Eh, I can relate to that. I absorb and reuse adult phrases and references a kid without actually knowing what they meant. Gene's pretty hyperactive, he essentially says stuff all the time often in ironic or misused way so I think it works.

"Tell her about the holster"

My mom doesn't drink or smoke but she is always amused at the smell of pot because it reminds her of concerts in the 70s and 80s.

That plot def went into Kilroy Was Here territory.

I remember being in middle school and my dad was like "hey let's listen to Dark Side of The moon on the stereo" and we sat and listened to the whole thing. I remember the night he decided I was old enough to stay up and watch Spinal Tap - I know he was counting down the years until I could watch and appreciate that…

An imaginative 11 year old with decent parents, i.e. ones who let some stuff slide but don't let their kids watch anything, could totally have a overwhelming experience.

You'd probably dig this, a friend of mine made Carpenter-esque instrumental tracks with his collection of analog synths. https://woodbetweenworlds.b…

Listening to this and only half paying attention is fun:

Disco, uh, uh, finds a way.

He's not claiming that at all and in fact a lot of people in those cities are not that aware of those scenes and genres, sadly.

Considering how much originated here, I agree, but to be fair there are likely just as many clueless Brits, Germans, Dutch, etc.

100% Silk is solid too.

Hauntology is future past / future that never was so anyone can like it. Al ot of this retro stuff can be cathartic too: music you liked in the background as a kid but ignored and forgot as a teen and adult.

VHS Head is another one I would of added.

As an electronic music snob I usually read these primers expecting to nitpick or feel disappointed but this is incredibly informative and in-depth. Well done.

There is some stuff like James Ferraro's Far Side virtual, Oneohtrix Point Never's R+7 and Torn Hawk that harkens a lot more 90s era ambient and new age and instrumental music.

They also both disliked Empire of the Sun, a favorite of mine. Ebert's criticism was at least understandable, and he admitted it was wonderfully filmed, but I do admit finding their thumbs down for it a surprise.

John Simon's criticism of the heavy-handed special effects in SW is fascinating, because in hindsight those films seem so much more organic and real than the Prequels, even in the effects (which were done with photography tricks and models for example.) I can't even fathom him trying to sit through the Phantom Menace.

Objectively it is but I love how godawful it is. Funny enough I frequent an electronic music forum and years ago I discovered that a lot of people there love this song without irony. For many it was the first time they heard a synth in a pop song so prominently, and the corny melodies were something they couldn't get…

In hindsight I realized I became a fan of Murray during his less memorable era of the mid-90s: in the elephant buddy movie Larger than LifeJack, his Space Jam cameo and in the underrated movie The Man Who Knew Too Little.