The movie I’ve watched the most times is Dazed and Confused…

Chuck Klosterman on the subject of Immersion Criticism

Hey, we’ve both watched the same movie the most! That’s what I love about movies; I keep gettin older, they stay the exact same every time that I watch them, yes they do… Yes they do.

Fat Tony and Tony Cruz, “Double Dragon”

These Atlanta denizens (or maybe just one half is Atlantan?) opened for Riff Raff, Kitty Pryde and Lil Debbie last night, and this track’s 8-bit beat pumping through Echoplex’s soundsystem was about when the night got started for me. The video looks way too good for the level of popularity these guys are at (the cocaine-fueled cop battle rainbow nose-lasers!), so take a peek and prepare yourself for my full writeup of the show.


throwin hunnits hunnits

My favorite tumblr since I can remember. That’s not an exaggeration. Can’t think of one that has brought me more smiles in such a short amount of time. Smile density maxed. So hip you can suck my shib

I demand unconditional love and complete freedom. That is why I am terrible.

Tomaz Salamun

This is how I conduct myself, and perhaps I look terrible to some, but I also am very okay with that because it affords my freedom and love. Even though I imagine that this quote is not tailored for white dudes. We’re already pretty free and loved.

(via shevilfempire)

A real thing

On Saturday night, my landlord, housemate, and new friend, Jeff, was biking around West Hollywood. At a stoplight, a Camaro with two men pulled up next to him. He turned and noticed a Glock pointed at his head. The driver asked “Are you ready to die, faggot?” Jeff, steeped in etiquette and ready to die, said “I hope you have a good rest of your night.” The gun was lowered, and the man replied “I guess this is your lucky day.” They sped off, and Jeff informed a police car around the corner that a maroon Camaro in the area contained a weapon. The police took this in as they do, and Jeff biked off.

Ryan Nellis, “Good Case (Green Day vs. Owl City & Carly Rae Jepsen)”

I mentioned this mashup last night, but today on the drive to my afternoon nannying gig it became inextricably wrapped around my spine, clinching my smile nerves with a wacky, silly grip. While I’m already the kinda dude who grins approximately three times a minute, for some reason I found myself feeling like I had never been as full of joy as I was in that moment, and I think it has something to do with how eager this is. Owl City and Carly Rae Jepsen lack substance at their best, and I don’t like older Green Day (no matter how much “Good Riddance” popped my 13 yr-old boner)… But this gives the fey vocals a “dangerous” edge, and pushes Green Day beyond the catchysphere.  THANK YOU BOOTIE FOR MY MUSIC THIS WEEK!

I’ve done coverage for four scripts and this is already how I feel while typing up notes.

John Marr, “Hello Black or White (Michael Jackson vs. Martin Solveig)”

I went to Bootie, the nation’s longest-running mashup dance party, last night. For the past five years I’ve downloaded their Best of Bootie end of year track compilations, in which they (“they” being DJ duo A+D) feature blends a little more complex than those found on Hype Machine and other music aggregators these days. There are a lot of readymade mashup hits, in the vein of Kap Slap or 3Lau, that take popular house melodies and drop re-pitched vocals from super-recognizable songs; Bootie finds those that notice something specific about two different sources that allow them to combine in exciting ways with minimal editing. Like the September mixtape’s “I Want You Shot,” a tune that lays Billy Joel over the Jackson’s 5 “I Want You Back.” It sounds like a real song, like if you heard it on the radio you would say “wow what artist wrote and performed this?” Same with the more contemporary “Good Case,” which rolls along a chugging punk riff from Green Day with the sugary singalong of Owl City/Carly Rae Jepsen’s “Good Time.”

But forget all of that, because this is a house beat featuring a classic pop vocal. Michael Jackson’s verses go largely unchanged, and even though Dragonette is nowhere to be found, we get the basic “Hello” riff we all remember and love from last summer. The real (fake) magic happens during the chorus here, turning that distinct chord into something more akin to “Pon De Floor,” chopping up the beat and pitching the signature chord up and down like tectonic-plate-formed mountain ranges. I don’t really know what that means, but this was spun into the set last night and I went fucking wild.

(After writing all this, I found out that the chopped-up beat is from Sidney Samson’s remix of “Hello.” You can do as you please with this info.)