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The Stooges

(via nopainnohope)


Lauren Bacall and Humphrey Bogart

We need magic and bliss, and power and myth, and celebration and religion in our lives and music is a good way to encapsulate a lot of it.

Jerry Garcia

Happy birthday Jer

(via newspeedwayboogie)

(via adequatic)








Licia Ronzulli, member of the European Parliament, has been taking her daughter Vittoria to the Parliament sessions for two years now.

Every time this is on my dash, it’s an automatic reblog.

Life. There’s always a way to make it work.

This woman runs PARLIAMENT with a baby in her lap and she’s CLEARLY doing an outstanding job because she’s still there being a total boss two years later, baby still in her lap.

"A baby will destroy your career-"


Are you sure?

Because I’m pretty sure that Licia Ronzulli would laugh at that declaration.

This is so awesome and makes me happy!!! but why is the baby suddenly blonde in the last photo??


Always reblog.

(via mo-mtn-girl)

Johnny Winter - Live From Montreux (1970):


Our friends at Filmmaker Magazine sit down with John Boorman in Cannes to find out the secrets behind his long and abundant career. “At 81 years old, Boorman claims this is his very last movie, and after such an illustrious career — with films including ‘Point Blank,’ ‘Deliverance,’ ‘Excalibur,’ and ‘The Emerald Forest’ — he ends on a very high note.”

Here’s 10 lessons on filmmaking from John Boorman:

  • FILM HAS A WAY OF BEING TRUER THAN MEMORY: Everything in [‘Queen and Country’] is based on characters and incidents that occurred. The relationship between memory and imagination is a very mysterious one. I sometimes feel that imagination is sometimes closer to the truth than the memory. I remember when I was writing the script for ‘Hope and Glory’ and I showed the script to my mother and my older sister — because they’re featured very strongly in it — they were astonished because things I thought I had invented turned out to have actually occurred. They were shocked how I could have possibly known these things. Perhaps the same thing occurs in this film, that the elements of imagination are probably closer to the truth than the memories.
  • THE BUSINESS OF FILMMAKING REQUIRES A GREAT DEAL OF FAITH: The difficulty [with ‘Queen and Country’] was finding the money. There is an acknowledgment in the credits for a friend of mine who stepped in. He followed me up one day and asked how the picture is going, how is the preparation, and I said: “Well, I think it’s falling apart, the money dropped out.” And the next day he sent me $350,000 and that got us over that. More that 50% of independent films collapse, either a couple of weeks before starting shooting or a week after starting shooting. It’s a very hazardous business. You know the story of a man who was asked, “How can you become a millionaire making independent films?” And the answer was, “Start as a billionaire.”
  • HAVE A VISION OR DON’T MAKE THE FILM: The most important thing is to have some sort of a vision and as David Lynch said, make the films you want to make, and if your taste doesn’t coincide with the audience, then stop making them.

  • DON’T THE LET ACTOR DIRECT YOU: There are a number of moments in the film, which are about the relationship between film and life, and ‘Rashomon.’ I saw it when it opened in 1952 and it had a tremendous effect on me. Suddenly I’d seen greater possibilities in filmmaking than I had ever imagined possible. Mifune — well, I had a very fractious relationship with Mifune [during ‘Hell in the Pacific’] because he had very much wrong ideas of the film and the character and I had to correct him. I had a Japanese crew and it was a big loss of face for him to be corrected by me, so we fought all the way through the film. And in every scene he would revert to the character as he saw it and I would have to go on and on until I got what I wanted. It was just awful. Eventually I had an accident on the reef and I had to stop shooting. And this situation with myself and Mifune was so bad that producers came along and thought that they had to replace me. And they went to Mifune and they said, “You’ll be glad to hear that we’re going to replace Boorman.” And Mifune said: “I can’t agree with that.” We went to a teahouse in Tokyo. We drank a toast and sake and I agreed to do the film with him. He said, “It’s a matter of honor.” And the producers said, “Listen, this is Hollywood. Honor doesn’t come in to it.” But he wouldn’t budge. So when we started shooting again I thought, “We’re going to be pals,” but he was exactly the same.
  • CINEMA DOESN’T NEED TO BE REAL. IT JUST NEEDS TO BE ALIVE: That was a quote from Ingmar Bergman. Someone in my presence asked him what he was going to do when he was shooting a film and he said he wasn’t trying to make it real, but he was always trying to make it alive. That was very significant and important. It’s always a matter of the elements. There is always one element that would make a scene into cinema and it always comes from somewhere that makes the scene cinematic, rather than just a scene being photographed. And you’re always looking for that moment, both in the writing and in the shooting and in your dealing with the actors.

  • THE SCRIPT IS JUST A GUIDE. DIRECTING HAPPENS ON SET: In ‘Point Blank’ with Lee Marvin, there was a series of scenes in which he was confronting people. One scene where he gets into this penthouse, he’s getting to this guy and they’re in bed together, it’s a great scene. He breaks in and pulls the guy out of the bed, and it’s so very difficult. How would he react, this gangster? We tried to shoot in different ways, and finally I said, “How about you faint? Such a terrifying situation, you pass out, just bang.” And that’s what we did. So it made the scene work. The actor’s reaction was: “I’m a tough guy, I wouldn’t do that.” Yes, but look at the situation, and it made the scene work. That’s an indication, an idea about how you can convert a scene into cinema. I think that often happens when you come to shoot a scene, you find that there is something, an element missing and you have to find it some way, that one thing that makes the cinema.

  • DIGITAL ISN’T THE ENEMY. JUST MAKE A GOOD FILM: I’ve been shooting digital for some years now. I was very happy to say goodbye to film because I’ve suffered so much in my whole life from scratches and dirt and loosing shots. The color of the film stock was devised to flatten out the skin tones of movie stars and it’s dreadful. Now digitally we can do whatever we want with color. We can get exactly the color we wish.
  • SILENT MOVIES WILL TEACH YOU A LOT ABOUT FILMMAKING: When I was 18 in 1951-1952, the national film theaters opened in numbers and they showed all the great silent films. I haunted the place, and I really fell in love with the silent movies, the origins of film. That’s really where I learned the possibilities of films and learned what they could do. When they were shooting silent films, they had to devise ways of communicating ideas and stories without the use of dialogue. The techniques they developed, many of them disappeared when sound came in, because when sound came in you were stuck with a very big camera which was very difficult to move and it made films much more static. Filmmaking never quite recovered.

  • GIVE YOURSELF TIME TO WRITE: The only thing about writing is that you have time, so you’re doing it on your own and you don’t have the pressure of time. But I always like to write in front of a blank wall because I project the scenes onto the imaginary screen and see if they work. I kept journals since I was 16. I write all the time, and I’ve got stacks and stacks of them. So when it comes to making a film I go back and look at them and I’m always very disappointed about how unspecific they are, but they’re helpful. You know, for me the writing process is part of the whole shooting process. One or two universities asked me to give them my archive, my scripts, my old scripts. I don’t keep them. The script is like a map for the film. Once I’ve shot the film, the script has no use at all further away. So it’s just a device to help you make the film. Once the film is made it has no value whatsoever.
  • STORY STRUCTURE IS THE KEY TO FILMMAKING. THE REST IS JUST DETAILS: Warner had very little faith in ‘Deliverance’ because there were no women in the film and, you know, films without women never succeed. So they beat me up on it a lot and made me cut the budget down. So there was not a lot of confidence about it but I think the film had a structure that was very cinematic. And it was a film that, as an audience, you can’t escape it. It dragged you along and you just had to follow it.

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Joseph Fink, for. the. win.


Joseph Fink, for. the. win.


Neil Young photographed by Henry Diltz (1971)


Neil Young photographed by Henry Diltz (1971)

(via hobolullaby)


Homeless folks have real solutions to the housing crisis
February 27, 2014

When Bill de Blasio took office on January 1, he inherited a broken, bloated and expensive homeless shelter system that cost almost $1 billion to operate in 2013. He also inherited neighborhoods dotted with vacant buildings and lots that represent both potential housing and jobs. For New York’s homeless, there is a Kafkaesque paradigm where so-called affordable housing is in fact unaffordable due to the federal government’s Area Median Income guidelines.

Those who can’t afford housing are the same unemployed, or low-wage workers, seniors, disabled and just poor New Yorkers in the shelter system. On bitterly cold nights this winter, the shelter-industrial complex housed more than 50,000 adults and children — enough to fill Yankee Stadium. That didn’t include those using the domestic violence shelter system and the untold numbers of homeless folks sleeping in churches, mosques and synagogues. Nor does it include the thousands sleeping in trains, public transit facilities or parks. It doesn’t include the hundreds of thousands doubled or tripled up with friends and family hoping for a break so that they don’t have to go into the shelter system.

Real Roots of the Problem

Homelessness has been framed as the result of individual dysfunction and pathology. “Oh, they’re mentally ill, or they need to get a job,” — this mantra has been repeated by politicians and media for two decades. Picture the Homeless encourages the de Blasio administration to look at the big picture, to take into account rising rents and stagnant incomes at the bottom of the wage scale. Forces like gentrification, property warehousing and disinvestment in effective housing programs such as Section 8 have led us to where we are today.

The bottom-line cause of homelessness is the high cost of housing. Real estate development here has been geared to business interests, hotels and high rises, offices and office towers. When there is new housing construction, it’s for the super rich. Banks and landlords keep buildings empty while they wait for neighborhoods to gentrify, and to get rid of protections on rent-stabilized apartments.

Mayor Michael Bloomberg took away the homeless priority for permanent housing solutions like Section 8 and public housing, replacing them with time-limited rental subsidy programs (first Housing Stability Plus and then the Advantage programs) that were doomed from the start.

Past administrations have cried poverty when asked why they don’t prioritize housing for homeless people, but that’s a lie. The money’s there, it’s just being wasted on a politically connected shelter-industrial complex. A billion dollars a year could house a lot of people. Most shelters get two to three times as much money per month for each homeless household as it would cost to pay their rent.

In 2011, we partnered with the Hunter College Center for Community Planning and Development to devise and execute a replicable methodology for how the city could conduct a vacant property census. We found enough empty buildings and lots to house up to 200,000 people, and that was just in one-third of the city. But the city doesn’t keep track of vacant property and the little bit of money that is out there is being used to house people in shelters.

Every homeless person is different, and it’s true that mental illness and substance abuse play a role in some people losing their housing, but plenty of very wealthy people have issues of substance abuse or mental illness. The root issue is poverty. Public policy needs to address the systemic causes of homelessness. No mayor or president can implement a policy to stop people from having mental illness or losing their jobs, but they can make it so that everyone can afford housing.

There are numerous factors that contribute to record levels of homelessness, like how people coming home from jail with a record are excluded from housing, so there’s nowhere for them to go. Banks are still redlining in certain communities. Institutional racism is also a huge problem — over 90 percent of homeless families in shelters are African-American and/or Latino. Predatory lending has been targeting people of color. Ninety-nine percent of the people who go into housing court get no legal representation, so many of them end up losing their homes.

There’s no cohesive overall plan between government agencies that serve low-income people, and that adds up to a lot of resources being wasted. There’s no unity or collaboration between housing courts and the welfare and shelter systems. HRA, DHS, NYPD — it’s a whole lot of alphabet soup that doesn’t add up to anything.

People say homeless people should go get jobs — but people have jobs! The pay just doesn’t match the rental market. Very low wages, including social security and other income forms for folks who aren’t working, plus inadequate income supports, plus high rents, equal homelessness. It’s simple math.

Making Demands

At Picture the Homeless, we don’t just complain about problems. Homeless people know what’s not working, and they know what needs to change. That’s why our organizing campaigns have concrete policy demands of the new administration.

For starters, it’s unacceptable that the city has no idea how much property is currently vacant. We have to have conduct an annual citywide count of vacant buildings and lots, so we know what kind of resources are out there to develop new housing — and who’s keeping housing off the market. Legislation that would empower the city to do such a count was stalled for three years in the City Council under Christine Quinn. We were heartened to see it identified as a necessary solution on Bill de Blasio’s campaign website, as well as a priority for the City Council’s Progressive Caucus.

The new administration could immediately utilize a small portion of the Department of Homeless Services’ (DHS) shelter budget (even just 1 percent would be almost $10 million!) and create permanent rental subsidies so homeless people can get out of shelters. That funding could also support a pilot project for innovative housing models like community land trusts, which have the potential to create permanently-affordable, democratically-controlled housing for folks at all income levels, as well as supporting small businesses and incubating jobs that pay a living wage.

The city should take all the property whose owners owe taxes on water or violations, and put it into a land bank and develop it for those who really need it. Property that the city acquires through the Third Party Transfer program should be prioritized for nonprofit housing developers, including community land trusts. And the city should create and expand community land trusts that will be permanently affordable to the people who live there.

The new administration could also limit what is considered “affordable housing” to the city of New York. Right now, “affordable housing” can go to folks making upwards of $80,000 a year, because it’s based on Area Median Income calculations that factor in affluent parts of Westchester and Long Island.

Full article

(via cognitivedissonance)