Terminator Is Out There

[version]

Death Is Just Around the Corner - #79: GoFundMe Nicaragua (Iran-Contra, pt. 1)

MJ gets Midwest Ultra Pissed hang Oliver North by his heels and let him be eaten on live TV Iran-Contra as the basis of the modern police state R.I.P. to Robert Parry and the murdered Gary Webb the CIA: Drugs Are Our Business, And Business Is Unequ

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Death Is Just Around the Corner - #80: Cokeboys International, Amen (Iran-Contra, pt. 2)

Sincere apologies for being alive the CIA is just excellent with regional loyalties Julio Zavala and Carlos Cabezas, or, the Justice Department sometimes has trouble getting on the same page Danilo Blandon, fuckup kingpin Ron Lister & our various c

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Death Is Just Around the Corner - #81: A Stronger, Loving World to Die In (Iran-Contra, pt. 3)

In which MJ perhaps gets too angry to be articulate fuck Ronald Reagan till forever the lost story of Antonio Martin Iran-Contra as the groundwork of the American police state Freeway Ricky Ross, the crack explosion, andhow the CIA filled the hood

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[...]

Remembered what?

You hate books and reading.

 

[luka]

There's a Gore Vidal piece I've wanted to read for a while where he talks about Barth, Barthes, Barthelme, Pynchon and others called "American Plastic".

Nine years ago I wrote an exhaustive and, no doubt, exhausting account of the theory or theories of the French New Novel. Rejected by the American literary paper for which I had written it (subject not all that interesting), I was obliged to publish in England at the CIA’s expense.

 

[luka]

You hate books and reading.

I read all the time. I read your essay this morning remember. I just tell Stan not to read because I don't want him to get too clever.

 

[...]

I read all the time. I read your essay this morning remember. I just tell Stan not to read because I don't want him to get too clever.

You were hurling abuse at me in December simply because I defended the activity of reading books!

 

[...]

I sometimes think you don't mean anything you say.

 

[version]

Bret Easton Ellis made me want to watch American Gigolo, but I still haven't seen it.

ALEX ISRAEL — We’ve spoken about your interest in Paul Schrader’s American Gigolo. Tell me about your relationship to the film.

BRET EASTON ELLIS — I was 16 when it came out and back then it seemed very shocking. It was Paramount’s big spring movie of 1980 and it reverberated through our culture and started to change things. What was shocking was that there had never been a movie that looked at male beauty in the way American Gigolo did. We’d seen women lit, addressed, and undressed in that fashion, but we’d never seen a movie essentially about male beauty. It was the first metrosexual movie. I think it anticipated a change in culture that would be seen with more clarity later on in Calvin Klein ads and in the photographs of Herb Ritts.

ALEX ISRAEL — So it offered a new way of thinking about male sexuality’s role in mass culture?

BRET EASTON ELLIS — A lot of movies have dealt with male sexuality. But does American Gigolo really deal with male sexuality? Richard Gere plays a prostitute in it. It’s a film noir. Regardless of what Paul Schrader was going for at the time, it has a heavy homoerotic element. But it wasn’t a gay film. It was saying, look, this is where we’re headed as a culture: male beauty in straight culture is going to be embraced in this way — not as it is in gay culture, but in this other way. I remember seeing the movie a number of times, knowing that it wasn’t a great film, but that it was very suggestive. Now, 30 years later, it’s a key LA movie.

ALEX ISRAEL — An especially key movie for you, right?

BRET EASTON ELLIS — Completely, right down to the fact that I named Julian in Less Than Zero after Gere’s character in American Gigolo. For better or worse, in 1980 I began working on Less Than Zero. There wasn’t really a Julian character in the first draft of that book. When that character began to announce itself in subsequent drafts he was named Julian — in homage to American Gigolo.

Bret Easton Ellis - purple MAGAZINE

interview and portraits by ALEX ISRAEL I pulled off of Sunset Strip heading for BRET EASTON ELLIS's home. I’d finished reading his much-anticipated

purple.fr

 

[luka]

I sometimes think you don't mean anything you say.

I mean all of it, but in different ways. Sometimes they're rhetorical positions taken for strategic reasons. Sometimes I'm just drunk.

 

[luka]

There's a Gore Vidal piece I've wanted to read for a while where he talks about Barth, Barthes, Barthelme, Pynchon and others called "American Plastic".

I'll tell you what it reads like it reads like Barty pretending to listen to music in good faith while scattering one liners about it all over the place. "Sounds like a Bulgarian wedding" "sounds like playing with your new Lego on Christmas morning"

 

[luka]

"More stories. More graphics. The pictures are getting better all the time. There is a good one of a volcano in eruption. The prose…as before. Simple sentences. “Any writer in the country can write a beautiful sentence,” Barthelme has declared. But he does not want to be like any writer in the country: “I’m very interested in awkwardness: sentences that are awkward in a particular way.” What is “beauty,” one wonders, suspicious of words. What, for that matter, is “awkward” or “particular”?"

 

[luka]

Guilty Pleasures (1974). This writer cannot stop making sentences. I have stopped reading a lot of them. I feel guilty. It is not pleasurable to feel guilty about not reading every one of those sentences. I do like the pictures more and more. In this volume there are more than thirty, pictures. In the prose I spotted hommages to Calvino, Borges, early Ionesco. I am now saving myself for The Dead Father, the big one, as they say on Publisher’s Row, the first big novel, long awaited, even heralded.

 

[luka]

"She works from something very like life…I mean “life”; she has an extraordinary ear for the way people sound. She do the ethnics in different voices"

 

[luka]

There's nothing remotely intelligent or interesting said in that essay. Only read it if you like Gore Vidal being Gore Vidal.

 

[Mr. Tea]

I sometimes think you don't mean anything you say.

CONGRATULATIONS!!!

You have completed the immersive online alternate reality game, 'luka'.

Play again? [Y/N]

 

[version]

There's nothing remotely intelligent or interesting said in that essay. Only read it if you like Gore Vidal being Gore Vidal.

I've never read Gore Vidal, but now I'm glad. It seems it's best to just watch him being a dick on chat shows and leave it at that.

 

[Murphy]

Start with these, ignore the rest, life is too short for slurry

Point Blank (1967) ⭐ 7.3 | Crime, Drama, Thriller

1h 32m | X

www.imdb.com

Bullitt (1968) ⭐ 7.4 | Action, Crime, Thriller

1h 54m | A

www.imdb.com

 

[luka]

Are you drunk? That's nowhere near the timeframe! Although I do like Point Blank very much.

 

[Murphy]

Then backtrack your chronology. These ‘films’ didn’t evolve from zero, although they have devolved to such.

In the war of good taste, I refuse to watch Fastly Furious when I can rewatch that gas guzzling road bucket Steve McQ drives. I refuse to indulge the Stath when there’s Lee Marvin.

Both actions will increase your t-levels and out-sexually tyrannosaur anything Jesse Ventura can swing a club at

 

[Murphy]

Vroom vroom.

 

[luka]

the scholarly research I'm intending on isn't about action films and fast cars it's more about the eighties, ie, my childhood!