Bjork

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Slime Mold Becomes a Musician and Joseph Gordon-Levitt Becomes Snowden: Links You Need to See

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There’s nothing like watching a relatively serious, seemingly well-researched episode of machiavellian political TV, getting self-congratulatory about how you’re managing to understand the political jargon and follow weaving plots, feeling wholly immersed, feeling nearly like a very intelligent fly on a White House wall — only to have Kevin Spacey turn to you, swat you off the wall and back onto your couch, saying something heinously on the nose about power vs. money. All House of Cards watchers know the experience of the show’s winding narrative being unceremoniously broken by a jowly sideways glance at the camera; if you are, for some reason, a proponent of the controversial style choice, try watching all instances of the show’s pseudo-Shakespearean fourth wall-breaking back to back.
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“Stonemilker” Is the Saddest Song Björk Has Ever Written

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Few occasions afford us the opportunity to collectively geek out to the extent that we are over Björk’s surprise (and surprisingly devastating!) release, Vulnicura. As critics scrambled to publish reviews, coverage of the album was hurried. Now that we’ve had a week to let it marinate, we can better discern the function of each song in the organism of this painfully thought-out album. “Stonemilker” — the first track, and the one most steeped in traditional Björkdom — begins her documentation of a relationship’s deterioration, and is the most uncertain. Unlike the pre- and post-breakup songs that come after it (each is demarcated by a time-stamp based on its proximity to her separation from Matthew Barney), its melody is decorated with faint glimmers of hope. But because we know the rest of the story, that hope, after a few listens, makes “Stonemilker” Vulnicura’s most tragic track — and perhaps the saddest Björk has ever written.
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Margaret Cho Has a Lot to Say ‘About Sex': Links You Need to See

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The Björk chain reaction is wildly at play: a couple of days ago, Björk’s new album, Vulnicura, was leaked, and said leakage led to the album’s rushed official release, which has incidentally now led to the publishing of this incredible interview with the artist by Pitchfork (titled “The Invisible Woman: A Conversation with Björk” instead what should have been an obvious titular frontrunner, “Pitchbjörk”). In it, Björk gushes about her fandom for Joni Mitchell and her collaboration with co-producer Arca, while noting how many times her music’s been misrepresented — despite her 30 years of making music — as having been the work of her male collaborators; she cites journalistic perceptions of Kanye as the example of this imbalance:
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Staff Picks: Flavorwire’s Favorite Cultural Things This Week

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Need a great book to read, album to listen to, or TV show to get hooked on? The Flavorwire team is here to help: in this weekly feature, our editorial staffers recommend the cultural object or experience they’ve enjoyed most in the past seven days. Click through for our picks, and tell us what you’ve been loving in the comments.
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Into the Black Lake: The Curiously Abstract Beauty of Björk’s Break-up Album, ‘Vulnicura’

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I’ve always found Björk’s music fascinating in a sort of abstract sense — her curious vocal delivery, her constant devotion to exploring the possibilities of sound. But with the occasional exception, like “Hyperballad” or “All Is Full of Love,” I’ve rarely found it emotionally affecting. It’s too oblique. Listening feels like looking at some sort of great futuristic gleaming sculpture, something you can appreciate for its artistry and beauty without ever quite being able to relate to it at a personal level.
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