Happy New Year from yours truly, here in Paris for just a few hours more…
Goodbye to a class act.
Here’s the climactic scene from The Hustler (1961) in which Newman had his first great role. A fine mix of self-confidence and vulnerability. And then there’s the slightly surreal egg-eating scene from Cool Hand Luke (1967), in which he interestingly, and quite hilariously, subverts his own macho image.
… er som ventet ikke særlig god; her en lynhurtig spontananmeldelse i kølvandet på gallapremieren, som min søster havde været så elskværdig at invitere mig med til:
Men lidt sjov er der dog: inkluderingen af en astronaut med indvandrerbaggrund åbner for en del relativt morsomme indslag om integration, Muhammed-krise og den slags, og enkelte gagscener er ret sjove, men på et komplet konventionelt plan. Den generelt respektløse og platte humor forekommer måske umiddelbart som en fin versionering af Deleurans stil, men hurtigt opdager man at fyndigheden, underfundigheden og det lune, øh, glimt i øjet ganske mangler.
My man Lars has started an English version of the sterling German graffiti blog, I Love Graffiti. And he has hit the ground running, blogging several posts a day and neatly providing both writers and enthusiasts with a one-stop entry point to the world of graffiti and related arts. He is amongst the foremost authorities on the field, so go bookmark.
Det virker som var det i en anden tidsalder, men første gang jeg var på Rubadub var der 20 mennesker, maximum. De var spredt rundt i lokalet; nogle hang i baren, andre stenede i de midt på dansegulvet anbragte sofaer og en ensom Hydepark stod oppe på scenen og spillede reggae, som så mange gange før. Det var første sommer, i 2002, og forholdene skulle snart ændre sig.
In an interview, Kurt Westergaard regrets his appearance at the Danish People’s Party’s annual convention. He states that he “understands the principle that employees of independent media shouldn’t identify themselves with a political party“. But at the same time he complains that people make “primitive identifications” when someone — himself — speaks to different people, ie. the Danish People’s Party. I personally think that Westergaard’s got a fair point, but that’s just not how things work in the media these days (context matters!). And someone at Jyllands-Posten ought perhaps to have told him.
I’m glad Westergaard said sorry, but something’s still a little quirky here…
The picks of the week from around the web.
Today, Kurt Westergaard — the (in)famous cartoonist behind the most disputed cartoon/drawing of the 21st Century — delivered a speech at The Danish People’s Party’s annual convention. Westergaard’s appearance was a total surprise; even his bosses at Danish newspaper Jyllands-Posten weren’t informed (internal policy at Jyllands-Posten forbid its employees from participating in organized political affairs). According to several reports, Westergaard spoke of freedom of speech and of his experiences as a cartoonist on the run. The delegates and members of the Danish People’s Party cheered for Westergaard, as if he were one of their own. Westergaard himself stated that he “speaks his mind everywhere and anywhere” and added that nobody was going to tell him what to say and what to do.
Personally I don’t believe that Westergaard subscribes to the nationalistic and deeply right-wing views of the Danish People’s Party, but of course there shouldn’t be anything preventing any moderate or left-wing person from speaking at a right-wing Party’s convention. However, I honestly don’t think this was a smart move on Westergaard’s part. I myself work as a cartoonist/illustrator/artist, and speaking as a professional, I think Westergaard’s stunt was utterly disappointing.
To me, Richard Wright was the George Harrison of Pink Floyd – a very underestimated part of the band’s success whose contributions were unjustly overshadowed in many ways by those of the two leading figures in the band.