Lust For Life
"The Passenger" was inspired by a Jim Morrison poem that saw "modern life as a journey by car", as well as rides on the Berlin S-Bahn, according to Pop's former girlfriend Esther Friedmann.[33][34] The lyrics have also been interpreted as "Iggy's knowing commentary on Bowie's cultural vampirism".[22] The music, a "laid-back ... springy groove", was composed by Gardiner.[35] Characterized by AllMusic as "a glorious throwaway" and by Rolling Stone as "an infectious throwaway", "Success" is a light-hearted track of the call and response variety.[29][36]
Lust for Life
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Though not released as a single, "White Mustang" was accompanied by a music video published on September 17, 2017. The video illustrates a futuristic Los Angeles in an aesthetic reminiscence of "High by the Beach".[33] It was released as the second promotional single.[citation needed]
Lust for Life is a 1956 American biographical film about the life of the Dutch painter Vincent van Gogh, based on the 1934 novel of the same title by Irving Stone which was adapted for the screen by Norman Corwin.
Vincent has trained to be a minister, like his father, but the church authorities find him unsuitable. He pleads with them to be allowed some position and they place him in a very poor mining community. Here he becomes deeply absorbed in the miners' plight and begins sketching their daily life.
After his father's death, he goes to Paris with Theo, where he discovers impressionists. Theo cannot bear living with him and Vincent leaves for sunny Arles, France. Paul Gauguin (whom he met in Paris) joins him there, and for a while life is good. However, Vincent is too obsessive even for Gauguin's tastes and they argue, prompting the latter's departure, after which Vincent cuts off his own ear. Vincent begins experiencing seizures and voluntarily commits himself to a mental institution, where he is allowed to paint. He signs himself out, and with Theo's help returns to a rural area to resume painting. While painting cornfields, he is frustrated by the crows and, despairing at never being able to put what he sees on canvas, pulls out a revolver to shoot himself. He dies in bed a few days later.[3]
On The Idiot, Iggy Pop looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the midtempo introspection of his first album and began rocking hard again. Musically, Lust for Life is a more aggressive set than The Idiot, largely thanks to drummer Hunt Sales and his bassist brother Tony Sales. The Sales proved they were a world-class rhythm section, laying out power and spirit on the rollicking title cut, the tough groove of "Tonight," and the lean neo-punk assault of "Neighborhood Threat," and with guitarists Ricky Gardiner and Carlos Alomar at their side, they made for a tough, wiry rock & roll band -- a far cry from the primal stomp of the Stooges, but capable of kicking Iggy back into high gear. (David Bowie played piano and produced, as he had on The Idiot, but his presence is less clearly felt on this album.) As a lyricist and vocalist, Iggy Pop rose to the challenge of the material; if he was still obsessed with drugs ("Tonight"), decadence ("The Passenger"), and bad decisions ("Some Weird Sin"), the title cut suggested he could avoid a few of the temptations that crossed his path, and songs like "Success" displayed a cocky joy that confirmed Iggy was back at full strength. On Lust for Life, Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking, Lust for Life is the best album of Iggy Pop's solo career.
When Vincente Minnelli makes a movie about art, I sit up and listen. Playing Vincent Van Gogh, Kirk Douglas's anguish-pain-hysteria swirlingly evokes the brooding, pent-up rage of the Abstract Expressionists, the lonely avant-gardists, the romantics, the hubris-filled artists armed with such noble, radical insight into humanity and nature that their society shuns them, so overwhelming are the sun-like rays they emit. Theirs is a lonely and solemn path. They take on the tortures of emotion and make it more vivid, more lifelike than life, through art. A film of magnetic intensity, a film that transforms the way you look at a tree or a person in a purple sea. And yet, easy romanticizing of the artist's hermit-like destiny is avoided. As is the case with Minnelli's works, ambivalence creeps up behind every silver lining. Those final words of Van Gogh's will haunt my dreams. I'm still tearing up.
His passionate struggle to do something finewith his life is agonizing and even when he finally blossoms asan artist he is beset with severe mental problems, so much sothat even in a flurry of incredible creativity he shoots himself.
His life is about unrequited love, a savagethirst to be "used" and to contribute somehow to alleviatinghumanity's harshness, and the passion to capture the beauty oflife. It is also about the very, very touching love of his youngerbrother, Theo, who supported him unstintingly.
Inconceivably, he lost out to Yul Brynner in"The King and I" for the best actor Oscar. (Brynnerwas wonderfully flamboyant and histrionic, but Douglas, who wasalso nominated for best actor for his roles in "The Champion"in 1949 and "The Bad and The Beautiful" in 1952, givesthe performance of a lifetime and one completely different fromhis superb title role in "Spartacus" (see TheCity Review article). (He finally received an Oscar, albeitan honorary one, in 1995.)
Irving Stone has without a doubt earned his place as a pillar of American literature through a number of genre and era-defining works, and Lust for Life, published all the way back in 1934, is one of them. Best-described as a semi-fictional biographical novel, it follows t he unusual life of the artist Vincent Van Gogh, who experienced both the greatest highs and the lowest depths of human existence.
We are then taken further into his life as it takes on increasingly grandiose proportions, especially his years spent in Southern France in the company of many other artists of equal brilliance. We see the vortex into which his life eventually turns into, and the madness which begins to consume his inner world, ultimately driving him to the desperate acts many remember him for.
Time and time again we see him submitted to different trials, from trying to help the poor coal miners of the Borinage to the point of driving himself to near-death, to the failures of his love life and his constant guilt at his inability to produce saleable paintings. Each and every time they not only give shape to his inner character, but also teach him valuable lessons on suffering.
Those include Lust for Life about Vincent van Gogh, as well as The Agony and the Ecstasy, about the life of Michelangelo. Stone was the recipient of the 1956 Spur Award for Men to Match My Mountains, the 1960 Honorary Doctorate of Letters from Berkeley, and the 1961 Commonwealth Club of California Books Award.
Vincente Minnelli's 1956 Van Gogh biopic starring Kirk Douglas as the tortured artist is as bold and emotionally vivid as one of the painter's visionary canvases. Which is to say that, yeah, it lacks a bit of subtlety now and then. But Douglas gives an intense and painfully vulnerable performance as Van Gogh, alongside memorable turns by James Donald as Vincent's long-suffering but loyal brother Theo, and Oscar-winner Anthony Quinn as a belligerent, larger-than-life Paul Gaugin.
As New York's temperatures spike into the '90s today, we've spent more time than we'd like to admit sitting dead center in front of our air conditioner and occasionally moaning, "I've got a lust for life," like a mantra. Whether you were one of the little fuckers who listened to the leaked Lust for Life album or you've just discovered it today, it's time we acknowledge that it's Lana Del Rey's world and we're just living in it.
Sliding in that reference to her first big hit "Video Game," Lana unplugs and admits that life isn't as perfect as a video game. She's actually riding the struggle bus and complaining about life as much as we do. She's probably just doing it while in a convertible Mustang with a drink in her hand.
This is the lyrical equivalent of throwing everything off a desk in one swift motion and we can bet that that's something she has done at least once in her life. Though, it was probably followed by very passionate lovemaking with the CEO of a company.
We've also felt like we had a war in our mind while riding this ride, but that's probably because they were a power bottom and we couldn't help but wonder if we'd turned our oven off before we left for their house. Don't worry, though, we've all wanted to get off but kept riding the ride because sometimes life isn't all we have a lust for.
But spending only two days on Kahlos monumental talent always left Bryants students wanting to know more. As a result of intense student interest in Kahlos life and art, Bryant, an educator associate professor at the University of Cincinnati, will begin a new spring undergraduate romance languages & literature course titled "Frida Kahlo's Mexico" (SPAN1092). This course will provide an overview of Mexican muralism and social realism and will examine the culture and history of Mexico contemporaneous to Frida during the first half of the 20th century.
To understand Frida Kahlo the person and her paintings one must first step outside a typical point of view and look at her vibrant life through more of an historical lens, says Bryant. Kahlo was a revolutionary artist during a time of personal pain and political chaos in her homeland of Mexico.
In addition to her love of Mexico and the scars she carried from a streetcar accident in her teens, Kahlos unconventional and turbulent marriage to Diego Rivera truly embodied her life. These overwhelming events became the primary subject matter that were brought to life as flamboyant and often gory scenes on her canvases. 041b061a72