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(04/16/15 4:30am)
Kesha stated that she spends “like a few thousand every month” on glitter. By spending insane amounts of money on a useless commodity like glitter, Kesha agrees with philosopher Michel Foucault’s claim that “Through the monetary sign [of money], wealth looks like it circulates, is distributed, and shared…but in fact [political] power is held on to.” Kesha blocks this conceived circulation of money with large, useless amounts of glitter. On Friday, glitter guns and pre–existing notions of money about to blow–oh–oh–oh–oh–oh–oh–oh–oh–oh.
(03/19/15 4:00am)
For most of us,
the YouTube experience consists of a downward–spiral into TV reruns, bad talk
show clips and suggestions for weird shit based on your recently watched
videos. But for more serious internet aficionados, YouTube offers a place for
self–discovery. Mainly through three hour guided meditation videos. The videos
are a bit different from the Vines or three–minute viral videos we usually
watch. Viral videos are short and to the point. YouTube meditation is a healthy
break from cat videos. For the uninitiated, it may be helpful—though hard—to
define YouTube meditation.
(02/18/15 5:00am)
After watching New York Fashion Week YouTube videos, I realized that we have to accept fur for what it is:
(11/20/14 5:15am)
DRL is a visual desert (literally: my eyes burn), but the math department art collection displayed on the top two floors is an aesthetic oasis.
(11/06/14 5:45am)
Whether it’s on Facebook, Instagram, Twitter or all three, you probably see a Humans of New York (HONY) post every once in a while. Each post promises to show a new human from New York, complete with a beautiful, professional–grade photograph and a bite size quote of their perspective on life so far. What was their saddest memory? What was their happiest? What are they worried about right now? All amusing questions, all answered with witty responses.
(04/02/14 12:49pm)
What do we really know about bell–bottom jeans anyway?
(02/26/14 1:59pm)
Taqueria Feliz
4410 Main St. Manayunk, PA 19127
(267)331–5874
@TaqueriaFeliz
$$
Don’t Miss: The Nachos (with chicken tinga)
(12/20/13 3:00pm)
There are times in life when everything seems to occur at random or “just happen.” In "Inside Llewyn Davis" we meet Llewyn Davis, a man who lives in this perpetual state.
In what might be their most melancholy film yet, the Coen brothers document the life of a man who never quite failed, but never quite made it. Llewyn Davis (Oscar Isaac) is a drifter/musician who travels from couch to couch and from the house of an annoying Columbia professor to the apartment of a woman he might have gotten pregnant (Carey Mulligan). Llewyn’s a man not really living as much as he is existing, but he never has a strong opinion about it. Sure, he gets angry, sometimes he gets excited, but you never feel it in his actions or see it in his face. Instead, Llewyn chooses to trudge quietly through his life. He lets outside forces affect him as he watches from a distance. It’s safe to say that Llewyn’s defeated, but he’s too indifferent to be depressed.
The Coen brothers’ style of random events are prevalent in "Inside Llewyn Davis", but they feel muted. There is no single event that defines the film like "Burn After Reading" (2008), and that subtle feeling works to the film’s atmosphere of constant motion. Llewyn’s life has a distinct rhythm to it. Although he tries to break it with auditions and recordings, he falls short of achieving success or fame. Each event seems to echo the previous, and all Llewyn can do is hum along, never providing his own melody.
But this film isn’t bleak. The black-humor of the Coen brothers is one thing. More important to the film is the the irresistible soundtrack that takes the foreground on multiple occasions and provides a redeeming quality to the narrative. There is a quiet beauty to the melancholy music of Llewyn. Maybe it is here that Llewyn ever gets to take a break from the repetition of his life. And much like the film itself, Llewyn’s expression never comes out in forced, heart-wrenching song, but rather in a more genuine, delicate verse.
Grade: A
Rating & Runtime: R, 105 minutes
See if you liked: "O Brother, Where Art Thou"
(12/05/13 10:05am)
This article was originally published as part of the joke issue on 12.5.2013
(11/29/13 5:00pm)
"The Armstrong Lie" is oddly disjointed, somewhat confusing and leaves us cold, only growing our previous collective feeling of betrayal by Lance Armstrong. In "The Armstrong Lie," Alex Gibney creates an informative documentary that captures the feeling of hopelessness we felt in 2010 as we witnessed the fall of the man who almost became synonymous with the word “hero,” even to those of us who never sat down to watch him cycle.
(11/14/13 10:20am)
There is no such thing as perfection in art, but 85–year–old Jiro Ono's sushi is the closest thing to it. In “Jiro Dreams of Sushi” (2011) we see scenes of repetitious sushi building set to the music of Tchaikovsky and Philip Glass and shot in meditative slow–motion in Jiro’s Michelin three–star restaurant. It may be tragic that Jiro’s craft of sushi–making will never reach pure perfection, but what the film shows is the beauty inherent in pursuing it.
(10/31/13 5:00pm)
The film focuses on the events of May 13, 1985 when 11 MOVE members were killed in their headquarters after city officials ordered the drop of explosives on the house during an eviction effort. The fire that ensued engulfed 61 surrounding houses.
(10/31/13 9:19am)
The first person we meet in Jason Osder’s documentary, “Let the Fire Burn,” is a young child introduced to us as Michael Moses Ward. We find out, however, that his name was once “Birdie Africa,” a moniker he held for his 13–year childhood with the radical organization known as MOVE. Following the order from Philadelphia city officials to drop explosives onto the MOVE organization headquarters on Osage Avenue in West Philadelphia during a 1985 eviction effort, Michael is introduced as “Michael,” not “Birdie.” His new name is supposed to be a symbol that the traumatic event which killed 11 MOVE members and led to an inferno that destroyed 61 neighboring houses is “over.” He’s expected to be a new person now.
(10/30/13 4:00pm)
There is a scene in “Ilo Ilo” where the maid and the only child of the Singaporean family run up to the roof of their apartment complex to watch the sunset.
(10/27/13 4:00pm)
If Wes Anderson’s “Moonrise Kingdom” (2012) was a mellow ballad, then his upcoming film, “The Grand Budapest Hotel,” looks like a thundering symphony. Unlike “Kingdom,” the new film’s trailer doesn’t hold any punches—it actually showcases them, along with chase scenes, a mysterious murder and a brooding, brass-knuckle wearing William Dafoe. But if we know anything about Anderson, it’s that we won’t have to sit through mind-numbing chaos. In each shot, we see attentive detail, some scenes of intentionally flat 4:3 aspect ratio framing and careful colorwork. The film may be a loud and disorienting symphony, but, judging by the trailer, it also looks meticulously orchestrated.
(09/26/13 9:03am)
“Blue Valentine” considers love, but it doesn’t consider any of the normal tropes that are associated with the genre. Instead, it focuses on the relationship of Dean (Ryan Gosling) and Cindy (Michelle Williams) by threading together their detailed memories. There is the scene when they dream together; another where he plays a ukulele, and she dances. They kiss, they hold hands, they mindlessly run and flirt through the night. But instead of showing these segments chronologically, director Derek Cianfrance staggers their dream–like episodes with incidents a few years down the road. Suddenly, they are attempting to salvage their marriage in a run–down love hotel.They have fallen back down to Earth, and, among the grit of reality, they have slowly crumbled into two individuals—no longer riding the same high.