Actually, if you recorded a parody song, you would hold the copyright in that version and would have every right to license it for use in a commercial. Which is essentially what happened here, just less well defined. The idea of purpose and character of the use in recent years goes much more towards the question of…

And it's a way off, but I hope right before he regenerates—"Fuckity-bye"

The 12th is the sweary doctor.

To your point, I started watching with Moffet taking over the controls and have no real desire to go back and watch anything that happened previously. If something comes up I want to know about, that's what wikipedia is for.

There's a reason Kanye used Nina Simone's version and not Billy Holiday's for the song.

Yeah, but so many pictures! Who the fuck needs words when I can try and decipher what an article is about through a representative stock photo?

i'm sloppy and lazy

There's a fundamental difference between On the Waterfront and the other two, even if one doesn't agree with Kazan's politics.

The only show I ever been to where there are signs everywhere recommending you wear earplugs.

Proposed: Sonic Youth are the greatest pop (i.e. non-classical) band/artist of all time.

Agreed on Ranaldo. My favorite might be Karen, Revisted—the first few minutes is just a gorgeous pop song, and then everything just disintegrates beautifully over the next eight.

I think you can keep going to the end. Not a single misstep. And I'll internet fight anyone who goes Brent DiCrescenzo on NYC Ghost & Flowers.

Nah, the strength of the first film was Kenneth Branagh pretending he was directing Shakespeare in the non-Earth scenes. The rest was pretty lame.

Better question - did Pavement really matter? Or did it simply lead to another dead end?