Fionn Regan - Dogwood Blossom
keep climbing into my head without knockin’
and you fix yourself there like a map pin
on this ghost of this street where i’m livin’
i’m in a chrysalis and i’m snowed in
darling, darling that dam’s gonna give
it’s inevitable the way that you live
bottles in brown paper and a mouth that slurs
all the shit that it stirs
let that dogwood blossom
there’ll be hell to pay in heaven
for you take every street home
what happens when you’re in too deep to break
loneliness keeps you constantly awake
what happens when the passage of time appears
you see yourself as a child and it brings you to tears
you say that you’re troubled and you always have been
uncomfortable in your own skin
so you contemplate the riverbed
turn off the dark thoughts in your head
darling, darling that dam’s gonna give
it’s inevitable the way that you live
bottles in brown paper and a mouth that slurs
all the shit that it stirs
let that dogwood blossom
there’ll be hell to pay in heaven
for you take every street home
A BLUR OF NEWFOUND FILMISH TUMBLRS
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“In your eye” by Hardy Blechman
Embroidery and Acrylic on US Army Marpat (Marine Pattern) Rucksack Recycled to Pyramid / 46 x 36 x 33cm.
The exhibition features the work of those artists, writers and musicians who acknowledge the need to reach a heightened or ‘altered state’ in order to create their work. We are concerned with the mystery of the creative act. Not the inexplicable ’spark’, aka inspiration, but the fire; the non-doing before the doing, the summoning up of elemental spirits from within, or without, during the preparation of some visual or musical work, some theory or idea. This welling-up or ‘possession’, this ‘fever in the heart of man’, this spirit, this spell, might sometimes be referred to as Voodoo.
(Source: mhistore.com)
“oh you should send me a valentine…but I don’t know where I live” - Jescie
(Source: jescie.net)
how very Rebekah Del Rio singing Llorando at Club Silencio (there’s a club if you’d like to go…) in Mulholland Drive, this.
(Source: welovedita)
Maila Nurmi (Vampira) c. 1950’s, a cigarette and lipstick trompe-l’œil, (and the less noted, colorized version) via vintagegal
Isabella Rossellini and David Lynch photographed by Annie Leibovitz 1986
(Source: psychonerdandhercat)
“What was it about that specific shot in Blue Velvet that forced me to take it so personally? When David Lynch’s film was released in 1986, it was hailed as a masterpiece. But I gave it one star, and my review expressed discomfort with the way Lynch presented painful material and then pulled back to pretend it was all a joke.” - Roger Ebert
“When I shot Blue Velvet, for example, David Lynch, the director, explained to me the feeling he wanted for the scene where I walk stark naked through a small American town. Once when he was a kid, he told me, coming home from school with his older brother, they had seen a naked woman walking down the street. The sight had not excited them, it had frightened them, and David had started to cry. My “model-trained” brain flashed me an image: the photo by Nick Ut of the girl in Vietnam walking in the street naked, skin hanging from her arms after a napalm bomb attack. That devastated, helpless, obscene, frightening look seemed to me what David wanted, and I adapted it for my scene. The ability to identify one gesture that will capture a whole mood is a model’s job. It’s the thing we, as models, share with figurative painters.
I wish I’d found some other approach for the scene in Blue Velvet; I did not like being totally exposed, I kept worrying about what my family would think when the film came out, and I searched and searched for other solutions until the last moment—also because people were gathering around the set to watch the making of the film.
People came out with blankets and picnic baskets, with their grandmothers and small children. I begged the assistant director to warn them it was going to be a tough scene, that I was going to be totally naked, but they stayed anyway. I went out and talked to them myself, but they were already in the mood of an audience and just stared at me without reacting to my plea and warning.
Time came to shoot. I apologized to them in a loud voice, knowing they were going to be upset, and concentrated on my scene. By “concentrate” I mean just do it. My mother, when asked “How do you remember all these lines in films and plays?” answered, “By forgetting everything else.” It’s true. Focusing, total concentration, is what’s needed when acting, though “forgetting everything” is what my mother did anyway. It was her recipe for happiness and, I believe, the basic reason she loved acting so much.
Once we started to shoot the scene, I just beamed onto the other actors and some of David Lynch’s direction. Once David called, “Cut—we have it,” someone came with a robe for me to wear and my attention returned to our surroundings. Everybody had left.
The next day a notice from the police told us we would not be given any more permits to shoot in the streets of Wilmington, North Carolina.”
— Some Of Me by Isabella Rossellini
(Source: picturesofwar)
How many followers does Jescie have at the moment? This many. Miseria Cantare.
(Source: michaeldf37)
the sole pleasure the Underworld franchise affords me is songs like these
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Thus far in Twelve, for the first time, nine.
books:
The Strange Case of Edward Gorey by Alexander Theroux
An Exaltation of Larks by James Lipton
films:
Paradise Lost 3: Purgatory by Joe Berlinger & Bruce Sinofsky
Hollywood Steps Out by Tex Avery
songs:
Somebody That I Used To Know by Gotye
Levels (featuring a sample of Etta James‘ Something’s Got A Hold On Me) by Avicii
albums:
After The Lights by The Saddest Landscape
What’s The Point? by Insulin Reaction
Non-Stop Erotic Cabaret by Soft Cell
“R means under 18 accompanied by an adult. Therefore all corporately funded films in the US must be made with concept that those under the age of 18 are able to view the film. This means all corporately funded films in the US are made for the eyes of children” - Crispin Glover
(Source: jescie.net)
