Ronnie Rocket Blog
A personal blog about Arts, Business, Culture and Design (and a lot about Japan!) by Media DJ Ronnie Rocket.
Saturday, May 30, 2009
Interview with Christian Bale
A NICE QUIET CHAT WITH CHRISTIAN BALE in which the most ardent actor of his generation speaks of starving for his art, falling asleep during scenes, and why John Connor—not Christian Bale—bears the lion’s share of the blame for that infamous explosion on the set of ‘Terminator Salvation’
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Friday, May 29, 2009
Thursday, May 28, 2009
Monday, May 25, 2009
YellowKorner will distribute a collector photo series from Iggy Pop
YellowKorner, 1er label de photographie d’art proposera à partir du 25 Mai une collection exclusive de photos numérotés et signés par Iggy Pop et Xavier Martin, photographe célèbre pour ses portraits de Serge Gainsbourg, Robert Mitchum ou Catherine Deneuve notemment.
Les tirages seront disponibles en deux editions :
A framed and numbered Open Edition series, choice of one of three visuals,
sold with a 4 tracks from Préliminaires (King Of The Dogs)
* Une version Open Edition encadrée et numérotée avec 3 visuels au choix, vendus avec 4 titres de Préliminaires à télécharger
* Une edition limitée, avec un choix de 10 visuels chacun disponibles à 30 exemplaires seulement, numérotés et signé par Iggy Pop et Xavier Martin et proposé avec l’album Préliminaires en CD.
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Iggy Pop "Preliminaires" (2009)
A Deluxe Boxset is available at only 6000 units worldwide. This boxset contains the Préliminaires album, a collector Les Feuilles Mortes / King Of The Dogs 7 inch, the cover of which is Iggy’s portrait by Marjane Satrapi, and a 28 pages drawings booklet also by Marjane Satrapi.
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Saturday, May 23, 2009
Thursday, May 21, 2009
Saturday, May 16, 2009
J.S. Bach Chamber Music Pavilion by Zaha Hadid
Architect Zaha Hadid has been commissioned to create a unique space for musicians to perform Bach's solo works. Manchester Art Gallery, July 3 - 18. £28.50.
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Friday, May 15, 2009
Wednesday, May 13, 2009
New Photos From Flight 1549
Wired has the amazing Part 2 of the story of Flight 1549 in Hudson River with some incredible photos.
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Tuesday, May 12, 2009
John Cale: 'It was all about revenge'
The Guardian has a story about John Cale and his debut as a visual artist at the Venice Biennale:
It sounds at first like an electronic whine, a build-up of noise in the amplifier. Then there's Lou Reed's voice, young but hardened: "When the smack begins to flow, and it shoots up the dropper's neck, and I'm rushing on my run, then I feel just like Jesus's son." Behind it all, there's that strange keening, humming note. Listen to the Velvet Underground's Heroin on headphones and you realise it's not feedback after all, not a synthesised warble, but the rich timbre of a violin playing a single note, held for a disturbingly long time. It's the darkest thing in the darkest of songs. If Reed sounds as if he's made a pact with the devil, then the musician who plays that buzzing fiddle - John Cale - must be the devil himself.
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Monday, May 11, 2009
Gaspar Noé
The controversial French director whipped up a bona-fide storm at Cannes in 2002 with his rape drama Irréversible. Enter the Void suggests that age has not mellowed him, dishing out a tale of brutal murder and sibling love gone sour.
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Michael Haneke
Might this be Haneke's year? The lupine, gimlet-eyed Austrian was the hot favourite to win the Palme d'Or for Hidden in 2005 and scooped the grand prix four years earlier for The Piano Teacher. His latest, The White Ribbon, installs a rural German school as a breeding ground for fascism. The fact that Isabelle Huppert – the star of two Haneke movies – is jury president won't hurt his chances either.
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Thursday, May 07, 2009
Tuesday, May 05, 2009
Monday, May 04, 2009
Grizzly Bear features in New York Magazine and The New Yorker
Great articles in both New York Magazine and The New Yorker about Grizzly Bear (I was tipped by Ed Droste himself on his Twitter channel, here and here).
From New York Magazine:
Droste’s voice is a full-bodied, multi-octave-reaching instrument reminiscent of the more-earnest end-of-eighties New Wave (think Curt Smith from Tears for Fears or a less-campy Morrissey), but it took him a while to feel confident about it. “I was insecure about the songs, about my voice,” Droste remembers. “I was fearful of judgment and fearful of what people would think and just generally fearful.”
From The New Yorker:
When all four band members harmonize, Grizzly Bear sounds like a boys’ choir. This kind of harmony has its roots in the multitrack backing vocals that Brian Wilson produced on Beach Boys records like “Smile” and “Pet Sounds,” but it could just as easily be drawing on forms of American church music and on modern classical composers like John Tavener. Within the genre of indie rock, the move toward more singing done by more voices in a more articulated harmonic framework began somewhere in the early aughts, with artists like Sufjan Stevens.
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