The blog of author Dennis Cooper

Category: Uncategorized (Page 423 of 1089)

Panda presents … Spoon Day *

* (restored)

A series of spoons: an introduction not needed

Members

Britt Daniel (Vocalist, guitarist)

Jim Eno (drummer)

Rob Pope (bass)

Eric Harvey (keyboard, guitar, percussion, backing vocals)

Brief history

The band was formed in late 1993 by lead singer/guitarist Britt daniel and drummer Jim eno. They originate from and still make music from Austin, Texas. The original lineup also included Greg Wilson on guitar and Andy Mcguire on bass. The name ‘spoon’ was chosen to honor the 1970’s German avant-garde band Can who had a hit song titled ‘spoon.’

The debut music spoon put out was on the ep titled “the nefarios ep,” which came out in the year of 1994. In 1995 they signed to the record label matador, one year later releasing the lp “telephono” and again one year later came the ep “soft effects”. The “soft effects” ep did pretty good sales wise and critical wise, which ended up in them landing a deal with elektra records.

Spoon signed to Elektra Records in 1998, the band released ‘A Series of sneaks’ in may, 1998. What looked like the bands biggest break ultimately turned out to nearly bankrupt the band – the album did not sell as fast as Elektra had originally hoped. Spoon was dropped four months after the release of ‘series’, the person responsible for the deal, Elektra’s A&R man Ronn Laffitte, was also fired. Angry with laffitte (who had promised a promotional funding) and the rest of the executives at Ekektra(more precisely, CEO Sylvia Rhone), Spoon recorded a vindictively written two song concept single entitled “The Agony of Laffite”.

Though it all got better in 2000, when spoon signed to merge records and released the ep “love ways”. The next year spoon released the critically acclaimed lp “girls can tell”, it sold better than their previous lp’s sold put together. In the next year of 2002 they released the fantastic album “kill the moonlight”, which accomplished the same selling feet as “girls”. The song “the way we get by” from that album was played in the show “the O.C.”. Which made the single “the way we get by” the best selling single they’ve put out yet. The next album, “gimme fiction”, was released in 2005. The album dubuted at number 44 on the billboard 200. Britt daniel, in 2006, wrote most of the soundtrack to the decent “stranger than fiction” movie.

“Ga Ga Ga Ga Ga” (or as I call it, Gax5), their most recent album, was released in 2007. It debuted at number ten on the billboard 200.

For more commercial success refer to here: Commercial success

 

Discography

First album – Telephono

The first album spoon recorded. Originally released april 23, 1996 on matador’s label, then ten years later re-released on merge with the ep ‘soft effects’ which instead of being on one whole disc it was on two. (‘Soft Effects’ holds the songs “Mountain to Sound”,”Waiting for the Kid to Come Out”,”I Could See the Dude”,”Get Out the State”, and “Loss Leaders”) I’ve heard from someone that Britt daniel thinks this is a bad album, the critics agree, It got mixed reviews. I still have actually never heard the album.

Track listing

“Don’t Buy the Realistic” – 3:54
“Not Turning Off” – 3:08
“All the Negatives Have Been Destroyed” – 2:37
“Cvantez” – 2:45
“Nefarious” – 2:47
“Claws Tracking” – 2:32
“Dismember” – 1:45
“Idiot Driver” – 1:37
“Towner” – 3:05
“Wanted to Be Your” – 1:52
“Theme to Wendel Stivers” – 1:58
“Primary” – 1:10
“The Government Darling” – 2:23
“Plastic Mylar” – 3:27

Favorite tracks: Don’t Buy the Realistic

“Don’t buy the realistic” lyrics

All night, be left alone.
Take my, name as my own.
So c’mon and take my hand, c’mon and
c’mon and take my hand, c’mon and
c’mon and take my hand, c’mon and
take my, take my , take my, take my
take my, take my, take my, take my
words are, not much to say.
Face the, gets in the way.
So c’mon and take my hand, c’mon and
c’mon and take my hand, c’mon and
c’mon and take my hand, c’mon and
take my, take my, take my, take my
take my, take my, take my, take my
take my, take my, take my, take my

“Don’t buy the realistic” video showing telephono cover as backround

Others


Not Turning Off


Nefarious

 

Second album – Series of Sneaks

The second studio album from the brilliant band spoon. ‘A Series of Sneaks’ was originally released on May 5, 1998, then re-released on merge with extra tracks taken from ‘The Agony of Laffitte’ ep in 2002. The album was very highly regarded, and ended up being on almost everyones top 10 list. Personally it’s my favorite album of theirs, and one of my favorite albums ever.

Track listing

“Utilitarian” – 1:51
“The Minor Tough” – 2:43
“The Guestlist/The Execution” – 2:03
“Reservations” – 2:36
“30 Gallon Tank” – 4:00
“Car Radio” – 1:30
“Metal Detektor” – 3:39
“June’s Foreign Spell” – 3:00
“Chloroform” – 1:10
“Metal School” – 2:54
“Staring at the Board” – 0:54
“No You’re Not” – 1:43
“Quincy Punk Episode” – 2:17
“Advance Cassette” – 2:54

Favorite tracks: metal detektor, june’s foreign spell, metal school, chloroform


Metal Detektor (Live on KEXP)


June’s Foreign Spell


Metal School


Chloroform

With extra tracks from “agony of lafitte” ep

“The Agony of Laffitte” – 3:27
“Laffitte Don’t Fail Me Now” – 3:45


The Agony of Laffitte (KVRX Austin live clip)

Metal detektor lyrics

Metal detektor ringing as i’m walking through the door
with every chance i take i can feel it start to break
to start to break some more
it’s going down some more
i’m gonna break the bank of texas and walk out
it’s a lie no more
all through with playing the wall
i’m gonna break the bank of dakota and walk right back out
it’s going down some more
not gonna fake it no more
just gonna break the bank of texas and walk right out and
make the sound of getting kicked when you’re down
i’m gonna break the heart of chicago and walk right back out
metal detektor ringing as i walk on through the door
metal detektor ringing as i’m walking through the doo

The original album version of “metal detektor”

 

Girls Can Tell – 3

I will say this is the only spoon album, besides telephono, I don’t know very well. I don’t even own it . . . yet, but my brother does. Anyways this album was originally released feb 20, 2001 on merge. The track “me and bean” is a cover of another austin texas band called the sidehackers. It has an average of 85 on the not so trusty metacritc.

Track Listing

“Everything Hits at Once” – 4:04
“Believing Is Art” – 4:19
“Me and the Bean” – 3:33
“Lines in the Suit” – 3:47
“The Fitted Shirt” – 3:12
“Anything You Want” – 2:16
“Take a Walk” – 2:26
“1020 AM” – 2:10
“Take the Fifth” – 3:56
“This Book Is a Movie” – 3:33
“Chicago at Night” – 2:47

Favorite tracks: anything you want, Me and the Bean, Take a walk, The fitted shirt


Anything You Want


Me And The Bean


Take A Walk


Fitted Shirt

‘Anything you want’ lyrics’

If There’s Anything You Want
Come On Back Cause It’s All Still Here
I’ll Be In The Back Room Drinking My Half Of The Beer
And If You And Me Is So Right
Why’s It The Same Thing Every Night

It’s Just A Matter Of Time
It’s Almost Measurable
Imagination Ain’t Kind On Us Tonight

You’re At Your Best When You Got The Guns Turned A Hundred
Eighty Degrees
And Finding Out If It Adds All Up Right
We Go Through All The Same Lines Or Sell Out To Appease
But Go To Sleep In A Bed Of Lies
I Made My Own More Than Once Or Twice

And Now Time Is My Time Time Is My Own
And I Feel So Alive Yet Feel So Alone
Cause You Know You’re The One And That That Hasn’t Changed
Since You Were Nineteen And Still In School Waiting On A Light
On The Corner By Sound Exchange

“anything you want” – Live at Stubb’s

 

4 – Kill the moonlight

Kill the moonlight was originally released on august 20, 2002, and of course the album was critically acclaimed. The album has an 88 on metacritic, the highest rated spoon album. The song “jonathon fisk” is based on a middle school bully who was britt daniel’s classmate. Fisk, is now, supposivly a fan of the band, and he “came to all the spoon shows for about two or three years”. According to wikipedia, the title comes from a slogan in Filippo Tommaso Marintti’s ‘futurist Manifesto’. . . . This is such a great album.

Track listing –

“Small Stakes” – 3:00
“The Way We Get By” – 2:38
“Something to Look Forward To” – 2:17
“Stay Don’t Go” – 3:35
“Jonathon Fisk” – 3:15
“Paper Tiger” – 3:07
“Someone Something” – 2:48
“Don’t Let It Get You Down” – 3:29
“All the Pretty Girls Go to the City” – 3:12
“You Gotta Feel It” – 1:29
“Back to the Life” – 2:21
“Vittorio E.” – 3:39

Favorite tracks: jonathon fisk, paper tiger, someone something, the way we get by

Jonathon fisk video

Others


Paper Tiger


Someone Something


The Way We Get By

Jonathon fisk lyrics

Maybe You Remember Maybe You’re Locked Away
Maybe We’ll Meet Again Some Better Day Some Better Life

Mmmm Jonathon Fisk Speaks With His Fists
Can’t Let Me Walk Home On My Own
And Just Like A Knife Down On My Life
So Many Ways To Set Me Right

It’s Such A Long Way Home
It’s How The Story Goes
And It’s Like Atom Bombs And Blunt Razors
Atom Bombs And Blunt Razors

Jonathon Then Says It’s A Sin
But He Don’t Think Twice Cause To Him
Religion Don’t Mean A Thing
It’s Just Another Way To Be Right Wing
Just Like A Knife Down On My Life
So Many Ways To Set It Right
That’s How It Goes That’s How The Story Goes

It’s Such A Long Way Home
You’re Too Old To Understand
Cause I Just Want To Get Home Now
I Just Want To Get Home Now

Jonathon’s Right Down On My Life
So Many Ways To Set Me Right
On The Long Walk Home
That’s How The Story Goes
And Jonathon Fisk Always A Risk
Tells Me He Counts My Teeth Every Night
I Want To Get Them All Back Now
I Want To Get Them All Back
And I Want To Turn Him Around

 

Gimme fiction – 5

Gimme fiction, my least favorite spoon album, came out May 10, 2005 on merge. The album came bundled with a bonus disc, which I’ve been told is pretty bad. From what I’ve heard, it’s mainly just really low-fi songs and demos. The songs “I turn my Camera on”, and “Sister Jack” have both been featured on tv, such as the song “I Turn My Camera On” was featured on an episode of the simpsons titled “Any Given Sundance” which aired this year. If you pre-ordered the album It came with a free poster and button of the album’s cover.

Track listing

“The Beast and Dragon, Adored” – 4:18
“The Two Sides of Monsieur Valentine” – 2:58
“I Turn My Camera On” – 3:32
“My Mathematical Mind” – 5:02
“The Delicate Place” – 3:42
“Sister Jack” – 3:35
“I Summon You” – 3:55
“The Infinite Pet” – 3:56
“Was It You?” – 5:02
“They Never Got You” – 4:59
“Merchants of Soul” – 2:49

Bonus Disc Cover and Track Listing –

“Carryout Kids” – 2:47
“You Was It” – 3:57
“I Summon You” (demo) – 4:00
“Sister Jack” (piano demo) – 1:43

Favorite Tracks: they never got you, the infinite pet, sister jack, the beast and dragon, adored

”They Never Got You” live

Others


The Infinite Pet


Sister Jack


Beast and Dragon, Adored (Live on 89.3 The Current)

“They Never Got You” lyrics

You
When you were coming up
Did you think everyone knew
Something unclear to you
And when you were thrown in a crowd
Could you believe yourself
Did you repeat yourself
Cause no one would hear
And just say it again
Cause they never got you and you never got them

Don’t let it break
Don’t let it start
Don’t let em in
Don’t go too far
And cover your tracks
Cover the path to the heart
Don’t let those footholds start
And don’t let no one in
Cause they never got you and you never got them

You
When you were breaking up
They was just waking up
And back in that place where you come from
Did it pay to play along
That’s where I’m coming from
I’ld rather roll it myself or just let it be
Cause I never got them and they never got me
No I never got them and they never got me

 

6- Ga Ga Ga Ga Ga

The sixth and most recent spoon album, was released on the date of july 10, 2007 on merge records. Its cover art is taken from a portrait of artist/sculptor Lee Bontecou, taken by Italian photographer Ugo Mulas in 1963. The crazy ga title, is taken from the tentative name for “The Ghost of You Lingers.” The original name was meant to sound like the piano piece in the background. Britt Daniel says the title is a “great little Dadaist term.”

“Don’t Make Me a Target” was originally written for the previous album “Gimme Fiction”, and they practiced it “quite a bit”. Though they didn’t get it quite like the way they wanted it to till this album. Also the track “You Got Yr. Cherry Bomb” (my favorite track) was one the had a lot of trouble with. Leading them to record it three different ways, which the ‘space rock’ version is included on the bonus disc.

The vinyl of this album doesn’t have a run-out groove so it justs continually loops on the music after the song “Black Like Me”

Track listing

“Don’t Make Me a Target” – 3:55
“The Ghost of You Lingers” – 3:34
“You Got Yr. Cherry Bomb” – 3:08
“Don’t You Evah” – 3:36
“Rhthm & Soul” – 3:30
“Eddie’s Ragga” – 3:39
“The Underdog” – 3:42
“My Little Japanese Cigarette Case” – 3:03
“Finer Feelings” – 4:54
“Black Like Me” – 3:25

Bonus track only available on itunes

11) “Deep Clean”

Favorite tracks: rhythm and soul, my little japanese cigarette case, you got yr. cherry bomb, don’t you evah, the underdog


Rhythm & Soul


My Little Japanese Cigarette Case


You Got Yr. Cherry Bomb


Don’t You Evah


The Underdog

Bonus disc – Get Nice

“I Got Mine” – 2:34
“Be Still My Servant” – 1:24
“Leave Your Effects Where They’re Easily Seen” – 0:56
“I Summon You (Cool)” (alternate version) – 1:28
“Mean Mad Margaret” – 1:37
“Love Makes You Feel” – 2:38
“You Got Yr. Cherry Bomb” (alternate version) – 3:13
“Tasty Fish” – 1:18
“Dracula’s Cigarette” – 1:24
“1975” – 1:39
“I Can Feel It Fade Like an AM Single” – 3:12
“Curfew Tolls” – 1:33

Favorite tracks: 1975, love makes you feel, space rock version of yr. cherry bomb, I can feel it fade like an AM single


1975


Love Makes You Feel


I Can Feel It Fade Like an AM Single

Rhythm and soul live

Rhythm and soul lyrics

Come loosen up,
so hung up
Come count the ways to forever
Remember, the winter gets cold in ways you always forget

ah you know
Mm-a rhythm and soul
Get your hands out your back pockets, boy let it go

Here comes the man you saw in Kazan,
He just fixing his coat
rhythm and soul.

Dollars and cents ain’t no accident
Not in the name of democracy.
Come get there, come be there
Come let your socks fall down to your shoes

Oh, you know
And you know rhythm and soul
Get your ankles moving their sockets
Oooh there you go

Here comes the man
He followed you from Kazan
He can’t leave it alone
Ah no rhythm and soul

When you take a picture and it falls in your lap
Take another picture and your springing the trap
You been sold

You can’t bat this with your eye
Change your tie
And get wise
Rhythm and

Tracked houses,
Square

couches,
Short legs and square shoulders,
Pot holders,
Egg and soldiers
Y’ tank rollers, you all know this

Yeah you know, oooh the rhythm and soul
Get your fingers moving their sockets
Tune in Tokyo

You’re just the man
The one I saw in Kazan
One of us went for the throat
RHYTHM AND

 

Discography

Albums

“Telephono” (1996, Matador(re-release in 2006 on Merge))
“A Series of Sneaks” (1998, Elektra( re-release in 2002 on Merge))
“Girls Can Tell” (2001, Merge)
“Kill the Moonlight” (2002, Merge)
“Gimme fiction” (2005, Merge)
“Ga Ga Ga Ga Ga” (2007, Merge)

 

EPs

“The nefarious EP” (1994, Fluffer)
“Soft Efects” (1997, Matador)
“30 Gallon Tank” (1998, Elektra)
“Love Ways” (2000, Merge)
“Don’t You Evah” (2008, Merge)

 

Singles

“All the Negatives Have Been Destroyed” (7″/CD5, 1996)
“Not Turning Off” (7″, 1996)
“Anticipation” (7″, 1998)
“The Agony Of Laffitte”(CD5, 1998, Saddle Creek)
“Anything You Want” (7″/CD5, 2001)
“Everything Hits Once”(CD5, 2001)
“Car Radio” / “Advance Cassette” (CD5, 2001)
“Text Later” / “Shake It Off” (split 7″, 2002)
“Someone Something” (7″, 2002)
“Jonathon Fisk” (CD5, 2002)
“Stay Don’t Go” (CD5, 2003)
“The Way We Get By” (CD5, 2003)
“I Turn My Camera On” (7″/CD5, 2005)
“My First Time, Vol. 3” (digital single, 2005)
“Sister Jack”(UK and US, 7″/CD5, 2005)
“The Underdog” (UK and US, digital single/7″ promo, 2007)
“You Got Yr. Cherry Bomb” (Europe and Australia, digital single, 2007)
“Don’t You Evah” (digital single (Diplo Mix), 2007; CD5, 2008

It’s like I knew two of you, man / The one before and after we shook hands

 

 

*

p.s. Hey. ** David, Hi. David W. was a pal of mine, but you probably know that. I think Diamanda is a cool person, but I’m not huge on her music. I have a lot of friends who are. In my recent experience, tooth pulling is a lot less of a big deal than I’d thought. Good luck with that. ** Maria, Isabella, Camila, Malaria, Gabriela, Hi. Eek. Fingers crossed for D. ** David Ehrenstein, Hi. I’ll check your links once I’m outta here. Thanks. ** Dominik, Hi!!! I will, I will. Ha ha, very nice love there. Love sharing my box of Matcha Pocky with you, G. ** _Black_Acrylic, Yep. You’re the best kind of fan, man. Leeds United should change their logo to a picture of your smiling face. I’m not kidding. ** Misanthrope, Hi. I would hope so. Aces on the chilled and relaxed. My weekend? It was good, got a little behind on some things, but whatev’. ** Brandon, Hi. Glad you came back. No, I’m looking at the schedule of the retrospective and trying to pick the ‘must sees’ almost as we speak. There’s a bunch I haven’t seen, no surprise given his big oeuvre, and its unavailability in these parts. I’m not sure if ‘Birth of a Nation’ is in the lineup, I’ll check. You’re in LA, my hometown or part-hometown. Where do you live? I still have an apartment in Los Feliz. Oh, yeah, I saw something about ‘Out of the Blue’ getting rereleased or something? I saw a pre-release screening of it wayback, and Dennis Hopper was there and talked. Pretty cool. I loved that film, of course. How does it hold up for you? Linda Manz = god. I hope your week is very sparkly. ** Corey Heiferman, Hi, man. New friends are the best. I’ve made a few of them myself recently. The film: Ideally we’re finally in the last stages of raising the needed funding, but we’ve had so many disappointments along the way, it’s hard to hope too much, and yet we might be there by the end of the month. If so, we’ll go to LA and start the prep work. We’ve been hoping to shoot in June, but it’s getting so tight that we might have to wait until September. Anyway, I really hope we’re almost at the green light. Thanks for asking. I hope you’re feeling okay. ** Steve Erickson, Glad to hear it’s only an ugly cold-like experience. Here the cases are dropping dramatically. Bad luck re: your friend. I only know one person has it right now, and he’s asymptomatic. Everyone, Mr. Erickson has done a ‘Queer Music Roundup’ about recent releases by Queer artists, and you can go see what’s going on on that front here. ** Brian, Hey, Brian. Yes, ‘Moonfall’ has no small number of Sirkian dialogue occasions. Like the one you mentioned. I appreciated ‘If the earth deserves a second chance, then so do we.’ Among many others. The absurdity level was wonderfully high throughout. The saddest thing is there are probably a handful of disaster movies that had tentative green lights that now have glaring red ones. There’s the teeny-weeniest chance that ‘Moonfall’ could be giant in China and save the day, but … My week? Uh, hopefully finish this long gestating little novella that Zac and I are co-writing. I have to read a poem in the launch event for that Piero Heliczer book I featured here recently on Thursday. This actress who was in a number of Ozu films was also the first female Japanese film director, and some of her films have just been restored and are being screened here, and the word is that they’re really good, so I might see one of those. Maybe some good film funding news, I pray. And …the usual. Yours? Anything look like it’s going to surprisingly blow your mind? ** Okay. Today you get a restored post from a long, long time ago, made by a long lost distinguished local named Panda, who, if memory serves, was about 16 years old when he made this guest post. He must be in his late 20s by now, and I doubt Spoon are still his favorite band, but you never know, and I thought his fandom and dedication made this post very worthy of a second life. Hope you agree. See you tomorrow.

Tessa Hughes-Freeland Day

 

‘Confrontational, transgressive, provocative, and poetic, Tessa Hughes-Freeland approaches filmmaking from a multiplicity of styles. Her work includes underground films, classic narrative, expanded cinematic performances, experimental “automatic” films assembled entirely from found footage, and delicate fans made from film of all gauges.

‘In live-action films, as well as collaged films from found footage, Hughes-Freeland taps into the sophisticated emotional filters we erect to deal with uncomfortable feelings. Images crash into one another in disorienting ways. Drawing upon the mind-altering potential of spontaneous transformation and the power of myth, her films are essentially “psychedelic”—conjuring ineffable experiences beyond the commonplace.

‘“My films are ritualistic and atavistic—inspired by dreams, visions, and imagination. Sometimes the nucleus of an idea for a film starts with an object. The original idea for Hireath came from the top of the Christmas cake, which my mother made every year,” the artist says.

‘Tessa Hughes-Freeland is a crucial downtown denizen by way of England, a scintillating vestige from the heady days of Danceteria and Club 57, and still one of the best we’ve got. Landing in the city in 1980 and beginning her film work with a super-8 camera gifted from David Wojnarowicz, her work spans four decades, tracing a unique arc that rubs elbows with many of the canonical figures and movements of NYC underground film culture. No Wave Cinema turns to Cinema of Transgression; expanded cinema bleeds into ‘multimedia’; the East Village descends and the underground breaks—Hughes-Freeland was there, camera in hand. Shifting in style and sensibility, ranging from 8mm scuzz to experimental documentary to elegiac film-portrait, her work in aggregate is difficult to summarize, better seen than described. Certain themes run through—sexuality, voyeurism, ritual, dream, and decay.

‘“Found footage is the basis of much of my films. Similarly, a found object can inspire an entire film. I see these as signifiers or emotional triggers that become a part of my own symbolic language. The fans consist of found film in all gauges—home movies; Hollywood studio films; pornographic films; or random footage found in thrift stores, yard sales, or just lying on the street,” Hughes-Freeland explains.

‘Tessa Hughes-Freeland’s films have been screened internationally in museums, galleries, and seedy bars, including MoMA, MOCA, Whitney Museum of American Art, New Museum, and KW Institute for Contemporary Art. Currently, five of her films are featured in an exhibition touring museums throughout Asia, including Seoul, South Korea. She has been a juror for numerous festivals and programmed extensively, most recently for the Club 57: Film, Performance, and Art in the East Village, 1978-1983 exhibition at MoMA, and for Punk Lust: Raw Provocation 1971-85 at the Museum of Sex. Hughes-Freeland was president of the board of directors of the New York-based Film–Makers‘ Cooperative for several years.’ — Howl!

 

___
Stills





























 

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Further

Tessa Hughes-Freeland Site
TH-F @ instagram
TH-F @ Panel of Experts
TH-F @ The Film-makers Cooperative
Tessa Hughes-Freeland: Passed and Present
Watch Online: Cinema of Transgression
TH-F @ Letterboxd
Scrapbook: Tessa Hughes-Freeland, Raha Raissnia
Podcast: The Film Cult Podcast w/ TH-F
Trigger Warning: Films of Tessa Hughes-Freeland
TH-F @ MUBI
TH-F @ PARISLA
TESSA HUGHES-FREELAND: Selected Video And Film Works, 1981-2013

 

____
Extras


Tessa Hughes-Freeland: Selected Video & Film Works 1981-2013


Ela Troyano & Tessa Hughes-Freeland ‘Godard/Contempt’


Mekas tributes: Charlemagne Palestine, Tessa Hughes-Freeland, Ken Jacobs

 

_____
Interview

 

Danielle de Picciotto: Tessa, what is it you want to express in your films? Is it a general theme or always a different one?

Tessa Hughes Freeland: I believe that everybody sees and perceives the world differently, so there are all these different realities existing simultaneously, including those below the level of consciousness or outside of it. People are sensitive to all kinds of sensory information to a greater or lesser degree. There is so much going on simultaneously and it spreads across time, so many people have developed sophisticated emotional filters to deal with any sentiments that may be uncomfortable. I’m interested in penetrating those filters and getting beyond them and exploring areas of discomfort. I an also interested in channeling a stream of lateral unconscious thought. I sometimes plan and sometimes I work spontaneously. Even the plans give way to spontaneity and that’s usually the best because it acquires a magical life of it’s own and then it’s the most exciting and inspiring to work with.

In terms of themes I like to explore emotional states such as Hell-bent self destruction, frenzied disorientation, crushing beauty, gentle contemplation, scorching desire, explosive joy, lighthearted fancy, deep sorrow, transporting or uncontrollable love and intense passion. Otherwise they are mysterious dreamlike adventures. My films are really personal rituals.

What do you look for in films in general? What are your favorite ones?

I like films that are a little peculiar, to make me think, as well as films that are beautiful to look at or give me space to get lost in, or a mood to envelop me. I’m looking for a place to escape to. I’m looking for beauty and depth. I do like them to be slightly eerie or involve a mystical element. For that reason I love Andrei Tarkovsky, particularly “The Stalker”. I like fantasy action films, for instance the Hong Kong film “Green Snake”, I really appreciate the way that sound can be sculpted in the way that Michelangelo Antonioni does. He allows it to totally dominate or just disappear. Other than “Zabriskie Point”, “The Oberwald Mystery” is one of my favorites. I’m always delighted when I come across a film I know dubbed in a foreign language with subtitles in different one. The overload creates a confusion of meaning and I love that. It’s subtle psychedelic. I love the bleakness of humanity in Lars Von Trier films and that it is matched with emotional pathos, or the mysterious psychopathology of Dario Argento, which is so intense. Of course I love experimental and underground films, especially Harry Smith, Kenneth Anger and Storm de Hirsch. I also have an affection for old Hammer Horror films, which I grew up on. In general, I like black and white films, especially those by Jean Cocteau. This is a really hard question to answer because I like so many films.

You have been directing and producing films for over 30 years . Has anything changed for you over the time in what you are trying to convey?

Yes, definitely, many things have definitely changed. I have always made live action films as well as collage films, which include found footag as I used to think that I could find most of the images I needed. That the images existed already as signifiers and emotional triggers, which I could assemble to create combinations that would work for me as a symbolic language. With respect to the collage films, I wasn’t so attached to creating my own images. I like it when images can crash into one and other in an incomprehensible way yet are recognizable. To me spontaneous transformation is essentially psychedelic. Of course, where the live action films are concerned the imagery was a product of my imagination combined with the dictates of the immediate environment and circumstance during the shoot. There is only so much one can control and less that I actually wanted to. As time has progressed, I have gravitated towards shooting outside more and adhere to the dictates of nature. One cannot argue with that. I have found myself becoming more interested in landscape and along with that, I have become more attached to creating my own visual language. It’s mostly informed by ancient mythology and mystical occurrences, yet incorporates more elements of the intellect. Even though my films are figurative, I’m usually thinking about abstract concepts within a romantic framework. I really see them as visual poems.

Tessa, what are you working on at the moment?

I’m working on a new film about memory and loss. It focuses on varying stages of femininity, our collective unconscious and the mythology of female archetypes as seers. It also draws on pagan roots. Marrying ancient mythology with the irony of nostalgia. I am also working with film material directly. Making hand made slides from plants and animals and hand made film, which I may possibly integrate into the film one way or another. If not then they may end up as different film, which will be more abstract.

What are your plans for the future?

I‘ll just keep working and see where that takes me. I’ll follow the ideas that come to me, some turn into something and others don’t. I’m going to have a show in an art space called Howl! in New York next year, which will be an installation implementing a variety of cinematic elements. I have also been invited to be in a museum show in Seoul, Korea this winter. So I will start thinking about that. I have more respect for the unplanned than the planned. I think that actually is the plan. Otherwise, I‘ll just keep flowing down the river to the sea.

 

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13 of Tessa Hughes-Freeland’s 26 films

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Baby Doll (1982)
‘Tessa Hughes-Freeland’s “Baby Doll” is a tiny slice of cinéma vérité from 1982 about the girls working the now defunct Baby Doll Lounge on Church and White St. in downtown Manhattan. It captures a moment before NYC got sanitized.’ — Letterboxd


Trailer

 

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Joker (1983)
‘“Joker” is a 1983 non-narrative experimental ode to masks, fire, and Bette Davis, which marks Hughes-Freeland’s move into incorporating classic Hollywood footage into her films.’ — screenslate

Watch an excerpt here

 

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Play Boy (1984)
‘An experimental film spliced together from the detritus of early 1980s Times Square’s porn and pawn shops, Tessa Hughes-Freeland’s ‘Play Boy’ (1984) feels gritty, sensorial, and hypnotic. A figurative and psychedelic experimentation with film language and voyeurism, the film offers a unique take on transgressive cinema. Born out of Hughes-Freeland’s lack of liquid cash for new celluloid at the time, ‘Play Boy‘ combines found footage Super 8 film footage from westerns, stag films, to boxing matches to create new meaning. Her film places visual clichés common to cinema in conflict – a shot of a judge in a white wig is double-exposed with a pornographic tribal sacrificing. A naked woman tied in restraints meets a shot of two nuns. Just as a sentence combines pre-existing words to create new meaning, Play Boy combines pre-existing images to create moral transgression. The recycled images are textured and worn, and in its peepshow-like looped format, looking feels both seedy and pleasurable.‘ — boilerroom.tv

Watch the entirety here

 

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The Virginia Tripping Film (1985)
‘Filmic evidence of the infamous 1985 Richmond, Virginia exhibition that featured downtown artists Wojnarowicz, Marilyn Minter, Luis Frangella, and more painting naughty murals while on acid.’ — Letterboxd

Watch an excerpt here

 

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The Butthole Surfers Film (1986)
‘A document of a performance by the Butthole Surfers in the 1980s.’ — Letterboxd

Watch an excerpt here

 

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w/ Tommy Turner Rat Trap (1986)
‘Tommy Turner and Hughes-Freeland’s Rat Trap is an equivocal but indelible depiction of drug taking.’ — MoMA

Watch an excerpt here

 

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Dirty (1993)
‘Inspired by and loosely based on the introduction to Blue Of Noon by Georges Bataiile, the title was taken from the name of the main character. It is a short prtrayal of one person’s descent into a state of degradation. In spite f her affluence, Dirty is rendered helpless in the hands of those she sought to patronize.The shifting points of view of this film allow the viewer to experience the protagonist as she is seen by herself, and how the world sees her.’ — collaged

Watch an excerpt here

 

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Nymphomania (1993)
‘NYMPHOMANIA deptics the archetypal personification of female sexuality via the motif if a beautiful, graceful, dancing Nymph. Against the nymph, Hughes-Freeland & Adams present a massively phallicised Pan who is aroused by the nymph’s neauty and watches her. The film is a parody of myths of an ‘ancient/pagan’ essential plentitude and is thus a blackly Comedic critique of attitudes toward the dialectic of male/female sexuality. It locates a sexual mythology specific to Western Culture and deconstructs it via a depiction of its inherent power relationships and by pursuing this trajectory to its logical conclusion.’ — Jack Sargeant

the entirety

 

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Instinct (2007)
‘Originally one side of a live multiple projection, INSTINCT mixes irrationally convergent imagery. An iconography of the intangible and intuitive, time lapses as elemental aspects of the female psyche. Psychedelic disorder and repetition, visual collage suggests a alternative syncretism.’ — Letterboxd

Watch an excerpt here

 

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Gift (2010)
‘A surrealistic narrative is created which collapses different realities into one, by means of both similarities and juxtapositions There is a certain irony in creating such a narrative which revels in the popular romanticism of a sleep state, as a means to open the door to an interior world of alternative realities and parallel universes.’ — TH-F

Watch an excerpt here

 

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Hippie Home Movie (2013)
‘This film was made for an exhibition entitled “Ghosts of the Catskills”. The history of the Catskills had made an impression on me was that of the alchemy of landscape and the influence of Woodstock hippie culture.’ — TH-F

Watch the entirety here

 

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Kind (2013)
‘This film was made for an exhibition entitled “My Icon” Jumping off the springboard of the popular religious iconography of mother and child, as a mother I took my child as the subject. Not only is this logical visually, my child being a dominant subject in my life on a daily basis, but also for a gentle and contemplative state which is so innate. By witnessing the development of emotion one becomes connected to the essence of humanity. KIND is one of those moments.’ — TH-F

Watch the entirety here

 

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Untitled (AFA50) (2021)
‘To celebrate Anthology Film Archives’ 50th Anniversary, we’ve been reaching out to filmmakers, artists, scholars, and others to bear witness to Anthology’s value – to the influence AFA has had on their own work, its significance within the history of avant-garde cinema and art, and its place in the sphere of contemporary culture in NYC and beyond. These testimonials have taken the form of short videos – some comprising newly produced short films in their own right – which we’re sharing on Vimeo and elsewhere.’ — ATA

Watch the entirety here

 

 

*

p.s. RIP Dan Graham, Leo Bersani. ** Ian, Hi, Ian. I’m good, thanks. And thanks in retrospect about ‘Pills’. Fantastic news about your book! Really look forward to it, and thanks for offering to share it. Do you need my coordinates? Here’s my email if you don’t have it: [email protected]. Great, big congrats!!! ** Dominik, Hi!!! Yes, I’m going to start reading the John Waters novel this week. So curious, and I’ll let you know. It comes out officially in early May. I have a very clear memory of your mom being an awesome ceramicist. That will look great chiseled on love’s tombstone. Love starting a virulent worldwide trend of all humans under the age of 30 wearing black stovepipe top hats even when they sleep or take a shower, G. ** David Ehrenstein, Ah, interesting, thank you for the ‘Diogenes’ fill-in. I think the last time I took an actual recreational drug was in 2002. Ecstasy plus a toot of coke. ** David, Yikes. I’ve never taken antidepressants or that kind of thing strangely. My fucked up-ness has always been a ship I could right with distractions. I’m from LA where we don’t have big storms, just earthquakes and fires and droughts. Ah, you sprung for ‘LCTG’, the early work. Thank you. ** Misanthrope, Oh, well, thank you, sir. You on drugs is a little bit of a scary thought, it’s true. I don’t really lose control when drunk or on drugs, except a couple of times via LSD,. My insides just get more complicated or, in the case of alcohol, sluggish. Good, about my religious outlook being okay. It’s all Greek to me. So … is your weekend fulfilling its promise so far? ** Bill, Cool. Right, I blurbed that Joel Lane book, I forgot. Any, uh, trouble? ** Maria, Isabella, Camila, Malaria, Gabriela, Howdy, pal. Shrooms, yum. Well, yes, they can lead one astray a la your circling. I’m glad you’re in one piece, or, wait, five! ** Steve Erickson, Oops! I hope the symptoms stay blah, and … how long are they asking people to quarantine for these days? Briefly-ish, I hope. ** _Black_Acrylic, That famous storm you went through seems to have made a beeline around Paris because we’ve been dead still. As in a previous week, I left CNN on last night after the only show I watch on there, and they announced Leeds’ loss to Manchester, and I thought of you. Sorry, man, but, yeah, stay hopeful. What else is there? ** Shane, I envy that high, that’s for sure. My highs are, or, were so prosaic, i.e. ‘Wow, dead leaves are so cool’, and shit like that. ** T, Happy Monday, T. Pathetic is only an interesting word when it exits the mouth of some lazy brained teenager. But I am easily charmed by such people. My weekend was ok. Did my zoom book club, hung out with friends, worked, saw a movie (‘Moonfall’), shit like that. Not as good a weekend as yours! You sorted the voice/guitar conundrum! That’s really exciting! Hooray! I’m obviously super into the future experience of hearing the consequent stuff. That is a nice sound. We didn’t get that here in the 8th, weird, or I was asleep or something. Dare I wish you a Monday that sounds like what I’m hearing, which is pretty much silence outside interfered with by a very low kind of ringing tone that has beset my ears ever since I attended a Melt Banana concert in the early 00s and which I’ve strangely come to appreciate? xo. ** Verity Pawloski, Me give up smoking?! Perish the thought! Thank you about the post, and even thank you for the Duran Duran input. ** Brian, Hey, Brian. Thanks, bud. Oh, right, of course, that is the moment in ‘Salo’ I was thinking of and, yeah, of course it was on purpose. Or at the very least a mistake Pasolini loved. Whew, glad you got your package with no accompanying humiliation. Ha ha, well, surely no surprise: I thought ‘Moonfall’ was totally ludicrous, and I totally loved it! Huge fun! I think a world where ‘Power of the Dog’ and ‘Belfast’ get nominated for Best Picture and ‘Moonfall’ tanks is a world that does not understand pleasure. There isn’t much to say about ‘Moonfall’, is there? The awful aspects were just twinkling aspects to me. I’m a disaster movie slut. There, I said it aloud. How did you use Presidents’ Day? I hope it was highly respectful to their memories. ** Corey Heiferman, Hi, Corey! Yeah, I’ve been thinking about you and wondering what was going on with you. Eek, get through the Covid post-haste. Dude, congrats on the upcoming new pad and hood. I’ll take the youtube tour as soon as I punch ‘publish’. Stuff good? What’s going on generally? ** Brandon, Hi, Brandon, welcome, and very nice to meet you! Yeah, that’s interesting: the comparison to 90s Mekas. There’s a Mekas retrospective coming up here in Paris ultra-soon, and, obviously, I’m excited for that. I’m really happy to have occasioned your hookup with ‘Homeo’. Experimental filmmaking is a massive interest and love of mine, and I cover it here on the blog as often I can. Suggestions … there’s a wealth, I think, and it’s hard to sort into a short list at the moment. I did this post here a few months ago where I put links to all the film-related posts I’ve made, and it’s all over the place, but you confined some pretty interesting work in there if you fish around. Here. And I’ll keep covering that turf. And if I think of anything that I think might be of particular relevance, I’ll try to remember to say so. Thanks again, and, yeah, please do come in here and hang out any time and as much as you want. ** Okay. I’m thinking that maybe most of you might not know the films of Tessa Hughes-Freeland. Her early work is associated with the Cinema of Transgression, and her later work is quite different. Interesting body of work if you’re interested in knowing about it. See you tomorrow.
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