I suppose it goes to show: That's why they're them and we're us.

"Sleeping in the Flowers" may be my favorite TMBG song.

Good point about "Black or White," although until you mentioned it, I didn't tend to connect special-effects of that w/ movies like "Park."

It's 1993 Week, and AV has a feature on a James album. S'ok. Might we anticipate something on, say, "Modern Life is Rubbish" and/or "Transmissions From the Satellite Heart"? Just curious. If not, it's "Draw Names Out of a Hat Week."

It does have that uncertain build-up. Way-mellow, then "jaunty," fine in themselves, then soars with "hands across the water" (mentioned numerous times in this E-disqus, or whatever AV is calling it now).

"Big-Ass Megaphone" would be a cool album title.

He got pretty good at "stringing multiple songs together into one (not even counting the Abbey Road stuff): This and "Band on the Run" come to mind.

I had forgotten how amusing that video was.

It's in my Underrated Beatles Top 5.

"Eight Days a Week" makes my Beatles Top 25 (although it's good that "Help!" ended up bumping it as the movie theme.) The fade-in alone is underrated (at least for that era).

One (dollar) is the loneliest number …

I don't know if I can respond specifically to that (my music-brain goes all over the place with Lennon-McCartney solo comparisons) … but I'd like to see the "image-altering" topic applied to Paul, too.

Good point — I wouldn't want to see a pure replay of H1 material, but I might like "that type of material."

Another pattern has emerged (reflected in several comments about various networks) — a few of the "classic" cable channels gradually moved away from initial focus, then created a spin-off that filled the original niche. But some of those also did the same thing as the Mother Network (notably MTV to M2, and VH1 then…

This topic has intrigued me for quite some time, and so many good discussions within the comments, I don't even know where to begin. Perhaps that's a good thing.

I've long thought the projector footage sets up a framework for the "slacker" concept — the loop of her pushing his child-self and pedal-car into the suburban street. "Not ready to leave the nest" is a common quality among quite a few characters, but this one built up enough angst about it that he never forgave her.

I think the government had something to do with it.

That IS Frank, isn't it? I've seen the movie multiple times — didn't even realize that was him (or even think, "That guy looks just like …").

End of interview!

I know what you mean. I want to recommend this movie to any avid movie-watcher/cinema historian who has even a hint of interest outside the mainstream.