James Nulick’s Valencia opens with an HIV diagnosis. Nulick, protagonist, is dying. He has traveled to the southern coast of Spain to stay at the hotel which gives the novel its name. He has traveled there to hasten his death, to preempt the prolonged and painful corporal vulnerability which immunodeficiency entails. Continue reading “Valencia/Rectify/Film/Television/Literature”
In the Second World War, Allied troops airdropped massive amounts of food, weaponry, and supplies onto the Melanesian islands as part of their island-hopping campaign in the Pacific. To the islanders, isolated from industrialization, the wealth and abundance of these drops were interpreted within a mystical, quasi-religious framework. When the war ended, and the airlifts dwindled to a stop, cults emerged among islanders attempting to ritualistically summon more supplies. Lacking an understanding of the core mechanisms behind the airdrops — a world war, mechanized flight, the Allied island-hopping offensive — these so-called cargo cults began constructing imitation runways, dressing like U.S. soldiers, and praying that supplies would come without success.
Continue reading “Intro to Cargocult”
I filled in a long-standing gap in my cultural knowledge recently and watched Lynch’s 2001 noir masterpiece Mulholland Drive. That’s the sensation, right? Where listening to records or watching films in an era of unprecedented access begins to feel a bit like doing homework.
Except Mulholland Drive is, itself, an almost unprecedently interesting film, one capable of arousing sensations in the viewer which he was previously unaware existed.”Uncanny” is used frequently to describe a Lynchean landscape, a place where things are simultaneously banal and extraordinary, both incredibly familiar and unnervingly off.
There’s a scene in the film during which one of its central protagonists, a successful Hollywood director, auditions lead actresses for his screenplay. Shadowy organizations are pulling strings behind the scenes so that the casting decision is essentially out of his hands, but he cycles through the motions regardless, asking several of the actresses to perform different 50s pop hits in a mock-up recording studio. One of these (diegetically) auditioned actresses is played by (real life) Melissa George, singing the rendition of “I’ve Told Every Little Star” shown in the footage below.
Continue reading “Every Little Star”