I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Kristen Bialik
March 6, 2015
Gimme Shelter is a Greek tragedy with a rock and roll Chorus and a triple injection of hubris. Directed by brothers Albert and David Maysles, along with editor Charlotte Zwerin, Gimme Shelter was commissioned by the Rolling Stones to capture the last few stops of their infamous 1969 US tour, which ended in the tragic free concert at Altamont Speedway where there were four deaths, including that of a black teenager who brandished a gun and was then stabbed to death by the Hell’s Angels who were paid in beer to be security. It’s a film within a film, a series of three interconnected, but deeply schizophrenic strains: euphoric moments onstage, the mundane business of concert planning, and the sober reflection of the Stones as they watch the footage post-tour...

Kristen Bialik works in public relations in Milwaukee, WI. When she’s not doing that, she’s trying to learn Korean, trying to write short stories, or trying to scheme up ways she can work for Conan O’Brien in Burbank. They’re works in progress.

by David Selden
Feb. 28, 2015
There is something about the Theremin, both its sound and the manner of its playing, that is almost comedic. An all-electric musical saw, its over-familiar, spooked warble has become a staple of B-movie sound effects. A "good vibration" quickly reached for as shorthand for the uncanny, curdling quickly into cliché or cute eccentricity. The Theremin was and is however the sound of the future, albeit the sound of the future as first heard in the technologically-optimistic Soviet Russia of the 1920’s. Whether in Miklós Rózsa’s scores for Spellbound and The Lost Weekend, Bernard Hermann’s work inThe Day the Earth Stood Still (or indeed Jimmy Page’s diabolic dabblingsiii) the eldritch tones of the Theremin have served the movies well as a signifier that something is amiss...

After a long international career exhibiting video installation and photography, David Selden renounced the art world in favor of the far less superficial drag scene and became intimately involved with a number of notorious London fetish clubs. ‘Retiring’ to Berlin in 2007 having run out of pseudonyms, he has written about music for Dorfdisco and about art for Whitehot Magazine as well as contributing numerous catalogue essays and translations for a variety of publications and websites. His misadventures in the world of anti-music can be endured at affeprotokoll.tumblr.com

by A Wolfe
Feb. 22, 2015
When producer Albert R. Broccoli bought the rights to John Wyndham’s popular sci-fi novel Day of the Triffids in 1957, he thought this would be the film to launch his career into outer space, but he didn’t count on hiring a screenwriter who always said he wasn’t a screenwriter—sad-sap horror writer Jimmy Sangster—and the project fell into ruins, leaving Broccoli to get by on his little side project, James Bond. It wasn’t until ’62 that the Steve Sekely-directed plant-monster film we know and love went to public. And, strangely enough, those triffids bear a striking resemblance to broccoli…
A Wolfe is a writer and director in Los Angeles. awolfeswolfworld.wordpress.com

by Joe Copplestone
Feb. 21, 2015
David Lynch once said that the reason he started making films was to ‘make paintings move’. Lynch is probably the most famous painter turned filmmaker, but there are many more who have set their aims on the blurring of the boundary between the inescapably subjective medium of painting and the seemingly subjective medium of moving image. Gyorgy Kovasznai was a Hungarian painter, writer and animator who shared Lynch’s desire to animate painting and through his work as an animator translated the impressionistic power of painting to the medium of the moving image...
Joe Copplestone is a 23 year old ginger brummie who hasn't yet got over that angry young man stage, he writes whatever takes his fancy for Brain Wash and his half formed poetry and stories can be found on his blog and have been featured in 3:AM Magazine and Word Riot amongst others, you can email him at jcopplestone@googlemail.com, he always needs distracting from the novel he's "writing" oh and a short film he wrote Fifty is available to be liked on facebook now!

by A Wolfe
Feb. 19, 2015

For an international press that widely hails him the godfather of modern disco and now even EDM, it’s difficult to believe the man could do anything he would deem regretful. But interviews with the 73-year-old Moroder have continued to accumulate into a large pile of statement-contradiction-shame-statement for the past forty years. And he’s okay with it.

Moroder’s not unlike most of us, though: thinking one way, then changing our minds a few years later. Only, we don’t have a musical and recorded document of everything we’ve ever thought, made, and said, and most of us have never thought, made, or said as much as Giorgio Moroder. Take for instance, the first video here...
A Wolfe is a writer and director in Los Angeles. awolfeswolfworld.wordpress.com