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Iliza Shlesinger - 1st Hour Of Being Drunk (from her show War Paint)

She’s funny. I recommend War Paint. Her trademarks: she can talk really really fast (although that’s not very obvious in this particular clip) + she likes to bleat like a sheep to mock the valley girl type (effective trick but it becomes a tad annoying after a while). I like her physicality and find her act highly polished (the delivery is flawless and her timing impeccable). 

Majical Cloudz - Bugs Don’t Buzz

The cheesiest songs all end with a smile
This won’t end with a smile, my love

Wait with me in slimy wet darkness
I’ll be right beside you, my love

Bugs don’t buzz when their time approaches
We’ll be just like the roaches, my love

It pays to be on the edge of existence
Just riding the surface, my love

The happiest songs all end with a smile
This might end with a smile, no my love

If life could be forever one instant
Would it be the moment you met me? No my love

Majical Cloudz - Childhood’s End

britticisms:

It’s always so great to hear new music from Majical Cloudz. Despite my current love of bleeps and bloops, I’ve always found utterly earnest vocalists so compelling. That sort of authentic, raw vulnerability sounds so rare on contemporary records, but when you hear it, you can’t help but turn to it again and again.

Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar] Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014
You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 
Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 
[photos © Donmar]

    Fathers and Sons by Brian Friel @ Donmar Warehouse, London, on Fri 4 July 2014

    You know what they say: cinema is the director’s and editor’s medium, TV is the writer’s medium, and theatre is the actor’s medium. Although I tend to think that whatever the medium, it’s pretty much always about the acting, it is true that the stage uniquely elevates great acting to magical heights — there’s a definite frisson that comes with actors spitting their passion at your face (literally). And that’s something not easily replicable on screen. This Donmar production of Ivan Turgenev's novel Fathers and Sons is a prime example of that stage acting magic: a great ensemble cast led by two young actors giving electrifying performances. I was particularly impressed by Joshua James (a 2012 RADA graduate), who got to show amazing range in the role of Arkady. He could switch with great ease between small intimate moments (those moments that require the type of acting that is best captured with a camera close up) and high drama. 

    Sidenote: high marks to Rob Howell for his set design. The stretchability of the Donmar stage never ceases to impress me: I’m constantly amazed at how clever they are at expanding that deceivably small-looking space. This time around it’s the depth of the decor that wows me. That and the retractable ceiling — a simple trick but rather clever and effective. 

    [photos © Donmar]

    A Love Supreme: 4th Movement - Psalm - In John Coltrane’s words

    pierreism:

    James Cary writes:

    A few years ago, knowing I absolutely adored the John Coltrane album, “A Love Supreme” my wife gave me this incredible book by Ashley Kahn : "A Love Surpreme/The Story of John Coltrane’s Signature Album." Reading the book, I discovered something remarkable: the fourth movement, Psalm, was actually John Coltrane playing the ‘words’ of the poem that was included in the original liner notes. Apparently he put the handwritten poem on the music stand in front of him, and ‘played’ it, as if it were music. I immediately played the movement while reading the poem, and the hair stood up on the back of my neck. It was one of the most inspirational and spiritual moments of my life.

    Chills. I had heard about this in an NPR article years ago, but seeing the words move in sync with the music is another thing entirely. It’s like witnessing the birth of a new language, a collaboration between Coltrane and the divinity that speaks through him.

    Another choice quote from the NPR article, from Reverend Franzo Wayne King of the Saint John Coltrane African Orthodox Church:

    "When you look at the composition of titles and the sequence in which John has them laid out, we say that there’s formula in that album. When he says, ‘Acknowledgements, resolutions and pursuance,’ it’s like saying, ‘Father, Son and Holy Ghost.’ It’s like saying, ‘Melody, harmony and rhythm.’ In other words, you have to acknowledge and then you resolve and then you pursue, and the manifestation of it is a love supreme."

    (via Open Culture)

    Bed is the only place for protracted telephoning. It is also excellently suited to reading, sleeping and listening to canaries. It is not at all a good place for sex: sex should take place in armchairs, or in bathrooms, or on lawns which have been brushed but not too recently mown, or on sandy beaches if you happen to have been circumcised. If you are too tired to have intercourse except in a bed you are probably too tired anyway and should be husbanding your strength. Women are the great advocates of sex in bed because they have bad figures to hide (usually) and cold feet to warm (always). Boys are different, of course. But you probably knew that. I must try not to be didactic.
    Kyril Bonfiglioli, Don’t Point that Thing at Me