30th
FYI, everyone — this is why there is no definitive summer jam. You can quote me on this.
Yes, suddenly it all makes sense.
Chris Matthews runs an Anti Baby-Boomer George Carlin bit, followed by a “Just for Men” ad that is, too perfectly, EXACTLY what he was bitching about.
Ha, this is so perfect that I’m convinced that the entire reason Matthews aired that particular Carlin bit was because he hated that sponsor/ad.
It’s never made much sense, but while I absolutely love drawings, cartooning, and comic books, I’ve never been a fan of animation. I recognize that I have this bias, and that it’s kinda arbitrary. However, this doesn’t keep me from thinking that Wells’ argument against animated films being nominated for Best Picture is hateful and moronic, or from acknowledging that Wall-E is a full-on masterpiece and deserves not only the nomination, but the award as well.
There was some interview where Morrison said that Final Crisis is the “death metal” version of the DC Universe - given his interest in making comics ‘feel like’ pop (cf Marvel Boy) I wonder if this explains some of the pacing decisions: grand uber-symphonic sweeps expressed using complex and technical and deceptively crude means.
That makes a lot of sense, especially given the major themes of the story thus far.
I haven’t read any of it, but I read somewhere that Matt Fraction was deliberately being very metal about his recent Thor work. Which would be smart, you know, because if any comic should be overtly metal, it ought to be Thor.
What I don’t get–and I don’t want to be a dick here (NOTE: THIS IS A LIE)–are the people who say that it’s hard to follow or understand, because the Final Crisis that I’m reading is pretty straightforward. And I don’t mean that it’s straightforward by Grant Morrison standards, I mean that it’s straightforward by comic book standards. I’ll be the first to admit that there are a lot of references thrown in there that are rewarding for people who do get them, but in the issues we’ve seen, a meticulous knowledge of the characters isn’t all that necessary. Comics characters, after all, are based around visual shorthand to begin with, and even without a footnote pointing you to his earlier adventures (which you oughtta read anyway), it’s not hard to figure out all you need to know about Sonny Sumo from his actions within the story.
To be fair, there’s stuff going on that hasn’t been explained, but I’m pretty sure that’s because a story is not an article, and occasionally creators like to hold some information back to build tension. Just a thought.
Gee, Dave, there’s soooo many reasons! Aside from a handful of decent tracks by Animal Collective and Excepter, their collective lack of tunes is certainly the best answer. No cult of personality, there’s another answer. They aren’t conventionally exciting live acts — that’s a big one. Also, they may be arty and bohemian, but they’re all pretty hacky?
Liz Phair - Untitled New Song, 06.25.08 Hiro Ballroom
This is very exciting and promising! I’d like for her to record this more or less as it’s being played here, with maybe some minimal percussion etc.
spyinthehaus: Possibly of limited interest…
Dan is writing about this recent Six Flags investor presentation.
marathonpacks: cigarette math is full of surprises: Is There Even A Middle Ground Anymore
Eric Harvey is totally right on. I have so much animosity for tech people who get all excited about technology, but seem entirely indifferent to the quality of art. It’s just a lot of assholes eager to bury the signal amid unprecedented levels of noise, because “yay democratization!” is a convenient way of putting a happy face on a paradigm shift that favors tech companies and literally devalues art and artists.