love, and gets married called The Adventures of Antoine Doinel, comprised of the "Antoine and Colette" segment of the anthology film Love at Twenty (1962), Stolen Kisses (1968), Bed and Board (1970), and Love on the Run (1979). The Adventures of Antoine Doinel collection is available via our buddies at Criterion.
If you've seen Argento's gore-drenched, style-saturated fairy tale, you know it derives a lot of its power to unnerve from its score, which segues from a chiming intro that suggests a clawed hand cranking a music box to what sounds like growling demons beating on garbage-can lids. The music was performed by the Italian prog-rock band Goblin, led by Claudio Simonetti, which handled the scores for several films from Argento's most fruitful period.
Now comes word that Goblin will launch its first North American tour this fall, with stops Oct. 1 in Atlanta and Oct. 3 in Asheville, N.C. — but no Nashville date. (Picture us eyeing that open Oct. 2 slot with Mater Suspiriorum's glowing eyes.)
It’s difficult to estimate the enormous impact that Richard Matheson’s writing has had on American pop culture. William Shatner helplessly watching through a sealed window as a woolly gremlin gleefully tears apart the engine of a jet airliner; the frantic face of Dennis Weaver as he attempts to escape the murderous rage of an unseen truck driver on a lonely mountain road; the lone surviving member of humanity facing off against legions of the undead; a maniacal wooden Zuni fetish doll pursuing Karen Black across the floor of her high-rise apartment — all of these have become iconic images shared by generations of horror and fantasy fans. And all had their genesis in the mind of one man.
Just in time for Seed Space's upcoming video art exhibition 100 Videoartists to Tell a Century, Flavorwire's Reid Singer has culled 50 great examples of the medium, all of which are available to view online. Singer's introduction to the post names a few reasons why video art has been unable to shake its reputation as fussy or overly esoteric.
There are several reasons why video art is underexposed. Part of it has to do with the hard-to-shake reputation that video art is just too campy and esoteric — an opinion espoused by Jack Donaghy and anyone else who believes that art is exclusively paintings of men on horses. Another reason is the attitude that of a lot of influential, opinionated video artists share: they simply aren’t comfortable offering their wares to just anyone, and would rather sell the things they’ve made on glitzy-looking DVDs to a few collectors and museums, as they would a painting or a sculpture.
The selections range from the canonical — like Warhol's infamous "Blowjob" (watch a clip above and try not to think that the subject could be your grandfather's age by now) and Joseph Beuys' slice of 1982 "Sonne statt Reagan" — to contemporary pieces from Cory Arcangel and Gillian Wearing. The post is a primer on video art that treats the Internet "like a never-ending museum that is always growing and never closes."
Read the rest of the post and watch the videos here.
With eight years of laying low, it was hard not to be consumed with questions about what exactly we were in for. Does Dave still have it? Has his time out of the spotlight dulled his comedic skills? Will this show be a triumphant return to form or a spectacular trainwreck? By the end of Chappelle's hour-long set of brand-new stand-up, I can safely say that we were fools to ever doubt him. Not only is Chappelle on-point as ever, but he's as funny as he was at his peak — if not funnier.
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