!!! (Chk Chk Chk) is following the free download of AM/FM with a new seizure-inducing video for the track. The band’s upcoming LP, Strange Weather Isn’t It?, will be released on August 24th through Warp Records.
7.30.2010
7.29.2010
7.28.2010
You Know I Have Your Fall Fashion Back
The look for less and the wtf is this a trend will be coming soon for all of these pieces. Get excited about fall today because it's only going to be 92 and not 102. Ah, irony.
7.27.2010
The Latest from RandallM at Austin RiffRaff
MP3:: The Concretes- "Good Evening"
Been meaning to get this up for awhile. I love this new song by The Concretes. -RandallM at Austin RiffRaff 7.26.2010
How to Look Slim in Shorts
[viaStylist] It's an issue we face each spring and summer: The temps gets warmer, pants feel hotter and somehow our legs are just begging to be bared.
Yep, shorts weather is here, but with runway models (hot pants at Marc Jacobs, boy shorts at Balmain, tap pants at Cynthia Rowley) and celebrities (Gwyneth Paltrow, seriously, you shame us) leaning toward daring Daisy Dukes and away from more body conscious Bermudas, we're frankly a little afraid of the season's shorts styles.
"You really need to pay attention to your body characteristics when buying shorts," says style expert Bridgette Raes, author of "Style Rx: Dressing the Body You Have to Create the Body You Want." "I think all body types can wear them as long as this rule is considered."
Emmy Lauridsen, who, along with Leigh Brown, designs for the label BLANK NYC, agrees.
"All body types can wear shorts," Lauridsen tells StyleList. "It all depends on how you feel about yourself. Try to key into your body shape and shop around and try different fits and lengths that you are comfortable with and find what suits you."
But ask celebrity stylist Nicole Chavez (Rachel Bilson, Scarlett Johansson, Kristen Bell) how she feels about shorts, and she'll tell you straight up: She hates them.
"You'll never see me in shorts, but I love them on other people with skinny legs," she tells StyleList. "You gotta be in shape and you gotta be tall. It's so hard. Why would you wear them? Wear an A-line skirt -- that's a better solution."
However, for those who do dare to wear shorts, here's how to make the cutoffs compliment your body shape:
I'm a woman of a certain -- ahem -- age. Should I avoid shorts?
Yep, shorts weather is here, but with runway models (hot pants at Marc Jacobs, boy shorts at Balmain, tap pants at Cynthia Rowley) and celebrities (Gwyneth Paltrow, seriously, you shame us) leaning toward daring Daisy Dukes and away from more body conscious Bermudas, we're frankly a little afraid of the season's shorts styles.
"You really need to pay attention to your body characteristics when buying shorts," says style expert Bridgette Raes, author of "Style Rx: Dressing the Body You Have to Create the Body You Want." "I think all body types can wear them as long as this rule is considered."
Emmy Lauridsen, who, along with Leigh Brown, designs for the label BLANK NYC, agrees.
"All body types can wear shorts," Lauridsen tells StyleList. "It all depends on how you feel about yourself. Try to key into your body shape and shop around and try different fits and lengths that you are comfortable with and find what suits you."
But ask celebrity stylist Nicole Chavez (Rachel Bilson, Scarlett Johansson, Kristen Bell) how she feels about shorts, and she'll tell you straight up: She hates them.
"You'll never see me in shorts, but I love them on other people with skinny legs," she tells StyleList. "You gotta be in shape and you gotta be tall. It's so hard. Why would you wear them? Wear an A-line skirt -- that's a better solution."
However, for those who do dare to wear shorts, here's how to make the cutoffs compliment your body shape:
I'm a woman of a certain -- ahem -- age. Should I avoid shorts?
- "I don't think so," Raes tells StyleList. "I think there are plenty of mature women who look lovely in a smart pair of shorts. The rule is to choose shorts that make them look youthful, not young. There is a big difference between those two looks."
- "Sure, they can be worn in the office, but in the longer length and more as a trouser-styled short," Lauridsen says. "High-rise pleated shorts are very important now, but in a clean unwashed fabric, such as gabardine or linen. They can also easily be worn with a jacket for a more corporate office look."
So, what are the trendiest shorts styles for 2010?
- "Anything in the utility area and preferably in laundered twill is the 'in' item right now," Lauridsen says. "Also, denim boyfriend roll-ups are a must." She says olives, khakis and whitened faded colors are also trendy, and, as far as denim goes, bleached washes work in any length. "There is a great variety from very short shorts -- which not many can wear -- to three inch inseams and knee-length," she says.
- Raes says she's been spotting "hotpantaloons," which, she says, are baggy shorts with turned up cuffs. "Another trend is the classic hot pant," she says. "Here is my general rule on this type of short shorts: If your legs aren't your favorite feature then don't buy them. I know that limits a great majority of the population from wearing them, but these shorts really expose a lot and you have to be comfortable wearing them."
- It's all about proportion, Raes says: "Wear a bigger, blousier top or a boyfriend jacket to balance out the look. Also, I suggest wearing these barely-there shorts with a pair of heels. Lengthening the legs will also make them look like slimmer legs."
- "A knee-jerk move for most plus-size women is to hide under bulky shorts," Raes says. "I stress this point all the time with my larger clients: Bulky clothes only make you look bulky. Avoid the big, sloppy shorts with either pleats or an elastic waist. Instead, choose a pair of shorts that are tailored and clean in the front."
- "Avoid overly large, sloppy, relaxed shorts, especially with cuffs, which will make a petite person look shorter," Raes says. "Instead, choose close-fitting, shorter shorts. If a petite woman wants to wear a longer shorts style, choose a pair that sits close to your body in a more structured fabric so you don't look like you're standing in a hole."
- "If you want to minimize the A-look of your pear-shaped body, avoid clothes that emphasize that shape," Raes says. "Avoid shorts that have too wide of a leg opening or have big cuffs at the hem. Wide leg openings and wide cuffs force the eye right to the part of the body that a pear-shaped woman is usually trying to camouflage -- her thigh area. Choose a pair of shorts a bit more tapered at the hem, choose neutral bottoms that don't create such a stark line between your shorts and your legs like a dark pair of shorts would. And, if possible, wear a slight heel in a shade that matches closely to your skin tone with your shorts. The leg lengthening trick will make a pear-shaped woman's legs look slimmer. Fabrics should be beefier and more substantial, as any part of the body that is large jiggles and roams free under loose, flimsy fabrics."
- "Usually, apple-shaped women have great legs," Raes says. "In this situation, the short-short could be a great idea to consider, especially when worn with a more relaxed top. This proportion is great for apple-shaped gals because the looser top camouflages the slight tummy and the short-shorts showcase her legs. Fabrics can be loose and fluid, like prints or more structured like denim and khaki."
- "Being straight from head to toe, a boy-shaped woman doesn't have a lot of curve," Raes says. "For this reason, the 'hot-pantaloon' short, a pleated short, or a more relaxed short shape in more relaxed fabrics, will give a boyish bod the ability to create the appearance of some curves. Boy-shaped women usually have great legs, so go nuts with those hot pants."
7.25.2010
In Honor of My Impending Vacay: Chanel Resort 2010 Review
I am headed to Mexico in a few weeks for a glorious 4 day 3 night stay at a wonderful resort outside of Cancun for one of my closest friend's wedding. It is going to be a blast {especially because I have not been to a beach since senior SB '08} and I am looking to this year's Chanel Resort collection for inspiration. Some items will realistically influence my wardrobe choices and others will not (hell-o sparkle blazer for beachwear?).
On the whole this collection was a hit and I am so glad after Snr. Lagerfeld's spring and fall 2010spectacles shows that just seemed to be trying too hard, kind of jumped the shark too hard- HELLO!? he flew in a giant iceberg for fall and had models walking out of a hay stack for spring- ridic. Some of the most covetable objects are completely transferable to fall/winter: the obi belt is back!, camel toned neutrals, head to toe single hue outfits, cream colored/black toed boots anyone? - better start saving now and maybe I can get them in a year or so. Alas, such is life.
On the whole this collection was a hit and I am so glad after Snr. Lagerfeld's spring and fall 2010
7.23.2010
Luxe for Less: Dolce Vita for Target
I just love fashion priced for the masses!!!
Dolce Vita is doing a line of shoes for Target that launches exclusively in the new Harlem location when it opens on Sunday, before hitting more Target doors on August 22. Images are out of three styles, including the $29.99 gray studded oxford, the $34.99 black buckle ankle boot, and the $34.99 black lace-up boot. These prices are much lower than Dolce Vita's main line, which often hover in the $150-and-above range.
First Look: Dolce Vita for Target [Racked NY]
7.22.2010
The.Well.Set Luvs the Beehive
7.21.2010
Villa Reykjavik: the 2nd incarnation of the international art festival
“normality [became] the new avante garde”
Too Good Not to Share: Bill Murray Is Ready To See You Now
Interview by Dan Fierman | Illustration by Daniel Clowes
[interview via GQ.com] When I arrived, he was standing alone in the corner of a New York hotel room, talking on a cell phone and wearing a ratty black polo, jeans, and yellow "tape measure" suspenders. I had been waiting for over an hour, which didn't seem like an unreasonable amount of time. Bill Murray famously does not give interviews—he's sat down for exactly four prolonged media encounters in the past ten years—and when he does, it's never clear what you're going to get. You just have to pray he's in a good mood.
The very thing that makes Bill Murray, well, Bill Murray is what makes sitting down with him such an unpredictable enterprise. Bill Murray crashes parties, ditches promotional appearances, clashes with his friends, his collaborators, and his enemies. If you—movie director, journalist, dentist—want to speak to him, you don't go through any gatekeeper. You leave a message on an 800 number. If Bill Murray wants to speak with you, he'll call you back. If his three and a half decades in the public sphere have taught us anything about the 59-year-old actor, it's that he simply does not give a good goddamn.
His career is known to most any fan of modern comedy: the years on SNL; the series of epochal comedies like Stripes, Groundhog Day, and Caddyshack. And his current artistic period, which could be described as Reclusive National Treasure.
He lives in Rockland County, New York, emerging only to make movies for directors he's interested in: Wes Anderson, Jim Jarmusch, Sofia Coppola. This summer he'll release a period indie called Get Low, in which he plays an undertaker throwing an early funeral for Robert Duvall. Today, Murray was in an expansive mood. Then, after he spoke about Ghostbusters 3, Barack Obama, and Garfield, he decided the interview was over and was gone. As best as I can tell, he was not fucking with me. But who knows? Bill Murray doesn't need you to be in on his joke. His life is all one performance-art piece—and he does everything for an audience of one.
Bill Murray: How long do these things last? [picks up recorder] How much time is on these things?
GQ: A lot. They're digital.
Digital? I was thinking of recording myself sleeping. Would this work?
Well, assuming you don't make more than an hour and a half of noise each night, you'll be okay.
I dunno. That's why I need the recorder. Sometimes I snore, like when I get really tired. Smoke a cigar or something, you know. I have a brother with sleep apnea. That's terrifying. Jesus. But anyhow…you have questions.
I do. Here's my first one: Why the 800 number?
Well, it's what I finally went to. I have this phone number that they call and talk. And then I listen.
And you just weed 'em out?
I just sort of decide. I might listen and say, "Okay, why don't you put it on a piece of paper? Put it on a piece of paper, and if it's interesting, I'll call you back, and if it's not, I won't." It's exhausting otherwise. I don't want to have a relationship with someone if I'm not going to work with them. If you're talking about business, let's talk about business, but I don't want to hang out and bullshit.
But that's so much of how Hollywood does business.
Yeah, well, that always kind of creeped me out. And I don't like to work. I only like working when I'm working.
Well, I remember, you took a big break. It was in the late '80s, right?
It was in the middle of the '80s. Actually, I've taken a couple of breaks. I've retired a couple of times. It's great, because you can just say, "Oh, I'm sorry. I'm retired." [laughs] And people will actually believe that you've retired. There are nutters out there that will go, "Oh, okay!" and then leave you alone.
I'm always interested in how you pick your projects, because that's one damned random filmography. For Get Low, I dimly suspect that it came down to the line "One thing about Chicago, people know how to die."
[laughs] Well, that was appealing. No, [producer] Dean Zanuck and I had the nicest phone conversation, and I thought, Hmm… And then I saw the making-of DVD of his last movie. This really should be kept secret, but you can learn a lot by watching the making-of DVDs. Every actor should do it. You figure out what you're dealing with. And I thought, You know, this guy is all right. And it turned out beautifully. Where the hell did we take it? That's right. Poland. There's kind of a famous cinematography festival, in a place called Lodz, and God, they went nuts for it. These cinematographers were all, [deadpan Eastern European accent] "Oh yeah, dis good."
Like comedians, nodding at a joke.
Exactly! Oh yeah. [nods, stone-faced] "That's funny." They were just like that.
You have a lot of lines in this one that get tons of laughs I doubt were on the page. It's all in the rhythm, the delivery. How do you pitch something like that? How do you make something out of nothing?
I have developed a kind of different style over the years. I hate trying to re-create a tone or a pitch. Saying, "I want to make it sound like I made it sound the last time"? That's insane, because the last time doesn't exist. It's only this time. And everything is going to be different this time. There's only now. And I don't think a director, as often as not, knows what is going to play funny anyway. As often as not, the right one is the one that they're surprised by, so I don't think that they have the right tone in their head. And I think that good actors always—or if you're being good, anyway—you're making it better than the script. That's your fucking job. It's like, Okay, the script says this? Well, watch this. Let's just roar a little bit. Let's see how high we can go.
But you asked how you get the comic pitch. Well, obviously a lot of it is rhythm. And as often as not, it's the surprising rhythm. In life and in movies, you can usually guess what someone is going to say—you can actually hear it—before they say it. But if you undercut that just a little, it can make you fall off your chair. It's small and simple like that. You're always trying to get your distractions out of the way and be as calm as you can be [breathes in and out slowly], and emotion will just drive the machine. It will go through the machine without being interrupted, and it comes out in a rhythm that's naturally funny. And that funny rhythm is either humorous or touching. It can be either one. But it's always a surprise. I really don't know what's going to come out of my mouth.
Are you ever going to direct again? Quick Change is really one of the great lost movies about New York.
It's great. It's a great piece of writing. And how about the cast? You couldn't get that cast together for all the tea in China right now. I mean, Stanley Tucci, Tony Shalhoub…
Oh shit. The bluftoné. I forgot about the bluftoné.
Bluftoné! [laughs] Shalhoub gives one of the greatest comic performances I've ever seen! Though I do like Michael Caine and Maggie Smith in California Suite. Unfortunately, the last time I watched it was right after Kung Fu Hustle, which is the supreme achievement of the modern age in terms of comedy.
Kung Fu Hustle?
It's not even close. Quick Change after it looked like a home movie. It looked like a fucking high school film. I was like, "Oh man, I just saw this thing," and "God, that's just staggering, just staggering. That movie is just AHHHHHH!" And when I saw that, I was like: That. Just. Happened. There should have been a day of mourning for American comedy the day that movie came out.
You know, my younger brother will absolutely murder me if I don't ask you this question.…
All right. I should worry.
Is the third Ghostbusters movie happening? What's the story with that?
It's all a bunch of crock. It's a crock. There was a story—and I gotta be careful here, I don't want to hurt someone's feelings. When I hurt someone's feelings, I really want to hurt them. [laughs] Harold Ramis said, Oh, I've got these guys, they write on The Office, and they're really funny. They're going to write the next Ghostbusters. And they had just written this movie that he had directed.
Year One.
Year One. Well, I never went to see Year One, but people who did, including other Ghostbusters, said it was one of the worst things they had ever seen in their lives. So that dream just vaporized. That was gone. But it's the studio that really wants this thing. It's a franchise. It's a franchise, and they made a whole lot of money on Ghostbusters.
Oh, sure, I remember. The soundtrack. The lunchboxes. The action figures.
Right. And it's still one of the biggest movies of all time. And ever since that story broke, everywhere I go people are like, "So are you gonna make that movie?" I was down in Austin at South by Southwest, and you go at it hard down there—fun but, man, you need to sleep for days afterwards. Anyhow, I got into it one night with a bunch of younger people who were like, Oh, I love Peter Venkman! I grew up with Peter Venkman! We got to talking, and the more we talked about it, the more I thought, Oh Christ, I should just do this thing.
A generation awaits, for sure. You weren't even supposed to play that role, right?
Yeah. Originally it was Belushi. Like a lot of my movies. [beat] God, John died, what was it, twenty-five years ago?
It was '82, right?
Yeah, I think it was '82. I dunno. That part of life is getting fuzzy.
I read that you wanted to play a ghost in the movie. That's kind of brilliant.
Well, I hadn't wanted to do the movie. They kept asking, and I kept saying no. So once upon a time I said, just joking: "If you kill me off in the first reel, then fine, I'll do it." And then supposedly they came up with an idea where they kill me off and I was a ghost in the movie. Kinda clever, really.
But has the Zombieland cameo stolen that gag?
[genuinely confused] But that was a zombie. Not a ghost.
Okay. Well, how about Garfield? Can you explain that to me? Did you just do it for the dough?
No! I didn't make that for the dough! Well, not completely. I thought it would be kind of fun, because doing a voice is challenging, and I'd never done that. Plus, I looked at the script, and it said, "So-and-so and Joel Coen." And I thought: Christ, well, I love those Coens! They're funny. So I sorta read a few pages of it and thought, Yeah, I'd like to do that. I had these agents at the time, and I said, "What do they give you to do one of these things?" And they said, "Oh, they give you $50,000." So I said, "Okay, well, I don't even leave the fuckin' driveway for that kind of money."
And it's not like you're helping out an indie director by playing Garfield.
Exactly. He's in 3,000 newspapers every day; he's not hurtin'. Then this studio guy calls me up out of nowhere, and I had a nice conversation with him. No bullshit, no schmooze, none of that stuff. We just talked for a long time about the movie. And my agents called on Monday and said, "Well, they came back with another offer, and it was nowhere near $50,000." And I said, "That's more befitting of the work I expect to do!" So they went off and shot the movie, and I forgot all about it. Finally, I went out to L.A. to record my lines. And usually when you're looping a movie, if it takes two days, that's a lot. I don't know if I should even tell this story, because it's kind of mean. [beat] What the hell? It's interesting. So I worked all day and kept going, "That's the line? Well, I can't say that." And you sit there and go, What can I say that will make this funny? And make it make sense? And I worked. I was exhausted, soaked with sweat, and the lines got worse and worse. And I said, "Okay, you better show me the whole rest of the movie, so we can see what we're dealing with." So I sat down and watched the whole thing, and I kept saying, "Who the hell cut this thing? Who did this? What the fuck was Coen thinking?" And then they explained it to me: It wasn't written by that Joel Coen.
And the pieces fall into place.
[shakes head sadly] At least they had what's-her-name. The mind reader, pretty girl, really curvy girl, body's one in a million? What's her name? Help me. You know who I mean.
Jennifer Love Hewitt?
Right! At least they had her in good-looking clothes. Best thing about the movie. But that's all ugly. That's inappropriate. That's just… [laughs] That's why, when they say, "Any regrets?" at the end of Zombieland, I say, "Well, maybe Garfield."
If you do Ghostbusters, that'll be an odd thing, won't it? There's this whole generation of twentysomething kids who think you're an art-film guy. Coppola, Anderson, Jarmusch. You haven't done a big commercial comedy in a really long time.
I know. I know. There's this nice guy named Elvis Mitchell. Do you know him?
Yeah, sure. Old New York Times critic.
And he's the world's smartest man, you know. He's fun to talk to. And I was on my back on a marble floor late at night in Venice a couple of years ago, and I was just like, Fuuuuccckkk. And he was in the room, and Elvis says, "You know, Bill, you keep doing these sad movies. It's just gotta affect your life. Your life is hard anyway. And it's just gotta affect it." He gave me a big lecture about my choices, and it landed in all kinds of places, and I just thought, Well, okay, I want to go make a comedy like the ones I used to like to make. And…well, I think I can do it. I think I probably should direct one, too.
Like I said before: Quick Change.
You know we couldn't get anyone we liked to direct Quick Change? We asked [Jonathan] Demme, and Demme said no. And we asked Ron Howard, because Ron Howard had made something that I thought was funny. He made a funny movie back then—I can't remember what it was. And he said he didn't know who to root for in the script. And I was like, Hooooooo. He lost me at that moment. I've never gone back to him since.
Just out of curiosity, since you crossed paths way back in the day: Have you seen Community? What do you think of what Chevy Chase is doing?
I'm hoping it's funny. It looks kind of funny. Chevy in life can really be funny. I don't see him that often anymore, but in life he's a hell of a lot more fun than I am—he's always going; he really, really, really wants to make people laugh. But I haven't watched it. What about the other show that has the girl from Saturday Night Live?
Parks and Recreation? That is the best comedy on TV right now, to my eyes.
When are these things on, anyway?
Thursday nights.
Both of 'em?
Yeah. Eight and eight thirty.
That's good. I want those things to work, but I'm out of touch. I have no idea. I never saw the original Office. I never saw this Office. I never even saw Clerks. Like I never saw, what's-his-name, Larry
David's show.
Curb Your Enthusiasm?
No! The other one. With the other guy.
Seinfeld?
Seinfeld! I never saw Seinfeld.
Come on.
Really! I never saw Seinfeld until the final episode, and that's the only one I saw. And it was terrible. I'm watching, thinking, "This isn't funny at all. It's terrible!"
So what the hell do you watch, then? Sports?
I watch sports, I watch movies, Current TV on the satellite—I kind of like that. Honestly, I'm just easily bored. C-SPAN can be really great. Like the night Obama won the election, C-SPAN was the greatest. There were no announcers, just Chicago. It was just that crowd in Grant Park, and it was just fuckin' jazz. You know, it was just wow. And that's my town, you know? It was just: "Oh, my God, it's gonna happen! [getting genuinely excited] It's gonna happen!" You just saw the pictures of it, like, oh, there's someone from the Northwest Side, there's someone from the South Side, someone from the suburbs. It was the most truly American thing you've ever seen. [pause] Oh God, I get jazzed just thinkin' about it. I don't know anyone that wasn't crying. It was just: Thank God this long national nightmare is over.
You're such a Chicago–New York guy. But you have had to spend a lot of time out in L.A.—
No.
Really? Not even for the business? I would have thought that would have dragged you out there all the time.
No, no, no. Never. It just never took. It's like the first day you check into a hotel in L.A. there's a message under your door. The second day, there's eleven messages under your door. The third day, there's thirty, forty, fifty, sixty, seventy messages. And I realized that they just want fresh blood. They. Just. Want. Fresh. Blood. You gotta get the hell out of there. And you really feel, if you live in New York, that you're three hours ahead of them—I mean that literally. It's like, Oh man, we gotta help these people! And the longer you stay there, the less ahead of them you get, and then you're one of them. No way, man. Not for me.
Did you cross paths with John Hughes at all? Both of you are Chicago guys. He worked with some of your friends.
I don't think I'd have known him if I bumped into him. I was kind of surprised they gave him a big thing at the Oscars. I mean, I remember Hal Ashby barely got mentioned, and this guy made half a dozen unbelievable movies. The Breakfast Club is really an American gem, though. An amazing film. As important as any of Marty [Scorsese]'s movies. It's just a real fuckin' piece. And those kids were never better than that, and he let 'em roll. Dunno. Never met him. I guess he was famous for shooting 10 million feet of film. Steve Martin said to me once, "You'd hate him. He'd say, 'Do this, where you stick something in your nose!' " That kind of stuff drives me nuts.
What about Judd Apatow?
I know someone who knows him, and he apparently really wants to make a movie with me. And the only Apatow movie I ever saw was Celtic Pride. [laughs] That was the only movie I ever saw. Did you ever see it?
I'm from Boston and I didn't see that movie.
Well, there's a reason you didn't, and when you see it, you'll know what it is. It's just brutal! Totally brutal. And Danny [Aykroyd]'s in it! Danny doesn't even know how many players are on a team in basketball. And he's in this movie? Oh my Jesus mercy.
Everyone says Danny is the nicest guy on the planet.
Danny is…Canadian. [laughs] No, he's the only one I see much of. He's great. And I owe him. Back when I wanted to make The Razor's Edge, he sent me the first twenty-nine pages of Ghostbusters to read. And you know, they were great, even better than what we filmed, so I said, "Okay, okay, gotta do it." And Danny said, [pitch-perfect, like crazily eerily perfect Aykroyd impression] "Uummm, okay. Where should we, uh, er, do it?" And I said, "Well, I'm trying to get this movie made over at Columbia [Pictures]." And he said, "All right, well, you tell 'em that they do your movie there and they'll have the GBs." We had a caterer for Razor's Edge in forty-five minutes. Hell of a guy.
What's next? If not Ghostbusters 3, I mean.
I have this friend of mine now, Mitch Glazer, who wrote a screenplay that he wanted to direct. And some actor jumped, just got terrified at working with Mickey Rourke. Just jumped. And lost his balls, really. [Extensive Googling reveals he's talking about Toby Kebbell.] And Mitch called me and said, "I'm dead. I shoot in nine days." And the open part was much more interesting than what he originally wanted me to play. [beat] The movie is such a long shot. So impossible. But I live to go down with those guys that have no fuckin' chance. It's like that Tim Robbins movie I did. What was it called? About the '30s?
Cradle Will Rock?
Yeah. Okay, so I see the script, and he goes, "Whaddya think?" And I said, "It doesn't have a chance. It doesn't have a chance in hell, Tim! [laughs] But you know what? I gotta like you for trying." Those are my people, you know? The ones who are going to crash and burn.
Last question. I have to know, because I love this story and want it to be true. There have been stories about you sneaking up behind people in New York City, covering their eyes with your hands, and saying: Guess who. And when they turn around, they see Bill Murray and hear the words "No one will ever believe you." [long pause] I know. I know, I know, I know. I've heard about that from a lot of people. A lot of people. I don't know what to say. There's probably a really appropriate thing to say. Something exactly and just perfectly right. [long beat, and then he breaks into a huge grin] But by God, it sounds crazy, doesn't it? Just so crazy and unlikely and unusual?
Dan Fierman is a GQ senior editor.
The very thing that makes Bill Murray, well, Bill Murray is what makes sitting down with him such an unpredictable enterprise. Bill Murray crashes parties, ditches promotional appearances, clashes with his friends, his collaborators, and his enemies. If you—movie director, journalist, dentist—want to speak to him, you don't go through any gatekeeper. You leave a message on an 800 number. If Bill Murray wants to speak with you, he'll call you back. If his three and a half decades in the public sphere have taught us anything about the 59-year-old actor, it's that he simply does not give a good goddamn.
His career is known to most any fan of modern comedy: the years on SNL; the series of epochal comedies like Stripes, Groundhog Day, and Caddyshack. And his current artistic period, which could be described as Reclusive National Treasure.
He lives in Rockland County, New York, emerging only to make movies for directors he's interested in: Wes Anderson, Jim Jarmusch, Sofia Coppola. This summer he'll release a period indie called Get Low, in which he plays an undertaker throwing an early funeral for Robert Duvall. Today, Murray was in an expansive mood. Then, after he spoke about Ghostbusters 3, Barack Obama, and Garfield, he decided the interview was over and was gone. As best as I can tell, he was not fucking with me. But who knows? Bill Murray doesn't need you to be in on his joke. His life is all one performance-art piece—and he does everything for an audience of one.
Bill Murray: How long do these things last? [picks up recorder] How much time is on these things?
GQ: A lot. They're digital.
Digital? I was thinking of recording myself sleeping. Would this work?
Well, assuming you don't make more than an hour and a half of noise each night, you'll be okay.
I dunno. That's why I need the recorder. Sometimes I snore, like when I get really tired. Smoke a cigar or something, you know. I have a brother with sleep apnea. That's terrifying. Jesus. But anyhow…you have questions.
I do. Here's my first one: Why the 800 number?
Well, it's what I finally went to. I have this phone number that they call and talk. And then I listen.
And you just weed 'em out?
I just sort of decide. I might listen and say, "Okay, why don't you put it on a piece of paper? Put it on a piece of paper, and if it's interesting, I'll call you back, and if it's not, I won't." It's exhausting otherwise. I don't want to have a relationship with someone if I'm not going to work with them. If you're talking about business, let's talk about business, but I don't want to hang out and bullshit.
But that's so much of how Hollywood does business.
Yeah, well, that always kind of creeped me out. And I don't like to work. I only like working when I'm working.
Well, I remember, you took a big break. It was in the late '80s, right?
It was in the middle of the '80s. Actually, I've taken a couple of breaks. I've retired a couple of times. It's great, because you can just say, "Oh, I'm sorry. I'm retired." [laughs] And people will actually believe that you've retired. There are nutters out there that will go, "Oh, okay!" and then leave you alone.
I'm always interested in how you pick your projects, because that's one damned random filmography. For Get Low, I dimly suspect that it came down to the line "One thing about Chicago, people know how to die."
[laughs] Well, that was appealing. No, [producer] Dean Zanuck and I had the nicest phone conversation, and I thought, Hmm… And then I saw the making-of DVD of his last movie. This really should be kept secret, but you can learn a lot by watching the making-of DVDs. Every actor should do it. You figure out what you're dealing with. And I thought, You know, this guy is all right. And it turned out beautifully. Where the hell did we take it? That's right. Poland. There's kind of a famous cinematography festival, in a place called Lodz, and God, they went nuts for it. These cinematographers were all, [deadpan Eastern European accent] "Oh yeah, dis good."
Like comedians, nodding at a joke.
Exactly! Oh yeah. [nods, stone-faced] "That's funny." They were just like that.
You have a lot of lines in this one that get tons of laughs I doubt were on the page. It's all in the rhythm, the delivery. How do you pitch something like that? How do you make something out of nothing?
I have developed a kind of different style over the years. I hate trying to re-create a tone or a pitch. Saying, "I want to make it sound like I made it sound the last time"? That's insane, because the last time doesn't exist. It's only this time. And everything is going to be different this time. There's only now. And I don't think a director, as often as not, knows what is going to play funny anyway. As often as not, the right one is the one that they're surprised by, so I don't think that they have the right tone in their head. And I think that good actors always—or if you're being good, anyway—you're making it better than the script. That's your fucking job. It's like, Okay, the script says this? Well, watch this. Let's just roar a little bit. Let's see how high we can go.
But you asked how you get the comic pitch. Well, obviously a lot of it is rhythm. And as often as not, it's the surprising rhythm. In life and in movies, you can usually guess what someone is going to say—you can actually hear it—before they say it. But if you undercut that just a little, it can make you fall off your chair. It's small and simple like that. You're always trying to get your distractions out of the way and be as calm as you can be [breathes in and out slowly], and emotion will just drive the machine. It will go through the machine without being interrupted, and it comes out in a rhythm that's naturally funny. And that funny rhythm is either humorous or touching. It can be either one. But it's always a surprise. I really don't know what's going to come out of my mouth.
Are you ever going to direct again? Quick Change is really one of the great lost movies about New York.
It's great. It's a great piece of writing. And how about the cast? You couldn't get that cast together for all the tea in China right now. I mean, Stanley Tucci, Tony Shalhoub…
Oh shit. The bluftoné. I forgot about the bluftoné.
Bluftoné! [laughs] Shalhoub gives one of the greatest comic performances I've ever seen! Though I do like Michael Caine and Maggie Smith in California Suite. Unfortunately, the last time I watched it was right after Kung Fu Hustle, which is the supreme achievement of the modern age in terms of comedy.
Kung Fu Hustle?
It's not even close. Quick Change after it looked like a home movie. It looked like a fucking high school film. I was like, "Oh man, I just saw this thing," and "God, that's just staggering, just staggering. That movie is just AHHHHHH!" And when I saw that, I was like: That. Just. Happened. There should have been a day of mourning for American comedy the day that movie came out.
You know, my younger brother will absolutely murder me if I don't ask you this question.…
All right. I should worry.
Is the third Ghostbusters movie happening? What's the story with that?
It's all a bunch of crock. It's a crock. There was a story—and I gotta be careful here, I don't want to hurt someone's feelings. When I hurt someone's feelings, I really want to hurt them. [laughs] Harold Ramis said, Oh, I've got these guys, they write on The Office, and they're really funny. They're going to write the next Ghostbusters. And they had just written this movie that he had directed.
Year One.
Year One. Well, I never went to see Year One, but people who did, including other Ghostbusters, said it was one of the worst things they had ever seen in their lives. So that dream just vaporized. That was gone. But it's the studio that really wants this thing. It's a franchise. It's a franchise, and they made a whole lot of money on Ghostbusters.
Oh, sure, I remember. The soundtrack. The lunchboxes. The action figures.
Right. And it's still one of the biggest movies of all time. And ever since that story broke, everywhere I go people are like, "So are you gonna make that movie?" I was down in Austin at South by Southwest, and you go at it hard down there—fun but, man, you need to sleep for days afterwards. Anyhow, I got into it one night with a bunch of younger people who were like, Oh, I love Peter Venkman! I grew up with Peter Venkman! We got to talking, and the more we talked about it, the more I thought, Oh Christ, I should just do this thing.
A generation awaits, for sure. You weren't even supposed to play that role, right?
Yeah. Originally it was Belushi. Like a lot of my movies. [beat] God, John died, what was it, twenty-five years ago?
It was '82, right?
Yeah, I think it was '82. I dunno. That part of life is getting fuzzy.
I read that you wanted to play a ghost in the movie. That's kind of brilliant.
Well, I hadn't wanted to do the movie. They kept asking, and I kept saying no. So once upon a time I said, just joking: "If you kill me off in the first reel, then fine, I'll do it." And then supposedly they came up with an idea where they kill me off and I was a ghost in the movie. Kinda clever, really.
But has the Zombieland cameo stolen that gag?
[genuinely confused] But that was a zombie. Not a ghost.
Okay. Well, how about Garfield? Can you explain that to me? Did you just do it for the dough?
No! I didn't make that for the dough! Well, not completely. I thought it would be kind of fun, because doing a voice is challenging, and I'd never done that. Plus, I looked at the script, and it said, "So-and-so and Joel Coen." And I thought: Christ, well, I love those Coens! They're funny. So I sorta read a few pages of it and thought, Yeah, I'd like to do that. I had these agents at the time, and I said, "What do they give you to do one of these things?" And they said, "Oh, they give you $50,000." So I said, "Okay, well, I don't even leave the fuckin' driveway for that kind of money."
And it's not like you're helping out an indie director by playing Garfield.
Exactly. He's in 3,000 newspapers every day; he's not hurtin'. Then this studio guy calls me up out of nowhere, and I had a nice conversation with him. No bullshit, no schmooze, none of that stuff. We just talked for a long time about the movie. And my agents called on Monday and said, "Well, they came back with another offer, and it was nowhere near $50,000." And I said, "That's more befitting of the work I expect to do!" So they went off and shot the movie, and I forgot all about it. Finally, I went out to L.A. to record my lines. And usually when you're looping a movie, if it takes two days, that's a lot. I don't know if I should even tell this story, because it's kind of mean. [beat] What the hell? It's interesting. So I worked all day and kept going, "That's the line? Well, I can't say that." And you sit there and go, What can I say that will make this funny? And make it make sense? And I worked. I was exhausted, soaked with sweat, and the lines got worse and worse. And I said, "Okay, you better show me the whole rest of the movie, so we can see what we're dealing with." So I sat down and watched the whole thing, and I kept saying, "Who the hell cut this thing? Who did this? What the fuck was Coen thinking?" And then they explained it to me: It wasn't written by that Joel Coen.
And the pieces fall into place.
[shakes head sadly] At least they had what's-her-name. The mind reader, pretty girl, really curvy girl, body's one in a million? What's her name? Help me. You know who I mean.
Jennifer Love Hewitt?
Right! At least they had her in good-looking clothes. Best thing about the movie. But that's all ugly. That's inappropriate. That's just… [laughs] That's why, when they say, "Any regrets?" at the end of Zombieland, I say, "Well, maybe Garfield."
If you do Ghostbusters, that'll be an odd thing, won't it? There's this whole generation of twentysomething kids who think you're an art-film guy. Coppola, Anderson, Jarmusch. You haven't done a big commercial comedy in a really long time.
I know. I know. There's this nice guy named Elvis Mitchell. Do you know him?
Yeah, sure. Old New York Times critic.
And he's the world's smartest man, you know. He's fun to talk to. And I was on my back on a marble floor late at night in Venice a couple of years ago, and I was just like, Fuuuuccckkk. And he was in the room, and Elvis says, "You know, Bill, you keep doing these sad movies. It's just gotta affect your life. Your life is hard anyway. And it's just gotta affect it." He gave me a big lecture about my choices, and it landed in all kinds of places, and I just thought, Well, okay, I want to go make a comedy like the ones I used to like to make. And…well, I think I can do it. I think I probably should direct one, too.
Like I said before: Quick Change.
You know we couldn't get anyone we liked to direct Quick Change? We asked [Jonathan] Demme, and Demme said no. And we asked Ron Howard, because Ron Howard had made something that I thought was funny. He made a funny movie back then—I can't remember what it was. And he said he didn't know who to root for in the script. And I was like, Hooooooo. He lost me at that moment. I've never gone back to him since.
Just out of curiosity, since you crossed paths way back in the day: Have you seen Community? What do you think of what Chevy Chase is doing?
I'm hoping it's funny. It looks kind of funny. Chevy in life can really be funny. I don't see him that often anymore, but in life he's a hell of a lot more fun than I am—he's always going; he really, really, really wants to make people laugh. But I haven't watched it. What about the other show that has the girl from Saturday Night Live?
Parks and Recreation? That is the best comedy on TV right now, to my eyes.
When are these things on, anyway?
Thursday nights.
Both of 'em?
Yeah. Eight and eight thirty.
That's good. I want those things to work, but I'm out of touch. I have no idea. I never saw the original Office. I never saw this Office. I never even saw Clerks. Like I never saw, what's-his-name, Larry
David's show.
Curb Your Enthusiasm?
No! The other one. With the other guy.
Seinfeld?
Seinfeld! I never saw Seinfeld.
Come on.
Really! I never saw Seinfeld until the final episode, and that's the only one I saw. And it was terrible. I'm watching, thinking, "This isn't funny at all. It's terrible!"
So what the hell do you watch, then? Sports?
I watch sports, I watch movies, Current TV on the satellite—I kind of like that. Honestly, I'm just easily bored. C-SPAN can be really great. Like the night Obama won the election, C-SPAN was the greatest. There were no announcers, just Chicago. It was just that crowd in Grant Park, and it was just fuckin' jazz. You know, it was just wow. And that's my town, you know? It was just: "Oh, my God, it's gonna happen! [getting genuinely excited] It's gonna happen!" You just saw the pictures of it, like, oh, there's someone from the Northwest Side, there's someone from the South Side, someone from the suburbs. It was the most truly American thing you've ever seen. [pause] Oh God, I get jazzed just thinkin' about it. I don't know anyone that wasn't crying. It was just: Thank God this long national nightmare is over.
You're such a Chicago–New York guy. But you have had to spend a lot of time out in L.A.—
No.
Really? Not even for the business? I would have thought that would have dragged you out there all the time.
No, no, no. Never. It just never took. It's like the first day you check into a hotel in L.A. there's a message under your door. The second day, there's eleven messages under your door. The third day, there's thirty, forty, fifty, sixty, seventy messages. And I realized that they just want fresh blood. They. Just. Want. Fresh. Blood. You gotta get the hell out of there. And you really feel, if you live in New York, that you're three hours ahead of them—I mean that literally. It's like, Oh man, we gotta help these people! And the longer you stay there, the less ahead of them you get, and then you're one of them. No way, man. Not for me.
Did you cross paths with John Hughes at all? Both of you are Chicago guys. He worked with some of your friends.
I don't think I'd have known him if I bumped into him. I was kind of surprised they gave him a big thing at the Oscars. I mean, I remember Hal Ashby barely got mentioned, and this guy made half a dozen unbelievable movies. The Breakfast Club is really an American gem, though. An amazing film. As important as any of Marty [Scorsese]'s movies. It's just a real fuckin' piece. And those kids were never better than that, and he let 'em roll. Dunno. Never met him. I guess he was famous for shooting 10 million feet of film. Steve Martin said to me once, "You'd hate him. He'd say, 'Do this, where you stick something in your nose!' " That kind of stuff drives me nuts.
What about Judd Apatow?
I know someone who knows him, and he apparently really wants to make a movie with me. And the only Apatow movie I ever saw was Celtic Pride. [laughs] That was the only movie I ever saw. Did you ever see it?
I'm from Boston and I didn't see that movie.
Well, there's a reason you didn't, and when you see it, you'll know what it is. It's just brutal! Totally brutal. And Danny [Aykroyd]'s in it! Danny doesn't even know how many players are on a team in basketball. And he's in this movie? Oh my Jesus mercy.
Everyone says Danny is the nicest guy on the planet.
Danny is…Canadian. [laughs] No, he's the only one I see much of. He's great. And I owe him. Back when I wanted to make The Razor's Edge, he sent me the first twenty-nine pages of Ghostbusters to read. And you know, they were great, even better than what we filmed, so I said, "Okay, okay, gotta do it." And Danny said, [pitch-perfect, like crazily eerily perfect Aykroyd impression] "Uummm, okay. Where should we, uh, er, do it?" And I said, "Well, I'm trying to get this movie made over at Columbia [Pictures]." And he said, "All right, well, you tell 'em that they do your movie there and they'll have the GBs." We had a caterer for Razor's Edge in forty-five minutes. Hell of a guy.
What's next? If not Ghostbusters 3, I mean.
I have this friend of mine now, Mitch Glazer, who wrote a screenplay that he wanted to direct. And some actor jumped, just got terrified at working with Mickey Rourke. Just jumped. And lost his balls, really. [Extensive Googling reveals he's talking about Toby Kebbell.] And Mitch called me and said, "I'm dead. I shoot in nine days." And the open part was much more interesting than what he originally wanted me to play. [beat] The movie is such a long shot. So impossible. But I live to go down with those guys that have no fuckin' chance. It's like that Tim Robbins movie I did. What was it called? About the '30s?
Cradle Will Rock?
Yeah. Okay, so I see the script, and he goes, "Whaddya think?" And I said, "It doesn't have a chance. It doesn't have a chance in hell, Tim! [laughs] But you know what? I gotta like you for trying." Those are my people, you know? The ones who are going to crash and burn.
Last question. I have to know, because I love this story and want it to be true. There have been stories about you sneaking up behind people in New York City, covering their eyes with your hands, and saying: Guess who. And when they turn around, they see Bill Murray and hear the words "No one will ever believe you." [long pause] I know. I know, I know, I know. I've heard about that from a lot of people. A lot of people. I don't know what to say. There's probably a really appropriate thing to say. Something exactly and just perfectly right. [long beat, and then he breaks into a huge grin] But by God, it sounds crazy, doesn't it? Just so crazy and unlikely and unusual?
Dan Fierman is a GQ senior editor.
Want to Buy a Chanel Purse? Better Hurry!
"European Chanel experts" tell Madison Avenue Spy that the price of classic style Chanel bags just went up 20 percent on the Continent. A price hike on Chanel purses is rumored to occur here on August 1. In 2008, the Reissue bag that now costs $3,600 cost only (only!) $2,850. Come August 1, the price could go up to $4,100. Madison Avenue Spy notes, "Remember, price hikes are always rumored and your stockpile of Chanel bags will not sustain you during a nuclear explosion." [Madison Avenue Spy]
Some C-Good Advice: Cat v. Dog & Rehab as a Dating Service
The guy I like is about to get out of rehab. Should I give him another chance or kick him to the curb? Is rehab a raging red flag? I really want to think that he has changed..
Do you dabble in drugs? No judgment on this end, but it's something to consider. If he's going to be successful in rehab, he has to surround himself with clean, functioning members of society. Recidivism rates are high in regards to rehabilitation, but his chances are better if he doesn't return to the scene of the crime. Even if you're a "functioning alcoholic", he apparently isn't. For that matter, you might not be either.. Again, no judgment.
Why do you dig his chili? He might be a big downer when he's not on downers. Addiction makes people lie, cheat, and steal, but being sober can turn a formerly fun dude into a dud. If you were initially turned on by his aloof and outrageous behavior, you might be disappointed in the new and improved straight edge him. Fun Bobby syndrome if you will (forgive the lame reference). It's a thin line and you should be wary. Addiction is a disease that can be easily transmitted. You
might be drawn to a challenge, but Dr. Drew would advise you to stay away. He may return a new man, but if he doesn't, peace out.
I'm thinking about getting my first pet. Should I get a dog or a cat?
Are you responsible? Do you have a lot of time on your hands? Do you like picking up stinky loads of shit? Can you fork out enough dough for groomers and obnoxious squeaky toys? If not, do you and your roommates a favor and get a cat.
Dogs are great, but they're more like children than cats. No one should have a full time job and have a child (or dog) without hired help. Dogs smell. They make your house smell. Cats clean themselves and poo in easily removable clumps. I understand cats can be little bitches, but that's why they're so dope. They have attitude and don't follow you around like morons to sniff your crotch. Dogs dig in the trash and/or eat poop and then try to lick your face. Don't kid yourself, you know it's true.
I love dogs and I'm aware that I'm about to get some serious hate mail from sorority girls with tiny purse pups, but they're a pain in the ass. Cats are low maintenance and their nonchalance is intriguing. They live longer, they're cheaper, and they don't bark at every squirrel that walks across your feces covered lawn. Cats rule, dogs drool.
Need your life guided by the wise C-Good? Then email her pronto your questions or concerns at cgood@thewellset.com.
7.20.2010
Design Porn: Lord of the Rings
Phillipe Tournaire’s Dream Houses on Rings [via The Beading Gem's Journal]
Black Spot Pistol Ring by Digby & Iona
The Good Bee by Jennifer Stenhouse
Growing Jewelry by Hafsteinn Juliusson
Beethoven Rings by Ambush [via Design For Mankind]
Reality Check Wedding Rings by Josien Pieters [via MoCoLoco]
Prosekko Rings by Diane Christine Dille [via Trend Hunter]
New Cut Copy Courtesy of Austin RiffRaff, Ya Dig?
[AustinRiffRaff] Australian synth/dance-pop trio Cut Copy are at work on their self-produced (and self-pronounced) Tusk-influenced third album. The rhythmic, anthemic (“yeah, yeah, yeah, woo”), smeary, and psychedelic “Where I’m Going”’s likely appearing on said record. Much of it reminds me of the Beach Boys-via-E6 (on an electro kick).
[throwback] Andrew Mukamal's a Cartoon & I LOVE IT
Occupation: freelance stylist and assistant to Kelly Cutrone, CEO of People’s Revolution
“I think [that being conscious of how you are] observed by others and being really aware of that is something that is so overlooked by a portion of the population.” Andrew Mukamal
"I love it when children are fascinated by looking at me. I hope one in every hundred children that look at me think, 'That kid has a different perception of what he is allowed to wear.' I hope that image sticks with one of them. It means a lot to feel as though you have an influence and being appreciated, especially with young minds."
[StyleLikeU] If there was anyone who would be the perfect spokesperson for “men’s liberation” in their clothing, it’s Andrew. You cannot help but fall in love with his imposing hunky good looks (especially when you get to know how sincere, humble, and insightful he is – “I am an observer,” he says) and the Jean d’Arc (rather than Joan) way he infuses a masculinity to the art of loving high fashion. Being a fellow Scorpio, I fully understand that moderation is not in our language, so when Andrew spent ten minutes talking about Givenchy’s take on the classic wingtip, I got it and was fascinated enough to film the whole thing. In fact, the shoe so took my breath away that I am sporting black men’s wingtips as we speak, but unfortunately without the couture take, since I would not be able to find my size.
Whether costly or not, fashion can be exhilarating and deeply meaningful, and as Andrew says, especially when you feel sychronized with a designer’s vision (and, I will add, when the culture of mediocrity has not swallowed up all individuality by a marketing machine that has brainwashed the public into believing that comfort and a good bargain are all that matter, no matter how you present yourself to the world). It’s one thing to mindlessly consume and another to be your own stylist and create with the kind of brilliant vigor that Andrew does.
In his Comme des Garcons skirt, Rodarte crocheted hose, baseball cap turned backwards and flannel shirt tied around his waist or his tennis sweater (a genius hommage to his roots of American sportswear) with black leather chaps, Andrew is making an impression, whether on the subway or for that young boy in his cable knit, who might want to do the same.
Whether costly or not, fashion can be exhilarating and deeply meaningful, and as Andrew says, especially when you feel sychronized with a designer’s vision (and, I will add, when the culture of mediocrity has not swallowed up all individuality by a marketing machine that has brainwashed the public into believing that comfort and a good bargain are all that matter, no matter how you present yourself to the world). It’s one thing to mindlessly consume and another to be your own stylist and create with the kind of brilliant vigor that Andrew does.
"By the time I graduated from high school, I had a girlfriend from Ohio. She was blonde, a tennis star, and going to Colgate. I would drive her around in a Landrover and wear clothing with embroidery. I still have all the ribbon belts to prove it."
Andrew Mukamal from Stylelikeu.com from Stylelikeu on Vimeo.
The Perfect Summer Mani/Pedi Colors
I love Essie for their seeming ability to read my mind -- almost any time I dream up a new color to want, they've already bottled it -- and I love J. Crew for making style decisions for me, so of course I want these two new pinks, which are in J. Crew stores. Both are super-opaque, so you get tons of coverage even with just one coat. (Self-tanners, especially, will appreciate this - you know better than hitting the tanning bed don't you people!? It GIVES you cancer, like a 100% chance.)
7.19.2010
7.16.2010
Brandon Flowers' New Solo Single: Crossfire
The Killers is one of my all time favorite bands from the 2000's. I know that is a pretty bold statement, but you would be a believer too if you saw the amazing show they put on at ACL '07 on Friday night. It was an almost religious experience, quite poignant since Brandon Flowers is a Mormom, pero-n-e-ways, I love him. And his lovely voice, his XS waist/beautiful face combo, excellent stage presence and a flare to rock some ridiculous frocks make me think, "he truly is a modern rock star."
Fortunately for us, all of those things come standard on his new solo album, but I wonder if he still has the power that the Killers as a musical whole had. What do you think? Overall I think it's pretty good. We'll just have to see about the rest of the album for my final verdict.
7.14.2010
Better Late Then Never: Get Your SHOP ON
Shopbop.com's Extra 20% off sale items will end tonight at midnight (Wednesday, 7/14) so take advantage of it now! Many items are 70% off already so another 20% off, is basically free (well, 74% off is hardly free but you get my point). Go to shopbop.com here to shop the sale!
Courtney Love Fashion Blogger Extraordinaire? I think not...
http://whatcourtneyworetoday.com/ launched today with nearly 25 posts from Courtney herself. She apparently is running the whole show and exposing her love for fashion...
I will be happy to be the first to say, not so fast Courtney, just because you have money and expensive things doesn't mean you have style. But alas, that is the nature of the internet. Everyone and anyone can speak and be heard even if it's someone like Courtney Love that has nothing really interesting to offer the world.
The narcissism in her site is tangible - why refer to yourself in third person? Everyone knows that that is a sign of a crazy.
Jordan Jeffus Approved: XX Going to Give it to Ya Mash Up
[viaAux] The Hood Internet are a Chicago duo specializing in mixing mainstream hip-hop with songs classified as ‘indie rock’ and have provided one of the best examples of what they do through this track, which combines The xx and DMX. The rapper’s lyrics are from a song off the Cradle 2 the Grave soundtrack, a movie that stars DMX and Jet Li. The xx song is the intro from their self-titled debut released last year.
The Hood Internet - The XX Gon' Give It To Ya (DMX x The XX) by hoodinternet
7.13.2010
7.12.2010
Austin Chronicle: Best of Austin = Vote for US!
It's that time of year again and the Austin Chronicle is tallying people's votes for the best and brightest of Austin, Texas. Would you be so kind as to click on the link below, scroll down and enter TheWellSet.com for the following categories?
Who doesn't love a worthless work day perusing the wonders of TheWellSet.com? Everyone loves that! If it's your favorite way to kill some time at work then what are you waiting for? Please vote today and tell your friends!
- Local Entertainment Website
- Local Blog
- Wild Card
Click here to vote: http://www.austinchronicle.com/feedback/bestof/10/
Thanks for your help!!!
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