remember these???

remember these???

the only record store in Mauritania. (from #brownbook magazine)

the only record store in Mauritania. (from #brownbook magazine)


Parabéns! (1997)
Dir. João Pedro Rodrigues

Parabéns! (1997)

Dir. João Pedro Rodrigues

4,823 plays

Blood Orange | I’m Sorry We Lied

likeafieldmouse:

Jordi Huisman - Rear Window (2010)

204,599 plays

FKA Twigs | Two Weeks

92,255 plays

setfabulazerstomaximumcaptain:

75 years ago, on this date, Billie Holiday recorded a song that Time Magazine would call song of the century: Strange Fruit, a song written about a lynching in the South. 

Holiday first performed the song at Cafe Society in 1939. She said that singing it made her fearful of retaliation but, because its imagery reminded her of her father, she continued to sing the piece making it a regular part of her live performances. Because of the poignancy of the song, Josephson drew up some rules: Holiday would close with it; the waiters would stop all service in advance; the room would be in darkness except for a spotlight on Holiday’s face; and there would be no encore. During the musical introduction, Holiday would stand with her eyes closed, as if she were evoking a prayer.

url0420 in reference to that Kanye song you love so much 

andrewinfante:

Melvin and Howard (Jonathan Demme, 1980)

The Master (Paul Thomas Anderson, 2012)

asylum-art:

Ladybird’s Requiem by Akino Kondoh 

Born in Chiba, Japan, Akino Kondoh is an artist and animator known for her striking minimalist compositions, often executed with nothing more than graphite and watercolor. Kondoh as exhibited internationally, earning grants from the Japanese Agency for Cultural Affairs, and has also received the support and collaboration of jazz musician John Zorn, who has used her art on his album covers. Her animated short “Ladybird’s Requiem” made it to the top 25 list in the biennial showcase “YouTube Play” at the Guggenheim Museum in New York City.

My great grandma’s name was Margo. I’m gonna name my future cat Margo to continue the legacy ~~

I went 2 the cemetery today to visit my grandmother’s sister and her daughter. The cemetery was so big, I had to ask a guy who works there to locate them and even after telling him their full name, he couldn’t find it until I told him they were murdered and buried on the same day 6 yrs ago. So surreal tbh

still thinkin of cute pali boy i met at uni..bye

GANGAR: The ‘archaeology’ of Indian cinema has very few relics of ‘independent’ cinema in the context of the cinema of prayoga. How independent is independent cinema in India?

AVIKUNTHAK: Historically once the studio system collapsed after the World War II, Indian films have been independent. That is, if you define independent cinema like the American Independent cinema. But I think this term ‘independent’ cinema, has no meaning in India. Indian cinema has always been part of capitalist modes of production, and therefore, very conservative. Politically, in the late 40s and early 50s, in the immediate wake of the country’s independence movement and freedom, some radical cinema happened but that was co-opted by the rising commerce.

Then it was only the state funded cinema that offered possibility of producing radical cinema in the 70s, because perhaps they were beyond the logic of capital and commerce. Along with the political pessimism of the post-Naxalite India, the state funded cinema did produce some exceptional cinema, but I think that radicalism was only limited to the type of subject matter chosen. Like most of the commercial stuff, they just wrote different scripts, and attempted to tell a story which was not often seen on the screen in Indian cinema theatres. Other than Mani Kaul, Kumar Shahani, G. Aravindan and John Abraham, I don’t see any filmmaker attempting to experiment with narrative, form or content. In the Indian context, the genealogy of the cinema of prayoga only comes, according to me, from these four filmmakers, who were in some way indebted to Ritwik Ghatak for their cinematographic radicalism.

The documentary short filmmakers who are part of Vikalp can be called the independent cinema in India, they come closest to the idea. However even with documentary cinema, the “genrification” has taken roots, and it has become a hybrid between television aesthetic and propaganda.

In conversation: Ashish Avikunthak with Amrit Gangar [“Cinema Prayoga: Indian Experimental Films 1913-2006”] (via dhrupad)

i am dying with this cold but im still going to uni 2 meet w my algebra professor 2 ask some questions bc i don’t know maths AT ALL