Coming up: Neil Young (in the ’80s)

oneweekoneband:

Thank you, Juana!

Coming up this week, we’ll take a closer look at Neil Young’s divisive experimental phase in the 1980s. (If you want to get in the mood, check out our previous week on Young’s general discography.)

I’m very happy to have my long-standing internet buddy Paul T. Klein feature on the site as this week’s guest writer. You can connect with Paul’s handsome self on Twitter and catch more links and info on his site.

See you later tonight!

Paul Klein is a dear, dear friend of mine and listening to him talk about music is one of my favorite activities.

I wrote about the new movie Whiplash. The film is fantastic and I’m really proud of this piece.

“Our mission as cinema owners should be to build a young cinephile audience….We should be finding ways to inspire a young generation to fall in love with going to the cinema just like Tarantino, Nolan and many of us theater owners did when we were kids. I want a younger generation to love classic films, to appreciate the shared experience, and to have a passion for film history. The only way we can do that is to ensure that 35mm never dies.”
— Tim League, head of Alamo Drafthouse
dinuguan:

Pan’s Labyrinth (2006)
dinuguan:

Pan’s Labyrinth (2006)

sleater-kinney came back

sleaterkinneycameback:

to write a gone girl thinkpiece

(via salesonfilm)

soulfulandtrue:

2brwngrls:

mimicryisnotmastery:


I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)

bless her

this is so amazingly powerful. hollywood execs and producers—this is CHANGE. 

She’s perfect
soulfulandtrue:

2brwngrls:

mimicryisnotmastery:


I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)

bless her

this is so amazingly powerful. hollywood execs and producers—this is CHANGE. 

She’s perfect
soulfulandtrue:

2brwngrls:

mimicryisnotmastery:


I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)

bless her

this is so amazingly powerful. hollywood execs and producers—this is CHANGE. 

She’s perfect
soulfulandtrue:

2brwngrls:

mimicryisnotmastery:


I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)

bless her

this is so amazingly powerful. hollywood execs and producers—this is CHANGE. 

She’s perfect

soulfulandtrue:

2brwngrls:

mimicryisnotmastery:

I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)

bless her

this is so amazingly powerful. hollywood execs and producers—this is CHANGE. 

She’s perfect

(via scoreswayze)

Black excellence.

suckonthedickimashark:

sistermaryfake:

munmas:

sistermaryfake:

phuckindope:

Nori is so fuckin dxpe 😍

I don’t understand why you would dress your baby in leather pants to go to a pumpkin patch

I don’t understand why you worry about what someone else’s child is wearing?!?

I’d have the same issue if she was a grown woman who dressed herself. Why the fuck would you wear leather to a pumpkin patch? That doesn’t making any god damn sense.

Because she’s dope and she does dope shit

“The flipside of that argument, perhaps, is that Wong’s films are so interconnected that one has to see them all, or a lot of them, to get the full effect, and that those who don’t make that commitment might be a bit adrift with any given individual film. Certainly, it’s hard to imagine getting a whole lot out of 2046 without having seen many of Wong’s earlier films first—it’s a loony apex of self-referentiality. Maybe that’s a limitation, but I don’t see it that way. Entering Wong’s world is always a pleasure, and his cast of characters and types—restless romantics, would-be noir adventurers, lovelorn cops and self-consciously posing criminals—all seem to be engaged in a search that, for Wong, might just be the essence of being human. The searching, restless quality of his films and his characters, the desperate desire for love, is a core human quality, which Wong’s characters simply express in more eccentric and dramatic ways than most, and Wong matches their inventive romantic gyrations with an equally exaggerated, expressive style. Film and characters together are striving for connection, remaking the world through the eyes of one hopeless romantic after another.”