Friday, January 23, 2009

He likes Boss - so what?

"American actor Vincent Gallo hailed the show — the label's first menswear display in Paris — as "avant garde."

"I was startled a bit by the work because it was a bit of an extreme aesthetic," said Gallo. He added that creating such a statement look was the mission of Hugo, Hugo Boss' more creative, high end line."

And, to make it slightly newsworthy, there is a pic of him in Paris at the show - seems like he's hitting Europe at the moment.

Sunday, January 18, 2009

NEWS - The Man has been out and about again!

As it seems, Vincent Gallo went to the Art of Elysium Gala and looked stunning next to the also stunning Marissa Tomei.

Before I grace you with pics, a little information on what that Gala was about:

Welcome to The Art of Elysium
E.ly’.si.um: a place or condition of ideal happiness

Mission: The Art of Elysium, a non-profit 501(c) (3) organization founded in 1997, encourages working actors, artists and musicians to voluntarily dedicate their time and talent to children who are battling serious medical conditions. We provide artistic workshops in the following disciplines: acting, art, comedy, fashion, music, radio, songwriting and creative writing.

If you want to do anything or get more informations, look at the homepage: http://theartofelysium.org/ - I think it's a brilliant idea.

Yep, so Vincent is a good guy after all ;-)

And oh, right, the pics:

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"New" Clip from 2008

But still, it's so damn funny -and did I mention that he looks DAMN good in it?

Found on: http://fluxuryb.com/2009/01/fluxuryb-x-nina-clemente-x-vincent-gallo-venice-08/


F.luxury.B x Nina Clemente x Vincent Gallo [Venice '08] from ferris bueller on Vimeo.

Friday, January 16, 2009

Oldie but Goldie

As it's slow news at the moment - apart from Moscow Zero being released on DVD - I decided to post an old interview/article that I have always loved and maybe some of you don't know it yet :-)


http://www.transalt.org/files/newsroom/magazine/985SepOct/17commuter.html

Commuter of the month: Vincent Gallo

Age: 36

Occupation: I'm really a hustler. I don't know how else you'd describe it. I do a few things for money. People recognize me most for my film career, and right now for Buffalo 66. I buy and sell antique and collectible sound equipment and musical instruments.

Neighborhood: Little Italy. New York is one big shopping mall with no roof. I'm in the former Italian section of the mall.


Have you heard of T.A.? Are you a member? No. Because you guys don't put anyone interesting on the cover. I promise you if you put me on the cover and put the magazine around the city, you'll get 10,000 new members. The magazine has no sex appeal, no impact. That's the problem with you left-wing commies - you need to come out with a little charisma.

Philosophy: I am an extreme right-wing conservative. I'm doing this interview because I like bicycles. I wouldn't want people to think I'm a socialist.
How long riding: I got my first bike when I was four years old, and I've used bicycles for transportation ever since. I've never not used a bike as my main form of transport.

Commute: I always ride to the place where my mail is received - about one mile from home. And for at least one meal, I ride to a restaurant. But I tend to ride 100 blocks a day on average and am pretty focused downtown.

Advantages to bicycling: The good thing about bicycling is that, since I'm a public figure, I don't have to interact with people. If I walk from here to West Broadway, 50 people will stop me. On my bike, I can just wave. More public figures should ride bikes. It's a good way to deal with people.

Know other public figures who ride? Francesco Climenti, the artist.

JFK Jr. rides.: He's an asshole, so it doesn't even count. I can name a bunch of assholes who ride bikes.

Downside to bicycling: I get very depressed when I don't have my bike. Especially if it's stolen or broken. It's as severe as living in L.A. without a car.

What about cars? Loving bicycles isn't part of disliking automobiles for me. I love automobiles and automobile racing, car engines and design. All those things are part of what's exciting about the twentieth century. I don't like mining, petroleum, emissions in the air or car crashes, but cars aren't evil.

T.A. does not have an anti-car agenda. We suggest that in New York, where the quality of urban life can be dramatically improved by less traffic, automobile use should be discouraged: The way always to do that with anything is to make one thing - bicycling - attractive and the other thing - automobiles in the city - unattractive. Not by putting labels on everything - good, bad, evil.

Bike: 1949 Schwinn Spitfire. I've had it for 15 years. I had another one, a black Schwinn. That was the one I was hit by a taxi with. It was crushed. In L.A. I have a mountain bike.

Equipment: None. No racks, no gears. It has a kick break. I'm interested in the aerobics of the bike. I'm not interested in making it more efficient. I get more packages than anyone I know. No one can carry more boxes on a bike than me. It's incredible to see.

Theft: I used to have an Italian track bike, a Masi handmade in Milan in '71. I used to love riding a fixed gear around the city. It was stolen. Then I got a Colnago, and it was stolen. Now I have the least attractive bike possible. I'm not buying a nice bike ever again in New York City. If someone wants to steal my $40 bike, good for them.

Lock: NYC Kryptonite U-Lock.

Riding style: I always ride at an even speed, slightly aggressive, but not to the point of making people uncomfortable or making it dangerous for anyone else. I ride for the long term.

Crashes: I've been hit a few times. Two taxis were nearly in a brutal crash once, and one taxi, to avoid the crash, hit me instead. I was dragged for a block and a half and had a broken foot and 40 stitches for various cuts all over my leg. My bike was destroyed and so were the beautiful brand-new Missoni pants that Missoni gave me. I was traumatized. Bike accidents are brutal, but I used to race motorcycles, so it doesn't shake me up as much.

Biking highlights: I have some heavy mountain bike and BMX friends in NYC. Riding girls on my bike is also great.

Reactions: I always think people will think I'm square, but it's such an unpretentious way of living that it's become its own cool. I have a way of pulling it off. Bike geeks are not cool.

Cycling feats: I've gone far fast and surprised myself. Like when I have 10 minutes to get somewhere - there are some shocking tales of speed. But that's when you're reckless. I was doing this thing for a while when you grab onto a truck. For about a year I was into that heavy. Once you get a pull like that, it's hard to let go.

Repairs: I fix my own bike. If you can't fix a bike, you're pretty lame. Bike repair is simple and straightforward. The mechanics are logical. I like painting bikes and doing custom paint jobs. I once painted a friend's bike with glow-in-the-dark paint and a handpainted logo. He owns Brooklyn Machine Works. It was his first bike he built. It was beautiful.

Advice: I can't even imagine how people live without a bike. Walking - it's really nice, too. But if you're taking a lot of cabs in New York City, what's the point?

Thursday, January 8, 2009

Chloe - yes, she speaks!

So Chloe finally decided to say something on Vincent and Brown Bunny. While doing so, she even managed to say that not only Brown Bunny is a badly done movie, she also managed to trash Buffallo '66. Congrats! There is nothing nicer than wrapping an insult into a compliment...

"I saw it in Cannes with everybody else. Vincent [Gallo] and I, we don't really speak anymore. But I'll always love him, and I hope that he makes another movie that's a million times better than Buffalo '66 or The Brown Bunny and blows everybody out of the water. And he will, if he can ever get the money for it."

Friday, January 2, 2009

Seems neverending today...

Watch this, too - RZA on working with Vincent on the song for the Belvedere Commercial. Its three parts, like the other clip, and watch fast because, as I said, it might be gone again soon.

Belvedere Wodka Interview Thingy I think...

Watch it before they take if offline again!

Gawker

We all know Gawker seems to hate our dear Vincent. Well, no problem with that. But with the New Year coming and all I decided to sum up the most funny and ridiculous things that our lovely Gawker has produced on Vincent Gallo so far just to make you all laugh (as much as I did).

September 16th, 2008

"Vincent Gallo lives in the building next to mine. My doorman says that Vinny constantly comes home so wrecked he can't find his own building, and insists he lives in my building."

June 8th 2005

Do you meet the following four qualifications?

1. Have three or four thousand dollars lying around.
2. Think Brown Bunny is brilliant.
3. Very much dislike Roger Ebert.
4. Enjoy having things on your wall that look like they have poo splattered all over them?

This should narrow it down to, oh, everybody! Sotheby's is auctioning off a Vincent Gallo "painting" that he "painted" in "June 1985." It's called One Memory, presumably a memory that involved much psilocybin. In its auction notes, Sotheby's warns that the "work is deliberately distressed, making proper condition analysis impossible." Which pretty sums up Vincent Gallo, when you think about it.

September 10th 2007

This weekend at the "Warhol Factory X Levi's By Damien Hirst" party at Gagosian Gallery, auteur and crazyman Vincent Gallo swooped in for a snuggle with slightly-former It Girl Genevieve Jones. Can you smell her fear? Can you smell his body?

March 6th 2007

Pompous sperm-selling auteur Vincent Gallo wasn't aware that he would be operating the craft services table at the Upright Citizens Brigade theater tonight apparently, as the comedians promised. A tipster informs us that the greasy Republican didn't approve of this use of his hallowed name. (Wonder how he found out?) "His assistant called the theatre saying Vicent was very upset and demanded an apology for being credited as such. Someone at the theatre apologized, allegedly saying they were sorry that Vincent Gallo doesn't have a sense of humor." Meouch!

Not new but interesting...

...and I so hope I haven't posted this ages ago and forgotten about it. Found it on the lj-community where _benelux posted it today :-)

http://blogs.westword.com/backbeat/2007/12/qa_with_vincent_gallo_of_rriic.php

Q&A with Vincent Gallo of RRIICCEE

Thu Dec 13, 2007 at 12:03:13 PM
Although Vincent Gallo has a reputation of being a bit of a hot head at times, during a recent chat with Westword, he was more than gracious as he discussed his current tour, clarified how he and the other three members of RRIICCEE don’t necessarily improvise so much as they “spontaneously compose pieces,” and confided a few noteworthy facts about himself that might surprise people, like how Michael Jackson’s song “Butterflies” makes him cry and how the album Charles Mingus Plays Piano changed his life.

Westword: So, what’s happening today?

Vincent Gallo: I’m running around, organizing cases and repairs of instruments. Just getting things ready for the tour, which is the thing I like to more than anything else: Fix things, organize them, pack them, paint them, repair them.

What instruments are you bringing on this tour?

I just had an image in my mind, because I remember the first time I went fishing -- we called it hunting. We went with a BB gun and some fishing poles with my brother and my cousin. I remember we had to wake up at four o’clock in the morning and get some worms from the ground and pack our bicycles, so that we could tape all our things -- our fishing things and our guns – to the bikes and pack our lunch. And we put plastic bags in our boots to keep warm and dry and all these things. It’s sort of still the same… Once we got to the thing, I didn’t really care if we caught any fish, and we barely ever did, and we certainly were never able to get us an animal. But the preparation was so great.

I’m bringing a Mellotron, a guitar, a bass, a melodica and maybe a lap steel. Eric’s bringing guitars and basses and a lot of effects and drum machines. Rebecca Casabian is bringing some keyboarded instruments, a Hammond B-3-type instrument. And Nikolas Haas is bringing a drum kit, some drum machines and some microphones to specially mike the drums.

As far as what you guys are going to be doing, I know you’ve talked about how it’s not necessarily improvising.

The reason I say that is not be pretentious or to make myself more self-important or to be contrary to other people. Improvisation, when somebody says that to me, if I go to see a jazz band and they’re improvising, they’re improvising around a jazz vocabulary. Basically what they’re doing is wallowing in their own emotional trip, and they’re not transcending themselves at all or the musical vocabulary at all, because they’re sort of wallowing in it. Rock people do the same thing, and, even worse -- the worst of all -- are blues people, because the scale is so distinctive and so cliché.

The reason I don’t say improvising is because since we’re looking to grow in musical vocabularies, and be open to all of them, and hopefully be part of the creation of new ones, then improvisation doesn’t sit so comfortably in that way. We don’t jam. And we don’t really improvise. We’re composing spontaneous pieces, but with an extreme level of conscious behavior. And an extreme level of openness, and trying to be as much as possible the people we really are, not the people that we learn to be. That’s a very complicated theory. It’s a bit of a complicated story.

That means not responding to cabaret or protocol or things that are part of ego and self-glorification and trying to be open. If you believe that you’re so interesting and that you’re in control of it, then your work can never go past you. I believe that I’m a buffoon and just a person, a very simple, small-minded person. And my goal, or my dream or my wish, is always to make things that are better than me and myself and my reasons for making them. And so that’s really where we’re coming from collectively.

What was it about these musicians that made you want to choose them for this project?

As you make your heart more open and you choose to connect with a different kind of energy. And you become more of the person you really are than the person you learn to be, and you’re not coming as much from fear and you’re just trying to connect with a more revolutionary vibration, then people, you start to notice them and connect with them in that way.

And I’ve known Eric for 25 years, but I don’t really know him. I just follow him around and I didn’t really connect with him in the past and both of us have changed a lot, and we really connect now in this way. And I really connect with Rebecca in this way, and I connect with Nik in this way. And by connecting with one another in this way that I feel is more of a reflection of who I am and of the future and of a more beautiful vibration, then I’m moving also as well further in that direction.

You become what you invest in. Whatever you invest in becomes bigger. So if you invest in connecting in things that are coming from love and openness and you’re trying to transcend yourself, then that just becomes who you are, and more of who you are. If you’re connecting in your past and in darkness and compulsion or in fear, then that just becomes more of who you are at that time in your life. So I feel that this is what I deserve and the people that I work with and relate to. And this is what I’m comfortable with connecting with now, which are three other people I find really beautiful and really thoughtful and really open.

As far as trying to grasp what you’re going to be doing tangibly, is there any way you could describe…

I can say this, and I just thought of this just now, if I didn’t tell you that everything we played was completely spontaneous and improvised, you would never know it. So that should give you some concept of what to expect. In other words, we’re there creating very beautiful, simple, sensitive compositions that are organized outside of musical cliché or cabaret. But they don’t sound like they’re spontaneous, so it’s not so obviously abstract or improvisational or disorganized.

So imagine a mix of musical forms, and musical forms that never existed before coming together and piecing together in compositions and sounds and harmonics and moods that are a reflection of the four of us, the place that we’re playing, the time, the feel and a reflection of the audience. It’s very very conscious music.

But hey, we’re just four human beings. Our preferred vision can only move so far. I am stuck within the vision that I can have as a human being, which is not that broad. And I am stuck in somewhat of the clichés of my own level of taste at the time, etcetera, etcetera. It’s not like I’m able to fully transcend myself or Eric or Nikolas or Rebecca is. But that’s the goal and we’re practicing in that direction. We’re practicing moving in that direction every day.

Can you think of any particular composers or musicians or…

Let me say this, because I understand the question, and it’s a thoughtful question. But the surprise answer is this: that none of the music I’ve listened to ever in my life, none of the films that I’ve ever watched in my life would be anything close to what you thought they would be. No one has ever been anything less than shocked or surprised. That’s because I’m relating to that other music and my music in a way that sometimes only understand.

So if I’m listening to Michael Jackson sing the song “Butterflies” off his Platinum record, I tear up. I can listen to that track a thousand times. If you listen to my most abstract, hard, radical piece of music that I’ve ever released, somewhere in that what I’m hearing is that same connection. I’m relating to the same minor chord or diminished chord or change or nuance, but it’s being overwhelmed by this other thing that just comes from my nature that is more of what other people notice.

Whatever I’m inspired by has nothing to do with what we make. It doesn’t sound like it. It isn’t influencing it, but I’m connecting in some way energy-wise or taste-wise in something from other things that I’ve heard. I listen to Peggy Lee and Anita O’Day constantly. If you listen to the When record, you would never say, “Oh wow, he sounds like Peggy Lee, or I can tell he listens to Peggy Lee, or I can tell he listens to Anita O’Day.”

But when I’m singing, whatever it is that I enjoy when I’m hearing them, I’m enjoying what I’m hearing myself. There isn’t a musical role model for what I’m doing. There’re only things that have nothing to do with what I’m doing that I enjoy and that I cherish.

I’ve heard you’re a big Mingus fan too.

Charles Mingus, especially Mingus Plays Piano. That album is unbelievable. And if you come and hear us play in Denver if you remember what I said, that I’m relating to the spirit or the energy or the openness of that record, you may not find the phonics or the harmonics or the chord progressions of the voicings or the frequency responses to be similar. But I think you’ll understand that I’m the same person that could write that record.

That’s a great record.

Yeah, it’s awesome. It changed my life.

Really?

Yeah, because I found it in a high-end record shop, and it was quite expensive. It was an out of print Impulse recording quite early on, soon after its release. So it was already an 80 dollar record in the early ‘80s. It was an expensive out of print jazz record. And I found a copy for $45, which was two days pay, and I took it home.

It was in a really difficult emotional period in my life. I was still stuck in a lot of unhealed feelings of the past, and I just listened to that record every day and it helped me practice other voices in my head, and to move towards beauty and things that were more thoughtful and more conscious. It was just a very beautiful and important record to me. I come back to it often. If I feel like I need to connect with that energy, I’ll connect with that record, and it means a lot to me.

Do you have any other records you come back to?

Ironically, I listen to a lot of single songs now. I’ve been making a lot of mix tapes, or compilations. So I’ve been scrolling through records, even if I only pull off ten seconds off a record. A lot of them are surprising. A lot of them fall into the R&B category, because I really like sort of the slow jam thing. As records as whole there’s a big range.

A record that would surprise people that I listen to a lot is – and I don’t mean surprised because they’ve heard me say that I like the band, but surprised meaning because it’s a very difficult record to listen to – is Yes’s record Tales From Topographic Oceans. I’ve listened to it so many times.

But then there are really simple records, really straight up simple, pretty vocal records – Beverly Kenny Sings with Johnny Smith. Julie Is Her Name, ya know, Julie London’s record I’ve listened hundreds of times. A lot of R&B records that I’ve listened to hundreds of times. And there are lots of jazz records, especially some Stan Getz pieces that I put on and I listen to over and over, and a lot of vocal records, especially vocal records with a broad range. Mostly Anita O’Day and Peggy Lee.

You used that track from Stan Getz’s Focus record on the Buffalo 66 soundtrack.

That’s an unbelievable track.

The whole album is great.

It’s unbelievablely good. Eddie Sauter is so phenomenal. His compositions are phenomenal. And Getz in his best moments is the greatest of all time, of anybody, period. As a musician, the way that he’s able to connect musically is just unbelievable.

And that tone. That wonderful tone he’s got too.

And that’s a reflection of something in him and his musical vocabulary is really thoughtful and deep, and yet easy.

This might seem like a really silly question, but say if you had to choose between music and film, do you think you could pick one?

My father used to lock me in the basement as punishment. I’d have to come home from school and I’d be locked in the basement until dinnertime, and then locked in the basement until bedtime, meaning confined. I was punished to the basement. I can find creativity and peace and joy and hope and love in everything that I’m doing.

So if you told me for the rest of my life to make a living to support myself I had to clean kitchens, I would be happy and I would do it in the most beautiful, thoughtful way possible, which I had done for five years of my life in the past. If you told me I was confined to only express myself through music, or only express myself through film, I could continue finding ways to express myself.

If you told me that I had to choose, I wouldn’t know how to answer that question because I would only think about survival. I think in more basic ways. I’m not caught up in self worth, so I wouldn’t make either choice. I would do neither. I would worry about being healthy and growing as a person. Doing music or doing film from some other expression or some other desire or some other need, so it doesn’t feel like a choice in a way that you describe.

Are you going to have any visuals at the show?

I don’t know. I was thinking of filming all the shows on Super 8 film, but the people that I offered to come with me with cameras and sound, they just got so caught up in how much they were going to make every day. I mean, isn’t a couple hundred dollars a day enough to come on an adventure like that. I mean, they start talking about their day rate. And I’m just like, aw, forget it. So I don’t know.

Now that I may be shifting gears and now filming, that I may come up with something, or Eric may, or Rebecca may. Really, this is a collective. This is not a Vincent Gallo project. This is very much a collaboration. Very much. I mean, this is the most integrated mental band that I’ve ever been in, and it’s the most integrated heart band, ya know, emotional and thoughtful band that I’ve ever been involved in. So we’ll see how we all feel.

How is this going to differ than, say, when you were jamming with Basquiat?

I was connecting with Jean on some esthetics and sensibility that was very provocative and engaging and exciting. But we were also caught up in a dark story reflecting a dark mood that was what we were putting out personally. So I think on some levels it confined us to a certain level of growth. And it our best moments of growth that band was one of the most phenomenal experiences of my life, but it felt like it hit a wall at a certain point that nobody collectively could transcend where we had peaked. I don’t feel that way with this band. I don’t see it that way ever. I don’t see us stuck in an old story, or confined by our own, ya know, stories of the past.

-- Jon Solomon