I’ve decided that, based off the right honorable dirtfarmer’s suggestion, that I’m going to write a song cycle (album/EP/songbooks/merrie melodies) based partially on the bizarre life of Phineas Gage. Wrote the first tune tonight, entitled “The American Crowbar Case,” demos of which will be posted as soon as possible.
Whether this will be Match By Match, Red Lanterns, or some other, new endeavor (which, I might add, all of you marvelous musical people I know are invited and encouraged to take part in. iamdirtfarmer, I’m looking at you) I haven’t decided. If there’s interest from various parties, it could be a songwriting challenge resulting in a compilation. Either way, should be fun. What do ya think?
Great pizza, a neighborhood institution. Best pizza in Boston, if not New England. I’m a fan of their standard cheese which is thin, crispy and (like all true neighborhood pizza shops) greasy as hell.
Please, do not buy this distinctly modern health-food myth that pizza shouldn’t be greasy. I will freely admit I’ve had delicious non-greasy pizza, but I’m not talking about those pizza. I’m talking about that delicious local variety you find on the corner up the street from your apartment, not whole grain, locally farmed, vegan or otherwise health conscious or socially progressive. The good, modest kind that is so prevalent in mediocrity but difficult to locate in true quality.
That said, Bravos excels in both fields. The owner, a really wonderful, personable man given the perfect shitstorm of drunken entitlement and stupidity that nightly parades into his shop, will make you a custom pizza with gourmet ingredients like pesto and ravioli.
An Allston institution, if it must be lumped into such poor company.
We are officially open for business! Match by Match's debut EP “Books” is available! Stream and listen to it at myspace.com/matchbymatch or here on facebook. If you like what you hear, you can download the EP at matchbymatch.bandcamp.com for ONLY $2.99 (you can also pay more if ya like, we'd greatly appreciate it). Tell yer friends, spread the word. Thanks.
Not that it needs saying, but the MTV movie awards, like all award shows aired by MTV America, are a fucking joke. And this isn’t even in the context of bad award shows or crass youth marketing pushes; the MTV movie awards are just bad at what they do, and what they do is terrible.
First off, the awards themselves: Best looking scared as s**t? (the word skillfully omitted by the MTV censors there is SHIT)? Best WTF Moment? Do people even say WTF anymore without feeling profound embrassment and a need to reexamine the choices they’ve made in their lives? It’s almost like MTV is completely unworried about obsolescence, so assured in the fact that they “get” kids and what they like.
Not that this is really new. Any big corporate entity that is supposed to have their finger up the ass of the teen beat is bound to be a bit behind the 8-ball. Kids are fickle and with technological advances, a chance occurance can become pop culture phenomenon before anyone can get a memo together calling for a boardmeeting, starting talks to maybe start development on something for pilot season next year.
Still, this bullshit? This is feeble. The only thing remotely topical about any of it are the advertising tie-ins to movies premiering. With the exception of Aziz Anzari (who admittedly is pretty darn funny and worthy of the attention but MTV has had in their back pocket for YEARS and only now has given any liking to) this whole show reeks of desperately trying to infuse life into what has been a pathetic pop season by rehashing past successes. A Tropic Thunder reference? A breakdancing statue? Does anyone else feel embarassed for MTV that they seem to think these are things young people like?
As no one else seems to concerned with saying it, I have taken this grim task of expressing truth to you people. I take no relish in having to say this, but it must be said: Sandra Bullock got an award because her husband/boyfriend/sketchy dude cheated on her. The “Generation” award should be called the “cheer up Sandra, you’ll find a good man someday” award.
Katy Perry incredibly ill-concieved entrence on a surf board just looks rediculous. Everything about this song seems illthought. It looks like she’s wearing a sparkly diaper. The dancers and miss Perry look completely disinterested. Her boobs, on the other hand, a winning performance.
I’ve said it before, I’ll say it again: Taylor Swift getting preempted by Kanye at the music awards, best MTV moment I’ve seen yet. All the moaning and scrambling, the gears of the MTV machine grinding to a halt as the little white girl’s perfectly orchestrated princess moment gets upended by a rich, culturally powerful black man taking the opportunity to (quite rightfully so) call out that the king’s got no clothes on. It made MTV (and thus the celebrities MTV lets lick the barnicles off the bottom of their boots) deeply uncomfortable, not just because they’re racist (which they are) and not just because it was “wrong” (it wasn’t) but rather because it made people pay attention to the man behind the curtain, the fact that it wasn’t about awarding worthiness, but rather cultivating a narrative, enforcing a status quo, and a stunted one at that.
The more I listen to them and their back catalogue (not just the hits and singles) the more I realize how innovative the Sex Pistols really were: never has a band been so unashamedly bad and produced such irritating, grating music to such mainstream attention and success.
Seriously, they were like the William Hung of the 70s. Why is this band musically important?
I think that the latest High on Fire record “Snakes for the Divine” is pretty great. Astonishingly brutal, with great licks and little touches of stoner metal and fuzz rock. Like a less proggy Mastodon.
I personally think this could be a perfectly fine move if they avoided the usual idiot zealotry DD is known for. Marvel has the right idea when it comes to the interaction between the MAX titles and their 616 counterparts. The Punisher is a pitch-perfect example: I love reading the Punisher as a Frankenstein monster fighting zombies as much as I love reading about him as an aging vigilante trying to clean up organized crime in as brutal a way possible. Neither version cheapens or even really affects the other and, given the Punisher is by nature a dark, odd character, having a “darker” or “more mature” (a horrible turn of phrase, given that watching Bullseye pull a gun out of his own ass is probably as scatologically juvenile as it gets) ethos and methodology. Swamp Thing, while definitely darker and stranger in the superhero context, is maybe a bit more flexible than the Punisher: being able to control plants can easily make him Aquaman for rhododendrons. This new declaration of the permeability of the Vertigo/DC membrane suggests a move similar to that of the Doom Patrol or Animal Man might be in the works.
Still, it’s worth at least acknowledging that he seems most at ease from a narrative perspective on the stranger side of the DCU, if not Vertigo. I remember Alan Moore’s issue of Sawmp Thing during Crisis on Infinite earth where Swampy finds himself on the monitor’s satellite. We’d already seen the whole party from a different angle in the Crisis miniseries, but in Swamp Thing, it seemed like a darker, more disturbing affair (much thanks to Totleben and Bissette for that).
So the question remains: how this this affect Swampy in the future? Will we see him associating with guys like the JLA, Batman, Superman, etc (as he’s done before)? What does this mean for his Vertigo ties which, while not completely precluding the fact they took place in the same universe, have been pretty good at distancing themselves from the regular DCU? What does this mean for the illustrious John Constantine?
My question: do people really care about this? Seriously. I’m pleased as punch to see ANYTHING with the Swamp Thing in it.
Comic book fans get so hung up on continuity, it’s upsetting. We seem obsessed with the idea of the “definitive” idea of how a character might act or how events might have occurred. We argue and howl about about how this contradicts that and it frankly just sickens me. I know this might be a controversial opinion (at least one that Neil Gamian in his polite English way has been making for years) but it JUST STORIES. Perhaps the “just” there is belittling, as the power they have is evident (I’ve just spent the last few paragraph’s proving this), but the fact remains in that they exist apart from anything we can argue into submission and that’s the way it should be. These are about imagination, creativity, entertainment. They’re not gospel, they’re not fact, and it does a disservice to them and us as intelligent, mature (that awful, awful word) readers to think otherwise.
Why do we need to be so insecure about the idea that there might be two different, potentially even contradictory versions of a single character? Why must we put our faith in elaborate and narrative deus ex machinas (Crisises, time manipulation, selling your marriage to the devil, Superboy punching a wall really hard) to reconcile these versions into one unified theory of our favorite characters, from beginning to end?
It’s squabbles like this that not only make me resent my so-called peers in the comic book community, but also appreciate the work of visionaries like Alan Moore, Grant Morrison, and Neil Gaiman. Moore has always brought a hairy shamanism to comics, weaving stories like elaborate tapestries and then grabbing you by the scruff of the neck and forcing you to examine each fiber. Morrison, much more a player within the superhero world, purposely invented and has pimped the concept of “hypertime” with every single one of his works; all time exists simultaneously, everything is real, there are no “imaginary stories.” EVERYTHING IS DEFINITIVE, nothing is. Gaiman more delicately plays in this field, dispensing with much of the silliness of pop physics and presents his tales as exactly and indisputably that: tales.
Splice: A wacky romantic comedy gone horribly wrong
Splice was… interesting.
1. Adrien Brody, an academy award winning actor, read the script for this movie and went, “Huh. So I get to do it with a half-human genetic mutation type-babe? WHERE DO I SIGN UP?”
2. Dren WAS kind of a babe, in a way that made me feel… deeply uncomfortable.
3. Several of the audience members didn’t seem to get some of the core concepts of not only the movie, but basic everyday descriptors. My favorite was the guy next to me who, upon witnessing the most second most-hilarious scene in the film, remarked “AHHHH SHIT, HE DID IT WITH THE ALIEN??”
4. Every single one of the genetically spliced creatures resembled a penis. Did NO ONE mention this during focus-grouping?