I think there's a problem of overavailability: that's one of the things that comes across very strongly in Rip It Up. How postmodernity in pop was very much about the simple availability of the past - many records we'd consider classics now were not very easy to get hold of in the post-punk...
let me try again:
like a lot of french men, he is sessed with power and the way it works and flows but his scheme of power and insertion (more pressure based top-down nonsense than a nice bit of subtle, arterial foucauldian numminess) (uh sorry whut?) is ultimately a bit silly...
I have seen a lot of his films, for some reason or other.
"the seventh continent" > "code inconnu" / "the time of the wolf" / "the piano teacher" > "funny games" > "71 fragments of a chronology of chance"
though I think that second tier represents his best work, a kind of trilogy of genius...
yeah, dbs, DA showed up towards the END and just started talking (obv. to HIMSELF) and the thing he ws saying? god no-one would listen BUT tonight I threw potatoes at people and it wasn't *half* as good as don, on ilx or otherwise.
working in a similar vein? I'm not sure abt *like* don but there are plenty w. distinctive, original voices (these ones are usually the best) (though there are some who reach that dizzy height through sheer enthusiasm and persistence alone) but I don't want to name *names* since I've already...
don allred is really awesome. I was introduced to him by f. kogan (who has a book coming out soon) ("real punks don't wear black"). you should search 'allred' in the ilx archives. there are some great block-quoted, over-driven paragraphs of him there. but yeah, a music writer with style. his...
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