Kerouac’s On The Road Finds its Way Onto Film

Word has it Jack Kerouac’s famed On The Road is making its way onto film. Director Walter Salles and screenwriter Jose Rivera have plotted out the screenplay and the final product is set to be released sometime in 2011. The cast includes Viggo Mortensen (glad to see he’s moving on from Aragorn in LotR), Amy Adams, Kirsten Dunst and Kristen Stewart. I’ve gotta say, I’m interested to see how this all unfolds.


Possibly at Cannes

::Haley Rheinhart


Stream Sufjan Stevens’ The Age of Adz on NPR

With his show at the Orpheum Theatre on October 16 approaching ever closer, the melody lines of Sufjan Stevens have been playing over and over again in my head (and on my laptop). To make things even better, NPR is currently streaming his upcoming LP The Age of Adz which hits stores on October 12, just as he embarks on his Fall 2010 tour.

Upon a quick first listen of the new album, it sounds like Sufjan has gone down a path much more under the influence of synthesizers and electronica (but what hasn’t these days…) But beyond the computerized dissonances lie the melodic complexities in typical Stevens fashion. Sigh, thank goodness. It’s just not a Sufjan Steven tune without a million different things happening at once and somehow still managing to sound music (and good music at that).

Does this new robot-Stevens suit your liking? Will he ever revisit his banjo strumming days of Michigan? Why am I ending my post in question-style like I write for hipsterrunoff? I. don’t. know. Listen to The Age of Adz for free on NPR and see for yourself.

::Haley Rheinhart

My Own Private Idaho

dir. Gus Van Sant

Gus Van Sant’s My Own Private Idaho (1991)  is something of a rough collage. Constantly shifting styles, the film, at different times, has the feeling of a pseudo-Shakespearian comedy, a familial melodrama, and a classic road tale in the vein of Easy Rider.  And to add even more confusion, all of these elements are played out in gay-prostitute underworld of the Pacific Northwest (oh and a little bit in Idaho and Italy too).  The film follows the life of Mike (River Phoenix)-an allergic, narcoleptic, and emotionally violent hustler who goes about his business in the slums of Seattle.  In these ventures, Mike soon encounters Scott (Keanu Reeves) an old friend and fellow call-boy.  From here, the two travel around on many adventures-the purpose of which eventually crystallizes into the search for Mike’s estranged mother.

This longing, on Mike’s part, to finally see mommy again gives the film a place to go, but is far from its most interesting aspect.  Instead, the viewer will be drawn to the contradictory world members of the Northwest’s prostitute sub-culture occupy.  In many ways the existence of these Hustlers is quite miserable.  They sleep on roofs or in doorways, and to survive, must indulge their client’s bizarre fetishes, which Van Sant does not hesitate to display in painful detail.  But in another way, the characters of the film’s sub-culture have a vibrant quality that cannot be found in the “legitimate” world their clients occupy.  Many wear flamboyant neon jackets with tight jeans and cowboy boots that clearly set them apart from the more conventional sort.  Others speak in a vernacular that strangely and cleverly blends hipster slang with Shakespearian English-often giving what would be normally mundane observations a distinctly poetic quality.  And all of Idaho’s Hustler characters possess the defiant demeanor-associated with all the proudest counter-cultures-that allows them to say “yeah I’m weird, and fuck you” with every step.

But superficial differences aside, the hustler world that Mike, Scott, and the many others in the film occupy is permeated by a class hierarchy that sharply resembles that of the “normal” world.  Throughout the film, Van Sant plays with this irony to an often divesting effect.  His ability to make Idaho so strange and yet so familiar is what makes it an engaging film.

Nathan Walker

Skyway Sessions: The Farewell Circuit

The Dustbowl packed up their equipment and headed to the new Infinitea Teahouse in Uptown. No, we weren’t having an herbal refreshment, we were on site to get going on a long overdue Skyway Session with Minneapolis transplants The Farewell Circuit. Local film director, Matt Cici, first wired us to The Farewell Circuit back in April after using one of their songs in the trailer for his film Lambent Fuse.

With the greatest of ease, The Farewell Circuit swiftly filled the space of Infinitea with the ethereal sounds of their latest EP Brother’s Eyes.  Just as mesmerizing are the lyrics, which beautifully compliment every chord and chime. They left us with resonating melodies permeating a dream-state we didn’t want to wake from. The EP is available on their bandcamp site for a “pay-what-you-can” price.

If you want to see them for yourself, catch their next show tomorrow, September 10th, 9PM at Nick and Eddie (1612 Harmon Place Minneapolis, MN). Sorry youngbloods, it’s a 21+ event. Also, check out the photos we snapped in our Flickr ‘bowl section.

The Dustbowl
Haley Rheinhart & Rachel Summers

We Live In Public

written and directed by Ondi Timoner

Who is watching? Why are we watching? How will watching affect us? What does it mean to be constantly watched without privacy? How is the digital age helping or hindering our personal interactions with others?

Ondi Timoner  (two-time Sundance Grand Jury award winner) takes us to a truly evocative time in technological history by documenting the polarizing experiences and works of internet visionary, Josh Harris. As the world was in flux over a potential Y2K apocalypse, Josh Harris’ “Quiet: We Live In Public” experiment was in the midst of collapsing. This art exhibit was one of the most invasive looks into the way the human condition functions when exposed to extreme measures of virtual scrutiny through filming. Over 100 artists in a New York warehouse signed away their lives to the control of Josh Harris in this large scale, big brother examination.

We Live in Public (2009) shows how relationships can become dissonant under these types of digital pressures of having an audience view one’s every move. The nature of celebrity relationships comes to mind while watching and why so many can never truly become of anything more than tabloid fodder. As things start to crumble in Harris’ world he finds peace in the bare necessity’s that life has to offer. Timoner’s exploration of ten years of an internet genius is definitely one to witness.

Written by Rachel Summers

New Telekinesis Video for “Dirty Thing”

More to come later about the new EP!

:: Haley Rheinhart

The Wilderness Downtown/Chris Milk/Arcade Fire

Do this right now, you will be incredibly pleased! It features the Arcade Fire jam, “We Used To Wait” and I hear their new album is out of this world too! The film is so innovative, so fresh, and so cool.

Written by Rachel Summers