Terminus

From Trevor Cawood. Montreal's Spyfilms.

Glass Candy - Digital Versicolor

Now for something a bit more recent. From New Jersey.


Honkey grandma indeed.

Feeling early industrial, French tonight. . .

As opposed to?


Buzz - Kennedy. French. From a 12" w/ "Picasso" and "Kennedy".


Futurisk - Army Now. 1982. Florida. Not French.


Orchestre Rouge - Soon Come Violence. 1982. (More like post-punk.) See: Passion Fodder.


Honeymoon Killers - Historie a Suivre. Amazing live footage. 1983.


Starter - Minijupe. Swiss, of course. Look at those moves.


End of Data - Sahrah. French. 1983. From Rennes.


Hard Corps - Dirty. Live, 1986.

Pete Shelley - On Your Own

Great animation.

Angel Mine

People who have read 6 Sick Hipsters often ask what "trivia" I made up and which is real. This is something the Annotated 6 Sick Hipsters website will address but here's an example: The whole "Angel Mine" section - banter between Swank (an artist who meets an ill end) and his pal - is based on a very real but really obscure film. Here is some info:

“Angel Mine (which came with the warning: ‘This film contains punk cult material!’) signalled in celluloid the arrival of punk and met with the kind of controversy you’d expect and more. ‘Angel Mine came out of nowhere and caught a lot of people by surprise,’ says Blyth. ‘Twenty years down the track I don’t know whether it’s so controversial. I’ve gone on and become far more middle of the road in terms of my film-making. … Blyth was coming to the end of his time at Auckland University where he had become influenced by European cinema rather than Hollywood as well as the values that went along with the music friends in a band were espousing. ‘We all came from the garage band. I was a garage film-maker. I used an old red Bolex and like the musicians didn’t have any formal education. They just got instruments and started making noises and I got a camera and started pointing it around the room. I thought ‘why wait to get experience?’ Everything was fermenting at the same time. The very first punk concert at Auckland University was raising money for Angel Mine. The thing about the film is that it was shot for $13,000 or $14,000, which meant I didn’t have to go to any of the authorities and have my script fettered. It was an attack on the great suburban dream of New Zealand, the whole focus on ‘get a job, get a house and a mortgage’, a whole philosophy which I guess punk was about questioning. … Despite the low budget and the controversy that followed the film’s release, many critics today, as then, have hailed Angel Mine as a superb piece of film-making.” (Mark Amery, Sunday Star-Times, 12 February 1995)

"There are no bohemians in Angel Mine. The couple, played by Derek Ward and Jennifer Redford, are confirmed city dwellers. In their sterile brand-new Lockwood show-home, isolated in the middle of a Pakuranga subdivision, haven for the nouveau riche, they try desperately to conform to the image of the ideal young couple in the commercials. They are surrounded by the material trappings that the slick advertisements insist are requisites for happiness: yet real happiness eludes them. The phantom doubles or Doppelgangers, dressed in shiny black vinyl suits, represent the physical, sensual, animalistic aspects of the couples' personalities, so effectively subliminated by the mass media." (Diana Ward/Art New Zealand, 1978)

"No locally made film has caused more hullabaloo since the advent of the State-sponsored NZ Film Commission than David Blyth's Angel Mine which premiered in Auckland in November and has since moved to other of the country's main cites. It has been the cause of renewed urgings to the Minister of Internal Affairs Alan Highet to tighten censorship law, and to the Government in general to carefully watch how the taxpayers money is being spent in the new surge towards a developed local film industry. Porn watchdog Patricia Bartlett, in particular, has been assiduous in penning letters to Government leaders and newspapers about what she sees as the degrading content of the film and the use of public money for such enterprises. In fact, Angel Mine, which has been made on a minuscule budget of about $30,000 and blown into 35mm from original 16mm footage, is much more than all the "put down" ballyhoo suggests... What it does is make a particularly strong statement about urban materialism and the corrosive nature of visual advertising in the context of the relationship - sexual and otherwise - of a suburban couple..."- (Mike Nicolaidi, Variety, January 10,1979)

The Annotated 6 Sick Hipsters

Coming soon. It'll be a website, open to additions. Page by page references, etc. Should have it up by April. Have any thoughts, or want to lend a helping hand, let me know.

Williamsburg Courier

Did an interview last night with the Williamsburg Courier. Nice chat, though I may have rambled a bit. (How is it that I mentioned the Lost & Found Times?)Not sure when it will hit newsstands.

Banner

Many, many thanks to Alex Martin for this. Spread the love.

Monaco - What Do You Want From Me?

Peter Hook (New Order) and David Potts, post Revenge. 1997.

Metro NY

Metro NY interview. If you're in the city, pick up a copy.

Title Sequences

Always been a huge fan of title sequences. In 5th gade, my teacher brought in a 16mm reel of Saul Bass credits and I was hooked. This is a nice compliation. Some of these are quite obscure (Dorian Gray) and many I would not have normally considered (Death Machines - love it). Below are some of my favs:


Vertigo


Delicatessen


The Good, The Bad and The Ugly


The Mysterious Cities of Gold (Seriously, how can you resist that song?)

6 Sick Hipsters - Trailer 2

Second trailer for the book. Muchas gracias to PureShot for this. Genius.

Ain't It Cool News

Gothamist

Interview