Starting today, I'm going to potentially sacrifice 7 VHS tapes. Let me explain - my VCR...
I'm sorry...
http://en.wikipedia.org/wiki/Vhs
http://en.wikipedia.org/wiki/VCR
OK, let's go, children of the 21st century...
...my VCR is old and has started to eat tapes at random, possibly in some response to the fact that we have 17 DVD players in a two-bedroom apartment. But I don't feel like spending money to upgrade these until they are no longer playable, so into the kite-eating tree, I mean tape-eating VCR we go!
Here's the festival lineup:
Tequila Sunrise (1988, Robert Towne)
Mystery Train (1989, Jim Jarmusch)
My Beautiful Laundrette (1985, Stephen Frears)
Broadcast News (1987, James L. Brooks)
Midnight Run (1988, Martin Brest)
She's Gotta Have It (1986, Spike Lee)
The Spanish Prisoner (1998, David Mamet)
Tuesday, July 28, 2009
Thursday, July 23, 2009
Chimes of memory
As seen on my Twitter feed yesterday, I got the Steely Dan jones thing goin' on and decided that I was going to listen to all of the first wave (1972-1980) of their output. Decided to go alphabetical for a change-up; a little jarring - I've listened to them for a good 6 months out of the year every year since 1987, so at the end of a track, I'm thinking of the next album track. I know, I should have real problems, right?
But anyway, what invariably happens when I set myself a reading/watching/listening project is that something else comes up as a memory sync. This is why I pull my DVDs in 3s (more on that next week.)
So, about halfway through the listen, I start thinking of Pavement, that awesome alt-rock band from the 1990s. Why? At first blush, you'd think that they have nothing in common, right? Well, how about an idiosyncratic lead singer and inscrutable lyrics?
But another way that they chime each other for me is that both acts get a bad rap for being elitist or snobby.
And I just don't get that, especially in the case of Steely Dan. Despite the jazz inflection, the aforementioned lyrical bent, the aversion to feeding the pop machine, everything these guys did was to serve the song.
But the thrust of this post is to ask, what movies/songs/books/comics/etc. chime each other in your mind?
Here's two of mine - let me know yours:
When I watch Soderbergh's sex, lies and videotape, after Peter Gallagher beats up James Spader, throws him out of his own house and starts to watch the tape of Andie MacDowell, watching him stand there, about to have truth revealed to him, I automatically think of Kubrick's 2001: A Space Odyssey, when Dave Bowman unplugs HAL and the pre-recorded message kicks in, revealing the true nature of their mission.
Also, at the beginning of Ridley Scott's Blade Runner, there is an image of flame reflected in someone's eye. That connects to Tony (Ridley's brother, as it turns out) Scott's Revenge when Anthony Quinn burns down Kevin Costner's cabin and the flames are reflected in his sunglasses.
What have you?
But anyway, what invariably happens when I set myself a reading/watching/listening project is that something else comes up as a memory sync. This is why I pull my DVDs in 3s (more on that next week.)
So, about halfway through the listen, I start thinking of Pavement, that awesome alt-rock band from the 1990s. Why? At first blush, you'd think that they have nothing in common, right? Well, how about an idiosyncratic lead singer and inscrutable lyrics?
But another way that they chime each other for me is that both acts get a bad rap for being elitist or snobby.
And I just don't get that, especially in the case of Steely Dan. Despite the jazz inflection, the aforementioned lyrical bent, the aversion to feeding the pop machine, everything these guys did was to serve the song.
But the thrust of this post is to ask, what movies/songs/books/comics/etc. chime each other in your mind?
Here's two of mine - let me know yours:
When I watch Soderbergh's sex, lies and videotape, after Peter Gallagher beats up James Spader, throws him out of his own house and starts to watch the tape of Andie MacDowell, watching him stand there, about to have truth revealed to him, I automatically think of Kubrick's 2001: A Space Odyssey, when Dave Bowman unplugs HAL and the pre-recorded message kicks in, revealing the true nature of their mission.
Also, at the beginning of Ridley Scott's Blade Runner, there is an image of flame reflected in someone's eye. That connects to Tony (Ridley's brother, as it turns out) Scott's Revenge when Anthony Quinn burns down Kevin Costner's cabin and the flames are reflected in his sunglasses.
What have you?
Tuesday, July 21, 2009
Sequencing is the trick
(Don't ask where I've been for the last 3 months. I'm back and you're in for a good summer's worth of posts...)
It's been said that editing and score are post-production procedures that can make or break a movie. I'd like to think that good acting, direction by a storyteller rather than a moneymaker and hey, what about a great script to kick the project off all rank in there somewhere as well.
When comes to albums (collections of songs, folks), sequencing really helps as well. Most people who like The Smiths huzzah The Queen is Dead over the other studio albums, but the pacing doesn't work for me as well as let's say, Meat is Murder. But that's just me.
As I was rummaging through some old albums and box sets, I stumbled upon Paul Simon's 1964-1993 that was put out right around the time he was doing some career retrospective shows at the Paramount Theater in NYC.
The box is a good collection - although, quite sacrilegiously, they offer a live "Still Crazy After All These Years" vastly inferior to the original. But there is a sequence of tracks on Disc One that is simply breathtaking. It's so well done that it can't help but call attenttion to itself and you think on it and say, "Wow - there's the hand of something stronger at work here." And like all good things should, it demands that you review your thoughts on the subject and pay more attention the next time around. If anyone wants me to, I can "get" the tracks to you so you can decide on your own.
"Bridge Over Troubled Water" (demo) - Paul sings this demo - it's got different lyrics. And as the case is when we hear demos retroactively, we can simultaneously see where the official version came from and marvel at the changes production can wring.
"Bridge Over Troubled Water" - the masterwork, from their 1970 swansong album. I believe it's the most covered song from the latter half of the 1960s, though I need citations, please. Garfunkel's voice is angelic, for sure, but Paul coming in to share the final verse puts this one right over the top. The song of healing the 1960s needed after Woodstock begat Altamont.
"The Breakup" - a humorous little piece of studiosity from 1973, this finds Garfunkel (with recording room punch-ins from Simon) attempting to explain the necessity of their dissolved partnership.
"Hey Little Schoolgirl" - and then, we're slammed back to 1957 for the earliest recorded track of their career, when they were known only as 'Tom and Jerry'.
"My Little Town" - hard jump 20 years to the 'comeback' single from 1975, a lyrically dissonant ode to hating the town you come from. Oddly (or maybe not so oddly) not about Queens... Interesting to note how the entire song is sung by the two in unison.
And there you have it, a time-hopping abbreviated history of the duo.
It's been said that editing and score are post-production procedures that can make or break a movie. I'd like to think that good acting, direction by a storyteller rather than a moneymaker and hey, what about a great script to kick the project off all rank in there somewhere as well.
When comes to albums (collections of songs, folks), sequencing really helps as well. Most people who like The Smiths huzzah The Queen is Dead over the other studio albums, but the pacing doesn't work for me as well as let's say, Meat is Murder. But that's just me.
As I was rummaging through some old albums and box sets, I stumbled upon Paul Simon's 1964-1993 that was put out right around the time he was doing some career retrospective shows at the Paramount Theater in NYC.
The box is a good collection - although, quite sacrilegiously, they offer a live "Still Crazy After All These Years" vastly inferior to the original. But there is a sequence of tracks on Disc One that is simply breathtaking. It's so well done that it can't help but call attenttion to itself and you think on it and say, "Wow - there's the hand of something stronger at work here." And like all good things should, it demands that you review your thoughts on the subject and pay more attention the next time around. If anyone wants me to, I can "get" the tracks to you so you can decide on your own.
"Bridge Over Troubled Water" (demo) - Paul sings this demo - it's got different lyrics. And as the case is when we hear demos retroactively, we can simultaneously see where the official version came from and marvel at the changes production can wring.
"Bridge Over Troubled Water" - the masterwork, from their 1970 swansong album. I believe it's the most covered song from the latter half of the 1960s, though I need citations, please. Garfunkel's voice is angelic, for sure, but Paul coming in to share the final verse puts this one right over the top. The song of healing the 1960s needed after Woodstock begat Altamont.
"The Breakup" - a humorous little piece of studiosity from 1973, this finds Garfunkel (with recording room punch-ins from Simon) attempting to explain the necessity of their dissolved partnership.
"Hey Little Schoolgirl" - and then, we're slammed back to 1957 for the earliest recorded track of their career, when they were known only as 'Tom and Jerry'.
"My Little Town" - hard jump 20 years to the 'comeback' single from 1975, a lyrically dissonant ode to hating the town you come from. Oddly (or maybe not so oddly) not about Queens... Interesting to note how the entire song is sung by the two in unison.
And there you have it, a time-hopping abbreviated history of the duo.
Monday, July 20, 2009
A Quick One from 7-11
Took my little one to 7-11 to get some ice cream and was looking at the Slurpee promotional for the G.I. Joe film coming out in August and was reminded of the fact that someone had said to me a few months back, "What the fuck is Dennis Quaid doing, making a G.I. Joe movie?"
Typically, I'd lob back, "Well, everyone's gotta take one for the mortgage." But I was in a charitable mood and decided to go somewhat the higher road. So, respectfully, I submitted that it looked like it was a fun movie to make and that he probably had a fun time making it. Furthermore (and moreover, to boot), it looked like it was going to make some money, which would in turn make some money for Mr. Quaid.
And I was also reminded that over 20 years ago, when Who Framed Roger Rabbit was about to come out, that I said to myself and all around me, "What the fuck is Bob Hoskins doing, making a half-animated Disney film?" I mean, I had seen him in A Prayer for the Dying with Mickey Rourke, a good drama with some things to think on. And he'd been in Mona Lisa, as good a film as the 1980s British film renaissance produced (you can throw in The Long Good Friday and I won't argue.) Hell, he was in Brazil, one of the best movies EVER. So you can see where I was coming from.
Of course, Who Framed Roger Rabbit came out, did monster business and even better, got great notices for Hoskins' performance, leading him to make some more good movies. (Another "Of course", of course, is that he went on to make Super Mario Brothers, which TOTALLY screws my thesis in more than one way here. Shhhh.)
But it taught me something - Bob Hoskins is smarter than me. That's why he gets to MAKE movies and I just have to WATCH them.
And now we're back to Dennis Quaid. Can't wait to watch this one.
Typically, I'd lob back, "Well, everyone's gotta take one for the mortgage." But I was in a charitable mood and decided to go somewhat the higher road. So, respectfully, I submitted that it looked like it was a fun movie to make and that he probably had a fun time making it. Furthermore (and moreover, to boot), it looked like it was going to make some money, which would in turn make some money for Mr. Quaid.
And I was also reminded that over 20 years ago, when Who Framed Roger Rabbit was about to come out, that I said to myself and all around me, "What the fuck is Bob Hoskins doing, making a half-animated Disney film?" I mean, I had seen him in A Prayer for the Dying with Mickey Rourke, a good drama with some things to think on. And he'd been in Mona Lisa, as good a film as the 1980s British film renaissance produced (you can throw in The Long Good Friday and I won't argue.) Hell, he was in Brazil, one of the best movies EVER. So you can see where I was coming from.
Of course, Who Framed Roger Rabbit came out, did monster business and even better, got great notices for Hoskins' performance, leading him to make some more good movies. (Another "Of course", of course, is that he went on to make Super Mario Brothers, which TOTALLY screws my thesis in more than one way here. Shhhh.)
But it taught me something - Bob Hoskins is smarter than me. That's why he gets to MAKE movies and I just have to WATCH them.
And now we're back to Dennis Quaid. Can't wait to watch this one.
Friday, April 17, 2009
"The Boys of Summer" and that line
Once again, I'd like to take the opportunity to mention that this is the 25th anniversary of 1984, the greatest year for music ever.
One of the many, many great releases from that year was Don Henley's "The Boys of Summer" from Building the Perfect Beast. The album has plenty of high points besides this single, although it's not as good as his 1982 debut, I Can't Stand Still. Henley was one of my two first musical heroes (along with Lindsey Buckingham), years before I discovered Springsteen, Prince and the fact that heroes eventually suck almost as much as having heroes (a lesson brought on by most of Henley's post-1984 material among other things)
The linchpin of the single is, of course, the line "Out on the road today, I saw a Deadhead sticker on a Cadillac", a line so indelibly brilliant, it even eclipses the fact that he needed to explain it in the following line. I invite any of you reading this to produce a line as good or better than that.
Now, in 2003, a band called The Ataris covered the song, changing the key line to "...a Black Flag sticker on a Cadillac", which doesn't work the same for me. But what it does achieve is this and follow me 'round the horn here:
One of the many, many great releases from that year was Don Henley's "The Boys of Summer" from Building the Perfect Beast. The album has plenty of high points besides this single, although it's not as good as his 1982 debut, I Can't Stand Still. Henley was one of my two first musical heroes (along with Lindsey Buckingham), years before I discovered Springsteen, Prince and the fact that heroes eventually suck almost as much as having heroes (a lesson brought on by most of Henley's post-1984 material among other things)
The linchpin of the single is, of course, the line "Out on the road today, I saw a Deadhead sticker on a Cadillac", a line so indelibly brilliant, it even eclipses the fact that he needed to explain it in the following line. I invite any of you reading this to produce a line as good or better than that.
Now, in 2003, a band called The Ataris covered the song, changing the key line to "...a Black Flag sticker on a Cadillac", which doesn't work the same for me. But what it does achieve is this and follow me 'round the horn here:
- Don Henley rises to fame in a band called the Eagles. Said band comes to represent for many the corporatization of rock music, leading those many to become...
- ...punk rockers! Punk goes through many phases and guises over 15 years until Nirvana breaks through, paving the way for the recombinant bastard called (by me, at least) "corporate punk", epitomized by bands like, well, The Ataris, who pay homage to Don Henley, instead of, I don't know, maybe Joe Strummer, Joey Ramone or even John Lydon.
- Kurt Cobain wonders if he should have pulled the trigger instead of continuing on in the path he opened with Unplugged in New York, which was in 1994 as "punk as fuck" as "punk as fuck" got.
Wednesday, April 15, 2009
Marc spends over a month away from his blog, and when he returns it's for a stupid joke
There's a playlist on my iPod (which is called "Marc's iPod") called "Marc's Songs", filled with songs that don't fit into other lists. Every once in a while, I'll just think of a whole bunch of songs and load 'em on.
The other day I threw on Snow's "Informer" from 1992 and it's still a great track. But of course, it got me thinking.
The album it came from was called 12 Inches of Snow. That title works on a number of levels - a play on a weather report, a reference to the fact that vinyl albums were 12" in diameter and of course, a brag about the size of his...wedding favors?
That's cool, being that Snow's a hip-hop act and they're usually known for their sexual braggadocio. BUT, the album came out WELL into the CD era...
I guess 5 Inches of Snow wouldn't have helped his street cred.
The other day I threw on Snow's "Informer" from 1992 and it's still a great track. But of course, it got me thinking.
The album it came from was called 12 Inches of Snow. That title works on a number of levels - a play on a weather report, a reference to the fact that vinyl albums were 12" in diameter and of course, a brag about the size of his...wedding favors?
That's cool, being that Snow's a hip-hop act and they're usually known for their sexual braggadocio. BUT, the album came out WELL into the CD era...
I guess 5 Inches of Snow wouldn't have helped his street cred.
Saturday, March 7, 2009
A different look at 2008 in music
(Been looking through the 'Draft' pile on my blog for stuff that I abandoned. This one's a little overdue, but, as always, I'm looking to get all of you out of your staid 'whatever's-on-the-radio-that's-what-I'll-listen-to'. Remember, the people want what the people get. That's not good - that's not how greatness is revealed to us.
Damnit.)
I've decided that I'm not going to do a traditional "Best of 2008" in music for a simple reason - I didn't buy Dear Science by TV on the Radio and therefore won't have a number one pick.
What I am going to do instead is do a "Top Albums, Acts or Styles" that I became aware of this year, regardless of date of issue. Also, I'm going to do a "Top Albums, Acts or Styles" that I re-acquainted myself with this year.
Things I discovered a love for the first time this year
Damnit.)
I've decided that I'm not going to do a traditional "Best of 2008" in music for a simple reason - I didn't buy Dear Science by TV on the Radio and therefore won't have a number one pick.
What I am going to do instead is do a "Top Albums, Acts or Styles" that I became aware of this year, regardless of date of issue. Also, I'm going to do a "Top Albums, Acts or Styles" that I re-acquainted myself with this year.
Things I discovered a love for the first time this year
- Bishop Allen
- African music
- Le mystere des voix bulgares
- Ornette Coleman
- Sonny Rollins
- Off the Coast of Me and Fresh Fruit in Foreign Places- Kid Creole and the Coconuts
- The Style Council
- Mario Biondi and the High Five Quintet
- Forever Breathes the Lonely Word - Felt
- Tommy: The Wedding Present 1985-1987 - The Wedding Present
- Off the Wall - Michael Jackson - kicks Thriller's ass any day of the week and twice on Sunday.
- The Rolling Stones' 1980s studio work - OK, forget "Start Me Up" (wait, we can't - it's encoded on our DNA) - but the rest of these 4 albums make a case for working waaay past what society might think are your "valid" years.
- Radio KAOS - Roger Waters - Waters got the conceptual stuff in the Pink Floyd divorce of the 1980s and Gilmour got the musicality. But this one has a good deal of interesting melodies to go along with the story. If you jumped off (a building) after hearing The Pros and Cons of Hitchhiking, dust it off and try this overlooked album from 1987, the year closest to the awesomeness that is 1984.
- Gold, Volume One - The Bee Gees - my very first vinyl album. Dad got it for me. Dad would go on every year to Jimmy's Music World, then The Wiz and finally Tower Records (4th and Broadway - we miss you, stah!) to bravely ask for the increasingly outlandish shit I would ask for. I owe him huge for 1983, when he had to get me The Lamb Lies Down on Broadway and Abacab. Hope 2 grandkids are enough.
- Mid-period Genesis (as well as Phil Collins' output from that time) - 1976-1982 for the band (stop before 1983's Genesis, please) and the first three solo Phil joints.
- Brighten the Corners - Pavement. Along with Yo La Tengo's I Can Feel the Heart Beating as One, the album that brought me back to music with a vengeance in 1997. I will personally guarantee your money on these two.
Monday, February 16, 2009
Thoughts on Music
The wife and I were driving the other day and I'm playing Prince's 1999, for a piece I'm doing. As the songs are going by, I'm throwing out little tidbits of trivia and working out bits for the piece, and wife turns to me and says, "Can't you just enjoy music?"
wow.
But, to me, talking about things is enjoying them. I mean, it's not like I haven't listened to 1999 for well over 25 years, haven't sung the songs, watched the videos, etc. I've enjoyed this album; I've also bought the living hell out of it as well - vinyl, then CD, then on cassette thanks to a garage sale and I would get it on iTunes (lost the CD), but I think they have a botched version. Hey, I've enjoyed this album.
So, we have the age old saw - "Writing about music is like dancing about architecture" - which has been the basis for quite a bit of discussion as to who first said it - see here or this site, by an all-round good guy, Rob Brookman. Hey, here's a thought - what if the 'about' isn't 'of; concerning; in regard to', but actually 'on every side of; around'? That'd put a new twist on it, wouldn't it?
Anyway, I reject the notion that to respond to artistic expression is somehow wrong. Not everyone can create a song, a film, a comic book; all of us, however, can experience it and react to it. Some of us even feel inspired to write about it. Doesn't that constitute art in and of itself? Especially when art or Art or "Art" can be seen as a person's voluntary response to his surroundings. When you get right down to it, it's almost scientific - pure input/output.
Another thing I've been grappling with the nature of is lyrics. How important are they? Do you like lyrics that are literal or somewhat more obscure, esoteric, evocative? Gun to my head, I have to fall down on the latter side. Lyrics that are literal tend to, after a while, just lie there. Either they're topical, and become anachronistic, or they just say the same thing over and over. On the other hand, lyrics that are less obvious as to their meaning(s) have a longer life with me, as they involve me in the song as much as the guitar or rhythm. Also, depending on the state/situation I'm in, certain lyrics will change as surely I am changing. (I also find that there are two types of people when it comes to horoscopes - those who read them early in the day and then take every event as it comes and bend it to the horoscope and those who reflect upon their days at the end of them and say, "Oh, that's what that meant...")
Nothing's ever in stone, though. Whereas over the last decade I've favored bands like Pavement and Interpol, whose lyrics are inscrutable to the point of frustration, I'll then hear a song like the Mountain Goats' "Woke Up New". As the narrator finds himself without his lover for the first time, he catalogs the world around him and finds he's reacting differently to mundane things. This is nowhere near anything new in the world of pop music, but John Darnielle takes care to bring a new twist to old themes.
Thoughts, anyone?
Addendum: Just iTuned 1999 - it's fine, not an edited version at all. Look for the piece this week
wow.
But, to me, talking about things is enjoying them. I mean, it's not like I haven't listened to 1999 for well over 25 years, haven't sung the songs, watched the videos, etc. I've enjoyed this album; I've also bought the living hell out of it as well - vinyl, then CD, then on cassette thanks to a garage sale and I would get it on iTunes (lost the CD), but I think they have a botched version. Hey, I've enjoyed this album.
So, we have the age old saw - "Writing about music is like dancing about architecture" - which has been the basis for quite a bit of discussion as to who first said it - see here or this site, by an all-round good guy, Rob Brookman. Hey, here's a thought - what if the 'about' isn't 'of; concerning; in regard to', but actually 'on every side of; around'? That'd put a new twist on it, wouldn't it?
Anyway, I reject the notion that to respond to artistic expression is somehow wrong. Not everyone can create a song, a film, a comic book; all of us, however, can experience it and react to it. Some of us even feel inspired to write about it. Doesn't that constitute art in and of itself? Especially when art or Art or "Art" can be seen as a person's voluntary response to his surroundings. When you get right down to it, it's almost scientific - pure input/output.
Another thing I've been grappling with the nature of is lyrics. How important are they? Do you like lyrics that are literal or somewhat more obscure, esoteric, evocative? Gun to my head, I have to fall down on the latter side. Lyrics that are literal tend to, after a while, just lie there. Either they're topical, and become anachronistic, or they just say the same thing over and over. On the other hand, lyrics that are less obvious as to their meaning(s) have a longer life with me, as they involve me in the song as much as the guitar or rhythm. Also, depending on the state/situation I'm in, certain lyrics will change as surely I am changing. (I also find that there are two types of people when it comes to horoscopes - those who read them early in the day and then take every event as it comes and bend it to the horoscope and those who reflect upon their days at the end of them and say, "Oh, that's what that meant...")
Nothing's ever in stone, though. Whereas over the last decade I've favored bands like Pavement and Interpol, whose lyrics are inscrutable to the point of frustration, I'll then hear a song like the Mountain Goats' "Woke Up New". As the narrator finds himself without his lover for the first time, he catalogs the world around him and finds he's reacting differently to mundane things. This is nowhere near anything new in the world of pop music, but John Darnielle takes care to bring a new twist to old themes.
Thoughts, anyone?
Addendum: Just iTuned 1999 - it's fine, not an edited version at all. Look for the piece this week
Saturday, January 24, 2009
2009 Comics - what's in, what's out
The new year brings many attempts at resolution, many fail. Here's what I will be following comic-wise for 2009, as well as what's getting the boot.
DC
Superman and Action Comics will always be bought. Johns and Robinson have done a great job returning the book to its expected high-level. The imminent off-worlding of Superman has got me very intrigued, as I like my Superman stories more sci-fi.
Booster Gold - another book that I will continue to follow to the ends of time.
The Brave and the Bold - after the Green Lantern 4-parter, going to trade on this one.
Green Lantern and Green Lantern Corps. DC's two most consistently engaging and well-done ongoings.
The Legion of Super-Heroes. With this issue, # 50, the book takes another cancellation. Oh well, see you in a few for the next try, future kids!
Justice Society of America. Four more issues and Johns is gone again. The Jack of Fables team is coming on board, but I haven't gotten to the point in Fables where JoF jumps off, so they're an unknown quantity; see you in the trades, JSA!
Batman. Definitely down for the Gaiman 2-parter; after that, gone til Morrison comes back.
Marvel
The Avengers books - after the debacle that was Secret Invasion, New gets cut at 50, Mighty is dropped as of 21 and Dark is a no-go from the gate. How did they fuck this up so badly?
Captain America and Daredevil. When Brubaker goes, I'm out unless someone with seriously good chops comes on. Since those days seem very far away, we're good.
Ghost Rider. After the next issue, done. I haven't been loving this, despite some good concepts. This book actually read better under Daniel Way.
Iron Fist. I'm actually liking the Swierczynski/Foreman direction - keeper.
Thor. Marvel's best ongoing, by a longshot. It's been 25 years since I even liked Thor.
All Mark Millar's Marvel work. Fantastic Four. Wolverine. Kick-Ass. It's all been very good so far. I'm there til he's not.
Runaways. Before I began my man-crush on Vaughan's mature work, I fell head over it for Runaways, which is far and away one of the best things I've read this decade. Moore and Ramos are doing a nice job taking this over.
Last, but not least - anything that Abnett and Lanning are doing at Marvel. Singlehandedly (or is that doublehandedly? They are two people...), they've managed to not only reinvigorate Marvel's cosmic community of characters, but also make Nova and the Guardians of the Galaxy viable monthlies. Johns may be more prolific and Morrison may be the master, but these guys are my favorites, hands down.
What am I missing? Let me know.
DC
Superman and Action Comics will always be bought. Johns and Robinson have done a great job returning the book to its expected high-level. The imminent off-worlding of Superman has got me very intrigued, as I like my Superman stories more sci-fi.
Booster Gold - another book that I will continue to follow to the ends of time.
The Brave and the Bold - after the Green Lantern 4-parter, going to trade on this one.
Green Lantern and Green Lantern Corps. DC's two most consistently engaging and well-done ongoings.
The Legion of Super-Heroes. With this issue, # 50, the book takes another cancellation. Oh well, see you in a few for the next try, future kids!
Justice Society of America. Four more issues and Johns is gone again. The Jack of Fables team is coming on board, but I haven't gotten to the point in Fables where JoF jumps off, so they're an unknown quantity; see you in the trades, JSA!
Batman. Definitely down for the Gaiman 2-parter; after that, gone til Morrison comes back.
Marvel
The Avengers books - after the debacle that was Secret Invasion, New gets cut at 50, Mighty is dropped as of 21 and Dark is a no-go from the gate. How did they fuck this up so badly?
Captain America and Daredevil. When Brubaker goes, I'm out unless someone with seriously good chops comes on. Since those days seem very far away, we're good.
Ghost Rider. After the next issue, done. I haven't been loving this, despite some good concepts. This book actually read better under Daniel Way.
Iron Fist. I'm actually liking the Swierczynski/Foreman direction - keeper.
Thor. Marvel's best ongoing, by a longshot. It's been 25 years since I even liked Thor.
All Mark Millar's Marvel work. Fantastic Four. Wolverine. Kick-Ass. It's all been very good so far. I'm there til he's not.
Runaways. Before I began my man-crush on Vaughan's mature work, I fell head over it for Runaways, which is far and away one of the best things I've read this decade. Moore and Ramos are doing a nice job taking this over.
Last, but not least - anything that Abnett and Lanning are doing at Marvel. Singlehandedly (or is that doublehandedly? They are two people...), they've managed to not only reinvigorate Marvel's cosmic community of characters, but also make Nova and the Guardians of the Galaxy viable monthlies. Johns may be more prolific and Morrison may be the master, but these guys are my favorites, hands down.
What am I missing? Let me know.
Never Too Early to Start Talking About This, I Say
I would like to start something, if you don't mind. We're just starting 2009, which is the end of the "oughties". Which means, that's right, the decade began in 2000, which means that the millenium began in 2000 - WHY-TOO-FRAKKIN'-KAY, babe.
Now being the math teacher/math administrator/math lover that I am, I understand the intelligentsia that say (in a snooty blue-blood sneer), "Well, Muffy, since there was never a year zero, the first year was 1, the 10th year was 10, that's the first decade." Well, yes, that's empirically true. BUT, it throws everything off. When the leadoff digit changes for the first time in a thousand years, that's cause enough for celebration. Simply put, the whole "no year 0" is only a problem once. Let it go.
Anyway, look how it works out. The 1960s - began in 1960 and ended in 1969. Nice; neat. The 1970s - 1970 to 1979. The 1980s - well, they began in 1977 and ended in 1992, but that's a personal thing.
And so , the 2000s began on 1/1/2000 and ends 12/31/2009. Which means what, kidlets?
Best of the year AND best of the decade lists.
So, over the next few weeks, I'm going to start raw lists of best comics, movies, TV and music. Caveats - if a show began in 1999, but did the majority of its work in the 2000s, it's in. Comics - mixed bag: runs, one-shots, arcs, minis and all that good stuff on a level playing field. Music - we're going with acts AND albums. Movies? Who knows - I've had kids for most of this decade.
Now being the math teacher/math administrator/math lover that I am, I understand the intelligentsia that say (in a snooty blue-blood sneer), "Well, Muffy, since there was never a year zero, the first year was 1, the 10th year was 10, that's the first decade." Well, yes, that's empirically true. BUT, it throws everything off. When the leadoff digit changes for the first time in a thousand years, that's cause enough for celebration. Simply put, the whole "no year 0" is only a problem once. Let it go.
Anyway, look how it works out. The 1960s - began in 1960 and ended in 1969. Nice; neat. The 1970s - 1970 to 1979. The 1980s - well, they began in 1977 and ended in 1992, but that's a personal thing.
And so , the 2000s began on 1/1/2000 and ends 12/31/2009. Which means what, kidlets?
Best of the year AND best of the decade lists.
So, over the next few weeks, I'm going to start raw lists of best comics, movies, TV and music. Caveats - if a show began in 1999, but did the majority of its work in the 2000s, it's in. Comics - mixed bag: runs, one-shots, arcs, minis and all that good stuff on a level playing field. Music - we're going with acts AND albums. Movies? Who knows - I've had kids for most of this decade.
Monday, January 19, 2009
Four, Containing Five, Done by Three
I've said earlier that I've hit a wall with mainstream comics over the last year. There's no one thing to blame, but I know that I've been here before. Usually what gets me going is a detour into less mainstream material.
The final push for this came in the most unlikely of comic book fans: my cousin Joanne. Country cousin comes up from Florida to visit for a few weeks and trips over her past into a temp job with...wait for it...DC Comics! So, guess who's been getting lovely little care packages...that's right, city cousin Marc. I tell her to read Watchmen and Sandman as a primer for working in the world of DC Comics; she reads the former, but scoops me and goes to Y: the Last Man, knocking it down in under a month, raving all the way.
Not to be undone in my own house, I started scrummaging around the closet, behind the Countdowns, the Death of the New Gods, the Secret Invasions to find the trade paperback stacks. What did we unearth? First tpb of Fables and the first seven tpbs of 100 Bullets. Went to the store with some Christmas money and less than an hour later - some Y: the Last Mans and Ex Machinas.
Which to read first, though? Looking at the back covers, I noticed that the first trade of each (4) had the first 5 issues of each book by 3 creators. So I read each one and decided to let that dictate which one I finish first.
The final push for this came in the most unlikely of comic book fans: my cousin Joanne. Country cousin comes up from Florida to visit for a few weeks and trips over her past into a temp job with...wait for it...DC Comics! So, guess who's been getting lovely little care packages...that's right, city cousin Marc. I tell her to read Watchmen and Sandman as a primer for working in the world of DC Comics; she reads the former, but scoops me and goes to Y: the Last Man, knocking it down in under a month, raving all the way.
Not to be undone in my own house, I started scrummaging around the closet, behind the Countdowns, the Death of the New Gods, the Secret Invasions to find the trade paperback stacks. What did we unearth? First tpb of Fables and the first seven tpbs of 100 Bullets. Went to the store with some Christmas money and less than an hour later - some Y: the Last Mans and Ex Machinas.
Which to read first, though? Looking at the back covers, I noticed that the first trade of each (4) had the first 5 issues of each book by 3 creators. So I read each one and decided to let that dictate which one I finish first.
- Y: the Last Man - really enjoyed this first blast. Vaughan juggles the time frame and the many characters expertly (gee, now why did they hire him for LOST?). Alas, poor Yorick doesn't get much screen time, but that seems right at this point. Pia Guerra's art, on the surface, looks very traditional, especially for a Vertigo book. But it's bold, clean and expressive and reminds us that this is a story about characters more than concepts and it works. Also, remember Truog and Hazlewood's work on Morrison's Animal Man? Good touchstone there.
- Ex Machina - didn't think I would like this as much as Y; I'm not overly political and was never a big Tony Harris fan. Also, the revisiting of NY events puts me in Law and Order territory - not a fan there, either. However, Harris' work is extremely good, getting a wide variety of characters to look, well, various. Vaughan's exploration of political themes is thought-provoking, if not a bit obvious in its leanings. Anyway, I'm hooked here, too.
- Fables - I've stayed away from this book because I didn't want to sully the fond memories I have for Sandman. Foolish me. This book works similar avenues, but does so with a wittier and more urbane style.
- 100 Bullets - Having been a HUGE fan of Brubaker's Criminal over the last two years, I've let this book slide. But the two mini arcs collected here work very well. But it was the 8 page mini-story at the end that made me confident that Azzarello is a master storyteller. Risso's artwork is less realistic than the art in Fables, which is initially strange - it is the most reality-based book of the four - but it is also dynamic and dynamite.
- Y: the Last Man - it's complete. I don't want to have to wait.
- 100 Bullets - it's complete next month. Again, I'm not a fan of waiting. Also, don't want to read two Vaughan books back-to-back.
- Ex Machina - it's the next one to complete - it's at 40 and he's going to 50. You see the trend.
- Fables - no end in sight on this one, so it goes on the back of the line.
Sunday, January 18, 2009
Final Thoughts on LOST before Wednesday
I need to concentrate on some other things than LOST this week - 24 and Battlestar Galactica need my love too, as do my iPod and comic books, so just a few thoughts:
- Why do the promo pictures look so damned PhotoShopped and inorganic? There's one in this week's TV Guide that looks pretty faked too. Aren't they all in Hawaii?
- The thing that will kill me on Wednesday will be this decision: do I start at 9:00 and deal with the commercials or wait until 9:20-9:25 to facilitate the DVR commercial blitz-through? I have a feeling Laura's going to make me wait. That 20 minutes may be just too much - I mean, it'll be on.
Saturday, January 10, 2009
Thoughts on LOST, Season 5
With the 5th season of LOST approaching rapidly, I'd just like to put down some thoughts about it.
- The media blitz. This is one show that I've watched from the start (most of my other favorites - The Shield, Battlestar Galactica, How I Met Your Mother - I've come to the party late.) So I can really see that ABC has really thrown a lot at this. Chief is the partnership with the earnestly piano-centric band The Fray; iTunes has had a 3 minute trailer up for a few weeks using a mix of old and new show clips, inter cut with footage of the band on a bridge (Jack's from the Season 3 closer?) I'm fine with this, as long as the song doesn't show up in the actual show. I believe the word is pandering and the show doesn't need this.
- Speaking of the trailer, I have not heard or seen one person mentio
n the subliminal flash of a new logo, one for "Ajira Airlines". First of all, the introduction of a second airline into the narrative opens up a lot of questions and elevates a normally mundane thing into something of a character (a la Nakatomi Plaza in Die Hard.) Also, a visit to this site offers some interesting Easter Eggs for fans.
- I was heartened early last fall when news made the rounds that the season was going to pioneer a new storytelling device where the flashes, back or forth, would not be as directly obvious. That's great to me - I want to work at my TV drama - and I appreciate the show runners not overstaying their innovations. But...
- But, then I was disheartened when Damon Lindelof (hey, remember when it was "J.J. Abrams' LOST", and now it's "Cuse and Lindelof's LOST"?) made some comments about how fans were nervous that the two factions (off- and on-islanders) wouldn't reunite for most of the season. Hmmm. I don't know how long they plan to wait for reuniting the whole cast, but if they're all back in a group hug by the end of the second week, that's not going to play well with me.
- Initial spoiler-free reviews have indicated that there's little to nothing to worry about, which is good. The reports that say the first episode has a mind-bending opening, along with story beats that open up a slew of new possibilities is great.
Thursday, January 1, 2009
Random thoughts
Happy New Year, all (both?) of you out there!
Besides the obvious and cliched resolutions, here's a few me-centric ones that I'm going to try and keep this year.
Besides the obvious and cliched resolutions, here's a few me-centric ones that I'm going to try and keep this year.
- Listen to more new music, as opposed to mainly reissues of 15 (or more)-year-old stuff that I should have listened to when it came out.
- Read more big-boy books. Yes, I love my comics, but they don't read well on the bus.
- Read less shitty comics. 2008 was not a good year with me and the 32-page, 4-color floppy, but I had some December revelations that bode well for my relationship with the sequential narrative.
- Now that my free 1-year subscription to Rolling Stone magazine has run out, I shall never read it again. I will, however, continue to explore my conflicted history (roughly half my life) with it, culminating with a piece intending to prove that the magazine actually did its level best to stunt my musical development while I was reading it.
- Write more about TV. It's easily my favorite medium for artistic expression and where I spend the majority of the post-dinner, post-kids-in-bed time, so why not sing it from this mountain?
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