TIME animals

This Website Knows Where Your Cat Lives

I Know Where Your Cat Lives
Getty Images

Purrfect for the Internet's cat lovers

Attention all 4.9 million users of the #Catstagram hashtag: You’re being watched. Same for the #RichCatsOfInstagram pictures and the 16 million photos tagged simply #Cats on Instagram.

Mashable points out that a new data visualization project called “I Know Where Your Cat Lives” is trolling the internet and collecting metadata in your #adorable #cat #picture. Using the geotags embedded in the metadata in public photos, the project collects the information and puts the cat’s location on a map perfect for cyberstalking your fuzzy feline friend. Thank goodness cats don’t read Orwell.

The site features cats from everywhere around the globe — a giant red tom in Chiba, Japan to a grey fuzzball kitten in Apulia, Italy to a kitten cuddled with his mom in Queensland, Australia — all available for gawking at and cooing over at the click of a button.

The project was created by Florida State University art professor Owen Mundy, who views “I Know Where Your Cat Lives” as both a thought-provoking experiment into how we view online privacy, as well as a sort of Tinder for cat fans filled with a seemingly endless stream of kitten pics for the millions of cat fans who populate the Internet.

The site is currently running a Kickstarter campaign to help fund web hosting and continuing the project.

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TIME nation

First Recreational Marijuana Legally Sold in Seattle Donated to Museum

In this July 8, 2014, file photo, Deb Greene, 65, Cannabis City's first customer, displays her purchase of legal recreational marijuana at the store in Seattle. Elaine Thompson – AP

A marijuana milestone saved for posterity

The first marijuana sold for recreational purposes in Seattle is being donated to the city’s Museum of History and Industry, the Associated Press reports.

Deb Greene, a 65-year old grandmother, purchased it at the store Cannabis City on July 8, when the state’s first legal, recreational marijuana stores opened. The retiree brought “a chair, sleeping bag, food, water and a 930-page book” so she could camp out overnight and be the first in line, the AP reported at the time.

She purchased two bags of legal weed, one for personal use and another that was signed by Cannabis City owner, James Lathrop, so it could be “saved forever,” Greene told the Seattle Times. “You don’t use history.”

As Greene told the Puget Sound Business Journal, “I wanted to be a part of this, this is part of the history of our city.”

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The Bachelorette Watch: 11 Things We Learned When the Men Tell All


Andi and the gang look back on their time together before she picks her man. Some people get emotional and, oh, theres a live ultrasound!

Welcome back to The Bachelorette, where Andi Dorfman’s journey to love leads her through an Axe-sprayed Scylla and a spray-tanned Charybdis venting their issues on prime time on a two-hour special where the men tell all.

According to host Chris Harrison, Andi wracked up more “I love yous” than any contestant in The Bachelor‘s history. She left a lot of heartbreak in her wake, but before she can be toasted and roasted by the detritus she left behind, Chris has a surprise for the viewing audience who, apparently, “won’t believe this will be on TV, but it is.” With that warning, ringing in your ears, here’s what happened on The Bachelorette, “The Men Tell All”:

Nothing Is Sacred: Before the men can tell all, Bachelorette Ashley and her prize, JP, are on hand to announce that they are pregnant. But that’s not all! In a Bachelor first — and by that they mean an all-new low for a show that has made a weekly ritual of throwing nearly nude strangers into hot tubs together — Ashley and JP are going to find out if they are having a Bachelor or a Bachelorette on live TV. To expedite the process, Ashley has a hole cut in her maxi dress and the ultrasound technician douses her with gel right there on stage and they broadcast the ultrasound onto the monitors. And? It’s a bouncing baby Bachelor! Bigger question: Are they really this desperate for attention? Or did they sign airtight contracts denying them privacy for the rest of their lives or, perhaps, are we all truly on this journey together?

Accent Scarves Are All the Rage With the Reality Star Set: When the men are paraded into the set, they are all wearing accent scarves, and it’s hard to tell whether it’s a joke or they are just a very fashion-forward crowd.

It’s a Toss-Up for Mr. Congeniality: Marquel and Farmer Chris got the biggest cheers from the crowd.

The Producers Really Want Us To Watch Bachelor in Paradise: Not only did they show five extra-long commercials filled with bikinis, tears, sirens and Drama with a capital D, but they also brought some of the cast members to the show to sit in the audience and smile prettily like we won’t see them tearing each others’ hair and hearts out in a few weeks. Chris Harrison did his part by asking both Marcus and Marquel if they would like to find love “in paradise” with an almost straight face.

Silence Is the Best Policy: As the men rehashed whether or not Andrew made a racist comment, Andrew mangled his own defense by seemingly mixing up the show’s two lone men of color, saying he “really appreciated how Ron handled ” the situation, when, in fact, it was Marquel. It’s like he somehow managed to hit bottom and started digging.

Marquel Should Be the Bachelor: While it’s unlikely to happen, as he was cast on The Bachelor in Paradise, Marquel would have been an incredible and charismatic Bachelor. During his moment on stage with Chris Harrison, Marquel admitted that he thought Andi friend-zoned him, but in hindsight realized that he didn’t take enough initiative with Andi. Then he handed out his now trademark black-and-white cookies to the audience. Forget The Bachelor, Marquel for President!

Marcus Is Still Sad: He teared up watching his own highlight reel.

Farmer Chris Is the Best: He’s chiseled, charming, upright and downright mature. If he’s not the next Bachelor, he should be the spokesmodel for FarmersOnly.com.

The Audience Is Crazy: A woman — who was undoubtedly planted in the audience by the producers — interrupts the Chrises’ conversation, storms the stage and introduces herself to Farmer Chris. Chris Harrison shrugs and goes along with it, asking the woman — who claims she came alone to the show all the way from Toronto — if she wants to go on a speed date with Farmer Chris during the commercial break. She says heck yeah and gets comfy on the couch in her tiny romper and high, high heels.

The Lie-Detector Results Were Not Destroyed: During a group date in Italy, the men had to take a lie-detector test. Andi destroyed the results, though, but the producers saved a copy. Turns out that three men lied during their tests: Marcus, Dylan and Josh. Marcus claimed he slept with fewer than 20 women, which was a lie. Dylan said he prefers brunettes, which is not true. He also lied about the fact that he’s ready for marriage. What did he not lie about? That he doesn’t wash his hands after using the bathroom. He claims to use hand sanitizer instead, but tiny bottles of Purell are going to be hard to see in his Tinder profile.

Bloopers Are Still the Best: We learned that Coach Brian has a fear of pickles, Andi uses nose spray, a group date rose once got stuck on a silver tray and Farmer Chris does not know how to say “confident.”

Best Reason to Come Back Next Week: Andi’s dad finally makes his triumphant return to television to slap some sense into Nick, Josh and, hopefully, Andi as she tries to decide between Josh, who makes her feel “happy and hopeful,” and Nick, with whom she had an “immediate connection and attraction.”

MORE: RECAP: The Bachelorette Watch: Three’s a Crowd in a Fantasy Suite

MORE: RECAP: True Blood Watch: Lost Causes

TIME nation

Sheriff Replaces Jail’s Orange Jumpsuits Because Orange Is The New Black Made Them Too “Cool”

Now inmates at a Michigan county jail wear black and white stripes


A local Michigan sheriff is afraid that Orange Is The New Black, the hit Netflix series about female prisoners, has made orange jumpsuits a popular fashion statement. So now inmates at Saginaw County Jail have to wear black-and-white striped jumpsuits instead of orange ones, according to The Saginaw News and MLive.com.

“Some people think it’s cool to look like an inmate of the Saginaw County Jail with wearing all orange jumpsuits out at the mall or in public,” Saginaw County Sheriff William Federspiel told The Saginaw News and MLive.com. “We do have our inmates out sometimes doing work in the public, and I don’t want anyone to confuse them or have them walk away.”

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TIME Viral Videos

This Dad Break Dances with His Daughter When He Gets Home from Work

Fair warning: This video may also get Ke$ha stuck in your head


When you’re a toddler, there isn’t much that is more exciting than having one of your parents come home from work. One Kentucky family decided to make the occasion even more joyful by staging nightly daddy-daughter dances in their drive way.

For the last few weeks, when Justin Price gets home after a day at work, he parks his truck, cranks up Ke$ha’s and Pitbull’s “Timber” and starts dancing with his two-year old daughter, Malli. The video, posted by Price’s wife, Chessi, shows a sweet and celebratory dance-off complete with some solo twerking and synchronized fist-pumping that will make you want to throw down with your own dad.

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RECAP: True Blood Watch: Lost Causes


Ain't no party like a Bon Temps party

After last week’s successful rescue mission, the dusting of the Hep V vamps and the decimation of the human vigilante squad, it’s unclear what’s left for Sookie and her Scooby Gang to do as True Blood wraps up its final season aside from mourn their losses. In the aftermath of the slaughter at Fangtasia, Eric and Pam want Willa to tell them everything she knows about her ersatz stepmother Sarah Newlin. Unfortunately, though, Willa has too many abandonment issues to do as she’s told. She demands freedom from her maker in exchange for information on Sarah. Eric, contemplative at death’s door, shrugs and releases her. Willa gasps as she is freed and Pam eloquently remarks, “Like being kicked in the cooch by a wallaby, isn’t it?” Willa tells them that Sarah has a secret sister named Amber Mills and she happens to be a vampire and she thinks she lives in Dallas.

As Eric and Pam prepare to leave to Dallas, Ginger demands that Eric consummate their relationship, because she’s been his “sex slave” for 15 years, but never actually had sex with him. He rolls his eyes and leaves her on the curb when he leaves. Poor Ginger. Maybe she can apply for a job at Bellefleur’s?

Sookie returns to her house finally ready to really grieve over Alcide. James and Lafayette, the two new bosom buddies, are there waiting for her. They tuck her in bed and Lafayette promises to be there when she wakes up. When Sookie finally awakens, she finds her house taken over by Lafayette, who has decided to throw a party for the whole town. He announces that they are celebrating life because it’s what Alcide — and Tara — would’ve wanted. Sookie reluctantly relents when Lafayette explains that he has good food, good alcohol and promises to toss out the first person who offers condolences on her loss.

In Dallas, Pam and Eric meet Sarah’s vamp sister, Amber. She’s infected with Hep V and has nothing to hide, quickly telling Eric and Pam everything about Sarah paying her off to keep quiet. Amber asks if they are going to kill Sarah, and Eric confesses it could happen. And with that Amber is part of the gang and suggests that if Sarah is in town they might find her at a Republican fundraiser being held that night.

Lettie Mae wants to go to the funeral party, but the reverend doesn’t think it’s a good idea to go, because he thinks she is only keen on attending in order to get some vampire blood. Lettie Mae drugs him and sneaks out when he passes out.

The party is in full swing with humans, vampires and shapeshifters all in attendance. Bill, a real party animal, spends his time mooning about and flashing back to arguing against the Civil War. Alcide’s dad gives a lovely toast to his son that ends up making Sookie feel bad about the fact that she didn’t love Alcide quite as much as he loved her. As they all drink to Alcide’s memory, Lettie Mae barges into the party. Lafayette tries to shoo her out quickly, Sookie invites her to say a few words and she demurely asks for something nonalcoholic to toast to her daughter’s memory.

Jessica is wallflowering at the party and Sheriff Andy comes to tell her that watching her punish herself only keeps his pain alive. He wants to move on, but can’t without her help. She offers him anything, but all he wants is a ring to use to propose to Holly. Jessica finds him the closest one, which happens to be Sookie’s and Jason’s grandma’s ring. They happily offer it to him, and in the middle of the celebration to life, he proposes. That’s when Arlene notices that Sookie is near tears and sneaks her upstairs to have a good cry. As Sookie unloads on Arlene, Alcide’s dad eavesdrops on their conversation about love and loss and the merits of time and tequila.

James is frustrated that Jessica has been distant lately and won’t leave the party with him. He finds solace in Lafayette’s arms and legs and lips.

Pam and Eric are getting ready for a fundraiser at the Bush Library where they hope to find Sarah Newlin. They spent the day shopping at Neiman Marcus, but while they are getting dressed, Pam looks at the veins delicately spreading all over Eric’s body and realizes that he has moved onto Stage 2 of the disease. As she covers the veins on his neck, he tells her that he’s going to die and she has prepare herself.

At the party, Jessica is looking for James, and Arlene drunkenly tells her she saw him step outside with Lafayette. That turns out to be code for having extremely loud carnal relations in the car she and James bought together. Jessica screams at them and runs inside with James chasing her. She begs Jason to rescind James’ invitation to the house. He does, and James goes flying, while Jessica runs upstairs to cry. With Violet’s approval, Jason goes after her. Lafayette barges in and tells Jessica that he’s embarrassed about how it all came out, but Jessica needs to look deep in herself, and if she doesn’t love James she needs to let him go and let Lafayette pick up the pieces. Then he makes a glorious speech about how he, the one openly gay man in town, deserves happiness too. Can we please have an all-Lafayette TV show or maybe HBO can cast him on Looking?

While Bill is having a flashback to helping lead the Underground Railroad, Sookie interrupts him to thank him for everything, and they share a chaste hug. Bill reminds Sookie that she’s done a lot in the past few days and should revel in the moment, because it’s unlikely this show will go out without a bang (or several bangs of all sorts and maybe an explosion or two).

Back inside the party, Lettie Mae stabs Willa with a butcher knife in the hope of drinking more of her blood to contact Tara. The vamps all round on her, but Sam jumps in to protect her — or at least to prevent bloodshed at the party. Everyone stands down when Willa heals and Lafayette quickly ushers Lettie Mae away before she can stab anyone else. That’s when Nicole flips her lid and starts hollering at everyone about how crazy it is to throw a party after all that death and despair and loudly pointing out that this doesn’t happen in other towns. Shhh, Nicole, someone will notice this show doesn’t make a whole lot of sense.

Upstairs at Sookie’s, Jessica interrupts her consolation to kiss Jason. They hook up and, of course, Violet comes to investigate what happened to Jason and overhears it, but instead of storming in, she storms away with revenge clearly on her mind.

At the fundraiser, Sarah finds her mother in the ladies’ room. Her mother is hesitant to help her, because a book was published revealing that Sarah helped create Hep V and thus helped create the gangs of marauding infected vamps. Sarah wants to talk to Laura Bush, but since she’s not at the party, her mother will have to do. Sarah explains that the yakuza is after her and, on cue, the yakuza gang shoots its way into the fundraiser killing everyone in sight in pursuit of Sarah. She and her mother run, but not fast enough. Her mother falls and Sarah keeps going, straight into Eric’s clutches. He’s about to kill her, when the yakuza — who aren’t really the yakuza but the Tru Blood Corp.’s gang of hired killers — arrive. He drops her and goes after them. He then rips the man’s face off in a scene that makes up for any gore deficit the show might have been facing after the past 1½ episodes.

Back in Bon Temps, Bill is mulling over his past again. After a flashback to contemplating his death in the midst of the Civil War, he heads inside his house, removes his shirt and contemplates the black vein curling up his chest, finally explaining why he wasn’t in a party mood.

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TIME Television

It’s Not Too Late to Get Into Don’t Trust the B—- in Apartment 23

ABC's "Don't Trust the B---- in Apartment 23" - Season Two
Kelsey McNeal—ABC via Getty Images

Clear your DVR!

Trust us on this: Don’t Trust the B—- in Apartment 23 was a tragically underappreciated comedy.

The modern, sharp-tongued, gender-swapping take on The Odd Couple was cancelled when ABC pulled the plug midway through its second season in 2013. While shows get cancelled all the time, the move was especially irksome to fans, because there were still eight episodes remaining in the season. That’s right — eight completed, ready-to-air episodes filled with Chloe’s viciously witty barbs, June’s wide-eyed horror and James Van Der Beek being James Van Der Beek, were in the can and ABC never aired them. Sure, they were released on Netflix, but they didn’t get the primetime attention and real-time Twitter love they deserved.

Now, Logo is correcting that problem. The network has acquired the eight unaired episodes and will air them Saturdays at 10 p.m./9c beginning on July 19th. Leading up to it, they will be running a Don’t Trust The B— marathon starting this Saturday starting at 1 p.m..

The icing on the already delicious cake? When ABC originally aired the show, they chose to run many of the episodes out of order, making it difficult for fans to keep up with what happened week to week and undercutting the show’s storyline. Logo will air the episodes in order, which will help the series’ craft its narrative arc, while staying true to the show’s Seinfeld-ian no hugging, no learning leanings.

Despite its dismal on-air ratings, the show is definitely worth watching. Krysten Ritter’s brilliant, titular “b—-”, Chloe, was the perfect lovable sociopath, a breed that’s tragically under-represented on television (House being the notable exception). Dreama Walker’s June was the perfect foil for Chloe’s vitriol, as she seemed to never quite believe the things that Chloe was saying while also accepting them wholeheartedly. The show also introduced the wider world to the talent of Eric André, who went on to star in his own show on Adult Swim, and somehow convinced Dawson — er, Van Der Beek — to play a washed-up teen idol version of himself, gamely poking fun at himself again and again. The ensemble cast was like a softer It’s Always Sunny in Philadelphia, that managed to be primetime friendly while pushing boundaries and without pulling any punches.

The show also frequently called out gender stereotypes to point and laugh at them. Take for instance, when Van Der Beek lamely stated that he didn’t know what girls eat; guest star Busy Phillips deadpanned, “Oh, sweetie, we don’t. We don’t eat. We just live in caves, having our periods, until it’s time to have sex with the first guy who buys us a wine cooler and reminds us of our dad.” The dialogue never failed to be sharply sardonic.

But it’s the titular B who was the real star. Chloe is aligned with some of the other driven, grumpy women who populate primetime, from Nurse Jackie to Julia Louis Dreyfus’s Selena on Veep to Aubrey Plaza’s April on Parks & Recreation to Girls‘ Shoshanna, none of whom suffer fools lightly. And, really, why should they? Chloe would give a fool an earful and a smackwich and move on with her life.

If you don’t know that the best way to take over a company is to just walk in and start firing people or don’t know the perverse joy of a smackwich, you should definitely spend Saturday on the couch with the B— in Apartment 23:

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TIME Music

Watch a 19-Year Old Kanye West Kill It on Stage In 1996

Even at 19, Kanye was quintessentially Kanye


Kanye West has become a musical icon and global mogul, but back in 1996, he was just another up-and-comer trying to make a name for himself — and confident that he would.

In newly released video footage, a 19-year old West is seen freestyling at the opening of hip-hop mecca Fat Beats record store in New York in 1996. The footage was unearthed by DJ Eclipse, the former manager of the legendary shop, who was poring over video of performances from the grand opening of the shop’s 6th Avenue location and stumbled upon a now-familiar figure: Kanye West.

At the time, the performance hadn’t registered as particularly significant: It was just another hungry, young and relatively unknown rapper who was willing to fly in from Chicago to perform at the celebration in front of a crowd of hip-hop insiders in the hopes of furthering his career. In retrospect, though, West’s confidence and flow are unmistakable. In the clip, the skinny 19 -year-old Kanye coolly walked on stage and dropped a flawless verse that even managed to name-check Alanis Morissette. While the performance was short, the talent — and cockiness — were indisputably all Kanye.

[via Complex]

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TIME Music

Watch Drake Sing “Let It Go” as Manny Pacquiao

Drake owned the ESPYs last night


Last night, everyone’s favorite lint-rolling celebrity, Drake, hosted the ESPYs, ESPN’s annual sporting awards show. And as everyone from Hugh Jackman to Neil Patrick Harris to Ellen Degeneres and even Seth MacFarlane knows, hosting awards shows these days requires a certain flair for musical comedy.

To fulfill his quota of musical comedy, the Degrassi actor turned chart-topping rapper decided to deliver an over-the-top (if still spot-on) impression of Filipino champion boxer and current welterweight title holder, Manny Pacquiao, singing Disney’s “Let It Go.”

In the sketch, Drake/Manny explained his enduring love for the Frozen hit, because “it’s like a metaphor, like the world is so cold, but everybody is still so happy,” while his overbearing manager — played by Veep’s Gary Cole — nodded along approvingly.

You may think you have “Let It Go” fatigue, which may be recognized by the DSM-V by now, but you’re definitely going to want to watch this one, at least so you can say you saw it before Drake is chosen to host the Oscars in 2016.

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TIME Music

David Byrne and Jonathan Demme on The Making of Stop Making Sense

David Byrne in Stop Making Sense Courtesy Palm Pictures

The Talking Heads frontman and the film's director reflect on the seminal rock documentary

It’s been 30 years since the release of Stop Making Sense, the Jonathan Demme-directed Talking Heads concert pic that’s widely recognized as one of the greatest live music films of all time.

Stop Making Sense paired Demme — years before he won Best Director for Silence of the Lambs — with the band Talking Heads, just as the New York-based art rock group were becoming musical icons.

The film begins with the band’s frontman and impresario, David Byrne, walking on stage a boombox in hand. He sets it down, turns it on and starts to sing along with the Talking Heads’ song “Psycho Killer.” He is soon joined by bassist Tina Weymouth while stagehands build a drum platform for Chris Frantz. Backup singers and horn players appear and the show goes on, building into a frenzy while Byrne throws himself around the stage like a possessed version of Mick Jagger. That energy carries throughout the film, fusing Demme’s sweeping cinematographic style with Byrne’s eye for stagecraft and the art of the show.

To mark the occasion, the film is being made available digitally for the first time ever by Palm Pictures, along with a limited theatrical engagement this summer and fall. When asked why it took so long for a film that used some of the most modern equipment and techniques of its age — it was the first rock movie made using entirely digital audio techniques — to become available digitally, Demme shrugged: “I guess we just weren’t paying attention?”

TIME talked to both Demme and Byrne as they reflected on making Stop Making Sense and the lasting legacy of the film:

Demme: “In early 1983, Gary Goetzman and I went to see my favorite band, the Talking Heads, at the Hollywood Bowl in Los Angeles. The show was like seeing a movie just waiting to be filmed. We tracked David Byrne down and pitched him on the idea of teaming up to make the picture.”

Byrne: “I realized the show was ‘cinematic’ and that it sort of had a narrative arc. It might work on film, or so I believed.”

Demme: “David really saw this movie in his own head long before we came and pitched him on letting us shoot it.”

The two connected through a mutual friend, Nadia Ghaleb (according to Byrne), but they already shared a mutual appreciation of each others’ work.

Byrne: “I knew Jonathan’s work. I loved Melvin and Howard.”

Demme: “I was a Talking Heads fan from the very beginning.”

To make the film, the band turned to the parent company of their record label, Sire, for funding.

Byrne: “Our manager, the late Gary Kurfirst, went to Warner Records for a ‘loan.’ They got paid back and sold some live albums too.

With financing secured, the filming could begin.

Byrne: “Jonathan followed us on tour for about a week or so prior to filming, so he knew the show pretty well.”

Demme: “The big suit, the lighting, the staging, the choreography, the song line-up — everything was there in the show before the filmmakers showed up.”

The so-called big suit became one of the most iconic images of the show, the band and the film:

Demme: “It was all part of David Byrne’s original concept for the staged show, from the beginning.”

Byrne: “I was in Japan in between tours and I was checking out traditional Japanese theater — Kabuki, Noh, Bunraku — and I was wondering what to wear on our upcoming tour. A fashion designer friend (Jurgen Lehl) said in his typically droll manner, ‘Well David, everything is bigger on stage.’ He was referring to gestures and all that, but I applied the idea to a businessman’s suit.”

Filming took place over four nights at the Pantages Theater in Los Angeles, while the Talking Heads were on tour following the release of their album, Speaking in Tongues:

Demme: “Those four nights of filming were four of the most thrilling shoots of my life. Everything went flying by so fast it was just one ecstatic blur for me.”

Byrne: “During the shoot every day was spent re-balancing the lights so that the show would look to the camera as it did to the eye, as well as blocking out camera moves.”

Demme: “It was wonderful that our Director of Photography was the late/great Jordan Cronenweth, because Jordan was able to help David achieve on screen what was never completely possible with the lighting scheme in those big live arena shows, because there’s so much ambient light in those rooms that it blows out the starkness of true graphic black and white lighting design.”

Byrne had an attention to detail and an eye for design that was vast in scope:

Byrne: ”Edna Holt, one of the incredible singers (see 20 Feet from Stardom) changed her hair the day before we started shooting! I freaked out — hair whipping was a big part of the show —so I paid for her to get a weave immediately. It took her many, many hours, poor girl, but it worked.”

Courtesy Palm Pictures

Stop Making Sense was a true collaboration between the two men, with each contributing their own aesthetic ideas about music, cinematography and stagecraft into a cohesive whole of avant-garde rock-and-roll theater. Both Demme and Byrne were eager to credit their collaboration and each other for the end result:

Demme: “Most of these dynamics arose from David Byrne’s original vision, but it was a highly collaborative experience.”

Byrne: “Jonathan saw things in the show that I didn’t realize where there or didn’t realize how important they were.”

Demme: “We shot it together, cut and mixed it together, and we all went running off to the festival circuit together as soon as we had our first print.”

Byrne: “[Demme] saw the interaction of the personalities on stage, how it was an ‘ensemble piece’ if it were viewed as one would a scripted film. He also realized that to suck the viewer into that ensemble, there would be no interviews and no shots of the audience until almost the very end.”

Demme: “In the cutting room we quickly discovered that there was always something far more interesting going on on stage than in the ‘best’ of our audience footage. This led to the realization that if we pulled back from showing the live audience, it made our film feel that much more specially created for our movie audience!”

The film also used a number of long camera shots to capture all the on-stage action in beautiful sweeping shots. It’s something Demme would replicate in future music documentaries like Storefront Hitchcock and Neil Young: Heart of Gold.

Demme: “The use of extended shots instead of quick cuts is a result of my belief that there is great power available by holding on any extended terrific moment and letting the viewer become more deeply involved in the performance at hand, instead of constantly interrupting the flow with un-needed cuts. Too much cutting usually speaks to a lack of editorial confidence in the players and the music.”

Courtesy Palm Pictures

While Byrne tends to be the film’s focal point — and he is rarely off-camera throughout — the real star of the show is the music: the exuberant, funk-influenced rock that pushed the Talking Heads from the New York underground, where they opened for the Ramones at CBGB, to hitting the Billboard charts. The film captures their energy perfectly, building in tempo and attempting to force even the most reluctant audience members from their seats:

Byrne: “There were many screenings, film festivals and all that — many of which featured dancing in the aisles.”

Demme: “I adore film and I adore music. I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you’re filming, a non-player like me gets to feel somehow part of the band.”

Byrne: “I think the film and the show showed that a pop concert could be a kind of theater — not in the pretentious sense, but in the sense that it could be visually and even sort of dramatically sophisticated and yet you could still dance to it.”

Demme: “I knew that we had captured the magic of an extraordinary band at just the right moment, but didn’t imagine it would still be so around and feeling so fresh 30 years later. Makes sense now, though.”

Demme: “I love this film passionately with all my heart.”

You can purchase Stop Making Sense on iTunes here.

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