godthedog

i'd like a breakdown of this, actually. i'm not terribly familiar with their individual styles and/or strengths.

this might not be the worst feud in the board's history, but i'd certainly say it's the most boring.

i do like his meaty, functional style, which is part of his great sense of HOW to tell a story in the best standard manner possible, but he doesn't seem to have a great sense of judgment about WHAT kinds of stories are really worth telling. of those working today, i'd put payne, both andersons, scorsese, sofia coppola, polanski and zwigoff ahead of him.

lucinda williams - car wheels on a gravel road my bloody valentine - loveless albert ayler - spirits rejoice i was about to start complaining about how addicted i am to buying this shit, but then i saw the last post.

nashville is cool. at least the area of downtown nashville that i spent time in.

not one of the best directors ever, i'd say. he also made some extremely lightweight, forgettable crap.

the movie isn't totally without merit. korine wrote some fantastic "cinema verite"-type scenes and dialogue that make their point without seeming to go anywhere or show the author's sleight of hand. the sheer mundane, wandering episodicness is good and incredibly hard to pull off, even if it is used to preachy purposes. if it wasn't trying so hard to be excessive in certain places, it could've been really thick and unsettling. of course, korine later proved that he was only really INTERESTED in the excesses and not in really exploring issues or people's lives or anything like that. and deep down, i do like 'gummo' for being that warped and surreal. it didn't pretend to be something it wasn't, and that's what hurts 'kids'.

the best thing about 'house of 1,000 corpses' is the "tiny fucked a stump" feature on the dvd.

shit. forgot about reed.

it might help if, like lennon, you work on it while on drugs.

great beatles lyrics: "a day in the life" "eleanor rigby" "julia" "yer blues" "hey jude" "tomorrow never knows" "here comes the sun" "come together" "happiness is a warm gun" "for no one" "taxman" "strawberry fields forever" "let it be" I'd agree with inc's sentiment that rock lyrics approaching poetry is rare, but aside from dylan i think the beatles came the closest with the most consistency. they weren't terribly original lyricists (except for lennon's confessionals), but they could pick apart a style that was out there, find out what makes it good, and make it their own. they had some hammy bullshit (to this day i can't listen to "it's only love" and some others), but on the whole i certainly wouldn't say lyrics were their weak point. sometimes with their stuff it gets hard to judge whether they're "good" lyrics or not, like "honey pie" or "why don't we do it in the road." they don't stand on their own well, but the lyrics are just a small part of the framework of the style they're trying to accomplish, and to that end, they're successful. "honey pie" is supposed to be hokey and old-school, and it is. "why don't we..." is supposed to be ridiculously simple, bluesy and raunchy, and it is.

dj spooky is one weird ass motherfucker. this 'rhythm science' thingy is pleasant to listen to, and the scope of it is impressive, but it makes absolutely no sense to me.

the main bad guy DIES at the end? you just completely ruined it for me. now i will never see it.

i'd like to believe that peart IS the best drummer ever, just because that makes it so much funnier to think about how horrible a band rush is.

i don't see how this will help anything. he's just posting their dirty laundry in a public forum for all to see. all this does is add fuel to the "what the hell is wrong with this woman" fire and increase the point-and-stare factor (see: this thread).

that thing is ass ugly. it's way too...busy-looking, with the enormous tires and the rocket engine and the thousands of jutting angles, and the sense of proportion is just goofy. they really should've tried to strike some kind of balance between making it "plausible" and making it pleasing to the eye.

by my heel, i care not.

i'm getting a kick out of playing all my ipod songs alphabetically. there's a weird kind of organic rhythm you get when you play coltrane's "acknowledgement", tori amos's "agent orange", wu-tang clan's (erroneously named) "ain't nothin to fuck with", and radiohead's "airbag" all in a row. i eagerly await the next track.

'the journey of natty gann'. 'the fox and the hound' (not exactly forgotten, but doesn't get a whole lot of notoriety).

i remember 'natty gann' being a fucking awesome movie. i should give it another look sometime soon.

sounds vaguely like the end of 'the journey of natty gann' from '85, but i don't think that's what you're looking for.

i have no desire whatsoever to know about possible or aborted terrorist attacks in the city i live in, because they will accumulate in my brain and scare the shit out of me. as long as they don't or haven't happened, i'm perfectly content to be ignorant of them.

sherlock jr (buster keaton) - holy shit did this blow me away. fucking pitch PERFECT comedy that seems to be harmless and fluffy but is about a lot more than it appears to be. all kinds of funny, inventive, energetic, and very touching. keaton brought his usual A-game for the jokes, but there's an added human dimension that really makes it come alive.

massive attack - mezzanine eric clapton - unplugged wu-tang clan - 36 chambers