Sunday, January 27, 2008
A woman's face with nature's own hand painted,
Hast thou, the master mistress of my passion;
A woman's gentle heart, but not acquainted
With shifting change, as is false women's fashion:
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth;
A man in hue all 'hues' in his controlling,
Which steals men's eyes and women's souls amazeth.
And for a woman wert thou first created;
Till Nature, as she wrought thee, fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she prick'd thee out for women's pleasure,
Mine be thy love and thy love's use their treasure.
Saturday, January 26, 2008
They have been described as an 'almost pop' group. As the description implies, the group have some pop elements but miss out on others, and have never charted. Their early records (1982-85) for labels like Whaam!, Creation, Rough Trade, and Glass Records, had a raw and immediate sound, melodic and amateur, which seemed all at odds with the time. But an emerging fanzine culture identified with the group's sound and image, and slowly The Pastels started to influence a new wave of groups, which interested the NME and other UK media.
By now The Pastels were evolving and, although part of the NME's C86 compilation, in interviews they always sought to distance themselves from both twee and shambling developments. Their debut album, Up for a Bit With The Pastels (Glass, 1987) was quite strange, moving from garage pop-punk through to ballads with synth orch splashes. The follow-up, Sittin' Pretty (Chapter 22, 1989) was harder but less eclectic. Reports started to appear in the UK music press that the group was splitting up.
Eventually it became clear that a new line-up was configuring around original members, Stephen McRobbie and Annabel Wright (Aggi), now joined by Katrina Mitchell. This line-up is probably the best known of The Pastels' various phases, and often featured either David Keegan (Shop Assistants) or Gerard Love (Teenage Fanclub) on guitar. They signed with the emerging Domino Records and completed two albums, Mobile Safari (1995) and Illumination (1997), which showed them developing an odd, particular sound - melancholic and awkward, but warm and engaging. A remix set featured My Bloody Valentine, Jim O'Rourke and others - Illuminati (1998). Their most recent release is the soundtrack to David Mackenzie's The Last Great Wilderness (Geographic, 2003), which, made for film or not, is one of the most 'complete' Pastels albums. It features a track recorded in collaboration with Pulp's Jarvis Cocker. In 2006, The Pastels developed and completed new music for a theatre production by Glasgow based company, 12 Stars.
Thursday, January 17, 2008
"The natural world has such a secret power for me, it is such a source of strength and affirmation. . . . But then there are human beings, too, and they, too, are beautiful and treacherous and full of such mystery. God knows we need someone to tell us the human is beautiful these days, and we need to hear over and over again that even in our ugliness we must be loved into something more than ourselves and more than ugliness. My side is on the side of the human being, and the human being moving in nature, which is spirit; and nothing else seems important to me, and if I thought I could not spend my life laboring to perceive and to understand and to clarify what happens to us in the world, then I would want to die."
Thursday, January 3, 2008
This is a truly remarkable movie made by Reno Dakoto. It will make you shit yourself and cry all the way back from the can. It is funny funny funny! heartbreaking. all of the above. There is a song on 69 love songs by The Magnetic Fields named after him. you must buy or rent this beautiful piece of american movie magic. it will touch your heart and make ya go clean your tub.
Jeremiah "Terminator" LeRoy was a pen name of American writer Laura Albert. The name was used from 1996 on for publication in magazines such as Nerve. After the publication of LeRoy's first novel, Sarah, LeRoy started making public appearances. With the aid of her friend Savannah Knoop, Albert wrote the books that were attributed to LeRoy, and Knoop, wearing a costume, presented herself as LeRoy at public appearances. Many consider this one of the most notorious literary hoaxes of recent years.Supposedly born October 31, 1980 in West Virginia, LeRoy's backstory was one of prostitution, drug addiction and vagrancy in California, prior to the publication of his first novel in 1999. However, an exposé in October 2005 revealed that JT LeRoy was Laura Albert. In a January 2006 article in The New York Times, LeRoy's agent, manager, movie producer, as well as several journalists, declared that the LeRoy seen in public was Savannah Knoop, the half-sister of Albert's then partner, Geoffrey Knoop. In a February 2006 interview with The New York Times, Geoffrey Knoop stated that Laura Albert was author of the LeRoy books, which Albert has confirmed. She describes LeRoy as a "veil" rather than a "hoax", and claims that she was able to say things as LeRoy that could not have said as Laura Albert. Laura originally published as Terminator and later JT LeRoy.
The Pony Express was a fast mail service crossing the North American continent from St. Joseph, Missouri, to Sacramento, California from April 1860 to October 1861. Messages were carried on horseback relay across the prairies, plains, deserts, and mountains of the Western United States. It briefly reduced the time for mail to travel between the Atlantic and Pacific coasts to around ten days.
By traveling a slightly shorter route and using mounted riders rather than stagecoaches, the founders of the Pony Express hoped to establish their service as a faster and more reliable conduit for the mail and win away the exclusive government mail contract.
The Pony Express demonstrated that a unified transcontinental system could be built and operated continuously the year around — something that had previously been regarded as impossible. Since its replacement by the First Transcontinental Telegraph, the Pony Express has entered the romance of the American West. Its reliance on the ability and endurance of the individual riders and horses over technological innovation is part of "American rugged individualism".