Laura Snapes

"heard it through the snapesvine"

Cool girl on the web

Last night I watched You’ve Got Mail for the 156th time (though it was my excellent friend Bethany's first viewing!), which caused me to recall My Unfortunate Early Life In Email Addresses:

sleepoverspice [at] yahoo [dot] co [dot] uk because I liked the Spice Girls 

funkycyberchick [at] aol [dot] com because I wanted people to know I was a cool girl on the web

muddyarse [at] yahoo [dot] co [dot] uk because god knows

all_aboard_the_good_ship_albion [at] hotmail [dot] co [dot] uk because damn it if I was going to be contained by pro formas’ limited email address spaces

Also in “you know you’re a 90s film when…” observations:

- You know you’re a 90s film when there are four staffers working in an independent bookshop (h/t Bethany)

- You know you’re a 90s film (about the early days of the internet) when none of the characters can touch-type yet

“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit, all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”

Brian Eno, A Year With Swollen Appendices (via fleurlungs)

(via arabellesicardi)


(via hazelcills)

“For Willis, if your revolutionary thinking didn’t accurately reflect reality, it couldn’t change reality. In her version of liberation, sexual revolutionaries aren’t smug, performative hedonists who play out their fantasies in villas on Mustique; they wonder instead how thin the line is between courage and delusion while drinking coffee alone in their apartments or sitting on benches outside the Laundromat. And rock writers don’t turn their prose up to 11 to compete with the bands they’re covering, or get so bound up in the role of gnomic wizard that they can’t just shrug their shoulders and say, as Willis did, well, I was wrong about the Ramones; they admit to communing with what she called “the screaming teenager” inside. To Willis, acknowledging the real meant acknowledging that we are minds connected to bodies, and that what may not seem real at all — the unconscious and the psyche — are very powerful forces. Nearly every piece is a reminder that the culture we live in, even when we don’t profess its prevailing beliefs, has an effect on the psyche; that we internalize expectations even when we think we’re free; that we need to gather in groups to change our minds and the minds of others, because otherwise we stand alone in our pain and confusion, thinking that we’re the problem.”

– NYT, on The Essential Ellen Willis (via katherinestasaph)

I took Speedy Ortiz comic shopping for NME and we made this lovely film.

Feel lucky to have seen this tonight, if only in a cinema!

Feel lucky to have seen this tonight, if only in a cinema!