From Arthur B. Purvis Sent Thu, Dec 25th 1997, 20:29
From Arthur B. Purvis Sent Thu, Dec 25th 1997, 20:29
>what involvement did Cronenberg have with Come To Daddy? also, the film
>for Naked Lunch was an insult to Burrough's masterpiece and Crash was
>just an abortion of a movie.
While I'll give you the Crash statement, Naked Lunch the film,
as a self-contained film (ie removing all relation to Burroughs) was a
damn fine flick. Totally off the deep end in a far more immediately
aesthetically pleasing way than the novel (granted, this may be the
basis for your statement, but you didn't articulate much). And for
the record, much of the material came from Junkie, not Naked Lunch proper.
BTW Wells, not to be insulting at all, but you bitch far too much. I
agree with your bitchings 100% of the time so far, but I don't see much
point to just shouting out how much Goldie sucks every time his name comes
up (and Digital was surprisingly good; I would give it a listen. Totally
different from the commercial diva pap that made him famous/"important" -
basically really mechanical breaks (think maybe Photek's Third Sequence,
but less blatantly scifi and more large-machines-in-a-small-room) and the
No-U-Turn bass sound done in an actually bearable way. I won't go into
how worthless and pretentious the entirety of the No-U-Turn roster is at
the moment, but this is the way you'd think it sounds from some of the
hype... Dark, but not murderously dark, more mechanically dark.)
Parting shot:
No-U-Turn is "dark" music for people who have no idea what "dark" music
actually sounds like.
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the humble abbott arthur purvis set his hand hereto