MemeStreams combines the power of weblogs and social networking. The members of our community work together to find interesting content on the web. As you use the site, it learns your interests, and provides new links it thinks you will like. Read more about MemeStreams or create an account!
Hell Girl (anime)
(no spoilers below, aside from what one could find on the DVD cases)
I received Volume Six (the final volume of the first season) of Hell Girl today. May 20 was the posted release date, but I had pre-ordered, and RSI shipped it early. For those who are into anime, I highly recommend it. I haven't enjoyed a series this much since Cowboy Bebop, which, considering my collection, is saying quite a bit.
The animation is absolutely gorgeous, and the music is great; even the menus are cool. The character interactions and dialogue are realistic, and while Tsugumi Shibata (another seven-year-old girl; not the title character, who's actually hundreds of years old, despite her appearance) does seem a bit precocious at times, it's not enough to call her character into question.
With a couple of exceptions, most of the characters are adults with jobs and real lives, so if you've had enough of high school and college age anime characters, this will be a nice change of pace. The series isn't heavy on action, and the plot moves at a slower than normal pace, but it works very well, getting better as it goes. The series focuses on human beings' inability to forgive and the consequences of revenge, and that's where Hell Girl comes in.
Great stuff! 10/10, five stars, A+, etc.
Rating: TV-MA (not for anyone younger than high school age)
There's nothing quite so satisfying as an all-knives-out book review, and in her tenure as the lead literary critic for the New York Times, Michiko Kakutani has consistently dished them up. Martin Amis's new book, The Second Plane, was dismissed as "a weak, risible" volume; Nick Hornby's A Long Way Down was condemned as a "maudlin bit of tripe"; and Jonathan Franzen's memoir, The Discomfort Zone, was reviled as "an odious self-portrait of the -artist as a young jackass".
And this approach, while delicious for readers, has naturally won Kakutani enemies. Earlier this week, a Harvard student newspaper reported that Franzen had said that "the stupidest person in New York City is currently the lead reviewer of fiction for the New York Times". Salman Rushdie has described Kakutani as "a weird woman", while Nicholson Baker said that one of her reviews "was like having my liver taken out without anaesthesia".
Rather than blunting her criticism, these counterattacks have made Kakutani one of the world's most influential book reviewers.
The last work of a modern master, however fragmentary, is a matter of public interest and scholarly importance. The nuances of “Laura” and her fate have been hotly debated on bookish Web sites and elsewhere, with Tom Stoppard, for example, calling for the matches and John Banville urging clemency in The Times of London. Now, Dmitri Nabokov has announced that “Laura” will indeed be published, and suggests in a Q. and A. conducted by e-mail with the Week in Review that, in fact, her peril has been exaggerated.
The album, which became available for download just after 3 a.m. Eastern time on Monday, appears to represent the first time a superstar act has distributed an entire album without any opportunity for people to pay for it. Its release comes two months after the band issued the instrumental album “Ghosts I-IV” and allowed fans to obtain a portion of it for free or the entire recording for $5. Before that, the British rock act Radiohead broke with convention by offering its 2007 album, “In Rainbows,” online under a tip-jar-style setup in which people could name their own price — including zero.
Mr. Reznor’s new offer could serve as another test of how the easy availability of free music online affects subsequent CD sales and other money-making opportunities. “The Slip” will not be sold on CD or vinyl until at least July, according to representatives for the band. But the free digital version could stoke interest for Nine Inch Nails’ recently announced concert tour. Already, radio stations have shown interest in “Discipline,” a song from “The Slip” that was released about two weeks ago.
This is still very much an experiment and I reckon one that is ultimately going to fail. While NIN has probably net profited from the release of Ghosts, probably why releasing The Slip for free was done, it still remains to be seen if it maintains or grows his revenue stream from the subsequent tour and follow on releases. The thing that's been missing from this whole shebang is what record companies do best: promotion.
Most of the promotion that's been gotten for this album has been its novel approach. But what happens when it's the 60th album to be released this year in this fashion? NIN won't even make a blip on the newsfeeds, especially because it's not a MoR pop act. One thing that I noticed during With Teeth and even Year Zero was that I heard singles and saw promotion. Survivalism was in constant rotation on Sirius, Music Choice, MTV, and all over iTunes. Same for the other singles from With Teeth. I also saw billboards at HMV and Virgin in a few major markets (NYC, Chicago, and Detroit). But I haven't seen jack shit for Ghosts and haven't heard Discipline on any outlet. I don't expect to hear material from Ghosts on radio outlets because it is decidedly non-radio friendly.
That's not to say that gimmicks like the promotion for Year Zero aren't effective. But it's a very crowded marketplace and not every artist can pull something like that together for every release. The point being that the system that's currently used by the labels, for all its trappings (ahem... payola), WORKS. It gets product to the table and pushes sales and that's ultimately what an artist needs to break through the noise (no pun intended). If you go independent, and you're not investing a good chunk of your proceeds into marketing and promotion (just like a label that's fully supportive of your release will be doing), then you are playing a zero sum game. Probably a negative sum game, because ultimately only your fans will buy the product, and that's a shrinking market for every artist unless you are delivering LCD hits time after time. Also, this can only be possible for an established artist. I do not see a way that a new artist can break in this fashion. They simply won't get enough exposure in a mass space long enough to build a fan base.
I'm no fan of the patron model used by the record labels. BUT, if this is really going to work, NIN and Coldplay and others need to make sure that they are working the promotion angle enough to ensure success. The economics of which I can't see working for an artist on a case by case basis. How are you going to compete with the economies of scale that the label offers for these services? It's like building my own little data center in a wiring closet compared to IBM.
Her New York was a blemished and fallen apple strewn with piles of garbage. Prostitutes and bag ladies walked the streets, junkies staked out abandoned tenements, and children played in vacant lots.
“The city falling apart,” Ms. Freedman said one day recently in recalling that era. “It was great. I used to love to throw the camera over my shoulder and hit the street.”
For reasons involving both changing photographic styles and her personal circumstances, Ms. Freedman faded from the scene in the late 1980s. But at a moment when much of the city is bathed in money and glamour, her work offers a vivid portrait of a metropolis defined by violence, poverty and disarray — a New York that once was.
Robin McKelle’s “people” claim she’s inspired by the likes of Ella Fitzgerald and Frank Sinatra, which immediately made me skeptical only because that seems too cliché. Almost any artist with a big voice backed by bigger horns has dibs on comparing themselves to icons of the 1940s. However, I apologize because I was wrong to be so skeptical; it's actually an ideal claim. The Boston-based diva is currently touring her big band jazz through Europe but is all set for a US celebration of her sophomore effort, Modern Antique, this August.
With rich horns, James Bond soundtrack quality vocals and that Nellie McKay esque mix of genres, McKelle brings a spicy presentation to the over saturated pop table. All of this and she holds a degree from Berklee and includes a position with the Boston Pops on her resume, giving her room to stretch into just about any place she wants to go.
While viewing Elbows (http://www.elbo.ws) I ran across this lovely smoooth 40's voice lass. If you like big horns and even bigger vocals, 40s style, check it out! :)
The Importance of Music to Girls is the story of the adventures that music leads us into—how it forms and transforms us. As a soundtrack, it’s there in the background while we go about the thrilling and mortifying business of growing up: raging, falling in love, wanting to change the world. Lavinia Greenlaw turns the volume up loud, and in prose of pure fury and beauty makes us remember how the music came first.
For Greenlaw, music—from bubblegum pop to classical piano to the passionate catharsis of punk rock—is at first the key to being a girl and then the means of escape from all that, a way to talk to boys and a way to do without them. School reports and diary entries reveal the girl behind them searching for an identity through the sounds that compelled her generation. Crushing on Donny Osmond and his shiny teeth, disco dancing in four-inch wedge heels and sparkly eye shadow, being mesmerized by Joy Division’s suicidally brilliant Ian Curtis—Greenlaw has written a razor-sharp remembrance of childhood and adolescence, filtered through the art that strikes us at the most visceral level of all.
It s easier to prepare for Armageddon when you re stepping to that ragtime beat. According to Kofi Annan, the more that nuclear weapon states ...insist that nuclear weapons are essential for their national security, the more other states feel that they too must have them for their security . Despite this, the British goverment is pushing through plans for a new £25 billion trident missile. What would Gary Cooper say?
This original footage comes from the Protect and Survive series, commissioned by the UK government to show people how to prepare for nuclear war.
