The energy I gained from eating the first three-quarters of a large pizza enabled me to then eat the last quarter of the same large pizza.
My favourite kung-fu themed wholefoods store is probably ‘Polenta The Dragon’.
My first two farts of 2016 were (in chronological order) half-awake and bedroom-located, and fully-awake and kitchen-located respectively.
I’ve assembled seven (Spotify-powered) playlists containing some of my favourite music from this year. The first six playlists have their own ‘vibe’; the seventh is a selection of my absolute favourite tracks from the year, irrespective of ‘vibe’.
The squid-related lack of clarity in Admiral Ackbar’s diction: a discommodity when issuing verbal commands in a space battle?
I’ve never had an exorcism. No wonder all the other boys used to laugh at me at the ghost toilets.
Tim Sterne rounds up ten crimes against musical interestingness committed during the otherwise sporadically musically interesting period of the 1990s.
The 16-bar call-and-response section that is the centrepiece of the Young Americans track ‘Right’ is one of my favourite Bowie moments. The Cracked Actor documentary features some in-studio footage of Bowie describing his vision for the song to his backing vocalists Ava Cherry, Robin Clark and Luther Vandross, and when I visited the ‘Bowie Is…’ exhibition at the Australian Centre for the Moving Image last week I was thrilled to be able to study the very same handwritten vocal guide featured in the video.
Unfortunately I cannot reproduce the page here. Photography at the exhibition, much like the film clip to Bowie and Mick Jagger’s rendition of ‘Dancing in the Streets’ in certain forward-thinking nations on the grounds of taste, is expressly forbidden.
Once during practice for oral French my teacher asked me what my favourite TV programme was and I said Docteur Qui. She then asked me to describe it. Docteur Qui is difficult enough to explain in English and I’m afraid my sparse French didn’t suffice. She suggested if asked this question during the exam I should tell a white lie and pick something simpler. I chose Roobarb and Custard, a cartoon about a chat et un chien, which seemed more straightforward, but it didn’t help because I failed oral French anyway.
I don’t in any way mean this as a slight — Matthew Waterhouse (who portrayed Alzarian boy genius Adric in the late Tom Baker, early Peter Davison era of Doctor Who) seems to possess a charming naïveté and capacity for non sequitur that reminds me of the most sublime moments of Karl Pilkington.
The above, taken from his blog, is a recent example.
From 1978 until the end of their partnership in 1993, Brodsky and Utkin collaborated on etchings dense with precarious scaffolding, classical domes, huge glass towers, and other visionary architecture that referenced everything from ancient tombs to Le Corbusier’s sprawling city plans.
I’d never heard of Soviet artists Alexander Brodsky and Ilya Utkin or their intricate architectural fabulations. Hyperallergic reports on the publication of the third edition of their collected prints.
I’m home alone this weekend, so what better time to become acquainted with ‘Shoot the DVD Player’, a spanking new movie review podcast from Tim and Anna — or as I’m choosing to think of them, our new Margaret and David.
Two shows I’ve been enjoying in recent weeks: the Welsh-language rom-com Cara Fi (viewable with English subtitles on BBC iPlayer) and Toby Whithouse’s period spy thriller The Game — both of which benefit from the writing talents of the ever-awesome Sarah Dollard.
The fourth issue of pinknantucket press’s Materiality journal (funded by a Pozible campaign) is now available to buy in hard copy and digital form. The theme for this issue is ‘surface’, and the contributors have approached the topic in all kinds of fascinating ways. Also check out the recent ‘speaking scars’ series on the pinknantucket press blog.
I was reading the Wikipedia entry for an episode of Doctor Who I was watching last night when I happened upon this anecdote (new to me but apparently well-known) about the broadcast of the story on Chicago station WTTW being interrupted by a pirate transmission.
The first occurrence of the signal intrusion took place during then-independent station WGN-TV’s live telecast of its primetime newscast, The Nine O’Clock News. During Chicago Bears highlights in the sports report, the station’s signal was interrupted for about half a minute by a video of a person wearing a Max Headroom mask, moving around in front of a sheet of corrugated metal, which imitated the background effect used in the Max Headroom TV and movie appearances. There was no audio other than a buzzing noise. (…)
Later that night, around 11:15 p.m. Central Time, during a broadcast of the Doctor Who serial ‘Horror of Fang Rock’, PBS member station WTTW’s signal was hijacked using the same video that was broadcast during the WGN-TV hijack, this time with distorted audio.
As Chris Knittel and Alex Pasternack’s comprehensive account of this infamous ‘broadcast intrusion’ concludes, ‘there was no clear motive, no clear message, and thirty years on, no clear perpetrator’.
We are lead to believe that if the outer shell of [the TARDIS] becomes coated in green jizz, then the occupants suffocate in about four minutes.
Must confess to being slightly alarmed to encounter this digression while reading an otherwise jizz-free history of the TARDIS interior roundels.
From Bill Hayes’s New York Times essay on maintaining what might be termed ‘writing fitness’:
Then I woke one day, and a line came to me. It didn’t slip away this time but stayed put. I followed it, like a path. It led to another, then another. Soon, pieces started lining up in my head, like cabs idling curbside, ready to go where I wanted to take them.
I like this as a description of how it feels when a new project starts to find its form and shape.