| My Burgeoning Career as a Cartoon Fly Girl |
So, that happened. My animated self kinda looks like Seth Green in Can’t Hardly Wait, right? |
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Lana Kim is an executive at the elite force of filmmaking masterminds known as The Directors Bureau, an agency that represents music video/commercial directors like Geoff McFetridge and Patrick Daughters. As if that weren’t cool enough, Kim moonlights as the host of The Lana Show, a web series in which she “interviews” (read: ensnares in a trap of entertainingly awkward, stunted banter) rad musicians like Blonde Redhead, No Age, and Sebastian Tellier in cramped storage closets and hotel room beds. In between the awesomely uncomfortable bits of unplanned conversation, each artist provides a personal playlist of their favorite music videos. You never know what to expect on The Lana Show — she even shot a recent episode with Saint Vincent in puppet form. And don’t miss her picnic table chitchat with Will Oldham, which includes an extensive discussion of Lana’s high school pooping habits. If you happen to be in the L.A. area this week, check this out: Lana and her band will be putting on some sort of crazy avant-garde performance (which also involves my friend Michelle!) at the Redcat Thursday, Friday, and Saturday nights as a part of the annual NOW Festival. According to REDCAT:
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The Silent Movie Theatre is hosting a series called “F is For Folk” on Thursdays this month, and last night was Vashti Bunyan night. An exceprt of The Family Jams was shown along with the amazingly beautiful new feature length documentary Vashti Bunyan: From Here To Before, which traces the legendary horse-and-buggy journey traveled by Vashti and her compatriots in 1968. Last night’s screening also included the 2-minute theatrical premiere of Same But Different, a short film I shot at a Mean photo shoot with Vashti. And now, for the cyberspace premiere! Enjoy: |
Michael Lucid and Amanda Barrett’s internet sketch comedy thingy is called Pretty Thingsss and it’s a barrel of laughs! These two recent clips are “street poems” comprised of random, spontaneously captured footage of daily life in Hollywood, supplanted with the free-associating madness of Michael’s voice over. So good. |
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Mirror Mirror’s debut album, The Society for the Advancement of Inflammatory Consciousness was one of my favorite records of 2008. Their new video for the track “Eugene” has already claimed its place as my favorite of 2009. Spaced-out gradients, sinister clowns, shirtless boys skateboarding through virtual territories, pizza, and 3D trees: what more can you ask for out of a music video? It’s even radder that this piece of cinematic brilliance was directed by the band themselves. The visuals here are a natural progression of their aural aesthetic. Long live Mirror Mirror! via Rudy Bleu |
Can you recognize me in this commercial? I’m in it twice. But I got downgraded to an extra for not being identifiable enough. The wacky world of Hollywood! |
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Analyzing an entire generation is about as scientific as astrology. I’m more apt to trust a horoscope than someone who claims to be an expert in generation-ology, like the entirely biased experts in the field, Baby Boomers William Strauss and Neil Howe. I probably have more in common with my fellow Libra-Scorpio cusps than I do with the 70 million Americans born in between 1982 and 2001. The ties that bind a generation are constructed from the various narratives of their time: we’re summed up by the cultural, political and technological trends that surround us, whether we have anything to do with them, or whether they’ve been passed down to us from Baby Boomer marketers and impresarios, Generation X culture-makers and web developers. There’s a faulty logic in assuming that whatever the Gen Y demographic consumes the most reflects an authentic picture of its generation: most of us have just started to mature to the point where our own work has become culturally relevant, where we are speaking to each other instead of being spoken down to. Furthermore, culture has become fragmented into micro-niches faster than market research can keep up with it. Over the next decade, I hope that Generation Y will start to define itself rather than let itself be defined by biased voices from the generations that have preceded it. The lasting damage of our elders’ bitter accusations of “entitlement!” will not be erased without hard work. In terms of authorial origin, I can’t claim the video at the top of this post (which I appear in) is a step in the right direction. It’s basically a bullet-point rundown of the points outlined in Gen X writer Eric H. Greenberg’s new book, Generation We– a call to action for our generation to change the world for the better. While it may not come from an authentically Gen Y source, the book and the video have a good message, using our generation’s lack of an identity as a call to arms, asking us to carry on the project of liberalism that has finally arisen from the ashes in the 2008 election. Underneath its melodramatic earth-saving surface, the video manipulates our fragmented lack of cohesion to recruit us for the liberal agenda, which, as a supporter of those ideals, I believe is a good thing– yet, as a believer in the importance of our generation establishing self-sufficiency, I can’t help but feel weird about. Regardless of its authorial origin or agenda, the effort to stimulate, address, or identify Generation Y as a whole is clearly something that young people are yearning for: the “Generation We” video has already been viewed 1.8 million times in little more than a week over MySpace, YouTube and Vimeo (reading the video’s comments on each of those sites is an interesting study altogether on the disparate demographics who log on to each of those forums). Sometimes I wonder if it will ever be possible for us to effect positive change throughout our next 15 or 20 years in the sun. Will we end up selling out like the Baby Boomers in the 80’s, or just say “Whatever” and enjoy ourselves like the jaded Generation Xers before us? Will technology give us the edge we need to change the system and its seemingly impassible roadblocks, or will it just lead us to solipsistic navel-gazing? Or will the entire system collapse under the shifting forces of the global market before we even have a chance to make our mark? But most interestingly, whatever happens, will we ever truly take control of our destinies? Will we write our generation’s own story– or will it be written for us by a cynical group of our elders? |
This video is a little something I cooked up at the end of the summer with my pal Johnny Rogers of The New Jedi Order collective. Check out my earlier post about D.B. Cooper for more information on the legendary skyjacker. |
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Jesse Spears (pictured on the top right, smelling a buttercup) is one of my favorite artists. In addition to the blog she uses to document her endless creative output (Long Live Cartoon!) she also keeps a personal blog called Carnage Knockout, filled with sublime ephemera: snapshots of plants and pets, 911 calls, bubble wrap, and lists: like, “Things I Don’t Understand,” and “People I Want To Meet.” It was on Carnage Knockout that I first came across Wendy Morgan’s godly music video for the Gnarls Barkley song “Going On.” Wendy Morgan is a Canadian commercial and music video director who’s made some great ad spots for Ikea, Girls Inc., and MTV Canada that are often bizarre or bemusing and occasionally even tackle the ungraspable nuances of Canadian national identity. Truthfully, Wendy’s MTV commercials are too good for MTV… though, who knows, maybe in topsy-turvy Canada, that sad vestige of a former pop culture powder-keg has managed to retain some semblance of watchability. Regardless of MTV’s contemporary significance, its legacy lives on in cyberspace as the music video medium continues to thrive on a newly global scale– thanks in no small part to directors like Morgan. She’s crafted unaffected, imaginative videos for bands like The Unicorns and Dragonette– bands which don’t get any significant air time on the highly corporatized cable networks, but are now finding a home on the information superhighway. I thought it would be fun to interview Wendy Morgan, but even more fun to let Jesse Spears do most of the work, since she loves the “Going On” video so much. Jesse came up with a bunch of questions, and I threw in a couple of my own, and we e-mailed them off to the jet-setting filmmaker, whose blog is replete with images from Jamaica, Barcelona, Italy and France. I’m enormously grateful to Wendy for humoring us by responding to this interview, and to Jesse for conducting it. I’ll pass things over to Ms. Spears for a proper introduction:
1. What was the crew like for the filming of the “Going On” video? Like, how big was the crew, and how long did it take and stuff.? We shot for two days, prepped for probably five days, the crew was around 20 or so people I think, it felt pretty small in reality. The producer was Jannie McInnes of Revolver Films, the cinematographer was Max Goldman, who makes a ton of great videos, and I think he’s amazing. 2. How did you come up with the story of dancing Jamaican kids finding a portal to an alternate dimension? Well, the original story that was written was: we do a musical-style approach with singing and dancing that takes place in Africa. But it made more sense to go to Jamaica, and I love dancehall style dancing, but you’ll notice there are no obvious Jamaican references or locations. I wanted it to be a nether world. The song sounded like dancing and celebration to me and lyrically, it talks about going on. I imagined the farthest you can possibly go is another dimension, so we’ll go there. |
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