What I Was Digging 8/30/24
If it's the end of the month and you're not doing at least some rankings, what are you doing with yourself?
Music
Wishy - Triple Seven [album]
Love the sometimes fuzzy, sometimes jangly, always dreamy 90s alt-rock influence across this record full of wonderful, warm guitar tones and noisy crashing drums fit to bring the roof down.
Notable track: "Love On the Outside"
The Lukeboard Hot 50 [playlist]
It's like the Billboard Hot 100, but it's the Lukeboard Top 50. That is what the AI image generator spit out for my logo, and it's what we're rolling with. At the end of each month, I'll be listing my top 50 songs that I've been digging with a star system * that will indicate how many months a song has been in the top 50. We're just starting out with this, so even though some of these songs have been in my current faves playlist for many months, we'll start it at 1 star * for the new adds and 2 stars ** for the returning faves. It's not ultra-precise, but it's more or less in order from what I've been digging the most to the least - with 1 being the most and 50 being the least.
- Wishy - Love on the Outside**
- BAYNK - Blood**
- mxmtoon - i hate texas*
- TV Girl & George Clanton - Take a Trip*
- Jessie Reyez - RIDIN (feat. Lil Wanye)*
- Magdalena Bay - Death & Romance**
- BAYNK - Grin**
- Fontaines D.C. - Favourite**
- beabadoobee - Take A Bite*
- Julia Wolf - Life Is A Storm*
- Kendrick Lamar - euphoria**
- Levi Lucio - CD guis moo (Extended Mix)*
- Cordae - Saturday Mornings (feat. Lil Wayne)*
- A$AP Rocky - HIGHJACK (feat. Jessica Pratt)*
- Jean Dawson - New Age Crisis**
- Porter Robinson - Kitsune Maison Freestyle**
- Foxing - Hell 99*
- Talib Kweli & J. Rawls - To The Ghetto*
- glass beach - rare animal*
- Sports Team - I'm In Love (Subaru)*
- beabadoobee - Everything I Want*
- The Last Dinner Party - My Lady of Mercy*
- xaviersobased - Linda**
- Saweetie - My Best*
- Future Islands - Deep In the Night*
- The Last Dinner Party - Burn Alive*
- Fousheé - still around*
- Foxing - Greyhound**
- Blondshell - What's Fair*
- Bleach Lab - Fade Into You (Studio Session)**
- Haley Heynderickx - Seed of a Seed*
- Dasha - Austin (Boots Stop Workin')**
- Lydia Loveless - Head*
- Mura Masa & yeule - We Are Making Out*
- JPEGMAFIA - don't rely on other men**
- Rx Papi - Why You Always Got Dat Mask On*
- death's dynamic shroud - Rocking Chair Song*
- Hot Mulligan - Stickers of Brian**
- Vitesse X - Eternal**
- fanclubwallet - Band Like That**
- Young Thug - Cars Bring Me Out (feat. Future)**
- yeule - inferno (Edit)**
- Sk8star - Kame From Nothing*
- Yaeji - booboo*
- BBY GOYARD, Egobreak & Shawn Ferrari - Coconuthead*
- Toro y Moi, Kevin Abstract & Lev - Heaven*
- Charli xcx - B2b**
- Touché Amoré - Nobody's*
- BBY GOYARD - Lovecraft (Sever the Chord)**
- KAYTRANADA - Drip Sweat (feat. Channel Tres)**
Film
McCabe & Mrs. Miller (1971)
Directed by: Robert Altman
Cinematography by: Vilmos Zsigmond
Country: United States
A drunkard gambler and a business-savvy sex worker partner up to turn a podunk mining town into a booming hot spot, but when an offer to be bought out is turned down, things turn violent. Based on the 1959 novel McCabe by Edmund Naughton.
Thoughts:
Altman's masterpiece revisionist Western launched his golden period that would last through the rest of the decade, cementing the innovative, establishment-challenging director as one of the greatest iconoclasts of New Hollywood. In McCabe & Mrs. Miller, Altman attempts to portray an unromanticized West of the past, using his overlapping audio tracks and improvisational dialogue to add a sense of naturalism that inherently clashes with his voyeuristic, form-driven shooting style, encouraging the audience to question fact and fiction; reality and fantasy; history and myth. It's the slow death of American idealism under the foot of corporate interests. It's an immaculate genre play with an outstanding cast and crew who breathe a palpable life into the characters and story.
Shows I'm Watching
Survivor: Micronesia (Fans vs. Favorites) [Season 16]
-Episode: 4
What's going on: Two favorites continue to clash over strategy and deceit and big Joel on the fan side is played like a fiddle by the older outcasts.
Currently reading
-Current short story: "World of the Myth" [Finished]
Plot: A three-person spaceship crew with no shortage of interpersonal conflict crash lands on an alien planet inhabited by billions of hive-mind ants that form their bodies into illusions, reflecting people's thoughts and true selves back to them.
Short Story Rankings:
- I Have No Mouth, And I Must Scream
- World of the Myth
- Big Sam Was My Friend
- Eyes of Dust
The Oxford History of World Cinema
-Current section: "The Silent Film: Cinema and the Avant-Garde" [Finished]
Rad passage: "The now legendary conflict between director Germaine Dulac and poet Antonin Artaud, over the making of The Seashell and the Clergyman (La Coquille et le clergyman, 1927) from his screenplay, focuses some key issues in avant-garde film. Dulac made both abstract films such as Étude cinégraphique sur une arabesque ('Cinematic study of a flourish', 1923) and stylish narratives, of which the best known is the pioneering feminist work Smiling Madame Beudet (La Souriante Madame Beudet, 1923). These aspects of her work were linked by a theory of musical form, to 'express feelings through rhythms and suggestive harmonies'. But Artuad opposed this vehemently, along with representation itself. In his 'Theatre of Cruelty', Artaud foresaw the tearing down of barriers between public and stage, act and emotion, actor and mask. In film, he wrote in 1927, he wanted 'pure images' whose meanings would emerge, free of verbal associations, 'from the very impact of the images themselves'. The impact must be violent, 'a shock designed for the eyes, a shock founded, so to speak, on the very substance of the gaze'. For Dulac too, film is 'impact', but typically its effect is 'ephemeral... analogous to that provoked by musical harmonies'. Dulac fluently explored film as dream state (expressed in the dissolving superimpositions in La Coquille) and so heralded the psychodrama film, but Artaud wanted film only to keep the dream state's most violent and shattering qualities, breaking the trance of vision."
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