by Miné Salkin | Jan 12, 2009 | film stripped
In a world where people are constantly being bombarded by images of perfect bodies and voracious, sexual tendencies, Twilight offers a remedy to this by reinventing the modern romantic relationship through the fetishization of sexual abstinence.
The combination of hatred, the sensuality of physical attraction and the violence of drinking blood create a titillating, almost pornographic story about two lovers who abstain from anything sexual despite their unique and passionate bond.
The film, directed by Catherine Hardwicke (Thirteen, Lords of Dogtown), takes place in a little Washington town. While the time setting is current, the small-town vibe adds to the quasi-Biblical sense of morality, citizenship and propriety.
Edward Cullen (Robert Pattinson), a sharply attractive but anti-social vampire falls in love with Bella Swan (Kristen Stewart), the shy new girl. While vampires can read other people’s thoughts, Edward is inexorably drawn to Bella because he cannot read hers. She’s the female vixen who draws him in, challenges him, and makes him question his ability to restrain his appetites.
Abstinence is sexy
Diffused with moral paradigms that dictate the reasons why they can’t act on their attraction, the relationship is highly sexualized at the same time. Its like the lion who fell in love with a lamb.
We find two lovers with unparalleled sexual magnetism, but the fear of spoiling the purity of their relationship sets them apart. Edward is a vampire, and Bella is a mortal. Their challenge is that of staying together despite that fundamental difference, but getting too close will be the destruction of their ideals. If Edward drinks Bella’s blood, they can be together forever. While Bella desires this equally, the drinking of her blood represents the collapse of the natural order. Edward’s ethical prerogative battles with his carnal thirst to kill Bella – and that is the irresistible magic of this story. (more…)
by Miné Salkin | Jan 11, 2009 | film stripped
You can trace the origin of the rape revenge sub-genre from the late 1960’s, when horror films began to depart from the usual gore and violence, and began to drift into the area of ‘snuff.’ Ever since then, the film industry has not shied away from showing the piths of humankind’s perversions, violence, or general immorality. (more…)
by Miné Salkin | Jan 5, 2009 | Uncategorized
At approximately 2:30 on December 22nd, I officially became a victim of fraud.
It wasn’t until until the Saturday following that I noticed nearly $3,500 missing out of my checking account, showing exorbitant purchases at 7-Eleven, National Money, and even Swiss Chalet to name a few.
According to the bank teller at my home branch, the debit machine at the Manchu Wok in the Metrotown Mall foodcourt had been replaced with machine that copied my card and pin number, then printed this information onto another computer.
It has been nearly two weeks since this occurred, and I still do not have access to my funds. While TD Bank has covered me for the purchases that were made during the period of criminal activity, I will not be able to take out or use the rest of my money until the full investigation is complete.
Merry Fucking Christmas.
by Miné Salkin | Dec 10, 2008 | live action
The first night of the 3-day Vancouver rock show took place at the Biltmore Cabaret. Two years ago this was probably the most depressing, dilapidated bar along the Kingsway corridor, but since the renovations, it has been hosting some of the hottest bands on the local music scene.
Twin Crystals started off the show with their huge, bombastic electro-heavy sounds. The digital punk-rock trio hybrid are best described as the kind of band that crafts tunes catering to an ADD-riddled generation – fast, catchy, and loud as hell. Drummer Jordan Alexander pounded his set with a superhuman like determination, while frontman keyboardist Jesse Taylor repeatedly screamed “Go to sleep! Go to sleep!” before languishing in a pool of psychedelic, distorted sound waves.
Sandwiched between two heavy acts, Said the Whale came on quickly and entreated the audience to a warm plethora of sounds that were both soothing and invigorating. Playing fresh tunes from their re-released album Taking Back Abalonia, the indie quintet brought a late summer glow to the show. Caught somewhere between the coolness of the Shins and the spiritual ferocity of Broken Social Scene, Said the Whale was the best act of the night.
Ladyhawk was the most anticipated act at the Biltmore, but afterwards there was a sense of disappointment. In the alleyway leaving the show one could overhear the conversations amongst the hipsters, one of whom was describing a Ladyhawk as “a huge plaid beardo bro down.”
Day two was tremendously impressive. More flavour and variety of sounds were played at the gutted-out Storyeum basement in Gastown. Aside from being a bigger, newer space, the venue had two stages going on either side of the building which allowed for smooth set changes and less waiting time for the rest of us.
Prairie-raised Wendy McNeill played music for the heartbroken, using a variety of unusual instruments ranging from the accordion to tiny music boxes. McNeill’s free spirit filled the dark venue as she sang songs about deception and illusion, begging the audience with thoughtful, voyeuristic lyrics such as “tell me what it’s like/ when no one’s watching,” while polishing off her experimental indie folk sounds with the clear “ching” of a triangle.
Another memorable act of the evening was Pacifika, an alternative rhythmic latin group, that incorporates subtle undertones resonating from their acid jazz influences. Adding tremendous sensuality and softness to the blend, the trio combined dub, electronica and heavier beats while sweeping through the eclectic sounds of latin America over nylon-stringed guitars. Anchored by Toby Peter, a rather dominant bass player, singer Silvana Kane’s voluptuous voice added balance and feminine intimacy to the set list.
On the other hand, Woodhands‘ performance was blistering, deafening and amazing. With just two bodies on stage , the electro-pop duo filled the second stage space with relentless energy and impressive musicmanship. Vocalist Dan Werb showed his mastery of two electric keyboards, synths and drum machines, while intermittently dancing around the stage without the slightest indication of fatigue. “Chocolate” Paul Banwatt drummed demonically, adding more depth and fervour to the huge electro, heart-thumping beats.
Despite its quasi-corporate sponsorship, Transmission succeeded as a celebration of independent and local Vancouver artists who decorate the music scene across the whole gambit of genres. From the high strung, teched out electro fiends, the plaid-sporting greaseballs, or the quiet bookish types, this three-day show had something for everyone.
by Miné Salkin | Nov 30, 2008 | film stripped
There’ll Always be an England
Sex Pistols: Live From Brixton Academy
a film by Julien Temple
Fremantle Media Enterprises
“We had a manager once too, and he was a cunt.”
It’s one of those bands that you absolutely must understand in order to form some reasonable opinions about the history of punk music from the tail end of the 1970’s to the present day. The Sex Pistols have been reputed as the bombastic, chaotic, and non-conformist group who set a whole new wave of classic musical groups to flourish under this new set of anti-social values. While musically, guitarist Steve Jones, drummer Paul Cook and singer John Lydon can bring back the magic and spite of the anarchistic punk revolution, Sid Vicious’ absence truly does create a gap in their otherwise seamless performance.
Without Vicious’ somehow graceful self-loathing, Lydon’s boisterous tendencies to over-dramatize just make him look like a tired caricature of his former self. At the same time though, Julien Temple’s production of the concert highlights the ultimate of an era that defined itself by thriving in an anti-social climate.
the pistols live at brixton academy
The film begins quasi-documentary in style, showing the scores of punks waiting anxiously to get into the Brixton Academy venue. Who would ever go to a Sex Pistols show? This question is self-referential. Aged, balding, overweight alongside a younger, skinny generation of punks who’s only pre-requisites are studded leather and an anarchistic attitude. Rotten describes how a Sex Pistols show attracts “all races, all creeds, people of all colours. So long as their working class I’ll have it.”
Frontman and iconoclastic punk Johnny Rotten (a.k.a. John Lydon) humbly thanks the crowd of belligerent rebels for coming to the “There’ll Always be an England Tour,” and defiantly exclaims that as long as the band lives, there’ll always be a “fucking England.”
The band started off the show with a blistering rendition of the song “Pretty Vacant” from their one and only ever recorded album Never Mind the Bollocks (1977). All the songs are complimented by a rally-like chanting from the predominantly white crowd who knows every single lyric, giving it an ominous, deep vocal glow. Temple takes artistic license during the song “Submission” by giving the camera a watery, green translucence which adds a further dimension of filth around a song about cunnilingus.
john lydon: a caricature of his former glory?
To add even further on the dimensions of filth which the Sex Pistols thrive on, here is a list of Lydon’s expressions which he peppered through the set breaks on the DVD. Please bear in mind that this list is but a mere sample of offensive statements which Lydon could surely surpass:
“I’m a very pretty pink cunt”
“I’ve forgotten the fucking words, haven’t I?”
“I’m a fat British bastard”
“You know, all you blokes and girls, want to suck on my nipples!”
“Who’s the biggest fucking cunt? fucking champagne socialists, fucking catastrophe”
and of course
“It’s the eye of the pussy”
The Sex Pistols formed in 1975 when John Lydon was at the sweet and suggestible age of 17. Formerly, the original members were in a band named The Strand dated from 1973, but two years later evolved upon Lydon’s entrance. Together, the fourtet created what many have considered to be the first generational gap in rock music, characterized by boisterous, bombastic hard rock and a destructive, anti-social attitude. Rebelling against the hippy-rock, bell-bottomed, long-haired divergent social groups from the 1960’s 70’s, the Sex Pistols made their own fashion that consisted of KY-Jellied spiked hair, tattered clothing and Doc Martens boots.
