I’ve heard a lot of shade thrown at Pallbearer in the past, mostly to the effect that they are “overrated.” Certainly they got a whole lot of press last year, and hey, Pitchfork was drooling over them, which I can see turning people off. I ended up largely ignoring them because most opinions that I heard were dismissive. But I’ve listened to Foundations of Burden and I have Thoughts, less about the music and more about the reaction to it.
I had my “recently added” playlist on shuffle and I wasn’t paying much attention until about 2 minutes into this song, when I remembered very suddenly why I really like Jenny Lewis.
I don’t have a whole lot of thoughts about The Voyager overall, but I have a feeling that this song’s going to be cropping up on my playlists for a good long time.
I’m trying out a side blog for music posts and maybe like words that I write over at echochambermusic, Maybe it’ll die an ignoble death, but maybe just maybe I’ll at least remember to post all of my jams over there.
For fans of: Dope Body, Double Dagger, PAWS, Chelsea Light Moving, Eat Skull, Dinosaur Jr., Nu Sensae, Nirvana.
Listen to this if you’re: seeking some crunchy, can’t-help-but-bob-your-head goodness, a 90s grunge fan who’s looking for similar stuff but made more recently, a fan of Chrono Trigger and good music.
These guys are GOOOOD and is catchy as hell!
Also, if you’re into RPG video games at all and haven’t played Chrono Trigger, check it out because it’s one of the best RPGS ever and pretty advanced for its time! (CT’s 25th anniversary is next year.)
Remember how everyone’s favorite part of Heath Ledger’s performance in Brokeback Mountain was his almost painful physical repression, his reluctance to express any emotion that wasn’t punching or SHUTTING DOWN? His voice was closed in on itself in a raspy burr — he fell to the ground rather…
"You poor misled things — Kristen Stewart was always her truest self in high-dandy, soft-butch form."
The phrase “rubber bullets” is often used to describe what are more accurately termed “rubber-coated metal bullets”, heavy steel projectiles with a minimal coating of 1mm or 2mm of rubber, that are regularly used to lethal effect alongside — not instead of — live ammunition.
Rubber-coated metal bullets are fired from metal tubes placed on the end of high-velocity rifles such as the M-16s commonly used by Israeli troops. Tubes contain around 8 rubber-coated, cylindrical, steel projectiles, which are powered by blank rounds fired from the gun’s magazine.
Writing in the medical journal, The Lancet, [doctors] said firing the bullets at civilians made it “impossible to avoid severe injuries to vulnerable body regions such as the head, neck and upper torso, leading to substantial mortality, morbidity and disability.”
They added: “We reported a substantial number of severe injuries and fatalities inflicted by use of rubber bullets when vulnerable upper-body regions such as the head, neck and upper torso were struck.
“This type of ammunition should therefore not be considered a safe method of crowd control.”
1. At some point a composer thought to himself, “You know what would be cool? A musical about cats where all the characters are cats.”
2. The composer likely shared his idea with friends, family members, and colleagues. At least a few people in his life said, “A musical about cats where all the characters are cats? That sounds like a good idea for a musical.” These loved ones apparently harbored no ill will or malice toward the composer, and their support was genuine and not part of any elaborate plan to humiliate or ruin him.
3. Around this time, the title “Cats” was conceived to really play off of the overwhelmingly cat-centric content of the musical.
4. A first draft was written. This draft included moments where cats sing, dance, and tell stories, setting up a conceptual framework wherein the cats are magic and vying for a spot in cat heaven.
5. A second draft was written in which the composer, who was actually already kind of successful, read over his musical about cats called Cats where all the characters are cats and attempted to identify weaknesses and correct them. In spite of this, the second draft of Cats was still a musical about cats.
6. The song “Memory,” the grand dramatic climax of Cats, was completed. The final crescendo of the song, and thus the emotional apex of the musical about cats, featured a cat belting the lyric, “Touch me!” The composer played this song for his father, who continued to love and respect his son and did not say anything to the tune of, “This is ridiculous and you are wasting your life.”
7. The musical about Cats was pitched to a producer who did not immediately kick the composer out of his office. In fact, the producer agreed that the musical about Cats was a good idea for a musical and was willing to put up a great deal of money, like fucking $5,000,000, to produce the musical for a public audience. That $5,000,000 is not a metaphorical $5,000,000 exaggerated for emphasis, but the literal amount of money spent to produce Cats, a musical about cats where all the characters are cats.
8. Auditions were held. People of sound mind and solid judgement willingly chose to participate in these auditions. It is conceivable that a very talented young actress on the cusp of a promising career was rejected by the producers for not sounding enough like a cat.
9. A choreographer, makeup artist, costume designer, and set designer were all hired, knowingly attaching their names to the project. None demanded to work under a pseudonym, none were being blackmailed, and none were working on the musical in order to pay back a blood debt.
10. During rehearsals, the director likely angrily shouted, “No, damn it! More like a cat!”
11. Cats, the musical about cats where all the characters are singing and dancing cats, opened to the public. It was neither financially nor critically a complete and massive failure. Without having to be motivated by morbid curiosity, actual human beings paid money to see Cats, and theater critics, with no trace of sarcasm or irony, declared Cats a hit, encouraging even more mentally stable adults to pay their hard-earned cash to see other mentally stable adults dress up like cats and dance around for two hours.
12. Not satisfied with simply existing, Cats won the Tony Award for best musical in 1983, permanently recording in time a moment where three other musical productions were told, “I’m sorry, but there is a musical with singing and dancing cats that is better than your musical.”
13. Cats has since been translated into over 20 languages, meaning this isn’t just one of those white people things. Some productions have grossed over $155 million dollars, up $155 million dollars from what rational thought would lead one to guess it would gross. Cats went on to run longer than any other Broadway musical in history. No, seriously. I shit you not, it continues to be a beloved musical today.
i think we all need to take a moment and revisit this in this trying time.
“As Arnold points out, there is an otherwise inexplicable shift in direction in the Piccadilly line passing east out of South Kensington. “In fact,” she writes, “the tunnel curves between Knightsbridge and South Kensington stations because it was impossible to drill through the mass of skeletal remains buried in Hyde Park.” I will admit that I think she means “between Knightsbridge and Hyde Park Corner”—although there is apparently a “small plague pit dating from around 1664” beneath Knightsbridge Green—but I will defer to Arnold’s research.
But to put that another way, the ground was so solidly packed with the interlocked skeletons of 17th-century victims of the Great Plague that the Tube’s 19th-century excavation teams couldn’t even hack their way through them all. The Tube thus had to swerve to the side along a subterranean detour in order to avoid this huge congested knot of skulls, ribs, legs, and arms tangled in the soil—an artificial geology made of people, caught in the throat of greater London.”—