Little, Drunk, and About to Choke
Three of my favorites ever. Drunk might be the first CD I ever played to death.

I'd say that Barton Fink, which I love more than any other Coen film, is not particularly "expressionistic," nor is it weird for weird's sake, but rather that, like many contemporary works of art, it deals in symbols on a level that is intentionally kept one step removed from the creator's full control. There is a…

Sheltie, in i and 1's Al Green thread below, I quote the well-known Dylan interview where he basically says his religion is Hank Williams singing "I Saw the Light." "Oh Bury Me Not" could easily be substituted. I'd love to see that as an Inventory — Songs That Give Atheists Pause or something. I'm more of your typical…

Well, how can you refute someone who so carefully enumerates his points? The answer is, you can't.

I just missed a chance a couple of weeks ago, dagnabit. Free tickets too. Parental obligations held sway, as they will tend to do these days.

Yeah, he never left secular music behind, it just receded into the background at times, like when he was heavily into playing at Billy Graham revivals in the '70s and so on. By the same token, even at his most dark and dangerous — Folsom Prison / San Quentin — he's still singing "Peace in the Valley."

Bob Dylan in the New York Times, 1997:

"Hip to Be Square" … yeah, I can see it.

The Man in Black / The Man in White
Given the way you've defined the qualifications, I guess Johnny Cash doesn't have a place on this list … and yet he seems conspicuous in his absence.

Um, scratch that. Through the cerebral cortex.

I think you mean moppet, OhNoNotAgain. Not that you or anyone else will read this.

Cool, thanks for posting.

Some impressive blurbs on the Inventory book there, guys. I am now wondering if Joel McHale, David Cross, Mindy Kaling, Michael Ian Black, and Eugene Mirman are all secret AVClub comment board denizens.

Apparently I'm in the vast minority, but I don't buy that there is only one way to make Imagine Nation's point. I think that Moore's films are of uneven quality and effectiveness — even within a single film this is typically the case. But I find the visceral power of his claims, when he's on point, to be irresistible.…

Grease was the soundtrack of 1978-1980 for me. I probably still know every word of every song. My mom and I used to sing them together in the car, back before I had any sense of my own taste independent of my parents. Grammar school days. That would be a prime example for me of music that is so close to my psyche I…

I just didn't want to do two R.E.M. songs. It was hard to pick though.

Yes, both of those awesome songs were floating around in my cerebellum but didn't surface. The live version of Transmission is breathtaking.

Uh, sorry but … isn't that Rogen sketch a horrible, horrible trainwreck? Is that why it's funny?

Shading into songs about radio, a pretty damn good genre in itself: Velvet Underground, "Rock and Roll"; Elvis Costello, "Radio, Radio"; R.E.M., "Radio Free Europe"; Wall of Voodoo, "Mexican Radio".

"Neither camp is divided based on the film's aesthetic, which is so close to Wes Anderson's as to be, at least facetiously, completely indistinguishable. Those who prefer Anderson to Hess have legitimate points to contend on this matter and those who prefer Hess have their own."