Category Archives: podcast
With the official release of Artpop earlier this week, and Lady Gaga’s press thrust about the new album, some interesting news has come out regarding the star. She is apparently addicted to marijuana claiming to smoke up to 15-20 doobies a day. Wow. That’s a lot. Granted she says it was because of breaking her hip earlier in the year, but still… she’s either exaggerating or just really really messed up. In the Madonna/Salvador Dali tradition of “There is no such thing as bad publicity,” stupidity is always the exception. Either that, or she’s the new Snoop Dogg.
Before we get to the album, Lady Gaga has also released an app to go along with the album called, what else, Artpop. It’s very psychedelic and possibly, if you’ll excuse the pun, drug driven, and attempts to interact with the user and allow them to interact with other little monsters.
You begin your journey with the album’s opening song and concept, “Aura.” The app appears that it should be able to play other tracks from the album as well, but that never worked on my iPhone at least. I guess this is a bit fun, and useful if you want connect with other monsters, but otherwise it’s only fun in an “Oooh, shiny” kinda way.
On to the actual album, Artpop, I have to say I’m not all that impressed. That said, when I first heard the advance single “Applause,” I hated it, then days later it had grown on me to me my favorite song of that moment. “Venus” hit me the same way, at first dislike, but then growth. Weird.
Not fond of the second single, “Do What U Want” with R. Kelly, either. The love song to “Dope” kinda stands out because of Gaga’s comments, but doesn’t seem like a hit to me either. Only “MANiCURE” and “Gypsy” show any first listen promise to my ears. Artpop is sadly full of fairly standard and substandard dance music. I’ve been a little monster since the beginning, but unless all the other songs on this collection start playing fungus and growing on me, I think she may have stumbled with this effort.
Our recent vacation included a short stay at the newest resort in Walt Disney World – Art of Animation. Originally it was to be called Legendary Years, a sister resort to Pop Century. As Pop Century was a tribute to the decades of the last half of the twentieth century, Legendary Years would cover the first half, 1900-1950. After 9-11 however, for whatever reason, construction halted for several years.
If you like to see a video of what it looked like during those non-construction years, my friend John Corigliano, of the Your Ear to the World podcast, did a walk-through with his camera. You can see that here. Thankfully construction started again, but with a new objective and name, Art of Animation, with each building dedicated to a different recent animated feature.
The family suites are in the Lion King, Cars, and Finding Nemo buildings, with the single suites in the Little Mermaid buildings. For our time at Art of Animation, we stayed in the Lion King suites, the buildings being surrounded by giant statues of the various characters and scenes from the movie. Outside of our building was Pride Rock, the Elephant Graveyard, the “Hakuna Matata” log, and Rafiki’s home, with giant statues of all the favorites in and around. It was something.
Our suite rocked. Not only was it fairly big, almost colossal compared to our cabin on board the Disney Fantasy, the room was literally bursting with iconic Lion King jungle décor. The carpeting, the bedspreads, the furniture – it was all jungle themed. The TVs were large flat screens with an electronics deck under them to both recharge your phones and other devices, but you could also hook up your video equipment to watch on the big screen.
Our dining room table collapsed into the extra Murphy bed for a fun twist, and came with stackable chairs. The suite even had a small, but almost complete kitchen. The bathroom even got into the act, with a cavernous shower stall in a beautiful orange sunset as shown in the movie. This came complete with orange smelling soap and shampoo. What a terrific extra accent! This was a great suite, right down to the bathroom. And in the hotel itself, even the elevators were jungle-like in motif and temperature, almost lush.
The doors were unlocked by our Magic Bands, which also allowed us access to the parks, and we could purchase items in the hotel and in the parks as well with them, including FastPasses. The lobby, staffed by the usual wonderful customer service folks, is decorated by animation sketches from the films featured there, from original ideas to final products, almost like evolutionary stages.
The food court, Landscape of Flavors, is reputed so good that folks from Pop Century will walk over to have breakfast, lunch, and dinner there. Some of it was okay, and some really good. I’ll be talking about some of their offerings over at French Fry Diary in the near future, so keep an eye out.
Also, if you’d like a more personal look at Disney’s Art of Animation Resort, The Bride and I talk about it on the newest episode of our new Make Mine Magic Podcast. You can hear it here. Check it out.
In the planning stages for years, my friend Rob Kelly, who you might know better as the writer and co-creator of the fabulous webcomic Ace Kilroy and the founder of The Aquaman Shrine, has finally released Hey Kids, Comics! True-Life Tales from the Spinner Rack.
Hey Kids, Comics! is a collection of essays, compiled by Rob Kelly, about the love and nostalgia of comics. These stories, by media and industry professionals like Alan Brennert, Glen Weldon, Evan Narcisse, Steve Englehart, J.M. DeMattieis, Paul Kupperberg, Elisabeth Rappe, Sholly Fisch, Doug Slack, and Roxanna Meta, among many others, are experiences and remembrances of the joy of comics.
I love this book, and I’m so proud of my friend for putting this together. I can’t recommend Hey Kids, Comics! enough. You can check out Ray Cornwall‘s and my interview with Rob Kelly on The GAR! Podcast here, and you can buy the book here. Check it out.
I have known Derrick Ferguson a long time as an online friend, and I’m proud to consider him a friend, even if we’ve never met in real life. For those of you out who think I’m an authority on film, I bow to Derrick as a master. He’s given me great writing advice over the years, but none so informative as the lessons I have learned simply by reading his work.
There’s a story I’ve told Derrick, and I guess (I’m really thinking positive here) the whole world as well on the GAR! Podcast, about a visual aid I was using at a point where I was trying to write in a pulp style. It was a sign I taped over my desk that read “I want to be Derrick Ferguson when I grow up.” That’s how well the man knows his genre. Derrick knows pulp, and he knows it so well, he has created a pulp hero for a new age – Dillon.
Dillon is a man who would make Doc Savage proud to know him, that’s how pulp he is. He is a man of skills, of integrity, of style, of exotic and mysterious background, he’s a lover, he’s a fighter, and most importantly he is a man of his word. Dillon is that rare entity in this dark world of ours – he is a likable hero we can root for, and a man who will win for the right reasons.
In the second novel (although it doesn’t much matter in what order you read the books) in the series, “Dillon and the Legend of the Golden Bell,” this pulp hero for a new age faces all the threats and situations that make the genre special. He must find an ancient artifact of great power, stop a civil war in an exotic island nation, and save the entire planet from the coming of a demon, along the way fighting femme fatales both human and shape-shifting, jet pack soldiers, warring airships, giant barbarian kings, and old fashioned tough talking gangsters. This was a hoot.
When was the last time you read a book that was fun? When was the last time you read a book where you cheered out loud for the hero? Where you hissed the bad guys? Where you laughed at the quips of the good guy? This is the book (books), and the hero for you. Check out “Legend of the Golden Bell,” and the rest of the books in the series, as well as all of Derrick’s other work. It, and he rocks.
I suppose I would be remiss if I didn’t write at least something about the end of “Breaking Bad” last night. I had tried to watch the opening episode when it first aired, and just couldn’t get into it. A man running around the desert in his tighty whities? Come on. A couple years later, at the urging of friends and other folks online whose opinions I respect, I tried again. Once I got through that first episode, I was hooked, and from there I stripped the rest of the series, watching the final two seasons as they aired.
The show ended last night, and mighty props go to creator Vince Gilligan and his staff of writers for molding an ending that was precise and complete in tying up loose ends and completing the story begun five seasons ago. Justice is served in an anti-hero kinda way, good and evil balanced, and in a way, the good guys win and the bad guys pay. Brilliance.
Comparatively, it doesn’t let the viewers decide as “The Sopranos” did, and it didn’t do what “Dexter” did much to the sour reprisal of fans. It’s ironic that when “Dexter” ended last week, it was almost at the same point as “Breaking Bad” was last week. Maybe “Dexter” just needed one more episode? In my opinion however, if that last scene with Dexter alive had been cut, that ending would have pleased me. Dexter alive ruins the symmetry. And getting back on subject, symmetry is what “Breaking Bad” was all about.
I was really pleased with the ending. If you want to hear more about the show, my friend and podcast partner Ray Cornwall did a pre-finale episode about “Breaking Bad” last week. You can hear it here.
In the episode we discuss PrinceLess, inspirations, publishing, art styles, teaching, Breaking Bad, Death, Prince, Batman, and the upcoming releases from Action Lab Comics – all that and more!
So Ben Affleck will play Batman in the upcoming sequel to Man of Steel, likely to be called Batman Vs. Superman.
The announcement came late last night while my friend Ray and I were recording this week’s GAR! Podcast. Had we known, we surely would have been discussing it. Instead you get the usual Prince, Dave Sim, Avengers, and French fries mix of goodness, lucky you. You can hear it here, shameless plug.
Well, he’s no Michael Keaton. I mean, it could be worse. He could be Michael Keaton.
What’s that you say? Michael Keaton was one of the best Batmen, he was Batman. Yeah, right. Y’all got selective memories. I remember it quite differently.
I remember people screaming and whining that Mr. Mom/Beetlejuice was the worst choice for a serious version of Batman. The balding no-chinned comedian was no Batman. In the pre-internet world of 1988, this was a horrible mistake, and the angry fanboy letters burning the pages of the Comics Buyer’s Guide were proof of it.
And now, over two decades and two movies later, Keaton is considered one of the best Batmen. So why are people so riled up about Ben Affleck? Because Daredevil was a dud in the theaters? Hell, I liked Daredevil, and liked the director’s cut even more. I even liked Elektra.
And even if I’m wrong about that, what about Affleck’s Oscar and other awards and nominations for acting, writing, and directing? He even has comic book cred beyond Daredevil as an actor in the Kevin Smith films and playing George (Superman) Reeves in Hollywoodland. Talk Gigli and Pearl Harbor all you want, you can’t take Argo or The Town away from him. Everyone has hits and misses.
I think Ben Affleck can pull off Batman and Bruce Wayne like a pro. I dare say he might be a better Batman than anyone else we’ve seen. And yeah, I’m saying that based on his Daredevil performance. I stand behind Ben as Batman. If Michael Keaton could do it…
“Jocko Homo” by DEVO
Over on The GAR! Podcast, as part of the Robin Renee Blog Tour, Ray and I interviewed Robin for about a half-hour or so. One of the things that came up in conversation was transformative moments in music on “Saturday Night Live.”
In those early seasons of the program I was exposed to many new musical experiences that shaped and influenced how I perceived music, and in the growing punk and new wave atmosphere of the late 1970s, “SNL” was full of new musical experiences. Both Robin and I were affected by an appearance by David Bowie. Ray talked about seeing Fishbone, although much later. I remember being amazed by Patti Smith, Elvis Costello, The Specials, The Clash, the B-52s, Gary Numan, and yes, DEVO.
I wouldn’t be as hardcore into the band as I was later in the Freedom of Choice and New Traditionalists years, but the visuals and sounds stayed with me. I was especially drawn to their cover of the Rolling Stones’ “(I Can’t Get No) Satisfaction,” and that it did what all covers should seek to do, overtake the original. I still to this day feel the DEVO version is superior to the Stones’.