godthedog

Everybody does the same base moves in a match. Everyone. The difference between Flair and Bret is this Flair wrestled almost the same exact way against everyone no matter who they were. It was a pattern that was fool proof in having a good match. THe only problem was he smothered some opponents by not letting them bring possable good elements to a match. He worked hard in the ring as well. Bret used the same moves a lot of the time just like everyone else but the key was he didn't always wrestle the same match. Bret was very smart in the ring and knew what to do and when to do it. He could construct stories in matches, play off of previous matches, build a bout and have lots of subtle stuff in a match. Bret's matches hold up so well not just because he had a great moveset, sold well or executed his manuevers excellently but because there are just so many little things Bret did in his stuff that make people remember them so fondly. I could go on forever just about that alone. That is versatility and that is great physology which is why 20 years from now people will still be drooling over Bret's matches. we have a winner. the "5 moves of doom" spot does not equal OMG HE ALWAYZ WRESTLED THE SAME MATCH~!!! bret could, and did, wrestle different types of matches, and i've seen far more versatility in his body of work than i have in flair's. his summerslam match with davey was very different from his IC title win against piper earlier that year. it was different from his world title defense against shawn michaels later that year. it was different from his wrestlemania match with owen 2 years later. it was different from his IYH match with davey 3 years later, and different from his matches with diesel. it was different from his survivor series match with austin (which, in turn, was different from his wrestlemania bout with austin). i could go on.

godfather kane

by extension, bret made shawn look GREAT at the 92 survivor series. shawn was nowhere near main event level at the time (shawn himself will admit this, and is on record as saying he didn't really make his name as a major contender until the ladder match), but bret sold like hell for him and made him look like a very serious threat to the title. bret didn't have to do that, seeing as how shawn was seen strictly as IC material at that point. and i can't think of any specific examples of bret making shawn look bad in the iron man match.

or maybe you're just stalking my posts and listened to "white room" on purpose like that, so that you could make some claim that we have cosmic clapton connections and get into my pants. if that was your intention, it is so working too. i have a warm funny "butterflies" feeling inside, not unlike the sensation of vodka when it hits my stomach. john coltrane - 'a love supreme'. "psalm" is the best part.

hey, cool, brando appears to be winning. i was about to go off on a crazyman rant there.

i demand that the cliched line "could have been as big as/bigger than the beatles" be put to rest. i'm surprised nobody mentioned the velvet underground yet. they're the archetypal example of most important/least popular band.

whoa there, tiger. will farrell is not on the a-list.

rating movies on any scale in general has come to irk me a little. the vast majority of people in this country seem to have come to think about movies in terms of rating them, and movies are a hell of a lot more complex than suiting to conform to a standardized rating. i frankly don't even see why a 9/10 movie vs. an 8/10 movie would be worth talking about. while everything in a movie does affect one's enjoyment of it, it just can't be summed up like that. i can argue why 'citizen kane' is a better movie than 'spider-man', but i have no idea if 'kane' should be a 10/10 or 'spider-man' should be a 7/10, and i don't really care. i think they're a lazy shortcut of trying to sum up a movie without wanting to really say anything about what you thought about it & why, and you end up with posts like: "goodfellas: 9/10 the doom generation: 4/10" this gives me a VERY general idea of how much so-and-so liked a certain movie, but it doesn't tell me what they really thought about it. 'goodfellas' would get a 9/10 for far different reasons than, say, 'spider-man 2' would get a 9/10, and i get no hint at why one is as good as the other.

shut your mouth, ho. the 90s had independent cinema, 'mystery science theater 3000', bill hicks, 'the state', gangsta rap, alternative radio, super nintendo, 'the simpsons' and the bisexual goth chick revolution.

eric clapton - 'from the cradle'

what did yule write? allmusic just has him credited as 1/3 of the authors of "lonesome cowboy bill," and has reed as writing all the rest. EDIT: ah. gotcha.

shudder to think - "hit liquor" this shit is way better than i remember it being.

i recommend "the revolution will not be televised" for downloading.

i don't even want to think about the possibility of a "sister ray" recording with yule instead of cale. yule brought no balls or ingenuity to the group, and doesn't strike me as someone with the musical sensibility to even try to make a song like that work. cale had vision, even if it didn't always end up how he envisioned it.

'to have and to have not' is genius. way more skill and grace than just about any other hollywood movie of the forties. congratulations. best of luck to you. kaufman i think gets pigeonholed as a weirdo, and doesn't get enough credit for his grasp of the fundamentals. 'confessions of a dangerous mind' is a straight-up fantastic script: funny, taut, clever and human, and doesn't rely on any gimmicks. he's got great ideas, but he also has almost a pitch-perfect sense of what the human core of writing great characters and telling great stories. i have issues with 'adaptation', but kaufman's growing track record is telling me that was more the exception than the rule. after 'american graffiti', lucas abruptly stopped caring about anything resembling character, resonance or subtlety. 'star wars' is ultimately a series of set pieces, and it REALLY shows in those stretches when they're not being chased or trying to blow something up. when the film isn't on an action set piece, it's dragging. in its quiet moments, when lucas is supposed to really hit home with who these characters are and what they're fighting for, we get the bare bones of motivations and such but they never come alive like they're supposed to. he does do a rather good job of creating another world (like introducing luke on the farm looking at the sunset and things), but when the emphasis is on the characters & not the world or the action it falls flat. like the droid bargaining scene, which is a good chance to just let the characters play off each other & let us get to know them; lucas tries to do this, but it's too forced, and it gets boring. i'll withhold comment on 'the phantom menace'.

i pimped "sister ray" specifically to agent a while back (along with "heroin" and i think maybe "european son") because it's exactly up his alley. i quite like it, but i don't think it sustains that "kick you in the jimmy" greatness i hear about for its entire 17:27 duration. around the 7- or 8-minute mark it just turns into this long interlude of reed, cale & moe making noise; it's a cool idea, but they're not accomplished enough musicians to really pull it off and the music doesn't feel like it's going anywhere; after a point, it doesn't have a huge effect on me. especially after listening to "ascension" or "machine-gun," with guys who can make shit twice as noisy and still make it go somewhere. the whole breakdown in that track really seems to be going for an avant-garde coltrane vibe in general, but they don't sound like they're using that style to explore any musical ideas, so it lacks that thickness & power of the noisy coltrane, being able to use musical spontaneity with that added substance. to make it work really well, the velvets probably would've needed to play it live a number of times to get a sense of how to really play off each other and where to take the song when the traditional structure breaks down. i love the dissonance & the noisiness of it all (especially the way the organ sounds all blown out), and the velvets were all about that "not quite there yet" garage band sound, but it's not a sound that can keep an exploration like this interesting for an inordinately long period of time. the song regains its ground when lou starts singing again, and it starts to come into full scope when we've got some kind of structure back into the song & something concrete we can grab on to. And when the song breaks down from there it feels more motivated and stronger, and it gets that "kick you in the jimmy" feeling back. but the song's got too much wandering in it for me to think it's really GREAT.

how about we just have a discussion about who we think the greatest screenwriters are, and not a tournament? those tend to be more fun, and go somewhere.

It's the damnedest thing. All the different cds I have, and not a single VU album among them. I don't know why this is, exactly. even after i pimped 'sister ray' to you? for shame. Duck and Sally inside They're cooking for the down five Who're staring at Miss Rayon Who's busy licking up her big man I'm searching for my mainline I said I couldn't hit it sideways I said I couldn't hit it sideways Ah, it's just like Sister Ray says Rosy and Miss Rayon They're busy waiting for her booster Who just got back from Carolina She said she didn't like the weather They're busy waiting for her Sailor Who said he's just as big as ever He's just here from Alabama He wants to know a way to earn a dollar I'm searching for my mainline I couldn't hit it sideways Ah, just like Sister Ray said Cecil's got his new piece He cocks and shoots between three and four He aims it at the Sailor Shoots him down dead on the floor Oh, you shouldn't do that Don't you know you'll stain the carpet Don't you know you'll stain the carpet And by the way man, have you got a dollar Oh no man, I haven't got the time time Too busy sucking on a ding dong She's too busy sucking on my ding dong Oh, she does it just like Sister Ray said I'm searching for my mainline I said I couldn't hit it sideways I couldn't hit it sideways Oh, just like, just like Sister Ray says Now, who's that knocking Who's that knocking on my chamber door Now could it be the police They've come to take me for a ride ride Oh, but I haven't got the time time Too busy sucking on my ding dong She's too busy sucking on my ding dong Oh, now, just like Sister Ray said I'm searching on my line I couldn't hit it sideways I couldn't hit it sideways Oh now, just like, just like, just like..... Sister Ray says.

i'm a critic. would you fuck me?

At a young age Moist Party Gurl's mother knew he would be something special right from the start. Moist Party Gurl's Mom: "I would often take him to the park to feed the ducks. Well he was able to garner the trust of the other kids and would often get them to agree to share their cookies with him in exchange for some juice. Well we never brought juice to the park, so after Moist Party Gurl ate the cookies he would point at a random object and run back to me snickering as the other child by now had realised he'd been duped and was crying." It didn't stop there though. Through out Moist Party Gurl's childhood he had to lookout for himself. Moist Party Gurl: "I grew up on the tough streets of Moose Jaw, Saskatchewan. I can't help but think that my surroundings helped develop me into the person I am today. The Jaw was the home on the Prarie's of bare knuckle boxing. Nothings beats hearing the searing crunch of an orbital bone cracking. Thats what I had to deal with as a kid. That, in addition to the fact that my dad was a Bowie fan, helped develop Moist Party Gurl. Y'know, always re-inventing themselves. I just had more hits than Bowie, ya'dig?" The tough kid from the streets of Moose Jaw, Saskatchewan nicknamed "Moist Party Gurl" loved wrestling. Moist Party Gurl: "I loved watching people hurt one another and others cheer about it. Boxing was pretty good but wrestling had so much more. People hitting other people with chairs and shit. You know Moist Party Gurl loves the violence." couple his love for wrestling with his knowledge of computers and it wasn't long before he joined the infamous IWC. There Moist Party Gurl would make a name for himself amongst the interweb world. His first stomping grounds would lead him to the very board he helped establish and helped establish him. CWM: "Well I first encountered Moist Party Gurl at WDI when he was posting under the gimmick name of Axl Homes which has to be the most underrated gimmick of all time." Moist Party Gurl: "I posted at WDI. Everyone in that generally lame, dreadfull, and conservative message board couldn't handle my sass. No pun instended to the condescending moderator we all know and love. Anyway, I guess I made several cyber foes over there who just couldn't handle the fact that I had a life, friends, and didn't need to join a ghey posting clique to fit in. Fuck them, they were overbearing. I did generally enjoy the Dutchman, Witty Banter, and the Illustrious One. The rest can go fuck a duck. So after one of my frequent bannings over there, I came here. If you thought the WDI at the time was boring, this was 10 times worse. It had losers like Popick and others of the same irk running wild. It has to be noted, it also had Incandenza who was castrated by his love for wrestling. He wasn't nearly the poster he is today. Anyway, I came in here and fucked everything up. Ask anyone who made this flaming folder fun again several years back? It was me. If they don't agree, they're fucking liars. I was the mack daddy of this shit..." CWM: "I didn't really interact with Moist Party Gurl until he started posting alot in the NHB folder at TSM. From the start I found him to be entertaining and funny. Once We started UGS I really got to know him and found out he was also pretty cool." --------------------------------- my favorite line of that is, "You know Moist Party Gurl loves the violence."

bill muller, possibly the worst major critic in america, writes for the 'AZ republic'. i have a friend in phoenix who keeps a "bill muller is a stupid fucker" jar. she reads his reviews every friday; every review he's horribly wrong about gets fifty cents in the jar, and every horrible line he writes (like, "apparently the only person framed more than david gale is ansel adams") gets a dime. i think she has around twenty dollars in the jar, and when it fills up she's going to send a photo of it to the 'republic'.

nope, it's a common way of raising money. if you don't have money to get an entire feature made, you shoot as much footage as you can, edit together a trailer, and show it to potential backers in the hopes that they'll give you more funds. the coen brothers did it for 'blood simple', and there's a grad student here at UGA who did it for a documentary he's trying to get made. and is that tori amos in your avatar? what video is that from?

St. Dionysius Feastday: September 20 Martyr with Privatus in Phrygia, in Asia Minor. No account of this martyrdom survives. i'm gonna make this guy my patron saint, because when i first read his blurb i thought it said "martyred in phrygian, in A minor." and i was like "wow, that's pretty bad ass, cause the phrygian scale is cool. and to kill this guy with that scale in A minor, they would've had to use a capo or something, and that's hardcore."

"Isidore was literally born into a family of saints in sixth century Spain. Two of his brothers, Leander and Fulgentius, and one of his sisters, Florentina, are revered as saints in Spain. It was also a family of leaders and strong minds with Leander and Fulgentius serving as bishops and Florentina as abbess. "This didn't make life easier for Isidore. To the contrary, Leander may have been holy in many ways, but his treatment of his little brother shocked many even at the time. Leander, who was much older than Isidore, took over Isidore's education and his pedagogical theory involved force and punishment. We know from Isidore's later accomplishments that he was intelligent and hard-working so it is hard to understand why Leander thought abuse would work instead of patience. "One day, the young boy couldn't take any more. Frustrated by his inability to learn as fast as his brother wanted and hurt by his brother's treatment, Isidore ran away. But though he could escape his brother's hand and words, he couldn't escape his own feeling of failure and rejection. When he finally let the outside world catch his attention, he noticed water dripping on the rock near where he sat. The drops of water that fell repeatedly carried no force and seemed to have no effect on the solid stone. And yet he saw that over time, the water drops had worn holes in the rock. "Isidore realized that if he kept working at his studies, his seemingly small efforts would eventually pay off in great learning. He also may have hoped that his efforts would also wear down the rock of his brother's heart. "When he returned home, however, his brother in exasperation confined him to a cell (probably in a monastery) to complete his studies, not believing that he wouldn't run away again. "Either there must have been a loving side to this relationship or Isidore was remarkably forgiving even for a saint, because later he would work side by side with his brot her and after Leander's death, Isidore would complete many of the projects he began including a missal and breviary. "In a time where it's fashionable to blame the past for our present and future problems, Isidore was able to separate the abusive way he was taught from the joy of learning. He didn't run from learning after he left his brother but embraced education and made it his life's work. Isidore rose above his past to become known as the greatest teacher in Spain. "His love of learning made him promote the establishment of a seminary in every diocese of Spain. He didn't limit his own studies and didn't want others to as well. In a unique move, he made sure that all branches of knowledge including the arts and medicine were taught in the seminaries. "His encyclopedia of knowledge, the Etymologies, was a popular textbook for nine centuries. He also wrote books on grammar, astronomy, geography, history, and biography as well as theology. When the Arabs brought study of Aristotle back to Europe, this was nothing new to Spain because Isidore's open mind had already reintroduced the philosopher to students there. "As bishop of Seville for 37 years, succeeding Leander, he set a model for representative government in Europe. Under his direction, and perhaps remembering the tyrannies of his brother, he rejected autocratic decision- making and organized synods to discuss government of the Spanish Church. "Still trying to wear away rock with water, he helped convert the barbarian Visigoths from Arianism to Christianity. "He lived until almost 80. As he was dying his house was filled with crowds of poor he was giving aid and alms to. One of his last acts was to give all his possessions to the poor. "When he died in 636, this Doctor of the Church had done more than his brother had ever hoped; the light of his learning caught fire in Spanish minds and held back the Dark Ages of barbarism from Spain. But even greater than his outstanding mind must have been the genius of his heart that allowed him to see beyond rejection and discouragement to joy and possibility." that's a bitchin guy right there. however, i have no idea how he has anything to do with surfing the internet.

the other batmans also didn't have the benefit of christopher nolan & a good writer.