Pink Floyd, One of These Days I’m Going to Cut You Into Little Pieces
From Live at Pompeii
Paul Graham Interview The House of Photography Hamburg, Germany
Foo Fighters, All My Life (Live on Letterman Ed Sullivan Theater New York)
Foo Fighters, Everlong
This song will NEVER get old. I’m gonna get my BMX and cruise the neighborhood in the rain!
André Kertész, Self-Portrait, Paris, 1927.
Vanity Fair Slideshow on Night photography in Paris in the 20’s and 30’s.
Really into THIS right now. The Art of the Title Sequence has High Quality videos of amazing title sequences. (thnx matt)
Warpaint, Undertow Live at Coachella 2011 (Was this recorded like Yesterday?)
David Byrne and Brian Eno on the making of Everything That Will Happen Today”
Talking Heads, Tenative Decisions 1975 at CBGB’s
The Ramones, Live at CBGB’s 1977
1. Rockaway Beach
2. Cretin Hop
3. Oh, Oh, I Love Her So
4. Today Your Love, Tomorrow The World
Hey! Ho! A Joey Ramone Tribute
Ten years ago, on April 15, 2001, punk music lost its lanky, shaggy-haired, leather-wearing hero, when Joey Ramone, lead singer of the iconic New York band the Ramones, lost a long battle with lymphoma just shy of his 50th birthday. But his spirit lives on through his music and the countless artists he inspired. Here, a tribute to the man born Jeffry Ross Hyman, featuring memories from his ’70s contemporaries, his punk-rock descendants, and Joey himself.
(Source: life)
Excerpt from ”Tod Papageorge on Robert Adams - The Missing Criticism- What We Bought ” By Tod Papageorge
Photography is of course an analytic, not a synthesizing, medium: photographs are
commonly produced all-at-once, as light strikes a piece of film. This is unlike the other visual arts, where paintings and related kinds of pictures (including the most rapidly sketched drawing), are built through a process of accretion, stroke by stroke. Writers, too, even the most fluent, parallel these synthesizing procedures as they shape their texts one draft after another, but their practice at least suggests that of photographers, since it involves, in part, an editing process applied to words — and, by extension, to the things that words signify. As W.H. Auden put it, “it is both the glory and the shame of poetry that its medium is not its private property, that a poet cannot invent his words,” an observation also true when applied to photography and the photographer’s inability to invent his “worlds.”
But where a poet combines, over time (be it minutes or years), the words of a shared
language to make a poem, a photographer combines, instantaneously, a jumble of things out- there (which often share little more than their adjacency) to make a picture. Individual photographs, then, are less like poems than unique ideograms, or picture-complexes, that freeze the moment when the objects, air, and dimension framed in a viewfinder are incorporated and fixed together in an unalterable mix by being exposed on film.
Reservoir Dogs, Title Sequence. Dir. Quentin Tarantino
