Q:yo dogg, I actually work at the Fox News Center; there are hell babies everywhere, always crawling around, and they have eyes on their palms and soles of their feet, but none in their head (no eye holes either, just smooth skin) and also they have reverse toilets that bring poop and pee and such INTO the building, rather than out of it. None of the anchors there cast any shadows, and can only communicate in a weird shrieking language. Nice snack bar, tho.
You know, got to weigh the positives against the negatives.
Evilcorp’s Evil Vinyl characters.
the father ted one aaarrrgh
I like how the one of Roy from The IT Crowd can double as a Jon Wurster figure.
Columbo and the Murder of a Rock Star
S10E03 - Originally broadcast Apr 29 1991
Directed by Alan J.Levi, Written by Wm.Reed Woodfield
This is the first episode we’ve watched for the podcast which comes from the 1990s Columbo revival, and it is all over the place. At this point in American culture, Columbo is an iconic character, and the episode seems to feel the need to hit all the familiar touchstones with the character - his apparent daffiness, his alternating ingratiating and infuriating qualities, his uncanny ability to assemble whole plots from observed minutiae - but they’re brought out at the wrong times. He plays the old “My wife is a very big fan” card so early in the episode that he ends up saying it to, effectively, an empty room.
The episode’s got a few things going for it, though primarily it’s all on Dabney Coleman’s shoulders. I always equate Coleman with Culp, they both foster a peevish contempt and guilty self-confidence in their characters, always fun to watch. Great scenes between Coleman and Falk, too, it’s a shame “The Dabs” wasn’t a regular alongside Culp, Cassidy and MacGoohan.
As for everything else, there’s too much to mention in depth, so bear with me: You’ve got a washed-up rock star staging an extra-“marital” affair with a guy who talks like a rock-and-roll chimneysweep, and the soundtrack they choose for their liaisons is her old albums. There’s a guest appearance by Little Richard, an underwater interlude with an aquarium mermaid, a ham-handed noir homage shot through the blades of a ceiling fan in the office of “Sam Marlowe,” Private Eye. Plus, we get another round of the same brand of offensive Asian handyman stereotype we first saw Columbo confront way back in ‘72, as well as a furious housekeeper who appears to be the lovechild of Danish comedian Sandi Toksvig and Hagrid from the Harry Potter books, AND a cowboy lawyer who appears out of nowhere for no reason, and to top it all off they pull Coleman’s absurd alibi out of thin air somewhere in the third act. And I’m still probably forgetting a lot of things that happened in this episode. Boo.
I was involved in said podcast and hoo boy oh jeez.
You cannot care about posterity. You have no idea about it. Posterity is literally a dead man’s game.
(Someone do a t-shirt with this on the back and “Nostalgia is an emotion for people with no future” on the front)
[Don’t know why tumblr has stopped crediting stuff when you reblog, but the above is Miles, not me.]
I really love Kieron’s comic writing, but his writing about writing is sometimes even more valuable to me. (And I’ll take one of of those t-shirts in black, please.)
so i just took the time that i usually spend getting groceries/paying bills/doing laundry/dickin around online while my kid is at preschool and took the saab up to the mountains where i spent an hour scaring the piss out of myself playing eric carlsson on gravel roads instead
and actually succeeded in making myself forget how fucked the entire world is for a little while
i should be doing this once a week at least
Reblogging this post because the “playing eric carlsson” link includes my favorite motorsports photo of all time.
Dance music needs riot grrrls. Dance music needs Patti Smith. It needs DJ Sprinkles. Dance music needs some discomfort with its euphoria. Dance music needs salt in its wounds. Dance music needs women over the age of 40. Dance needs breastfeeding DJs trying to get their kids to sleep before they have to play. Dance needs cranky queers and teenagers who are really tired of this shit. Dance music needs writers and critics and academics and historians. Dance music needs poor people and people who don’t have the right shoes to get into the club. Dance music needs shirts without collars. Dance music needs people who struggled all week. Dance music needs people that had to come before midnight because they couldn’t afford full admission. Dance music does not need more of the status quo.
Bob Dylan is a popular American singer-songwriter. According to Wikipedia, “He has been an influential figure in popular music and culture for more than five decades”.
Nashville Skyline is Bob Dylan’s ninth studio album. It was released on April 9th in 1969. Now, 9 is an interesting number. According to Wikipedia, “The nine bows is a term used in Ancient Egypt to represent the traditional enemies of Egypt”. The number 9 is also the 3 squared. This is very interesting. According to Wikipedia, “3 is the number of dimensions that humans can perceive”. Three is also how many sides a triangle has. The triangle is commonly understood to be the symbol of the illuminati, who are commonly understood to rule the world in secret.
Above on the left you can see the cover of Bob Dylan’s Nashville Skyline. I have enhance the image above on the right so you can see its illuminati significance. The fact that it is Bob Dylan’s 9th album, coming out on the 9th, in the 9th year of the 1960s (not counting 1960) are three facts relating the number 9 to Nashville Skyline I do not need to remind you about the relationship between the numbers 9 and 3.
The title of Nashville Skyline is interesting. You should remember the link between the number 9 and the “enemies of Egypt*. What is the symbol of the illuminati? Again, I said before: the triangle pyramid. Pyramids were made by Egyptians. Who are the modern day enemies of Egypt? Perhaps you should look at the title of the album more closely. Nashville is in Tennessee. Memphis is also in Tennessee. But Memphis is also a place in Egypt. There is a pyramid in Memphis, Tennessee. But I am not talking about the “Nashville” part of the title. I am talking about the “Skyline” part of the title. What event, ordered by the illuminati, irrevocably altered a skyline? That’s right: 9-11. Did Bob Dylan order 9-11? It does not state anywhere on his Wikipedia page that he did not.
The conclusion is clear. Bob Dylan is either a member of — or possibly in charge of — the illuminati. It is proved.
Somewhere A.J. Weberman just got a serious nosebleed and has no idea why.
Q:advice question: it is a dark and stormy (literally) monday morning and i am having trouble getting going. my usual tactic is to play jams, loudly, to gain some momentum. but my coworkers are very quiet and would not appreciate it. how can i energize my morning?
its easy in this world to forget the importance of the-thing-called-art as a personal ritual thats helpful to just you and maybe a few other people, instead of a product waiting to be judged and consumed by the cash-glands and word-glands of a shadow audience
Hauptstraße 155, home to Bowie and Iggy Pop, Kreuzberg, Berlin, 1976-77 (later, for Iggy)
Shots from 1977 (Iggy, Iggy & Esther Friedman, street views) and late 2000s
Ornette Coleman: Do you ever ask yourself if the language that you speak now interferes with your actual thoughts? Can a language of origin influence your thoughts?
This conversation excerpt = !
Wow, Q Magazine is finally going to get to the bottom of this whole Oasis thing! FINALLY! They’d only done 50,000 Oasis cover stories before (All of which have had “Liam: “I fornicated with a vagina-shaped cake at my birthday party” or whatever on the cover), but I really think this is the one that’s going to solve the Murder of Sir Winton Slimbottom once and for all. This is the one where they get Liam to say who the murderer is. Finally! Thank you, Q Magazine— thank you for pledging to put Oasis on your cover once a month until Sir Slimbottom is finally avenged!
We listen to women the same way we look at them. Like beauty, a woman’s voice emanates from her body without visible effort. Listeners don’t hear the voice as an instrument, but as a primal extension of the singer herself, a through-line from her anatomy to yours. The voice is a component of a woman’s affect—never learned, never forced, but something she’s born possessing. Watch the audition episodes of shows like American Idol and the Voice. Like beauty, vocal talent rests on a binary: You have it or you don’t.
The kind of article that had me looking back through my own reviews — few of which, at least in recent months, centered around women-fronted albums — and wondering if/where I’d avoided this trend, and how to avoid it in the future. (One that jumped to mind immediately: me being disappointed by Kelis’ Food because Sitek’s production kept interfering with her voice.)
The Cinefamily trailer for The Outside Man, a 1972 French thriller set in Los Angeles. Not safe for work-ish.
I like how the first thing in the trailer is ‘As seen in Los Angeles Plays Itself’, since this movie was near the top of the list of stuff I convinced myself I absolutely had to see based solely on its appearance in that documentary. (Second only to The Exiles, actually.)