FRED Entertainment

February 15, 2007

Keneteph’s Korner: Imani Coppola – Reintroducing Soul

Filed under: Columns,Keneteph's Korner — UncaScroogeMcD @ 12:53 am
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Imani Coppola: Reintroducing Soul

keneteph2007-01-15-01.jpgSo a few weeks ago I woke up hip to Imani Coppola, a multi talented musician who is 10 years deep in the game. Her sound crosses every style imaginable; Alternative, Rock, Classical, Hip Hop, R & B – you name it! I never heard of her until I heard her song “Woke Up Hwite” on somebody’s myspace profile, and fell in love with her sound immediately. After listening to a few of her other songs, it affirmed the best things come unexpectedly. Imani’s put out nine albums, her first being Chupacabra, released in 1997 on Columbia Records. Her most recent disc, The Black and White Album, was released this past January on her own label, having songs showing the authentic, soulful strength of this now independent artist.

The whole Black and White Album is a musical journey in self exploration. The melodies and lyrics are unpredictable, but still allow the listener to follow Imani on her journey, as they tap into their own being. The irony hits you like “damn,” like in “The Black and White Jingle #1” when she says “Sometimes life may feel like it’s sucking you up/but it’s not, it may just be you sucking . . .” All around, this CD should be ranked among the classics. Pick it up and get ready for the ride! If you still need convincing check out some tracks on her MySpace Page.

When doing the phone interview I was on a local college campus – a place where people learn new ideas, and attempt to find their place in the real world. Respectively, in the school of the entertainment industry, Imani learned many lessons, knows her place in the “music world,” and expresses a style all of her own. “When I first got signed I was confused by the business conflicting with creating musical art,” Imani explained. “An up and coming artist with a message can break in the mainstream, but they’ll have to make a single where they’ll more likely be saying something they don’t want to. It sucks, that if the major label you are on doesn’t like what you say in a song, you are screwed.”

There were certain songs she couldn’t put out when signed because her label didn’t think they had enough commercial, mainstream appeal. Determined to get her musical message out, she released Little Red Fighting Mood independently in 2001. This CD was made up of songs not picked for her first two albums. Making positive of any situation and a strong will are not only reflected in her music, but her personality as well. Despite being under the weather, she schooled me on her experience in the industry, and was just as witty and insightful as her songs.

As a businesswoman she wears multiple hats, acting as her own manager, and promoter. She personally answers all business emails, and sends CDs herself to the online sites that sell them. “Every artist will need outside help eventually, but being independent helps boost one’s self worth as an artist. You make goals, achieve them, and celebrate – it’s like playing an instrument, and getting better as you practice.” That she has experience with as she writes, composes, and arranges all the music she does.

Her goal for this current album is to get it out to the masses, and start working on another CD. She also wants to continue composing and branch off into composing music scores, and even voiceover work.

People can buy her music and find out more about her at www.imanicoppola.net.

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–Copyright 2007 Keneteph Entertainment

QSE News: 2/15/2007

Filed under: Columns,News — UncaScroogeMcD @ 12:35 am
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Here are today’s top entertainment headlines:

  • qsnews.jpgIron Maiden is set to become the first metal band to ever play in India with an upcoming show at the Bangalore’s Palace. This event confirms that India does not realize that it’s not 1986 anymore.
  • The Wachowski Brothers are set to start filming their live action adaptation of Speed Racer.  Details of the plot have not been released yet, but insiders say the brothers are really looking forward to the big rave/orgy scene involving Speed, Trixie, Racer X and Chim Chim the monkey.
  • The record label Kill Rock Stars has announced that they will be releasing a double CD of unreleased tracks from the late singer/songwriter Elliot Smith.  Arguably one of America’s best song writers, Smith died in October of 2003 of an apparent suicide.  Executives from Kill Rock Stars are excited about the release saying “this album is so good, it’ll make you want to stab yourself in the heart.”
  • It’s being reported that writer/director Kevin Smith will be directing the pilot for a new CW show called Reaper. [* Editors note: the following has been edited by the QSE News Team for content and accuracy*] A spokesman for the network has been quoted as saying “Kevin Smith? We hired Kevin [best-director-ever] Smith? Smith is [totally great] and is best known for [enlightening our otherwise drab world].  I [love] Kevin and would rather kill myself than [not] watch another one of his [magnificent] films.”
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/15/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:35 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Remember the says when harmonica gangs roamed the Earth? (Thingamabob)
  • Beach girls? A monster? Start popping the popcorn… (Thingamabob)
  • Joe Rogan bitch slaps Carlos Mencia. I hope he goes after Dane Cook next… (Thingamabob)
  • Another Seinfeld Bee Movie trailer, with a special appearance by Steven Spielberg… (Thingamabob)
  • Mark Evanier illuminates the creation of Scrappy Doo… (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 14, 2007

QSE News: 2/14/2007

Filed under: Columns,News — UncaScroogeMcD @ 12:49 am
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Here are today’s top entertainment headlines:

  • qsnews.jpgBritish actress, Michelle Ryan, a virtual unknown, has landed the lead role in the upcoming Bionic Woman movie.  Sources close to the production said that Michelle easily won the role because she “totally did that slow-motion running ‘WA-WA-WA’ sound better than the chicks.”
  • It appears that the United States military is taking umbrage with the producer’s of 24. During a recent meeting, Army officials urged the show’s production team to feature more realistic torture scenarios involving less violence and the “giving of false information,” amongst other suggestions. 24‘s producers responded by locking the officials in a room with Keifer Sutherland, where he wrapped dry-cleaning bags around each of the officials heads and shot them all in the knee.
  • Actor/comedian Bill Cosby is set to have his dog Harry enter the “Best In Show” category at this year’s Westminster Kennel Club dog show. Cosby’s involvement in professional dog shows began after a discussion with his manager as to how Cosby could further endear himself in the eyes of old, wealthy, white people.
  • Actress Sharon Stone has people scratching their heads after her bizarre appearance at a Berlin auction over the weekend.  According to reports, Stone appeared to be “barely holding herself together” and taunted the crowd by calling them “naughty, nasty little Germans.”  When asked for comment, one infuriated German said, “She might as well have just said ‘you’re all a bunch of sheisse-film loving sicko’s.’  That’s what she meant.  Everyone knows it.”
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/14/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:30 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Planning a trip to the merry old land of Oz? You know, you’ll need a map… (Thingamabob)
  • It’s out on DVD, but here’s an annotated version of the documentary Fuck… (Thingamabob)
  • One can only hope that this stunt destroyed his ability to breed… (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 13, 2007

Toy Box: Toy Fair 2007 – Long Distance Love

Filed under: Columns,Toy Box — admin @ 12:46 am
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This week is Toy Fair, or more specifically,Winter Toy Fair. This is traditionally the opportunity for the toy makers to get their goodies out in front of the retailers and press, and make all kinds of big announcements.

The power of Toy Fair has diminished in recent years. This started with Toy Fair being split into two shows a couple years ago – a fall show designed primarly for the big retailers, and the more traditional winter show for smaller retailers and press. And then the San Diego Comic-Con started to erode the importance, first by duplicating much of the info, and then by supplanting the show entirely. This year it’s more evident, with important announcements of late year releases by even large companies like Hasbro and Mattel being held for SDCC.

But Toy Fair is still important, especially for smaller companies. With retailers continuing to dry up at an alarming rate, Toy Fair may be the only chance smaller companies get to convince those remaining to carry their product. I’ll be doing a ‘state of the industry’ column once again this year in a couple weeks, and I’ll be discussing the changing face of Toy Fair more then. But for now, let’s just say it’s still Toy Fair.

I didn’t go this year. My twins birthday is the 12th, which landed smack in the middle of this years dates, and as much as I love toys, I love them a whole lot more. But the coverage of Toy Fair by a wide variety of websites gets better and better every year, so let’s chat about what I (and you) have seen so far.

Sideshow Collectibles

One of my favorite companies, Sideshow always uses Toy Fair to the best advantage. They’ve announced over 30 new items through their site, and you can go there to get the full coverage right from the horse’s mouth.

Unfortunately for the sixth scale collector’s, there’s not much Sideshow product so far. They are announcing a number of Medicom and Hot Toys figures though, including the uber cool (and probably uber expensive) Aliens Power Loader. Premium Format collectors get a crack at Elvis Presley, a new Buffy, and the very cool Darth Maul. And Sideshow is also showing off several of their new ‘diorama’ statues, including one for Star Wars and one for Lord of the Rings.

Mcfarlane Toys

McToys hasn’t been at a Toy Fair in the last 4 or 5 years, but they are returning this year. They’ve discussed the Simpsons movie line, but have yet to show any images. Likewise, they announced they’ll be doing figures for Beowulf, a new film based on the epic poem, but have no photos yet. However, they are showing several of the Lost series 2 figures, including Sawyer, Ecko, and Sun. While you can get some of the info at the official Mcfarlane site, I recommend Figures.com for shots of Ecko and the regular upcoming Simpsons figures.

Mattel

The big boys have a big showing this year, and Mattel has some great Four Horsemen sculpts in the DC Superheroes line, including Clayface (who you can see at Action Figure Insider) and Man-Bat (who you can see at Toy News International). Unfortunately, they aren’t showing much for Justice League or The Batman, but they have some other surprises, like Ratatouille. Action-Figure.com has a pretty good coverage of the overall Mattel line up.

DC Direct

While DCD is announcing several DC themed lines, their big announcement is around DC Unlimited, a new brand that will be covering non-superhero lines. They’re first two announcements are big ones – Afro Samurai and World of Warcraft. Wizard Universe has great shots up of both lines.

Diamond Select

DST has lots of new Buffy, Battlestar Galactica, and Stargate, but they’ve announced some new cool stuff too. There’s Mouse Guard, Back to the Future mini-mates, Marvel Zombies, and even Office Space! That’s sure to be the cubicle figures of the year.

NECA

NECA has some big licenses this year, including 300, and Harry Potter. Let’s jump back over to Figures.com to check out a ton of photos of all their lines. I’m particularly happy to see how great the Harry Potter stuff is looking. There’s also some good additions to the Pirates of the Caribbean and Nightmare Before Christmas lines, both big licenses for them.

Marvel Toys

One of the most anticipated lines this year is the Legendary Comic Book Heroes, from Marvel Toys. You know Marvel Toys…they used to be Toybiz back when they made Marvel toys. Now they’re Marvel Toys, and don’t make Marvel toys. Yea, I know.

But they are making a fantastic set of action figures based on independent comic books, old and new. Check out Wizard Universe for some terrific photos and info. Many of the things we saw with Marvel Legends, including great articulation and Build A Figures, will continue with this series. Fans of books like Pitt, Monkeyman and O’Brien, Savage Dragon, Madman and others are going to be thrilled!

Mezco

For fans of Family Guy and South Park, Figures.com has some photos of the upcoming series. Mezco didn’t have much in the way of new announcements though, but at least we’ll be seeing the Hellboy animated Abe Sapien, and another wave of Attack of the Living Dead. They’ve also picked up New Line Horror line, and they’ll be doing a caricaturized version of old favorites like Freddy and Jason.

Hasbro

Marvelousnews.com has lots of coverage up of Hasbro’s Marvel lines, although far less was shown than many would have liked. The 12″ Dr. Doom in the Marvel Icons line up looks good, but that’s about it at this point.

That’s about it for the highlights so far. As the show progresses through today and tomorrow, keep your eyes peeled on the above sites for additional coverage.

QSE News: 2/13/2007

Filed under: Columns,News — UncaScroogeMcD @ 12:44 am
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Here are today’s top entertainment headlines:

  • qsnews.jpgLindsay Lohan’s mother says her daughter is doing really well, “great” in fact, with her current stint in rehab. Lohan herself was unavailable for comment as she was passed out in her room after a hard night of partying at Hyde.
  • In movie news, Wolfgang Petersen is preparing an extended DVD for his 2004 film Troy, with over a half hour of new footage. When asked what the new footage will contain, Petersen stated that in order to meet demand, he will include “a hell of lot more shots of Brad Pitt in slow motion – like an angry Brad in slow motion, a sword swinging Brad in slow motion and jumping in the air, angry and swinging sword Brad in slow motion. Oh yeah”¦ and a five minute close-up of Brad’s ass.”
  • A new Steve Irwin, Crocodile Hunter action figure was unveiled last week at the International Toy Fair in New York City. The new, talking action figure is loaded with six of Irwin’s most famous sayings including “Crikey!,” “Ewww. . .’E’s a big one!” and “Holy [EXPLETIVE DELETED] [EXPLETIVE DELETED]! Somebody pull that [EXPLETIVE DELETED] sting ray out of my [EXPLETIVE DELETED] chest!”
  • According to some eye witness reports, the divorce-pending couple of Whitney Houston and Bobby Brown have been spotted around Hollywood together. Representatives downplayed the incidents but did confirm that the couple’s children and dealers have been trying to get Houston and Brown back together.
  • In international news, Lord Voldemort appears to have earned his wings as a card carrying member of the Mile High Club. British actor, Ralph Fiennes, reportedly had a sexual encounter with a Qantas stewardess during a flight from Australia to India. As if losing her job wasn’t enough, the stewardess is being sued by United Airlines for upstaging their “Friendly Skies” ad campaign. In related news, booking numbers for Qantas flights have seen a dramatic increase and are up 789%.
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/13/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:43 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • How lucky is Top Gear’s Richard Hammond, Part 1… (Thingamabob)
  • You have listened to SModcast #2, right? (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 12, 2007

SModcast 2

Filed under: SModcast — UncaScroogeMcD @ 9:00 am

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SModcast is the meandering palaver of a pair of dudes whose voices are so dull, they don’t deserve to be on the radio (and, hence, aren’t). Kevin Smith and Scott Mosier are SModcast.

The best thing about SModcast? It don’t cost nothing.

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SModcast 2: A Dubious Super-Power –

In which our heroes ponder about C U Next Tuesdays, discuss the death of a human train wreck, compare amateur porn to Elmo, create a platform for Walt Flanagan’s mayoral candidacy, contemplate dalliances with the famous, do bad Salma Hayek impressions, and discern exactly how spineless the fat one is as they relate tales of criminal victimization in major metropolitan areas.

[CONTENT WARNING] SModcast features harsh language and even harsher notions of propriety. Listener discretion is advised.

DOWNLOAD: (right click to save)
SModcast 2 (MP3 format) – 52.5 MB

[display_podcast]

SUBSCRIBE
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Wanna add your two cents? Spend it here, in the SModcast mailbag.

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CLICK HERE FOR THE SMODCAST ARCHIVES

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QSE News: 2/12/2007

Filed under: Columns,News — UncaScroogeMcD @ 1:51 am
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Here are today’s top entertainment headlines:

  • qsnews.jpgKevin Costner and his wife are expecting their first child together. While the couple is happy about the news, Mrs. Costner is not looking forward to drawn out labor and thinly conceived plot.
  • Nicholas Cage is set to produce the live action The Sorcerer’s Apprentice for Walt Disney Pictures. Cage says he will stay true to the original movie and plans to spend over half the films budget on genetic research to make living, dancing brooms.
  • The film Norbit was the number one film this past weekend grossing $33.7 million. Like in his other, more successful films, Murphy plays both the lead male and female parts – which is consistent with his real life where he likes females with male parts.
  • In a plea to her fans, singer Kylie Minogue has asked that her ex-boyfriend be left alone. In recent weeks various rumors have spread about the pairs split, and Minogue has asked that people respect their privacy. Sources close to Minogue have said “if you want to talk about something, at least talk about how bad Kylie’s music is, not her relationships.”
  • The Dixie Chicks picked up five Grammys at this weekend’s awards ceremony. President Bush immediately released a statement saying that he has proof that the Dixie Chicks are behind the insurgency and escalating violence in Iraq.
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/12/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 1:43 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Chaz Chase and an act made for vaudeville… (Thingamabob)
  • Peter Cook & Dudley Moore – “Superthunderstingraycar”… (Thingamabob)
  • And Pete & Dud chatting with Michael Parkinson… (Thingamabob)
  • terry Gilliam on The Last Resort from 1987… (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 10, 2007

Comics in Context #165: Super Slayer

Filed under: Columns,Comics in Context — admin @ 2:27 am
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cic2007-02-09.jpgWhen Dr. Peter Coogan appeared at New York’s Museum of Comic and Cartoon Art last September to talk about his book Superhero: The Secret Origin of a Genre (MonkeyBrain Press, 2006), he said that of all the characters who possibly might be superheroes, he was most asked whether the Shadow and Joss Whedon’s Buffy the Vampire Slayer qualified under his definition. Coogan’s answer in both cases was no.

I agree that the Shadow fits under the heading of pulp novel mystery men, rather than superheroes; indeed, he and Doc Savage are the foremost exemplars of the heroes of that genre.

But what about Buffy? With her new Dark Horse comics series, recounting what Whedon says represents what could have been the “eighth season” of her seven-season television series, on the horizon, that question takes on new relevance. Now that her primary venue is comics, is Buffy a comics superhero?

For the last two weeks I’ve been examining Coogan’s definition of the superhero in my column. Coogan establishes three major criteria for determining whether or not a character is a true superhero: a mission, which is altruistic, benefiting society rather than the hero, and long term; the super-powers; and a heroic identity, expressed through a codename and costume, and usually involving a secret identity.

Buffy has a mission, certainly: she is the Slayer, the “Chosen One,” selected by destiny to battle vampires and other supernatural menaces. At the end of her television series, she succeeded in activating the super-powers of all other potential Slayers in the world. But even though there are now other people who can follow the Slayer’s mission, she continues to do so, from choice, and has become the other Slayers’ leader.

Buffy has super-powers, which include superhuman strength and agility, and even that power Wolverine popularized, the ability to recover from injuries at superhuman speed.

It’s in the area of identity that Coogan believes that Buffy falls short. He states that “Buffy has an identity as the Slayer. But this identity is not a superhero identity like Superman or Batman. This identity is not separate from her ordinary Buffy identity the way Superman is from Clark Kent, whose mild-mannered personality differs greatly from Superman’s heroic character. The Slayer is not a public identity in the ordinary superhero sense. . . .Buffy does not wear a costume, and while such a costume is not necessary, it is typical” (Superhero, p. 48).

In discussing in his book why Luke Cage is a superhero, Coogan uncovered a precept which I have dubbed “declaration of intent”: Coogan demonstrated not only that Cage’s early editors and writers intended to make Cage a superhero, but the character himself expressed the intent to be a superhero. Last week I showed that a creator’s “declaration of intent” does not mean that his creation really is a superhero. The creator’s understanding of what a superhero is may be flawed. Hence, Tim Kring, the creator of NBC’s Heroes, believes it is a superhero show, but by Coogan’s definition, it isn’t. Nevertheless, as Coogan showed in his examination of Luke Cage, the intent of both the creator and the creation, as expressed in the work, is worth looking into.

Coogan claims that “The producers of Buffy the Vampire Slayer do not seem to regard it as a superhero show” (p. 48). Perhaps that is so, but do they consider Buffy a superhero? Buffy’s creator, Joss Whedon, clearly thinks of her as a superhero. Consider this exchange from the interview that Brian Bendis recently conducted with Whedon for Wizard. First, Whedon says that, “People long before I started writing Astonishing X-Men pointed out the similarities between Buffy and the X-Men that I hadn’t even noticed. I hadn’t even noticed that all her friends had turned into superheroes.” (Whedon is referring to the fact that several of Buffy’s friends, who aided her in combatting supernatural foes, had supernatural powers as well; hence they formed a super-powered team.) A little later, Bendis says, “I actually, in the first seasons of Buffy, saw the similarities between Buffy and Spider-Man.” Whedon replies, “Yes,” and Bendis clarifies, “The early [Steve] Ditko years of Spider-Man,” and Whedon does not disagree.

But it’s not just in retrospect that Whedon regards Buffy as a superhero. In interviews Whedon gave around the time he began writing the Astonishing X-Men comic (see “Comics in Context” #42-43), he stated that he has based Buffy in part on X-Men‘s teenage heroine Kitty Pryde. He told New York Magazine (June 7, 2004), “If there’s a bigger influence on Buffy than Kitty, I don’t know what it was. . . .She was an adolescent girl finding out she has great power and dealing with it”.

In the Buffy television series there are frequent references to Buffy’s “super-powers,” as when in the episode “End of Days” her fellow Slayer Faith memorably and truthfully commented to Buffy, “Thank God we’re hot chicks with super-powers.” Buffy is explicitly called a “superhero” by her friend (and superhero comics buff) Xander in “The Harvest” (the second half of the two-parter that started the TV series) and by her mother Joyce in “Dead Man’s Party,” and is called “a superhero or something” by a supporting character in “Tabula Rasa.”

In the episode “Inca Mummy Girl” Buffy’s “Watcher,” her mentor Giles, tells her, “Your secret identity is gonna be difficult enough to maintain while this exchange student is living with you.” (Since Whedon is a known Marvel aficionado, his use of the term “Watcher” seems to be a homage to Stan Lee and Jack Kirby’s Uatu the Watcher, a character from the superhero genre.)

So Whedon explicitly endowed Buffy with a “secret identity.” As Coogan states, Buffy’s dual identity is not as clearly defined as Superman’s. Coogan notes that “The Slayer is not a public identity”; the public is not aware that there is a Slayer, or that vampires are real. But Whedon’s point is that Buffy leads an alternate life as the Slayer that she has to keep secret from public knowledge. Whereas Clark Kent has to prevent the public from learning he is Superman, Buffy is like a Clark Kent who has to prevent the public from even knowing there is a Superman. In the show’s early seasons Buffy even kept her Slayer career secret from her oblivious mom, Joyce. At the time this reminded me of Peter Parker’s efforts for years to conceal his Spider-Man identity from his equally oblivious Aunt May. Whedon’s acknowledgment of similarities between Buffy and Spider-Man may mean that this specific parallel was intentional.

It strikes me that Buffy’s situation is also somewhat like that of Marvel’s Doctor Strange. Former surgeon Dr. Stephen Strange uses his real name in as Doctor Strange, Master of the Mystic Arts; again, his everyday identity and heroic persona are not as sharply differentiated as those of Superman and Clark Kent. But the general public of Marvel-Earth does not believe in magic, and considers Doctor Strange to be an eccentric, or even a charlatan. Only Strange’s allies–and enemies–know that he has actual magical abilities, and Strange considers it part of his mission to prevent the general populace from learning about the supernatural terrors from which he protects them.

Buffy’s adversaries, notably the vampires, usually know her “civilian” name but refer to her as the Slayer; this further underlines the idea that she has a dual identity.

Coogan contends that whereas Clark Kent and Superman have distinctly different personalities, Buffy’s personality is the same in her everyday life as it is when she acts as the Slayer. First, although the “mild-mannered” persona of Clark Kent is traditional (as in the Superman movies), there have been successful versions of Superman in which his personality is not noticeably different in his Clark Kent and Man of Steel personae: neither George Reeves on television nor John Byrne’s Superman in the comics feigned timidity or shyness as Clark. Second, there was a difference between Buffy’s personality as the Slayer and the way she behaved as an ordinary student. In high school and college, Buffy was usually more insecure and less assertive than she was as the independent, aggressive Slayer. In fact, I suspect it may have been a mistake when Whedon had Buffy drop out of college in the later seasons: without a “normal ” life to balance her Slayer career, her personality grew harder-edged, more solitary, and less appealing.

Of course Buffy does not wear a distinctive costume, but she does characteristically wear a cross around her neck, which to some extent fills the functions of the superhero insignia that Coogan terms a “chevron.” Since vampires are repelled by the sight of a cross, Buffy’s cross signifies her role as vampire slayer. Moreover, although Whedon is not religious, Buffy’s cross inescapably suggests that she is on God’s side, or at least on the side of moral right, and perhaps even that her Slayer career is a spiritual quest.

Let me tentatively suggest the following classifications for superhero double identities. Superman has a First Level Dual Identity, in which his heroic persona and everyday persona are clearly defined, distinct public identities: the general public does not know that Superman and Clark Kent are one and the same person. Mister Fantastic has a Second Level Dual Identity, in that the general public knows that his heroic identity (Mister Fantastic) and everyday identity (Reed Richards) belong to the same person. Buffy has a Third Level Dual Identity, in that the general public not only does not know that Buffy has a heroic persona (the Slayer), but does not even know that that heroic identity exists.

In Superhero Coogan establishes that a genre can exert what he likens to a gravitational pull. Notice the effect of such “gravity” on the vampires that Buffy battles. In various ways Whedon downplays the supernatural nature of vampires. Compare Whedon’s vampires to that more traditional pop culture vampire, Barnabas Collins of Dark Shadows (see “Comics in Context” #11, 149). Barnabas can transform into a bat, and, by staring into people’s eyes, can place them under his mental control; Whedon’s vampires lack these powers. Even more importantly, Barnabas, as a vampire, is literally dead during the daylight hours, during which time he must lie in his coffin, and returns to his undead sort of life at dusk. Whedon’s vampires remain active during the day, although they must avoid direct sunlight, have no dependence on coffins (although Spike still made his home in a cemetery crypt), and can actually sleep rather than revert to true death during the daytime. But Barnabas, while his grip was indeed strong, was not usually portrayed as superhumanly strong. In contrast, Whedon continually emphasized that his vampires were superhumanly strong and agile, and nearly invulnerable. In other words, Whedon treated his vampires as if they were super-strong super-villains. While Buffy uses her stake to deliver the coup de grace, her principal weapon in combat is her own superhuman strength. Hence Buffy’s battles with vampires resemble fight scenes from the superhero genre. (The episode “Buffy vs. Dracula,” which pitted Buffy against a vampire with traditional supernatural attributes, was the exception to the rule that underlined how very different Whedon’s vampires are from the conventional model.)

Then there are explicit references to the superhero genre within the Buffy television series. The “Trio” of wannabe villains in the sixth season refer to themselves as “supervillains,” and even invent a freeze gun reminiscent of the weaponry of numerous comics supervillains, notably Batman‘s Mr. Freeze and Flash‘s Captain Cold. In the sixth season Buffy’s friend Willow, a witch, becomes addicted to magic and turns into a villain. Not only has Whedon repeatedly referred to this version of Willow as “Dark Willow,” but one of the Trio, Andrew, explicitly says in one episode that Willow has gone “Dark Phoenix.” Hence the “Dark Willow” arc is an explicit homage to X-Men‘s “Dark Phoenix Saga,” one of the most celebrated storylines in the history of the superhero genre (see “Comics in Context” #134-135).

I believe that Buffy the character does fit the definition of superhero. Nonetheless, Buffy the television series (or movie or comics series) is not part of the superhero genre.

Earlier in his book Coogan stated that “If a character basically fits the mission-powers-identity definition, even with significant qualifications, and cannot be easily placed into another genre because of the preponderance of superhero conventions, the character is a superhero” (p. 40). This means that, according to Coogan’s rules, a character could fit the “MPI” definition yet still not be a superhero, if this character can indeed be “easily placed into another genre.” Therefore we must examine which genre provides the “preponderance” of genre conventions in the character’s series. We must not simply study the character, but the context in which that character exists. “Generic distinction,” Coogan asserts, “is a crucial element of the superhero. . . .” (p. 48).

Coogan correctly argues that “the Slayer is a hero-type that predates the superhero, fitting firmly within the larger horror genre and specifically within the vampire sub-genre” (p. 48), and cites Dr. Van Helsing from Bram Stoker’s Dracula as the first version of this hero-type in literature. Marvel buff Whedon credits Kitty Pryde as an inspiration for Buffy, but surely the blonde vampire slayer Rachel Van Helsing from Marvel’s Tomb of Dracula was a direct influence. Come to think of it, Tomb of Dracula‘s small band of vampire hunters, led by an older British man, Quincy Harker, and including Rachel, resembles Buffy’s own vampire-hunting “Scooby Gang,” whose father figure is another Englishman, Giles. Coogan points out that “historically, the [vampire hunter] hero-type descends from actual vampire hunters, including the dhampir, the supposed male progeny of a vampire who is particularly able to detect and destroy vampires” (p. 48). That sounds like a sometime member of Harker’s band, Blade, who mother was attacked by a vampire while giving birth to him, and who wields stakes as weapons the same way that Buffy does. Janus, Dracula’s son in Tomb of Dracula who became his adversary, would also fall into this category of modern day dhampir.

Though Coogan concedes that “the writers of Buffy draw on superhero conventions,” he also points out that “They also make references to Scooby Doo and the show fits within the Scooby Doo formula” (p. 48). Well, it does to the extent that Buffy has a band of friends and allies, all of whom are young, who help her combat supernatural evil; in a stroke of metafictional wit, they even refer to themselves as “Scoobies.” But the Scooby Doo formula entails a solving a mystery, and Buffy doesn’t follow the detective story pattern. The Scooby formula also entails exposing the supposed supernatural menace as a fraud, but in Buffy supernatural evil is indeed real.

What Coogan is getting at is that the Buffy writers draw on conventions from various genres, including the superhero genre. Whedon has described Buffy as “My So-Called Life meets The X-Files“, and the show obviously draws on the high school/college comedy and “dramady” for its setting during the first four seasons. There are elements of science fiction, such as the cyborg Adam and robots like the Buffybot, and the Bondian superspy subgenre through the Initiative. Buffy is not just a vampire slayer, but a monster slayer, and thereby fits into a long line of characters going back to Gilgamesh and encompassing dragon slayers like St. George. Buffy is a television version of a bildungsroman, which is defied by the American Heritage Dictionary as “A novel whose principal subject is the moral, psychological, and intellectual development of a usually youthful main character.” Buffy’s fight scenes are obviously influenced by Asian martial arts movies. Wikipedia’s Buffy entry correctly observes that “The show blends different genres, including horror, martial arts, romance, melodrama, farce, comedy, and even, in one episode, musical comedy.” As noted on the BBC’s Buffy website, in the fifth season episode “Spiral,” the sequence in which Buffy, standing atop a moving RV, combats pursuing knights on horseback “is reportedly the Buffy production team’s homage to [the] classic Western film Stagecoach [1939].”

Combining elements of different genres is a Joss Whedon trademark; his television series Firefly and its movie spinoff Serenity (2005) are fusions of science fiction with the Western genre. Whedon was more explicit in incorporating Western elements than was Gene Roddenberry, who famously pitched Star Trek as “Wagon Train to the stars”.

But the “preponderant” genre conventions are those of the genre of supernatural horror and fantasy. Whedon has made that clear in his repeated descriptions of his original concept for Buffy, explaining that he took the genre formula of “the little blonde girl who goes into a dark alley and gets killed in every horror movie” and intended “to subvert that idea and create someone who was a hero.” (Billson, Anne, Buffy the Vampire Slayer [BFI TV Classics series] pp. 24-25).

Whereas Coogan believes that Buffy is not a superhero, I’ve invented a special category for her, which I suspect reflects Whedon’s intentions for the character. To my mind, Buffy is a Displaced Superhero, which is to say that she is a superhero who operates outside the superhero genre. If someday, somehow, Whedon manages to do a Buffy-Batman or a Buffy-X-Men crossover, it will be interesting to see how well she fits into an actual superhero genre story.

Having defined what he considers to be a true superhero, what then does Coogan do with all the characters, like Buffy, who have super-powers but don’t fit his definition? Having declared that Buffy is not a “superhero” (one word), Coogan states that she is instead a “super hero” (two words), “as are heroic characters from other genres that have extraordinary abilities such as the Shadow, the Phantom, Beowulf, or Luke Skywalker. They are superior to ordinary human beings and ordinary protagonists of more realistic fiction in significant ways.” However, “they are not superheroes, that is they are not the protagonists of superhero genre narratives” (pages 48-49).

I see the point of Coogan’s distinction between “superheroes” (one word) and “super heroes” (two words), but his terminology presents problems. For one thing, the difference between the two terms does not work in spoken conversation, since you cannot hear whether there is a gap between the “super” and the “heroes.” Even in print (or on the computer screen), a simple typographical error can turn “super heroes” into “superheroes” or vice versa. Second, I understand that DC and Marvel have jointly trademarked both “superhero” (as one word) and “super hero” (as two words). DC and Marvel perceive no difference in meaning between the two forms of the term, so there is no legal distinction between them, either.

At this point Coogan does something in his book that delighted me: he quotes from the late literary critic Northrop Frye’s Anatomy of Criticism (1957). I first encountered this book when I was in college and immediately recognized that his ideas could be applied to superhero fiction. (Another academic turned comics pro, Peter Gillis, paid tribute to Professor Frye by giving him a posthumous cameo in Defenders #133 [July 1984].)

As Coogan recounts, Frye identified the hero of myth as “superior in kind both to other men and to the environment.” Then there is what Frye terms the literary mode of romance. Among the definitions that the American Heritage Dictionary gives for “romance” are “A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place” and “The class of literature constituted by such tales”; this is what Frye meant by the term. According to Frye, the hero of romance is “superior in degree to other men and to his environment,” but is still a human being, who “moves in a world in which the ordinary laws of nature are slightly suspended.” In the high mimetic mode, the hero is “superior in degree to other men but not to his natural environment,” the hero of the low mimetic mode is “one of us,” and the hero of the ironic mode is “inferior in power or intelligence to ourselves” (Anatomy of Criticism, pgs. 33-34).

Coogan then declares that his “super heroes” (two words) are all “romance heroes.” Since, as he points out, nowadays the meaning of “romance” as love story is more common than its meaning as a tale of extraordinary adventure, calling these characters “romance heroes” would be confusing. So he calls them “super heroes” (two words) instead, which, as I’ve pointed out, is perhaps even more confusing.

Moreover, by stating that his “super heroes” (two words) are “romance heroes,” Coogan may, perhaps inadvertently, be leading readers to think that true superheroes are not romance heroes. But I think that Frye’s definition of the romance hero as a human being who is “superior in degree to other men and to his environment,” and who “moves in a world in which the ordinary laws of nature are slightly suspended” is a nearly perfect description of the true superhero.

A superhero’s superpowers account for his superiority to his “environment.” This slight “suspension” of the laws of nature could account for what Coogan calls “superhero physics,” whereby superpowers, which do not exist in the real world, can exist in the Marvel Universe, for example. Hence, for example, thanks to the way that physics works in the DC Universe, Superman can fly, thereby demonstrating his superiority to an element of his environment, the law of gravity.

Frye’s description of the romance hero needs to be modified slightly to include those superheroes who are not literally human beings (like Superman, or the Silver Surfer, or the Vision), but all of them resemble Earth humans sufficiently, physically and psychologically, to be included. Also, as I’ve pointed out in previous installments, some superheroes, like Batman, lack actual super-powers; these characters are figuratively “superior in degree”: to other humans and to their environment.

Frye’s theory of modes also enables me to show further why Neil Gaiman’s Morpheus is not a superhero. Morpheus fits Frye’s description of the hero of myth, who is “superior in kind both to other men and to the environment.” A superhero is “superior in degree” to other humans, due to his powers, but is still a human being. Morpheus is “superior in kind” to humans: he is not human, but is one of the Endless, a different, higher form of being.

Elements of the superhero genre turn up at times in Gaiman’s Sandman, such as Element Girl and Doctor Dee (Justice League villain Doctor Destiny) in early issues, Batman and Clark Kent in “The Wake,” and the references to the Green Lantern and Superman mythos in Sandman: Endless Nights (see “Comics in Context” #17). But the predominant conventions in Gaiman’s Sandman are those of the fantasy genre.

Notice how Gaiman treats the character of Lyta Hall, who was the superheroine Fury in Roy Thomas’s Infinity, Inc. series. The “gravitational” pull of the fantasy genre is so strong in Sandman that Lyta’s superheroic identity is never mentioned in Gaiman’s series, nor her superpowers. Perhaps, however, Gaiman made an unspoken in joke by having Lyta (a. k. a. Fury) send the Furies of Greek mythology to punish Morpheus.

I also realized that the typical superhero is “superior in degree” to ordinary humans in his heroic identity, but in his alternate identity he is “one of us.” Superman is a romance hero, but as Clark Kent he is a “low mimetic” hero. Buffy is a romance hero when she acts as the Slayer, but when she is attending high school classes, she is acting as a low mimetic heroine.

While Morpheus is a hero of myth, different in kind than humans, Gaiman’s Sandman series can be read as the story of how Morpheus discovers he has an emotional capacity that is not so different from that of humankind. The series begins with Morpheus as a captive, reduced to being a “naked man” in a glass cage. He comes to acknowledge his friendship for the human Hob Gadling; he feels guilt and responsibility over the fate of his human son Orpheus. Ultimately Morpheus forfeits an aspect of his godhood by surrendering to death (or his sister Death, if you prefer). His successor, the new Dream, is somehow simultaneously Lyta’s human son Daniel and Morpheus himself reborn.

This is not to say that either Morpheus or the new Dream are superheroes. But notice that whereas a superhero typically has a double identity, one heroic and one that of a low mimetic “ordinary” human, the new Dream has a dual nature, making him simultaneously god and man. In the course of Sandman Morpheus discovers a “high mimetic” side to his nature, complete with a tragic flaw, enabling him to make himself vulnerable to death, sacrificing his life and becoming a tragic hero in the end.

Jack Bauer of television’s 24 presents an interesting case. On the surface he is a low mimetic hero, “one of us,” an operative of a United States government agency. Audience members who prefer realism to explicit fantasy would therefore be more likely to accept Bauer; thus Bauer also fits into the democratic ideal of American society, wherein everyone is equal.

In practice, however, Bauer is a high mimetic figure, “superior in degree to other men but not to his natural environment.” Bauer is unquestionably CTU’s top operative, who usually takes a leadership position in field operations. Bauer has saved America for five seasons going on six, and, though the show never actually says so out loud, it consistently presents Bauer as the only one who can defeat each season’s terrorist conspiracy. (Like Buffy or Anakin Skywalker or Neo in The Matrix, Bauer is, in effect, the Chosen One.) Since Bauer is not superior “to his natural environment,” he can be severely injured (as we have seen time and again on the show) or even killed. According to Frye, the hero of tragedy, such as Hamlet, is a high mimetic figure. This helps explain why each season of 24 usually ends tragically for Bauer: for example, his wife is killed, or he is forced into hiding, or he is captured and tortured by enemies.

Ultimately, though, I think that Bauer is a romance hero, “superior in degree to other men and to his environment,” who “moves in a world in which the ordinary laws of nature are slightly suspended.” Not only does he repeatedly outfight and outshoot his opponents, but he recovers from even severe injuries at unusual speed. In one season Bauer was tortured so badly that his heart actually stopped: he literally died and returned to life. Heck, the “suspension” of the “ordinary laws of nature” even explains how Bauer can drive back in forth in Los Angeles so quickly, as if its notorious traffic didn’t exist!

At present 24 and Heroes are on at the same time on Monday nights. One reason that I watch 24 rather than Heroes is that 24 feels to me much more like a heroic “romance” than Heroes, the supposed superhero series.

Until and unless I find a better term, I am going to call the heroes of romance (as Frye defines it) “megaheroes.” This category encompasses all the characters that Coogan calls “super heroes” (two words) as well as true “superheroes” (one word). Superheroes therefore form a subset within the larger category of megaheroes.

Having defined superheroes in his book, Coogan goes on to define supervillains. Here he takes what strikes me as a very different approach. In defining the superhero, Coogan went taken the approach that Superman is the first true superhero, who inaugurated the superhero genre. Therefore, Coogan sought to discover what distinguished Superman from his many megaheroic predecessors (drawing upon Judge Learned Hand’s perceptive court decision). In contrast, Coogan’s definition of the supervillain embraces characters from various different genres.

In Coogan’s view the supervillain long predates the first superhero (Superman) and the superhero genre. Indeed, Coogan counts the monsters Khumbaba and the Bull of Heaven, both slain by the title character of the Babylonian Epic of Gilgamesh, as supervillains, thereby making the super-villain concept at least over three thousand years old! Another of Coogan’s supervillains is the monster Grendel from the Old English poem Beowulf (circa 700-1000 A. D.). (When the Beowulf movie co-written by Neil Gaiman comes out this fall, I will surely have much more to say about this early romance.) Coogan also identifies as a supervillain Sherlock Holmes’s archenemy Professor Moriarty, who was introduced in Arthur Conan Doyle’s “The Final Problem” (1893). (Oddly, Coogan states that Moriarty only appears in “The Final Problem” and “is mentioned again only in the novel The Valley of Fear“ [p. 71]. Rather, besides “The Final Problem,” Moriarty plays an active role, albeit behind the scenes, in The Valley of Fear, and is mentioned in five other Sherlock Holmes stories by Doyle, most notably “The Adventure of the Empty House” [1903], which describes how Holmes survived his battle with Moriarty at the Reichenbach Falls.)

In his introduction to Superhero, Coogan explains that its chapter on “The Supervillain” grew out of his contribution to The Supervillain Book, which was published last year by Visible Ink Press; I was another of The Supervillain Book‘s contributing writers. The Supervillain Book likewise took the approach that supervillans are not restricted to the superhero genre, and included not just Professor Moriarty but James Bond villains like Blofeld and Goldfinger. When I was working on the book, I agreed with this idea.

However, now that I’ve read Coogan’s Superhero, I’m not so sure. I suspect that just as true superheroes represent a subset of the category metaheroes, there are true supervillains who are part of the overall category of what I’ll call megavillains. Next week I’ll explain the distinction.

ADVERTISEMENTS FOR MYSELF
Now on sale from Image Comics is the second issue of The Official Handbook of the Invincible Universe, to which I was a contributing writer. Just seeing the cover, which is a homage to the covers to Mark Gruenwald’s original version of The Official Handbook of the Marvel Universe, made me smile.

–Copyright 2007 Peter Sanderson

February 9, 2007

Scrubs Blog: My Blog To Nowhere

Filed under: Production Blogs,Quickcasts,Scrubs Blog,Video — UncaScroogeMcD @ 2:21 am
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VIDEO BLOG #76: “My Blog To Nowhere” ““
The night is long, everyone’s a bit punchy, and they’re filming in a three-walled motor home sitting in a soundstage while first time director Mark Stegemann reveals how “first-timers” symptoms have frightened his wife. Enjoy!

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Download Scrubs Video Blog #76:

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Interview: Tanya Donelly

Filed under: Columns,Interviews,Trailer Park — admin @ 2:20 am

By Christopher Stipp

Archives? Right Here…

In the end the letter would sit there until I finished this piece. More on that in just a moment.

When I stumbled upon Belly, most known to many as the group who made “Feed The Tree” a part of so many mix tapes in the early 90’s, I was emerging from my chrysalis of musical ignorance. My diet, until then, consisted of a milquetoast cadre of hip-hop, rap, R&B and every bland, vanilla, soul-crushing Top 40 hit you could ostensibly name. It was my senior year in high school and I was, understandably so, teased and publicly harangued for my taste in music. When other students pined for tickets to see U2 during their Zooropa tour I was steeped in the rhythm and soul of the musical choreography put on by Janet Jackson when she came through town in support of her JANET album.

It wasn’t until after I graduated high school, nearly 18 years of age, in the spring of 1993 when a friend took me to see 10,000 Maniacs at a huge outdoor amphitheater in Illinois. You want a definition of “watershed”? That was it. The musicianship, lyrical richness, passion, energy, all these things collided in my body and I knew I had a conversion of some profound kind.

It wasn’t until a few weeks had passed when I leaned of the Maniacs’ demise. Just as I thought it would be a good idea to dip a toe into this brave new world it was all I could do to try and keep myself from slipping back into old BPM habits. You have to understand that it is not a joke when I say that I still hadn’t yet purchased a Rock album, not even after the Maniacs show, once in my life. Ever.

But, it was Tanya Donelly who wrested my wallet free from my stingy pocket and it couldn’t have happened in the most odd way.

It was strange but as I was channel surfing one afternoon Tanya gave an interview to a local reporter in Chicago about an upcoming show she was getting ready to do with her band Belly. During the story they played a clip from the “Feed The Tree” video. While I took enough notice that I’ve never forgotten about it, and this is the important part of the story, it didn’t do a whole lot for me. Nothing, in fact. What happened, though, during the following weeks is notable in that the news segment stayed with me. The clip replayed over and over again in my head. I was humming “Feed The Tree” to myself every now and then when it played on the radio. The tune had such internal resonance for me that Belly’s STAR would be the very first Rock album I would ever purchase in the USED section of a small record store and, to this day, represents where my musical renaissance began.

I started purchasing mass quantities of CDs, eschewing the latest urban additions as if they were the ugly girlfriend I was happy to have cheated on, and I can tell you there has never been a time in my life, from the Summer of 1993 to the Summer of 1995 where I assimilated so many different variations on an alternative theme. From Juliana Hatfield, The Blake Babies, The Mighty Mighty Bosstones, Stone Temple Pilots, Pearl Jam, Soundgarden, Alice in Chains, to KMFDM, Curve, Elastica, Rage Against The Machine, I was just insatiable. Although, I never forgot about Belly and, in fact, I was voracious in my consumption. From $30 imports from Japan, a special order vinyl that had just one notable song on it that I just had to have and pestered some poor record store owner as to whether it arrived, rough sounding bootlegs of Belly shows, to say nothing of the singles, magazines, tickets, of buying everything at their merchandise table when they finally came back to Chicago, I was enamored to the point of fiscal bankruptcy when it came to Belly. The music just did something to me that I still can’t explain very well without sounding like a complete geek. It was the mixture of lyrics and melody that defied you to listen to a world that wasn’t controlled by Cock Rock Neanderthals who only wanted to sing about the superfluous nature of their “dark” and “misunderstood” lives. Tanya had a grip on these things and, instead, used her music to work out more thought-provoking issues.

I remember standing in line, a line of one actually, during a bitterly cold October afternoon in 1995 as I kept my place in line for a show that would be one of Belly’s last. Determined to be the first person through that door to see the General Admission show, only to recede to the back bar area after the first song, it was at show I learned I had a condition that I didn’t know about: claustrophobia. However, I still remember the three times I did see the band to be on par with the arena rockers I would later measure everyone else against; being in a small club didn’t matter, it was more intimate and I remember Tanya always leaving the stage with a smile, not a sneer and splintered musical equipment, in her wake.

The band’s demise shortly after the tour that year and Tanya’s eventual solo career has been one, for me anyway, of evolution. I think I would’ve grown embarrassed as I reflect on the amount of my spending, my stumping, my need to collect everything, my unadulterated support for a band that just played musical notes and chords if it wasn’t for the book I wrote that was inspired by those two years of self-exploration and unwavering devotion. Tanya evolved as well. She got married to the bassist of Juliana Hatfield’s band, Dean Fisher, had two children, Grace Bee Fisher and little Harriet Pearl Fisher, and still turns out some of the most evocative and melodic that no one I know seems to be listening to.

Her latest, THIS HUNGRY LIFE, is a live album that puts to shame any live album you have in your collection for the simple fact that this is sold as a live album, yes, but it sounds unbelievably sharp. I would dare any casual listener to try and take a taste test of this album and, save for the clapping at the end of songs, try and pick out the imperfections. It’s that precise and it was good enough to get me riled up enough after sensing, again, no one cared about me talking about it in public, and I decided to see what I could do in devoting an entire column to Tanya and this work.

It’s not often I get to talk to someone who has been the basis for so much of my own creative endeavors, who really is at the core, the nexus, of who I hold up as the litmus test for any artist who wants to preen, whine, play dress-up, break a guitar or two or do anything less than make great music and enjoy the station they’ve been given in life. In fact, I count this interview as the completion of a circle she started drawing for me in the ephemera almost 14 years ago; damn near ½ of my entire life on this planet.

She was an absolute joy and delight to talk to, my hand was getting numb from inserting so many “(Laughs)” into the piece, as I played the part of journalist and geeky fanboy all at the same time; she managed to top Lost’s Josh Holloway as the person who exuded the greatest sense of joy while talking to me, a complete stranger. We talk about her music, her passions, her kids, her inspirations and I even manage to take a jab at her procrastination that, unless it was just great timing, yielded the motherload of every Belly nerd out there.

It was at the end of the conversation, though, that Tanya inquired about the book I wrote and it’s involvement of her music in it. She insisted that she send payment for a copy of her own even after my heart sank as I tried to stop that nonsense (I would’ve sent every other copy I had for free), feeling not only like I was the kid in the Mean Joe Green Coke commercial who is overcome with gratitude for that sweaty jersey, but when that envelope came to my house it sat on my desk unopened until this week, only after the construction of this piece had been completed. It was only after the work was done did I ever feel entitled to enjoy the spoils of my labor and thankfully with Tanya’s consistent output of music she is still amazing me in a way that makes me feel 18 again when I wait for that special New Music Tuesday to roll around in anticipation of a new album and I can see what else is on her mind this time.

Here’s to hoping she never stops trying to part me with my money.

CHRISTOPHER STIPP: Hi, is Tanya there?

TANYA DONELLY: Yup, that’s me.

CS: This is Chris.

DONELLY: Hi, how are you?

CS: I’m fine. How are you doing?

DONELLY: Doing very well, thanks”¦I’ve got a new baby.

CS: Yes, congratulations on that.

DONELLY: Thank you so much. There’s a lot of juggling going on in that department.

CS: I just put my one-year old down for her morning nap.

(Laughs)

DONELLY: That’s what mine is doing right now.

CS: And I don’t think she was really ready yet, either. I just knew this interview was coming up and said to her, “You’re going down within the next twenty minutes.”

DONELLY: That’s what I did too. Hopefully that’ll work out.

CS: It’s an odd thing, trying to coordinate their schedules around my schedule. Life doesn’t feel like it’s about me anymore but I’m fine with that. But let’s get into it with the fact that this album, THIS HUNGRY LIFE, has been out for a few months. I bought it the day it came out and have been loving listening to it ever since.

DONELLY: Thank you very much.

CS: And it’s weird insofar that when I heard this was going to be a live album I was expecting something less than what this record actually is. The clarity, sharpness and precision on THIS HUNGRY LIFE trumps any live recording in my collection.

DONELLY: Well, we did the multiple takes of things. It was more that we wanted people to be there while we were recording so they suffered through us starting over sometimes, multiple takes and lots of tuning because that’s what I really wanted to do rather than just taping a show. I really wanted it to be people in the studio with me, sort of speak. It was fun.

CS: Now, was it the ten core songs that eventually made it onto the album or were there other”¦

DONELLY: No, we also did a set”¦We also recorded a set of”¦Because we went straight to Bellows Falls from touring the record before that so there’s actually live recordings of WHISKEY TANGO that we did on tour which I will probably put up on the site.

CS: You know, since you went there, I did my homework preparing this interview and I know I’ve read that in a few places. “When I get to it”¦” “When I get to it”¦” What is up with”¦.

(Laughs)

DONELLY: I just have to give my web mistress just a ton of stuff and let her struggle with it. I’ll find some of the archived material and hand it over and”¦she can deal with it.

CS: And, because I am an uber nerd, and I’ve been a fan for a long time, I’ve known that you’ve said you were looking to put out a children’s album. Where is that? I have a child that’s nearly four and I flatly REFUSE to allow the Wiggles anywhere near my stereo.

DONELLY: I know!

(Sighs)

It’s just been”¦It’s the kind of thing where we put it together, a bunch of us, and then we were really excited about it at the time and then it just got passed over and passed over and passed over and everybody started losing their enthusiasm, which happens”¦The main thing people are saying is that it is all over the place. Too much different”¦I mean that’s what we liked about it.

CS: Right.

DONELLY: It’s very varied but it’s what labels don’t like. I guess”¦I don’t know”¦Children’s music, so we’re told, except for a few very lucky instances, children’s music doesn’t really sell well. Stuff like The Wiggles will because it’s completely catered”¦and this is not at all. This is like regular rock music with just lyrics that are appropriate. So, people are just having a hard time figuring out just how to market it. At this point, the woman who started the whole project, Chris Tappin, she’s probably going to put it up on CD Baby and we’re waiting to hear”¦she’s going to let me know if that happens and then I’m going to let people know.

CS: Good. Good to hear. I am just not down with a lot of children’s music that’s out there.

DONELLY: I know”¦

Well, neither is my daughter. She just listened to what we listened to”¦she never really listened to the kids music, per se. In fact, the other day, just to give you a little window into her perspective on the world, I said as we were looking at something to listen to, I said, “Do you want to listen to The Beatles?” And she said, “Mom, that’s a little baby-ish for me.”

CS: Geez”¦What is she really into then nowadays?

DONELLY: She likes Blondie a lot. She likes Smoosh. You know who they are?

CS: No.

DONELLY: Is your oldest a girl?

CS: Yup.

DONELLY: You should check them out. It’s S-M-O-O-S-H. They’re an indie band of two sisters”¦and I don’t even want to say they’re four kids because they have a huge adult following. I wouldn’t even say it’s kid’s music, it’s just music that just happens to be made by kids. And they’re great.

[Chris’ note: I hope this doesn’t get me on NBC’s To Catch A Predator but I checked them out and this is a really great band of girls who know how to rock the mic.]

CS: Was that important to you as a parent when you became one, coming from a fairly rich musical pedigree, to give your kids a full exposure to different kinds of music?

DONELLY: I was less focused on what I wanted her to listen to than what I did NOT want her to listen to. Our attitude from the beginning was if it’s driving us crazy, it’s not good for the family. (Laughs)

So, we sort of played her the stuff we liked and she likes that. She likes that stuff”¦She’s a big Vic Chesnutt fan. She loved him”¦When she was little she called him “Vic Ketchup.” And Big Star, she really likes, and she also has her”¦she and her friends listen to things like “High School Musical.” She has to have SOMETHING that doesn’t belong to”¦has nothing to do with us.

CS: Of course.

DONELLY: Hanna Montana.

CS: Not Hanna Montana. The child of Tanya Donelly and Dean Fisher “¦Hanna Montana.

DONELLY: I just don’t say anything. You know, I listened to Shaun Cassidy when I was her age so”¦That’s the kind of stuff that you laugh at affectionately. It’s not harmful; there’s no harm in it. It doesn’t really bug me as long as she still”¦she’s good at compartmentalizing. (Laughs)

CS: And that wasn’t difficult? Exposing her to that kind of music as a kid? I only ask because I’m thinking of mounting some kind of campaign to get my kid to listen to Wilco, Neko Case”¦

DONELLY: No! It’s amazing how they get it. Like Gracie loves the fact that David Bowie is always dressed up. He’s cool, he’s a different person all the time, he dresses up, he has all these songs and characters. They get into that you know what I mean? They way that she listens to stuff”¦I find things in it that I had forgotten about when I was a kid. There’s so much that they can re-introduce YOU to when you’re introducing music to them.

CS: One of the things, and it makes me feel old to say it, of being a fan now for fifteen years, the lyrical content of your music, while it has always been rich and melodic, there has always been a dark undercurrent of things you’ve said have been auto-biographical, things you’re dealing with, I’m speaking here presently of a great example off of THIS HUNGRY LIFE, “Kundalini Slide”. That’s a dark song but unbelievably deceptive with how delicate it sounds. Is motherhood helping to make sense of the world, life, in general?

DONELLY: I think motherhood makes me focus on hope more than I did but it doesn’t but”¦it’s not a cure-all for what ails me or anyone in this world. I don’t know, that’s a tough one because sometimes I feel like it really changes the way I write and, other times, when I actually sit down and listen to stuff I’m like, “Nah, not really.” (Laughs) “Not so much.” But, I think that stuff stays in my music more than it used to now that I am functioning for people other than myself.

And it still comes out. On a song like “Kundalini Slide” those concerns, I think, are more global than just my own little”¦shit. And I do tend to think more outside of myself, obviously, that’s what happens, as you know, so that manifests itself rather differently now, it’s more concerned for everyone else. “How can I fix things for my children?” It’s making sure that I function well for my children and do what I can to make this a better place.

CS: And how is the writing process for you now? Do you have the same kind of groove, methodology, you’ve always had?

DONELLY: No, it’s completely different because it’s so much more structured. Especially with two kids there’s no such thing as “˜drop everything and write’ anymore. I have no books in my diaper bag.

(Laughs)

I do what I can! You just don’t have the luxury anymore of saying, “I think I’ll write today.” It’s more like little scraps of paper everywhere and when I have time in the evening, if I’m not exhausted, I’ll put it together.

CS: I believe you’re deserving of a lot of credit. Not so much for just creating the music you did that put you in the public sphere years ago but because you’ve been so prolific since then with your recordings you’ve released with the amount of responsibility you’ve had in the last few years. Has that been a conscious decision, to stay on top of your art?

DONELLY: Yeah. We are very fortunate in that we’re still are managing to get by without day jobs. And I think that being the case it gives us the opportunity to still make this work. As a result, I can still release more than I might if I had to be working all the time.

It sounds like you have a day that’s similar to mine”¦

CS: Yeah, you’re right. I absolutely find that I am able to write better after everyone has gone to sleep. I do my column late at night or trade in eating a lunch to get in some good, solid writing. Just with trying to start my second book it has been very difficult because I just don’t have that kind of quality time anymore.

DONELLY: Yeah, I know, I know. You just have to mourn that and go, “Alright, how do I get it done now?”

And, speaking of that, I heard about your book but I haven’t had the chance to hunt it down”¦

CS: Oh”¦You know, I’ll make this a brief story: It was written about six years ago, it had Belly as a sub-plot but only in the sense that I had the germ to write it when I learned of Belly’s demise. I almost am loathe to admit that my iPod is jammed full of Belly bootlegs, B-Sides, Singles, albums, tribute albums from other fans circa 1995, everything and anything; the band meant a lot, artistically, to me as a listener of music.

DONELLY: Oh, that’s cool.

CS: Yeah, but that’s also strays into Uber Nerd territory. The story itself, the core of which deals with the demise of things you never know about until it’s too late to do anything about, was just too tempting not to weave the band into the narrative.

DONELLY: Wow, that’s amazing.

CS: I self-published it, got a well-known artist to draw the cover for me and when it was all said and done I sent a copy your way, just as a cosmic way to say “Thanks” for the muse-like inspiration.

DONELLY: You know, things used to be so”¦I’ll say that there isn’t hardly any filter between my mail and me.

What is it called?

CS: “Thank You, Goodnight.” At the end of the day it’s a story of people when it’s post-coming of age and they’re in that nebulous area of when it’s pre-adulthood. It was kismet when I wrote it because I did this all right before my first daughter was born.

DONELLY: That is so great.

CS: It’s amusing…We actually talked, twice before this, during Belly’s last tour in 1995. You did a show at the University of Illinois and then a show in Chicago a few days later in late October. The first time, at UOI, you were enjoying a book and I intruded lightly. And then, in Chicago, I was standing in line, the first, from about noon until show time. That’s borderline lame and sad at the same time. It’s damn near embarrassing for me to even think about.

DONELLY: No, believe me. I have had plenty of those.

(Laughs)

I just spent the weekend with Gail [Greenwood, Belly’s former bassist] and we had a big, mushy, sentimental time so it’s completely ripe for this conversation.

CS: How is she doing?

DONELLY: She’s awesome. She’s great. She’s still making music with her mate but mostly she’s doing graphic design right now. They have a graphic design company that’s extremely successful. She’s just busy, busy, busy.

CS: Since we’re kind of on the topic, I know you’ve said that there were so many other songs Belly has done that no one has heard and it’s come back to the line, “When I get the time”¦”

DONELLY: Well, the main thing that I want to release are the demos. For STAR, which are actually Breeder’s demos, which, unfortunately, when I went back to try to mix it down the integrity of the tape is a little bit compromised”¦because they’re so freakin’ old”¦but I think Ivo Watts-Russell, who used to run 4AD, I think he has a CD of it. I’m going to see if I can wrestle that away from him and just put it up as-is.

CS: I’d like to know…When I was looking back at the period when Belly was nominated for a Grammy, when you were probably at that critical and media saturation point where it was nonstop attention, and now you’re at the point where you can comfortably do whatever you want is there some acceptance of that time for what it was?

DONELLY: Oh yeah. I do and for a long time I wrestled”¦there were a few years there where I was like, “Why am I so OK with this?” With the fact that I’m not famous anymore because I do have a tendency to push things down until they”¦start to form cysts.

(Laughs)

And so I thought, “Oh, here I go”¦” where I go around with my hippy-dippy face on and just say, “Oh, it’s OK. The universe has given me so much and I’m fine”¦” And I was trying to just, “Let’s get this out. Let’s weep. Let’s grieve.” And I did. Briefly.

But, I am fine.

And it took me years to kind of figure out, “Oh, I’m just fine and let’s accept the fact.” It’s not like I couldn’t handle fame anyway. I mean, that was so cool that I got to do that and we had such a blast and now I get to do other stuff that I wouldn’t be able to do if I was still doing that. I’m a full-time mother to my children and I still get to make music”¦I have time to write and time to do other things that I want to do and do projects with other people. And, you know, I really do feel like I’m fine and especially with raising kids I would rather do that under the radar, so to speak. I think everything has worked out.

The only thing is”¦is sometimes I wish I could get this music to more people. That’s the only thing but it’s never a lifestyle issue for a second.

CS: I think that’s one of the nicest things of being in the place I’m in today, after following the band as long as I have, for as much as I care about the music and what it means to me, is that I can honestly state that I don’t know of an artist who has matured and evolved as well as you have.

DONELLY: Well, thank you. My gosh”¦

CS: When you get down to it, you can be as experimental as you want, but it does all come down to the music and the quality of it.

DONELLY: Yeah, I know, and that’s definitely true. And when you are in the thick of it and you’ve got A LOT of people involved in your music, it gets convoluted. You can have as much integrity as a person can have and you still have twenty people constantly in your ear telling you what’s going to happen next and your process and how you’re going to do it and when they need it and how they need it. It doesn’t matter how shut-in you try to be, it gets in there. And I don’t have to deal with that.

CS: Did that happen with KING‘s creation?

DONELLY: KING was not so much”¦not so much with KING because, at that point, everyone just trusted us implicitly because STAR was such a fluke. There was no buzz around STAR until it happened. The label was not like, “Oooh, this is going to be so amazing.” And because that was such a big surprise they essentially said, “Ok, just do it again.”

And when Belly broke up, and with my first solo record, they sent me back in a few times, it was mixed a couple of times, they made me write more and take songs off and put songs on. They were very”¦on top of that one. Which, at the time, I was kind of in a panic myself, that was my year of panic, and then after that I calmed down.

CS: Do you think you’re calmer about the process?

DONELLY: Yeah, because music is in a very different place in my life now. It’s a part of my life, it’s not the theme anymore; it’s in there, it’s a part of a larger holistic picture now and it’s not the only thing that I have.

CS: Is the process as therapeutic as it has been or is there a shift in it’s ability to”¦

DONELLY: Oh, definitely. Absolutely therapeutic.

Writing a song is still one of my greatest joys and it’s how I stay healthy”¦it’s like anything you do for your health. I need to do that and I enjoy doing it. It’s weird, and it’s such a great position to be in too, as the whole family is in on it. Dean and I write together and play together and Gracie is right there with her suggestions. It’s really nice because it’s part of our life together.

CS: To that point, on one of my favorite songs “White Belly” is just saturated in darkness but it’s so melodic and peaceful to listen to. Do you take a song like that, something that’s really quite heavy and then try to find a way, pushing the content aside, to make it digestible?

DONELLY: Yeah, you know, that’s a really good question because for years”¦and I think this one of those un-self-aware things that, when you’re young, because I said, “Oh, no, no, no, it’s just natural. It’s the way I write.” And I do think that to a certain extent that’s true. I’m much more attracted to melody even though the stuff I’m interested in singing about is not always pretty but I’m very attracted to melody. But, as a person”¦(Laughs)”¦the older I get the more I realize as a person I tend to, when I’m dealing with something, past or present, I do tend to do it in a very “How can we make this easy?” sort of way. I’m not a head-on, confrontational person. I’m more of a “Let’s all sit down and talk about it”, “Let’s go to the beach”, “Let’s figure this out,” kind of person. So, musically, that’s how it happens for me too. It goes, “I have to say something very ugly right now so I’m going to make it really pretty to listen to.”

CS: And your husband, Dean, is an amazing musician as well. I remember seeing him play live when he toured with Juliana Hatfield, has he been a good sounding board for your music or do you have your own way of doing things?

DONELLY: It depends on the song. He’s a great arranger.

Some of the things I do pop out full-blown and there it is, that’s it, it’s done. And sometimes I definitely will say “Can you help me with this one?” and more and more, I have to say, he has become sort of the musical director when we’re recording. Like he and I will hash things out at home and he’ll actually do a lot of the showing people the song, what’s going on with it, because I’ve always got a baby on the hip or”¦I mean I haven’t handed it over completely but, to be honest, the places where I excel are more during the songwriting process and playing live and, as far as being in the studio goes, I have shorter and shorter patience with it.

I’ll go in on the first day and say, “This is the song, this is what I kind of want to do”¦” and then Dean will hash things through and bring it back to me. He’s become sort of liaison in a way. Which works out GREAT for both of us because that the stuff he loves and I get to do the things I love and it just works out real well; it’s been very fortuitous that we have the kind of strength and interest we have.

CS: You mentioned playing live. I know you’ve said you’ve had issues with stage fright in the past. Has that waned a little bit?

DONELLY: It has, a little bit. I still get very nervous but I don’t get”¦(Laughs)”¦It’s not a pathological condition. I think it’s just more natural stage fright that anyone would have and it’s not so horrible as it used to be.

CS: Any hint that you’re going to be touring a little bit more than you have been?

DONELLY: Well, we’re going to do something in the summer, is what we’re going to do and I’m hoping”¦and I don’t know if I should”¦Kristen and I are sort of talking”¦ it’s SO beginning stages”¦and probably silly”¦but we’re trying to hash out something to experience something together this summer. Manly, because we miss each other and, also, I just think it would be fun for people and fun for us. I can’t see why it wouldn’t work out at this point. It would be mid- to late-summer we’re thinking.

CS: And where is that children’s book of yours?

DONELLY: That has fallen so far”¦

CS: D.O.A?

DONELLY: I just took it out a few weeks ago and I wrote another chapter and I kind of worked on some stuff and then I put it back and, at this point, that’s how it’s going. I have this image of myself, breastfeeding on the couch while I write my book. (Laughs) It’s not quite panning out.

CS: Oh, come on. Did you really think that would work? I could have told you that years ago!

DONELLY: It’s not going to work at all.

CS: Then what’s the deal? They’re like ten pages long. I read them every night. It’s the biggest con in the book business. Just write ten sentences and you’re golden, you’re done”¦

DONELLY: Right! But this is a young adults book.

CS: Ah, OK”¦

DONELLY: Not even young adults, more like ten to twelve year-old girls. Adventure girls kind of stuff. That one’s going to be a long time coming”¦Actually, at one point I was thinking, “I wonder if could make this a much littler kids book?” but there’s too much I wanted to do in it.

CS: Any good inspirations, then? I know you’re a voracious reader”¦

DONELLY: Yeah, Gracie is at the point where she’s starting to read really interesting stuff so I have been reading a lot of, I pre-read things for her, so I read a lot of interesting”¦There’s a lot of good young adult work out there.

CS: Lemony Snicket?

DONELLY: She doesn’t like that….She’s not crazy about that yet. She really wants to be but she gets creeped out.

CS: What have you been into?

DONELLY: I’ve been reading a lot of travel non-fiction lately just because I’m interested in the world right now and”¦I’ve been reading just really weird, weird stuff. Like I just finished a book on the Moors of al-Andalus. Something will pique my interest and I’ll go to the library and read a book on it. I’m mostly into non-fiction right now but the last real good piece of fiction I read was “The Curious Incident of the Dog in the Night-Time.” And I was just going to start the new John Irving book my mom just got me, “Until I Find You.”

CS: Irving has been a rather strong writer. He’s produced a lot of good work.

DONELLY: He wrote one of my very favorite books, “A Prayer for Owen Meany.” Some of his stuff I just really love.

CS: Since I only had a couple more questions I just wanted to know, because I’m getting older and these things are getting harder to find, what new music should I be listening to? What has rocked your boat lately?

DONELLY: What a bad question”¦only because it makes me feel so guilty. I really like the new Cat Power record.

CS: I’m a huge Mazzy Star fan and a friend said based on that I should find something enjoyable on the album.

DONELLY: Oh, you would. Absolutely. And, Joanna Newsom; I like all her stuff, actually.

[Tanya asks Hattie what mom listens to. Other than a gurgle and a coo, no new information is forthcoming.]

I know that my husband is a big jazz fan. He is a big everything fan.

CS: Does he have like the big, expensive high fidelity set-up in the house?

DONELLY: No. No, no, no. He’s not like that but he has been collecting a lot of stuff lately. What else? Hmm”¦What else? Those two are really the only things I can think of. I know, though, as soon as I get off the phone I am going to think”¦

CS: Of a few, right. Gary Smith asked me that question and it put me in such a quandary because it’s hard for me, nowadays, to find good music. The musical landscape, when I open Rolling Stone [Evidenced by the current issue with Panic! At the Disco on the cover] and realize that I can’t relate to the mascara wearing boys preening and emo’ing their hearts out.

DONELLY: Yeah, Dean keeps up with it. He’s impressive because he listens to all”¦he just got an iPod and he listens to everything, all kinds of stuff but, me, I don’t really as much. It’s annoying to say but I’ve been listening to a lot of African music.

CS: Really? Like Ladysmith Black Mambazo?

DONELLY: No, no”¦Yeah, a lot of compilations because, what I am doing right now, is trying to figure out what I like”¦OH! I know something! Joan as Police Woman. It’s my friend, Joan, Joan Wasser, who played violin on the record, the new record of mine and she has her own record out which is really beautiful. It’s called REAL LIFE. So, I have been, actually, listening to that. A lot of nepotism going on in our house.

CS: Where do you see yourself evolving in the next few years, musically? To read your lyrics you’ve already run the gamut of life, death, religion and everything in between. Is there light at the end of all this or are there always those things which will gnaw at you?

DONELLY: Oh everything, that’s going to happen. For the most part I am a person who walks in the sun in my daily life and the only place where I can process, aside from conversations with my husband, that’s where I process my anger. One thing I have been doing, though, is doing a project here and there with other people which may or may not see the light of day so I have to stop talking about all these possibilities.

CS: Because it’s evident you can’t follow-up on anything you talk about!

(Laughs)

DONELLY: Exactly!

(I laugh)

CS: You’re awful and I have no problem saying that from the side of a frustrated fan who needs more good music in their lives. You’re a disappointment as a woman of inspiration to so many, namely me.

DONELLY: It just takes me years to do these things but it’s fun because it brings out stuff I don’t usually do, that wouldn’t come out of me otherwise. More collaborations, maybe, in my future.

CS: Well, thank you so much for talking with me, Tanya.

DONELLY: Thank you so much.

Weekend Shopping Guide 2/9/07: Amazing Screw-On Stuff

Filed under: Shopping Guides — UncaScroogeMcD @ 2:19 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

While I thought the big-screen adaptation of Mike Mignola’s Hellboy was a bit hit or miss (though more hit than miss), it’s not often that the entire live action cast and director take their act to the small screen – and succeed. Both Mignola and director Guillermo del Toro have returned as creative producers for the first in a series of Hellboy: Animated films, Sword of Storms (Anchor Bay, Not Rated, DVD-$19.98 SRP). Even better than the tight, Asian-influenced story (our hero must tackle a pair of ancient Japanese demons) is the streamlined, evocative adaptation of Mignola’s art style for animation. Combined, they make the kind of fun yet adult action-adventure series that Spawn only wished it could have been. Bonus features include an audio commentary, behind-the-scenes featurettes, interviews, and much more.

Dark Horse has also jumped on the Hellboy: Animated bandwagon with a whole slew of merchandise, including collectible character magnets ($7.99 SRP each), stationary ($4.99 SRP), and journals ($9.99 SRP).

It’s not very often that you get a DVD release that contains just a single episode of a show – the pilot, in fact, but that is exactly what you get with the DVD release of the pilot for the animated adaptation of Mike Mignola’s steampunk adventure The Amazing Screw-On Head (Lionsgate, Not Rated, DVD-$14.98 SRP), about an articulate, seemingly immortal head (voiced by Paul Giamatti) that uses a series of robotic bodies to defend the country against supernatural threats – such as his maniacal former manservant, Emperor Zombie (David Hyde-Pierce) – at the behest of President Abraham Lincoln, with only his current manservant, Mr. Groin, and his dog, Mr. Dog, at his side. It’s offbeat and fun, and with a little more development it probably would have been an adventure in the vein of The Venture Bros., but sadly this seems like all we’ll get. The DVD features an audio commentary, a featurette on the adaptation process, storyboard comparisons, and trailers.

TwoMorrows, I love ya. Not only have you given me entries in your Modern Masters artist spotlight series featuring John Byrne, Walt Simonson, George Perez, and Alan Davis, but you’ve added Kevin Maguire to the list (TwoMorrows, $14.95 SRP), and for that I thank them. In fact, flipping through the selection of artwork contained in the volume, it reminded just how much I adored his run on the Justice League, bringing to brilliant life the scripts of Keith Giffen & J.M. DeMatteis – a run, sadly, that has been completely destroyed by the incompetent mooks at DC (I’m looking at you Dan Didio… ya schmuck). Until Blue Beetle, Booster Gold, Max Lord, and the Dibneys find a way back from DC’s idiocy, at least we can remember the good times.

It’s a shame that Hollywoodland (Universal, Rated R, DVD-$29.98 SRP) largely came and went from cinemas, because Ben Affleck turned in quite a memorable performance as the late George Reeves – an actor whose most memorable role, much to his chagrin, was that of TV’s Superman, and whose life ended either in suicide or murder at the height of his TV fame. The film itself is largely the story of a P.I. (Adrien Brody) who tries to piece together the pieces of the puzzle, even though the LAPD has already ruled it a suicide. Was it a scheming fiancée that killed Reeves? A jealous husband (Bob Hoskins)? Or perhaps the police were right after all, and a despondent Reeves – a serious actor who lamented the typecasting his superheroic role brought him – did take his own life. Bonus features include an audio commentary with director Allen Coulter, deleted scenes, behind-the-scenes featurettes, and more.

It’s aged rather awkwardly in some sections, but by and large, Eddie Murphy’s Delirious (Anchor Bay, Not Rated, DVD-$19.98 SRP) remains a legendary bit of stand-up, and is a wonderful document of a performer at the height of his powers. Not only does the DVD feature additional bonus footage, but a brand new interview with Murphy as well.

It’s been almost 3 years since the last full season release of Mad About You, and when the “Best Of” collection was released a few years back instead of another season, I despaired of seeing things back on track anytime soon. Thankfully, things are back on track with the arrival of the complete third season (Sony, Not Rated, DVD-$39.95 SRP), featuring all 24 episodes. For the recurring appearances from Cyndi Lauper alone, this is a great season – and it’s the era just before things went downhill when the once brilliant sitcom decided to do “very special” episodes.

If you’re under that yellow journalism and political mudslinging in the American press is an invention of the 20th century, let Eric Burns’s Infamous Scribblers: The Founding Fathers and the Rowdy Beginnings of American Journalism (Public Affairs, $15.95 SRP) set you straight. The title itself comes from a George Washington quote describing the journalists of his day, and the portrait of the Fourth Estate painted by this tome – and the politicians that both manipulated and were mauled by it – is far livelier and altogether surprising that one would expect.

You know, you think there’d more themed releases like Van Morrison: At The Movies (EMI, $18.98 SRP). The disc collects 19 Van Morrison tracks featured in movies ranging from An Officer and a Gentleman to The Departed. It’s a great idea, and hopefully it inspires other artists to follow suit… If only to get that McCartney release containing both “Band on the Run” and “Spies Like Us.”

In the early 90’s, an odd thing happened – Richard Lewis and Jamie Lee Curtis co-starred in a network sitcom called Anything But Love (Fox, Not Rated, DVD-$39.98 SRP) as a pair of best friends and co-workers who set aside their long-standing refusal to give in to their attraction for each other for fear of ruining their friendship, only to discover it’s every bit as tricky as they’d feared. Thankfully, it was actually quite a funny sitcom, as you’ll discover with the 28 episodes contained in this first 3-disc volume, that also features commentary from the stars on select episodes, plus brand-new featurettes. I do, however, want to also mention that Fox has become maddeningly cheap with their packaging choices, and it’s leading to damaged discs. It’s bad enough that they insist on continuing their use of double-sided discs, but when you combine that with lousy DVD cases, you get loose, scratched discs. Please, Fox, stop doing this crap to good releases.

Love is in the air and a brand new batch of themed catalogue releases are out just in time for Valentine’s Day, as Warners rounds up a batch of oft-requested titles from the vaults. The 5 tittles include Sandra Dee and Troy Donahue in A Summer Place (Warner Bros., Not Rated, DVD-$19.98 SRP), George Segal as an ex-wife obsessed lawyer keen on rekindling romance in Blume In Love (Warner Bros., Rated R, DVD-$19.98 SRP), Judy Garland and Robert Walker as wartime paramours in The Clock (Warner Bros., Not Rated, DVD-$19.98 SRP), Amy Irving as the object of her matchmaker grandmother’s attentions in Crossing Delancey (Warner Bros., Rated PG, DVD-$19.98 SRP), and Jane Wyman and Van Johnson as two lovestruck strangers in Miracle In The Rain (Warner Bros., Not Rated, DVD-$19.98 SRP). All 5 discs features the original theatrical materials, while The Clock gets vintage shorts and the radio adaptation, and Miracle contains a pair of vintage behind-the-scenes segments.

I’ve watched it twice – just because I loved Eternal Sunshine of the Spotless Mind so much – but Michel Gondry’s solo writer/director effort The Science Of Sleep (Warner Bros., Rated R, DVD-$27.98 SRP) is a largely incomprehensible visual exercise about a dedicated young dreamer (think a French version of Brazil) that is quite nice to look at, but very hard to care about. It’s a shame, because there’s obviously a lot of brilliant ideas in Gondry’s head – I just think he needs a collaborator to bring them out in a form an audience can connect with. Bonus features include an audio commentary with Gondry, behind-the-scenes featurettes, a music video, and more.

Based on numerous recommendations from friends (and a healthy plug from the likes of Derren Brown and Penn & Teller), I finally sat down and read Richard Dawkins’s treatise on religion, The God Delusion (Houghton Mifflin, $27.00 SRP). Regardless of which side of the religion debate you fall on, I can’t recommend this highly enough to those with an open mind.

Of all the kids TV out there, very little of it is suitable for adult consumption. On that very short list, I can add the adventures of 10-year-old Ben Tennyson, whose discovery, while on holiday, of a mysterious wristwatch buried in a meteorite gives him the ability to transform into any of 10 alien heroes – a handy thing now that he has to fight the villainous Vilgax and his alien hordes. The 2-disc set features all 13 first season episodes of Ben 10 (Warner Bros., Not Rated, DVD-$19.98 SRP), plus commentary, drawing lessons, and a sneak peek into the future.

Speaking of palatable kid’s shows, another that fits the bill is Teen Titans, and you can now pick up their feature-length adventure Trouble In Tokyo (Warner Bros., Not Rated, DVD-$19.98 SRP), as our heroes take on the seedy underworld of Japan’s big city and the villain Brushogun. The disc features an additional “lost episode,” “Robin’s Underworld Race Challenge.”

While watching The Grudge 2 (Sony, Not Rated, DVD-$28.95 SRP), I couldn’t help but be nagged by the feeling that I had already seen the movie. I had, of course, and it was called The Grudge. Just swap out the quickly dispensed with Sarah Michelle Gellar for Amber Tamblyn, and hit “repeat” – there you go, instant sequel. It’s certainly an acceptable diversion, but nothing to remember 5 minutes after the credits roll. The unrated edition features the obligatory extra gore, plus an intro from Sam Raimi, deleted scenes, and behind-the-scenes featurettes.

It’s no When Harry Met Sally, but as romantic comedies go, Trust The Man (Fox, Rated R, DVD-$27.98 SRP) is likeable enough. Most of that is due to the cast, which includes Julianne Moore and David Duchovny as a New York City married couple whose marriage is in serious trouble – but so is the relationship of Moore’s brother-in-law, played by Billy Crudup, who’s having trouble committing to his novelist girlfriend (Maggie Gyllenhaal). Bonus features include an audio commentary, a making-of featurette, and deleted scenes.

Those wanting to complete their Hitchcock collections will probably want to snag a copy of the 3-disc Alfred Hitchcock: Collector’s Edition (Lionsgate, Not Rated, DVD-$39.98 SRP), featuring 5 of the master’s earliest films – The Ring, The Manxman, Murder!, The Skin Game, and Rich and Strange. The set also features the documentary Pure Cinema: The Birth of the Hitchcock Style.

If you’re addicted to sites like “The Smoking Gun” and “Defamer,” then odds are that you’ll get a kick out of Celebrity Secrets: Government Files on the Rich and Famous (Paraview Pocket Books, $14.00 SRP). The title is pretty self-explanatory, as author Nick Redfern dives into the files of celebs like Lennon, Hemingway, Costello, Presley, Monroe, Princess Di, and many more. Prurient, but engaging, reading to be sure.

Shopping for a toddler in the family (as I constantly am for my nephew Cameron)? You can’t go wrong with a pair of new collections from two of Nickelodeon’s most popular shows – The Backyardigans: The Legend of the Volcano Sisters and Dora the Explorer: Musical School Days (Paramount, Not Rated, DVD-$16.99 SRP each). Both discs feature 4 episodes, plus additional songs, games, and sneak peeks.

And speaking of DVDs for toddlers, the BBC has put out the third volume of Charlie and Lola (BBC, Not Rated, DVD-$14.98 SRP), which features outtakes, games, and hidden surprises.

Proof that not everything he touched turned to gold, Darren Star’s stab at soapy sitcom – about a group of 6 young actors forced to cope with instant stardom when their show becomes an unexpected success – met with much indifference after only 17 episodes, but the great age of DVD means you can get that complete run of Grosse Pointe (Sony, Not Rated, DVD-$29.95 SRP) for your very own library. Bonus features include audio commentaries on select episodes and an interview with Star.

I know somewhere there’s an audience of a touchy-feely tale of a rebellious 16-year-old and her horse, but I know I’m not it. Still, for those of you who fit that category, there’s Flicka (Fox, Rated PG, DVD-$29.99 SRP), starring Tim McGraw, Maria Bello, and Alison Lohman. Bonus features include an audio commentary, deleted scenes, bloopers, and a music video.

The release of Sideshow Collectibles‘s massive 12″-scale Jabba the Hutt is fast-approaching, so you’d better get on the ball and start picking all of the characters necessary for making an incredible display piece, starting with the “inclusive” edition Salacious Crumb Creature Pack ($32.99) – containing Jabba’s favorite cackling toadie, plus Ghoel Wol Cabashite (with bendy tongue and magnetic body), Worrt, a Sand Skitter, and a Dwarf Varactyl. Get them now before you’re outta luck.

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So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

-Ken Plume

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QSE News: 2/9/2007

Filed under: Columns,News — UncaScroogeMcD @ 12:06 am
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Here are today’s top entertainment headlines:

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  • PBS and Discovery Kids have received the most nominations for this year’s Children’s Programming Emmy’s, receiving 18 and 15 nominations respectively. Not surprisingly, the two shows garnering the lion’s share of the nominations are PBS’s Here… Watch This Until Your Father Gets Home So Mommy Can Take A Nap and Discovery Kids’ Stop Crying You Little [EXPLETIVE DELETED] And Watch The Furry Animals.
  • Ruport Murdoch has proven, once again, that he has the “testisatchels” to take on a little controversy. Murdoch announced today that his film division, 20th Century Fox, has acquired the rights to a second Borat film. In response to the announcement, racists, misogynists and homophobes across the nation filled lawsuits against Murdoch, 20th Century Fox and Borat himself, Sacha Baron Cohen, in anticipation of the comedian “making them look like total, [EXPLETIVE DELETED] [EXPLETIVE DELETED]!”
  • In TV news, Mitchell Hurwitz, creator of Arrested Development, is doing a new show called The Thick of It for ABC. For the show, which is based on a sitcom from England, Hurwitz plans on using the same formula that he used on Arrested Development. The Thick of It will premier in the fall and will not be understood by the American public, leading to its cancellation in December.
  • Daniel Baldwin, known to many as “the other completely and utterly talent-less Baldwin,” has found himself in hot water after failing to appear in a Newport Beach court. Police issued a $25,000 bench warrant for the actor on charges of unlawfully taking a vehicle and receiving stolen property. Baldwin’s manager issued a statement that said Baldwin “can’t talk about the case at this time, but it sure is nice to finally see his name getting mentioned more than Alec’s.”
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/9/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:04 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • I want this. I want this so much. Somebody please buy it for me. (Thingamabob)
  • Learn how to ink Popeye with this 1934 Fleischer Studios inking chart, courtesy of those fine animation historians over at Cartoon Brew (Hi, Jerry!)… (Thingamabob)
  • And because it’s Friday, let’s close out the week with some nifty pool shots… (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 8, 2007

Ken P. D. Snyde-Cast #24: Little Gold Thingees

Filed under: Ken P.D. Snydecast — UncaScroogeMcD @ 3:07 am

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Adult Swim’s Dana Snyder and FRED’s Ken Plume set out to have a literate conversation between two pals, but inevitably devolve into a verbal, and funny, free-for-all full of bickering, infighting, and the special kind of male bonding that comes from conflict expressed through the podcast medium.

Actor/comedian/raconteur Dana Snyder, you’re certainly aware, is Aqua Teen Hunger Force’s Master Shake, Squidbillies‘ Granny, Minoriteam’s Dr. Wang, and The Venture Bros.‘ Alchemist. Available for weddings and bar mitzvahs (bat availability pending), you can keep tabs on him via his website, www.eyeofthesnyder.com.

Ken Plume is the editor-in-chief here at FRED. He is a friend of Dana’s, as well as his arch-nemesis.

VISIT THE SNYDECAST EXPERIENCE

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KEN P.D. SNYDECAST #24: Little Gold Thingees – [adult swim]’s Dana Snyder and Ken Plume’s weekly chat podcast returns with their first annual, extra special Oscar wager, wherein both Ken & Dana make an absurd bet based on their predictions of just who will win the Academy Award this year. Oh, and there’s plenty of kazoo.

[CONTENT WARNING]: This podcast may contain some foul language and horribly off-color jokes. Don’t say we didn’t warn you.

DOWNLOAD: (right click to save)
Episode #24 (MP3 format)

[audio:http://traffic.libsyn.com/snydecast/ken_p_d_snyde_cast-24.mp3]

SUBSCRIBE
Subscribe to this Podcast via iTunes

Got something to say? E-mail Dana & Ken at the Snydecast mailbag.

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CLICK HERE FOR THE SNYDECAST ARCHIVES

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The Fred Hembeck Show: Episode 90 – Vault Fred

Filed under: The Fred Hembeck Show — UncaScroogeMcD @ 2:54 am

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Over at my home site, Hembeck.com, I have a sub-category on my catch all More page called “Stuff I Had NOTHING To Do With”, the general concept of which – if not the specific contents – should, I trust, be reasonably self-explanatory.

Of course, if I had nothing to do with the material contained therein, then I really don’t have any, um, RIGHT to post it, now do I? Not wanting to overstep any ethical bounds (at least, not by TOO much), I’ve tried to resist the urge to host online any but the most obscure strips, pages otherwise unlikely to ever again see the light of day.

Okay, admittedly, that description’s a bit extreme – and doesn’t quite cover some of my earlier selections – but friends, it sure does hit the nail square on the head concerning what I have to show you THIS time around!

Anybody out there besides me remember THIS?…

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This 15 page story was unceremoniously chopped up into three parts and run in three consecutive early 1972 issues of the RBCC, numbers 85, 86, and 87. As I’ve mentioned here in the past, the main purpose of that once popular zine was the buying and selling of comics, and clearly, any editorial material contained within was likely included mostly to satisfy mailing regulations. The cavalier way this lost gem of a story was treated bespeaks its second class nature, at least in the context of RBCC‘s primary mission (in fact, the story’s concluding panel dates the work as being completed in 1968, meaning it sat on the shelf for an agonizingly long period of time before FINALLY seeing publication!).

What exactly IS “The Massacre of the Innocents” you might well ask ? Well, for one thing, it’s one of an unheralded trio of stories that nonetheless perhaps had the greatest impact on my own personal approach to doing comics (I plan to post the other two in due time – in for a penny, in for a pound, I’m thinking…). Back during a time when the very notion of a legitimate Spider-Man/Superman teaming seemed less likely than man walking on the moon, this cleverly constructed tale intermingled characters from both Marvel and DC, all plopped down in a lovingly rendered, richly atmospheric Eisner-like setting. Someone’s killing all the super-heroes, y’see – and though all the names have been changed (to protect the innocent, we’re told – the author!…), the art styles are strikingly familiar…

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Ditko, Kirby, Boring, Sprang – they’re just a few of the cartooning immortals whose iconic styles are paid loving homage in this stirring – and in the end, moving – tribute to the costumed crimefighters of The Silver (and Marvel) Age of Comics. As big a comics geek as I was at the time (and yes, remain), there was just no way a story like this WASN’T gonna get to me! And though it was labeled an amateur effort (by the late Bruce Hamilton, who was auctioning off the pages in an ad adjacent to the stories’ very last page, something I never actually noticed until now! Guess it’s a tad too late to get my mitts on a page or six, huh?…), this was obviously the work of someone destined for great things.

Brad Caslor.

Yup, I don’t know who he is either.

Certainly, he didn’t go on to make his mark in the comics field. Happily, though, these days we have a little thing called Google, so once I typed in his name, I quickly discovered what had become of the talented gentleman who’d created “The Massacre of the Innocents” – he went into animation! (Unless, of course, there’s ANOTHER Brad Caslor that likes to draw funny pictures out there, but hey, what are the odds?…).

Fact is, there’s a swell little cartoon called Get A Job posted over at YouTube that was done by our Mr. C, and you animation buffs out there in readerland might want to go grab a peek at that as well! But before you do, take a few minutes – and this link – to zip on over to my site and read “The Massacre of the Innocents,” one of most memorable stories – and maybe the best “insider” tale of its kind ever attempted – I’ve had the privilege to read.

I love this story! I worship this story! I treasure this story! And now, I’ve just gone and completely WAY oversold this story! Pardon my passion, folks, but I’m telling you – you’ll probably enjoy this story, at least a LITTLE bit. Honest.

And if you somehow get wind of this, Mr. Caslor, I hope you’ll dig that I only want folks to share the thrill your delightful tribute afforded me, all those years ago. I calls ’em as I sees ’em, and I calls it a lost classic, case closed!

Believe me gang, when all is said and done, you’ll be just like THIS guy…

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There won’t be a dry eye left in the house.

Sniff…

Hembeck com – now also featuring Hembeck! Check it out!

-Copyright 2007 Fred Hembeck

Music For The Masses: 2/8/07

Filed under: Music for the Masses — UncaScroogeMcD @ 2:42 am
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Welcome back, my friends, to the show that never ends! We’re so glad you could attend… come inside, come inside! This week at Music for the Masses, I’m offering up a brand-spanking new podcast with the help of my “good friends” J. Allen from QSE News and M4M’s (as the “cool” kids like to call it!) own Double A. This week’s discussion focuses on, in no particular order, the latest “big band” reunion news, The Good, The Bad and The Queen, a “Cat Empire” and the various “things we wish the Teletubbies could do.” Oh yeah, and for those of you with “short bus” (read: slow) internet connections, we offer up a new installment of J.D.’s Reverb for your reading pleasure. Sound like fun? How’s about we find out?

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I can’t quite put my finger on it… but something about those damn Teletubbies just makes me horny.

[CONTENT WARNING] This podcast is firmly grounded in “bad taste” and contains foul language, foolish notions regarding bass playing and the inexplicable butchering of some artist’s names. As a result of this, QuickStop offers up sincere apologies to the families of Gary Cherone, Paul Simonen and Cat Power… forgive them… they know not what they do…

DOWNLOAD: (right click to save)
Music For The Masses: Episode 3 (MP3 format) ““ 24.13 MB

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REVERB… WITH J.D.

Back in 1984, the #1 song of the year according to Billboard magazine was Prince’s “When Doves Cry”. The 90th ranked song that same year was “The Longest Time” by Billy Joel. I bring this up, of course, because these were the two artists featured at this year’s Super Bowl game. Many jokes have been made regarding the relevancy of the entertainment, but consider for a moment that a) the previous two Super Bowls featured Paul McCartney and The Rolling Stones, so at least we’re 20 years closer and b) the last time the NFL opted for relevancy we got Janet Jackson and Justin Timberlake”¦ and we all know how that turned out.

Anyway, I couldn’t wait to see Mr Joel’s rendition of the National Anthem”¦I mean, who at the NFL thought it would be a good idea to trot out someone recently out of rehab (second stint, I might add) to sing a hard song in front of one billion people? This had all the trappings of an historic crack-up – indeed, Adam Schefter of the NFL Network reported that Joel was puffing nervously on a cigarette right before he went on (smoking, of course, being Step One of Alcoholics Anonymous’ 12-Step Program).

Luckily, though, ol’ Billy pulled it off just fine. Watching him sing, I was reminded that, in the 80’s, he also pulled off one of the all time ‘going way, WAY out of your league’ feats by marrying Christie Brinkley. Some of you youngsters may not know who Christie Brinkley is, but do the words “Sports Illustrated Swimsuit Cover Girl” mean anything to you?

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Please rise and, umm, remove your pants”¦

In today’s terms, Billy Joel marrying Christie Brinkley is like Pete Doherty dating Kate Moss (and by “dating” I mean “wooing with blow”)”¦excepting of course that Doherty’s main skill is not music but you know, not od’ing”¦.yet. Anyways, they’re both a couple of homely homeys who took down Supermodel Grade Betties.

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Billy Joel in 1984: The most inspirational 5’5″ guy this side of Rocky Balboa

Three more notes on the National Anthem: One, did you know that the gambling website bodog.com was taking prop bets on how long it would take Joel to sing it? They put the over/under at 1:44. Now if you’re Joel, and you’ve practiced this thing 1000 times, aren’t you telling all of your buddies to bet the under?? (He came in at 1:36).

Two: I have no idea how they do it, but seeing those F16 flyovers hit right after ‘the home”¦.of the”¦.braaaaaaave’ is ALWAYS a goosebump moment.

And three, don’t you just love Marlee Matalin’s voice?

As far as the Prince halftime show goes, I’ve come across a fair number of dumb asses in the blogosphere either a) claiming that Prince hasn’t done anything good in years or b) bitching about his babooshka (say that five times fast).

Regarding point a, Prince has actually released two excellent albums in the past three years”¦.and both Musicology and 3121 were nominated for a slew of Grammys (not that Grammys equal cool, not at all. But you know”¦). And as for point b, I think it’s fair to say that Prince long ago established that he is one of the two men on earth (along with Lenny Kravitz) who can wear whatever the f**k he wants and still be Boss”¦.including a babooshka.

(So all of u Prince haters out there should keep yr comments 2 yrself & instead sit back & appreciate the Rave Un2 the Joy Fantastic. Or whatever.)

While Prince’s performance was typically fantastic, I was scratching my head a bit at his choice to include three cover songs (“Proud Mary”, “All Along the Watchtower”, “Best of You”) in his little medley. But then again, as my buddy Tony likes to say, sooner or later every band is going to cover Dave Matthew’s “All Along the Watchtower””¦(I love that joke).

However, it was nice to see Prince opt to flex his ridiculously sick guitar chops on most of the songs – strange as it seems, guitar skills are way down on the list of what you think of when it comes to Prince, but he’s among the best. And him singing ‘Purple Rain’ in the downpour that day? By far the best Super Bowl musical moment to date.

And finally, did you know that Prince is in need of hip replacement surgery? Seems that years of performing in 4-inch heels have done a number on him. So in retrospect, I’m sure it was a relief to everyone at CBS and the NFL that the little guy didn’t slip and blow out his hip on the rain-slickened stage that day. Just as I’m sure those same folks breathed a sigh of relief that Prince refrained from making any sexual innuendos whatsoever during his performance.

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Hey, wait a second”¦

E-MAIL THE AUTHOR

UPCOMING MUSIC RELEASES… 2/13/2007…

ARITST TITLE GENRE
SOUL KID #1 Americanized ALT
OLSON, MICHAEL Where Fear and Faith N/A
PO’ GIRL Home To You N/A
CELLSKI Mr. Predicter Chapter 2 RAP
DA’UNDA’DOGG PRESENTS Da’Unda’Dogg Presents “Bay Boyz” RAP
G-DEP Bad Boy RAP
KEAK DA SNEAK On One RAP
SOUTH CENTRAL CARTEL Westurrection RAP
LUCINDA WILLIAMS West ROCK
NOTHINGTON All In ROCK
THE SOFTLIGHTES Say No To Being Cool – Say Yes To Being Happy [En. CD] ROCK
AMY STOLZENBACH On and On POP
ANTON BARBEAU In The Village Of The Apple Sun POP
BETH WATERS This Little Piggy POP
BLUETONES, The The Bluetones POP
DR. JOHN In The Night – Early Sessions Of Dr. John POP
HAGEN, NINA Fearless POP
ICEAGE COBRA Brilliant Ideas From Amazing People POP
JADE, FAINE Introspection – A Faine Jade Recital POP
REID, TERRY River POP
SEAFOOD Paper Crown King POP
SOPHE LUX Waking The Mystics POP
THE VISITORS The Visitors POP
WEBBE, SIMON Grace POP
WONDERFUL BROKEN THING Looking For Mike Lookinland POP

Thanks for tuning in! Until next time, keep wearing it proud and playing it loud!

Send the proper pronunciation of artist names, review copies, presents and assorted hate mail to:

M.C. Bell
P.O. Box 1222
Arvada, CO 80001

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If I had a Cat Empire, this would be my queen…

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This would be my jester…

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And this… the Royal Guard… only he’d have corrective lenses… for those fucking “Budweiser Lizard eyes” of his…

E-MAIL THE AUTHOR

PURE Indulgence

Filed under: Articles,Reviews — UncaScroogeMcD @ 2:28 am
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-by David J Lieto (aka The Squeeg)

PURE Indulgence

The Holidays were a little lonely at the Squeeg household this year.  The step-kids both started new jobs and won’t have any vacation time until next year.  So Mrs. Squeeg decided to visit Ohio for a few days and, in true Vegas fashion, we drew for high card to see if I was to accompany her.  (Could not believe my Eight of Clubs held up!)

While she went a-visiting, I showed some friends from Jersey what Vegas is all about.  My guests, however, weren’t into gambling – zoinks!  I mean, I know this city’s got a lot to offer but taking me away from gambling is like letting the air out of my wheelchair’s tires during a rain storm.  Be-that-as-it-may, I recalled that my friends were fond of the nightlife and one of the best clubs Vegas has to offer is PURE.

PURE, located at Caesar’s Palace, is the place to go for a great time no matter what your taste might be.   This is due, in part, to the design.  There are three distinct and separate areas to the club – PURE  Nightclub, the Red Room, and the Terrace.  And let’s  not forget the wonderful and adjacent Pussycat Doll Lounge; where one may be tantalized by the very talented and beautiful Las Vegas Pussycat Dolls.

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As you enter PURE,  you pass the entrance to the Red Room on your right.  The Red Room is a private enclave for VIPs with a spectacular mirror-faced bar, VIP restrooms, and luxurious private booths.  The rich red tones of the upholstered walls and dramatic drapery are contrasted by a warm champagne glow emanating from glittering chandeliers.  This all comes together to create an unparalleled ambiance of sensual sophistication.  The Red Room is the perfect balance between revelry and refinement.

The Terrace can be reached by taking the German-imported glass elevator or by ascending a twisting staircase designed for dramatic effect and offering great views of the main nightclub.  Once atop the Terrace one is treated to awesome panoramic views of Sin City from four stories above The Strip.  There’s nothing like partying up there below the stars. The Terrace  has its own bars, dance floor, and DJ.   There are private cabanas and tables for those who love fresh air.  The Terrace is open year round, with an ample supply of heaters on cool winter nights.

The PURE Nightclub is an astounding 36,000 square feet of uncomplicated sophistication.  It feature three bars, oversized bed seating, and a raised VIP area which overlook the dance floor. The DJ’s selection of tunes and flawless segues brought a beat that just drew people to the dance floor.

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The service at PURE was exceptional and, really, that’s the most important element to consider in my opinion.  The bars were adequately staffed by courteous and attentive bartenders.  As soon as I reached the bar someone was right there to see to my needs.  There’s nothing worse than holding an empty glass and waiting for what seems an eternity to get a refill. I saw no evidence of this at PURE.  That is because those with empty glasses received the same level of attention as those just arriving at the bar.

The bouncers were friendly and efficient.  This is a far cry from what I was used to at the Jersey shore.  Most of the bouncers I came across, in my clubbing days, were arrogant meatheads who were more concerned with impressing young females rather than ensuring that the patrons were having a good time. Again, this was not the case at PURE.  The club’s bouncers handled any issues that arose in a timely manner, with a level of discretion that made their intervention unnoticed.

PURE is a fantastic club.  I’d  recommend it to anyone looking to have a great time.

QSE News: 2/8/2007

Filed under: Columns,News — UncaScroogeMcD @ 2:14 am
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Here are today’s top entertainment headlines:

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  • Prince, who is widely known for his family-friendly music videos and lyrics, caused a stir at this year’s Super Bowl as critics and internet bloggers are condemning his performance as both rude and crude. During the performance, the singer was silhouetted against a large sheet while playing his guitar that many say appeared to simulate the stroking a giant penis.  Prince was asked for his opinion of the criticism but was unavailable as he was busy polishing his “guitar neck.”
  • The Smashing Pumpkins have released the name of their upcoming album ““ Zeitgeist. This album name comes as a shock to many as the album was expected to be titled “[EXPLATIVE DELETED] James Iha and D’arcy Wretzky/Who Needs Them?”
  • Actor Jeff Bridges has joined the already star-studded cast of the upcoming Iron Man film. In related news, Jeff’s brother, Beau Bridges, auditioned for a role in the film Iron Wang, but is still waiting for a call back.
  • Indiana Jones 4 has a tentative release date of My 22, 2008. While the story line is being kept a secret, insiders say that in this final installment, Indy will be looking for his lost shaker of salt.
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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Quick Stop Thingamabobs: 2/8/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 2:02 am
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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Will you be the lucky winner of McDonald’s $1,000,000 Menu Song contest? (Thingamabob)
  • The 1938 Disney artist’s try-out book… (Thingamabob)

Have a THINGAMABOB? Send it in!

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February 7, 2007

Take Me Home Blog #20: Enter, THE PODCAST

Filed under: Take Me Home Blog — UncaScroogeMcD @ 12:20 am
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Actor/Filmmaker Sam Jaeger takes the “Take Me Home Blog” into brand new territory by introducing the miracle of SOUND! Partake of the “Take Me Home Blog Podcast”… And maybe even hear Sam play guitar… Will there be no end to miracles?

EPISODE 1: We’re well into a new year, and Sam kicks off the “Take Me Home Podcast” with an optimistic look at sports disasters, independent filmmaking, and promises of podcasts to come.

DOWNLOAD: (right click to save)
Episode #1 (MP3 format) ““ 10.45 MB

[display_podcast]

-Sam Jaeger

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February 6, 2007

QSE News: 2/7/2007

Filed under: Columns,News — UncaScroogeMcD @ 11:59 pm
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Here are today’s top entertainment headlines:

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  • In movie news, Tom Cruise is in talks to join Ben Stiller in a new movie called The Hardy Men, a send off to the Hardy Boys detective series.  Little is known of the plot to the film, but insiders say that the film will revolve around a man (Cruise) who keeps his wife locked up in a basement and forces her to pretend he’s not bat-shit crazy.
  • Despite his own legal troubles surrounding the shooting death of Lana Clarkson, Phil Spector has been awarded $900,000 from a former assistant.  Spector claimed that the assistant, Michelle Blaine, embezzled $425,000 from him and never repaid a $635,000 loan.  When asked for comment about the case, Spector claimed that he knew he would get his money back eventually, because if he didn’t he’d have “shot the [EXPLETIVE DELETED].”
  • Organizers of this year’s Ozzfest have announced that tickets for the festival will be completely free.  When asked why there would be no charge for admission, tour creator Sharon Osbourne was quoted as saying “we had to do something drastic, because no one was actually going to pay for any of this crap.”
  • Proving that it’s not only a place to meet underage girls, MySpace has announced that it has partnered with Film 4 and Vertigo Films to produce a full length feature film.  The movie will be directed by an amateur filmmaker and will be found by a reality show-esque search on Myspace.  Despite wanting to insert an unknown into the directing chair, many of the potential directors have already been featured on NBC’s “To Catch A Predator.”
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That’s all for today’s news, stay tuned to this channel for all the news that matters least but you still care about.

(Compiled by J. Allen)

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