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messing-with-my-zen-thing · 2 years ago

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Today is fanfic writer appreciation day, so to celebrate, here's a rec list of some of my favorite Tron fics!

Kerberos by Subsequent (@inclines) is one of my all time favorites. This fic is an AU where Alan stumbles across (and onto) the Grid during the Uprising. The characterizations are incredible, it's fun, it's heartfelt, and it's complete at around 34k. I can't recommend it enough. And if you love it as much as I do, you should check out Session Tickets, a series of drabbles in that same universe.

Ichor by Vince_ible (@invincibleinck) is another favorite. In this fic, Tron and Beck find an injured Alan during a lockdown in Argon. If you love sweet sweet angst, this is the fic for you. The characterization is excellent. It'll make you laugh and it'll make you want to cry. It's still in progress and is currently at about 23k. Its prequel, Icarus, is also amazing.

Also by Vince is Stronger, an AU where Beck becomes Rinzler and his friends are left to deal with the fallout. Again, if you love exquisite angst, give this one a read. It's still in progress at about 6k.

Another personal favorite of mine is The Spirit of the Renegade by Minus-Ultra (@ravenser-odd). This fic describes the earliest days of the Uprising, back when Cyrus was the Renegade. It does such great worldbuilding and fills in a lot of gaps we never got to see in canon. It also includes so many characters, from favorites to those who don't get enough attention, and does them justice while exploring some dynamics we didn't get to see (or get to see enough of). If you want to read about Tron, Yori, Able and Cyrus (and more!) working together to cause trouble for Clu, this is the fic for you. It's in progress at around 61k and is criminally underrated. This author has many amazing tron oneshots as well.

Tron: Liberation by saratogaroad was one of the first Tron fics I read, and it remains a favorite to this day. It picks up right where the last episode of Uprising left off and sees the story through til the end. Liberation completes so many character arcs and storylines from the show while still adding its own twists. It's so well written, it has a little bit of everything, it's such a satisfying read, and it's complete at around 107k. Changelog by the same author is equally excellent. It's a series of drabbles for various Uprising AUs.

Tron: Unity by SiriuslyEmily is a Legacy AU where Alan answers Clu's page and winds up on the Grid instead of Sam. It's honestly been a bit since I reread this one so I'm a bit fuzzy on the finer details, but if you want a fic with characters from the original Tron, Legacy and Uprising, where everyone is in-character and Alan is the main protagonist, you need to check this one out. It's currently on hiatus at around 83k, but the author has repeatedly said they plan to finish it in the future.

Everything is Relative by rexrerezzed (@quorras) is one of my all time favorite Tron fics. It's a multimedia oneshot focused on in-universe media and fan theories on Quorra and Sam after the events of Legacy. Rex created tweets, interviews, ads, and edited promotional material for Legacy to create such a fun and sweet story. It's genuinely one of the most unique and creative fics I've ever read and you should check it out if you haven't already. Rex has written so many other amazing oneshots as well. Their ongoing Gaia series about the Grid and various characters' relationship with it is also lovely.

Anything by EnglishLanguage (@epicenglishlanguage) is a work of art. Genesis is a beautifully written oneshot that focuses on Sam rebuilding the Grid and dealing with its "ghosts," including Rinzler. Et Cetera (and other things) is a series of stories mainly focused on shenanigans Sam Tron and Quorra get into in the user world. It's a personal favorite for when you need something sweet fun and fluffy. This author has countless other oneshots that are excellent as well. If you haven't read their work you're seriously missing out.

quantum27 (@quantum27) has written so many amazing works for Tron, but their flynn has friends series is probably my favorite. This is an AU where Flynn tells Alan and Lora about his visit to the ENCOM system, essentially preventing the events of Legacy. Flynn continues to have adventures on the ENCOM system with their input and, sometimes, supervision. It's fluff, fun and feels with all your favorite 82 characters. What more could you ask for?

There are so many more fics I could list, we're lucky to have so many incredibly talented authors here in the Tron fandom, but I'm going to stop here for now. Please check out these fics, give the authors some love, and feel free to reblog this post and add your own recommendations!

Thank you to all the fic authors out there, and happy reading!

#tron #tronblr #tron legacy #tron uprising #fanfic writer appreciation #fic recs #tron fic recs #fic tag #reblogs welcome

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lol-jackles · 3 years ago

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I have always thought that Dean was the dominant main character of the show. Sam was fine, but to me , always secondary. He was the one Dean had to take care of snd protect, the baby brother. Dean was the rather broken hero. In Europe, Jensen was always the overwhelming favorite at cons over the years. It was almost embarrassing, but I guess we view/read shows differently.

Try this exercise, take Sam out of the story and what happens? No Dean pining for his relationship with Sam. No John Winchester worrying about Sam's future and safety. No chosen one for demons and angels to target and manipulate. No story, period.

Now take Dean out of the story and with some minor tweaking, the story largely stays the same. Bobby Singer calls Sam in the pilot to tell him that John has gone missing. John sells his soul for Sam. Sam meets Ruby who promise to help Sam save John from hell and she tricks him to release Lucifer. Sam then traps Lucifer in the Cage along with himself. Crowley raises Sam soulless from the Cage to work for him to hunt alphas. Bobby makes a deal with Death to get Sam’s soul out of the Cage. Crowley opens purgatory and release the Leviathans. Sam finds Kevin Tran and they kill Dick Roman and close purgatory. Season 8 is about Sam and Kevin trying to close the gates of hell and they succeed but didn’t know that by doing so will bust open the gates of heaven and kicked all the angels out. While tracking down rogue angels and exorcising them back to heaven, Abaddon shows up chasing Henry Winchester through time. Henry and Sam bond over John. Henry tells Sam about his legacy with the Mens of Letter and gives him the key to the bunker before he dies saving Sam from Abaddon. Crowley tricks Sam to receive the Mark of Cain inorder to kill Abaddon. Crowley’s mother, Rowena, returns and offers to remove the MOC from Sam’s arm in exchange for the Back Grimore book and by doing so releases Darkness who goes hubba hubba over Sam. To get rid of Darkness, Crowley and Rowena release Lucifer from his Cage who really does try to kill Darkness but gets his ass kicked so he slunks off to possess POTUS and spawn Jack. Meanwhile Sam sweet talks Darkness to take a long vacation before finding out about Jack and adopts him, leading to the funniest cosmic custody battle between Lucifer and his former vessel. See, there’s still a story.

But the show is hella more fun with both Sam and Dean.

"In Europe, Jensen was always the overwhelming favorite at cons over the years."

And Jared is apparently much more popular than Jensen in Brazil. None of that changes the fact that Supernatural has (mostly) been about Sam's hero journey.

You like Dean more, that's fine, plenty of people like supporting characters more than the protagonist. I like Alan Rickman's Sheriff much more than Kevin Costner's Robin Hood because he's more interesting and is a well acted character.

#Sam Winchester #Dean WInchester #supernatural #hero's journey

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falconwintersoldier1x03eng · 4 years ago

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The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 watch Series TV online

The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 online - https://bit.ly/3sJoHD8

Symbols are becoming increasingly central to superhero fiction, as the power and meaning of modern and classic images, heroes and structures continue to plague commentators and audiences in reality. The Falcon and the Winter Soldier contribute to this speech, as it continues in S1E2 to frame the entire series around not only the Captain America shield, but what the idea of the American hero as a symbol represents. The episode begins with a jazzy orchestral version of 'Star-Spangled Man', which sounds like a hot metal band 8, first heard in Captain America: The First Avenger (and written by supreme composer Alan Menken) as a propagandist representation Captain America's strength and heroism. "Who is strong and brave, is here to save the American Way?" sing the line of choristers as Steve Rogers parades on stage. "Who swears to fight like a man for what is right night and day?" It is intentionally stimulating and, of course, full of inherent stereotypes, fallacies and contradictions, but it works clearly in the context of the American moment in World War II, launching itself to destroy the “idiots of Berlin”. There is a reason, however, that music was avoided once Steve was unveiled these days and why she returns in a new form here, even borrowing the title of the episode (“The Star-Spangled Man”) from him . That reason is John Walker (Wyatt Russell), the new Captain America, briefly revealed at the end of the 'New World Order' as an encapsulation of the changes that the Falcon and the Winter Soldier are undergoing as a series. To the credit of the Malcolm Spellman series, Walker is immediately more than a cipher and an empty image. We spend time with a man who seems to be aware of the legacy of the shoes he is stepping on and comes with his own experience of what we would consider an American "hero". “I'm not trying to be Steve. I'm just trying to be the best Captain America I can be, ”he later said to a questionable Sam Wilson (Anthony Mackie). However, Walker is, in its entirety, a symbol of the appropriation that permeates 'The Star-Spangled Man'. That's why the song and the title are revived. Walker is not a representation of America's future, but of America's tranquil past. His introduction reminded me of Eric Kripke's violent, nihilistic version of the superhero culture, The Boys, which I suspect will stand the test of time more acutely than any Marvel property. Walker is presented as a human being in a relationship, with his own doubts and questions about the role he is assuming, yet he is directed on stage in the same way as 'The Seven' in The Boys and evokes the character Homelander from that show . Homelander is, of course, an Oedipal psychopath beyond redemption, and Walker will never be portrayed as such in Marvel's softer cinematic universe, but he was cured just as much to appropriate a cultural symbol of America's celebrated history. The “American way” of music, which may have been clearer in 1942 - a thriving democratic nation of individuals struggling to free the world from the oppressive and totalitarian fascist domination - is cloudy, complex and troubling in 2020. Walker is designed, with its square chin, blond hair, charming arrogance and “totally American” behavior (even the square, solid root of its name), a United States of the 1940s or more than the 1950s that never existed entirely. One wonders whether Russell's cast is a coincidence, being the son of Kurt Russell and Goldie Hawn, two examples of home-made American beauty and charm that emerged in the era of counterculture that largely ended up reinforcing power structures now challenged in an unstable century.

Previously on The Falcon And The Winter Soldier: Sam Wilson, aka "The Falcon", is once again working with the U.S. Air Force and rescuing one of its members: an Air Force captain held hostage by a terrorist group called LAF He then has to deal with giving Captain America's shield to the government (which tells him that doing so is the right decision) to have it show on the Smithsonian, and to help his sister, Sarah, keep his fishing business going so that the The family boat does not need to be sold. Bucky Barnes, who was pardoned for crimes he committed during brainwashing as the Winter Soldier, has participated in government-required therapy sessions (in which he refuses to admit to his therapist that he still has nightmares about the crimes he committed during the wash. brain as a Soldier) and trying their best to make amends. A terrorist group called Flag-Smashers, who firmly believe that life was better during borderless and orderless The Blip The Snap, and who want the world to adopt that way of life once again. And Sam soon learns that the reason the government said that giving them the shield was the right thing to do was so that they could actually give it to the new Captain America, who is introduced to the world at a news conference. ADS THE STORY UNTIL NOW: Sam and Bucky cross paths once more when Bucky confronts Sam about his refusal to accept Captain America's mantle. The two end up on a plane to Munich, where Bucky accompanies Sam on his mission to track a shipment of vaccines stolen by the Flag Crushers. Sam and Bucky's attempt to stop them is not easy or successful, and it does not help when John Walker (known as the new Captain America) joins the battle to try to stop the Flag Crushers as well. Bucky informs Sam about a disturbing secret about the Super-Soldier Serum story, and how he and Steve Rogers were not the first or the only ones to receive him at that time. Captain America 2.0 quickly realizes that Sam and Bucky have no interest in working with him, and the Flag-Smashers are soon hunted down not only by the authorities, but by a mysterious individual known as The Power Broker. WHAT'S GOOD IN THIS EPISODE?: Sam and Bucky finally appearing on the screen together and headbanging like only they can. Bucky trying to rescue Karli Morgenthau (played by Erin Kellyman, whom some of you will recognize as Enfys Nest in Solo: A Star Wars Story) because he believes she is a hostage to the Flag Crushers, only to clear up this confusion by kicking him at fifteen meters from the rear of an eighteen-wheeled truck in motion. John Walker, also known as Captain America 2.0, preparing for the responsibility of what is to come and then being introduced to the world (along with his skill set and qualifications) through an individual interview with Good Morning America. The fight sequence between Sam and Bucky and Captain America 2.0 and Battlestar (also known as Lemar Hoskins, Cap 2.0's partner and Black's best friend) against Karli and the rest of the Flag-Smashers. Cap 2.0 and Battlestar trying their best to win over Sam and Bucky in the beginning, only to say the wrong things and end up failing miserably. Sam and Bucky going to Baltimore to meet Isaiah Bradley (played by the legendary actor Carl Lumbly), an African American super soldier who gained his skills in 1942 after being forced to pass tests in which the US government tried to recreate the Super- Soldier Serum that was given to Steve Rogers, and who fought against Bucky-as-the-Winter Soldier during the Korean War in 1952 before being sent to prison for thirty years and constantly experimented (even by scientists at HYDRA) for more attempts to recreate the serum. Sam being confronted by white cops who think he is a threat to Bucky until they recognize him and realize who he really is (and before they put Bucky under arrest for missing his therapy appointment, although they are still much kinder to Bucky than that were for Sam).

The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 Series TVs The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 Series TV The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 watch Series TVs online

#The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 watch in hd quality #The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 free online #The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 online free #The Falcon and the Winter Soldier 1x03 Season 1 Episode 3 Series TVs online

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sciencespies · 4 years ago

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Alan Alda’s Communication Method Offers A Powerful Tool To Build Trust In Science

https://sciencespies.com/news/alan-aldas-communication-method-offers-a-powerful-tool-to-build-trust-in-science/

Alan Alda’s Communication Method Offers A Powerful Tool To Build Trust In Science

Alan Alda ‘s communication method has helped 15,000 scientists speak in clear and vivid language

“People are dying because we can’t communicate in ways that allow us to understand one another. That sounds like an exaggeration, but I don’t think it is.” The actor Alan Alda wrote that sentence three years ago, but it’s more relevant today than ever.

While most people know Alda for his memorable television characters such as Hawkeye Pierce in M*A*S*H, Alda’s passion for science communication might make an even longer lasting impact on future generations.

Building relationships to create trust is at the heart of the training method that Alda and his colleagues have taught to 15,000 scientists over the last decade. In the absence of trust, it becomes much harder to persuade people to change behaviors or take actions for the common good such as wearing masks, social distancing, or getting vaccinated to reduce the spread of Covid-19.

This week, just as the first doses of the Covid-19 vaccine were being distributed and administered, I spoke to Laura Lindenfeld, the executive director of the Alan Alda Center for Communicating Science at Stony Brook University. She explained some of the training exercises Alda has created to help scientists explain their work in clear, vivid, and relatable language.

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One exercise in particular holds valuable lessons for scientists, government agencies, and healthcare professionals who need to build the public’s trust when it comes to the vaccine and other health measures to end the pandemic.

It’s an incredibly powerful exercise that Alda adapted from theater training: improvisation.

“Improv is not about acting or being on a stage; it’s about being present in the moment,” Lindenfeld explained. “It’s about listening and hearing and empathy.”

Improvisation, as its taught in the Alda Method, follows two principles: listening and relating.

The ‘YES, AND’ System

Business books implore us to be good listeners, but most of us don’t ‘listen’ as well as we think we do. We simply wait for our turn to speak. In improv, an actor has to really pay attention to what the other actor is saying, paying careful attention to their words. The secret is to acknowledge what was said and add to the discussion.

Yes, I hear what you’re saying…and I’m going to build on it.

As Lindenfeld explained the YES, AND technique, I thought about this week’s remarks from U.S. Surgeon General, Jerome Adams.

During the Covid-19 vaccination kickoff on Monday, December 14, Adams said, “Today is a truly an historic day. The development of a Covid-19 vaccine is nothing short of revolutionary.”

Adams then did a version of the YES, AND principle. First he acknowledged that, yes, some communities have lost a degree of trust in the medical establishment. Adams said:

“We know that lack of trust is a major cause of reluctance, especially in communities of color. That lack of trust is not without good reason as the Tuskegee studies occurred within many of our own lifetimes. To truly combat vaccine hesitancy, we must first acknowledge this real history of mistreatment and exploitations of minorities by the medical community and the government.”

Adams then added to the conversation to ease their concerns:

“We need to explain and demonstrate all that has been done to redress these wrongs. The protection and safeguards in place like the HHS Office for Human Research Protections, and independent review boards, and data and safety monitoring boards to make sure tragedies like the Tuskegee syphilis study…never happens again.”

[For more context about the Tuskegee study, this column in the New York Times traces the historical roots of vaccine skepticism]

Adams tackled vaccine skepticism again on Sunday morning’s Face the Nation.

“I’m the United States Surgeon General but make no mistake about it. I’m an African American…I’ve talked about the history of mistreatment of communities of color…We need to recognize that that distrust comes from a real place. This legacy is important to me and helping restore that trust is important.”

You can’t build on a conversation without first hearing what the other person is saying.

Make Your Partner Look Good

Making your partner look good is the second rule of improv that applies to Covid conversations.

“In the world of communication and interpersonal interaction, your job is to make your partner look good—even if you disagree with them,” says Lindenfeld.

In other words, building trust requires relating to people. People relate to you if you can find ways to lift them up and feel valued.

Alan Alda himself demonstrated this concept himself during a recent television interview when a cable television anchor offered a theory for vaccine hesitancy.

“Maybe some people are just stupid,” the host said.

“I certainly don’t think that people are stupid,” Alda fired back. They should be questioning things. Scientists are professional skeptics.”

Alda said that treating people with respect is a bridge to effective communication—and a step toward persuading them to see your point of view.

“No one is going to change their mind about their behavior if we shame them into it,” Alda added.

“Listen to them, find out what they care about, what their objection is and enter into a discussion with them. We have to realize that we are in the same boat as our friends and neighbors who don’t agree with the vaccine or wearing a mask. Don’t just throw them overboard because it’ll only make them want to throw us overboard.”

Alda picked up on this theme on Friday during a virtual summit with Dr. Anthony Fauci on the subject of building trust in science.

Directing his remarks to scientists and healthcare professionals, Alda said, “Remember that a broad audience is not going to have spent their lives studying your subject in the detail that you’ve spent your life studying it. They’re not stupid for not knowing this stuff. They just haven’t directed their attention to the subject.”

Alda says it’s urgent that scientists communicate effectively because “science will save us from this pandemic.” No one can tell 330 million people in America what to do and expect them to just do it. They have to be persuaded to take action in their best interest and for the good of the larger community.

#News

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luckycheesefoodie321 · 5 years ago

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Ok SO! I just watched the original 3 Jurassic Parks in succession and I have some things to say... (Long Post and Spoilers I guess?)

JURASSIC PARK

what was wrong with the sick Triceratops? Like they made a big deal of Laura Dern digging in poop and looking at the plants and whether or not they were eating something weird, and I thought it would come up again... it did not and I just wanna know what was wrong with the Trike?!

Then the whole viable embryo chamber that Nedry stole... I suppose the embryos just died but they did this whole thing where we watch it get covered in mud, and once again, was expecting that to be a plot point but guess not??

Otherwise great film, obviously having not seen it when I was younger, I don’t have any nostalgia towards the film, so no rose-tinted glasses to make it look prettier than it is... but really solid thriller, they captured the majesty of these creatures that don’t even exist anymore... I’ll dig up the full legacy of the film later, but easily the best of the three in my opinion... pacing was good, tension in each action sequence was great, the cast was really solid too... Laura Dern, every scene she was in, she was brilliant... she’s equal parts charming, witty but also isn’t here to take any shit... she has things to do, and she will get them done... so far the only female character in the first three movies that I could stand screaming... including Sarah Harding who had a couple moments... Sam Neill was a good gruff hero who we’re endeared to by his awkwardness around kids... Jeff Goldblum was Jeff Goldblum, weirdly underused the entire film??? Like he had that weird laugh-growl, all those great lines in the beginning, and ofc the iconic leads Rexy with the flare scene (which I was expecting to be more epic but Sam Neill kept telling him to drop it and so it came off like he was doing something kinda dumb??) but he busts up his leg and has no other purpose than “Must go faster”, the sexy wounded Goldblum, and “look up and follow the main cable”...

THE LOST WORLD: JURASSIC PARK

Contrary to the previous one, I feel like Jeff Goldblum...uhhh...is not an action star? His dialogue during action scenes, his movements, his general character all seemed awkward and out of place, and maybe that’s what he’s going for... he’s a scientist/mathematician dude who didn’t wanna be there, but the “choreography” of the action scenes just didn’t seem like a dude actively trying to save himself and the people around him... the entirety of the raptor scene in the power station felt stilted and stiff, him, Julianne Moore and his daughter... that gymnastics scene could’ve been cooler but everything was so slow? Like it’s the longest of the three films and idk if that’s a good thing... the end bit where the T-Rex ended up in San Diego felt more than a little goofy and sort of separate from the rest of the movie, like there was no transition from the natural end of the movie (them getting rescued) and the Rex wandering around the suburbs..

However I really did enjoy Vince Vaughn and I’m so used to him in comedic roles?? But like he seemed like such a grounded dude that was secretly a sort of guerilla environmentalist set to rescue animals from poachers... I kinda would’ve preferred him as the main character and have Jeff be a side character just with more to do than in the first film... Jeff is great as a foil to the action hero, witty banter was a check, running commentary is always great, occasional moments of his own death defying struggles but Vince’s character had more moxie... Sarah aka Julianne Moore was fine as the obligatory female character that wasn’t a dinosaur... though for someone who kept insisting on knowing what she was doing and hanging around multiple predators, her screaming right at Mom and Dad Rex when the key is to be still and quiet, and also not clueing in that the baby Rex blood on her vest would attract the parents to her after she specifically mentioned them having superior scent tracking was a little ridiculous... obligatory kid was fine, but they never really doubled back on the whole “you never keep your promises” problem they introduced between her and Jeff..

JURASSIC PARK 3

Uh so... there are just... pterodactyls canonically nested and presumably breeding somewhere else in the world, and I was just wondering if it ever gets addressed in JW or JW: FK??? Like I’ve seen Jurassic World but without prior knowledge of the previous films, so idk if there was a reference slipped in, but it is the same universe as the previous films sooo...just gotta accept that they nested somewhere and no one did anything to stop them flying off??

Also Laura Dern... how did she manage to rally the military and the navy??? Like where did she get the power/the connections to pull that off???

Also also... did they face... no consequences for entering those islands after having invaded a foreign countries restricted air space???

Compared to 2, generally better pacing, much better action sequences... tension was pretty close to the first film in snappy action... got Sam Neill back and he’s nice... apparently the third is not well-liked but without the nostalgia factor clouding my judgement? It was about the same vibe... more of the same, an arbitrary event pulling them to Dino land, it being a Terrible Very Bad Idea, and cue in the herbivore Dinosaurs, the slightly more dangerous dinosaurs, and The Big Bad Dinosaur... much scream, much death, then rescue....

they overused the classic JP theme a little, and in weird spots... like there’d be death and terror, and then all of a sudden the JP theme would blast and something cute or majestic would appear and it was quite jarring...the genesis of the Spinosaurus would’ve been nice to know, they made that an unecessary mystery but whatever...guess it was born from some precursor experiment to the I-Rex sort of thing that InGen had been cooking up...

Tea Leoni just kept yelling and screaming and it was so annoying istg like stop no... I get she was scared but she was hysterical off her head and it felt very classic horror film but jfc you come to an island to rescue your son from dinosaurs, not get eaten by one! They also kept trying to focus on the divorced couple rekindling their relationship in this dangerous situation but please no I do not watch these films for the love story I’m glad it was barely even acknowledged in the first film that Alan and Ellie probably had a thing going on and I kinda did not like that they made Jeff and Julianne be an established thing and have John Hammond use that as incentive to push Jeff to go back to the island... so yeah no shoo-shoo the romance away please... also the poor boyfriend who died?? Like no grief for him I guess??

Sam Neill getting angry at Billy was really mean, so glad he survived... there were actually less terrible people who didn’t realise they were terrible people in this film... the closest we got was Billy stealing the raptor eggs and that was him just being rash and young and wanting to help out...

Otherwise another typical dinosaur fest... it wasnt Spielberg direction, and you could kinda tell... not as smooth in just the general flow of the story... not quite as golden touch as the first one, but not as dragged out as the second one and it had better action sequences... so idk about y’all but I might just rank the third film above the second one?

CONCLUSION

Anyway yeah! Netflix took down Jurassic World so I’m bummed my binge watch got messed with but Fallen Kingdom is being put up this week so looking forward to that!

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ver-hd-jurassic-world-3 · 2 years ago

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[DOWNLOAD] Ver Jurassic World: Dominion - Película en español

For director Colin Trevorrow, his new film Jurassic World Dominion marks the end of not one, not two, but possibly three eras for this long-running, audience-favorite franchise.

The movie, the sixth overall in the Jurassic Park/World cycle, concludes the story that began with 2015’s Jurassic World (also directed by Trevorrow) and lead actors Chris Pratt and Bryce Dallas Howard. But it also puts a bow on the previous trilogy of films by bringing back original Jurassic Park stars Sam Neill, Laura Dern, and Jeff Goldblum for their first joint appearance since Steven Spielberg’s 1993 classic. And the third era? We’ll get to that a bit later.

Trevorrow initially landed the job to direct Jurassic World in 2013 after helming just one previous feature, the tiny sci-fi indie Safety Not Guaranteed. When asked if he thought at the time that he’d be the keeper of the Jurassic flame nearly a decade later (he also co-wrote all three of the recent films, including 2018’s J.A. Bayona-directed Jurassic World: Fallen Kingdom), Trevorrow is modest.

“I don’t think I had the arrogance to believe that,” he says. “I think I was, at the time, focused on trying to do the job that I was given and deliver a film that would even be worthy of sequels in any way. So the answer is no.”

Still, he admits that the ideas were percolating in his head even back then. “As a creative person, I couldn’t help but think about where we could go,” he adds. “Even in the very early discussions with Steven, I talked about an arc for this and a way that we could potentially create a world in which we had to coexist with dinosaurs in the same way we do with animals. He responded really well to that, but he also understood the need to build that and to spend two movies earning that.”

While the plot details for Dominion remain largely secret, the information and trailers released so far clearly indicate that the film takes off from the ending of Fallen Kingdom, in which the cloned dinosaurs—-in a development long anticipated by fans—were finally encroaching on the outside world and human civilization, with all the ramifications that could stem from that.

As far back as 2016, Trevorrow was saying in interviews that he had an ending in mind for this trilogy of films, although he reveals now that the idea has been repurposed since then.

“The image that I had at that moment, we actually use as the ending for [animated spinoff series] Camp Cretaceous,” he says with a small laugh. “So it is in something. The ending of this film is a similar kind of idea… people seeing dinosaurs in our world, not in the confines of a theme park or on an island, and just recognizing intellectually that it’s possible. That’s where I think we’re headed.”

Another longstanding idea, which Trevorrow says began to take shape even before Fallen Kingdom, was the possibility of bringing Neill’s Dr. Alan Grant, Dern’s Dr. Ellie Sattler, and Goldblum’s Ian Malcolm back for another go-round with the dinosaurs (the latter made a brief appearance in Fallen Kingdom). But the director did not want to deploy the trio unless it made sense and was respectful to their legacy.

“I knew it was very important that if we were going to bring our legacy characters back that we needed to show them the respect of putting them on a true adventure,” he explains. “Putting them in danger, sending them out into the story in a way that was equal to the characters that we built in Jurassic World. I also felt it was really important to have Owen [Pratt] and Claire [Howard] in the first two films create a relationship with the audience so that once they come in contact with the legacy characters, there’s a sense that there’s a bit of equal footing there.”

Trevorrow continues, “To even to get [the original trio] geographically into the same environment as our other characters, we really needed to have a reason, and the reason in this film is that it’s based in science, it’s based in their expertise and why they would be needed, and also why they would be curious… all of that stuff had to feel earned, and it took time and a couple of movies to do it.”

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gay-jesus-probably · 7 years ago

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Pls talk about your Tron & Rinzler are different personalities headcanon because that's a headcanon of mine too & I saw your post in the tron legacy tag && got rly excited that someone else has that headcanon ahaa

Anon, I will gladly talk about this FOREVER.

Okay so first of all, let me just address the fact that yeah. I know. There is literally no evidence whatsoever in canon for this. But yknow. Rinzler says about nine words total, so whatever’s going on in his head is not going to be shared in a movie. If Legacy was done on a written medium (book or comic) Rinzler probably would have gotten at least one or two scenes from his perspective. But it’s a movie, and we don’t even have facial expressions, so we need to fill in the blanks ourselves of how he gets from ‘loyal enforcer’ to ‘I FIGHT FOR THE USERS’.

And for the record, I’d like to just say that the entire reason I have this headcanon at all is the fic Domestic by tehkittykat on Ao3, the plot of it being that Alan finds what he thinks is Tron dying in the Grid after the events of the movie, repairs him, brings him out into the real world, but upon waking up we find that surprise Tron’s long dead it’s literally just Rinzler, and the plot follows him settling in to the User world, and dealing with the aftermath of like everything from Clu. If you haven’t read it, go read it.

So preamble done with, let’s get into the real meta.

So in the post Anon’s referencing (this one) I mention that I think Tron and Rinzler are separate personalities, and basically different people, due to them having vastly different fighting styles and behaviour. And I believe that for a variety of reasons. I mean for a start, Rinzler can’t possibly be basically just a really fancy black guard. He’s not a standard re-purposed program. First of all, there’s the glaring problem. Tron wasn’t coded by Kevin Flynn. He was made by Alan Bradley. Kevin Flynn is the kind of man who spontaneously wanders out into the wastelands and makes the most important program on the Grid with a fucking mirror or whatever. He’s got all the raw talent and creativity, but not the focus and drive. Wheras on the flip side, it’s canon somewhere that Tron started being programmed two years before the events of the movie. And that the entire thing was Alan’s very slow ultimate gambit to take out the MCP, with plan A being Tron is completed and deletes MCP for being dangerous, and plan B being Tron is deleted by MCP, and the MCP going after independent security gives Alan all the proof he needs to pull the plug from the outside. Heads I win, tails you lose. And he spent two years working on it, apparently covering his ass with a paper trail (”Yes Mr. Dillinger I sent you a memo on my Tron project”), and also got in good with Gibbs to stop him from getting fired without reason. My point is, Alan Bradley is damn meticulous, and Tron’s coding definitely reflects that. So when it comes to repurposing, the standard work we see in Uprising wouldn’t be enough. Clu probably had to manually overwrite Tron’s code, and it probably was a long and frustrating process. Flynn’s coding probably has holes. Alan’s, not so much.

So, that’s the first reason. Rinzler would have to be much more complex than any black guard, because Tron’s coding would be deeply confusing and borderline alien to Clu, and much more meticulously written than any other program on the Grid, including Clu. I’d imagine if an ISO or User was ever repurposed, it would be the same story, on account of them being fundamentally different from anything Clu is used to.

Second of all, as I’ve mentioned, the biggest clue (no pun intended) is the fighting style. Just look at Tron fighting in the original, Uprising, and the flashback in Legacy. He stays planted on the ground. He’s not flipping around, either with an audience or without. Wheras Rinzler, as we all know, might as well be flying for all he stays on the ground. The man is made of unnecessary acrobatics, and let’s all be honest here it’s fucking awesome. But it’s about as far removed from Tron’s style as you can get. I mean obviously, both are getting the same badassery ranking, but Tron’s more of a ‘straightforwards brute strength’ style, while Rinzler is a ‘momentum and using opponents own actions against them’ kind of fighter. Both damn good, but very different. Rinzler’s ridiculously dynamic. And he’s like that the entire movie. A few meta posts suggest that he was programmed by Clu to drag out arena fights with his acrobatic style, but that’s only really taking in mind the arena fight against Sam. We do see him fight again, against Quorra on the Recitifier, and against Sam and Quorra on the Throneship. There’s no audience for those fights, and more importantly, there’s no Clu. If Rinzler was going to switch back to Tron’s sharp, efficient style, that would be the time. But instead, he sticks with the flipping, and handles things in the same style. Sure, he does it a lot faster, but that’s probably because Sam in the arena was being approached as ‘goddamn idiot walked right into this, might as well fuck with him first’, while Sam and Quorra later on are both taken as ‘this is serious lets get this shit over with quickly’. I feel like if it was just a badly corrupted Tron in there, he’d switch back to his normal fighting style the second Clu wasn’t watching. Muscle memory and all, or whatever the program equivalent is. But he doesn’t, because that was never Rinzler’s style to begin with.

And overall, just. Experience. I think it’s unanimously agreed that Rinzler does not have access to Tron’s memories, and is not supposed to, because you really don’t want your brainwashed enforcer to remember how much he hates you. That’s just common sense. So, even if Rinzler started out as just a brainwashed and corrupted Tron, he’s around for roughly 20 years, give or take however long Uprising lasts. And time moves slower in the Grid, so it’s more like over a thousand years by their standards I think. My point is, Tron’s around for about nine human years, Rinzler’s around for about twenty. Even if they’re not a split personality, Tron’s going to come out of the whole experience more Rinzler than Tron (AND WE ARE NOT EVEN CONSIDERING HIM DYING AT THE END OF THE MOVIE THEY DON’T SPECIFICALLY SHOW HIM DEREZZING SO HE’S ALIVE AS FAR AS I CARE FUCK YOU). And really, Clu is Clu. There’s no fucking way Rinzler had a safe and supportive enviroment during that 20-ish years. The man tortured and brainwashed him, and as we see, has some stunning anger issues. I think it’s a unanimous fandom agreement that Clu was majorly abusive towards Rinzler, because there’s no risk of retaliation, nobody to stop him, and Clu’s already got Issues over Tron. I mean, just re-watch Legacy (it’s on Netflix), and pay close attention to Rinzler’s body language. His posture becomes hunched over and submissive whenever Clu’s in the scene with him. He looks like he wants to bolt sometimes. It’s subtle, but the staging and body language definitely implies some very not good things happening to Rinzler during pretty much his entire life. So even if there’s no split personality to start with, Tron was used to either loyally serving a caring higher power (Alan, Flynn, and pre-coup Clu) or fighting against a tyrannical oppressor (MCP and post-coup Clu). His relationship with figures of authority was either something positive, or something openly antagonistic that he openly fought against. And on the flip side, Rinzler only ever served under Clu. He didn’t have the option to leave the abusive situation, or even openly resist it. His only options would have been to endure, and to quietly manipulate events and people to protect himself. Like, during the scene where he’s dragging Quorra off to what is implied to be some very fucking horrifying things? Rinzler doesn’t show any hesitation at all, and I’m willing to bet that his thought process is something along the lines of ‘if Clu’s focusing on her, he’s not paying attention to me’, because that’s what abusive situations do to your head. Everything comes down to survival, and protecting yourself. Your priorities shift dramatically, because they have to, or you’re not going to make it. Ironically, the best way to survive abuse is to pick up abusive traits to defend yourself, and there’s nothing wrong with protecting yourself from your abuser, the real struggle is trying to get rid of the abusive traits once you get out. Rinzler’s likely about as far away from Tron’s ‘holy paladin’ type as possible. They may not have been a split personality at first, but they would inevitably get there just from the vastly different lives and experiences. It’s nature vs. nurture.

As for Rinzler not talking, it’s kind of annoying that we never get a canon explanation for that. Personally, I figure that it’s either ‘severe damage to the talking parts makes speech painful and difficult’, or ‘Clu has ordered Rinzler to only speak when absolutely necessary’. Or possibly some combination of the two. Either way, it means we just don’t get Rinzler’s view on the matter, which deeply upsets me. Because, as I’ve mentioned, Legacy treats Rinzler like shit, a writer deserves to be slapped for the line “Tron, what have you become”, and my husband needs to be saved.

In summary, read Domestic, fuck the Legacy writers, Rinzler and Tron are different personalities, and if anyone wants to know my full opinions on what the fuck was up between Rinzler and Clu just ask because a full examination of that one is going to need it’s own post and a nice assortment of trigger warnings.

and I meant to go to bed and answer this in the morning but i kept writing this in my head so i gave up and got up to write this. i’m going to bed now. ur welcome everybody.

#tron #tron legacy #rinzler #clu #fandom meta #WHOO this one got away from me

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nofomoartworld · 8 years ago

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Hyperallergic: No Point of View Is the Best View of All: Artists Working Between 1952–65, Many of Whom Are Forgotten

Jean Follett, “3 Black Bottles” (1958), mixed media on wood, 11 2/3 x 19 1/2 x 1 3/4 inches, The American College of Greece Art Collection, Athens, gift of Takis Efstathiou Photo: Nicholas Papananias

Once upon a time, the art world — at least as it existed in downtown New York in the 1950s — was diverse in myriad ways. I mean, when is the last time you went to a big group show and came across a gaggle of Asian sounding names: Yayoi Kusama, Leo Valledor, Yoko Ono, Nanae Momiyama, Robert Kobayashi, Walasse Ting, and Tadaaki Kuwayama. How many Asians were included in The Forever Now: Contemporary Painting in an Atemporal World, which was at the Museum of Modern Art in New York (December 14, 2014–April 5, 2015)? What happened between the mid-1960s and the present, a little more than a half-century? Did Asians stop painting and go into computer programming? Hollywood erases Asians faster than you can say anime, and so does the art world, it seems.

These are just some of the questions spurred by the exhibition, Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965 at the Grey Art Gallery, New York University (January 10–April 1, 2017), which was curated by Melissa Rachleff, who has done an amazing and thorough job.

Rachleff deserves our thanks for amassing a wide and wild range of material, from art works to documentary photographs to gallery ephemera. She has managed to allot discrete areas to a variety of artist-run galleries and groups in what is a difficult space to organize. Rachleff seems to have left no stone unturned. Driven by curiosity, this is curatorial practice at its best.

For anyone who has come across the name Jean Follett, you can see two wall pieces by her in this exhibition, one of which is in a little-known collection in Athens, Greece. Follet, who studied with Hans Hoffman, began applying layers of paint to found objects placed in a shallow box, to which she added more objects. They are shadow boxes but they are not. They don’t look like anything else. They are hybrid works, but that term does not touch upon the strangeness of Follet’s art.

Follet was included in three shows at the Museum of Modern Art between 1959 and 1963, including The Art of Assemblage (October 4 – November 12, 1961), organized by William C Seitz. That catalog was the first place I saw her work, along with a number of other artists, including Bruce Conner, Jess, and Robert Mallary, alongside Lee Bontecou, Joseph Cornell, Marcel Duchamp, Jasper Johns, Marisol, and Robert Rauschenberg. That kind of openness to different aesthetic positions does not happen anymore.

I don’t know what happened to Follet, but I have long been curious about her work, and was more than happy to see it. Forty years ago, Thomas B. Hess mentioned her in passing in a review of the painter David Budd that appeared in New York Magazine (March 7, 1977). Here is the kicker line from that review:

Some lost their way. Where are Jean Follet and Felix Pasilis? A few died before their time (Gabe Kohn, Sam Goodman, Gandy Brodie). Most have persevered, however, in lives of not quite quiet desperation. They teach a bit, exhibit now and then, while slowly piecing together the historical puzzle that was scattered so brusquely about fifteen years ago, when it seemed, as if on a Monday, they were respected members of a cultural milieu and then, the next Friday, practically the whole art Establishment crossed the street to avoid having to say hello.

Hale Woodru, “Blue Intrusion” (1958), oil on canvas, 70 x 40 inches, Grey Art Gallery, New York University Art Collection, anonymous gift, 1958.35. Art (© Estate of Hale Woodru /Licensed by VAGA, New York, NY)

Hess writes that this sweeping change took place around 1962. All the artists he mentions have work in the NYU exhibition. I would venture that most are hardly known and the probability is high that none of them have something currently on display in a New York museum.

If 1962 is the dividing line between one art world and what we seem to have inherited — the moneyed domain of the big, slick, well-produced, and shiny, not to mention the big, industrial, and tastefully rusted — Inventing Downtown will bring you back to the period before the “art Establishment crossed the street.” It is before the art world became arty.

Between 1952 and ’65, the years covered by the exhibition, every kind of scene seemed to be percolating in a rather small geographic area of Manhattan. The epicenter was East Tenth Street, where a bunch of artist-run galleries opened and Willem de Kooning had a studio. Ratleff smartly organizes the shows around artist-run galleries, alternative spaces, and groups. Some were short-lived. Spiral, a collective of African-American artists who met in Romare Bearden’s loft on Canal Street, was active from the summer of 1963 until 1965, and had one exhibition. They were trying to negotiate their relationship to race, Civil Rights, and aesthetics. It could not have been easy. Ratleff also includes the Green Gallery, whose “program,” according to the free brochure accompanying the exhibition, “resulted in the narrowing of aesthetic possibilities and the marginalization of many artists.” If she left any gallery or alternative scene out, I am unaware of it.

In addition to Follet, there were many artists whose work I hadn’t seen before. There were also many surprises from familiar artists, including a garish, Bonnard-inspired “Portrait of Frank O’Hara” (1953-54) by Wolf Kahn. It looks as if the poet is wearing a pink and orange Halloween mask. A few feet away, on the same wall, is a lovely “Portrait of Jane Freilicher” (1957) — a close friend of O’Hara’s — by Jane Wilson. We know the portraits of O’Hara done by Larry Rivers, Fairfield Porter, and Alice Neel, but this one was new to me.

There are also early works by Jim Dine, Dan Flavin, and Allan Kaprow before they became famous for making signature works. Flavin’s piece “Apollinaire wounded (to Ward Jackson)” (1959), is made from a crushed can surrounded by oil paint and pencil on Masonite, mounted on plaster on pine in a shallow box. The title is carefully incised into the paint in the upper left corner, while the red hole at the top of the crushed can refers to the poet’s head wound, which he got in World War I.

Dan Flavin, “Apollinaire wounded (to Ward Jackson)” (1959–1960), crushed can, oil, and pencil on Masonite, and plaster on pine, 13 1/2 x 19 3/8 x 7/8 inches, collection of Stephen Flavin (© 2016 Stephen Flavin/ Artists Rights Society (ARS), New York)

There are abstract paintings by the African-American artists Norman Lewis, Hale Woodruff, and Ed Clark, which tell us that the legacy of the 1960s is one of exclusion. That this exclusion began during the Civil Rights movement does not speak well of the art world.

The other thing that struck me is the diversity of the work. There is no hierarchy between figurative and abstract paintings, nor are there distinctions about materials or processes. The thickly painted “Heaven and Earth” (1960) by Alfred Jensen is diagonally opposite the thinly painted “Ada Ada” (1959) by Alex Katz. The former is filled with arcane symbols, while the latter depicts the artist’s wife twice, wearing a plain blue dress and matching blue shoes. While Hess never says what led up to the sea change in 1962, one cause seems to have been the advent of hierarchical thinking. So you have Donald Judd writing in his essay “Specific Objects” (1965):

The main thing wrong with painting is that it is a rectangular plane placed flat against the wall.

And while this might have influenced the thinking of a lot of people, it does not mean he is right: it means that he has a forceful viewpoint powerfully expressed in unequivocal terms. But you can also find the paintings of John Wesley at the Judd Foundation in Marfa, Texas, and so maybe he was not as much of an ideologue as some people want to believe and take comfort in, because it makes looking easier when you know what to look at. Then there is Clement Greenberg’s snobbish term, “Tenth Street Touch,” which dismissed a lot of artists, including many who did not use a loaded brush or paint the figure. There is the much-ballyhooed claim that art had to be objective, abstract, pure, and even universal — all of which are questionable standards. I think collectors also had something to do with what happened. Whatever the collectors Robert and Ethel Scull did for the art world, they were self-serving narcissists, as Andy Warhol’s portrait “Ethel Scull 36 Times” (1963) demonstrates. And, of course, there’s commerce, from rising rents to the escalating prices of what looks good on a big, immaculate wall — the “post-easel” picture. These forces together helped produce the perfect storm. In some sense, the art world turned from a place of community to a place of authority.

Wolf Kahn, “Frank O’Hara” (1953‒1954), oil on canvas, 43 x 41 inches (courtesy the artist)

By bringing us back to the decade before the “art Establishment” decided what were the true, quantifiable markers of progress, Inventing Downtown reminds us that what we have now was not always the way it was. There are so many things to see and discover — from photographs of interactive paintings by Yoko Ono (Oscar Murillo, eat your heart out), to George Sugarman’s ‘Four Forms in Walnut” from 1959 (yes, you can carve wood and not be old-fashioned), to a strange and interesting “Self-Portrait in Fur Jacket” (1959) by Marcia Marcus (what happened to her?), to a group of gritty drawings by Emilio Cruz, Red Grooms, and Bob Thompson. Check out the work of Boris Lurie, who was in a concentration camp (1941-45), and then read about him and Sam Goodman and the NO! art movement in The Outlaw Bible of American Art (2015), edited by Alan Kaufman. This exhibition brings back a lot of what has been forgotten, overlooked, and thrown under the bus — no doubt with glee. It might not all be good but, to quote another statement that Judd made in “Specific Objects:”

A work needs only to be interesting.

By that standard, everything in this exhibition needed to be in this exhibition. The best thing you can do for yourself is go more than once. Buy the catalogue. Read the brochure while walking around both floors of the exhibition. Open your eyes and mind. Don’t miss the Lois Dodd painting of three cows hanging on the wall above the receptionist. I almost did.

Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965 continues at the Grey Art Gallery, New York University (100 Washington Square East, Greenwich Village, Manhattan) through April 1.

The post No Point of View Is the Best View of All: Artists Working Between 1952–65, Many of Whom Are Forgotten appeared first on Hyperallergic.

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spynotebook · 5 years ago

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Even in an industry that has produced a seemingly endless number of eccentric characters among the ranks of its publishers, Charlton Comics stands out. The Connecticut company was started by two men who had met in jail, after all. Despite that unlikely origin story, the publisher managed to attract an impressive roster of talented staffers and creators throughout its history. Important creators ranging from Steve Ditko, Joe Gill, and Sam Glanzman to Mike Zeck, John Byrne, and Roger Stern made important contributions at Charlton.

Editors including Al Fago, Dick Giordano, and Nicola Cuti oversaw a wide range of memorable titles and characters over the years, including Blue Beetle, Captain Atom, E-Man, Ghost Manor, The Many Ghosts of Doctor Graves, Peter Cannon, Thunderbolt, and a long list of of others. Famously, when most of Charlton’s superhero characters were acquired by DC Comics in 1983, they ended up partially inspiring many of the characters in Alan Moore‘s and Dave Gibbons‘s Watchmen.

From the unlikeliest of beginnings, the legacy of Charlton Comics lives on in many ways, with characters like The Question and Captain Atom, the aftermath of Watchmen, and even the current Charlton Neo publishing line.

The original Charlton line contains countless lesser-known comics worth revisiting in the decades since they were published. Reviewing Craig Yoe‘s The Unknown Anti-War Comics recently, I was surprised by a number of memorable tales from the Charlton titles, particularly the Charlton Premiere story Children of Doom by Denny O’Neil and Pat Boyette, which Alan Moore has cited as among the comics that stand out to him from the era.

Browsing through the listings for tonight’s Comic Connect session and admiring that impressive run of high-grade Space Adventures issues they have up for auction, I noticed another Charlton comic that’s worth a closer look in the context of the present day: Space Adventures #7, cover-dated July 1953.

The blurb on the cover makes the theme of the feature story — written and drawn by Dick Giordano — fairly clear:

In this issue… “Transformation”, the Hard-Hitting Story of Scientists’ most Recent Revelation

This is a reference to the procedures which were sometimes called “Sex Transformations” during that era. In particular, the likely inspiration for this story is Christine Jorgensen, a former U.S. Army clerk who was the first American to have a sex change operation, and whose story hit the New York Times on December 2, 1952. Jorgensen’s experiences subsequently created significant mainstream news coverage of transgender issues in the U.S.

I’m certain that sifting through several news stories from that moment provides a far from complete picture of the tenor of the resulting national conversations, but reading through some of these early 1950s newspaper stories about Jorgensen and others on the subject is still downright startling from the perspective of the current day. The 1950s coverage all seems so very… calm, by comparison. Politics didn’t dominate the conversation of the issues during that era. People were curious, experts were found to provide basic explanations. In a few articles, some scientists noted that it would take quite some time for everyone to begin to understand these issues more fully, and that the related mental and physical health care would continue to improve.

As is reflected in Giordano’s Space Adventures story as well, it’s probably worth pointing out that the country and the world had very many other issues on our minds in those early Cold War moments. The Soviet Union was developing its atomic bomb program with haste, Mao had established Communist rule in China, and America’s national security braintrust determined that the surest way out of this situation was to use its domestic propaganda machinery to traumatize us into believing we might all die in nuclear fire unless we built bigger, better, and more weapons than anyone else did.

In the face of freaking out that the events depicted in the comic book World War III #1 that same year might become real at any moment, the notion that transgender healthcare was becoming a topic of national discussion probably didn’t seem like something worth getting mad about.

It’s hard not to wonder if this is why Space Adventures #7 hasn’t drawn much particular notice until recently. The backstory of Giordano’s tale is the impending doom of World War III, and a small group of scientists who decide they’d be better off getting away from Earth by taking a space ship to Mars. The transgender themes here form a subtle but complex undercurrent for most of the story. The main character, who is one of the scientists involved, is said to be in a relationship with his (female) assistant. Except that he’s so indifferent about her that he hadn’t intended to take her to Mars with him until she confronted him about it, having overheard the plan. During the rocket ride to Mars, she attempts to encourage his attention by noting that she’ll be the only woman on Mars. But he responds by thinking that this move is rather presumptuous of her.

Ultimately, the group’s rocket crash lands on Mars, and it initially appears that the main scientist is the only survivor. He thinks to himself how lonely it will be, and decides to fill the time alone by developing and undergoing sex conversion procedures for himself. The unspoken implication seems to be that he could only finally do this when he was the last person left in the world. When there was no one left to judge him for it.

That’s just my interpretation of the story, and there could certainly be others. You can read Space Adventures #7 here and decide for yourself, and see how it all turns out in the end too.

Meanwhile, I’m going to check out this list of Space Adventures issues at Comic Connect again and see what other subjects they might have taken on while trying to write their way towards happily ever after during the Cold War.

The post The Surprising Trans-Themed Story in Space Adventures #7 from 1953 appeared first on Bleeding Cool News And Rumors.

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mrjeremydylan · 7 years ago

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My Favorite Album #228 - Ketch Secor (Old Crow Medicine Show) on Bob Dylan ‘Infidels’ (1983)

Old Crow Medicine Show frontman Ketch Secor joins me to relive his Bob Dylan awakening, as we delve into the underrated 1983 classic 'Infidels'.

Ketch explains how his 12 year old brain was primed to fall for the record, how it awakened new emotions in him when he didn't really understand the lyrics, why middle-aged Dylan was his epitome of cool, how 'Union Sundown' fits amongst the union song tradition, what it's like to co-write with Dylan twice in the same unconventional way and whether the next OCMS album will be their 'Infidels'.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in Apple Podcasts here or search ‘My Favorite Album’ wherever you listen to podcasts.

My Favorite Album is a podcast on the impact great music has on our lives. Each episode features a guest on their favorite album of all time - why they love it, their history with the album and how it’s influenced them. Jeremy Dylan is a filmmaker, journalist, concert promoter and photographer. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the film Benjamin Sniddlegrass and the Cauldron of Penguins.

If you’ve got any feedback or suggestions, drop us a line at [email protected].

LINKS - Buy our album of the episode on iTunes here.

- Old Crow Medicine Show’s website, Twitter, Instagram, Facebook page and on iTunes.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

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Veronica Milsom (triple J) on The Shins ‘Wincing the Night Away’ (2007) 201. Charles Esten on Bruce Springsteen ‘Born to Run’ (1975) 200. What’s Your Favorite Aussie Music? with Benmont Tench, Duglas T Stewart, Natalie Prass, Sam Palladio and Jeff Greenstein 199. Showrunner Jeff Lieber on Gregory Alan Isakov ‘The Weatherman’ and how music fuels his writing process 198. Jack Colwell on Tori Amos ‘Boys for Pele’ (1996) 197. Benmont Tench on playing with Bob Dylan, Jenny Lewis and Ryan Adams and the worst advice he’s received 196. Ella Thompson (Dorsal Fins, GL) on Renee Geyer ‘Moving On’ 195. The Shires on Lady Antebellum ‘Own the Night’ (2011) 194. Duglas T Stewart (BMX Bandits) on Beach Boys ‘Love You’ (1977) 193. Dan Soder on Queens of the Stone Age ‘Like Clockwork’ (2013) 192. Kingswood on The Beatles ‘Magical Mystery Tour’ (1967) 191. Comedian Becky Lucas on Michael Jackson ‘Bad’ (1987) 190. PVT on Brian Eno ‘Another Green World’ (1975) 189. Middle Kids on My Brightest Diamond ‘Bring Me The Workhorse’ (2006) 188. The Bitter Script Reader on Tom Hanks ‘That Thing You Do’ (1996) 187. Carly Rae Jepsen ‘Emotion’ (2015) with CRJ Dream Team Roundtable 186. Sarah Belkner on Peter Gabriel ‘So’ (1986) 185. Mark Hart (Crowded House, Supertramp) on XTC ‘Drums and Wires’ (1979) 184. Emma Swift on Marianne Faithfull ‘Broken English’ (1974) 183. Owen Rabbit on Kate Bush ‘Hounds of Love’ (1985) 182. Robyn Hitchcock on Bob Dylan ‘Blonde on Blonde’ (1966) 181. Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991) 180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

#podcast #ocms #old crow medicine show #ketch secor #wagon wheel #jokerman #mark knopfler #robbie shakespeare #sly dunbar #sweet amarillo #inifdels #bob dylan #dylan

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yesterdanereviews · 8 years ago

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Tron: Legacy (2010)

SYNOPSIS: Kevin Flynn, who defeated Master Control with the aid of Tron, mysteriously disappears some years after his victory, leaving behind his young son Sam. Some twenty years later, Sam gets word from his Father’s old friend Alan, that he has just received a message apparently from Sam’s Father, and when he goes to investigate his old arcade, finds himself transported to The Grid, a living reality created within his company’s mainframe. Sam is captured and made to participate in The Games; competitive matches against other ‘programs’ in which the loser is erased. Sam is freed by Cora, another program, who is hiding away with Sam’s Father against Clu, another program created by Kevin Flynn who is trying to create a ‘perfect world’ and has developed against Kevin’s wishes, ultimately seeking to build an army and lead it into the real world to cure its imperfections. Sam, Kevin and Cora then set out to find a way to stop Clu and the damage he seeks to do against The Grid and the real world...

THOUGHTS/ANALYSIS: Tron: Legacy is a 2010 sci-fi film, and the sequel to the 1982 film Tron. The film starts off by introducing Sam Flynn, son of Kevin, the protagonist of the first film, who goes missing when Sam is seven. Fast forward some twenty years later, and we Sam is grown up and is the CEO of Encom, the company that Kevin took over at the end of the first film. However, he doesn’t get involved in the company at all, and shirks his responsibility other than to play a prank on the company’s board once a year or so. Sam comes across as rather arrogant and a bit spoiled, but you know that the events of the film will do something to change that. Alan, who appeared in the first film as Kevin’s friend, comes to find Sam and tells him he has received a message from his Father, and so Sam goes to investigate by returning to Flynn’s arcade, his Father’s old business. He finds a secret computer which when he activates transports him into The Grid, a digital city where programs are people, much like in the first film. Sam is captured and forced to take part in some gladiator sports-type events where the loser is subject to “de-resolution”. Sam breaks out with the help of Cora, who leads him to his Father, who tells him that The Grid is now under the control of Clu, another program that Kevin created who was designed to build the perfect world, but has developed in a way that Kevin did not foresee, wanting to cleanse the world of anything that doesn’t fit into his idea of order. The story is...okay: Clu is hardly a standout or unique villain, and we never get to see the wider world of The Grid, so it seems the viewer is kept on a very narrow road throughout the film that makes it feels a little empty. The story works, but it doesn’t make much of an impact.

I think the main problem that Tron: Legacy faces is that Tron was an original and unique film of its time: it was one of the first films to use CGI and heavily rely on digital special effects, and that offered something new that had never been seen before. When we return to that same setting in Tron: Legacy, we’re not experiencing that same sensation. The style is very similar to the first film, and the updated visuals offer a new perspective on some of the classic designs of the first film, but I imagine you would have to watch the first one to appreciate that. All the throwbacks to the first film are pretty good, including when Sam first enters the arcade and switches the power on, the retro arcade sounds and the 80′s soundtrack flare up and you get the feeling you’re right back in the first film. It’s a good nostalgia kick, but doesn’t really add anything to the story. The story itself is a simple case of stopping Clu before he takes over the world, and none of the other elements of the plot really add up. For example, I never really understood the point of the whole ‘ISO’ creatures who apparently live in The Grid and who are supposedly a new form of life; it just never went anywhere or served any purpose. Kevin and Sam’s relationship is perhaps one of the key elements of the film, which ties things up nicely, but at other times feels a little cliche.

As I have mentioned, the film can’t really innovate like its predecessor, as CGI and digital effects are now par for the course for this sort of film. The soundtrack by Daft Punk is decent, but I often felt like it was confused whether it wanted to be modern and techno, or retro and synth heavy. For a film that goes on for two hours, there is really little to talk about in terms of content. I am not quite sure how to rate Tron: Legacy. It is not a bad film, but it lacks the complexity and uniqueness of the original. It is at times confusing and lost, but also re-imagines some of the iconic sequences of the original, and captures its look and feel with the advances in CGI. The deeper allegory of the original with the ‘programs’ worshiping the ‘users’ as religious icons and saviours is almost done away with in favour of a ‘stop the bad guy from taking over the world’ plot, which has little else to back it up. I imagine trying to watch this film without having seen the first one would leave a lot of unanswered questions, so it’s not an ideal point to step into the franchise. Like I say, I don’t think it’s a bad film, but it does little to develop or evolve the franchise, or offer anything that we haven’t seen before.

#movie #movie review #tron #tron: legacy #sci-fi #film #film review #2010 film

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mrjeremydylan · 8 years ago

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My Favorite Album #181 - Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991)

Dave Mudie, the deft powerhouse drummer who has been the engine room of Courtney Barnett's CB3 since 2012, joins me to talk about the album that changed music for him - and the rest of the world - Nirvana's iconic album Nevermind.

We talk about how a love for Nirvana united Dave, Courtney and bassist Boanes Sloane when they first played together in country-psych band Immigrant Union, the influence of Dave Grohl on his playing in songs like Pedestrian at Best and Depreston, being gifted a bottle of scotch by Grohl at a gig, running after a Krist Novoselic lookalike by mistake, the unique perks of the power trio formate that Nirvana, Led Zeppelin and the CB3 all used to their advantage - and what Dave, Boanes and Courtney have been playing in the tour bus while traversing the globe for the past few years.

We also delve into how producer Butch Vig used the ghost of John Lennon to convince Kurt Cobain to embrace more refined production, why Cobain later disavowed many aspects of the album, the track that almost didn't make it on the album due to human error, how the record label underestimated the demand for the album, and whether an album like Nevermind could have the same impact on the direction of music today.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at [email protected].

LINKS

- Dave Mudie on Instagram. Hear his great drumming on Courtney Barnett’s album, second EP and one off tracks by going to Milk! Records and buying them here.

- Buy ‘Nevermind’ here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

#podcast #dave mudie #nirvana #gave grohl #cb3 #courtney barnett #boanes sloane #immigrant union #grohl #kurt cobain #krist novoselic #smells like teen spirit #in bloom #butch vig

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