Yer Mom pretty much obviated any need for a "Baby Boomers Suck And They Need To Die" post. I'm left with one question, however, but I'm too lazy to go look: Is Roger Daltrey on the list of Men Who Look Like Old Lesbians?
From a WaPost weather chat:
Woubrn, Mass.: Please stop stealing our snow, I getting tried of skiing on man-made Snow in Vt., and it's getting wasted in D.C. where all you do is complain about all the beatiful snow you are getting at our expense. Seriously, what has casued this massive shift of snow to the south?
Ian Livingtson: But we are (or used to be) enjoying it! The southward shift in the storm track this season has had many causes. Both of our blockbuster storms were heavily steered by a large high pressure system in Greenland. This feature can help keep storms that would often drift north targeting our area.
Judging from those typos, it looks like that Massachusetts ski nerd is the only thing "getting wasted."
Yer Mom pretty much obviated any need for a "Baby Boomers Suck And They Need To Die" post. I'm left with one question, however, but I'm too lazy to go look: Is Roger Daltrey on the list of Men Who Look Like Old Lesbians?
Various discussions have noted that it is evocative of: culture wars; the Montreal Expos; Evel Knievel; orgasm; Bruce Jenner; geographic differences in "rocking;" Amtrak; and U.S. Speedskating. And other things. Enjoy:
From EW's Feb. 5 issue, in an article about why nobody has bothered to do another Fletch movie:
Gregord Mcdonald created the character of Irwin Maurice Fletcher while working as a journalist for The Boston Globe. The Harvard-educated Mcdonald joined the paper in 1966 and was given what sounds like the best job in the world -- or in journalism at least. "Go and have fun and write about it," his editor instructed him. "And if you end up cut and bleeding on the sidewalk, call the office." Over the next few years, Mcdonald reported from both sides of society's suddenly chasm-like generation gap, writing about John Wayne, war protesters, Vietnam vets, and On the Road author Jack Kerouac, with whom he went barhopping.
1. People used to get a paycheck for that? Shit, the '60s were a fuckin' fantasy land.
2. Which editor decided that EW readers need to be reminded who Jack Kerouac is?
DON'T YOU DARE LOOK AT ME THAT WAY, DUDE, I WILL FUCKIN' EAT YOU FOR LUNCH. AND YOUR SUPERIOR-LY DESIGNED iPAD, TOO.
Whatever, though, I might buy one. JUST STOP TALKING TO ME LIKE YOU'RE TRYING TO PERSUADE ME TO SUCK YOUR PENIS.
• Producer Tom Caruana obviously employed the breadth of Beatles-derived content -- a smart move, considering the abundance of over-ripe orchestrated covers and cheeky reggae send-ups (subsets that are rich with sonic doo-dads). But here's something to note for anybody else in the mashup market: There's tons and tons of Wu shit out there, too.
• Danger Mouse's Grey Album was awesomely clever; Enter The Magical Mystery Chambers is all about brute creativity. It's unfair to compare them on a 1:1 basis.
• The finished product manages to be totally respectful of all its source material, without seeming cautious. That's love.
• It's invigorating to hear some of the more shopworn Wu raps on top of crisp, snappy beats. In this setting, they're more like masterful mouth-music instead of weird gutter transmissions riding on RZA-haze. (Not that there's anything wrong with RZA-haze.)
• The clips of archival Beatles news reports are a nice touch; they focus on the nascent Fab Four, creating a plausible link between the rebellion of early Beatlemania and the hip-hop fuck-you that came from Shaolin Island. (A few Wu-related clips would've been good, too.)
• If you know O.C.'s "Time's Up," the last section of "Back In The Game" reveals that beat to be from a an orchestral version of "A Day In The Life." Whoo!
• Caruana should've used the version of "Run" with Jadakiss on it.
• Also: I hear lots of Inspectah Deck, but not much GZA.
This is the new logo for Allentown, Pennsylvania:
My reaction: What's that curvy thing with the square supposed to be? Oh, it's an "A." OK, fine, but if the slogan is "City without limits," why choose a symbol that obviously has limits? The curve starts in one place and ends in another, like a fast-food drive-through. I'LL HAVE LARGE FRIES AND A MR. PIBB WITH MY ALLENTOWN BURGER, PLEASE. And if the "A" is supposed to imply upward-and-outward movement, why is it all blunted and round, like a water tower? Shouldn't it be a least a little bit pointy, like a rocket cone or the nose of a really fast airplane? ARE YOU AFRAID OF SPACE TRAVEL, ALLENTOWN? Because if you are, then you obviously have limits. I'm so confused.
* The television of my mind, sweetcheeks.
I'm-a let The Daily Swarm handle the Jay Reatard encomiums (note that bitchin' quote from the Village Voice), but I'll drop a little RIP-Teddy-Pendergrass on you, via "Delirious." Go old-school Eddie: