YES

FORREST BESS

WOKE UP THINKING ABOUT HIM

waiting on California

I have slept a bit on Bradford Cox's DEERHUNTER/ATLAS SOUND blog lately

and in the process almost missed out
on maybe his best micromix ever

1. Music From the Final Scene in Terence Malick's "Badlands"
2. Thomas Wayne - Tragedy
3. Crumb Brothers - Seat in the Kingdom
4. The Spades - We Sell Soul
5. OMD - Swiss Radio International
6. Abner Jay - The Reason Young People Use Drugs
7. Child's View - The Cradle of the Light
8. Brian Wilson - Don't Talk (Put Your Head On My Shoulder) (Piano Demo)
9. A Silver Mt. Zion - 13 Angels Standing Guard 'Round the Side of Your Bed
10. Magazine - The Light Pours Out Of Me (Demo)
11. Nehamusasa - Instrumental Excerpt
12. DQE - Burning
13. Wavves - Weed Demon
14. The Fleetwoods - Tragedy

as well as some killer new
"virtual 7 inches" from atlas sound...

more good friends /good art up right now in NYC

Anne Eastman

at ATM

Ruby Stiler

at Beauchene

FRANK HAINES

at Lisa Cooley

VIOLET HOPKINS

Group show featuring good friends and great artists...

CHECK IT

from the archives (Serra, Giacometti, Elmgreen and Dragset, Moore, Noguchi etc)

louisiana museum DK

CHASNEY/CORSANO

punk rock

The first album by The Durutti Column originally came in the now legendary 'sandpaper sleeve'. This was a nod to situationism whereby keeping the record in your collection would physically damage your other records. Of course, the record could be fitted into an outer plastic sleeve and your other records would be safe. Sandpaper sleeve copies also came with a bonus flexidisc (by flexidisc kings Lyntone) Fact 14c entitled 'Testcard' and featuring two tracks written by Martin Hannett.

Of course, as with many other Factory releases, catalogue number duplication rears its head. The number Fact 14c was also the catalogue number for the boxed cassette edition of the album several years later.


more factory/peter saville info here

exciting

Scorsese Will Distribute Restored Films via Internet

By BROOKS BARNES

LOS ANGELES — Martin Scorsese, as ardent an advocate as there is for serving up film the old-fashioned way, has decided to embrace digital distribution for movies restored by his World Cinema Foundation.

The films that the organization restores every year — often obscure titles like “Dry Summer,” a Turkish picture from 1936 — will now be available online through theauteurs.com, a Web site that calls itself a “virtual cinematheque.”

Many will be free. And a partnership with B-Side Entertainment will soon bring the foundation’s films to Netflix and iTunes.

The restored movies will also be broadly distributed for the first time to museums, colleges, festivals and film clubs.

Until now, the foundation’s work was screened at the annual Cannes Film Festival in France, and that’s about it. “To be appreciated, they have to be seen,” Mr. Scorsese said on Friday afternoon at a news conference in Cannes. “Now, they should be seen as they were intended to be seen, but audience awareness can build in surprising ways.”

Kent Jones, who was formerly the associate director of programming at the New York Film Society, will join the foundation as executive director with a mandate to promote the distribution of the foundation’s titles to new platforms, Mr. Scorsese added.

Mr. Scorsese, who serves as the foundation’s chairman, established it in 2007 with a clutch of other celebrated directors (including Stephen Frears and Guillermo del Toro) to restore and preserve neglected films from around the world. Master copies of many obscure films from decades past have deteriorated so much that they are no longer usable or have disappeared. Only about 10 percent of the silent movies made in the United States, for instance, still exist.

“The more audiences see these films, the more they want to see other films like them,” Mr. Scorsese said. “Then what happens is the audience changes, which means the movies that are being made change.”

This year at Cannes, the foundation is reintroducing films like “Al-Momia,” an Egyptian picture from 1969 from the director Shadi Abdel Salam, and “The Wave,” a Mexican title directed by Emilio Gómez Muriel and Fred Zinnemann in 1936.

On Friday, as part of his announcement, Mr. Scorsese included a premiere of a restoration of “The Red Shoes,” the 1948 British film directed by Michael Powell and Emeric Pressburger.

TAKE 2! new mix (previous link was not working - this one is good)

dance/angst

tie for best/most fucked up song

i'm back

group show

R A D I C A L