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Eurythmics, Annie Lennox, Dave Stewart – Here Comes The Rain Again (Remastered)

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Eurythmics – Here Comes The Rain Again (Official Video)
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Lyrics
Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
I want to walk in the open wind
I want to talk like lovers do
I want to dive into your ocean
Is it raining with you

So baby talk to me
Like lovers do
Walk with me
Like lovers do
Talk to me
Like lovers do

Here comes the rain again
Raining in my head like a tragedy
Tearing me apart like a new emotion
Oooooh
I want to breathe in the open wind
I want to kiss like lovers do
I want to dive into your ocean
Is it raining with you

So baby talk to me
Like lovers do

Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
(Here it comes again, here it comes again)
I want to walk in the open wind
I want to talk like lovers do
I want to dive into your ocean
Is it raining with you

Nikka Costa – Nothing Compares 2 U

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Nothing Compares 2 U
Available to buy & stream now:

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(C) 2017 Go Funk Yourself Records Inc. under exclusive license to Metropolis Recordings

Stephen King’s Most Recent Castle Rock Book Is Being Adapted As A Movie

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Set in the fictional Castle Rock, Maine (the same setting as The Dead Zone, Cujo, Needful Things, and more), Elevation tells the story of Scott Carey, a man with a mysterious problem: no matter what he does, he continues to lose weight – and what only makes the condition more bizarre is that not even heavy clothes seem to impact the scales. And as though being a medical oddity weren’t enough, he finds himself embroiled in a controversy involving his next door neighbors, a lesbian couple who want to open a new restaurant in town but find their efforts impeded by bigots.

Pop Smoke’s New Song “AP” Released: Listen

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A new song from late rapper Pop Smoke has been released. “AP” appears in Eddie Huang’s directorial debut BOOGIE, which stars Pop in his first acting role. Listen to “AP” below, and scroll down to check out the film poster.

Eddie Huang shared a trailer for BOOGIE last month. The film finds Pop playing Monk, the basketball rival of main character Alfred “Boogie” Chin (played by Taylor Takahashi). BOOGIE was filmed prior to the rapper’s death in February 2020. 

Pop Smoke’s posthumous album Shoot for the Stars Aim for the Moon came out last summer, followed by an expanded special edition version

Read “Remembering Pop Smoke, Brooklyn Rap’s Key Figure Gone Too Soon” on the Pitch.





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Roland Abreu & The Cuban Latin Jazz , wywiad | V Sessions by V Records

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#kulturawsieci #nck #mkidn #vsessions #vrecords

Talk Hole: Can’t Get You Out of My Hole

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Talk Hole is the bi-weekly spoken column of New York’s alt-comedy darlings Eric Schwartau and Steven Phillips-Horst, offering their oracular powers of cultural analysis on all corners of the zeitgeist (high, low, top, bottom). From a call in Brooklyn, Schwartau and P-H (as Steven is lovingly referred) prove talk is chic and drop references to hot trends, hotter temperatures, and scalding political debates. This time around, Talk Hole nearly runs out of ideas, so they stage a Juergen Teller-inspired photoshoot and demolish their own homes. 

———

ERIC SCHWARTAU: Hey, sorry. I’ve been tearing down the wall in my kitchen.

STEVEN P-H: Can I see the progress? 

SCHWARTAU: It’s not so much progress as it is creative destruction.

P-H: When did you decide that you’re allowed to rip out a wall? You’re in a rented apartment.

SCHWARTAU: I bit off a little more than I can chew. And I have pretty sharp teeth, so that’s really saying something.

P-H: It looks like the ruins of a Roman bath.

SCHWARTAU: And yet it’s exposed brick in a New York apartment. The end of the line for most railroads.

P-H: Last stop, ancient Bushwick! Would love to go on that ghost tour.

SCHWARTAU: I removed my coffee table.

P-H: Bye table!

SCHWARTAU: [Turns to boyfriend] Darryl, Steven is saying hi.

P-H: No, I said “Bye table.”

SCHWARTAU: I thought you were saying “Hi, Darryl.” 

P-H: Let’s just go with “aloha” and it’ll work for both.

SCHWARTAU: I’m noticing you’re typing. You seem busy.

P-H: I’m just exporting files, sorry.

SCHWARTAU: Here’s where I exported the coffee table. [Shows Steven the table on camera]

P-H: The magazines laid out for guests to peruse at their leisure is giving doctor’s office.

SCHWARTAU: It’s not permanently going in here. I just realized how cramped the coffee table was making the living room feel.

P-H: Well, I love that you’re making changes.

SCHWARTAU: I spent the entire day looking at coffee tables and bed frames online only to decide that I don’t need either of those. I’m harassed mercilessly by ads for one-syllable furniture brands on Instagram. Hay, Dims, Dumb—

P-H: Dimes. You know, the point of an advertisement is to make you think that your life will improve if you achieve the lifestyle that the advertisement has offered.

SCHWARTAU: Well, I’m going to sue.

P-H: The furniture brands seem to be in a panic right now. For some reason the algorithm thinks I want furniture, even though my apartment is done evolving. And the less I bite, the thirstier they get—there was this one, haunting oval mirror from a minimalist British brand that I “can’t get out of my head,” to quote Adam Curtis. It was very austere, like something a chambermaid would wash the feet of her dead boss in front of.

SCHWARTAU: Well, at least they’re putting in some effort. They’re chipping away, deep in the content mines, looking for the diamond in the rough. 

P-H: It’s harassment.

SCHWARTAU: Maybe I like being harassed a little by creative directors.

P-H: Speaking of being harassed by creative directors—congratulations to Ryder Ripps and Azealia Banks on their latest project.

SCHWARTAU: I’m happy for them. Love is fundamentally toxic. They’re kind of the red-pilled, unhinged, online troll version of Kimye.

P-H: And Miami is sort of the unhinged, red-pilled version of L.A., so that tracks.

SCHWARTAU: We need a brand-conscious, half-musician couple in every port. 

P-H: Mazel to Kimye as well. I’ve never done anything for 7 years besides live in New York and that’s only because I don’t have the courage to get divorced. 

SCHWARTAU: Well, take a note from Daft Punk and use your breakup to reignite interest in your music.

P-H: I guess I’m not sure why they needed to “break up” instead of just… not releasing another album. Same goes for straight couples. We don’t need a formal divorce ceremony. Just don’t drop another kid. 

SCHWARTAU: But if you don’t get divorced, then the existing kids are worried you’ll try to outshine them with a surprise midnight double-kid release with accompanying merch. 

P-H: A knitwear twin-set to go with my new twins. 

SCHWARTAU: Emhoff could collab.

P-H: So whose side are you on? Daft or punk?

SCHWARTAU: I’m famously unloyal, but Daft sounds like a wry Scandinavian furniture brand, so I’ll go with that.

P-H: You really have Stockholm Syndrome for these furniture brands.

SCHWARTAU: Chain me to your platform bed.

P-H: I suppose my issue with advertising right now is they seem to be narrowing down this idea of me as a consumer—blonde wood stools, structured sweatpants, linen succulent shackets—but why can’t they expand my mind? Is there nothing else to buy? What about plane tickets? Cotton candy? A wig?

SCHWARTAU: Sounds like you’re committing some sort of a heist. Well, I started buying stocks. Robinhood is the Fashion Nova of finance. 

P-H: Maybe the next thing is ads for stocks—bespoke, lifestyle-branded ETFs saturating the feed. Imagine a lamp ETF—it’s pegged to the lighting industry! Actually, with energy prices in Texas, that could make a bundle. 

SCHWARTAU: I’m literally already getting promoted tweets for stocks. And Ark ETFs are basically Tesla stocks wrapped in Girlboss packaging.

P-H: I think you’re describing Grimes

SCHWARTAU: Most people can only afford pieces of things. Knock-offs, shares of shares. There’s subscription furniture. You can rent a side table for $10 a month. 

P-H: Just make sure your main table doesn’t see your credit card bill. 

SCHWARTAU: The only thing people own is their debt. When someone posts that they got into college or bought a house, they really just went into a massive debt. We’ve mythologized debt as a rite of passage. 

P-H: We’ve put debt on a pedestal! A rented, blonde wood pedestal. 

SCHWARTAU: Okay, I feel like you’re still not paying attention. 

P-H: Sorry. I’m done now. I’m literally exporting the last file.

SCHWARTAU: Well, I feel bad for our readers. You’re not giving them the time of day.

P-H: I’m giving them this specific time of day, which includes me exporting files. Okay, I’m ready to start the column. How are you?

SCHWARTAU: I’m fine, I just feel behind on everything. Late to success, late to stocks, late to bed frames, late to bed…

P-H: I believe Nietzsche called this “the gay science.” 

SCHWARTAU: I’m just noticing this pervasive feeling of eternal lateness. It might have something to do with feeling like there’s no news anymore. “Any functioning adult for president” has turned out to be a snoozefest.

P-H: No news? How about the fact that it’s The Day After Tomorrow in Texas and Ted Cruz is cruising to Cancun? Although considering how many quolx I’ve seen jet off to Mexico this past year, it seems a bit unfair to cancel him. 

SCHWARTAU: Texas used to be part of Mexico so it’s kind of just like going upstate. Well, downstate.

P-H: Right. And if you really want to be anti-colonial and cede Texas back to Mexico, then going to Cancun would be staying within the country. It’s domestic travel. Which, last time I checked, isn’t cancel-worthy.

SCHWARTAU: Not to mention his name is actually Rafael Cruz. Decolonize Ted!

P-H: Meanwhile, on the other side of Jalisco, Kendall Jenner was launching a tequila.

SCHWARTAU: Launching a tequila is a birthright for celebrities. 

P-H: Tequila is a strong choice for a celebrity product, because it can parlay with almost any personal brand with its unique mix of both masculine and feminine energy. 

SCHWARTAU: And tequila evokes having a wild night, whereas Kendall evokes starting a three-hour skin care routine at 8pm and then popping a melatonin.

P-H: Tequila evokes having a personality. 

SCHWARTAU: Tequila gives you gender-neutral wings. 

P-H: Whereas whiskey has too much of an existing masculine connotation—either Kentucky hillbilly Dairy Queen-stained coveralls or Scottish hunter swathed in tweed.

SCHWARTAU: I’m trying to imagine Kendall having a whiskey.

P-H: That would basically be her coming out of the closet. I don’t think she’s prepared to do that.

SCHWARTAU: What other spirits are there? Gin?

P-H: I recently bought Kate Hudson’s … it was either vodka or gin. But personally I think vodka is a little too “I like to get blackout” for a girl to launch. 

SCHWARTAU: Not knowing whether it was vodka or gin is giving me girl-about-to-blackout.

P-H: Okay, it was a vodka that tasted extremely normal. She tried to de-blackout the branding by calling it “King Street” and making it about New York, which apparently she’s deeply connected to.

SCHWARTAU: So King Street is an iconic New York street I’ve never heard of?

P-H: I wanna say it’s in greater WeSoHoVi.

SCHWARTAU: My guess was The Village. Lots of small streets.

P-H: But I feel like it’s further south—in that demilitarized zone around Varick Street where I used to work, near the passport office.

SCHWARTAU: You worked at the passport office?

P-H: I styled people for their photos.

SCHWARTAU: I feel like you were just getting a passport, which is not technically a job.

P-H: When you’re gay and in your 20s, that basically is a job. You’re always losing your passport and then needing to go to Europe.

SCHWARTAU: Being a customer is a full-time job.

P-H: Thank you! Customer rights. Maybe those will come back in the Biden era—that feels very Karen. In the Trump years, the customer went from always being always right to being always wrong.

SCHWARTAU: The Can-I-Speak-to-your-Managers need to unionize.

P-H: There is a nauseating trend of the conscious “activist” consumer—where the most morally righteous path is to center the customer as much as possible: keep your favorite knitwear taqueria in business by ordering delivery every day—but not on Grubhub which didn’t condemn Marjorie Taylor Greene sufficiently for wearing an ill-fitting blazer. Call the warehouse directly! Do curbside pickup. Bring extra masks for the taco knitters, but don’t gender them—write a review! Crowdfund your Angie’s List membership, hold a seance on Clubhouse—and if you’re not starting a GoFundMe to order more taco sweaters for local rescue pups, you’re literally Hitler. 

SCHWARTAU: [Darryl hands Eric a cocktail.] Thank you, sir. Now that’s customer service.

P-H: Wow, what did your cocktail broker just serve you?

SCHWARTAU: A gin surprise.

P-H: What celebrities should launch a gin in your mind? 

SCHWARTAU: Anna Kendrick. Like Hendrick’s, but mousier. 

P-H: Hints of JunipHer. 

SCHWARTAU: Gin-ny Weasley.

P-H: Hu Gin-tao.

SCHWARTAU: Love politicians launching a gin. AOC launches a smoky socialist mezcal, Andrew Yang debuts a pre-mixed Manhattan to prove he lives here.

P-H: Andrew Cuomo launches a canned wine with just enough COVID to kill grandma. 

SCHWARTAU: I need a canned wine. Or a grandma. Some sort of guidance—I’ve spent the past two days doing house projects and I feel like I’m living in a warzone with no end in sight.

P-H: Well, I’m proud of you that you’re attacking your own home.

SCHWARTAU: I’m trying to build back better.

P-H: But it begs the question—are you attacking the home… within? 

SCHWARTAU: I have therapy tomorrow. We’ll see. 

P-H: I had to read an ad today on my podcast for an online therapy brand called BetterHelp. Part of their selling point is that it’s “completely secure and confidential.” As if other text-based therapists are bouncing from the session and immediately dragging you on Twitter. 

SCHWARTAU: Therapists should not be on Twitter.

P-H: Therapists shouldn’t even have friends. 

SCHWARTAU: I do think your therapist is legally obligated to tell the cops if, say, you killed someone.

P-H: But if you do kill someone, who are you supposed to talk to about it? 

SCHWARTAU: RuPaul.

P-H: I get the idea of the therapist alerting someone if there’s a potential for harm—you say “oh, I’m gonna kill my comedy partner at such-and-such a place at such-and-such a time.” But if the deed is already done, it seems a little fucked up to tattle. 

SCHWARTAU: My therapist can barely remember my ex’s name, but I will make sure to remind him that snitches get stitches.

P-H: I guess what I like about the text-based thing—and this may not be how the company works at all, I don’t do my research for the brands I shill for, which helps maintain plausible deniability if someone does get murdered—is the distance. The remoteness. This person doesn’t sub your OnlyFans.

SCHWARTAU: It’s like when you chat with a customer service rep on the Verizon website.

P-H: Exactly. It’s very “How can I help you on this beautiful day, sir?”

SCHWARTAU: A bot that knows the weather.

P-H: “I’m sorry you’re dealing with these suicidal ideations. Have you considered letting go of your angry thoughts?”

SCHWARTAU: …reconnecting… please standby…. are you still there?

P-H: And meanwhile, you’ve now committed murder.

SCHWARTAU: Speaking of life and death, I’m sensing a lot of pregnancies in the midst.

P-H: I was just FaceTiming with my friend who’s seven months pregnant. It’s definitely in the air.

SCHWARTAU: Not to bring it back to this idea of lateness, but I think it’s all about timing.

P-H: Pregnancies often are. There’s this extremely schedule-driven egg everyone has to work around. 

SCHWARTAU: I mean, when you have a baby, and your friends also have babies, it allows you to continue being friends with that person because your kids are the same age and they can get matcha lattes together. I think that’s just how friendship works moving forward into adulthood.

P-H: It’s contagious.

SCHWARTAU: What’s contagious is not wanting to be left behind.

P-H: The train is leaving the station! It’s like the vaccine. Or starting a podcast. All your friends are doing it. Don’t be left holding the bag of expired Moderna syringes. 

SCHWARTAU: Maybe I’m pregnant with a little pod. 

P-H: I think you’re headed for a miscarriage.

SCHWARTAU: There’s only three episodes and then it dies. 

P-H: A preemie Patreon.

SCHWARTAU: I guess my podcast isn’t going anywhere. But there is a change happening right now. Something is afoot.

P-H: I agree. I’m ready to start online shopping again after my dry January. 

SCHWARTAU: It’s more of a cloud. Something hanging in the air. A darkness. Or a lightness?

P-H: It might be acid reflux. I was told today that my recent surgery has possibly raised further complications, and it’s made me worry I might have done something I can’t take back. The foreclosure of possibility—a world that was once bigger, now feels smaller. And even if the pandemic were to “end” tomorrow, what would return? A sense of “normalcy?” Right now, people are making reservations to sit at a tiki bar in Bushwick at 6pm, 10 feet away from each other, and feign joy when so much has been lost. And the next pandemic is surely around the corner, the next ecological crisis is around the corner, the next climate crisis is around the corner, the next financial crisis, and so on. There’s an innocence—perhaps a veneer—that’s been ripped away. And it feels very hopeless. Although a lot of that may have to do with the fact that I’m in my 30s.

SCHWARTAU: Sounds like you need some BetterHelp. 

P-H: I was also told it could just be acid reflux. It’s all very Adam Curtis-esque because in the new doc he essentially says our imagination has been taken from us. Which feels very much like the foreclosure of possibility—we can’t imagine a future. I can’t even imagine finishing the documentary. 

SCHWARTAU: I watched the first episode.

P-H: His overarching thesis is we’re imprisoned by our previous mode of thinking. There’s no escape from capitalism—every revolutionary person and every revolutionary idea has fallen victim to the very bonds they were trying to break. I mean, look at your apartment! 

SCHWARTAU: Do I have to? 

P-H: You’ve demolished the kitchen wall, only to find… another wall. 

SCHWARTAU: You finish one Adam Curtis documentary only to find… another Adam Curtis documentary. 

P-H: I think maybe Hypernormalisation is better, but I like the general vibe of this one. It’s very MTV.

SCHWARTAU: He’s just using leftist talking points and pairing it with found footage.

P-H: Well, I appreciate that a lot more than some talking head moralizing at me. He lets the music video speak for itself. 

SCHWARTAU: I like that he focuses so much on Mao Zedong’s wife. 

P-H: The woman behind the Mao-man. 

SCHWARTAU: But his take feels a little arbitrary and unproven. Like, 50 years from now, you could make a documentary about Trump and say, “But behind the scenes, Melania was driving her own agenda for a new America. One with more plastic surgery, more spas, and… more gold.” And then show that the price of gold went up or something. All of the sudden it’s a fact. I feel like in some ways he’s just kind of making stuff up.

P-H: That’s why I like it. I’m a serial fabricator. That was always my style in elementary school. I’d always be making shit up about the Salem witch trials, or the economy of Costa Rica—because who the fuck is gonna fact-check a diorama?

SCHWARTAU: Well, wait until Adam Curtis makes a doc about you in 50 years. 

P-H: “He pretended to be a sex-positive intellectual, but behind the scenes, he was Ridgewood’s dumbest prude.”

SCHWARTAU: He claims to be anti-conspiracy theory, but the whole doc feels like a conspiracy theory—putting together bread crumbs in a Q way.  I think he’s definitely creating a beautiful story, but I don’t necessarily think it explains the world to me any better.

P-H: It illuminated it for me. It gave credence to the darkness within. You’re just in denial about your kitchen reno going nowhere. 

SCHWARTAU: Maybe it’s because I just got the vaccine, but I feel a degree of optimism.

P-H: I can’t relate. 

SCHWARTAU: To me, Adam Curtis is in the same realm as Mark Fisher capitalist realism, which just feels like societal depression. Saying “there’s no imagination anymore” is something someone with no imagination would say. It’s like someone saying “I’m bored.” It’s like, I don’t know sis, maybe you’re boring.

P-H: Wow, so accurate. When people say “I’m bored,” it’s crazy to me. Because now you’ve ruined the possibility of not being bored—any idea that gets suggested is no longer something fun to do, but rather a feeble, reactionary attempt to fight boredom, which is obviously a deeper psychological affliction. 

SCHWARTAU: Right. When you go deep into societal depression territory, you’re giving credence to the end of the road, the end of ideas. You’re willing it into reality. I suppose that’s a pretty coherent critique of that vein of leftist thought, but I’m sure someone would disagree. I just feel like Adam Curtis is that type of person—

P-H: Okay, your point is getting to the end of its road.  

SCHWARTAU: I’m done. I’m ending it there.

P-H: Same.

SCHWARTAU: Goodnight, and good luck!

P-H: I’d say good luck, but you don’t need it, because you’re vaccinated.



David Shapiro on His Series ‘Untitled Pizza Movie’

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A pie from F&F Pizzeria, a modern shop that takes inspiration from New York’s past.
Photo: Melissa Hom

Filmmaker David Shapiro’s Untitled Pizza Movie is, as the title suggests, about pizza — sort of. The seven-part series, which Metrograph will screen virtually until March 14, uses pizza and pizzerias as means to address bigger, more complicated themes: identity, the constance of change and upheaval of gentrification, loss, memory, and failure. As much as the series is about loss — of life, in more than one way; home, in other ways — it’s also about coming to terms with that feeling. 

The project began in the ’90s when Shapiro and his friends Leeds Atkinson — the two grew up together on the Lower East Side — began filming a low-budget show called Eat to Win. Along the way, Shapiro and Leeds go to Lombardi’s, and meet a man named Andrew Bellucci, a rising star in pizza whose past as a Wall Street criminal eventually turns everything upside down. Subsequently, Shapiro and Atkinson, who struggled with substance abuse, drifted apart. 

After Atkinson died at the age of 52, Shapiro took up the project again, and the resulting work is a mix of archival, Hi-8 footage from the ’90s (a puckish and altogether joyful memorial of Shapiro’s friendship with Atkinson), mixed with contemporary footage and interviews with the likes of former New York Times restaurant critic Eric Asimov. In the end, it also documents Bellucci’s return to a very different New York and the opening of his own pizzeria.

I spoke with Shapiro about the series, using pizza as a way into bigger and much more complicated topics, how we relate to our homes through places like pizzerias, making memory, and losing lifelong friends. 

Food and in this case pizza, because we’re in New York, is a great way to talk about how a city changes. Even in the ’90s, you were saying, “New York is already over.” Now, because these places, pizzerias, are not glamorous, for the most part it’s something that is accessible to a wider swath of people.
Absolutely. And there was a reason why I went back to the footage. Pizza was what we chose back then because it is very accessible. It’s iconic and associated with New York and to your point, everybody can eat pizza. That’s why it may, in fact, be the perfect pandemic food. For $5, you can have a good meal, you can get it to go, you can grab a slice, you can be in and out. In food, there’s love, there’s a connection. So pizza is a very interesting article of transaction, I thought, and it was a fun, accessible way to talk about complex things.

You talk about the religious concept of the second death with people, but it’s also true of places. “That city is gone,” is what you say about the New York of your youth, but you have aspects of it that are still here — as long as someone who remembers it is still alive.
Having grown up here, and lived here for a really long time, before COVID, New York was going, in my opinion, in a very bad direction. It was being neutered and turned into a playground for certain classes, and not others. The very things that made it New York — as much as that was ever a real thing to begin with — were neighborhoods with a mix of classes and local places, and pizzerias are a perfect example of that. But if you can’t afford to open a pizzeria, then you’re screwed. Now it seems to me there is, because of the current circumstances, an opportunity to reset and rethink the way things are here.

People are eating local, because they have, and you want to support your local places, and you want to find a way to do it, and you want to reconnect as a community, in person. So if a pizzeria is a means to do that, great.

I think there is an opportunity to get back to what made this city vibrant in the first place, because if it’s just going to be like what happened in Times Square, it lost the heart and soul of what this place was. I think there’s a document of that in this work, but I also think at the end of it, there’s a hope for something else, something more down to earth and human again.

I think it’s interesting that you bring up Times Square, because of the perception that it’s a Disney-fied tourist trap that everyone in New York hates. But it wasn’t, obviously, always that way, and for some people it’s a different place in their memory.
I don’t want to romanticize it. It was a shitty, gritty place. Dangerous and sleazy. It was nasty. But at a certain point New York was a series of neighborhoods that were butted-up against each other, where people from different classes really could coexist. I think that there’s a push to get it back, and I hope that happens.

David Shapiro and Leeds Atkinson back in the day.
Photo: Courtesy of HoFu

I’m thinking of the book How to Kill a City, and the sentence, “Gentrification almost always takes place on top of someone else’s loss.” In your series, you can see that reflected in the combination of archival footage and contemporary footage, and the way those things are meshed together.
I wanted to sew together the past, the present, and the future. At the beginning, when we started this, we were just kind of fucking around and having fun. We wanted to eat for free and make movies, but we also saw it happen in front of our faces: The city was being gentrified very quickly. And some of the places that happened to be food places, which we held near and dear, were going to be gone. So we wanted to sort of memorialize them, and preserve them on video. We didn’t exactly know how it was going to come into play, but we knew it’d be a good thing to do, so we did that.

And then sometimes when you repurpose something 20 years down the road, it becomes more meaningful. And a lot of these iconic New York places are gone, like Ratner’s. Mercifully, Katz’s is still here, but there are a lot of these places that were captured in the footage that are no longer. So on that level, there’s the pizza-mentary — all these great parlors that are no longer — and then there’s also a document of a changing New York,  a city in the throngs of gentrification.

Food helps to create a sense of attachment to, and belonging in, a place, rather than just talking about sort of abstract concepts. 
You’re right, yeah. There’s a surface level to the work and then there are layers of subtext. We talk about so many different ideas, and they’re all interrelated. The benefit of a series, like a novel, is you can go deep with character, so as you learn these characters, you understand the relationships, the triangulation between them, and then the form of the work.

You’re showing, in a way, how people learn to belong to a place and find attachment to it through these places, like pizzerias. So when these places are taken away from you, of course, you’re losing a part of yourself, because it means there’s a loss of some way in which you relate to your home?
Yes, if you look at the footage filmed in 2018, 2019, 2020 — before COVID — the city was looking pretty good. But it was also kind of slick, it was sort of corporatized. You do feel a sense of loss of the little places that had rough edges and eccentricities. And it’s those very places that you remember and miss. You don’t want to get stuck in the past, you don’t want to be sentimental, but at the same time, what is progress? And what is forward-moving?

Change is inevitable. Hyper-gentrification, though, is rightfully an impossible thing for people to accept, but it’s interesting to watch someone actually try to grapple with it.
Yeah, no, you’re absolutely right, I think you’re right. It’s totally inevitable, it’s like a bulldozer, it’s why I was trying to find visual or filmic metaphors. I knew that this would be like David throwing rocks at the Goliath that is gentrification, but we’re doing it, we’re trying to honor and preserve and make something out of it, and make a mark. And it’s important to say, “This is progress that we’re making, but this is a move towards changing the city into something that maybe is not going in a great direction.”

A relevant quote that stood out to me is, “We lived in a time and a place that was in a hurry to bury its past.” I thought that was great, because it’s in such contrast to the project itself, which is focused on interrogating the past.
I’m glad you picked that line. I think it’s true, I think we were trying to slow it down. That’s what making work is. It’s trying to stop the fast movement for a second, stick a spoke in the wheel, and say, “Hey, look at this, be present. Do you see what’s going on?” We’re in such a quick world right now, there’s hardly any time to be present. And yet we’re also disconnected — because of both technology and COVID — and a way that’s kind of dangerous. It’s desperately needed to rekindle who we are as people and culture.

Leeds and Atkinson as seen on their pizza quest.
Photo: Courtesy of HoFu

I’d like to ask more about Leeds. As we were watching the first couple episodes, it made me think about my life. I’ve lost four friends. Two of my oldest friends died in the same year, 2016. One was five years ago this month, so I’ve been thinking about him. I have ruminated on this person’s life, and thought about how people become ghosts and our memories of them.
There’s a connection between recognizably human foundational emotions and experiences. You have your friends who you grew up with, and came up with and you experienced things together, and maybe they’re gone now. I have that, too — everybody does.

You can almost look back at your friendship and remember things as a series of scenes, where you grow together, and you experience the world together. And then, as it often happens, people change, you’re not the same person you were when you were a teenager. And sometimes somebody gets married, or somebody is still single, or somebody finds God, or somebody goes down the rabbit hole, or somebody moves to Europe, or somebody gets a job at Google and the other guy ends up in an SRO. You just don’t know what the hell is going to happen. But if you look at it in retrospect, it’s very much like a narrative, like a film.

In the series, Leeds’s ex-wife says that a lot of people gave up on him. That’s something I feel about myself with my friend. He was in a really bad way with drugs. We all believe he had some mental health problems, and I distanced myself from him. And you end up thinking, “Okay, what are the ways in which I failed this person?”
You’re talking about things that are in your experience. In my experience there’s total symmetry. Of course, the people are different and the problems are different, and circumstances are different, but there’s a real overlap. Everybody’s got some version of that story, I hope not as extreme as mine, or yours, but everybody’s got something like that. And it’s very human to sort of have survivor’s guilt, or to rethink, and have regrets or to think, “Why didn’t I do this? Or why can’t I help them?” But at the end of the day when you move through life here, you’re an adult at a certain point, and you’re responsible for your actions.

It does seem to me like obviously, in part this series is a way of memorializing your friend. I think about that with my friends, too. 
Yeah. The person that I met when I was 10, and we remained friends for over 30 years. That was like, “There’s a wonderful human being there.” He was a special person, at least he was to me. And I think he had a joyful soul, and a love of life and an incredible attention to detail. He was really present in life. It was like living with his art in some way. Walking down the street with Leeds was very exciting and fun, because he would point things out and things would trigger and he’s very well-read. But he was just a fun person who was very present in the world.

At one point, you say this movie is about three people who have all made big mistakes in their lives, and tried to own up to them. These aren’t perfectly sympathetic people, and you don’t pretend like everything about New York’s past was good.
That’s right. We started our conversation talking about how sentimentality and nostalgia get in the way, and cloud facts, and mask them with fiction. We all do that. We all want to remember the best of things, and drop the painful bits and push them to the side. And so that’s what I think people remember about their life, their city and neighborhood, their friends.

I wanted this to be an alive, truthful work — emotionally truthful — that grapples with what did and didn’t happen.

This interview has been edited for length and clarity.

Kadhalum Kadandhu Pogum – Tamil Full Movie | Vijay Sethupathi | Madonna | Nalan | Santhosh Narayanan

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Kadhalum Kadandhu Pogum – Tamil Full Movie | Vijay Sethupathi | Madonna | Nalan | Santhosh Narayanan

Stream Now on Amazon Prime Video: amzn.to/3a4Db7c

Kadhalum Kadandhu Pogum is a 2016 Indian Tamil language romantic comedy drama film written and directed by Nalan Kumarasamy. Produced by C. V. Kumar under Thirukumaran Entertainment banner, the film stars Vijay Sethupathi and Madonna Sebastian in the lead roles. An official remake of the 2010 Korean film My Dear Desperado, the film was released on 11 March 2016 to positive reviews.

Cast

Vijay Sethupathi
Madonna Sebastian

Directed by Nalan Kumarasamy
Screenplay by Nalan Kumarasamy (Based on My Dear Desperado by Kim Kwang-sik)
Music by Santhosh Narayanan
Cinematography Dinesh Krishnan
Edited by Leo John Paul
Produced by C. V. Kumar, K. E. Gnanavel Raja
Production Company : Thirukumaran Entertainment

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The Bachelor’s Rachael Kirkconnell Says She’s “Done Hiding”

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The Bachelor contestant Rachael Kirkconnell is speaking out about the continuing controversy surrounding her.

Rachael, who is currently competing for Matt James‘ final rose, posted a lengthy video to Instagram on Thursday, Feb. 25, in which she shared her latest thoughts on the response to photos of herself that surfaced on Reddit. This follows a previous statement she had released on Feb. 11 to apologize for her actions.

“I just wanted to come on here and say a few things,” she said in the new video. “I’ve gotten a lot of people asking me, ‘Well, what have you done to change since then?’ And I’ve also had a lot of people message me saying that they aren’t understanding why people are so upset, but they want to, and they’ve asked for resources, which I think is great. But then there’s also people that’s messaging me saying, ‘You’ve done nothing wrong, don’t listen to people.’ I’m just, I’m tired of getting all of this and not saying anything.”



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