Bideodromage
The serial predator and killer Martin Vanger appears in both the American and Swedish iterations of The Girl With The Dragon Tattoo. He is equally disquieting in both. Peter Haber portrays Vanger in the 2009 Swedish release, and Stellan SkarsgΓ₯rd does the honors for the 2011 American film. Both performances are brilliant, and chilling. Haber’s portrayal is more earnest and volatile, while SkarsgΓ₯rd is more haughty, detached. Both work perfectly.
The 1987 film Withnail and I, written and directed by Bruce Robinson, and starring Richard E. Grant, Paul McGann, and Richard Griffiths, has come to be recognized as one of the great achievements of British film-making. Originally considered a “cult” movie, this poignant and amazingly humorous film is so very memorable. This happened to be Grant’s first film, as well, putting him firmly on the map of such things.
Perry Farrell and various iterations of the Addiction.
The remarkable Patrick Mahomes seems to perform well-nigh impossible feats almost routinely. At age 24, he already is poised to become one of the all-time greats.
See Campbell video here.
The two greatest running backs I have ever viewed, Earl Campbell and O.J. Simpson. Both combined speed and power with an uncanny, innate sense of how and where to maneuver. Like Larry Bird or Steph Curry in basketball, it was as if they were prescient, seeing how all and everything was developing just a shade before the other players.
The indomitable Arthur Brown, who possesses the most profound dance moves and world-view in the world, is also a pretty astonishing vocalist.
The great Gordon Lightfoot, who is not only a legend in the music world, but {arguably} rates as the highest-ranked Canadian of all time, has written some of the most iconic and memorable songs ever. A mere sampling is here presented, including some criminally neglected gems.
The Clash formed in 1976, led by charismatic/titanically intense vocalist Joe Strummer. The group cut a swath through the burgeoning punk rock scene, with furiously kinetic performances that whipped all and sundry into a frenzy.
Let β° = “The High Priest of quasi-androgynous Synth-Pop/Electronica, the Impassive Alien Deity, The Gary Numan.” What heretofore had been used to calculate Flux Densities, and whatnot, now is more—much more—much, much more.
He created aural landscapes which allowed access to the unfathomable. His performances have been described in so many ways. Strikingly “robotic”. Otherworldly. Mesmerizing. And moreover, there’s an unease, a disquiet, accompanying his trenchant intelligence; a wariness. Aware of a certain danger we cannot grasp. The ritual held out in the open, hauntingly obvious, yet impenetrable. A language we’ve forgotten; mind-argot beyond our ken.
An ever-so-haphazard collection of songs/performances which bring one to the trancelike state of what is called Pure Pop Wonderment. These things avoid syzygy. It’s not an excuse; it’s a vigorously researched excuse. Linear-ness is overrated. Most of these you’ll know, but perhaps not these versions. Maybe 1 or 2 that are new, to, say, the likes of you. Enjoy.
