IT'S TRUE, IT'S TRUE: Mungowit:
"Most important: Barbeque. Now, y’all think barbeque is a verb, but it’s a noun: we grill steaks, we eat barbeque. Barbeque is a well-defined set of things: smoked, pulled, chopped pork, with slaw, hush puppies, French fries, and sweet tea. These things constitute an organic whole. You can no more have barbecue without these than you would order, “Cheese steak, with swiss” in Philadelphia."
A class I was in was invited by our professor to have barbeque at his house in lieu of one of our class sessions (well, we actually had the class first, then we had dinner); the dinner was advertised as being "barbeque." I was deeply surprised when steaks ended up being grilled instead, and no one could seem to figure out why this didn't seem right to me. It's good to know I'm not the only one who thinks this.
"Thou shalt not extinguish thine anger, but shall master it,
that thy conscience may not be blunted by adjustment
to wrong causes."
-The Dutch Ten Commandments to Foil the Nazis
25.1.06
23.1.06
11.1.06
VARIOUS:
1. File under 'let a hundred flowers bloom:' the bourke report
2. Really, Bruce Sutter?
3. "But why does Nietzsche think the night has no stars, nothing but bats and owls and the insane moon?" -W.B. Yeats, marginal note in his copy of The Genealogy of Morals
1. File under 'let a hundred flowers bloom:' the bourke report
2. Really, Bruce Sutter?
3. "But why does Nietzsche think the night has no stars, nothing but bats and owls and the insane moon?" -W.B. Yeats, marginal note in his copy of The Genealogy of Morals
7.1.06
WHY YES, I AM IN THE PROCESS OF WORKING ON A PAPER: Why do you ask?
From Norm:
25. Oasis, Radiohead, Blur?
Those who assiduously followed the British popular music ('Britpop') scene know that the correct answer to this question is Pulp, and indeed, Different Class and This Is Hardcore do scratch that witty-very-English-songs-about-hating-people-and-death-and-obssession I-need-something-that-sounds-like-Roxy-Music-with-David-Bowie-fronting itch, though that comes much less frequently nowadays.
Radiohead, well, we'll always have The Bends, OK Computer, the How Am I Driving? EP, and the memory of that brief moment in 1997-8 when it seemed like they were going to lead us on to a new golden age, but instead we got...prog techno?...and bad prog techno at that (we were certainly in trouble when Thom Yorke, never the best of vocalists, decided that lyrics were entirely overrated). Kid A and the albums that follow are almost as impressive of a destructive, we-want-you-to-hate-us series of moves as R.E.M. managed after Bill Berry left, with the exception that Radiohead hadn't spent nearly as much time making good music. Oh well.
In my advancing years, I've come to appreciate Blur much more than I used to, and half of Parklife is certainly inspired (the first half, of course)(and, of course, they have other things working for them--"There's No Other Way," the 'Woo Hoo!' song, and some others), but I recognize that this is because Blur satisfies my own occasional need for extremely pretentious pop music, and not because I failed to perceive their genius.
Which leaves us with Oasis. Sure, (What's the Story) Morning Glory dragged a little bit in the middle, and the Noel and Liam's total unwillingness to just give it up is dispiriting, but the first album is excellent, and for several years they were cranking out b-sides that were better than most bands' a-sides. And they're from Manchester, which is always a plus. So Oasis, hands down.
From Norm:
25. Oasis, Radiohead, Blur?
Those who assiduously followed the British popular music ('Britpop') scene know that the correct answer to this question is Pulp, and indeed, Different Class and This Is Hardcore do scratch that witty-very-English-songs-about-hating-people-and-death-and-obssession I-need-something-that-sounds-like-Roxy-Music-with-David-Bowie-fronting itch, though that comes much less frequently nowadays.
Radiohead, well, we'll always have The Bends, OK Computer, the How Am I Driving? EP, and the memory of that brief moment in 1997-8 when it seemed like they were going to lead us on to a new golden age, but instead we got...prog techno?...and bad prog techno at that (we were certainly in trouble when Thom Yorke, never the best of vocalists, decided that lyrics were entirely overrated). Kid A and the albums that follow are almost as impressive of a destructive, we-want-you-to-hate-us series of moves as R.E.M. managed after Bill Berry left, with the exception that Radiohead hadn't spent nearly as much time making good music. Oh well.
In my advancing years, I've come to appreciate Blur much more than I used to, and half of Parklife is certainly inspired (the first half, of course)(and, of course, they have other things working for them--"There's No Other Way," the 'Woo Hoo!' song, and some others), but I recognize that this is because Blur satisfies my own occasional need for extremely pretentious pop music, and not because I failed to perceive their genius.
Which leaves us with Oasis. Sure, (What's the Story) Morning Glory dragged a little bit in the middle, and the Noel and Liam's total unwillingness to just give it up is dispiriting, but the first album is excellent, and for several years they were cranking out b-sides that were better than most bands' a-sides. And they're from Manchester, which is always a plus. So Oasis, hands down.
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