Spike Jonze has made the best perfume video ad ever

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Découvrez le film réalisé par Spike Jonze avec Margaret Qualley et musique originale de Sam Spiegel & Ape Drums feat. Assassin “Mutant Brain”.

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Movies I've watched recently:

  • I Am Not a Serial Killer (2016) - IMDb 4/10

    2016-08-29 09:24
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    This film is succinctly different from most others that are about serial killers in the sense that it's using silence and music well. Apart from that, this is a b-movie in several ways: apart from the two main actors, there's not much to use. The plot is quite simple, but at times I - a serial killer fan, so to speak - drifted away because the film didn't entice me more; the flow of the film feels contrived, making me feeling something that's very different to what often comes naturally when seeing works of directors such as Terrence Malick, Woody Allen and Richard Linklater. Also, the name-dropping of serial killers and such is more effect-seeking than anything else, more about trying to spook the viewer than create solid characters. Still, as a low-budget film, it works in creating a kind of solemn street-life atmosphere, the kind that came natural to director John Cassavetes, that very few high-budget films have. All in all this is not a particularly well-made film, but it's memorable.

    0.3
  • Leap Year (2010) - IMDb 1/10

    2016-07-31 21:32
    *

    Complete. Waste. Of. Life.

    0.3
  • Cowspiracy: The Sustainability Secret... 8/10

    2016-07-31 17:33
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    A sane, eye-opening view on how the production of farm animals for slaughter and food is the greatest threat to global climate, and why very few people are conversing about the issue.

    0.3
  • Hardcore Henry (2015) - IMDb 1/10

    2016-05-28 10:36
    *

    The trailer for this film doesn't spoil anything: it tells almost everything about this film, which (surprise) doesn't pass the Bechdel test. Read my entire review here: http://niklasblog.com/?p=19111

    0.3
  • Johan Falk: Vapenbröder (Video 2009) - IMDb 1/10

    2016-04-21 13:44
    *

    This film is actually worse than the first one, leaving no care behind; actually, if "no care left behind" would be the title, I'd given it higher grade out from courtesy. There's just nothing in here, not even anything little that aids or progresses action, for the sake of action. Even tipping a jar of paint onto the street would be more actionable and less questionable, than anything that goes on in this film.

    0.3

My saved links (weekly)

Posted from Diigo. The rest of my favorite links are here.

New playlist – “23” – Spotify/Deezer

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Hey y’all! Here’s a Friday playlist to blow your minds:

So what’s up?

I’ve tried to pick songs that are not purely the way I usually do my playlists, and still try to be true to myself. Hence, it’s not the same dogmatic shit you’ve come to expect – if you’ve ever heard one of them – and it’s fun.

First, a reggae classic by Dave Collins and Ansel Collins, titelled “Double Barrel“, which is a weird number with great spoken/sung intro. I love weird reggae tracks. That merges into a track from a new, really good house album by Rival Consoles, of whom I know nothing, but it’s kind of hypnotic, and reaches into a weird artist named WWWINGS that’s…weird. And I like it. It’s disturbing stuff. Huerco S. made a weird but it’s a hypnotic, analogue feel.

The track that features singing by Matt Munro is a fast stomp away from the universe of today…the horns. Like a twisted version of Tom Jones. The Fall‘s track is really poppy in comparison with what they usually have done. Vytas Brenner is another – to me – completely unknown artist, albeit from Venezuela, who’s created this trippy track that’s so goood; the verse reminds me weirdly of The Smiths’ “Jeane“. Somehow. At least part of the first verse. The Replacements is a great band that I’ve recently discovered – some really good rawk there with great lyrics – and they’re delivering hard here.

Rasputina is a weird1 that’s kind of reminiscent of The Dresden Dolls but on their own. Orchestral and “Russian”. Audion delivers a fresh acid track while Hieroglyphic Being – what a fucking pretentious and lovely name – goes all in with a very distorted analogue bouncing dream. Trim does weird rap with hard, cold music. Second Storey‘s EP cover is mad, and this music reeks of ADHD. Apathy is rap and samples The Supremes.

To finish off – The Smiths. This, the remastered version of “Reel Around The Fountain“, the 2011 version as overseen by Johnny Marr, and you can really hear the organ and piano on this version, as compared with the original cut. Morrissey’s voice is also more prevalent than before.

Happy weekending!

  1. There’s a whole lot of weird shit this time around.[back]
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Tony Fletcher on The Smiths and “Meat Is Murder”

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From Tony Fletcher‘s wondrous and brilliantly written “A Light That Never Goes Out: The Enduring Saga of the Smiths“, about “Meat Is Murder”, the song, a bit about the album and vegetarianism:

Morrissey had been accused in the past of clouding his lyrical agenda, of hiding his meaning behind too many metaphors, and if “The Headmaster Ritual” purposefully opened the second album as an (overdue) statement of absolute clarity, it was nonetheless bested in that regard by the record’s unequivocal finale, that for which it was named: the song “Meat Is Murder.” Vegetarianism itself was far from taboo in 1984, and Morrissey was not alone among his circle in his refusal to eat meat: his mother, Betty; Angie Brown; Grant Showbiz; Sandie Shaw; the band James; and more recently Marr himself had all made their own commitments to abstain. James, in particular, had caused the Smiths all sorts of amusement by bringing a Calor gas stove on the road and cooking their own meals in the van. (It is perhaps not insignificant that James and Sandie Shaw tried—and failed—to get the Smiths, especially Morrissey, to engage in meditation as a means of dealing with the intense pressure, scrutiny, and responsibilities that came with their fame.) By comparison, the Smiths were not even strict lacto-vegetarians: Stuart James had been surprised to find Morrissey eating whole fish on the mid-1984 tours, and Marr had tuna sandwiches on his rider. In addition, collectively they consumed so much milk, cheese, and eggs that they could have been sponsored by the factory-farming dairy industry. And they routinely wore animal products. Still, Morrissey had come to see his vegetarianism as a matter not only of pride but principle, and insisted that those around him follow suit. Mike Joyce found the transition easier than did Andy Rourke, but the result of the decree was sufficient solidarity that Morrissey could now sing about his pet crusade with the Smiths not just at his side, but fully behind him.

Having his band’s support was crucial. Morrissey knew perfectly well that he ran the risk of alienating at least 90 percent of his audience with “Meat Is Murder,” and yet it was a risk he was not only willing to take but, in terms of naming the album for it, that he was willing to bet the band’s career upon. “The artist must educate the critic,” Wilde had written, which Morrissey would cite as his most treasured line from his most dependable icon. He set out on the process of educating not just the (Smiths’) critics but the public at large without subtlety, without apology, and without guilt; rather, he set out to impose guilt upon the carnivores, even those who were throwing flowers at his feet.

To that end, subsequent charges that “Meat Is Murder” was dogmatic may have been accurate, but they also missed the point. That point was simple: Meat is murder. “The calf that you carve with a smile?” Murder. “The turkey you festively slice?” Murder. “The flesh you so fancifully fry?” Murder. “It’s not ‘natural,’ ‘normal,’ or kind,” insisted Morrissey, it’s “murder.” To dress the subject matter in more comforting tones would have been the equivalent of dressing the meat of a “beautiful creature” with tomatoes and lettuce, placing it in a bun, and presenting it to the consumer as something other than what Morrissey believed it to be: murder.

If there was a line in the song that failed to stand up to scrutiny, it was that “death for no reason is murder.” Death by car crash, or by brain cancer, or in a house fire could be construed as death “for no reason,” and yet surely not as murder. Then again, Morrissey was not given to outside editing of his words, and for a singer who had traded so far in lyrical obfuscation, the fact that only one line defied logic was noteworthy of itself.

When it came to the music for “Meat Is Murder,” Morrissey had told Marr of both the title and concept in advance and the guitarist duly submitted something atypically flat, ponderous, mechanical, and “nasty”—so much so that it took a while to realize that it had been written in 6/8 time, the rhythm of his nostalgic and melancholic ballads. Morrissey then supplied Stephen Street with a BBC Sound Effects album with mooing cows on it and asked the engineer if he could make it sound like an abattoir. Street, to his personal and professional satisfaction, succeeded by adding other incidental noises to that of the cow and putting them through a reverse echo. That was mixed in alongside the simple guitar chords and Marr’s lead piano melody that sounded as if originally intended for a ghost film. The final arrangement was not particularly loud, abrasive, or even harsh. But at more than six minutes in length, “Meat Is Murder” was as unforgiving of its listeners as Morrissey was of meat-eaters. Even those whose eating habits were profoundly affected upon hearing the song tended to express something of a relief when it concluded.

It was music as propaganda, and as such it would have had no place on a major label. But the Smiths were on Rough Trade, the distribution arm of which was distributing the likes of Crass, Flux of Pink Indians, and other anarchist-punk bands with equally uncompromising messages, and with a number of staff who were vegetarian or vegan as a natural product of their politics and/or lifestyle. News that the label’s golden calf was releasing an album with such a militant title was therefore greeted, in some quarters at Collier Street, with genuine excitement. The stakes were raised that much higher when Morrissey then delivered his design for the album cover: an image of an American soldier in Vietnam from the controversial 1968 documentary In the Year of the Pig, the album title Meat Is Murder inscribed on the soldier’s helmet in place of the original motto “Make War, Not Peace,” the picture repeated four times like a Warhol silkscreen. In its simple, two-color, almost amateur design, it could have been an LP sleeve by any independently distributed political band of the post-punk era. It happened to be by the Smiths, the biggest of them all, and it served as confirmation that for all their mainstream popularity, this was not a group in any mood for compromise.

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Illuminati = confirmed

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One of my dear colleagues sent me the below, which is conclusive proof that I’m part of the Illuminati. Enjoy.

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niklas pivic
14 9 11 12 1 19 16 9 22 9 3
1491 11 21 1916 9 22 93

What Day: The 21st of November, 1491, fell on a Sunday.
This date fell on a weekend.
Decade: 1490s.
524 years, 8 months and 16 days have passed since the 21st of November, 1491.

1916 9 22
September 15–22 – WWI: Battle of Flers–Courcelette in France: British advance.
The battle is significant for the first use of the tank in warfare; also for the debut of the Canadian and New Zealand
Divisions in the Battle of the Somme.

93
The number 93 is of great significance in Thelema, a religion founded by English author and occultist
Aleister Crowley in 1904 with the writing of The Book of the Law (also known as Liber AL vel Legis).[1]

93+1916=
Crowley and Richardson performed sex magic in April 1916, following which she became pregnant and then miscarried.

magic and 1490s=
The Malleus Maleficarum, (Latin for “Hammer of The Witches”) was a witch-hunting manual written in 1486 by two German monks,
Heinrich Kramer and Jacob Sprenger. Was later officially condemned by the Catholic Church in 1490.

Catholic church – Inquisition
The alumbrados (Spanish pronunciation: [alum?b?aðos], Illuminated) was a term used to loosely describe practitioners of a mystical form of Christianity in Spain during the 15th-16th centuries.
Some alumbrados were only mildly heterodox, but others held views that were clearly heretical. Consequently, they were firmly repressed and became some of the early victims of the Spanish Inquisition.

The alumbrados (Spanish pronunciation: [alum?b?aðos], Illuminated = Illuminati

therefore

Niklas Pivic = Illuminati

Confirmed

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