Moving BOOM - or we'll change our mind
(We heard rumors blogger sucks) (Facebook too)
(We heard rumors blogger sucks) (Facebook too)
#taketheknee
No need to ever have the "flag" discussion ever again. Just show this video to whoever doesn't get it pic.twitter.com/w3pGw2pdTn— Dre. (@Blueraydre) September 26, 2017
Marlon Williams - Vampire Again (Official Video)
Marlon Williams is a singer and guitarist from New Zealand of Maori descent who showed in his debut album last year that he was a big fan of early rock’n’roll, country, and rockabilly. He’s just released his first new song since that album, a catchy, witty number called “Vampire Again.” Even better, he’s released a fun, Nosferatu-themed video to go with it, which Williams himself directed. His vampire, a kind of pathetic loner, loves cats and does not possess quite the superhuman strength you might have expected. Watch till the end to see what I mean. And along the way, enjoy what Williams describes as “my own demented tale of New Age self-affirmation.” Marlon Williams plays Rough Trade in Brooklyn on October 30, just missing Halloween.
shhh, secret code
What Is Encryption?
Encryption
is the mathematical science of codes, ciphers, and secret messages. Throughout history, people have used encryption to send messages to each other that (hopefully) couldn't be read by anyone besides the intended recipient.
Today, we have computers that are capable of performing encryption for us. Digital encryption technology has expanded beyond simple secret messages; today, encryption can be used for more elaborate purposes, for example to verify the author of messages or to browse the Web anonymously with Tor.
Under some circumstances, encryption can be fairly automatic and simple. But there are ways encryption can go wrong, and the more you understand it, the safer you will be against such situations. keep on reading
Here's something we can use!
is the mathematical science of codes, ciphers, and secret messages. Throughout history, people have used encryption to send messages to each other that (hopefully) couldn't be read by anyone besides the intended recipient.Today, we have computers that are capable of performing encryption for us. Digital encryption technology has expanded beyond simple secret messages; today, encryption can be used for more elaborate purposes, for example to verify the author of messages or to browse the Web anonymously with Tor.
Under some circumstances, encryption can be fairly automatic and simple. But there are ways encryption can go wrong, and the more you understand it, the safer you will be against such situations. keep on reading
Here's something we can use!
/// ⇈🔺
Honey And Salt: Music Inspired by the Poetry of Carl Sandburg
https://soundcloud.com/bk-music-pr/fog-matt-wilson
I suppose the jazz drummer Matt Wilson occasionally plays straightahead jazz gigs. But he is certainly not afraid of casting a wide musical net. It takes a lot to get me to listen to Christmas music, for example, but Matt’s Christmas Tree-O was too good to pass up, and an invitation to play in our studio revealed a musician who was smart and funny as well as talented. Now he’s about to release an album called Honey And Salt: Music Inspired by the Poetry of Carl Sandburg. On it, he leads a virtuoso quintet with special guests reading Sandburg’s work; those readers include Jack Black, e-new-trio/">Christian McBride, Bill Frisell, and others. The album comes out on August 25, but you can hear the track “Fog” right now, and it’s a quietly stunning duet between Matt Wilson and the great poet, who, having been dead for 50 years now, was in no position to decline. Sandburg’s recorded voice, reading one of his most famous texts, is heard in a kind of call-and-response with Matt’s drum kit (which sounds like it’s been tuned almost to the breaking point) – and if you thought the drum kit was not capable of melody, well, listen to how his drumming mirrors the poet’s voice, in both rhythm and in the actual shape of the line. At the very end, a moment of magic: the voice and the drum kit play in unison, and they really are “playing” the same tune.
Matt Wilson’s band plays at the Jazz Standard in NYC on September 19 and 20.
Matt Wilson’s band plays at the Jazz Standard in NYC on September 19 and 20.
Free, White and 21
In 1979, after working in The Museum of Modern Art’s curatorial ranks for 12 years, artist Howardena Pindell was in a car accident that left her with partial memory loss. Eight months later, during what she describes as “one of the hottest summers in New York,”1 she set up a video camera in her apartment, focused it on herself, and made Free, White and 21, a deadpan account of the racism she experienced coming of age as a black woman in America. She developed the work out of her need to heal and to vent: “My work in the studio after the accident helped me to reconstruct missing fragments from the past….In the tape I was bristling at the women’s movement as well as the art world and some of the usual offensive encounters that were heaped on top of the racism of my profession.”2
Born in Philadelphia in 1943, Pindell grew up when the South was still lawfully segregated and racism was rampant nationwide. She was 21 when the Civil Rights Act passed in 1964. In Free, White and 21, she illustrates the stark divide between black and white Americans by appearing as both herself and as a white woman. The video opens with a glancing shot of the artist in whiteface and wearing a blond wig, in the guise of a white woman from the 1950s or 60s. This character is the free, white, 21-year-old to which its title refers, who appears throughout the video, discounting Pindell’s searing experiences with statements like, “you really must be paranoid,” and “you won’t exist until we validate you.”3
When she comes onscreen as herself, Pindell first recounts the abusive racism that her mother endured, and then talks viewers through the milestones of her own life—including elementary and high school, college, and young adulthood—via the discrimination that made her advancement such a struggle. At one point, she peels a translucent film off of her face, as if to reference the facial masks and other cosmetic products marketed to women to beautify and transform their looks. But this film has not changed the artist’s looks, and especially not the color of her skin. Instead, it serves to re-emphasize the fact that they were transformed by a white-dominated American society—into a liability. via
WATCH Free, White and 21
$#*%!
Swear more to express yourself as an individual. Everybody's $#*%! doing it!Source: Why Americans Are Cursing More Than Ever - Atlas Obscura
Sam Shepard on his family plays (1 of 3)
Published on Feb 28, 2010 Sam Shepard on identity, L.A., his father, women, flying, and his "family plays." Tooth of Crime, Curse of the Starving Class, Buried Child, True West.. From PBS Great Performances. Directed by Oren Jacoby.
Rest in Peace, Sam...
INTERVIEWER
Do you think you’ll ever live in the West again? SHEPARD
No, I don’t think so. The California I knew, old rancho California, is gone. It just doesn’t exist, except maybe in little pockets. I lived on the edge of the Mojave Desert, an area that used to be farm country. There were all these fresh-produce stands with avocados and date palms. You could get a dozen artichokes for a buck or something. Totally wiped out now.
INTERVIEWER
True West, Buried Child, Curse of the Starving Class, and Lie of the Mind are all family dramas, albeit absurdist ones. Have you drawn a lot from your own family? SHEPARD
Yes, though less now than I used to. Most of it comes, I guess, from my dad’s side of the family. They’re a real bizarre bunch, going back to the original colonies. That side’s got a real tough strain of alcoholism. It goes back generations and generations, so that you can’t remember when there was a sober grandfather. INTERVIEWER
Have you struggled with drinking? SHEPARD
My history with booze goes back to high school. Back then there was a lot of Benzedrine around, and since we lived near the Mexican border I’d just run over, get a bag of bennies and drink ripple wine. Speed and booze together make you quite . . . omnipotent. You don’t feel any pain. I was actually in several car wrecks that I don’t understand how I survived.At any rate, for a long time I didn’t think I had a problem. Alcoholism is an insidious disease; until I confronted it I wasn’t aware that it was creeping up on me. I finally did AA in the hardcore down on Pico Boulevard. I said, “Don’t put me in with Elton John or anything, just throw me to the lions.”
INTERVIEWER
Do you feel like the drinking might have aided your writing? SHEPARD
I didn’t feel like one inspired the other, or vice versa. I certainly never saw booze or drugs as a partner to writing. That was just the way my life was tending, you know, and the writing was something I did when I was relatively straight. I never wrote on drugs, or the bourbon. INTERVIEWER
You said the men on your dad’s side of the family were hard drinkers. Is this why the mothers in your plays always seem to be caught in the middle of so much havoc? SHEPARD
Those Midwestern women from the forties suffered an incredible psychological assault, mainly by men who were disappointed in a way that they didn’t understand. While growing up I saw that assault over and over again, and not only in my own family. These were men who came back from the war, had to settle down, raise a family and send the kids to school—and they just couldn’t handle it. There was something outrageous about it. I still don’t know what it was—maybe living through those adventures in the war and then having to come back to suburbia. Anyway, the women took it on the nose, and it wasn’t like they said, Hey Jack, you know, down the road, I’m leaving. They sat there and took it. I think there was a kind of heroism in those women. They were tough and selfless in a way. What they sacrificed at the hands of those maniacs . . . INTERVIEWER
What was your dad like? SHEPARD
He was also a maniac, but in a very quiet way. I had a falling-out with him at a relatively young age by the standards of that era. We were always butting up against each other, never seeing eye-to-eye on anything, and as I got older it escalated into a really bad, violent situation. Eventually I just decided to get out. 
LINK
* * * * *
In a 2016 New York Times Q&A, Sam was asked if he felt he had achieved something substantial in his career.
"Yes and no. If you include the short stories and all the other books and you mash them up with some plays and stuff, then, yes, I've come at least close to what I'm shooting for. In one individual piece, I'd say no. There are certainly some plays I like better than others, but none that measure up."
Holy Hell: Assholes Watching Movies
HOLY HELL!
Writer-director Martin McDonagh has almost certainly reached the peak of his film making career with this film. It doesn’t get much better than this.
The three billboards in question have been rented by grieving mother Mildred Hayes (Frances McDormand) to accuse the town sheriff, Chief Willoughby (Woody Harrelson) of not having made any progress on the case since her daughter was brutally raped and murdered. Willoughby isn’t terribly pleased, but he’s got more important things to worry about – namely, terminal cancer. So it’s his racist, hotheaded, cruel officer Dixon (Sam Rockwell) who takes up his cause, torturing anyone he suspects of having helped.
READ: Three Billboards Outside Ebbing, Missouri | ASSHOLES WATCHING MOVIES
Azarkant
SCI-FI from RUSSIA
http://pr.ai/thread5919
Source - https://vimeo.com/78514936
In the future, a team of astronauts are sent on a ten year journey to a distant planet to find new life. On their way, they encounter a large, abandoned spaceship that is drifting in the orbit of a mysterious planet. They board the ship with anticipation of the great discoveries to uncover inside. However, they do not know what terrible secret this spacecraft keeps -- a nightmarish threat which is far bigger and scarier than anything they could have imagined.
Source - https://vimeo.com/78514936
In the future, a team of astronauts are sent on a ten year journey to a distant planet to find new life. On their way, they encounter a large, abandoned spaceship that is drifting in the orbit of a mysterious planet. They board the ship with anticipation of the great discoveries to uncover inside. However, they do not know what terrible secret this spacecraft keeps -- a nightmarish threat which is far bigger and scarier than anything they could have imagined.
GRANDMOTHER Trailer | TIFF 2017
On an isolated reserve a young boy searches for a connection to his deceased grandmother through an old VHS camcorder. Through discordant pixelated images, director Trevor Mack delicately reveals the trauma and devastation that too many Indigenous children in remote communities are forced to contend with. VIA
kick off with Nick
I started my birthday month on Sept. 1 at MASS MOCA in North Adams.
You KNOW I love Nick Cave. I am big into Nick! (use the BOOM seach bar to see more posts)
I saw all this! His biggest exhibit EVER!
I am a very happy girl.... (and I think I saw Nick too but he doesn't know me.)
You KNOW I love Nick Cave. I am big into Nick! (use the BOOM seach bar to see more posts)
I saw all this! His biggest exhibit EVER!
His exhibit UNTIL ended today...
Jazz (poem)
Poem TO LOVE
In “Jazz,” from the Atlantic's January 1922 issue, Theodore Maynard contemplates the dancers at a cabaret:
Gay
They were not. They embraced without dismay,
Lovers who showed an awful lack of awe.Then, as I sat and drank my wine apart,
I pondered on this new religion, which
Lay heavily on the face of the rich,
Who, occupied with ritual, never smiled—
Because I heard, within my quiet heart,
Happiness laughing like a little child.
Read more here.
Leo Zeck, his student film and me
SUPERIOR, WISCONSIN
Long time ago I was in a student film (at the University of Wisconsin-Superior) about a girl who walked forward while everyone was walking backwards. (I KNOW, IT WAS A CLEVER GOOD IDEA)
Kinda glad I didn't know the folklore about this before filming.
I don't have a clue if this movie exists anywhere but Leo Zeck, if you read this, email me! [laratrace@outlook.com]
More folklore: Don’t even THINK of mocking an owl. (Who?)
Long time ago I was in a student film (at the University of Wisconsin-Superior) about a girl who walked forward while everyone was walking backwards. (I KNOW, IT WAS A CLEVER GOOD IDEA)
Folklore: Don’t walk backwards.So I did walk backwards for the short quirky film (filmed around Duluth and Superior) but that was in the late 70s. It wasn't easy, let me tell you!
Kinda glad I didn't know the folklore about this before filming.
I don't have a clue if this movie exists anywhere but Leo Zeck, if you read this, email me! [laratrace@outlook.com]
More folklore: Don’t even THINK of mocking an owl. (Who?)
uncertainty has a price
The Price of Certainty
Directed by Daniele Anastasion (2016, 11 min.)In times of social and political uncertainty, humans seek answers that offer one absolute truth — but at what cost? Famed psychologist Arie Kruglanski explores why we become so polarized. Bonus material: read Anastasion’s article in The New York Times for more background on the piece.September... how 'bout film?
We are taking some time off but BOOM will be scheduling short films all month. Please subscribe so you don't miss anything... BOOM!
Get out the popcorn!
If you have a film to suggest, leave a link in comments... come on... you can do that!
Get out the popcorn!
If you have a film to suggest, leave a link in comments... come on... you can do that!
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