Skip to content

Dispatches for Luna & Max (#04)

  • The entire video is such a weird time-capsule of a time that doesn’t feel that far off. The design of YouTube as a platform, less than a decade ago, is pretty different from what it is today and suggests an evolving relationship between us as viewers and consumers of new media spaces. And while the mash-up thing isn’t new/hasn’t gone away, this feels, for me, like a moment that converged with a lot of my own writing around participatory culture and fandom.
  • This LCD Soundsystem album, too, was one that I listened to constantly (so much so that a different song on the album was played at our wedding, by our friend Peter).
  • The anticipation at around 0:36-38 when the cursor hovers over the play button.
  • Often, when I’m writing in my office at home, I have a film playing on silent while I listen to something loud. The key is to get a movie just slow enough to grab your attention for a sec before you dip back into the words in front of you. Tarkovsky’s films, Wong Kar-Wai’s, Fassbinder’s -OR- mid-’90s movies like Empire Records, Hackers, Josie and the Pussycats, etc. Elevator to the Gallows is definitely a film that’s been on rotation in the past. AND, aside from an unhealthy collection of albums from the Acid Mothers Temple groups, I probably possess more Miles Davis albums, live recordings, bootlegs, etc. than any other artist. Of course I dig his soundtrack work for Malle’s film. And yet, because of how I tend to work, I’ve probably only actually heard this soundtrack in the context of the film once or twice. Seeing this YouTube clip as a reminder of Davis watching a screen as he blows magic is something else.
  • I’ve listened to “New York, I Love You” dozens of times, seen the band play it live a couple of times, watch the faux final concert doc once in a while, and play the whole damn thing on our record player when I have the time (i.e. not often). This version–with Miles, with the french discussion, with the simple tweaks a la adjusting volume nobs, with the slightly obnoxious zooming in–is my preferred version of this song.

Post a Comment

Your email is never published nor shared. Required fields are marked *