Dum Dum Girls – Jail La La

jail_la_la.mov
Jail La La (2010, 65MB, 4:36 min)

Another music video, this time from
the Dum Dum Girls.
Great song, great film too, from Christin Turner.
Both make me dizzy inside & grin stupidly
on the outside.

More from Doodlebug

foodieterror.mov
Food Terror (2008, 73MB, 4:36 min)

More from Manchester’s Doodlebug.
This one is particularly splendid and
meal times will never be the same again.
Here’s the text Michael Barnes-Wynters sent me but
I don’t really know what it means:

Doodlebug Presents…25/10/08 at Contact feat.
Ronald fraser-munro’s RFM-UNPLUCKED. manc. poet
amanda milligan’s ‘mz.milly does…’ debut outting
with ‘On Becoming a Human Being’ (AV mix).
a sneak preview of Urbis’s Black Panther artist
Emory Douglas expo. French guerilla photgrapher
JR’s ‘Women are Heroes’ plus Terrorist’s FOOD TERROR mix.

I think we’re watching that last item.
Anyway, it’s great.
More soon.

Takuya Hosogane – Vanishing Point

takuyahosogane
Vanishing Point (2010, 19 MB, 1:39 min)

Extravagant motion graphics video by Takuya Hosogane.

Minivan on Fire! – Lewis LaCook

Minivan on Fire
Minivan on Fire (2007, 12.6MB, 32 sec)

So…I wrote the comment below in 2004 about the poem (below)
by poet-artist-programmer-polymath Lewis LaCook
but it fits the movie making too, I think.
The poem I reproduce here because it’s great &
because I can.

…*such* great work Lewis.
There’s the delirious and gorgeous imagery that has
always been such an attractive component of your work,
but here also (and did I not notice it so much before
or has it been slowly crystallizing?) a rigorous,
almost steely control of the materials.
The sense of storytelling, the incorporation of
dialogue, the confidence to mix the heady stuff with
the almost prosaic…
a complete pleasure…
michael

— Lewis LaCook wrote:

I had this feeling that I was
worth loving, and you let me

have it: a month of solid
silence and invisibility, and you’ve

forgotten me now, I’m sure:
haven’t even taken the movies back.
I feel I might’ve excited you. True,
you said, “You’re mischievous,
undermining, it gets you hot
to be bad,” with the heroin
of your eyes pushing through me,

“I need all your attention.”
Client status: Connected.
In cramped shoes I’m
transparent on milk
ice: sliding over islands, mortar,
crystals lateral with morphine
lapsed into strings,
stillness; my lace.
Cerebral, but rebellious.

The secret to rolling a great joint
is to roll it tight enough to smoke well
but loose enough to let any left-
over stems elude piercing the paper.

I feel it might be exciting
to feel loved. Someone rubs me

until I blossum. Until it

rains on my tongue. This is free.
There are only so many

kinds of sense. One in which
you’re thick, surrendered
to golds and reds, wear glasses
and have supper with your
mother. Meanwhile, outside
our encampment, fat
velvet fires rescue air from
almost total transparency.
I suck up files from a remote
location for work. Wake up
with my eyes already sunk,

jerk off: get high. Client status:
Connected. A tartly-intelligent
girl with her hand on my belly.
She says she likes it too much.
She has all my attention.
Character sets legitimize
where the pre-dawn wind
plies from you in heavy draughts
your childhood, your child, rubber
nipples: reading under a passive
milk of electric, not walls.
They hug cattle before they
shoot them in the brain.

I sleep past waking.

Everyone will be infinitely home soon.

I was dreaming in blush sundaes,
before, though: we are the wasps
that would rather sting themselves
to death, if that means we escape
a natural terminal port: we’re
those literal motherfuckers
who will not hover, but sparkler
and cackle like it’s all that’s
holding us down. I hate the royal
we. Dreaming about licking
the heart of red, the pith of gold,
cleaning you of stalwart
impurities. Ever feel

like you’re just marking a beat
in a line. Smoke orally
inflates the room. Filtration
flirts with purity the way eightball
chicks glom to money;

it makes them feel loved. Even
common houseplants know
where the sun is, swoon and go
limp when she’s gone. I’m still

waiting for that Saturday you promised me
not thinking about me at all not thinking about
you at all not thinking about you at all.

The Internet – Aaron Valdez

the_internet
The Internet (2006, 5.3MB, 1:03 min.)

2006 report from Valdezatron Industries technology department.
from Aaron Valdez.

Well Did You Evah!?

Well Did You Ever
Well Did You Evah? (1990, 14.2MB, 3:45 min)

Staying with Monday’s Iggy Pop theme, maybe you’re all
totally familiar with this but I never saw
it before & I think it is great .
Here he duets with Debbie Harry on the
Cole Porter song Well Did You Evah? as part of an
AIDS fundraiser from 1990.

Man Man – Banana Ghost

BANANA_GHOST.
Banana Ghost (2006, 24MB, 3:15 min.)

Music – Man Man. directed by Jeremy Mayhew.
Bit Max Ernst-ish, eh?

'That's Peanut Butter!'- Iggy & the Stooges, Cincinnati, 1970.

Iggy the Stooges
Iggy, Cincinnati, 1970 (1970, 28.7MB, 5:05 min.)

Layer upon layer of skin-tingling wonder & bizarreness
(is that a word?) from Iggy & the Stooges in 1970,
long before he discovered car insurance.
It doesn’t get any better than this.

From the excellent WFMU’s Beware of the Blog.

Jordan McKenzie – Serra Frottage

serra_frottage
Serra Frottage (2009, 13 MB, 3:17 min)

Whenever I’m travelling through, or near to London’s Liverpool Street station
I try and make time to pass by the wonderful Richard Serra sculpture,
Fulcrum, at the Broadgate end.
I really love it, one of the most successful pieces of public art I’ve
ever seen.
I mentioned this to a friend and he sent me a link to this piece,
one of a series of ‘minimal interventions’ by Jordan McKenzie
who clearly also um – –loves– – Serra’s work.

Puzzleweasel – ‘Cvon’

Puzzleweasel
puzzle (2006, 19.2MB, 3:51 min)

Puzzleweasel is the sonic output of Peter Dahlgren.