So yeah, I have a new “band”.
Here’s our bandcamp: http://lostweekendsg.bandcamp.com
And here’s our Facebook page: http://facebook.com/lostweekendsg
No Regular Play - Owe Me (Nicolas Jaar remix)
Leonard Cohen on depression and relationships
Swag.
Wrinkles, facial hair, cap-askew.
Lana Del Ray - Video Games (Joy Orbison remix)
On repeat.
Elliott Smith - The Biggest Lie
RIP Elliott.
Sister Sledge - Lost in Music (The Revenge rework)
A musical orgasm.
Ratatat - Get ‘em High (Talib Kweli & Kanye West re-edit)
This was the strongest track on Kanye’s debut all those years ago.
(Source: loveandsoundwaves, via certiorari)
Nirvana’s Nevermind, 20 years later
by Scott Creney
First things first. Nirvana had a bigger effect on American culture than any rock band since The Beatles. I was there, and anyone who tells you any differently is a goddamned liar. They changed the way people dressed (flannel!, thrift stores!). They changed the way people acted (sullen! unenthusiastic!). They changed television (My So-Called Life! Friends! Punk Rock Car Commericals!). They changed movies (Reality Bites! SFW! The Doom Generation!). Suddenly it was cool to be poor. It was cool to wear cheap clothes that were falling apart. It was cool to be sarcastic. It was cool to believe you were doomed. Nevermind made the world a little less chipper and a little bit more real.
…
Kelly was a volleyball player who held some kind of student government position at Granite Hills High School. She was blonde-haired, blue-eyed, thin, tanned, and muscular. My friend Eric was living at her family’s house while his parents were separated, and we all hung out a bit that fall. I’ll never forget driving her and Eric somewhere—probably to go get milkshakes since they were both good Christians — and Nevermind was playing in my car. Kelly squealed that she loved Nirvana, which was pretty strange. Then ‘Lithium’ came on and she began singing the words, quietly, to herself, as if the song held some kind of secret meaning to her.
Hearing the epitome of California perfection whisper, I’m so ugly, that’s okay cause so are you, we broke our mirrors. Or even more oddly, I’m so horny, that’s okay my will is good, as if we weren’t even in the car with her, is just — it’s just crazy. It’s as if a Justin Bieber fan started reciting Rimbaud. You’d think they were possessed by some kind of ghost.
(Via)
Mean Streets (1973) dir. Martin Scorsese
Here’s how the story goes:
Scorsese never got the license to use ‘Be My Baby’ for opening sequence of Mean Streets. Phil Spector wanted an injunction against Scorsese, but was convinced by lawyers and friends that it wasn’t worth the effort, that the film wouldn’t be seen by a large audience. Mean Streets was a success; Spector never sought that injunction.
In a way, for a moment in time, Phil Spector held the fate of two of cinema’s brightest stars in his hands.
Closing scene from The Devil and Daniel Johnston (2005) dir. Jeff Feuerzeig
Whenever I lose hope with the state of the world, I watch/listen to some Daniel Johnston.
Talking Heads - This Must Be The Place
I think this is a rare case of a Talking Heads song being exactly what it is, no hidden messages or meaning. It’s about love. Real, amazing, fun-loving, friendship-based love. Love that makes your house your home. It’s different because it’s a love song coming from the perspective of someone who isn’t typically a romantic. But that doesn’t mean there’s a hidden subversive quality to it.
To me, it’s the song of a guy who never thinks he’ll fall in love, never thinks he’ll find another person that makes him feel the things that other love songs are made of, never really even cares whether he will. And then he does. He’s going along through life and suddenly: BAM! Love shows up.
First verse = falling in love. Feeling of spinning, feeling of floating (“pick me up and turn me round”). I always picture two people lying in the grass, looking at the clouds, laughing, playing, twirling each other around in bare feet. As it turns out, love got him even though he wasn’t looking for it (“born with a weak heart”), but it’s okay even though he doesn’t know how to act in a relationship. They’ll just make it up as they go along, being friends and dating and having fun along the way. There’s no need to talk about it (the relationship) because it just is what it is. The other person feels the same, falling in love with him (“you’ve got light in your eyes”), and they start to adjust to actually being/living together, maybe they’re even getting married (“you’re standing here beside me… passing of time… cover up and say goodnight”). It’s the whole transition of everything from meeting someone to dating to making a life together.
Second verse = realizing you’re in love, in a real meaningful way. Realizing that home is actually the other person, realizing that you can no longer remember who you are as an individual or what life was like before this person came around, because you identify so strongly as part of this couple (“I can’t tell one from another. Did I find you, or you find me?”). He’s saying, I know that there was life before you, and before us, but I can’t quite remember and it feels like our love is unique, but I know that of all the other people in the world, we’re not the only ones to feel this way (“There was a time before we were born…”). But then I’ve given into love and this is where I see myself, with you, for the rest of my future (“this is where I’ll be”).
I think the real genius of this song is it means so many different things to different people. Because the lyrics are vague but yet meaningful, the emotional connection to them varies from person to person. To me, this will always be a joyous song.
(via)
(Source: youmightfindyourself)
Breakfast at Midnight
My first stab at a post-dubstep/future-garage mix. Not perfect, but I’m lazy.
