Is my body too Bootylicious for you, baby?!
Love,
Belle x
Monday
Tune Tape Tuesdays #14
I'm sure all of you have watched - or at least seen the photos of - Beyoncé's big debut at the Superbowl Halftime on Sunday. In light of this, I thought it only fitting that this week's Tune Tape should pay some sort of homage to 'Queen B' - but not in the way you're expecting, oh no. Rather than putting a collection of my 'Top Ten Destiny's Child Songs' (which was tempting), I thought I'd try and merge the spirit of Tune Tape Tuesdays with the attitude of Beyoncé; creating some sort of New Music Hyper-Beast Love Child. To me, being 'Bey' is about being three things: Fierce, Kind, and Beautiful. I think I've captured 'Fierce' in the cutting edge and experimental selection of artists I've put together for you - currently trailblazing their way through the emerging music scene. As for 'Kind', I've decided to put all these songs into a folder and share them with you - no more hunting them down, or looking them up on YouTube - they're yours to keep! Just click HERE. You're welcome. And finally, 'Beautiful' - I didn't know what to put here, so I decided to just put one of my modelling shots up...
Ok. Enough joking around - let's get back to what we're all here for. This week's top spot goes to Yarin's remix of the up'n'coming Jeremih (who featured a few Tune Tapes back with a remix of his song F*ck U All The Time) with Birthday Sex. As with most of Jeremih's songs, it's just all too easy to turn them into down-right dirty 'bump in the night' songs (if ya catch ma drift.). If Bey's performance has left you feeling like you need an injection of sex appeal, this tune will do the job. Next up is Halls with their song Lifeblood. This is a little hard to describe. It's kind of like hearing a slow Jeff Buckley song...as a foetus. Yes. A foetus. The beat in the background is no doubt supposed to be a heartbeat (hence Lifeblood), but the hypnotic, multi-layers of the track cocoon you in sound - it really is something to behold. Next, I believe I have found the 2010's equivalent to Death Cab For Cutie - the band who, in the mid-00's, were almost solely responsible for the tidal wave of 'American Indie-Pop' that came to be associated with The OC Soundtrack. Dog and Panther have been passed this sacred torch, and are trying to ignite the indie flame for a new generation. Using more synth than Death Cab, but still the same kind of feel, Giant Hands will take you back to the days were mobile phone screens were still black and white, and Gypsy skirts were the height of fashion. If you're in the mood (for dancing), Little Daylight's Overdose is a guilt-free helping of feel-good Pop to stomp your feet to. If you're looking for something more adventurous, I would suggest the brilliant Toro Y Moi with their song Say That. It's not for everyone, but it's a fantastic tune to stick on and have a few drinks to. Toro Y Moi are going places, trust me. If, like me, you're a fan of 'ambientronica', then you should enjoy Yume's Admire, which, if I can describe it any way, sounds weightless. It's the soundtrack to floating, if floating were possible. Finally, Ryan Hemsworth is a massive player on the new music scene (along with co-horts and TTT regulars Cyril Hahn, MiTiS, and Chrome Sparks). This week features his remix of the incredible Grimes tune Genesis. What I love about Ryan is that his remixes are pretty much stand-alone tracks. Instead of just shuffling about or speeding up a track, he builds a new track which captures the emotion you feel from the original - subtly slipping in features of the first as a thank you for the inspiration. Have a listen and see if you agree. Last of all are two songs which are a bit out there: Virgin Magnetic Material's remix of one of my favourite 80's songs, The Killing Moon. VMM slows the song down so you can appreciate the lyrics, while simultaneously introducing a subtle, sexy beat. At nearly 8 minutes, it's not a short one, but it's definitely worth a listen. The second song is Vondelpark's California Analog Dream, which, *if* I smoked certain illicit substances, would definitely match the mood which it *apparently* induces. Anyway, have a listen - on here AND on your iPods - and enjoy!
Love,
Belle x
Love,
Belle x
Wish List Mondays #14
On Friday morning, I looked out of my bedroom window and saw something I hadn't seen in weeks: sunshine. Making a dive across my bed for my phone, I frantically texted my über-trendy Asian friend (the limited edition, shiny Pokémon card of friends) and pleaded with her to come assist me on a 'Street-Style' post on campus. Filled with hope, I boarded the bus to university - the same time that a huge black cloud appeared. We got as many shots as we could before the rain came down and washed every stylish person away. Needless to say, this is only Part One - we will have to wait for another monthly bout of sunshine before we attempt Part Two...
It's odd to think I've only got around 4 months left of my university life. By the time I graduate in July, my life will be once again packed up in boxes - although this time they're travelling a little farther than just up the M6. I'm moving to Australia. Really, I'm moving back, seeing as I was born and grew up in Sydney, but still - it's a pretty big change. Obviously, I'm already planning my wardrobe, and there is one lady in my mind. Miranda Kerr. Here's what I'm talking about...
So, in homage to my new Aussie girl crush, and my imminent move back to our shared hometown, here is this week's Wish List, entitled 'WWMW?', or 'What Would Miranda Wear?'. Enjoy!
1. 'Swallow Plains' Jacket, French Connection, £110. Come fly with me, here.
2. 'Antigona' Medium Grainy Leather Tote by Givenchy, Selfridges & Co, £1,290. Totes amaze, here.
3. Fluted Skirt Mini-Dress by Alexander McQueen, Matches Fashion, £1,075. Flute and score, here.
4. 'Scooter' Stripe Tshirt by Marc by Marc Jacobs, My-Wardrobe.com, £260. Scoot on over, here.
5. 620 Mid-Rise Super Skinny Jeans by J Brand, Matches Fashion, £190. Skinny minnie, here.
6. 'Carmen' Signature Shoes by Charlotte Olympia, Matches Fashion, £625. Gilded butterfly, here.
7. Nail Polish in 'Alarm' by Illamasqua, Selfridges & Co, £14. Raise the alarm, here.
8. Heeled Ballerina Pumps, Topshop. £24. Well-heeled, here.
9. Cat Eye Acetate Sunglasses by Tiffany & Co, Harvey Nichols, £238. Cat got the cream, here.
10. Multi-Spike Collar, Topshop, £17. Take a spike, here.
11. Black Cut-Out Long Line Bikini, Topshop, £30. Cut out and pin up, here.
Love,
Belle x
 |
| Name: Nicolette Age: 21 Studying: Economics What would you describe your style as?: Comfortable. |
 |
| Name: Ed Age: 22 Styding: History of Art How would you describe your style?: Mix'n'Match. |
 |
| Names: Virginia, Erin, Helena Ages: 21, 21, 20 Studying: Events Management & Drama How long does it take you to get ready in the morning?: 10-20 mins. |
 |
| Name: Alyssa Age: 19 Studying: Bio-Med What's your favourite place to shop?: My Mum's Wardrobe! |
 |
| Names: Harry & Emma Ages: 20 & 19 Studying: German & Business If you had all the money in the world, where would you shop?: Selfridges. |
It's odd to think I've only got around 4 months left of my university life. By the time I graduate in July, my life will be once again packed up in boxes - although this time they're travelling a little farther than just up the M6. I'm moving to Australia. Really, I'm moving back, seeing as I was born and grew up in Sydney, but still - it's a pretty big change. Obviously, I'm already planning my wardrobe, and there is one lady in my mind. Miranda Kerr. Here's what I'm talking about...
So, in homage to my new Aussie girl crush, and my imminent move back to our shared hometown, here is this week's Wish List, entitled 'WWMW?', or 'What Would Miranda Wear?'. Enjoy!
2. 'Antigona' Medium Grainy Leather Tote by Givenchy, Selfridges & Co, £1,290. Totes amaze, here.
3. Fluted Skirt Mini-Dress by Alexander McQueen, Matches Fashion, £1,075. Flute and score, here.
4. 'Scooter' Stripe Tshirt by Marc by Marc Jacobs, My-Wardrobe.com, £260. Scoot on over, here.
5. 620 Mid-Rise Super Skinny Jeans by J Brand, Matches Fashion, £190. Skinny minnie, here.
6. 'Carmen' Signature Shoes by Charlotte Olympia, Matches Fashion, £625. Gilded butterfly, here.
7. Nail Polish in 'Alarm' by Illamasqua, Selfridges & Co, £14. Raise the alarm, here.
8. Heeled Ballerina Pumps, Topshop. £24. Well-heeled, here.
9. Cat Eye Acetate Sunglasses by Tiffany & Co, Harvey Nichols, £238. Cat got the cream, here.
10. Multi-Spike Collar, Topshop, £17. Take a spike, here.
11. Black Cut-Out Long Line Bikini, Topshop, £30. Cut out and pin up, here.
Love,
Belle x
Friday
Film Fest Fridays #4
Back in the Christmas holidays, my mum and I watched the BBC film The Girl, starring Sienna Miller as Tippi Hedren - the actress plucked from obscurity by Alfred Hitchcock to play the lead in his iconic film The Birds. In this film, which focuses on what we would now recognise as sexual harassment from Hitchcock (played by Toby Jones) to most girls under his directorial jurisdiction, we are given a glimpse of the flip-side to the 'glamour' of 50s' Hollywood. The Girl centres around the filming of the 1963 film The Birds, whereas the forthcoming film Hitchcock is concerned with the story behind Psycho (1960). This week, I was lucky enough to see an advance screening of the latter - which is due out in cinemas in the UK next Friday. Inspired by The Girl and Hitchcock respectively, I decided to watch the infamous Psycho a few days later - which ticks off another movie I hadn't seen on IMDB's Top 100. Here's what I thought of them...
My Rating: 6/10
Set in the last few months of the 1950's, Alfred Hitchcock (played by Anthony Hopkins) is already renowned for being 'The Master of Suspense'; a cinematic genius with the respect and adoration of Hollywood. As we know, 'behind every great man, there's a great woman' - in Hitchcock's case, this is his steadfast wife, Alma (Helen Mirren). From the beginning, we are made aware that marital relations between the pair aren't exactly conventional - especially for the period. It's essentially a working relationship - Alma jokes about Hitch's wandering eye whilst proof-reading potential scripts for upcoming projects, Hitch hides wine in the magazine rack...it's the stuff of comedic duos. Which is one of my many problems with the film - it's all a bit too slapstick. Hitchcock waddles across the screen; his bloated-bellied silhouette more like a cartoon character than a real person, and the accent Hopkins has employed is over-the-top and laughable. Rather than having any real 'stage presence' (as the real Hitchcock and Toby Jones's depiction do have), Hopkins pouts his way through the film in an over-inflated fat suit, whilst licking his lips at the pretty young things that totter by. He's a sneaky fat pervert - but more Michelin man than Jimmy Saville. This portrayal of Hitchcock - especially vis-a-vis his penchant for blondes - is in total contrast to the dark, menacing figure we see in The Girl. It's comparing a predator to a pest, and I think that is dangerous. This having been said, both films put Hitchcock in a fairly bad light. Neither one doubts his genius, but both show a darker side - varying from 'spoilt brat' (Hitchcock) to 'merciless sexual harasser' (The Birds). Whilst Hopkins's performance falls a bit flat, Helen Mirren gives a great portrayal of Hitchcock's long-suffering wife, Alma. Obviously a genius in her own right, she is forever eclipsed by her husband and his voracious ego. She is the thankless understudy that never gets to play the part. The main problem with Hitchcock is its lack of focus. The film tries to split your emotions and interest between two storylines; that of Alma and her laborious marriage to the director, and the story behind Psycho. Unfortunately it doesn't do either of these well enough for you to really care. Hitchcock's 'visits' from the real-life psycho Ed Gein (upon whom the adapted book and subsequent film is based on) are out of kilter with the rest of the film; desperately trying to clutch hold of some straws to hammer home the point of 'art mirroring life'. While the film touches upon some interesting ideas and situations, that's all it really does - touch upon them. All in all, it's an enjoyable, but blasé, look into the life of Alfred Hitchcock c.1960 with a vague background to the making of Psycho. Speaking of which...
Psycho (1960)
IMDB Rating: 8.6/10
My Rating: 8.5/10
Psycho was the first movie to take the Horror genre out of the gutter of 'B' movies and elevate it into a cinematic artwork. There was only one director who was capable of turning such a 'low-brow' form of entertainment into a sophisticated classic: Alfred Hitchcock. Based on the true-life events of a serial killer in the 1950's, Psycho centres around the disappearance of Marion Crane (played by Janet Leigh), and the hunt to find out the truth surrounding her vanishing. Psycho, however, refers not just to the deranged murderer responsible, but also to the film's defining aspect - it's psychological. From the first scenes of the film, the viewer is made to feel like a voyeur - like we are spying on the main characters, rather than them being 'shown' to us. It's almost like we don't have permission - which is a pretty unnerving feeling. Yet we can't look away. It's only in hindsight that we realise Hitchcock has given us the perspective of the psycho - Norman Bates, owner of the sinister off-road 'Bates Motel' - who looks through his peep-hole at Marion Crane, and is 'watching, always watching'. Bates, who looks more like a frat boy than a serial killer, is given a extra dose of disturbance through the film's dramatic use of shadows. The high contrast between light and dark (which changes after the 'shower incident') emphasises not just the physical, but also the mental, characteristics of the 'psycho'. Even more than 50 years on, Psycho still manages to make you jump. You also realise just how influential this film has been. Just a few references I noted were horror films centred around deserted motels (eg.Vacancy), cross-dressing psychopaths (eg.Silence of the Lambs), and South Park's City Sushi episode, which I watched last night and realise they copy the end scene of Psycho. Not to mention the use of atmospheric music signalling when to hide behind your popcorn. I have a feeling Psycho's one of those films that keeps giving - that every time you watch it, you see something new, or pick up on something different. It's truly timeless, and that's what makes a film a classic. Just don't take a shower afterwards.
Love,
Belle x
Hitchcock (in cinemas February 8th)
IMDB Rating: 7/10My Rating: 6/10
Set in the last few months of the 1950's, Alfred Hitchcock (played by Anthony Hopkins) is already renowned for being 'The Master of Suspense'; a cinematic genius with the respect and adoration of Hollywood. As we know, 'behind every great man, there's a great woman' - in Hitchcock's case, this is his steadfast wife, Alma (Helen Mirren). From the beginning, we are made aware that marital relations between the pair aren't exactly conventional - especially for the period. It's essentially a working relationship - Alma jokes about Hitch's wandering eye whilst proof-reading potential scripts for upcoming projects, Hitch hides wine in the magazine rack...it's the stuff of comedic duos. Which is one of my many problems with the film - it's all a bit too slapstick. Hitchcock waddles across the screen; his bloated-bellied silhouette more like a cartoon character than a real person, and the accent Hopkins has employed is over-the-top and laughable. Rather than having any real 'stage presence' (as the real Hitchcock and Toby Jones's depiction do have), Hopkins pouts his way through the film in an over-inflated fat suit, whilst licking his lips at the pretty young things that totter by. He's a sneaky fat pervert - but more Michelin man than Jimmy Saville. This portrayal of Hitchcock - especially vis-a-vis his penchant for blondes - is in total contrast to the dark, menacing figure we see in The Girl. It's comparing a predator to a pest, and I think that is dangerous. This having been said, both films put Hitchcock in a fairly bad light. Neither one doubts his genius, but both show a darker side - varying from 'spoilt brat' (Hitchcock) to 'merciless sexual harasser' (The Birds). Whilst Hopkins's performance falls a bit flat, Helen Mirren gives a great portrayal of Hitchcock's long-suffering wife, Alma. Obviously a genius in her own right, she is forever eclipsed by her husband and his voracious ego. She is the thankless understudy that never gets to play the part. The main problem with Hitchcock is its lack of focus. The film tries to split your emotions and interest between two storylines; that of Alma and her laborious marriage to the director, and the story behind Psycho. Unfortunately it doesn't do either of these well enough for you to really care. Hitchcock's 'visits' from the real-life psycho Ed Gein (upon whom the adapted book and subsequent film is based on) are out of kilter with the rest of the film; desperately trying to clutch hold of some straws to hammer home the point of 'art mirroring life'. While the film touches upon some interesting ideas and situations, that's all it really does - touch upon them. All in all, it's an enjoyable, but blasé, look into the life of Alfred Hitchcock c.1960 with a vague background to the making of Psycho. Speaking of which...
IMDB Rating: 8.6/10
My Rating: 8.5/10
Psycho was the first movie to take the Horror genre out of the gutter of 'B' movies and elevate it into a cinematic artwork. There was only one director who was capable of turning such a 'low-brow' form of entertainment into a sophisticated classic: Alfred Hitchcock. Based on the true-life events of a serial killer in the 1950's, Psycho centres around the disappearance of Marion Crane (played by Janet Leigh), and the hunt to find out the truth surrounding her vanishing. Psycho, however, refers not just to the deranged murderer responsible, but also to the film's defining aspect - it's psychological. From the first scenes of the film, the viewer is made to feel like a voyeur - like we are spying on the main characters, rather than them being 'shown' to us. It's almost like we don't have permission - which is a pretty unnerving feeling. Yet we can't look away. It's only in hindsight that we realise Hitchcock has given us the perspective of the psycho - Norman Bates, owner of the sinister off-road 'Bates Motel' - who looks through his peep-hole at Marion Crane, and is 'watching, always watching'. Bates, who looks more like a frat boy than a serial killer, is given a extra dose of disturbance through the film's dramatic use of shadows. The high contrast between light and dark (which changes after the 'shower incident') emphasises not just the physical, but also the mental, characteristics of the 'psycho'. Even more than 50 years on, Psycho still manages to make you jump. You also realise just how influential this film has been. Just a few references I noted were horror films centred around deserted motels (eg.Vacancy), cross-dressing psychopaths (eg.Silence of the Lambs), and South Park's City Sushi episode, which I watched last night and realise they copy the end scene of Psycho. Not to mention the use of atmospheric music signalling when to hide behind your popcorn. I have a feeling Psycho's one of those films that keeps giving - that every time you watch it, you see something new, or pick up on something different. It's truly timeless, and that's what makes a film a classic. Just don't take a shower afterwards.
Love,
Belle x
Subscribe to:
Posts (Atom)
LinkWithin
