From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V4 #164 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 Wednesday, June 16 2004 Volume 04 : Number 164 Today's Subjects: ----------------- [loud-fans] because it's not already confusing enough... ["Fortissimo" ] Re: [loud-fans] Speaking of films... [zoom@muppetlabs.com] [loud-fans] Re: Felt ["Vallor" ] ---------------------------------------------------------------------- Date: Tue, 15 Jun 2004 15:27:30 -0500 From: "Fortissimo" Subject: [loud-fans] because it's not already confusing enough... ...here is apparently a new edition of _The Real--No Really We Mean It This Time--New Fall Album, Which Would Have Been Much Easier Just to Have Called "Country on the Click," But That Would've Been Too Easy Then, Mate_ on some US label called "Narnack" that I've never heard of. I suppose I need to buy it, then - after downloading the (shh!) illegal original pressing, buying the revamped Brit edition, etc. etc. - because apparently there are new tracks? Anyone with more info? - ------------------------------- ...Jeff J e f f r e y N o r m a n The Architectural Dance Society http://spanghew.blogspot.com/ :: "In two thousand years, they'll still be looking for Elvis - :: this is nothing new," said the priest. ------------------------------ Date: Tue, 15 Jun 2004 16:46:15 -0400 (EDT) From: Aaron Mandel Subject: Re: [loud-fans] because it's not already confusing enough... On Tue, 15 Jun 2004, Fortissimo wrote: > I suppose I need to buy it, then - after downloading the (shh!) illegal > original pressing, buying the revamped Brit edition, etc. etc. - because > apparently there are new tracks? I saw it in the store today and counted 14 tracks, which for some reason I thought was the same as the import I bought, so I left it sitting there. Let me see... Okay, based on my own database and Narnack's website, the US version has 10 of 12 import tracks, with the other two ("The Past" and "Recovery Kit") appearing in alternate versions. There's an alternate/superior "Recovery Kit" on the We Wish You A Protein Christmas EP; this might be that. The US disc also adds (1) "Mad Mock Goth (shorter)", presumably a shorter version of the Protein EP's "(We Are) Mad Mock Goth" and (2) "Portugal Tour", which I've never heard of. Also, Narnack's website has much more "normalized" song titles than the import CD... "Mike's Love Xexagon" has become "Mike's Love Hexagon"; "Loop41 'Houston'" has become "Houston", etc. a ------------------------------ Date: Tue, 15 Jun 2004 13:54:26 -0700 (PDT) From: zoom@muppetlabs.com Subject: [loud-fans] Speaking of films... > I *did* see a great documentary on Scrabble, Word Wars, at the Atlanta > Film > Festival last night. I believe it's opened commercially in New York. > The Seattle International Film Festival wrapped up last Sunday, and while I didn't make it to everything I wanted to, I saw some fine works. Tsai Ming-liang's GOODBYE DRAGON INN worked on me like a powerful drug, reeling in my senses with color, atmosphere, sound design, and melancholy; easily the best film I've seen so far this year, and probably the best thing I've seen in the last two or three years. Diao Yinan's UNIFORM, the tale of a put-upon young man who puts on the uniform shirt of a dead cop to see what he can get away with, impressed me with its grittiness and matter-of-fact tension. Kurosawa Kiyoshi's BRIGHT FUTURE, a tale of two disaffected youth and a poisionous jellyfish, shows the double-edged sword of transcendence. Pen-Ek Ratanaruang's LAST LIFE IN THE UNIVERSE (cinematography by Christopher Doyle, who shot IN THE MOOD FOR LOVE and others), puts two mismatched, traumatized people from two different cultures together and watches what develops...although admittedly I'm not real sure what did develop, since I didn't get to see the last third. Got high hopes for ROBOT STORIES, Andy Seven Haiku at Night in a Convenience Store By Michael Mulder 1 Gimme some fuckin' Kool Filter Kings, you white punk. And some damn matches. 2 Can I use your phone? It's local. I'll hurry. Well, why not, stupid-shit? 3 Hell, I be killin' some white mutherfucker a cuse me a stealin'. 4 Is that a bathroom? No? Please, I really have to bad. Oh, please. Let me. 5 Oh, my God, what time is it? What city is this? Where is my boyfriend? 6 Just fuck you and your ugly white whore boss-lady in the fuckin' ass. 7 Oh, my God, I am so drunk. I am just so drunk. I mean, I'm just drunk. - --from http://www.cadenhead.org/workbench/stories/2003/04/29/sevenHaiku.html ; published originally in the 1989 edition of "Green Fuse," the student literary journal of the University of North Texas. Mr. Mulder's current whereabouts are unknown. ------------------------------ Date: Tue, 15 Jun 2004 17:21:15 -0400 From: glenn mcdonald Subject: Re: [loud-fans] Speaking of films... Don't bother having any kind of hopes for Robot Stories. But yes, I'm so looking forward to _Goodbye Dragon Inn_. ------------------------------ Date: Tue, 15 Jun 2004 16:31:45 -0700 (PDT) From: zoom@muppetlabs.com Subject: Re: [loud-fans] Speaking of films... > Don't bother having any kind of hopes for Robot Stories. > > But yes, I'm so looking forward to _Goodbye Dragon Inn_. I just hope it comes back around--to my neck of the woods, naturally, but more generally, anywhere in North America. I found a lot of film festivals it's played, but no indication of a North American distributorship. So maybe I should hold out hopes for I, ROBOT? Andy To make a last complaint about omission (and you may begin to see a pattern here), Seligman leaves out entirely the occasion, in the late 1970s, when Kael went to Hollywood to work for Warren Beatty and Paramount, to ... well, what, exactly? To earn movie money, for one thing: her frustrating relationship with The New Yorker never made her financially secure. To be a pal to guyslike Beatty and the young director James Tobackwho moved her. And surely to get that last chance (she was sixty) at doing the thing itself, putting on a show, making the screen's skin rock and roll. It didn't work; it became a humiliationyet Kael had risked that, which was as brave as it was needy. Was there also a way in which the deceptions in Hollywood (of the self as well as of others), the sheer playacting, struck Kael as wasteful and even stupid? Much as she loved movies, I'm not sure that fantasy was her trip. In several ways the Hollywood excursion marked the beginning of her decline as a critic. Seligman says (without amplifying) that she lost her nerve. I'd love to hear why. But most of all, Kael lost the kind of filmsfrom Bonnie and Clyde to Taxi Driveron which she rode to glory. Sontag has lived in her own head, but in the larger political panorama, too. Yes, she has written about a few current things, notably Hans-J|rgen Syberberg and his 1978 film Our Hitler, but her real subjects are matters of eternal intellectual debate. She said rock-and-roll changed her, but who could feel that? Kael, on the other hand, spurned by fate for so long, hit a lucky streak beyond equal in that she came to The New Yorker just as adult, tough, new films were being made in America. She was there for Coppola, Altman, Scorsese, and so onbut they were there for her too. It was also the moment when film education took off in America, when suddenly millions of kids were ready to read film criticism that had the smack of good sportswriting. - --David Thomson, from his review of SONTAG & KAEL: OPPOSITES ATTRACT ME, by Craig Seligman; at http://www.theatlantic.com/issues/2004/07/thomson.htm ------------------------------ Date: Tue, 15 Jun 2004 18:11:27 -0700 From: "Vallor" Subject: [loud-fans] Re: Felt >>Also: Rex asked (tongue in cheek?) whose singing Laurence's from >>Felt reminded him of: I kind of think Lloyd Cole, but I haven't heard Cole in years. - - Dan ------------------------------ End of loud-fans-digest V4 #164 *******************************