Things tagged docu:
America received the ultimate booty call on May 7, 1992, courtesy of Seattle rapper Sir Mix-a-Lot and his song “Baby Got Back.” Since its release through legendary rap-rock producer Rick Rubin’s Def American label, the up-tempo track — which spent five weeks at No. 1 and was the second-best-selling single of 1992, after Whitney Houston’s “I Will Always Love You” — has become our national anthem of ass, spawning innumerable parodies, cover versions (most notably Jonathan Coulton’s viral 2005 version), and references, including on Friends and in Shrek and Charlie’s Angels movies. The song’s long-lasting success owes greatly to its winking video, which, aside from featuring Sir Mix-a-Lot dancing atop a giant derrière and countless buttocks-related visual puns, generated a healthy amount of buzz when MTV banned it and fans, including Bruce Springsteen, countered that it offered a far more realistic glimpse at the female form than other music videos of the day. As part of our micro oral histories week, Vulture corralled Rubin, Sir Mix-a-Lot (real name: Anthony Ray), the video’s director Adam Bernstein (also of Breaking Bad fame), and others to bring you the story behind the behind-centric classic.
Kevin Slavin and Kenyatta Cheese argue that people have “a fundamental feeling of wanting to be in sync with each other.”
Ignore the vinyl-only bs, but the rest of what they have to say rings very true.
Filmmaker Marc Isaacs sets himself up in a London tower block lift. The residents come to trust him and reveal the things that matter to them creating a humorous and moving portrait of a vertical community.
Mr. Gilliam, you’ve been given the nickname “Captain Chaos” because of all the things that have gone wrong on your film sets. Do you need chaos on set to be creative?
(Laughs) It isn’t really that. I don’t want chaos, I actually want order. I really want it ordered very well and I want to surround myself with really well organized people so that when we’re on the set and an idea comes in we can play with it because we’ve got a really good structure. So it’s not chaos. Between me and the actors, or between me and the director of photography, it’s more like, “Oh, what if we did that? Okay, we can do that.” So the organized people think it’s chaos, but it’s not. I just build a structure that’s really solid so even if the lead actor dies, we can finish the film. (Laughs)
Below you can hear Weegee talk about picture-making. It’s interesting to hear his voice, which is one of those accents you don’t hear so much in New York anymore: part Austro-Hungarian immigrant by way of the Lower East Side and part Elmer Fudd. Peter Sellers based his accent in Dr. Strangelove on Weegee’s voice after Weegee visited Kubrick’s set one day.
From Marcus Buck, imprints of demolished houses left on other houses.
During the last week of the Bush administration, I asked the head photo editors of these news services — Vincent Amalvy (AFP), Santiago Lyon (AP) and Jim Bourg (Reuters) — to pick the photographs of the president that they believe captured the character of the man and of his administration.
Via Daring Fireball.
Included in the NYPL’s recent addition to the Flickr Commons project is Changing New York, a selection of photos taken of NYC in the 1930s by Berenice Abbott as part of a government program for unemployed artists.
Posted by Doug Schulkind to WFMU's Beware of the Blog.
Recorded sound had no greater friend than Tony Schwartz, the audio documentarian, advertising guru, media consultant, and exalted citizen of the aural universe, who passed away Saturday a few months shy of his 85th birthday. He'll be forever linked to his best-known work—the infamous "Daisy" ad from Lyndon Johnson's 1964 re-election campaign—but to many, Schwartz is beloved for sharing with the world his lifelong infatuation with the musicality of prosaic sounds.
And Doug posted some great clips from his albums, go listen.