From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V3 #262 Reply-To: loud-fans@smoe.org Sender: owner-loud-fans-digest@smoe.org Errors-To: owner-loud-fans-digest@smoe.org Precedence: bulk loud-fans-digest Sunday, September 7 2003 Volume 03 : Number 262 Today's Subjects: ----------------- Re: [loud-fans] geek help? screenshots of DVD? ["me" ] Re: [loud-fans] geek help? screenshots of DVD? ["John Swartzentruber" ] [loud-fans] Soulseek solution [Jeffrey with 2 Fs Jeffrey ] Re: [loud-fans] CD Rot? ["G. Andrew Hamlin" ] ---------------------------------------------------------------------- Date: Sat, 6 Sep 2003 00:01:29 -0700 From: "me" Subject: Re: [loud-fans] geek help? screenshots of DVD? see, let me work on it long enough, and i'll figure it out. if anyone needs to do this in the future, try BlazeDVD. it has a capture function. the display (playback window) looks horrid, but the captures are fine. to see what i was capturing, go to http://www.pirate.org/people/hello/001777.html - it's good clean fun. safe for work, unless you're afraid of heights. b ------------------------------ Date: Sat, 6 Sep 2003 00:46:53 -0700 (PDT) From: "Joseph M. Mallon" Subject: [loud-fans] Big Black If anyone has the RICH MAN'S EIGHT-TRACK CD, please contact me off-list. Thanks, Joe Mallon jmmallon@joescafe.com ------------------------------ Date: Sat, 06 Sep 2003 09:24:53 -0400 From: "John Swartzentruber" Subject: Re: [loud-fans] geek help? screenshots of DVD? On Sat, 6 Sep 2003 00:01:29 -0700, me wrote: >to see what i was capturing, go to >http://www.pirate.org/people/hello/001777.html - it's good clean fun. safe >for work, unless you're afraid of heights. >everyone should try skydiving - it'll change your whole perspective! (and it'll cost you a ton of money - i think it's addictive...) Damn, that brings back memories. I did this once. I guess it was 1988, so I was more like 25 than 30. I still can see it in my mind. It was fantastic. Definitely make sure you get the free fall. It's the closest to real flying you'll probably ever come. And if you forget to arch your back as soon as you jump out of the plane, you'll get to see the underside of a plane in a way that most people don't get to. But, I did break my leg. And if you try to change insurance companies, you'll be filling out forms for the rest of your life. ------------------------------ Date: Sat, 6 Sep 2003 11:18:55 -0400 (EDT) From: Michael Mitton Subject: Re: [loud-fans] Bumbershoot write-up, Labor Day (long) > Ah, Bumbershoot. For those who have never been to the Bumbershoot, I highly recommend it. My two trips have been, without question, the most enjoyable music-centered days I've ever had. On any given day, there's at least half a dozen bands that you'll want to see (granted, they'll all be playing at the same time). It can be crowded, and you might even get shut out from seeing someone (as was MZ for the NP), but it's usually just fine. And, in those moments when you aren't listening to music, the art, comedy, street performers, and food are pretty good too. OK, the food's really only 'pretty good' relative to most festival food. If you've never been to Seattle, it would make a great weekend to visit. So, what are other people's favorite all-day music events? - --Michael ------------------------------ Date: Sat, 6 Sep 2003 14:27:01 -0400 From: Dave Walker Subject: Re: [loud-fans] Bumbershoot write-up, Labor Day (long) On Saturday, September 6, 2003, at 11:18 AM, Michael Mitton wrote: > So, what are other people's favorite all-day music events? It's not thislisty at all, but the Detrtoit Electronic Music Festival (renamed to Movement 2003 this year because of some behind-the-scenes drama) has very quickly become, in a short 4 years, the sort of event that draws visitors from as far away as the Netherlands and Tokyo. It happens every Memorial Day weekend and is completely free, and draws hundreds of thousands of people to Hart Plaza downtown outdoors, for free. Even better are all the festival afterparties, that happen all over town, from sundown to sunrise. In the three years it's been going on, artists like Autechre, Liquid Liquid, George Clinton, The Roots, Jeff Mills, Derrick May, Tortoise, Kid Koala, Adult., Mad Professor, E.S.G., Pole, Mos Def, A Guy Called Gerald, and dozens of others I'm blanking on right now. -d.w. ------------------------------ Date: Sat, 06 Sep 2003 15:22:48 -0400 From: Stewart Mason Subject: Re: [loud-fans] Bumbershoot write-up, Labor Day (long) At 11:18 AM 9/6/2003 -0400, Michael Mitton wrote: >So, what are other people's favorite all-day music events? There's much to be said for a good folk festival -- this year's New Bedford Summerfest had at least a dozen acts I wanted to see, for the bargain basement price of $7 for both days -- but I think last year's Terrastock, all three days of it, was one of the most fun musical events I've ever been to. S ------------------------------ Date: Sat, 6 Sep 2003 15:41:54 EDT From: AWeiss4338@aol.com Subject: Re: [loud-fans] Bumbershoot write-up, Labor Day (long) In a message dated 9/6/2003 3:23:28 PM Eastern Daylight Time, flamingo@theworld.com writes: > So, what are other people's favorite all-day music events? Well this one is gone, but for me it was the first year of Lilith Fair. Every single second stage performer blew the headliners away, except for the Cardigans, who were very cool. My only time seeing Victoria Williams. Jill Sobule played four songs, and had everyone enthralled. Juliana Hatfield rocked. Andrea ------------------------------ Date: Sat, 6 Sep 2003 15:28:21 -0500 From: Jeffrey with 2 Fs Jeffrey Subject: Re: [loud-fans] Bumbershoot write-up, Labor Day (long) Quoting Michael Zwirn : > stadium and almost all of the bleachers. Wilco kicked off their set > with "Box Full of Letters" before moving onto their more recent > material. With the exception of a long instrumental digression through > "I am Trying to Break Your Heart," it was all straightforward, classic > American country-rock material. Really? I ask this because, having only really gotten into Wilco circa _Summerteeth_, then buying _Being There_, and YHF when it came out (officially), I've never thought there's much country (left) in their sound. If you played me YHF, I don't think I'd think of "country" for a single note. ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: "In two thousand years, they'll still be looking for Elvis - :: this is nothing new," said the priest. ------------------------------ Date: Sat, 06 Sep 2003 16:25:36 -0600 From: Roger Winston Subject: [loud-fans] CD Rot? It's been interesting going through my CD collection and ripping what I want to hear again to the iPod. I came across one favorite CD (Uncle Green's YOU) that had become defective. It's defective in a way I've never seen before. I know there's something wrong with the disc, because one CD-R drive in the computer wouldn't rip/play it at all, and the other made some really messed up MP3 files. But when I played it in a regular CD player, it played, but there was a whole lot of background noise (low level static) on pretty much every song. I'm used to defective CDs skipping around or just not playing. I've never heard one that played but with added noise. Have I encountered CD rot? The disc itself looked fine - no blemishes (aside from a small raised circle near the inner hub, that looked like a manufacturing thing). It still had the same problem after I polished it a bit. I was able to find a used replacement from Amazon, and it plays fine. Playing the two discs side by side produces a marked difference. (The second disc has the same manufacturing mark/defect.) Anyway, you'd think if CD rot was the problem, both discs would be bad. Heh, maybe my original one went bad because I used to play it all the time and then stopped. On another matter, whatever happened to dana, our most prolific poster? And JRT and Sharples, for that matter? None have posted anything since before the blackout. Did our New York contingent have their computers or Internet access wiped out in the blackout or something? Maybe someone should check on them. Latre. --Rog ------------------------------ Date: Sat, 6 Sep 2003 20:17:59 -0500 From: Jeffrey with 2 Fs Jeffrey Subject: [loud-fans] Soulseek solution The usual apologies for duplicate posting... Soulseek appeared to have gone down a few days back (DNS server problems). I located a temporary fix. This is from http://slsk.blogspot.com/: "A temporary DNS fix client is available here . I recommend you backup your *.cfg files before you install this, just in case. If clicking directly on the link doesn't work, try right-clicking it and selecting "save...", that should do the trick." Seems to work! ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: Californians invented the concept of the life-style. :: This alone warrants their doom. :: --Don DeLillo, _White Noise_ ------------------------------ Date: Sat, 6 Sep 2003 19:24:49 -0700 (PDT) From: "G. Andrew Hamlin" Subject: Re: [loud-fans] CD Rot? > On another matter, whatever happened to dana, our most prolific poster? And JRT and Sharples, for that matter? None have posted anything since before the blackout. Did our New York contingent have their computers or Internet access wiped out in the blackout or something? Maybe someone should check on them. Oh, Sharples was MIA long before the blackout. My record reviews are coming up on seven months overdue. But if I ever hear from him again I'll ask what he thinks Mississippi Fred McDowell and Johnny Woods. Which reminds me, if anyone's interested in staying up and late, LIFT, an intriguing film about striving and theft in Boston department stores, plays BET tonight at eleven pm, Pacific time. Maybe more shows Sunday or next week, but I don't have the Sunday paper yet. How did I ever miss a film called MACARTHUR PARK, Andy WARREN: "Never seen anyhting like it," is a reasonable response from anyone who views THE SLAUGHTER RULE. Six-on-six football? When did you learn of the sport and what drove you to use it as a backdrop for this story? ALEX: We initially wrote the script about a basketball team because we had played on one with a coach who was the inspiration for [David Morse's character] Gid. We learned about six-man from a filmmaker in Texas, who had read an early draft of the script, and suggested the change. We then did a ton of research on Six-Man in Texas and found out that they also played it in Central Montana. So then we did a ton more research in Montana, talking to coaches, players, fans, and videotaping a lot of the games and local color and so on. Six-Man football turned out to be a much beeter sport for the themes of the film -- exposure, contact, violence. And it allowed for a much more cinematic way of showing Montana. And it's never benn, um, tackled before. We found that Six-Man Football is often the glue that keeps a lot of the small towns that spawn the teams alive. So it worked out as a great metaphor for THE SLAUGHTER RULE. WARREN: Some brothers can't even share their toys. How did/do you and your twin, Andrew, split writing and directing responsibilities? Is the partnership always harmonious? ALEX: Well, as twins, we always had to share our toys. We'd often get one for the two of us. And we've been collaborating since we were kids -- on comic books, plays, super-8 films, etc. We have near identical aesthetics, but different emotional ranges. As far as co-writing and co-directing go, we do everything in an organic fashion -- i.e. we're both in on every decision - -- we don't divvy up duties and so forth. Always harmonious? Ha. Hardly, but we don't break into fisticuffs very often anymore. Just once during editing... And we made a rule never to argue on set. WARREN: If a picture's worth a thousand words and film's composed of 24 frames per second, then your cinematographer, Eric Edwards, had a whole lot to say. And, he did so beautifully. Might you explain your collaboration and the logic behind the look of THE SLAUGHTER RULE. ALEX: Eric Edwards for President! What can I say -- I'm still in awe of the work he did on our film. He's shot like fifteen or so features (including DRUGSTORE COWBOY, KIDS, FLIRTING WITH DISASTER and COPLAND), so he had more experience than the rest of our crew put together. As far as collaboration goes, Eric completely understood the visual mythos we were after -- we called him "our triplet." And he was tireless, even in -20 [degrees fahrenheit] weather. The logic behind the look was that we wanted it to feel both timeless and naturalistic. And we fought hard to shoot it in Scope -- to give it that unbeatable widescreen feel of old Westerns and George Stevens films. So many movies these days, especially indies, seeme to forget to try to be cinematic. We figured out a cheap way to shoot anamorphic, and I think Eric was attracted by that challenge. WARREN: David IS Goliath. Arguably, lead David Morse is one of the giants in indie films. Why does his talent tower over others'? What's his sercet? ALEX: If I knew David's secret, I'd bottle it, and then spray it all over Hollywood. But what makes David such a powerhouse is his work ethic. He's not a phone-it-in type of guy. We had the luxury of knowing he was our Gid for three years, so we had a lot of time to talk and explore the character on a deep level, and when he showed up on set, he was Gid. As Ryan [Gosling] put it, "Working with David felt like going to acting school every day." David's integrity and intensity forces everyone -- the other actors, the crew, us -- to always be in the moment, and to never fake anything. WARREN: In light of Mr. Morse's powerhouse performance, were you ever worried about casting Roy? Was Ryan Gosling the first choice? If not, who was, and what, eventually, made you a BELIEVER? ALEX: We were very worried about casting Roy, about finding somebody who could keep up with David -- until Ryan walked in the door. And, after seeing close to 200 boys, we knew from a handshake that Ryan was our kid. We actually came close to casting both Jake Gyllenhall and Nick Stahl, who are both great actors, but for various reasons, we eneded up not having our lead with less than a month to go before our first day of shooting. Then came Ryan -- our eleventh hour angel. And neither Andrew nor I had seen him in anything before we cast him. He held his own against David Morse during the final auditions, and it was clear that he had the intelligence, sensitivity and resourcefulness to be the kid we wrote. He added a lot more light to Roy than was on the page, which was a terrific new color to that character. WARREN: In football, the battle's won in the trenches. What component of filmmaking determines a movie's ultimate victory? ALEX: I'm not sure if I know the answer to that. I spent four years as a camera assistant working on several features, both good and bad, and it seemed to me successful films came down to two things -- A) preparation -- I think most movies are made too soon, and it shows; and B) hiring people you believe in andtelling them WHAT you want and then trusting them to know HOW to get it. We had a fantastic team on [THE SLAUGHTER RULE] shoot, and it felt like we were working on a shared vision, spear-headed by the, um, nine years of prep that Andrew and I had put into making it. WARREN: Dying is easy, theatrical distribution is hard. Has THE SLAUGHTER RULE's limited exhibition altered your approach to future projects? ALEX: Yes. On the next one, I hope to have some kind of distribution deal in place PRIOR to making it. And if not, I'll be a producer as well, so as to have more say in the distribution of the film. NOTHING is more frustrating than feeling like your film didn't reach the audience it was made to reach. Maybe we'll have to put in a lot more car chases, assassins and vampires into the next one... WARREN: Two-minute warning. You've got to assemble your own six-man squad comprised only of other sibling filmmaking tandems. Who's on your side, who's not? ALEX: Well, since it's a hypothetical question, I'll give an impossible answer. My team: The Epstein Twins (wrote CASABLANCA and many other classics), the Lumiere Brothers (the FIRST brother filmmaking team), the Coen Bros (natch) and The Brothers Quay (Special Teams -- for the animated title sequence...). The other team: The Farrellys, the Wachowskis and the Hughes, but only because they make more on one day of shooting than I've made in total... WARREN: Touchdown! THE SLAUGHTER RULE's soundtrack scores. Care to hum a few bars 'bout Jay Farrar and Brian Ross? Care to plug the cd? ALEX: Jay Farrar, who did the score to our film, kicks major ass. We were huge fans of his bands Uncle Tupelo and Son Volt, and felt that he had the perfect sound for this film -- a blend of rural harmonies and themes with the more sonic and distorted undertones. He worte a lot of music based on the script, which is unusual, which is written to match the edited film. That created a more organic sound to the film. And we're really pleased with the CD. We really tried to mmake something that would stand alone, instead of just being a bunch of pop songs that came from the same studio that finances a film. You can get it at most good CD stores, or on the web, or order it from Bloodshot Records, which is a splendid indie "Alt-Country" (or as they call it, "Insurgent Country") label out of Chicago. People keep telling me that it's a really good to listen to while driving cross-country. It's a good 'un.... WARREN: Don't invoke THE SLAUGHTER RULE. Tell us why everyone ought to see The Smith Brothers' debut feature. ALEX: Because we put our heart into making it, and because it's something you haven't seen before. And because David Morse and Ryan Gosling give performances for which they should have won major awards. And, to hear David Morse say "poptart" and "sweet gherkin" in the same sentence. - --Alex Smith, co-writer and -director of THE SLAUGHTER RULE, starring David Morse and Ryan Gosling; from an interview by Warren Etheredge of www.thewarrenreport.com ------------------------------ End of loud-fans-digest V3 #262 *******************************