black holes and gray matter. in one thousand tangos.

             

ransom and i got married several months ago in an intimate ceremony, but recently had a larger reception for more family and friends, and it was a blast! as we’re both writers, it seemed fitting to have the event at one of our favorite bookstores: the last bookstore in downtown LA. we’ve had a lot of requests for photos, so i thought i’d drop a few here. [] hugs and books!” — taherehmafi

My new favorite couple.

(via powells)

"I wasn’t surprised that the President of France threw over his First Lady (who was not even his wife, but his ex-mistress girlfriend) for a pretty movie star. Americans expect that of France. (Except maybe the part about the First Lady being hospitalized for being dumped.) If an American president did something that he’d be in big trouble, but it seems like the French actually like Mr. Hollande more now that’s he dumped the woman who broke up his marriage for a prettier woman who’s a movie star. Apparently 89% of the French public prefers the new mistress. …

I understand France. But I’m still trying to figure it out the mistress thing. … 

For the French l’amour is a way of life and it seems kind of smuttily, interestingly attractive. ‘Fuck me now!’ For Americans l’amour is something to think about while you play with yourself.

I am an American. I love women. I like women. Sometimes it has even seemed that I liked them almost too much. I have been married at least three times. And I wasn’t always faithful, although now I am on a long streak of my best behavior, but one thing is for sure: I never had a mistress. Never. Not once. Not even close. …

I will probably never know anything more than I know now. Americans live in a female dominated sexual police state. There is a conspiracy here to keep men from fucking around. You get caught fucking around and you are going to pay, big time. Getting caught is an industry.”

Glenn O’BrienThe Mistress (France’s Secret Weapon)

11 Persian-American Artists Bringing Iran to the U.S. | Vanity Fair

1. Artist, photographer, and filmmaker Shirin Neshat, named “Artist of the Decade” in 2010.

2. Nina Seirafi, named one of Architectural Digest’s top 100 interior designers in the world (the “AD100”) in 2010.

3. The bisexual writer-director-actress Desiree Akhavan, hailed as “the next Lena Dunham” by the New York Post. Her debut film, Appropriate Behavior, a comic and sexually graphic story of coming out, premiered at Sundance this year.

4. Nariman Hamed, the son of actress Fatemeh Motamed-Arya, “the Meryl Streep of Iran,” is directing a documentary, Shirin, about the artist Shirin Neshat, with animation by Persepolis author Marjane Satrapi.

5. Nima Behnoud got his start re-designing jeans that had been dropped by the Red Cross on the Iran-Iraq border during the Iran-Iraq war. Now, Heidi Klum and other celebrities wear his calligraphy-laced clothing brand, Nimany. His Web site has been banned in Iran.

6. Hafez Nazeri, the son of Iran’s most prominent classical musician, Shahram Nazeri, is a composer who brings East and West together in hauntingly beautiful orchestral pieces. His fifth album, Untold, released by Sony March 11, was recorded in five countries with more than 35 Grammy Award-winning artists.

7. Habibi, the retro, all-girl, punk-rock band, based in Brooklyn, fronted by Rahill Jamalifard.

"A few things about Cate at 28 months: 1. Every day she wants to wear a ‘really down skirt.’ I finally made this for her and all of her dreams have come true. 2. Most days she requests a Fiona braid (from Shrek.) She will gladly sit still for the ten minutes it takes. 3. Her current favorite foods are avocados, bell peppers, pears, and a spoonful of peanut butter. 4. Multiple times a day she says, ‘I want to wear my Annie shoes and dance!’ Annie shoes are black patent shoes like the tap shoes Annie wears in the movie. 5. Cate says, ‘I want teek-le you’ (tickle) and then proceeds to do so saying ‘Teek-le teek-le teek-le!’ 6. She is still a mama’s girl and I wouldn’t have it any other way."
mimiandjack
Magnificent girl born to superhero parents. Makes sense. 

"A few things about Cate at 28 months: 1. Every day she wants to wear a ‘really down skirt.’ I finally made this for her and all of her dreams have come true. 2. Most days she requests a Fiona braid (from Shrek.) She will gladly sit still for the ten minutes it takes. 3. Her current favorite foods are avocados, bell peppers, pears, and a spoonful of peanut butter. 4. Multiple times a day she says, ‘I want to wear my Annie shoes and dance!’ Annie shoes are black patent shoes like the tap shoes Annie wears in the movie. 5. Cate says, ‘I want teek-le you’ (tickle) and then proceeds to do so saying ‘Teek-le teek-le teek-le!’ 6. She is still a mama’s girl and I wouldn’t have it any other way."

mimiandjack

Magnificent girl born to superhero parents. Makes sense. 

“Speaking to Jim Jarmusch, it turns out, isn’t so different from watching one of his films. His work, like his conversation, doesn’t cohere into stories so much as constellations, networks of seemingly isolated ideas which achieve a greater meaning arranged together just so. As a man, he’s immediately identifiable: the Lee Marvin face, that shock of white hair that looks like Andy Warhol touched up with a Tesla coil.
As a director, too, there are recurring elements: a minimalist aesthetic, laconic but lovable characters (often played by musicians), a cool compositional remove that invites humour without sacrificing sincerity. These are films that believe everything is connected; theirs is a cinema of culture in conversation with itself. A young Japanese couple obsessed with Elvis. William Blake reborn into the American west. Instruments that resonate with every note that’s been played on them, the world bound together by cab rides and cups of coffee. “Each one of us is a set of shifting molecules, spinning in ecstasy,” says one character in The Limits of Control. “In the future, worn-out things will be made new again by reconfiguring their molecules.”
Only Lovers Left Alive is a film about the urgency of that recycling process, a snickering genre tale that shacks up with a pair of exhausted paramours desperate to become new yet frustrated that they can’t grow old. Jarmusch has been trying to make the movie for seven years… I’d happily argue Only Lovers Left Alive is Jarmusch’s best film, but it might be more helpful to say it’s his most fluent. The leads are Eve (Swinton) in Tangier, an ancient city forever on the cusp of rebirth, and Adam (Tom Hiddleston), in Detroit, contemporary America’s most famous icon of decay. …
They live apart because they can, because it doesn’t deprive them of time together. “If you live that long, separation for a year might feel like a weekend,” says Jarmusch, his voice a spacey drawl. “It’s not an obligation, it’s an emotional connection.” It’s one so strong that Adam, a natural romantic who sees poetry in science, intimates that his relationship with Eve is an example of Einstein’s theory of entanglement: “When you separate an entwined particle, and you move both parts away from the other, even on opposite ends of the universe if you alter or affect one, the other will be identically altered or affected.” …
It’s hard not to see the theatrically suicidal Adam as Jarmusch in disguise, the director’s neuroses in almost human form. For one thing, both of them love Swinton. “It’s everything about her,” says Jarmusch, eyes lost over my shoulder. “It’s her physicality, the way that she moves … like a vestigial predator, like a wolf.”
There’s certainly a feral element to Eve’s appearance; her character comes off as a Nobel laureate raised by wild animals. For Jarmusch, though, it’s her clear eyes that are most compelling. “She has an ability to prioritise what’s really important in life. Once I was listening to her, I think we were at lunch with Patti Smith, and I thought: ‘Oh boy, if all culture breaks down, I’m following them. They’re my leaders, the women are the way to go.’ One of the great moments in my life,” he continues, “was when we were shooting The Limits of Control, and we finished a take and I said: ‘Oh Tilda, that was so beautiful, will you marry me?” And she replied: ‘Oh darling, we already are.’ I could have died.”
Jim Jarmusch: ‘Women are my leaders’ | Guardian

Speaking to Jim Jarmusch, it turns out, isn’t so different from watching one of his films. His work, like his conversation, doesn’t cohere into stories so much as constellations, networks of seemingly isolated ideas which achieve a greater meaning arranged together just so. As a man, he’s immediately identifiable: the Lee Marvin face, that shock of white hair that looks like Andy Warhol touched up with a Tesla coil.

As a director, too, there are recurring elements: a minimalist aesthetic, laconic but lovable characters (often played by musicians), a cool compositional remove that invites humour without sacrificing sincerity. These are films that believe everything is connected; theirs is a cinema of culture in conversation with itself. A young Japanese couple obsessed with Elvis. William Blake reborn into the American west. Instruments that resonate with every note that’s been played on them, the world bound together by cab rides and cups of coffee. “Each one of us is a set of shifting molecules, spinning in ecstasy,” says one character in The Limits of Control. “In the future, worn-out things will be made new again by reconfiguring their molecules.”

Only Lovers Left Alive is a film about the urgency of that recycling process, a snickering genre tale that shacks up with a pair of exhausted paramours desperate to become new yet frustrated that they can’t grow old. Jarmusch has been trying to make the movie for seven years… I’d happily argue Only Lovers Left Alive is Jarmusch’s best film, but it might be more helpful to say it’s his most fluent. The leads are Eve (Swinton) in Tangier, an ancient city forever on the cusp of rebirth, and Adam (Tom Hiddleston), in Detroit, contemporary America’s most famous icon of decay. …

They live apart because they can, because it doesn’t deprive them of time together. “If you live that long, separation for a year might feel like a weekend,” says Jarmusch, his voice a spacey drawl. “It’s not an obligation, it’s an emotional connection.” It’s one so strong that Adam, a natural romantic who sees poetry in science, intimates that his relationship with Eve is an example of Einstein’s theory of entanglement: “When you separate an entwined particle, and you move both parts away from the other, even on opposite ends of the universe if you alter or affect one, the other will be identically altered or affected.” …

It’s hard not to see the theatrically suicidal Adam as Jarmusch in disguise, the director’s neuroses in almost human form. For one thing, both of them love Swinton. “It’s everything about her,” says Jarmusch, eyes lost over my shoulder. “It’s her physicality, the way that she moves … like a vestigial predator, like a wolf.”

There’s certainly a feral element to Eve’s appearance; her character comes off as a Nobel laureate raised by wild animals. For Jarmusch, though, it’s her clear eyes that are most compelling. “She has an ability to prioritise what’s really important in life. Once I was listening to her, I think we were at lunch with Patti Smith, and I thought: ‘Oh boy, if all culture breaks down, I’m following them. They’re my leaders, the women are the way to go.’ One of the great moments in my life,” he continues, “was when we were shooting The Limits of Control, and we finished a take and I said: ‘Oh Tilda, that was so beautiful, will you marry me?” And she replied: ‘Oh darling, we already are.’ I could have died.”

Jim Jarmusch: ‘Women are my leaders’ | Guardian

©2011 Kateoplis