#The Bad and The Ugly

[hiroya-sai]

映画の落書きまとめ。 邦題のせいで最初に見た時、続編かと思い本当に困惑しました。 邦題あるある…。

[aiiaiiiyo]

[kdo-three]

Hugo Montenegro His Orchestra and Chorus - The Good, The Bad and The Ugly (Theme) (1968) Ennio Morricone from: "The Good, the Bad and the Ugly" / "March with Hope" (Single) "Music from 'The Good, the Bad and the Ugly' and 'A Fistful of Dollars' and "For a Few Dollars More'" (LP)

Instrumental | Movie Theme | Ennio Morricone Cover

JukeHostUK (left click = play) (320kbps)

Partial Personnel: Art Smith: Ocarina Tommy Morgan: Harmonica ("the 'wah-wah-wah' sound") Muzzy Marcellino: Whistle Hugo Montenegro: Vocals (Hugo "grunted something which came out like 'rep, rup, rep, rup, rep'") Elliot Fisher: Electric Violin Emmanuel "Mannie" Klein: Piccolo Trumpet

Arranged and Conducted by Hugo Montenegro Produced by Neely Plumb

Recorded: @ RCA Victor's Music Center of the World in Hollywood, California USA on November 18, 1967

Album Released: in December, 1967

Single Released: in January, 1968

RCA Victor Records

[toruandmidori]

[55northorangeportlandmd55355]

Such a great intro. Fullerton stand-up :

Tier wise I'm choosing :

KGR d. BDK

ODB d. Biz

RZA d. GZA

DPGC d. M.O.P. & ONYX

MC Lyte d. Queen Latifah

Lady Of Rage d. Bahamadia

Big Boi d. Andre 3000

Madlib! d. 9th Wonder

P.E. d. Brand Nubian

BDP d. Queensbridge

Big Pun d. Treach

Chip-Fu vs. ToneDeff (no contest)

Remy Ma d. Rah Digga

Slick Rick d. Ice-T

E-40 d. Suga Free

ATCQ d. De La Soul

Xzibit d. DMX

Jadakiss d. Ludacris

Dr. Dre d. DJ Quik

Tech N9ne d. Twista

Crooked I d. Pharaoh Monche

DJ Premier d. Pete Rock

Sean Price d. MF DOOM

[mcmansionhell]

we've found it folks: mcmansion heaven

Hello everyone. It is my pleasure to bring you the greatest house I have ever seen. The house of a true visionary. A real ad-hocist. A genuine pioneer of fenestration. This house is in Alabama. It was built in 1980 and costs around $5 million. It is worth every penny. Perhaps more.

Now, I know what you're thinking: "Come on, Kate, that's a little kooky, but certainly it's not McMansion Heaven. This is very much a house in the earthly realm. Purgatory. McMansion Purgatory." Well, let me now play Beatrice to your Dante, young Pilgrim. Welcome. Welcome, welcome, welcome.

It is rare to find a house that has everything. A house that wills itself into Postmodernism yet remains unable to let go of the kookiest moments of the prior zeitgeist, the Bruce Goffs and Earthships, the commune houses built from car windshields, the seventies moments of psychedelic hippie fracture. It is everything. It has everything. It is theme park, it is High Tech. It is Renaissance (in the San Antonio Riverwalk sense of the word.) It is medieval. It is maybe the greatest pastiche to sucker itself to the side of a mountain, perilously overlooking a large body of water. Look at it. Just look.

The inside is white. This makes it dreamlike, almost benevolent. It is bright because this is McMansion Heaven and Gray is for McMansion Hell. There is an overbearing sheen of 80s optimism. In this house, the credit default swap has not yet been invented, but could be.

It takes a lot for me to drop the cocaine word because I think it's a cheap joke. But there's something about this example that makes it plausible, not in a derogatory way, but in a liberatory one, a sensuous one. Someone created this house to have a particular experience, a particular feeling. It possesses an element of true fantasy, the thematic. Its rooms are not meant to be one cohesive composition, but rather a series of scenes, of vastly different spatial moments, compressed, expanded, bright, close.

And then there's this kitchen for some reason. Or so you think. Everything the interior design tries to hide, namely how unceasingly peculiar the house is, it is not entirely able to because the choices made here remain decadent, indulgent, albeit in a more familiar way.

Rare is it to discover an interior wherein one truly must wear sunglasses. The environment created in service to transparency has to somewhat prevent the elements from penetrating too deep while retaining their desirable qualities. I don't think an architect designed this house. An architect would have had access to specifically engineered products for this purpose. Whoever built this house had certain access to architectural catalogues but not those used in the highest end or most structurally complex projects. The customization here lies in the assemblage of materials and in doing so stretches them to the height of their imaginative capacity. To borrow from Charles Jencks, ad-hoc is a perfect description. It is an architecture of availability and of adventure.

A small interlude. We are outside. There is no rear exterior view of this house because it would be impossible to get one from the scrawny lawn that lies at its depths. This space is intended to serve the same purpose, which is to look upon the house itself as much as gaze from the house to the world beyond.

Living in a city, I often think about exhibitionism. Living in a city is inherently exhibitionist. A house is a permeable visible surface; it is entirely possible that someone will catch a glimpse of me they're not supposed to when I rush to the living room in only a t-shirt to turn out the light before bed. But this is a space that is only exhibitionist in the sense that it is an architecture of exposure, and yet this exposure would not be possible without the protection of the site, of the distance from every other pair of eyes. In this respect, a double freedom is secured. The window intimates the potential of seeing. But no one sees.

At the heart of this house lies a strange mix of concepts. Postmodern classicist columns of the Disney World set. The unpolished edge of the vernacular. There is also an organicist bent to the whole thing, something more Goff than Gaudí, and here we see some of the house's most organic forms, the monolith- or shell-like vanity mixed with the luminous artifice of mirrors and white. A backlit cave, primitive and performative at the same time, which is, in essence, the dialectic of the luxury bathroom.

And yet our McMansion Heaven is still a McMansion. It is still an accumulation of deliberate signifiers of wealth, very much a construction with the secondary purpose of invoking envy, a palatial residence designed without much cohesion. The presence of golf, of wood, of masculine and patriarchal symbolism with an undercurrent of luxury drives that point home. The McMansion can aspire to an art form, but there are still many levels to ascend before one gets to where God's sitting.

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[technikki]

if there's anything i've learned from the current state of social media it's that this is one of the worst possible notifications you can receive upon opening an app

[watchmovieapp]

The Good, the Bad and the Ugly Movie - Watch The Good, the Bad and the Ugly For Free.

[browsethestacks]

Arthouse Muppets

Art by Bruce McCorkindale

[sweetsog64]

Not only one the greatest western ever, but one of the best movies ever.

[timefadesaway]

what was the best and/or your favourite film that you watched for the first time this year?

[crazysodomite]

playing with my phonetaur

[englishthroughfootball]

Learn English Through Football Podcast: 2023 Copa Libertadores Final Review - Fluminense v Boca Juniors

In this football language podcast Damian looks back at some of the good, the bad and the ugly from the 2023 Copa Libertadores final between Fluminense and Boca Juniors in the Maracanã Stadium Brazil. In particular, he looks at the phrases, ‘  ‘ Don’t forget we have hundreds more explanations of football language in our football glossary and we also have a page full of football cliches. If you…

[chalkrub]

reminiscing about childhood books after that ask - all due respect to cool sleek movie toothless....but to me, he will always be a mean little gremlin