Before you diagnose yourself

Making books cool again: John Waters

The greatest movie ending

From Nights of Cabiria, directed by Federico Fellini

Cycles

photo by Brad Johnson, via

The widespread appeal of the Hell's Angel's is worth pondering. Unlike most mother rebels, the Angels have given up hope that the world is going to change for them. The assume, on good evidence, that the people who run the social machinery have little use for outlaw motorcyclists, and they are reconciled to being losers. But instead of losing quietly, one by one, they have banded tighter with a mindless kind of loyalty and moved outside the framework, for good or ill. They many not have an answer, but at least they are still on their feet. . . .  

There is an important difference between the words "loser" and "outlaw." One is passive and the other is active and the main reasons the Angels are such good copy is that they are acting out the day-dreams of millions of losers who don't wear any defiant isignia and who don't know how to be outlaws. he freest of every city are thronged with men who would pay all the money they could get their hands on  to be transferred -- even for  a day -- into hairy, hard-fisted brutes who walk over cops, exert free drinks from terrified bartenders and thurden out of town on big motorcycles after raping the banker's daughter.

Hunter S. Thompson, Hell's Angels: A Strange and Terrible Saga

Queen Bitch & Eddie Cochran: Bowie Live at the BBC echoes Eddie's 3Steps

Not really a copy. More like an echo.

To Live and Die in LA: Title Sequence and Interview with William Friedkin

I w.as obsessed with this movie, and, while I think it's one of the best movies from a generally crappy decade, I'm still not sure why it caught my attention so deeply. Lots of good insight from Friedkin below.


Title Sequence


Part 1



Part 2



Part 3



part 4



part 5

To Live and Die in LA: Wang Chung

Yeah, it was the 80's all right.

Happy birthday

...to Elia, Buddy and Chrissy.

Dirk Bogarde charts his character in Victim

From the BFI Flikr:

On the inside cover of his personal shooting script, Dirk Bogarde picked out his scenes and tied them together. Here, we can exclusively see character Melville Farr's occurrences in Basil Dearden's Victim (1961) from start to finish.



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Kissing like he means it

I hate it when an actor just can't seem to plant a real kiss on the actress. Take a cue from this couple, who later got married, had kids and grandkids.
Kiss like you mean it.