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lexicondevil
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And she was on 'The Riches'
Which was pretty good but ended prematurely.

I've been almost exclusively streaming Netflix now for close to three years—Most things that drop off the streaming list come back after a time. Just be patient.

EXACTLY!!

Craven's argument is, well, craven. I think the film is a great point of departure for a discussion of exploitation film generally, but as I argued after the DVD release page about the 'I Spit on Your Grave' remake—the graphic voyeuristic presentation of a pruient and graphic rape/murder is not redeemed by the

If Barry Sadler's the exception, I'm with Hyden here.

Actually, I write out all my posts in longhand calligraphy first using an ostrich quill and the aged ink of a cuttlefish.

I was born in '72—*croons in Sinatra voice* it was a very good year…

I like all the weird ones—'Voices Green and Purple', '7 and 7 is' (which unfortunately is not typical of Love AT ALL), and 'Little Black Egg'.

Stevie's just the start—Lots of great funk in that year:

"I'm not an actor, I'm a movie star!"

The thing is, I don't even dislike Dylan as much as I used to—in part because, when I consider him now—as he was and not as his fans would make him out to be—I can appreciate what the effect of his career was. What I dislike, and have always had problems with, is the unquestioning idolization and overvaluation that

Fast Zombie—the original 'Last House' was based on Ingmar Bergman's 'Virgin Spring' which is turn was based on a medieval Swedish ballad. The basic outline of the plots are the same. I was thinking of it because Comcast on demand has the remake available right now. I was watching it to compare it to the original

That's why the Donna Summer version is so delicious (can you believe I almost said "takes the cake"?)—because Disco is the only genre that can really pull off the over-the-top drama and histrionics of lyrics like these:

My Favorite Year
As others have suggested, it's an impossible task. Choosing a single year is like picking a favorite ripple in a stream—the experience of Art and especially something as emotionally immediate as music—doesn't work like that. If I picked 1986, for example, as the year I first realy got into music, I

And I don't deny that, Steve—I practically say it myself—but it's one thing to claim that he changed the game for Rock and especially song writing at the time (which he did—both for good and bad), and quite another to make the kind of erroneous claim that Buzz Miller just did (which ignores the history of, among

Also Buzzcocks' 'Different Kind of Tension', The Damned's 'Machine Gun Ettiquette', Gary Numan's 'Pleasure Principle', and what the hell, the Brides of Funkenstein's 'Never Buy Texas From a Cowboy'.

The thing is, teadoust, they probably often feel just as bad about you. I get this from my sister, who regards Pop culture as anything but Art, and Art as anything but important. She's one of the great majority of Americans who comes home from work tired, eager to disengage and willing to sit back and accept

'Dirty Water' by the Standells—is a great song about a city nobody in the Standells was from. I first encountered it as the bump music for the late 80's Boston video channel V66—which for a short time bested MTV because they played more local music and college rock.

The early 80's was the last great era of pop songwriting. Not that there aren't still good pop songs or songwriters out there, but the methodology of pop song composition has changed so much that it's practically a different set of skills now.

Sheesh—so nice I posted it twice.