You read him crediting someone for their contribution to the album as "the same type font and size" (as though that could ever possibly matter to anyone) as namechecking?
Even if you were right (and, to be clear, I don't think you are): Ok, granted, I do think biographical fetishism is a big problem in music journalism, and I think a lot of coverage has a tendency to group people together unfairly, in a way that is limiting or overly reductive, and because of that it's easy to resent well-known people for acknowledging that they know/hang out with/have gratifying personal relationships with other well-known people, but these are two people that live together, talk together, make music in the same room--for them to NOT credit one another as influences and sort of 'implicit collaborators' would be insane and artificial. Crediting Grimes for her artwork is a functional and straightforward way to acknowledge her (probably significant) contribution to the EP.
Like, I'm aware that this comparison isn't flawless, but no one accused Mac DeMarco of 'namechecking' his girlfriend when he pulled her onstage for Still Together whenever that was, a few days ago, because that would be bona fide insane--I don't think James should be villified for the fact that YOU recognize his partner's name.
All 'my girlfriend' criticism reeks to me of a weird kind of solipsism, that you think someone is talking about the person they love for the sake of producing a certain reaction in you, a total stranger.
Not as far as Woody Allen has! I can only think of two movies that I've ever turned off out of sheer disinterest: Vicky Christina Barcelona and A Tall Dark Stranger. I feel like Woody's direction must be mostly "please say this like you are a freshman theater major and you are trying to very earnestly talk like an adult with adult thoughts."
I very much liked The Life Aquatic. I didn't like Darjeeling, really, not that I actually disliked it, it just wasn't very interesting.
I think this was my favorite Wes Anderson movie. It was so sweet and managed to hit me on an emotional level that not very much stuff does. I can't even talk about it, which is weird. It was incredible, though, and I had the increasingly-rare experience of feeling my next couple days after seeing it tinged with its memory. Also that sadness-to-be-leaving-the-characters-behind that I used to have when I read, you know, The Phantom Tollbooth, but haven't had a whole lot since.
Anything that can hit me on that much of a childhood level without playing to the gross, petty kind of nostalgia that so much childhood-fetishization stuff does affects me strongly.
“If you have a microphone, a little MIDI interface for like $150, and Logic, that’s pretty much all you need,”
I'm sort of intrigued by this. In spite of having as little musical background as a kid raised by parents and teachers that prize "creativity" can, I've been really fascinated by the kind of stuff Grimes does, and am curious how to break into that--but I have no understanding of the way that one even makes it. I've been screwing around with Ableton Live for a little bit, and have been having a lot of fun making loops, but how few components could one use to make, basically, a Grimes song? Would a microphone, a MIDI keyboard and Ableton be enough? Would it be cheaper to get a mic, a MIDI keyboard and Logic?
Basically, if I want to start making music that is just loops and vocals, how would I go about doing that? And how cheap could it be?
Ok, I usually try to avoid criticizing from a viewpoint entirely grounded in gender relations because I think it can beget a lot of problematic and entirely useless argument about something that deserves to be perceived in a different light, but
Ruby Sparks looks...problematic.
The funny moment with the dragon last episode has made me super conscious of budgetary stuff in the show. Like when Mormont almost pulled the head out of the bag, and then went, "Well, or, I could leave the head in the bag," my immediate thought was, "Yeah, that's cheaper, probably." Same with the dire wolves. "Get out of here, wolf. No, go. Go. You're awesome, but you already cost us more than I'm getting for the whole season."
Also, I haven't read this book, so I'm probably not On The Level, but the way the show is treating the Frost Incestlord's prolicide seems unnecessarily dramatic. 1) You guys live in a nightmare fantasy universe, how are you still shocked by this stuff, and 2) there aren't any men. What did you think was happening? What were the alternatives to killing the sons off, anyway?
I was working at McSweeney's when they were filming Cherry and they said anyone could be in it if they wanted and I was like "no" and now seeing it as a real movie I am wondering how tired I was that day that it seemed like a good idea not to be in it.
It probably WAS a good idea, though, because a friend of mine dated Franco and I had this lil fantasy about talking to him about it and then he likes me and casts me as the guy with the adse in As I Lay Dying and so if I had been around him I probably would have tried to act on that and would have made an ass of myself.
That's it congratulations to me for the most obnoxious comment
I feel this way about 30 Rock and The Office
The Office well we all know whatever cmon
30 Rock I feel like they could just give us the first three words of the set-up and we could all make it to the punchline.
I'm not some gif wizard like all you sick twisted gif wizards, but can I just say (yes I can) that Paul Rudd's "I'm gonna have a man who does magic. He's really good. Not like cheesy magic, like GOOD magic" is somehow perfect in ways that I can't really get a handle on.
Not in those terms, really. I don't want any of them, and luckily I don't have to choose to want one of them because I'm not going to vote for any of them. They are all the worst, and Ron Paul is there, being the worst, and they are all fitting in really well with one another in terms of each of them being the worst.
Comments