Elizabeth Taylor in The Driver’s Seat (1974), in which she plays a lonely and strange woman named Lise who has detached herself from society, and who goes on vacation to Rome to find a man. But she doesn’t go looking for love or a romantic affair: she searches for a man who will stab her to death.

Widely panned and mocked by critics upon release, the movie (unfairly) faded into obscurity. Liz filmed the movie during her divorce from Richard Burton, and during filming told the director Giuseppe Patroni Griffi; “It takes one day to die, another to be reborn.”

However, Lise is a character who has completely abandoned, or has been abandoned by, humanity and decides to rid herself of own her life by searching for a man who will take it from her. Rather than classic Hollywood tales of finding romance in Rome, The Driver’s Seat subverts this by portraying a self-destructive and completely detached woman who is averse to, and even disgusted by, romance and sex and who wants only death.

Liz is also totally unlike her glamorous Old Hollywood persona in this film. She is not afraid to look unattractive, garish, crazy, scary, aggressive, and mentally unhinged, and she puts her all into her performance. In the scene depicted above, Lise applies makeup not to appeal to those around her, but rather cakes it on like a form of war paint to make herself stand apart from others. And it works: the people around her often remark about her deranged appearance. However, Lise revels in her alienation and doesn’t seem to care anymore.

Ultimately, Lise finds peace only in her own self destruction and demise. This is a movie that can often be campy and darkly humorous at times, but also one that is a disturbing yet honest portrait of a distraught and unhinged woman who has lost her sense of self, and it is one of Liz Taylor’s great forgotten roles.

Art Museum Playlist // 

Listen to it here!

  1. The Blonde // TV Girl 
  2. Identikit // Radiohead
  3. Weird Honey // Elvis Depressedly
  4. Tangible Intangible // Fly Golden Eagle
  5. Said So What // French Kicks
  6. Wildflower // Beach House
  7. Lovers Rock // TV Girl
  8. Come Monday Night // God Help The Girl
  9. Pulaski at Night // Andrew Bird
  10. One Out Of Two // Breakbot ft. Irfane
  11. Paradise // Gardens & Villa
  12. These Girls // Sticky Fingers

Follow us on Spotify @reefmagazine for more playlists!

I woke up on the salty side of the bed this morning so this is probably 9000% less diplomatic than I would usually word things, but…

…what the fuck is the trend in kin/fictive circles to 

a) replace canonmates as if they’re interchangeable identikit slot-in-here pieces when a friendship or relationship doesn’t work out 


b) assume that if a friendship or relationship doesn’t work out, it must have been because they weren’t “from your canon”?

I’m not sure if “dehumanizing” is the right word for what’s going on here, exactly, but it does seem to treat people as if they’re part of a narrative rather than…you know, living breathing beings with feelings and ideas of their own. Oh, a Minnie Mouse fictive doesn’t actually feel like dropping out of college to follow Mickey Mouse into the Peace Corps? Let’s find another Minnie who will! Oh, Goofy broke up with Donald because things weren’t working out? Well, clearly he wasn’t the real Goofy from Donald’s memories after all, because as we all know relationships never ever break up for mundane reasons!

Look, I get it. When your life is turned into a story, or when you resonate so strongly with a story, it’s tempting to see your life now as if it should follow the rules of a story. True love lasts forever. Heroes never die. Evil gets its comeuppance. The power of friendship conquers all.

But a life is always more complicated than a story, even when it is one, if you get what I’m trying to say. It doesn’t run on tropes. It doesn’t leave out all the boring bits. It doesn’t fade to black on a convenient dramatic moment–it keeps going, and maybe Minnie and Mickey end up going to marriage counselling, or maybe Harry and Ron stop talking to each other for years because of something one of them said over butterbeer. Or maybe everything does work out and you die happy surrounded by your loved ones and then you come here and have a whole new mess of complications to deal with–complications that will probably end up meaning that even if you meet “your” person again, things aren’t going to magically go smoothly forever. Maybe, despite someone being your canonmate, you actually need to treat it with the same care and respect as any other relationship? Give it the room to grow slowly, give it the option to turn into something it might not have been before? 

Or maybe you can’t work things out. And maybe that’ll hurt like Hell. But if someone felt right to you, resonated beautifully, felt like the person of your memories, why would you pretend that didn’t happen and…trade them in for someone else? It just completely boggles my mind. 

trendytarget  asked:

What pedal uses Jonny to Make the reverse effect in songs like "identikit" (solo)? I thought It was de DD-5

Hello, there are no reverse effects applied to Jonny’s guitar during the outro solo of Identikit. The only time-based effect used on that track is his BOSS RE-20. In fact, on the 2016 tour Jonny exclusively used his Boss RE-20 for guitar delay. The reverse effects applied to Thom vocals near the start of Identikit were likely done in a DAW or with a Max/MSP patch.

Jonny has only rarely applied reverse effects to his guitar. Backdrifts is the most notable example. On that track, the reverse delay was created with a Max/MSP patch programmed by Jonny. You can best hear it during the outro solo of this performance. Radiohead haven’t played the song live since 2004.

Ed has been a huge fan of the Boss DD-5 since the late 90′s, and he still has one on his gigging pedalboard, but Jonny has never used one.