Ilanna Suicide in Diamond Eyes
Get to know Ilanna better over at SuicideGirls.com!
by Nahp
A column which highlights Suicide Girls and their fave groups.
This week Noel gives us the skinny on SG’s Strip Club group, a venue to rate, review, discuss and inquire about strip clubs around the world, and discuss matters of etiquette for those who frequent them.
Members: 2,067 / Comments: 11,088
WHY DO YOU LOVE IT?: Because when I first started dancing I did have my doubts, and fears. Once I joined the Strip Clubs group I found so much support and comfort in the other SGs and members. I am now very happy working as an exotic dancer/model. I have met some incredible people, and life long friends by conquering my insecurities which I strongly believe I would not have done without SG.com, and the Strip Clubs group.
DISCUSSION TIP: I’m not sure if I have any discussion tips. This group is very liberal, and accepting. If you feel the need to start a thread, or add on to a pre-existing one, my advice would be to jump right on in!
MOST HEATED DISCUSSION THREAD:
Lap Dances DOs and DON’Ts.
BEST RANDOM QUOTE: “Apparently doing the running-man on stage also works.” – Vivid Suicide
WHO’S WELCOME TO JOIN?: Everyone.
by Fred Topel
“We’re just acting like a bunch of idiots.”
– Lake Bell
The four season run of Childrens Hospital on Adult Swim has also mirrored Lake Bell’s rise in popularity and success in the entertainment industry. What began as a web series created by Rob Corddry is now an Emmy winning television mainstay. While playing Dr. Cat Black on the comedy, Bell has appeared in big movies, comedy and drama, and this year she directed two episodes of Childrens as well.
Childrens Hospital is ostensibly a comedy set in a hospital, though not a children’s hospital. It’s named after Arthur Childrens. And the characters are doctors, but the random episodes can put them in a horror movie, a courtroom drama, whatever. Bell plays Dr. Cat Black, who at one point died, but then it turns out she didn’t really die. That’s Childrens Hospital.
Bell was at the Creative Arts Emmys on Saturday, September 15 where Childrens Hospital won the Emmy for Outstanding Special Class: Short-Format Live-Action Entertainment Program. That’s a mouthful. It means the best show under 30 minutes. Adult Swim airs blocks of 15 minute shows. After the big night, Bell returned to the editing room on the film she directed. She also took on a kick ass role in the upcoming film Black Rock, about women on a camping trip fighting for survival, which premiered at Sundance.
While putting the finishing touches on In a World…, Bell chatted about her creative growth on Childrens Hospital and what’s still to come this season. She also shared a good perspective on her sex appeal, which has gotten her on the cover of Maxim and other provocative photo spreads. Childrens Hospital airs Thursdays at midnight on Adult Swim.
Read our exclusive interview with Lake Bell on SuicideGirls.com.
Get to know July better over at SuicideGirls.com!
by ChrisSick
Or a further examination of the alternate realities of Republicans worthy of an episode of Star Trek and the consequences of deciding that it is more important to defeat your opponent than to be victorious.
I’d like to open this column by saying, simply:
You’re welcome.
I’ve spent the last hour, in preparation for writing this piece, reading through The American Spectator, National Review Online, The Washington Times, The Washington Examiner, and The Weekly Standard. These are reliable barometers of conservative opinion, and their contents are not apt to be easily discarded as just the shrill manifestations of the fringe extreme of the right the way, say, Breitbart or FreeRepublic might be.
I just want to make one thing perfectly clear. I do this because I love you.
“Enlightened” by these right-leaning media source, here’s what I found out, among various other things (like how the President loves Muslim terrorists):
1. Nothing has improved under Obama’s first term.
2. Polls are meaningless because they’re only polling Democrats.
3. The media is shamelessly campaigning for Obama.
4. The 2008 Stimulus was a complete and utter failure.
The interesting thing about these articles and these sites is that this is the face of conservatism that you’re likely not seeing if you read reliably liberal sites talking about what conservatives are saying. These are, bluntly, not the sites I tend to link to when I’m trying to mock conservatives or conservatism here in my column.
These are smart, well-educated, and articulate conservatives. I wouldn’t want to have to debate one in a public forum, regardless of how secure I am in my beliefs and values, or even my facts. Because, if nothing else, these people are devastatingly talented rhetoricians. But rhetoric is, primarily, about swaying your audience, not telling the truth.
So when Arthur C. Brooks, writing for National Review Online, talks about the Stimulus failing, he makes a pretty compelling case. He does so, first, by focusing on the well-documented drop in sales of new cars after the end of the Cash for Clunkers program. He ties this into a spirited defense of free-market principles as voiced by the current crop of Republicans, citing a wide-ranging study that links economic freedom — as defined by tax rates and government regulation — with economic prosperity.
All in all, its a pretty compelling argument. There’s one major problem with it: he narrows his focus to one program largely judged to be a failure without taking on the rest of the program, a third of which was focused on tax relief. He also doesn’t bother to engage the fact that most economists believe the Stimulus worked. These facts, of course, are inconvenient to his argument, so in the hope of swaying readers, he ignores them.
I, oddly enough, faced a similar choice tonight while writing this column. I wanted to include the line I’d seen repeated a few times around the rightwing noise machines, that Romney’s 47% comments were actually a winning argument. But when I searched the publications I listed in my first full paragraph, damned if I couldn’t find one.
I was shocked to discover that — near uniformly — the more “respectable” conservative publications had roundly denounced Romney’s comments as both misleading of the economic realities that go into the tax code and who pays and who doesn’t, and both tactically foolish and not indicative of conservative policy as they argue for it.
So I deleted the line and thought it was worth mentioning that I started with a perception that research turned out to be false, so I changed my perception, rather than ignore evidence to the contrary. The links I provided above are a small sampling, but what I saw fairly consistently in them was writers ignoring contrary evidence to a position they clearly wanted to argue for, rather than engaging it.
Why is this important?
Because these are the sharper tools in the conservative shed; these are the adult tables at the conservative Thanksgiving dinners, these are whatever your metaphor of choice is for the smart, intelligent, articulate end of conservative media. And they get kinda crazy sometimes and aren’t shy about ignoring evidence that contradicts their comforting narratives. These people are, after all, in the business of attracting readers, not being bold truthtellers.
And this is the high watermark of the conversation. From there you get down to conservatives who lie — constantly — complaining that the media is lying to get Obama elected, that voter fraud is running rampant despite all evidence to the contrary, to attacking facts as objective things that can be checked or verified. And then, thankfully for the lolz, there’s always Fox News.
And a lot has already been written about this subject by writers more experienced and qualified to do so than myself. I’d suggest James Fallows at The Atlantic as a great starting point on the topic of conservatives totally losing their shit – legislatively, in the media, and intellectually – during the drive to go all-in against Obama. As someone who’s beat is the strategy and tactics of a modern election cycle, this concerns me for one primary reason (as an engaged citizen in a floundering democracy, I’ve got a fuckton of other reasons I’m concerned)…
Because it leads to bad tactics. I’ve been saying since this election started in January with the beginning of primary season, Republicans have made a strategic choice — it is more important to them to defeat Barack Obama than it is to win the White House. These two goals sound like they’re more or less the same thing, but there’s a great strategic difference between the two.
I said in my last column that this is a base election. Both candidates are charting a tactical course that is more about making their opposition so incredibly unacceptable to voters, because they — at bottom — have nothing worth actually running on themselves. They can’t convince you to vote for them, but they can convince you to vote against their opposition.
Since the beginning, Mitt Romney’s campaign has set out to tell you how bad this President has been, thus convincing voters to vote for him as the only alternative. He’s yet to offer detailed policies, but he has plenty of attack lines and corresponding attack ads. Alex Pareene — among others — offers an interesting theory of why, just maybe, this strategy has a lot to do with the perceived media bias against Romney, and he gets to swear so I always link to him rather than more staid commentators:
“But it’s true that the president is currently getting a lot less bad press for his campaigning than Romney. It’s because he’s better at campaigning than Romney. (Here’s Obama’s One Weird Tip for Getting a Pass: The president is, personally, nearly always respectful and fair to his opponent, even when his campaign is in slash-and-burn mode.)
The answer for Mitt Romney isn’t ‘be more substantive’ or ‘make it about real issues’ or ‘be more detailed’ or any of that shit. Romney’s totally correct to be as vague as possible about the specifics of his proposals. The answer is a lot simpler: Just bullshit the press better!
Here’s how Mitt Romney can earn himself much kinder media coverage: Talk like Jon Huntsman. If he wants the press to let up, all he needs to do (and he should have been doing this since the day he wrapped up the nomination) is sound ‘moderate’ in public and leave the nutty stuff to vaguely affiliated allies and targeted niche media.”
Or, to put it another way: bad news, conservative friends your candidate is losing because he is a bad candidate running a dismally bad campaign. Polls aren’t weighted against him, they’re using a variety of methodology and generally finding that the President is winning. The media isn’t out to get him, Romney just keeps making stupid mistakes. His campaign is so deeply in trouble that convention speakers used their time at the dais to pitch for themselves rather than for a Romney presidency.
Because their aim has never been for Mitt Romney to win the presidency. It’s been to deny another term to Barack Obama. This is why we’ve seen we’ve seen endless pieces about the so-called vetting of the President that routinely uncover nothing. This is why each potential scandal is suggested to have Watergate-proportions behind them, yet reveal nothing of the sort. This is why — in Pareene’s formulation — Mitt Romney fails to bullshit the press, because his greatest applause lines, that his audience is dying to hear, are about how the President is a filthy liar, or un-American, or a secret socialist. They’re not about how great President Romney is going to be for anyone who doesn’t define “great” as the guy who repeals 100% of Obamacare on day one.
And in that alternate reality, where all those horrible things are true, the good news, for Mitt Romney at least, is that he’s winning.
Next week is the first Presidential debate, so I’ll be back after that with less dense reading and much more swearing.
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Tactical Animal: Regarding The Pain Of Being Right…Or More Reasons Mitt Romney Will Never Be Your President
Tactical Animal: Have You Got Yourself The Belly For It?
Tactical Animal: Sorry Folks, Election’s Over, Donkey Out Front Shoulda Told Ya
Tactical Animal: Politics In The Post-Truth Era
Tactical Animal: Now We’ve Got Ourselves A Race
“You’re never alone with the Dirty 3,” reads the etching in the run out groove on side B of their 1996 release Horse Stories. They couldn’t be more right. Falling in love, falling out of love, whatever it was… If you’re a fan of the Dirty Three you can pinpoint the exact moment you heard their records. They spoke with brilliance and clarity beyond you and let you know that wherever you were, whatever was happening, you weren’t alone everything was going to be alright.
Their February release, Toward the Low Sun from Drag City, digs in the second you drop the needle. This doesn’t start like your usual Dirty Three album building on a slowly picked out guitar chord or dancing around Warren Ellis’s pizzicato melody. This album blasts off with “Furnace Skies’ ” overdriven violin and manic drumming, only to take it back down and ground you on the second track of the album “Sometimes I forget you’ve gone,” which features Jim White’s intoxicating drum rolls, Ellis’s sparse piano parts and Mick Turner’s unwinding guitar. When performed live Ellis has related, in his quips between songs, that this is about checking the outbox of your email only to find that all the letters you’ve sent someone telling them how you feel were never received…As the recipient has died. This is their first album in 7 years. And it’s fucking amazing.
In addition to the Dirty Three, Warren Ellis stays busy with Nick Cave and the Bad Seeds, their side project Grinderman and a slew of soundtracks to movies you’ve seen but you might not know he worked on. The Assasination of Jesse James by the Coward Robert Ford, The Proposition, The Road and recently the John Hillcoat film Lawless, which was adapted from the novel The Wettest Country in the World from Matt Bondurant. Ellis even contributed to the the soundtrack for West of Memphis chronicling the trial, imprisonment, DNA testing and eventually release in 2011 of three boys from West Memphis, Arkansas wrongly accused of murder and imprisoned for 18 years.
I caught up with Ellis in Montreal on the first night of their second 2012 tour to get his take on creativity, how music and touring has changed in the last 20 years and how working on soundtracks taught him to challenge himself…
Chris Goodman: This is the first night of the tour? Did you guys meet up to rehearse the material beforehand?
Warren Ellis: Well we’ve been playing concerts off and on all year. But we met up in New York before the tour. We just played two weeks ago in England as well. This is all apart of a world tour to celebrate the release of our new record.
CG: You’ve been a band for 20 years. Is touring easier or harder these days?
WE: In a practical sense some things have gotten a lot easier. You have GPS, which we didn’t have in the ‘90s. You used to get a bunch of show dates and then try to find a map or something. It was a much different world then. There was no internet. And there were pagers. You tried to find a hotel with a fax, ya know. Things have really changed.
For me the big difference now is that I’m 15 years older than I was then. But touring is a big part of my life still and technology has made certain aspects of it a lot easier.
CG: I remember when I bought Horse Stories. Headphones on, sitting the floor checking the art out I realized there was an etching in the runout. “You’re never alone with the Dirty 3.” That spoke to me so much. Do you think with so much music being primarily online or on mobile devices that it takes away from the experience? That is a lot less tangible now?
WE: To be honest, everyone has an opinion about that and everybody’s kind of right. It depends when you grew up. I come from a generation where vinyl was a very important thing. We saw them try to get rid of that but it’s hung around and vinyl’s on it’s way back up.
There’s more things people spend their money on now. Back then there were only a handful. It’s just a different world. To me it seems the live shows are where things are really great these days because everything is much more connected. Some people have iPods and they listen to music on that, I mean I use one, but it’s seems like an incredible amount of information rendered into something that makes it feel kind of invalid or something. There is something very different about having 30,000 songs on an iPod and plugging it in as opposed to having a record in your hands and putting it on. The record is kind of contained. But basically you’re just listening to the stuff so I really don’t know if I have an answer about that.
I still love the format of records. I love making and listening to records. I like that vinyl is still around and available because it’s what I relate to. I really engage it in a different way. But for kids growing up with all this new stuff they relate to it differently. Sonically I still love the sound of vinyl but if I want to hear something I’ll listen to it on whatever.
CG: It’s too convenient to not have an iPod I guess?
WE: It is. It really is if you wanna hear “LA Woman” when you’re walking through an airport.
CG: How about technology and the recording industry?
WE: Everybody was down on ProTools a few years ago. And now everyone thinks it’s great. What you lose with the tape you gain with the time that you can save recording digitally. All things have their good and their bad.
CG: So Toward the Low Sun was recorded on ProTools?
WE: Yeah. Cinder we recorded on tape but this time it was digital.
CG: Did you guys have the material ready before you went in? Or do you just book the studio time and figure it out? I’ve read you don’t rehearse much…
WE: We’ve always been like that. We have ideas but we arrange them in the moment. If we flesh things out too much we lose the dynamic that happens when we’re working it out as we go along. That’s been one of the interesting things with the Dirty Three, to try to document that aspect. I mean we’ve tried to make this record a few times and it never worked because we were trying to flesh it out too much. Then we decided we had to go in with really skeletal ideas and just take some risks like we used to do.
CG: Toward the Low Sun really has a lot of breathing room. A lot of space to it. “Furnace Skies” really hits hard in, but it’s followed by “Sometimes I Forget You’ve Gone” which is very sparse and light.
WE: Space has always been important. You can easily choke things. The first two tracks were actually recorded in that order and signaled our way into the record, which had been elusive for about 7 years.
CG: Any recording after the tour?
WE: We’ll do the tour and hopefully we’ll get another one underway quicker than this one took. It’s the way it goes though. For the last 15 years we’ve all been involved in other projects. We’ve got families now. We take it when we can and try to keep it moving.
CG: Would you say music is something you create or something that exists out there and is just channeled through you?
WE: If I started to think about that too much it would get pretentious. I know when I play live that there is something else going on. I still don’t know what it is and I don’t want to know what it is because the day that I understand it will be the day that it will stop. Whatever that is I don’t know. I don’t know if it’s some communication with something else out there but it is very addictive and making music is like that too. Anything creative is like that. It opens up something in you, give you access to something you can’t get anywhere else in your life. I know that it doesn’t just fall from the sky. I know that from soundtrack work because not much of that falls into your lap. You have to go out and look for stuff. Music is about going and searching and then making the right changes…It’s not just all given from God or something.
CG: When you do the soundtrack work do you hear “We need happy music now,” or “We need pensive music”?
WE: Nick and I kind of make what we want but at a certain point you have producers or directors saying, “I don’t really get that.” Then you try to work out a way in there to keep yourself happy but sometimes their suggestions are really correct. When we were doing West of Memphis there were a couple of cues there that Nick and I really liked but Peter Jackson really wanted something else. We found something else and when I watched the film he was right. You hope the people working on a film make suggestions for the right reasons but sometimes you can’t see them until it’s done.
I initially found the thought of making music for something else very daunting sort of. Like it would cut my freedom off. But then I realized it could be liberating to be told something wasn’t what they wanted and do try something else. I realized it was about creation.
I can really draw a clear line as to when I started feeling and listening that and how things changed for me and made me look deeper. What first appeared as daunting and counter-creative was actually all in the name of creation. Sometimes it’s good to have a framework. Sometimes it’s good to have constraints put on you to bring out creativity.
CG: Creatively, do you think being satisfied is counterproductive, maybe? That you shouldn’t feel like things have ended and that it was “good enough?”
WE: There’s a point you reach where you feel that something has really happened with the music. You feel enlightened by it… You have to feel that to truly let it go. When you don’t feel it, that’s when you stop engaging and then you become kind of dissatisfied and you start looking toward the next thing and you think, “How can I do something really good” again. With me, there is always a moment when I have to feel, listening back, that I really got it or I won’t settle. It has to be really great. And it is a small window when that happens, when I decide to let it go and I don’t feel that sense of dissatisfaction. I’m always thinking that the next thing I do will be the one that’s really great though… But you have to take risks.
I don’t believe in the starving artist stuff. The struggling artist. Or that when you have kids that’s the end of the deal and the creativity is gone. It’s crap. A lot of that stuff is just romantic and in my experience it has no bearing.
CG: I guess if you talk about what you do too much it can get pretentious.
WE: It can get precious. You can get self-indulgent. And I think that might be something that’s good when you’re young. I’ve been doing this for 20 years now. When I was young I wouldn’t listen to anybody, fuck ‘em. But about 10 years ago when I did the Proposition soundtrack I realized to move in a different world I had to learn a different tolerance and to open myself to different things. I couldn’t have done that when I was younger. It’s not something that you can see as it happens though. You have to look back at your life to understand.
CG: So your outlook on creativity really changed when you started working on the Proposition soundtrack?
WE: Things changed when I had to work for something else entirely but still find my place in it and at the same time feel like what I had done was something of worth.
I still had the esteem for it like I did with my other records, but I was aware that it was being pushed from other directions and not just internally from the group. The great thing about a band is you just satisfy yourselves and that’s it. But sometimes it’s hard to move beyond that and you need things thrown at you to grow.
Doing the soundtrack for The Assasination of Jesse James by the Coward Robert Ford was one of the greatest learning experiences of my creative life. No question about it.
CG: With movies it’s bigger than you. Bigger than a group. Other people are depending on you for it. Your work reflects their big picture, their outcome.
WE: Exactly. You’re working for a film. You’re serving the film. And it takes on its own life once it’s out there. Like a record, things change when you put it out there and it’s out of your hands. But that comes back to letting things go.
CG: You worked with John Hillcoat on The Road and now Lawless…
WE: Well Nick had written the script and the idea always was that we’d do the music for it.
CG: What are your influences these days? What turns you on?
WE: I still find the stuff I liked as a younger man relevant. John Coltrane, Miles Davis, Neil Young, AC/DC, Beethoven, Stravinsky. It feels great to put on a John Lee Hooker record and think, “Man, I was right 20 years ago with this stuff.” It still moves me. Van Morrison, Nina Simone. Or it’s inspiring when I go to a gallery but you can’t really say when things inspire you. I just like seeing and listening to stuff that’s being created.
CG: Van Morrison…Astral Weeks might be the best album of all time.
WE: I think Veedon Fleece is my favorite one of his.
CG: How do your kids deal with you and your wife[Delphine Ciampi] both being musicians? Do they think you’re cool?
WE: They’re my kids and I’m their dad. They’re not meant to think I’m cool. What I do outside of being a dad is just what I do to them I guess. As they’ve gotten a bit older I think they find what I do a little more interesting. (a long pause)…I think they think I’m a dick. Like anyone thinks their dad is a dick.
CG: How did Eastwood guitars end up releasing the Warren Ellis signature tenor guitar? Which, ahem, I bought in the cherry finish…
WE: Yeah, it’s great! They came to me and asked and I gave them the specifications and away it went.
CG: Any new Grinderman material coming out soon?
WE: I can’t say.
CG: Any solo work from you?
WE: I find doing stuff on my own not particularly enjoyable. I like making music with people and I like what they bring out in me. I don’t find it nearly as thrilling as playing with others.
Toward the Low Sun is out now via Drag City. Visit their website for more info and tour dates.
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