The Rumpus on Tokyo!: “It was the most unexpected and whimsical thing, like [Michel] Gondry simply decided midway through this would happen, the girl will turn into a chair. And you believe it. You accept it without pause.” * The directors of Radiohead: “With great bands often come great videos, and Radiohead is one of those bands that matured quickly and garnered talented directors early on. Some directors set out to create a good marketing tool and simply made the members look cool. Others were as cutting edge as the band whose songs they set to the moving image.” * The Rock ‘n’ Roll Public Library, a Mick Jones exhibition * The Times talk to the artist formerly known as Bonnie “Prince” Billy: “Like Willie Nelson or Merle Haggard before him, [Will Oldham's] prodigious output means that even people who don’t own his records have an idea what his music sounds like.” * “The first key to puzzling out Morrissey is to ignore Morrissey himself—that is, to separate out the artist not only from the man but from the “Moz,” the elaborately coy public construct that has helped turn the reclusive teenage whatsit into a British icon. That Morrissey—the playful, spiteful, celibate, fourth-gender Morrissey—is a lot of fun, and in three decades, he has scarcely given a dull interview.” * 30 controversial album covers (via Largehearted Boy) * 6 writers who accidentally crapped out masterpieces [we'll give you Anthony Burgess & Hunter S Thompson, but Kafka?] (via LHB) * The NY Times review The Beats: A Graphic History: “In a book that is largely about license and the enlightened rebel, it is easy to find reflections of both in the graphic form. The panels, which are flat and often horrific, capture the dullness and insanity not only of the lives the Beats sought to escape but of the ones they made in their place. The Beats here inhabit a world that looks a lot like Harvey Pekar’s Cleveland. No wonder they had to go go go and not stop till they got there.” * And Gerald Nicosia’s review in the SF Chronicle: “In some respects, Harvey Pekar is today what Jack Kerouac was to the America of the ’50s and ’60s – a gadfly, a voice of the working class, an honest eye on the world and a prophet very much unappreciated in his own time. So a book by Harvey Pekar on the Beats ought to be a natural sequel to the underground American Splendor comics for which the Cleveland file-clerk-turned-author became famous.” * When comics and crime combine, the LA Times on Vertigo Crime * An interview with skiffle player, churchgoer & horror buff/film critic Mark Kermode: “For some people it’s football, for some people it’s girls, for others it’s pot and, for me, it was horror. And I want to be very clear about this: it made me very happy to be scared. I really liked the feeling and I cherished those nightmares.” * More secret passions, Geoff Dyer fantasy tennis champion:“Ideally, I’d have been so far down the rankings as to be able to go on occasional alcoholic benders without radically compromising my pro lifestyle.” * “While Julian MacLaren-Ross could turn a reasonable sentence, I’ve always felt the cult that exists around this writer is based more on his sad bohemian life than his books. More from Stewart Home * Jonathan Coe revisits What a Carve Up!: “I began work on the novel in 1990, at the fag end of the Thatcher years, when I was 29 years old and flushed with political and literary certainties. The most fixed of these certainties was my anti-Thatcherism. Not only was this the default position for probably 90% of writers in Britain in those days, it seemed to be shared by pretty much everyone else I knew (mainly doctors and teachers).” * The Londonist review Maggie’s End, “…provokes old radicals and shows up New Labour whilst offering a glimpse into one world the Iron Lady destroyed” * The Guardian on artists’ squats * A Jacques Tati exhibition in Paris * The Facebook poets, 10 rising stars of British poetry * Trompe lit, the OuLiPo‘s in New York.