"I like making things I feel should exist, like these faux vintage wax pack wrappers."
The exhaustively researched Hollywood history podcast You Must Remember This (Previously) presents a two part episode focusing on Madonna's use of classic Hollywood imagery and references as a form of conceptual art and her early attempts to trade pop idol success for movie stardom within the context of two high-profile relationships with Sean Penn and Warren Beatty. Episode One. Episode Two. Meanwhile, Todd In The Shadows creates video reviews for every movie Madonna was ever in. So far he's done Desperately Seeking Susan, Shanghai Surprise, A Certain Sacrifice, and Who's That Girl.
On Kate Moss, and Taking One for the Team: "So, earlier this week Vanity Fair published a rare interview with Moss, in which the model, who is well-known for her circumspection, is unusually frank about the early years of her career. Moss was still a skinny, gangly teenager when she was plucked from mediocrity in Croydon and catapulted to superstardom. She was barely an adult, almost still a child, when she did her first topless photo shoot, with Corinne Day for The Face. In the interview, she talks about how uncomfortable this made her... This isn't the only the only revelation Moss made during the interview. It also turns out that the famous Calvin Klein campaign she did in 1992 with Mark Wahlberg gave her a nervous breakdown... Conveniently ignoring the fact that when the pictures were taken, Moss wasn't 'the face of the '90s', but a skinny teenage girl who cried because she was made to take her clothes off, Needham continues by saying that Moss' skinny frame 'seemed to encapsulate the euphoria of those long-distant times.'" [more inside]
You may not know who the Costacos Brothers are. But if you were a sports fan in the US during the 1980's, chances are that you had one of their posters up in your room.
Although [Michael] Mann has said he was inspired by a true story from Chicago in the late 1960s, the film is no gritty realist number about desperate thievery. Rather, HEAT is a high-gloss creature of its time, utilizing the classic "duel between cop and robber"... to thematize lifestyle issues in the mid-1990s. Specifically I argue that, for all its slickness and emphasis on style and personality, HEAT is a film about work and its increasing personal costs. For the characters in HEAT, work provides excitement* and challenge, but it ultimately excludes any emotional life outside of the demands of the job. *That's the shootout scene
"[T]he most important decisions you make are not the things you do – but the things that you decide not to do."
"He’s a minimalist and constantly reducing things to their simplest level. It’s not simplistic. It’s simplified. Steve is a systems designer. He simplifies complexity." John Sculley On Steve Jobs, The Full Interview [via]
Too Much Horror Fiction: "Covering horror literature and its resplendent paperback cover art, mostly from the 1960s through the early 1990s. Mostly."
New York artist Ashley Hope's Ripeness is All exhibit at the Tilton Gallery recreates crime scene photographs of murdered women from the 1910s through the 1990s as oil paintings on huge 4' x 6' canvasses. [some nsfw art] [more inside]
Photographic Memories: 1990-2001. Subjects include Tibet, Vietnam, Switzerland from above, Portugal, some portraits, a wedding, a baby, and more.