Monday, March 8, 2010

Deadpan masterpieces (other than myself, of course).

I passed a certification course in Music Nerdery, then got licensed and bonded. I now practice it on a daily basis. This leaves little time for nerdery of other kinds. But sometimes I like to geek out to a minor degree about things that are beautiful, stark, and foreign--yes, exactly like a 1990 demo of 36 Chambers as recorded in a Japanese semi-conductor factory!, and like these movie posters from Poland.

The red, the black, the white, the sharpness, it makes me feel good both on its own and because it reminds me of the
Mad Men opening which, in turn, reminds me of the redheaded curvy Amazon of a woman I was clearly meant to resemble and who I will look like in my next life if I act right and please the gods*. The Guardian calls the posters "deadpan masterpieces" and says these renditions from the Warsaw-based studio Homework are "building on the long tradition of Polish-language versions of Hollywood posters" (??), which you can just go ahead and add to the list of things I did not know about Poland.

Gone with the Wind--even though clearly this one should be Cat on a Hot Tin Roof, yes?

Plus 2 (different stylistically, but no less dope stylistically):

Blade Runner.

"Oohh, those are pretty and I like them," said Shep Fairey at the exhibit in London, just before continuing to kill it in the world of plagiarism by ripping each one from the wall, adding or taking away words thereby obliterating the images' original context and meaning, screenprinting them on t-shirts without the shame that would normally prevent somebody from performing such an act, then scampering off to play some awful music on his laptop, and it's all just a big time-consuming attempt at filling up the holes in his ego since he's still mad at his parents for giving him that name.
(Every art-related post on here must have some Fairey vitriol, plus he's fresh on my radar again because of his Colbert poster getting him all kinds of new and annoying shine in the world of media. Real quick aside: this is an excellent piece in which Robbie Conal, in describing his feelings about Fairey's behavior, said, "I'd want [the songwriter for] Little Anthony to get some money if I'm going to do 'Tears on My Pillow'," which I have adopted as my entire argument in the case of intellectual property. The defense rests, your honor.)

Polish musical accompaniment! Lejzor Czyz and Fiszel Czyz are 2 of the the most Polish names in the world (look at that--only 4 vowels total between them) and they happen to be the real names of Leonard and Philip Chess, of Chess Records, which signed everybody good in the '50s and '60s, including John Lee Hooker, who then made this piece of sexual energy below known as a blues song. And even though this is from 1967, way past him leaving Chess, let's just all not care about that. It's sharp and stark, like everything else I love at this particular moment, plus when Black Milks boosts that chorus to make his next beat of fire I'll feel so smug (in a really adorable way, don't worry). Also, any connections you attempt to make between Fairey's co-opting of others' works and Black Milk's musical alchemy in using an old drum pattern as a starting point shall be willfully ignored. Even if you are playing devil's advocate, which I enjoy most of the time.

Joy Division - “Warsaw”




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