#joel stein art

[doberart]

First art of the new year and it’s the comfort character meme. XD

[awolfinsheepsclothinggame]

online whiteboard doodles lol

[4eternal-life]

Joel Stein  (French, 1926–2012)

95 A / T 18,  1995

Acrylic on canvas

[spacelazarwolf]

in honor of that anon who said jews have done nothing for the world, here’s a non exhaustive list of things we’ve done for the world:

arts, fashion, and lifestyle:

jeans - levi strauss

modern bras - ida rosenthal

sewing machines - isaac merritt singer

modern film industry - carl laemmle (universal pictures), adolph zukor (paramount pictures), william fox (fox film forporation), louis b. mayer (mgm - metro-goldwyn-mayer), harry, sam, albert, and jack warners (warner bros.), steven spielberg, mel brooks, marx brothers

operetta - jacques offenbach

comic books - stan lee

graphic novels - will eisner

teddy bears - morris and rose michtom

influential musicians - irving berlin, stephen sondheim, benny goodman, george gershwin, paul simon, itzhak perlman, leonard bernstein, bob dylan, leonard cohen

artists - mark rothko

actors - elizabeth taylor, jerry lewis, barbara streisand

comedians - lenny bruce, joan rivers, jerry seinfeld

authors - judy blume, tony kushner, allen ginsberg, walter mosley

culture:

esperanto - ludwik lazar zamenhof

feminism - betty friedan, gloria steinem, ruth bader ginsberg

queer and trans rights - larry kramer, harvey milk, leslie feinberg, abby stein, kate bornstein, frank kameny, judith butler

international women's day - clara zetkin

principles of journalizm, statue of liberty, and pulitzer prize - joseph pulitzer

"the new colossus" - emma lazarus

universal declaration of human rights - rene samuel cassin

holocaust remembrance and human rights activism - elie wiesel

workers rights - louis brandeis, rose schneiderman

public health care, women's rights, and children's rights - lillian wald

racial equity - rabbi abraham joshua heschel, julius rosenwald, andrew goodman, michael schwerner

political theory - hannah arendt

disability rights - judith heumann

black lives matter slogan and movement - alicia garza

#metoo movement - jodi kantor

institute of sexology - magnus hirschfeld

technology:

word processing computers - evelyn berezin

facebook - mark zuckerberg

console video game system - ralph henry baer

cell phones - amos edward joel jr., martin cooper

3d - leonard lipton

telephone - philipp reis

fax machines - arthur korn

microphone - emile berliner

gramophone - emile berliner

television - boris rosing

barcodes - norman joseph woodland and bernard silver

secret communication system, which is the foundation of the technology used for wifi - hedy lamarr

three laws of robotics - isaac asimov

cybernetics - norbert wiener

helicopters - emile berliner

BASIC (programming language) - john george kemeny

google - sergey mikhaylovich brin and larry page

VCR - jerome lemelson

fax machine - jerome lemelson

telegraph - samuel finley breese morse

morse code - samuel finley breese morse

bulletproof glass - edouard benedictus

electric motor and electroplating - boris semyonovich jacobi

nuclear powered submarine - hyman george rickover

the internet - paul baran

icq instant messenger - arik vardi, yair goldfinger,, sefi vigiser, amnon amir

color photography - leopold godowsky and leopold mannes

world's first computer - herman goldstine

modern computer architecture - john von neumann

bittorrent - bram cohen

voip internet telephony - alon cohen

data archiving - phil katz, eugene roshal, abraham lempel, jacob ziv

nemeth code - abraham nemeth

holography - dennis gabor

laser - theodor maiman

instant photo sharing online - philippe kahn

first automobile - siegfried samuel marcus

electrical maglev road - boris petrovich weinberg

drip irrigation - simcha blass

ballpoint pen and automatic gearbox - laszlo biro

photo booth - anatol marco josepho

medicine:

pacemakers and defibrillators - louise robinovitch

defibrillators - bernard lown

anti-plague and anti-cholera vaccines - vladimir aronovich khavkin

polio vaccine - jonas salk

test for diagnosis of syphilis - august paul von wasserman

test for typhoid fever - ferdinand widal

penicillin - ernst boris chain

pregnancy test - barnhard zondek

antiretroviral drug to treat aids and fight rejection in organ transplants - gertrude elion

discovery of hepatitis c virus - harvey alter

chemotherapy - paul ehrlich

discovery of prions - stanley prusiner

psychoanalysis - sigmund freud

rubber condoms - julius fromm

birth control pill - gregory goodwin pincus

asorbic acid (vitamin c) - tadeusz reichstein

blood groups and rh blood factor - karl landsteiner

acyclovir (treatment for infections caused by herpes virus) - gertrude elion

vitamins - caismir funk

technique for measuring blood insulin levils - rosalyn sussman yalow

antigen for hepatitus - baruch samuel blumberg

a bone fusion technique - gavriil abramovich ilizarov

homeopathy - christian friedrich samuel hahnemann

aspirin - arthur ernst eichengrun

science:

theory of relativity - albert einstein

theory of the electromagnetic field - james maxwell

quantum mechanics - max born, gustav ludwig hertz

quantum theory of gravity - matvei bronstein

microbiology - ferdinand julius cohn

neuropsychology - alexander romanovich luria

counters for x-rays and gamma rays - robert hofstadter

genetic engineering - paul berg

discovery of the antiproton - emilio gino segre

discovery of cosmic microwave background radiation - arno allan penzias

discovery of the accelerating expansion of the universe - adam riess and saul merlmutter

discovery that black hole formation is a robust prediction of the general theory of relativity - roger penrose

discovery of a supermassive compact object at the center of the milky way - andrea ghez

modern cosmology and the big bang theory - alexander alexandrovich friedmann

stainless steel - hans goldschmidt

gas powered vehicles

interferometer - albert abraham michelson

discovery of the source of energy production in stars - hans albrecht bethe

proved poincare conjecture - grigori yakovlevich perelman

biochemistry - otto fritz meyerhof

electron-positron collider - bruno touschek

[alexzalben]

OUR FLAG MEANS DEATH RETURNS ON OCTOBER 5

OUR FLAG MEANS DEATH returns for Season 2 on October 5, with three new episodes. Max will stream two new episodes a week until the season finale on October 26.

Teaser trailer, key art, and more info below!

The eight-episode second season of the Max Original comedy series OUR FLAG MEANS DEATH, from creator-showrunner David Jenkins, Emmy®-nominated executive producer and star Taika Waititi, and Emmy®-nominated executive producer Garrett Basch, debuts with three episodes THURSDAY, OCTOBER 5 on Max. The season continues with two new episodes weekly leading up to the season finale on Thursday, October 26.  

Season 2 logline: OUR FLAG MEANS DEATH is based (very) loosely on the true adventures of 18th century would-be pirate Stede Bonnet (Rhys Darby). After trading the seemingly charmed life of a gentleman for one of a swashbuckling buccaneer, Stede became captain of the pirate ship Revenge. Struggling to earn the respect of his potentially mutinous crew, Stede’s fortunes changed after a fateful run-in with the infamous Captain Blackbeard (Taika Waititi). To their surprise, the wildly different Stede and Blackbeard found more than friendship on the high seas…they found love. Now, they have to survive it.  

Season 2 cast: In addition to Darby and Waititi, season two stars returning cast members Samson Kayo, Vico Ortiz, Ewen Bremner, Joel Fry, Matthew Maher, Kristian Nairn, Con O’Neill, David Fane, Samba Schutte, Nat Faxon, and Leslie Jones. New additions joining the ensemble cast include recurring guest stars Ruibo Qian, Madeleine Sami, Anapela Polataivao, and Erroll Shand, and guest stars Minnie Driver and Bronson Pinchot.  

Season 2 credits: OUR FLAG MEANS DEATH is executive produced by Academy Award® winner Taika Waititi, alongside creator-showrunner David Jenkins. In addition to his duties as showrunner, Jenkins directed the first two episodes of season two. Garrett Basch, Dan Halsted, Adam Stein, and Antoine Douaihy also serve as executive producers. Season two was filmed in Auckland, New Zealand.

[singeratlarge]

HAPPY BIRTHDAY to Alvin Ailey, Isaac Albéniz's 1896 opera "Pepita Jiminez,” musician Leo Armbruster, Hugh Brannum “Mr. Green Jeans,” piano legend Alfred Brendel, Clancy Brown, George Brown (Kool & The Gang), Bradley Cooper, Elvis Costello & The Attraction’s 1979 ARMED FORCES LP, Elizabeth Cotten, Judge Crater, Creedence Clearwater Revival’s 1969 album BAYOU COUNTRY, Deadmau5, Iris DeMent, Mike Dewine, Robert Duvall, Umberto Eco, James Goldstein, Athol Guy (The Seekers), Wilbert Harrison, musician/pastor Michael Hauser, Buddy Holly’s 1959 single “It Doesn’t Matter,” Shah Jahan, Phil Joel, Vinnie Jones, Diane Keaton, Deepika Padukone, Pepé Le Pew, Sam Phillips (Sun Records), Zebulon Pike, Phil Ramone, George Reeves, Maggie Sajak, Kate Schellenbach, Tony Sheridan & The Beatles’s 1962 single “My Bonnie,” Bruce Springsteen’s 1973 GREETINGS FROM ASBURY PARK album, Yves Tanguy, the 1975 Quincy Jones/Charlie Smalls musical THE WIZ, Chris Stein, Elmer Stoltzfus, Grady Thomas (Funkadelic, Parliament), Jane Wyman, Pramahansa Yogananda, and my friend—a Renaissance Man to be celebrated—Andrew Sandoval: Musician/recording artist, singer-songwriter, art and music archivist/curator, promoter, writer, radio personality, and true child of Los Angeles pop culture. 

 

I’m indebted to Andrew’s role in making those Monkees tour run like clockwork, with extra kudos for his amazing multi-media stage plotting. Andrew and I started corresponding in the 90s as he was preparing obscure Davy Jones tracks to remaster for Monkees’s CD reissues. As an archivist and curator, Andrew has piloted remasters and reissues of “deep cut” recordings by The Beach Boys, The Bee Gees, The Kinks, Del Shannon, and many other notables, and they were all grateful for the fresh interest generated by Andrew’s efforts. At some point I discovered Andrew’s original music, recordings of carefully crafted pop that initially reminded me of Jellyfish and The Left Banke. He also helms a radio show, COME TO THE SUNSHINE, focusing on “sunshine pop,” that special meld of flower powered baroque chamber pop, bubblegum, folk rock, garage rock, power pop, and psychedelia rooted in 60s innovation and timeless ear candies. His show champions themes and catalogs of legendary and obscure heroes whose music can’t stay in the shadows. Check it out here (and support as well): 

http://cometothesunshine.com …and HB AS!

 

#Andrew #Sandoval #Monkees #DavyJones #BeachBoys #BeeGees #TheKinks #DaveDavies #DelShannon #Jellyfish #TheLeftBanke #CometotheSunshine #Sunshine #flowerpower #bubblegum #folkrock #garagerock #powerpop #psychedelia #singersongwriter #recordingartist

[jules-has-notes]

Batman: Whatever It Takes (Unexpected Musical) — PattyCake Productions music video

It's often been observed that the masked vigilantes in comic books and the supervillains they fight have some things in common. One of those qualities is the will to go above and beyond what the average person would do, for good or ill. So when the PattyCake guys decided to dip their toes in the superhero pool, there was no better place to start than Tim Burton's version of Batman and some of his most notorious rogues.

Details:

title: Unexpected Musicals — Batman: Whatever It Takes

performers: Jason Tibbs (Batman), T. Robert Pigott (The Joker / featured vocals), James Keaton (The Penguin / featured vocals), Leah Lowman (Catwoman), Navid Nowakhtar (Tom Andrews); Hannah Juliano, Tony Wakim, & Layne Stein (featured vocals)

original songs / performers: "Batman Theme" & "Batman Suite" from Batman (1989) & Batman Returns (1992); "Whatever It Takes" by Imagine Dragons

written by: "Batman Theme" and "Batman Suite" by Danny Elfman; "Whatever It Takes" by Dan Reynolds, Wayne Sermon, Ben McKee, Daniel Platzman, & Joel Little

arranged by: Layne Stein & Tony Wakim

release date: 11 May 2018

My favorite bits:

the series title logo becoming dark and tarnished like the WB logo in the original 1989 film

that poor reporter reading his news copy like it's just a normal day (which, yeah, Gotham)

turning the barely-sung verses into actual spoken rap

Catwoman entering on ♫ "whip whip" ♫ while brandishing one

using a slowed down version of Elfman's orchestral theme under the chorus

Robby's fantasticly wheezy Joker laugh

giving ♫ "I'm the prodigal son" ♫ to the orphaned Penguin

Jason conveying Batman's growing frustration with only small movements

that smooth riff in the final chorus

Trivia:

○ All of these actors have appeared in previous "Unexpected Musicals" videos.

Jason was the prince in "Snow Spears", and one of the Mary Poppins chimney sweeps in "The Disney Showman".

Robby played Captain Hook in "Look What You Made Me Brew".

James was the elder Walt in "The Disney Showman".

Leah has inhabited several roles across the series, from Cinderella to Maleficent.

Navid was part of the crowds in both "Hocus Heathens" and "Beauty and the Bieber".

○ Jason's costume was created by The Batsmith, an Australian sculptor and costume maker who specializes in replicas of pieces from live-action Batman movies.

○ The incredible Joker and Penguin prosthetics were created by Andy Wright & Dana Bracewell at Makeup & Creative Arts, and applied on the day by Rick Underwood. The pieces were then added to their Morphstore product line.

○ In order to build anticipation, PattyCake posted a series of countdown teaser images to their social media in the days leading up to the video's release.

○ Layne posted behind the scenes videos of James during both filming and editing on his Instagram.

View this post on Instagram

A post shared by Layne Stein (@laynestein)

View this post on Instagram

A post shared by Layne Stein (@laynestein)

○ Robby enjoyed playing the Joker so much that he had some custom playing cards made using his photograph and gave them to the PattyCake crew.

○ This video is part of a loose pair celebrating DC and Marvel comic book movies with tracks from the latest Imagine Dragons album at the time. Its companion piece, "Avengers: Thunder", was released a few weeks later.

[ulkaralakbarova]

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers’ backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other. Credits: TheMovieDb. Film Cast: Jules: Julianne Moore Nic: Annette Bening Paul: Mark Ruffalo Joni: Mia Wasikowska Laser: Josh Hutcherson Tanya: Yaya DaCosta Jai: Kunal Sharma Clay: Eddie Hassell Sasha: Zosia Mamet Luis: Joaquín Garrido Brooke: Rebecca Lawrence Levy Stella: Lisa Eisner Joel: Eric Eisner Waify Girl: Sasha Spielberg Clay’s Dad: James MacDonald Bartender: Margo Victor Sous-chef (uncredited): Stuart Blumberg Waiter (uncredited): Diego Calderón Pregnant Woman (uncredited): Amy Grabow Partygoer (uncredited): Nino Nava Film Crew: Writer: Lisa Cholodenko Producer: Daniela Taplin Lundberg Production Design: Julie Berghoff Producer: Gary Gilbert Producer: Jeffrey Kusama-Hinte Producer: Celine Rattray Producer: Phillippe Hellmann Director of Photography: Igor Jadue-Lillo Costume Design: Mary Claire Hannan Editor: Jeffrey M. Werner Producer: Jordan Horowitz Stand In: Toni Kallen Additional Editor: Nancy Richardson Stunts: Cassidy Vick Hice Stunt Coordinator: Mark Norby Writer: Stuart Blumberg Original Music Composer: Carter Burwell Co-Producer: Charles E. Bush Jr. Executive Producer: J. Todd Harris Executive Producer: Neil Katz Co-Producer: Todd J. Labarowski Executive Producer: Riva Marker Co-Producer: Joel Newton Executive Producer: Galt Niederhoffer Executive Producer: Anne O’Shea Casting: Laura Rosenthal Executive Producer: Andy Sawyer Executive Producer: Steven Saxton Executive Producer: Christy Scott Cashman Executive Producer: Ron Stein Co-Producer: Bergen Swanson Art Direction: James Connelly Set Decoration: David A. Cook Co-Producer: Camille Moreau Movie Reviews: Filipe Manuel Neto: **A “gay friendly” film that manages to be minimally neutral to also please those who are out of political and ideological struggles.** The troubled causes have never been so popular as they are today: from abortion to euthanasia, from the historical question between colonizing and colonized countries to the return of looted artworks by European museums, passing through the causes of the Gay Movement, whose acronym grows every year, to embrace any new definition invented for each way of feeling and living sexuality, reflecting a need for affirmation that is felt more strongly than the convenience of presenting a certain union in the ranks. This “gay friendly” film fits perfectly into a growing list of cinema works dedicated to scrutinizing the dynamics of these new families. The advantage of this film is that it is not overly militant. The script introduces us to two mature women, who live in a stable lesbian relationship and who decided to get pregnant, by artificial insemination (obviously the more traditional method was discarded for obvious reasons), the semen donor was the same and the children who were born are, therefore, half-siblings on the part of the father (whom they do not know). It is precisely the search for her biological father and the creation of a closer relationship with him that takes the plot forward, with the introduction of this friendly and uncomplicated man totally destabilizing the life of that house. I liked the movie in general. At the same time that it tries to deny that idea, much replicated, that two lesbians would instill their own sexual orientation in their children, the film seeks to create a question around the inviolability of the anonymity of the donors of seminal material… I cannot speak for everyone, but I would never donate semen if I suspected that, years later, someone might have knocked on my door and said he was my son. Anonymity is something that should be inviolable and sacred here, regardless of the will of those involved. It was the point in the script that bothered me the most, but there were a few more. For me, the strongest poi...

[spacecamp1]

Joël Stein, Entrelacs bleu rouge orange variation, 1970, Acrylic on canvas, 80 x 80 cm.

[thatcherjessie-blog]

[zeytins]

“Isn’t every love poem a come-on as much to potential readers as to its addressee? Even as the love poem whispers its yearnings into its intended’s ear, it checks out of the corner of its eye to see if everyone else is taking note of what an enthralling seducer, what a consummate sweet-talker it is. You might even say that the beloved in a love poem is simply the means of soliciting a readership: it’s actually my love, the reader’s love, that the poet truly longs for. Davis’s beguiling poem acknowledges, plays with, and savors this dirty little secret. Try reading every instance of “reader” as “lover,” and note that the poem still works just fine. Then take any poem that addresses a “lover,” and substitute “reader.” I’m betting that works, too. It may even sound more true.

[...]

Love affairs and poems both require patterns and variations: without patterns, they risk chaos and dissolution; without variations, boredom and stagnation. Nowhere is this more delightfully demonstrated than in the love notes Gertrude Stein and Alice B. Toklas wrote to each other over the course of their long and happy union, a marriage that critic Elizabeth Meese has called “one of the twentieth century’s great love stories.” In a fascinating introduction to this collection of brief notes culled from the Stein archive at Yale, editor Kay Turner explains that Stein’s habit was to write until late at night, long after Toklas had gone to sleep, and leave a note for Toklas to find when she got up early to type the other pages Stein had written. The notes are not necessarily great works of art, but then that’s part of their charm: they were written not as public literature, but as private gestures. (Which is why the “reader”/”lover” switcheroo experiment I recommended above will not work here.) The special aura surrounding these notes comes from the amalgam of life and art they represent: the happy domestic rhythms reflected in the playful lingual rhythms, and vice versa.”

Joel Brouwer, in this Poetry Foundation poem sampler (”Favorite Love Poems”)

[eiginleiki]

Joel Stein

[the-shelfish-reader]

EDIE: An American Biography

By Jean Stein and George Plimpton

©️1982; 452 pg; Knopf

Edith Minturn Sedgwick, known as Edie, lived a brief, tempestuous life. She made her mark in popular culture in the sixties in New York City as an “It Girl,” spending her time associating with the burgeoning counterculture and its most famous and influential members. Andy Warhol, Bob Dylan, Joel Schumacher, Nureyev, Jasper Johns, poets Allen Ginsberg and Gregory Corso, Truman Capote, and the Velvet Underground (and Nico) were some of the people she spent time with in those days of Warhol’s “Factory,” setting fashion trends, breaking rules, making art, and doing drugs. Every kind of drug, in every form.

Edie, circa 1965

I’ve owned the same copy of this book for forty years, and it shows. But I’ve never given it up, and back in the day, I read and re-read it several times. While some of the themes of familial mental illness, addiction, and family trauma have stayed with me (I can relate), the horror of what happened to her and her family of origin is just as upsetting to me now as it ever was, and maybe it’s even more impactful now that I know and understand how such events shape a person’s entire life.

I’ll try to explain just how aristocratic Edie Sedgwick’s family was. Her great, great, great grandfather was an ally to Alexander Hamilton and George Washington, and was the Speaker of the House of Representatives. One of her great uncles founded Groton, the elite prep school in Massachusetts, and another was the editor of Atlantic Monthly. Every male member of her paternal side graduated from Harvard. It’s mind-boggling, how wealthy and influential the Sedgwicks (and the de Forests, her mother’s side) were. And I think that’s why Edie’s life and death made such an impact on American culture—you couldn’t believe this ball of beauty and energy and daring who was a member of one of the wealthiest and most prominent families in America could end up dead at 28.

Edie was the seventh of eight children born to Francis “Fuzzy” Sedgwick and Alice Delano deForest. She was raised on a 6000-acre ranch near San Francisco, where she and all her siblings learned to ride horses at a very young age. The ranch had its own private primary school staffed by tutors, so the children didn’t leave the ranch except for medical or dental appointments. The effect of being a kind of prisoner in their father’s bell jar was that the kids had no socialization with other kids their ages—just each other. Fuzzy was an odd duck, to put it mildly, who had already suffered two nervous breakdowns and subsequent psychiatric hospital stays before he even married Alice. His diagnosis was “manic depressive psychosis,” and the facts given by the people who talked for this book support the theory that mental illness can be passed from parent to child.

Fuzzy was, in the years after his children’s births, a tyrannical narcissist and alcoholic, and the things Edie and her siblings experienced at his hand were pretty horrific. They are all detailed by various family members in this book. All of them are included in the story at this link:

Edie’s older brother Francis Minturn Sedgwick “Minty” suffered a mental breakdown in 1963 and was committed to Bellevue, in New York. He was transferred to a private psych facility in Connecticut, Silver Hill (the Sedgwicks should have received a frequent flyer discount here.) Reportedly, Minty communicated to his father that he thought he was gay, Fuzzy disowned him, and Minty hung himself with a tie in his hospital room.

Her eldest brother Bobby attended Harvard in between his stays at various mental hospitals and actually managed to graduate. He died while riding his beloved Harley, crashing it into the side of a bus on New Year’s Eve, 1964. Edie and her surviving siblings considered the accident to be suicide.

Tragedy after tragedy upon tragedy would be an appropriate motto for the Sedgwicks. At this point in the book, one feels the gathering clouds of dread that await our subject. Edie was bulimic, starting before her teens. She was committed to Silver Hill in 1962 at age 19, but its policies were found to be too relaxed—she wasn’t recovering at all—so she was transferred to New York Hospital’s Bloomingdale facility. She was erratic, suffered from extreme mood swings, and the bulimia had made her so thin, people mistook her for a boy. She was released, and soon after, she moved to Cambridge, Massachusetts, ostensibly to study sculpture with Lilian Saarinen, but probably mostly just to hang with the Harvard/Radcliffe students. She was noticed, she was popular, and developed a social circle consisting mainly of very rich, very attractive young gay men. She quickly became a star in the Cambridge art society circle.

During the Christmas holidays of 1964, Fuzzy demanded she return to California. She was on the other side of the country when Bobby had his fatal accident, but she soon had her own: she was shopping in Santa Barbara when she totaled her car and broke her knee. She was put in a hip-to-toe cast, but that didn’t stop her from returning to New York to live in her grandmother’s enormous upper east side apartment. Edie made an immediate impact among the artistic circles of the city. She soon moved into her own apartment, where the only art was a big pencil drawing on the wall behind the sofa that she had done of a white horse. She furnished it with odd pieces: heavy crystal lighters that never worked because she never filled them with lighter fluid, cushions covered with handmade textiles in bright colors, a big leather rhinoceros, and maribou feathers. VOGUE magazine dispatched a photographer to her apartment, and Edie posed in her ever-present black tights, Rudi Gernreich miniskirts, and huge, dangly earrings. The famous photo of Edie in an arabesque on top of her leather rhino, is below. They called her a “Youthquaker.” A young Patti Smith saw that photo spread, became obsessed, took the train into Manhattan and waited outside Edie’s apartment building just to get a glimpse of her exiting or entering, always from or into a limousine.

Edie in Vogue Magazine, summer 1965

It was inevitable that Edie would meet Andy Warhol, and it was probably equally inevitable that Andy would be fascinated with her. She dyed her hair silver so that she and Andy could be twins. Both were small, slight people—Andy with his trademark white hair and Edie with her short silver hairstyle—and they attracted much attention from the New York underground art scene. She became a regular at Andy’s “Factory” art studio/pleasure palace, mingling with the rest of his eccentric collection of artists, junkies, musicians, and devotees, many of whom would star in Warhol’s films, Edie included.

The number of truly astounding people who dropped in on the Factory—and the mix of personalities—and the drug use—is staggering. I can’t begin to list them all. Nobody who visited ever intended to actually live there, and although Edie had her own place, she came close. Andy certainly lived there, plus a smattering of boys he liked and who worked with him to produce his art and his films. Nonstop, 24/7 party people, all believing they were creating ART, and some of them were. But there were a lot of shady hangers-on whose reasons for crashing at the Factory weren’t about art. These people were shooting up speed, and the Factory was all about the drugs. Andy managed The Velvet Underground, who had their band gear set up in the Factory, and Andy designed that iconic banana on the cover of their album. Bob Dylan wandered in and out for a time, and it is said that his songs “Leopard Print Pill Box Hat,” “Just Like A Woman,” and “Like A Rolling Stone” were about his brief affair with her.

I can imagine the bright lights/big city atmosphere her wealth and status afforded Andy. He was already a rising star, but Edie and he arguably publicized themselves as The Power Couple of the underground art world AND A-listers invited to grand society events. Edie was a superb acquisition for Andy. She had a family background to die for, she was beautiful and rich, and she was seemingly up for anything. He cast her in his films. He attended glittery Manhattan parties with Edie on his arm. They frequented a club called The Scene where everyone danced, and Andy, as was typical, would watch. Sometimes Edie and Andy would dress identically. They went to museum openings, film openings, the works, but theirs was no romance. Andy was gay, and Edie loved being among the gay men of New York. They worshiped her.

Andy said that in the future, everybody will be famous for 15 minutes. In 2021, that statement seems very prescient indeed. It’s nearly true now, and it probably will be true in the not-so-distant future. Andy was a star maker, and he let his “superstars” have their 15 minutes, then tossed them aside. Edie split with Andy and the Factory crowd when she signed Albert Grossman as her manager. He was Bob Dylan’s manager, and Edie “ran off” with Bob Neuwirth, a friend of Dylan’s and former Factory habituè. Grossman had told her she would star in a movie with Dylan, which never materialized. Her exit from the Factory was the end of the Edie/Andy relationship.

Edie decided to try modeling, and VOGUE did a photoshoot with her again in 1966. Shortly after, Edie nodded off with a lit cigarette, and her apartment caught fire. Back to a hospital, this time Lenox Hill. After her release, she moved to the Chelsea Hotel, where another fire happened AGAIN in the exact same way. She went home to California for Christmas in 1966, tried to fill a prescription from a NYC doctor for speed, and her parents were notified. They committed her to the local county hospital.

This fragile person, on massive amounts of drugs, both prescription and illegal, was in and out of psychiatric hospitals for the rest of her life. None of her admissions were voluntary. Some of them lasted four to five months. Bellevue, Gracie Square, Manhattan State, and Lenox Hill in New York; Cottage Hospital in Santa Barbara. It’s absolutely staggering to read how someone with so much promise was so hell-bent on destroying her body with all the shooting up, snorting, and smoking of acid, barbiturates, speed and heroin. One reads the last part of this book with a heavy heart, as if reading about someone you love.

Her father died in 1967 of pancreatic cancer. His brother Minturn told the biographers:

“I went to stay with Francis and Alice at the end of Francis’ life. I heard him say, ‘You know, my children all believe that their difficulties stem from me. And I agree. I think they do.’ He stated it; he felt it; he knew it.”

In 1970, the producers of Ciao, Manhattan! wanted to finish the movie they had begun in 1967. Edie had been the star, and they needed her to complete her scenes, so they brought the production to Los Angeles. They had an empty swimming pool that they used as Edie’s apartment, all painted with furniture installed, and Edie did, in fact, finish that movie. She had changed so much physically that actors had to say new lines that were written as exposition to explain why. She had gotten breast implants where before she had no breasts at all. Her hair wasn’t silver. She wore a fall—a long sweep of hair—but it was just brown. She had a year to live.

In July of 1971, Edie married Michael Post, another drug casualty, whom she had met while they were both inpatients at Cottage Hospital in Santa Barbara. They had been engaged for a very short time. It seems that she intended to try to make the marriage work, although she told a few people that she knew it wouldn’t work out long-term. On November 15, after attending a fashion show that was being filmed for the new, buzzworthy PBS reality drama, An American Family, and after drinking a lot at the afterparty, Edie died in her sleep. Her husband woke up to find her already past saving. The official cause of death was acute barbiturate intoxication, with acute ethanol intoxication as the secondary cause.

She was buried in Oak Hill Cemetery in Ballard, California. It’s a very out-of-the-way place, which I think she would have hated, being so eager for publicity and fame her whole life. Her gravestone reads “Edie Sedgwick Post, wife of Michael Brett Post, 1943-1971.”

I could link to any of the number of songs written about her. Edie Brickell’s 1988 “Little Miss S,” The Cult’s 1989 “Edie (Ciao Baby),” or the Dylan ones. I could list the movies that have been made about her life, like “Factory Girl” with Sienna Miller. I could transcribe the beautiful poem Patti Smith sat down and wrote immediately after hearing of her death. I could quote what people who loved her, or who were dazzled by her, said upon learning the awful news. I could write hundreds more words about her life and struggles, her overdoses, her self-destructive impulses and urges, all the fires she accidentally set. But I don’t need to. Her enduring impact and influence on pop culture makes her immortal.

[brokehorrorfan]

Blu-ray Review: My Bloody Valentine

My Bloody Valentine was one of many victims of strict yet arbitrary censorship at the hands of the Motion Picture Association of America upon its release in 1981, excising a reported nine minutes of gore. Despite the neutered death scenes, the film earned a cult fanbase as an above-average slasher. While original distributor Paramount Pictures was not interested in locating the uncut version, Lionsgate reinstated three minutes of footage on Blu-ray and DVD in 2009 (in conjunction with the release of their remake).

The cut footage was in rough shape, with a noticeable drop in quality from the rest of the picture's high-definition source, but seeing it for the first time was a revelation. It was long assumed that that was the best My Bloody Valentine could ever look. Leave it to the heroes at Scream Factory to prove otherwise, as they have restored both the theatrical and the uncut versions of the film in 4K from the original camera negative for a two-disc Collector's Edition Blu-ray set.

When townspeople begin receiving human hearts in Valentine's candy boxes, panic strikes in Valentine Bluffs ("The little town with the big heart"). Two decades ago, miner Harry Warden went on a murder spree after nearly dying in a mining accident during the town's annual Valentine's Day dance the year prior. When the present year's dance is canceled out of fear, a group of young miners and their girlfriends decide to throw their own private party. Bodies quickly pile up, so either Harry is back or an imitator is using the town's history to pick people off.

Directed by George Mihalka, the film stands out among golden-age slashers in that it concerns blue-collar characters rather than the typical teenagers or college kids. That's not to say that writer John Beaird made them overly mature; their top priorities are sex, drinking, and horseplay. At the heart (no pun intended) of the story is a love triangle between T.J. (Paul Kelman), who recently moved back to town, Sarah (Lori Hallier), his ex-girlfriend whom he left behind, and Axel (Neil Affleck, who went on to work as an animator on The Simpsons), Sarah's new boyfriend.

My Bloody Valentine was one in a seemingly endless stream of holiday-themed slashers rushed into production in the wake of Halloween and Friday the 13th, but it fares better than most. It's shocking that it never received a sequel; even without the gore, it offers a memorable killer with an instantly identifiable visage (a mining gas mask) and weapon (a pickaxe), likable characters, several genuinely tense sequences, a decent mystery, and an ending that leaves the door wide open for more.

The Collector’s Edition Blu-ray features reversible artwork, with new art by Joel Robinson on one side and the original poster on the other. The first disc hosts the theatrical version and approximately two hours of new interviews. In a 24 minute chat, Mihalka covers virtually every aspect of the film: how it came to be, the challenges of filming on location in an actual mine, the battles with the MPAA, the influence of Black Christmas, and his diplomatic thoughts on the remake. The director concludes by revealing that he's currently developing a concept for the long-gestured sequel.

Actors Kelman, Hallier, Affleck, Helene Udy, and Rob Stein are each interviewed individually. Aside from a few character-specific questions, they all address similar points, including having the killer's identity kept secret, filming in the mine, the film's cult following, and memories of their late cast member, Alf Humphreys. It easily could have been edited into a more comprehensive making-of featurette, but I do appreciate that every interview has chapter stops for each question.

Special makeup effects designer Thomas R. Burman (The Goonies, Die Hard 2, Halloween III) is also interviewed about his work and moving away from "graphic repulsion" movies after this one. Holes in the Heart shows the theatrical scenes side-by-side with their unrated counterparts to illustrate how much was removed. The first disc is rounded out by the theatrical trailer, TV spots, radio spots, and a still gallery.

The second disc houses the uncut version of My Bloody Valentine. It begins with an introduction from Mihalka, who seems just as surprised as fans that his intended version has been restored. The special effects, now on display in all their gory glory, are on par with the film’s contemporaries. It's accompanied by a new commentary by Mihalka, which is a little slow moving but features details not covered in his interview. Curiously, a moderator without a microphone occasionally prompts him during stretches of silence, so he answers unheard questions.

A full, 47-minute panel from the film's 35th anniversary celebration at the 2016 Bay of Blood Weekend in Florida is included. It's fun to see the team - Mihalka and actors Hallier, Udy, Stein, Humphreys, Peter Cowper, Thomas Kovacs, and Jim Murchison - interact and reminiscent after so many years. In a separate featurette, Kovacs performs the film's end-credit song, "The Ballad of Harry Warden," accompanied by Cowper and Murchison live at the same convention's after party, much to the audience's pleasure.

My Bloody Valentine is available now on Collector's Edition Blu-ray via Scream Factory.

[marcopolorules]

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[elitism-org]

Elitism 2

elitism (countable and uncountable, plural elitisms). The belief that a society or system should be run by an elite. The superior attitude or behaviour associated ... Jan 1, 2018 - Elitism is the defense of a high-status group and its values, often with a sense of condescension or disparagement toward people who don't ... Elitism in the Humanities. The strong surge for equality in our society over the past ten years, transformi small wave almost into a tsunami, has had a powerful ... The Question of Elitism. Ralph A. Smith. University of Illinois at Urbana-Champaign. The following article is reprinted from Excellence in Art Education: Ideas. elitism. The idea that a small, select group of people should get their way is called elitism. First class passengers and rich politicians alike are accused of elitism. Jan 15, 2020 - elitism meaning: the belief that some things are only for a few people who have special qualities or abilities : . Learn more. Dec 19, 2016 - Here's a formula for bursting elitist anti-elitism. Jeff Sparrow. How is it possible that a politician who took a $5,000 helicopter ride to a party ... Mar 20, 2018 - Trickle down elitism does not help the working class. The 'elites' in America need to claim responsibility for the role they played in the creation ... Sep 28, 2019 - The Elitism of the “Anti-Populists”. By: Giorgos Venizelos. Pundits analyzing the “populist threat” often assume an audience that wants to defend ... Nov 12, 2006 - Bryan argues for elitism. In a modern democracy, not only can a libertarian be elitist; a libertarian has to be elitist. To be a libertarian in a ... Nov 12, 2006 - One can argue, as Bryan does, that populism is more dangerous because the people are really, really ignorant. [Actually, I argue that the ... As a collective group, scientists would probably vote slightly left of the centre, be more liberal in their political and social views and would be genuinely ... Oct 28, 2019 - NPR's Steve Inskeep talks to journalist and author Joel Stein about his book: In Defense of Elitism, Why I'm Better Than You and You're Better ... Jun 8, 2017 - Yet, the anti-establishment character of 2016 American politics reveals the complexities of elitism and anti-elitism, the appearance in new form ... Editorial Reviews. Review. "With this indispensable book, Joel Stein firmly establishes himself as the Ted Nugent of elitism."―--Andy Borowitz, New York Times ... 3 days ago - In early 2018, Niall Ferguson moderated a conversation with Francis Fukuyama and Charles Murray at Stanford University's Hoover Institution. Feb 21, 2019 - Learning Objectives By the end of this section, you will be able to: Describe the pluralism-elitism debate Explain the tradeoffs perspective on ... Sep 24, 2019 - Elitism is the perpetuation of the values of an "elite." "Elite" can refer to two groups: Those who want to maintain a self-perpetuating oligarchy's ...