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Archive: December, 2009
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| Gamespot |
Every Tuesday, we poke around the art blog world so you don't have to.
' Who lives in a pineapple under the sea? Karl Lagerfield. Even though it's mostly about the music, two.one.five. wouldn't be worth its hipster salt without the occassional irreverent reference.
' Sara, Philadelphia's premier architectural screen printer and former Atlantic City bus ticket-seller from Girls Can Tell, is having a holiday sale. There's something especially charming about her kitschy hamburger coaster. 'Grab one before there's a new super thing for 25 percent off.
' Mark Schoneveld loves music, travel, and living in Philly. But his blog, The Poverty Jet Set, also shows a penchant for skateboarding. Check out this rad Wizard Smoke video ' creative visual effects without hours in front of Final Cut.
' Necessity For Ruins commemorates Philly's urban decomposition. Victims of the wrecking ball such as the Church of the Transfiguration are immortalized pre-demolition thanks to the blog and the magic of the INTERNETZ.
' Geekadelphia is reporting that local chiptunes God Animal Style is releasing his new album, Teletime, on an NES cartridge. Sucks for those that prematurely Craigslisted their Nintendo five years ago.
Thanks for the shout, Kristen!
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| The Weinstein Company |
| Viggo Mortensen in The Road. |
To create his vision of the post-apocalypse in the film adaptation of The Road (read Sam Adams' review), director John Hillcoat turned Western Pennsylvania into the desolate wasteland of Cormac McCarthy's imagination. While ostensibly not much of Western PA would have to change to look like the world had ended (take that, Pittsburgh!!), all visual effects were done right here in Philly at DIVE, which I wrote about in the current issue.
But visual effects can be hard to ' well ' visualize. DIVE Executive Producer Andy Williams offered us some before and after shots directly from The Road to show you exactly what DIVE does. Check 'em out after the jump. Click on each still for a larger view.
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| Before | After |
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| Before | After |
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| Before | After |
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| Before | After |
RELATED: Trailer!: The Road
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"You're all fucking creeps."
It only took a few seconds of the opening song, 'Blood Visions,' to get the shoulder-to-shoulder tight crowd to swell, allowing room for a 10-dude mosh pit at the base of the stage. Forget about pictures this time, folks. I stood at the very edge of said mosh pit, trying in vain to snap a photo without getting elbowed in the ribs. I held my ground pretty well through a few insanely fast songs, but eventually I was hugging a post that supports the balcony to keep from being swept into the sea of flailing limbs and heated aggression. Jay Reatard had only been on stage for 10 minutes at this point.
In that time, though, Reatard probably burned though four songs. His music ' normally jittery and amped ' was played at breakneck speeds. I understand the punk rock mentality of barely taking a breath between songs and playing them at three times their normal tempo. But he peppered his lyrics with insults aimed at the crowd (i.e. "play for you creeps, you're all fucking creeps" during "Waiting for Something.") And after blazing through a set only 35 minutes long, he threw down his flying V guitar and ducked out the side door, all Axl Rose style. No "thank you," no "you rock, Philly," no nothing.
Rude? Yes. Exactly what should be expected from the hairy Memphis punk? Of course, and we wouldn't want him any other way.
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