The Weekly : Harald

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 Harald Poster for This Savage Beauty | Design by Julie Smits

Harald Poster for This Savage Beauty | Design by Julie Smits

 

Read:

The Silence: The Legacy of Childhood Trauma by Junot Díaz (2018)

I wish I had told you the truth then, but I was too scared in those days to say anything. Too scared, too committed to my mask. I responded with some evasive bullshit. And that was it. I signed your books. You thought I was going to say something, and when I didn’t you looked disappointed. But more than that you looked abandoned. I could have said anything but instead I turned to the next person in line and smiled. Out of the corner of my eye I watched you pick up your backpack, slowly put away your books, and leave. When the signing was over I couldn’t get the fuck away from Amherst, from you and your question, fast enough. I ran the way I’ve always run. Like death itself was chasing me. For a couple of days afterward I fretted; I worried that I’d given myself away. But then the old oblivion reflex took over. I pushed it all down. Buried it all. Like always.

Deeply personal essay by Junot Díaz sharing his sexual abuse and how the event wormed its way into every relationship and action from childhood up to now.

That violación. Not enough pages in the world to describe what it did to me. The whole planet could be my inkstand and it still wouldn’t be enough. That shit cracked the planet of me in half, threw me completely out of orbit, into the lightless regions of space where life is not possible. I can say, truly, que casi me destruyó.
— Junot Díaz | The Silence: The Legacy of Childhood Trauma | The New Yorker

Read the full article over on The New Yorker

 
RKTKN-2-artwork-digital-1600px.jpg
 

Listen:

Raketkanon - Rktkn#2 (2015)

More Belgian flavour, once more from Ghent, fuck, what must my Antwerp born roots think of me ;)

You cannot squeeze, push, nudge or talk Raketkanon into a genre, they refuse to fit, and the better for it. The one description that does suit them: INTENSE, down to the bone.

Have a taste of both their music and their sense of humour with Florent.

We make music without boundaries. The process of creation happens together and everyone is free to do what they feel. If people think that we make noise, that’s cool. But for us, our music is just a way to express ourselves. We think melody and intensity are two important things to keep in mind. Our musical vision is pretty abstract. We’re all about intensity and sincere emotion.
— Pieter-Paul Devos (singer Raketkanon) | Raketkanon: Meet Belgium's weirdest band | Louder (2015)

Wondering why this edition of The Weekly is named Harald? I took a cue from Raketkanon, who name all of their songs after people, not people they know (apart from Nico Van Der Eeken), just people names. Go and have a listen at Harald.

Check out Raketkanon | Read Louder's profile

 
 Screengrab from the film

Screengrab from the film

 

See:

Oldboy by Park Chan-wook (2003)

I've known about this film for years, but only saw it a few weeks back at the Belgian film festival MOOOV. 

MOOOV invited Raketkanon to create and perform a live soundtrack for the film for their 2018 edition. They nailed it, it was excellent, and suited Oldboy to a T.

The film itself, I feel that knowing too much about it might ruin the experience, so I'll leave you with this excerpt from an interview with Park Chan-wook.

[Vengeance] is a device which dares to make us think what it is to be a human. And to think about this human existence, that vengeance is meaningless. Even a small child, if they think about it, they will understand this. Revenge is about something that has already happened, and when you are trying to achieve vengeance, you are investing your everything into a venture that will lead you to no benefit at the end. It is a human trait, to engage in foolish acts. And to observe this foolish act and reflect on it is the intention of those narratives.
— Park Chan-wook | Park Chan-wook on blending genres and why revenge is meaningless | The AV Club

Read the AV Club Interview with Park Chan-wook

 

written by Julie Smits


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