更新时间:2017-11-02
艾斯跳绿 • AUTOLUMINESCENT: ROWLAND S. HOWARD:White Light
片子里好玩儿的事，一点点记录吧。
Lydia Lunch在片子里有一段跟罗兰合唱现场的影像，穿着挂脖小黑裙简直美cry……全片颜值担当了，完全看不出虎背熊腰（？？？）那段配乐是天鹅绒清晨，但实际唱的应该不是，倒像 <Oh Jim>。油管上找了一圈儿都没有，只有几个模模糊糊的台下观众录的视频。
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罗兰喜欢过他早年乐队Young Charlatans的女贝斯手Janine Hall，但她那时候已经25岁了，罗兰和其他小伙伴们才18岁的样子，于是小姐姐就很嫌弃他，觉得他是个"sensitive slim young flower"。
👆Genevieve第一次见到罗兰的场景：他穿着一件豹纹衬衫（……）在跟Janine玩弹珠台（pinball）。
当然了罗兰年轻时喜欢过的人太多了，大家回忆起来纷纷都是“哎呀Rowly这孩子啊，啧啧，太浪漫主义，见一个爱一个，但是——人家都不喜欢他”……ಠ .̫.̫ ಠ
但这段悲惨的经历在遇到Genevieve之后就成为了历史！他成功从尼克洞手中抢来了Genevieve！
好吧并没有。事实是Genevieve跟洞洞好了没两天，洞洞就跟Anita复合了（贵圈缺姑娘大家看在眼里了），于是罗兰这小子趁虚而入，天天在Genevieve身边转悠，跟她讲冷笑话（。）但Genevieve一直觉得罗兰年纪太小了。直到有一天，罗兰搞了一个凳子摞在桌子上，站了上去，Genevieve扶着他的腿抬头看他，突然间就 (˶‾᷄ ⁻̫ ‾᷅˵)
“I was totally smitten.”
——阿姨说这句话的时候简直娇羞www
Read more at http://www.uncut.co.uk/reviews/dvd/autoluminescent#UzF00fdML3OS5Fo5.99
Romantic and beautiful, sad and funny, very cool and just a little bit pretentious – you’d have to say that Autoluminescent gets the flavor of its subject spectacularly well. That subject is Rowland S Howard: songwriter and guitarist with The Birthday Party, Crime And The City Solution, and a idiosyncratic solo performer whose career was finally picking up some belated momentum when he died of liver cancer in 2009 aged 50.
Howard’s story – of a brilliant talent whose career rewards were postponed indefinitely by his heroin dependence – is sad, but the strength of Autoluminescent is that it paints a vivid picture of Howard, (someone who, as Henry Rollins says here, was “spectral. Like Rimbaud back from Africa”, even when at full tilt), and the major influence he had: on the women he loved, the bands he played in, and the scenes he animated.
Tall, wry, and convinced of his own greatness (he signed pictures of himself saying, “tomorrow belongs to me”) he arrived on the late 1970s Melbourne rock scene, as Nick Cave confirms in a warm, frank and vaguely confessional interview, fully formed. At 16, Howard wrote “Shivers”, a piece sending up faux-suicidal teenage angst, which impressed Cave to the point of admitting him to The Boys Next Door, the band that became The Birthday Party.
A good chunk of the film, as you might hope, is dedicated to The Birthday Party, to whom Howard gave a white light guitar sound, several abstract compositions and a consumptive glamour. Suspecting their greatness, the band moved to London, (where Howard got malnutrition and all the bands were terrible), were too savage for New York (Howard: “In three gigs, we played 25 minutes. It was fantastic.”), and finally decamped to Berlin. Wim Wenders remembers them arriving “like Siberian crows” and featured Howard (now kicked out of the Birthday Party) prominently for his film (i)Wings Of Desire(i). These bits, as you might expect, look spectacular.
Other groups (Crime And The City Solution; These Immortal Souls) and collaborations (with Lydia Lunch) followed, but Autoluminescent has sufficiently warmed us to the wry, charming Howard, his romantic nature and his sporadic bursts of greatness, that we are happy to spend the rest of the film on the gentler currents of his rather erratic life. There are some significant relationships with some good people, some solid pieces of work, some other projects begun, and a late surge of good fortune. Illness then makes its inexorable entrance into the piece.
Autoluminescent is a superior documentary because it takes you down these inclines, off the beaten track of the more extreme contrasts of the “rise and fall” rock narrative. Rowland S Howard was a great musician, but all the big names pulled in to assure you of this can’t make him a household name, so the job that is accomplished here is necessarily a subtler one.
It doesn’t show you Howard’s accomplishments as if they were arrayed in a trophy cabinet, or his addictions as if they were a torment heroically vanquished, but both as features in a wider life. The more you hear from the people close to him, the more a picture emerges of just who Rowland S Howard was, and why they miss him, and in so doing, why rock music continues to miss him too.
Lydia Lunch在片子里有一段跟罗兰合唱现场的影像，穿着挂脖小黑裙简直美cry……全片颜值担当了，完全看不出虎背熊腰（？？？）那段配乐是天鹅绒清晨，但实际唱的应该不是，倒像 <Oh Jim>。油管上找了一圈儿都没有，只有几个模模糊糊的台下观众录的视频。
————————————————————
罗兰喜欢过他早年乐队Young Charlatans的女贝斯手Janine Hall，但她那时候已经25岁了，罗兰和其他小伙伴们才18岁的样子，于是小姐姐就很嫌弃他，觉得他是个"sensitive slim young flower"。
👆Genevieve第一次见到罗兰的场景：他穿着一件豹纹衬衫（……）在跟Janine玩弹珠台（pinball）。
当然了罗兰年轻时喜欢过的人太多了，大家回忆起来纷纷都是“哎呀Rowly这孩子啊，啧啧，太浪漫主义，见一个爱一个，但是——人家都不喜欢他”……ಠ .̫.̫ ಠ
但这段悲惨的经历在遇到Genevieve之后就成为了历史！他成功从尼克洞手中抢来了Genevieve！
好吧并没有。事实是Genevieve跟洞洞好了没两天，洞洞就跟Anita复合了（贵圈缺姑娘大家看在眼里了），于是罗兰这小子趁虚而入，天天在Genevieve身边转悠，跟她讲冷笑话（。）但Genevieve一直觉得罗兰年纪太小了。直到有一天，罗兰搞了一个凳子摞在桌子上，站了上去，Genevieve扶着他的腿抬头看他，突然间就 (˶‾᷄ ⁻̫ ‾᷅˵)
“I was totally smitten.”
——阿姨说这句话的时候简直娇羞www
Read more at http://www.uncut.co.uk/reviews/dvd/autoluminescent#UzF00fdML3OS5Fo5.99
Romantic and beautiful, sad and funny, very cool and just a little bit pretentious – you’d have to say that Autoluminescent gets the flavor of its subject spectacularly well. That subject is Rowland S Howard: songwriter and guitarist with The Birthday Party, Crime And The City Solution, and a idiosyncratic solo performer whose career was finally picking up some belated momentum when he died of liver cancer in 2009 aged 50.
Howard’s story – of a brilliant talent whose career rewards were postponed indefinitely by his heroin dependence – is sad, but the strength of Autoluminescent is that it paints a vivid picture of Howard, (someone who, as Henry Rollins says here, was “spectral. Like Rimbaud back from Africa”, even when at full tilt), and the major influence he had: on the women he loved, the bands he played in, and the scenes he animated.
Tall, wry, and convinced of his own greatness (he signed pictures of himself saying, “tomorrow belongs to me”) he arrived on the late 1970s Melbourne rock scene, as Nick Cave confirms in a warm, frank and vaguely confessional interview, fully formed. At 16, Howard wrote “Shivers”, a piece sending up faux-suicidal teenage angst, which impressed Cave to the point of admitting him to The Boys Next Door, the band that became The Birthday Party.
A good chunk of the film, as you might hope, is dedicated to The Birthday Party, to whom Howard gave a white light guitar sound, several abstract compositions and a consumptive glamour. Suspecting their greatness, the band moved to London, (where Howard got malnutrition and all the bands were terrible), were too savage for New York (Howard: “In three gigs, we played 25 minutes. It was fantastic.”), and finally decamped to Berlin. Wim Wenders remembers them arriving “like Siberian crows” and featured Howard (now kicked out of the Birthday Party) prominently for his film (i)Wings Of Desire(i). These bits, as you might expect, look spectacular.
Other groups (Crime And The City Solution; These Immortal Souls) and collaborations (with Lydia Lunch) followed, but Autoluminescent has sufficiently warmed us to the wry, charming Howard, his romantic nature and his sporadic bursts of greatness, that we are happy to spend the rest of the film on the gentler currents of his rather erratic life. There are some significant relationships with some good people, some solid pieces of work, some other projects begun, and a late surge of good fortune. Illness then makes its inexorable entrance into the piece.
Autoluminescent is a superior documentary because it takes you down these inclines, off the beaten track of the more extreme contrasts of the “rise and fall” rock narrative. Rowland S Howard was a great musician, but all the big names pulled in to assure you of this can’t make him a household name, so the job that is accomplished here is necessarily a subtler one.
It doesn’t show you Howard’s accomplishments as if they were arrayed in a trophy cabinet, or his addictions as if they were a torment heroically vanquished, but both as features in a wider life. The more you hear from the people close to him, the more a picture emerges of just who Rowland S Howard was, and why they miss him, and in so doing, why rock music continues to miss him too.
