Blowhard, Esq. writes:
Following hdb chick’s example, here’s a map of UR’s world readership in 2013.
Our top 10 countries:
Our top 10 referrers:
Fabrizio del Wrongo writes:
I’ve already posted galleries devoted to French and Italian posters of the French New Wave. This entry is the last in the series: it focuses on New Wave posters released in countries other than France and Italy.
Looking through the collection one gains a sense of the movie poster traditions of the represented countries. In Belgium, for example, posters were rather small, though their bright, photorealistic artwork tended to make up for any deficiencies related to size. And Argentine posters are notable for utilizing the stone lithography method of reproduction well into the ’70s, when most countries had long since converted to offset printing. Format-wise, my favorite is the Japanese double-panel, which provides for an appealingly vertical design thrust. The double-panel poster for Godard’s “My Life to Live” is one of my personal favorites.
As in the earlier galleries, I’ve included posters for some films that aren’t strictly New Wave but are related to the movement in one way or another.
Happy New Year.
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Paleo Retiree writes:
epiminondas writes:
Especially if you are an astronaut…
Fenster writes:
Are the rich different from you and me. Maybe.
Are magicians? You bet.
Ricky Jay’s movie, Deceptive Practices is on Netflix Streaming.
He seemed a little dorky as a young performer. Seemed wild and hip in the seventies. Seemed menacing in film roles. Seems like a regular mensch today. Seems, seems, seems, seems . . .
Fenster writes:
This might make a good SNL skit premise.
Maine public health officials have denied an Ellsworth man’s request to use marijuana legally to treat Tourette syndrome. The Maine Department of Health and Human Services this week denied a request by the man’s doctor, Dustin Sulak, to add Tourette syndrome to the list of medical conditions that qualify for treatment with marijuana. .
Fabrizio del Wrongo writes:
Blowhard, Esq. writes:
Click on the images to enlarge.
A collection of female reclining nudes with (as you’ll quickly notice by the titles) a special emphasis on the odalisque.
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Fabrizio del Wrongo writes:
“Big Star: Nothing Can Hurt Me” is ostensibly a documentary about ’70s cult band Big Star, and it’s good at being that, but its stealth subjects are the state of rock ‘n’ roll in the ’70s and the cultural milieu of Memphis, Tennessee, and I think they’re what make it such a full experience. The movie feels grounded and lived in. Like David Chase’s fitful but touching “Not Fade Away,” it’s great at capturing the ragged, all-too-human experiences that, though they serve as the raw stuff of pop music, tend to become secondary as they’re outpaced by ambition, stardom, and mythology. (Lacking stardom and notably short on mythology, the Big Star story is almost all ragged experience.) Filmmakers Drew DeNicola and Olivia Mori manage to provide a compelling context for Alex Chilton, one of those music figures who is damnably hard to get a bead on. Here he comes across as a too-late-for-the-party rocker who ended up scraping his fingernails against the chalkboard of NYC art rock, perhaps because he couldn’t come up with a better way of making rock music feel alive. (Chilton was notoriously prickly: I saw him perform in 1993, and when someone in the crowd urged him to play a Big Star tune, he bit the guy’s head off.) Towards the end it becomes a heart-on-sleeve fan tribute, and the showboating reverence of the band’s famous acolytes weighs the movie down. But to fans that probably won’t make a difference. It’s on Netflix Instant.
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Blowhard, Esq. writes:
Click on the image to enlarge.
The market square of Zamość, Poland. Photo taken from this excellent Flickr page.
Blowhard, Esq.
Callowman
Sherbrooke
Eddie Pensier
Enzo Nakamura
Epaminondas
Fabrizio del Wrongo
Fenster
Brundle Guy
Glynn Marshes
Paleo Retiree
Atypical Neurotic
Question Lady
Sax von Stroheim
Sir Barken Hyena
The Mistaken
Uncouth Reflections 