Sometimes, the death of someone serves as a jumping board to something only tangentially related to the deceased. This is the case with the Yo Yo film fragment with its mime aesthetic in which Auger plays Isolina.
Nevertheless, please enjoy despite its tangentiality.
When the second died I felt empathy, some sense of loss that I had not felt with the first.
And then it dawned on me why that was. To me, Panamarenko was but some sort of town’s fool who made art to amuse the rich or for the ‘poor little rich folk’ who were in search of their inner child and recognized in him their boy’s dream. Although I did not dislike him, my feelings toward him had been at best ambiguous.
Deelder was another case altogether.
I’d always liked him. He was punk. He was into drugs. He snorted speed. He looked stylish. He was into music. He made poetry cool. He made art for the rich and poor. He crossed boundaries. He was sharp. He was funny.
For an international audience, there are a set of four jazz compilations: ‘Deelder draait’ (2002), ‘Deelder draait door’ (2003), ‘Deelder blijft draaien’ (2004) and ‘Deelderhythm’ (2006).
In the first clip (13:53) Anna stands in front of a mirror in the same bathroom as in which she takes a bath in the third clip.
The voice-over: “What was directly lived reappears frozen in the distance, engraved in the tastes and illustions of an era and carried off with it.”
In the second clip (14:41) she is in the bath and rubs herself with soap.
The voice-over: “There is no more should-be; being has been consumed to the point of ceasing to exist. The details are already lost in the dust of time. “Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?”
In the third clip (17:30) she is seen at the wheel of a convertible car, a bird’s eye view, three young people get out of the car.
The voice-over: “In the final analysis, stars are not created by their talent or lack of talent, or even by the film industry or advertising. They are created by the need we have for them.”
The fourth clip (18:09) begins where the first clip left off.
The voice-over: “The advertisements during intermissions are the truest reflection of an intermission from life.” Translations are from .
Danny Aiello was an American actor, often characterized as a character actor.
Aiello played in The Stuff (1985) by Larry Cohen. In that film he is Mr. Vickers, a man who works for the FDA and approved ‘the stuff’. He is later eaten by his dog who was being fed ‘the stuff’ too. They were both addicted to ‘the stuff’.
The Stuff is a typical Cohen film, at once critical of society and sensationalist.
It belongs to a small category of Hollywood films with an anti-consumerist message. Another important film in that category is They Live (1988).
Perhaps these are the two only films in that category.
I have nothing with that band. Perhaps it’s a generation thing, I was 24 when their song “The Look” came out, so too old to make any sort of impression.
To me it’s more pap than pop because, let us be honest, this was 1989 and instead of listening to “The Look”, you could have been listening to “French Kiss” by Lil’ Louis, “I’ll House You” by Jungle Brothers, “Work That Mutherfucker” by Steve Poindexter, “Sueño Latino” by Sueño Latino, “Pacific State” by 808 State, “Fight the Power” by Public Enemy, “Funky Cold Medina” by Tone Lōc or “Wicked Game” by Chris Isaak.
Furthermore, in 1989 there was also “Love Shack” by The B52’s which brought pap-ish joy without the bombast of Roxette. Both bands share their use of the guitar but Roxette sounds like American middle of the road arena rock.
And if you were into guilty pleasures, you could have been listening to “Me So Horny” by 2 Live Crew or “Pump Up the Jam” by Technotronic.
“The Look” was featured on Grand Theft Auto IV, on the Vice City FM† channel, at least half of the songs on that channel are better than Roxette’s.
A long time ago, I decided to do only appreciative criticism, but since this blog has evolved into a necrology, it seems fitting that I strive for completeness and thus ‘bash‘ Roxette.
On the other hand, as the video above shows, Roxette had lots of fun.
Life is a stage and each must play his part… so Roxette, enjoy your symptom.
Louise Bennett-Coverley gave Harry Belafonte the foundation for his 1956 hit “Day-O (The Banana Boat Song)” by telling him about the Jamaican folk song “Hill and Gully Rider” (the name also given as “Day Dah Light”).”
“Jamaica Farewell” was compiled and modified from many folk pieces to make a new song. Burgie acknowledged his use of the tune of another mento, “Iron Bar””.–Sholem Stein
I remember vividly how one night my parents went to a Harry Belafonte concert in Antwerp and lodged me and my brother in a fancy hotel which had a pool that was partly inside and partly outside the hotel. It was winter and the pool outside was steaming into the open air. This must have been before the first oil crisis. (update: I called my mother, it was the Sofitel, located on the Boomsesteenweg 15, Aartselaar)