Well, I’m gonna try to argue this. I will probably regret it, but what the hell? I’m in a decent enough mood for it today.
I’ve only seen the Plinkett vids from RLM so far, so I don’t know what in specific they said about Boyhood, but from what I’ve heard about Boyhood, that film is decisively not for me. I got kinda annoyed at the Oscars when people were shitting on Birdman, which seems more interesting to me, just because it had a chance of beating their beloved Boyhood.
I will also say that saying that Boyhood took twelve years is a very good way to shut down criticism of it, because if you look at it from that angle, it is rather difficult to dismiss the achievement that Linklater made there. In turn, it becomes difficult to observe how the film actually works as a film.
If Red Letter Media used the “12 years” thing in a way that tried to take that away from the film, and hence, allowed it to be seen as a film instead of just blankly praising Linklater for his achievement, I can completely understand it. It’s not their fault that their followers misunderstood the point of that.
That's a huge part of why I've been so pissy about this topic. It's fine if he doesn't like them, but I don't want to be thought of as a monster for liking them myself just because of some bad experiences he had with RLM fans on Something Awful.
I am sorry, that was very mean of me, and it's not a good thing to do.
I'm glad for the apology.
In return, I would like to apologize for blowing up like that just now. Those thoughts had been steadily building up inside me since then, and they hadn't properly gotten out before now.
I've been trying to work on communicating my thoughts more properly so that I don't explode like that again in the future, but past buildups like that still explode from time to time.
I'm starting to worry that fantasizing about my palace as this impossibly large building that has a little bit of everything means I'm bad
Like, I dunno, every time I think "it would be cool to have X" I just add it to my palace and at this point I'm not even sure a building like this could feasibly exist
are you telling me that Princess Magic is insufficient to make a building that couldn't feasibly exist?
Takes a concept from biology and (mis)applies it to semiotics.
Tries to write his way into a discipline he's not familiar with, without having read anything from said discipline.
Expects his idle musings to bring about a revolutionary paradigm shift, leaving behind old, biased notions of "sign" and "signifier", thanks to his ability to see the totality of facts and leave old tradition behind.
Indirectly denounces semiotics as a flawed enterprise because it hides what was there all along: a natural, oft-repressed impulse to reproduce.
"Every year I have more difficulty taking Larkin seriously. He seems to have hated every language's literature except English, and now he seems to have hated most of it's literature too, making poetry for Larkin begin in the nineteenth century, and completely end with Philip Larkin."
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
This radio DJ just announced Whitesnake as "Huey Lewis and the News"
i dont think the people on memegenerator really care about that sort of thing but i wanted to post that anyways because that shit drives me up a fucking wall
Liked both, but for different reasons. The former was more of a feelsfest (and understandably so) but I appreciated the lengths it went to turn the abstractions of the mind into a cohesive narrative; the latter was a movie about dinosaurs, but a very refreshingly anti-consumerist movie about dinosaurs (a trait that I found highly ironic given the large amounts of product placement within the film and tie-in material IRL).
clearly both dawkins and postmodernism are cool and good
"postmodernism" is such a vague complaint though
like seriously i sometimes feel like it's a word people use to dismiss theory people for not being structural linguists and it's bad because idk France sucks or something
The rest of the album whizzes by flawlessly—side two opens with their most searing statement yet: “Walking on a Thin Line,” and no one, not even Bruce Springsteen, has written as devastatingly about the plight of the Vietnam vet in modern society. This song, though written by outsiders, shows a social awareness that was new to the band and proved to anyone who ever doubted it that the band, apart from its blues background, had a heart. And again in “Finally Found a Home” the band proclaims its newfound sophistication with this paean to growing up. And though at the same time it’s about shedding their rebel image, it’s also about how they “found themselves” in the passion and energy of rock ’n’ roll. In fact the song works on so many levels it’s almost too complex for the album to carry, though it never loses its beat and it still has Sean Hopper’s ringing keyboards, which make it danceable. “If This Is It” is the album’s one ballad, but it’s not downbeat. It’s a plea for a lover to tell another lover if they want to carry on with the relationship, and the way Huey sings it (arguably the most superb vocal on the album), it becomes instilled with hope. Again, this song—as with the rest of the album—isn’t about chasing or longing after girls, it’s about dealing with relationships. “Crack Me Up” is the album’s only hint at a throwback to the band’s New Wave days and it’s minor but amusing, though its anti-drinking, antidrug, pro-growing-up statement isn’t. And as a lovely ending to an altogether remarkable album, the band does a version of “Honky Tonk Blues” (another song written by someone not in the band, named Hank Williams), and even though it’s a very different type of song, you can feel its presence throughout the rest of the album. For all its professional sheen, the album has the integrity of honky-tonk blues. (Aside: During this period Huey also recorded two songs for the movie Back to the Future, which both went Number One, “The Power of Love” and “Back in Time,” delightful extras, not footnotes, in what has been shaping up into a legendary career.) What to say to Sports dissenters in the long run? Nine million people can’t be wrong. Fore! (Chrysalis; 1986) is essentially a continuation of the Sports album but with an even more professional sheen. This is the record where the guys don’t need to prove they’ve grown up and that they’ve accepted rock ’n’ roll, because in the three-year transition between Sports and Fore! they already had. (In fact three of them are wearing suits on the cover of the record.) It opens with a blaze of fire, “Jacob’s Ladder,” which is essentially a song about struggle and overcoming compromise, a fitting reminder of what Huey and the News represents, and with the exception of “Hip to Be Square” it’s the best song on the album (though it wasn’t written by anyone in the band). This is followed by the sweetly good-natured “Stuck with You,” a lightweight paean to relationships and marriage. In fact most of the love songs on the album are about sustained relationships, unlike the early albums, where the concerns were about either lusting after girls and not getting them or getting burned in the process. On Fore! the songs are about guys who are in control (who have the girls) and now have to deal with them. This new dimension in the News gives the record an added oomph and they seem more content and satisfied, less urgent, and this makes for their most pleasingly crafted record to date. But also for every “Doing It All for My Baby” (a delightful ode about monogamy and satisfaction) there’s a barn-burning blues scorcher number like “Whole Lotta Lovin’,” and side one (or, on the CD, song number five) ends with the masterpiece “Hip to Be Square” (which, ironically, is accompanied by the band’s only bad video), the key song on Fore!, which is a rollicking ode to conformity that’s so catchy most people probably don’t even listen to the lines, but with Chris Hayes blasting guitar and the terrific keyboard playing—who cares? And it’s not just about the pleasures of conformity and the importance of trends—it’s also a personal statement about the band itself, though of what I’m not quite sure. If the second part of Fore! doesn’t have the intensity of the first, there are some real gems that are actually quite complicated. “I Know What I Like” is a song that Huey would never have sung six years back—a blunt declaration of independence—while the carefully placed “I Never Walk Alone,” which follows, actually complements the song and explains it in broader terms (it also has a great organ solo and except for “Hip to Be Square” has Huey’s strongest vocals). “Forest for the Trees” is an upbeat antisuicide tract, and though its title might seem like a cliché, Huey and the band have a way of energizing clichés and making them originals wholly their own. The nifty a cappella “Naturally” evokes an innocent time while showcasing the band’s vocal harmonies (if you didn’t know better you’d think it was the Beach Boys coming out of your CD player), and even if it’s essentially a throwaway, a trifle of sorts, the album ends on a majestic note with “Simple as That,” a blue-collar ballad that sounds not a note of resignation but one of hope, and its complex message (it wasn’t written by anyone in the band) of survival leads the way to their next album, Small World, where they take on global issues. Fore! might not be the masterpiece Sports is (what could be?), but in its own way it’s just as satisfying and the mellower, gentler Huey of ’86 is just as happening. Small World (Chrysalis; 1988) is the most ambitious, artistically satisfying record yet produced by Huey Lewis and the News. The Angry Young Man has definitely been replaced by a smoothly professional musician and even though Huey has only really mastered one instrument (the harmonica), its majestic Dylanesque sounds give Small World a grandeur few artists have reached. It’s an obvious transition and their first album that tries to make thematic sense—in fact Huey takes on one of the biggest subjects of all: the importance of global communication. It’s no wonder four out of the album’s ten songs have the word “world” in their titles and that for the first time there’s not only one but three instrumentals. The CD gets off to a rousing start with the Lewis/Hayes-penned “Small World (Part One),” which, along with its message of harmony, has a blistering solo by Hayes at its center. In “Old Antone’s” one can catch the zydeco influences that the band has picked up on touring around the country, and it gives it a Cajun flavor that is utterly unique. Bruce Hornsby plays the accordion wonderfully and the lyrics give you a sense of a true Bayou spirit. Again, on the hit single “Perfect World,” the Tower of Power horns are used to extraordinary effect. It’s also the best cut on the album (written by Alex Call, who isn’t in the band) and it ties up all the album’s themes—about accepting the imperfections of this world but still learning to “keep on dreamin’ of livin’ in a perfect world.” Though the song is fast-paced pop it’s still moving in terms of its intentions and the band plays splendidly on it.
clearly both dawkins and postmodernism are cool and good
"postmodernism" is such a vague complaint though
like seriously i sometimes feel like it's a word people use to dismiss theory people for not being structural linguists and it's bad because idk France sucks or something
I watched the first episode of the 2012 adaptation of the first arc and honestly besides the fact that HE, DIO is there it feels like a much different show than the one everyone talks about so frequently
I know I'll have to stick with it for a couple of seasons before it gets to the point where I'll start to recognize it (i.e. Stardust Crusaders) but still?
I watched the first episode of the 2012 adaptation of the first arc and honestly besides the fact that HE, DIO is there it feels like a much different show than the one everyone talks about so frequently
I know I'll have to stick with it for a couple of seasons before it gets to the point where I'll start to recognize it (i.e. Stardust Crusaders) but still?
Phantom Blood is pretty different from all the other arcs. Battle Tendency is more of a taste of what's to come.
Yeah, you're looking at Part 3/Stardust Crusaders, Tre. Battle Tendency is also my favorite of the three parts I've watched so far, so I'll just have to suggest you keep watching and +1 Odra.
I watched the first episode of the 2012 adaptation of the first arc and honestly besides the fact that HE, DIO is there it feels like a much different show than the one everyone talks about so frequently
I know I'll have to stick with it for a couple of seasons before it gets to the point where I'll start to recognize it (i.e. Stardust Crusaders) but still?
They do try to make each arc distinct from each other stylistically.
It seems that CthulhuTech, to some folks, is always going to be "that one RPG with all the rape in it". As I said earlier, this is somewhat overblown; only around 2% of the published material even includes the word rape, and I see it as far from any kind of focus in the game. When rape is included, it's there as a function of storytelling - sick, twisted, screwed-up storytelling.
It's cool when I've never met a person, but I can tell that they have seen both Ninja Scroll and Boondock Saints multiple times.
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
Imi's so old-fashioned he still rents his phone from Centralia Telecom
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
To be fair, a cow-spotted rotary phone is pretty cool to have
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
Centralia Telecom won't replace my phone because they say using magic to boost the signal to get reception in the hills of Werewolf Junction voided my warranty :|
Joke's on them, it's their tax dollars that will by me a new one!
I've learned to tolerate drama...except on the boat
so as not to derail the thread about the STILLERZ:
I've been over this before
Denver has some cool stuff but the city doesn't play host to the headquarters of any Fortune 500 corporations, not since CenturyLink bought out Qwest. The city is marginally on the national radar. The media likes to ignore us in favor of New York/LA/Boston/DC.
Comments
Dawkins is a postmodernist
Takes a concept from biology and (mis)applies it to semiotics.
Tries to write his way into a discipline he's not familiar with, without having read anything from said discipline.
Expects his idle musings to bring about a revolutionary paradigm shift, leaving behind old, biased notions of "sign" and "signifier", thanks to his ability to see the totality of facts and leave old tradition behind.
Indirectly denounces semiotics as a flawed enterprise because it hides what was there all along: a natural, oft-repressed impulse to reproduce.
This displeases Her Royal Highness
she told me she wants me to sing out "he's female!"
three cheers for the gal in the sky
you'll never take me alive
like seriously i sometimes feel like it's a word people use to dismiss theory people for not being structural linguists and it's bad because idk France sucks or something
yes i am still bitter about this
I know I'll have to stick with it for a couple of seasons before it gets to the point where I'll start to recognize it (i.e. Stardust Crusaders) but still?
It's not a credible source is what I'm saying
mormons aren't, really
Joke's on them, it's their tax dollars that will by me a new one!