myimaginarybrooklyn: Fictional Cartography.

myimaginarybrooklyn:

Fictional Cartography.

(via fuckyeahcartography)

A delightful correction to the NYT article on that new documentary about The Shining. (Also, if I remember correctly, in the book the costumed man was dressed as a dog, not as a bear. WHAT DOES IT ALL MEAN.) (Holy shit, I did remember correctly. And here’s a discussion of the costume in question: “In King’s novel it’s actually a dog costume - Gordon Stainforth also states it was referred to as the ‘dogman’ scene by the crew. - although, some people maintain it was changed to a bear for the film, while one person suggested the costume was that of a walrus, because of some symbolic association walruses have with death (although the absence of large tusks tends to mitigate against this interpretation).” I sincerely hope Kubrick’s primary motivation was to fuck with people.)

A delightful correction to the NYT article on that new documentary about The Shining.

(Also, if I remember correctly, in the book the costumed man was dressed as a dog, not as a bear. WHAT DOES IT ALL MEAN.)

(Holy shit, I did remember correctly. And here’s a discussion of the costume in question:

“In King’s novel it’s actually a dog costume - Gordon Stainforth also states it was referred to as the ‘dogman’ scene by the crew. - although, some people maintain it was changed to a bear for the film, while one person suggested the costume was that of a walrus, because of some symbolic association walruses have with death (although the absence of large tusks tends to mitigate against this interpretation).”

I sincerely hope Kubrick’s primary motivation was to fuck with people.)

“Del Rey has managed, like a slow car in the left lane, to make everyone around her angry and over-invested, despite doing relatively little.” newyorker: Screen Shot; Lana Del Rey’s fixed image In the fifteen songs on “Born to Die,” Del Rey is both theatrical and noncommittal. But the new album does not make “Lana Del Rey aka Lizzy Grant” seem like an error that needed redacting. The earlier work had a variety of tempos, styles, and moods, which may be exactly why Del Rey ditched it; its song titles hinted at a notion of going retro (“Put Me in a Movie,” “Mermaid Motel”), but the ungainly album title revealed ambivalence about Grant’s identity. “Born to Die,” by contrast, is a model of consistent branding. The string section thrums in permanent lassitude, the number of beats per minute hovers in the eighties, and Del Rey’s pliable, smoky voice suggests that nothing is a problem, including the narrative contradictions that she plants throughout the album. Several demos were leaked before the album’s release, and they played with faster tempos and guitars and more aggressive sounds. All of that is gone. The lack of active rhythms was a wise correction by somebody: Del Rey is often at a loss when mobile—she won’t be challenging Beyoncé to a dance-off anytime soon—but she’s fairly compelling when simply looking into a camera and declaiming. Anyone crouching on the Internet, ready to tag Del Rey’s mistakes, will be frustrated by “Born to Die,” which is too expert to register as a failure. - In next week’s issue, Sasha Frere-Jones writes about (online now) Lana Del Rey and her new album, “Born to Die”: http://nyr.kr/wVJBFW

“Del Rey has managed, like a slow car in the left lane, to make everyone around her angry and over-invested, despite doing relatively little.”

newyorker:

Screen Shot; Lana Del Rey’s fixed image

In the fifteen songs on “Born to Die,” Del Rey is both theatrical and noncommittal. But the new album does not make “Lana Del Rey aka Lizzy Grant” seem like an error that needed redacting. The earlier work had a variety of tempos, styles, and moods, which may be exactly why Del Rey ditched it; its song titles hinted at a notion of going retro (“Put Me in a Movie,” “Mermaid Motel”), but the ungainly album title revealed ambivalence about Grant’s identity. “Born to Die,” by contrast, is a model of consistent branding. The string section thrums in permanent lassitude, the number of beats per minute hovers in the eighties, and Del Rey’s pliable, smoky voice suggests that nothing is a problem, including the narrative contradictions that she plants throughout the album.

Several demos were leaked before the album’s release, and they played with faster tempos and guitars and more aggressive sounds. All of that is gone. The lack of active rhythms was a wise correction by somebody: Del Rey is often at a loss when mobile—she won’t be challenging Beyoncé to a dance-off anytime soon—but she’s fairly compelling when simply looking into a camera and declaiming. Anyone crouching on the Internet, ready to tag Del Rey’s mistakes, will be frustrated by “Born to Die,” which is too expert to register as a failure.

- In next week’s issue, Sasha Frere-Jones writes about (online now) Lana Del Rey and her new album, “Born to Die”: http://nyr.kr/wVJBFW
This shouldn’t be unexpected given the comparative attractiveness of actors (even in the UK), but good gracious, would you look at O’Brien? katespencer: Mrs. Patmore, O’Brien, Edith and Thomas.

This shouldn’t be unexpected given the comparative attractiveness of actors (even in the UK), but good gracious, would you look at O’Brien?

katespencer:

Mrs. Patmore, O’Brien, Edith and Thomas.

Trend Watch: Lumberjack Romance

FINALLY.

The Drew Peterson: Untouchable .gif you’ve all been waiting for.

(via tv.com)

I need to put this up behind my desk so I can remind myself not to waste time fuming about outrageously stupid shit I find online. Today’s example.

I need to put this up behind my desk so I can remind myself not to waste time fuming about outrageously stupid shit I find online. Today’s example.

msnbc: More Giffords photos Image: Mandel Ngan / AFP - Getty Images

msnbc:

More Giffords photos

Image: Mandel Ngan / AFP - Getty Images

It is becoming rapidly clear that Pinterest is the devil.

It is becoming rapidly clear that Pinterest is the devil.

Using Pinterest as a visionboard for writing your novel.

This is a much better trick than the one I’ve been using—which involves tossing a bunch of image files into a desktop folder and hoping they’ll transmogrify into thirty thousand or so words without any further effort on my part.

paperbackgirl:

I love this.

My first thought when I read this was “Hank Schrader? Is that you?”

My first thought when I read this was “Hank Schrader? Is that you?”

If anyone gave me any of these cards for Valentine’s Day I would divorce my husband and marry them instead.

(via @annabeloakes)

butthorn:

I made Breaking Bad valentines because I couldn’t find any that expressed my love for my friends and the show.

Let’s be honest: this blog is really just a way for me to keep track of things that make me cackle. (via astrophysics and action movies)

Let’s be honest: this blog is really just a way for me to keep track of things that make me cackle.

(via astrophysics and action movies)

nocontxt: Polish Godzilla Poster

nocontxt:

Polish Godzilla Poster

‘Snow can wait, I forgot my mittens,’ she sang. ‘Wipe my nose, get my new boots on.’ If there is such a thing as love at first listen, I fell helplessly, hopelessly in love from that very first lyric. ‘When you gonna make up your mind?’ she asked me, accompanied by the gentlest, tenderest notes from a Bösendorfer piano. ‘When you gonna love you as much as I do?’ Maxx and Nick Patrick (a wrestling referee and our co-pilot for this particular road trip) had seen her play the song on Leno or Letterman and were interrupting my private concert to discuss her unusual piano-playing style. Apparently, the late-night appearance had created quite a visual memory for them. I didn’t even know what she looked like. But I thought this was the most beautiful song I had ever heard.
Wrestling legend Mick Foley explains how Tori Amos changed his life - Slate Magazine (Thanks for reminding the world of this, Stereogum.) (p.s. I love “Winter” a whole lot, too.)