here 

Zemfira is an indie-rock musician notable for her departure from the traditional role of women in Russian music. Though she has been endlessly compared to female rockers, Zhanna Aguzarova, Yanka Dyagileva and Nastia Poleva, she barely resembles any of her Russian predecessors, aligning more closely with foreign artists like Kate Bush or Bjork. 

Oct 04, Chicago, Congress Theater
Oct 05, New York, Hammerstein Ballroom
Oct 10, Los Angeles, 740 Club
Oct 12, San Francisco, Fox Theater

Zemfira Talgatovna Ramazanova is an ethnic Tatar
born in Ufa, Russia in 1976

http://www.Zemfira.r…
http://en.wikipedia….

Call for ticket information
http://METPO.us/tick…

自从七月退还工作室，个人空间锐减，自然也没有多余的地方去堆放黑胶，因而逛唱片店的劲头锐减。昨天接到阿米巴的电话，邀我去店里结帐；那是两年前的事了，受dj所托，将李剑红和王长存的唱片送去阿米巴。可是两年下来，两人的cd竟然原样归还，这年头真是cd的末日呀. 遗憾中，顺手翻翻减价唱片，竟然发现一批香港80年代末期的流行歌手黑胶数10张，从徐小凤到甄妮，张学友到陈百强。拿下，以后送人。  

塔可夫斯基 ！！！ 

http://www.popcuts.com/  

极为讲究的摄影，构图都来源于油画，宗教题材的油画。

想像力丰富，甚至可以说疯狂，正搞（不是饿搞的恶搞，是肚子里有料）

对蒙古的感情也很真切，对现代化进程的判断也不是流行的二分观念，几乎抛弃所以的异者眼光的拍摄，

完全不跑低劣题材。在这个全球没有电影，没有艺术的环境下，

太难得，

突闻导演下部作品竟然会是安地山脉， 莫非我们这个时代的何索转世？

http://www.fragmentsofgrace.com/

http://www.shiwenhua.net/suitcase/   

王家卫的电影真快可以忽略了，极为封闭的空间，酒吧，赌场，餐厅，晃来晃去，一夜复一夜，（奇怪了段落标题却是day 1, day 6, day 9…)新片三段落似乎在翻拍重庆森林， 百万美元旅店…  最大的问题是王家卫的人物太喜欢说话了。 

http://artforum.com/news/#news20693  Bruce Conner (1933–2008)

07.07.08

Bruce Conner, a San Francisco–based artist known for his assemblages, films, drawings, and interdisciplinary works, passed away Monday afternoon. Conner moved to San Francisco in 1957 and quickly found his place within the city’s vibrant Beat community. His gauzy assemblages of scraps salvaged from abandoned buildings, nylon stockings, doll parts, and other found materials gained him art-world attention, as did A Movie (1958), an avant-garde film that juxtaposed footage from B movies, newsreels, soft-core pornography, and other fragments, all set to a musical score. (In 1991, A Moviewas selected for preservation by the United States National Film Registry at the Library of Congress.) Conner was active in the Bay Area’s 1960s counterculture scene, designing light shows for Family Dog performances at the Avalon Ballroom, and in the ’70s focused on drawing and photography. Art-world recognition resumed in the ’80s and continued to the present: Conner was included in the 1997 Whitney Biennial, was the subject of a touring survey in 1999–2000, and is featured in the current Carnegie International. At Conner’s request, there will be no funeral.