Beltmann

Tradition? I know some special educators who call it "job security."

Away From Her / Sarah Polley / Canada Earlier in the day I caught Pirates 3, the polar opposite of Polley's movie, which has only a few characters and takes place in only a few rooms. Still, Away From Her swings for the fences in a way that Pirates never does. The movie, which charts how a marriage is consumed by Alzheimer's, achieves an emotional intensity early on and never lets up--but unlike Pirates, which just piles on more and more just to, well, have more--Away From Her deepens, growing both more sad and, paradoxically, more beautiful.

I think I like the idea of the drone more than I like the drone itself.

You want to see Bono's schlong?

Double feature today: First up was Jafar Panahi's Offside, a comedy about several Iranian girls trying to sneak into a pre-World Cup match even though females are banned from the stadium. Most impressive are the long takes that are perfectly choreographed to reveal information only as we need it, which intensifies both the comedy and the suspense. It also has a climactic scene of sports jubilation--a mix of staged action and actual crowds mobbing the streets--that ranks among the best of its kind. Next was John Carney's Once, a movie that appears to be about the connection between a Dublin

That's a fantastic movie... I'm actually a big Wong Kar-Wai fan, especially this one, Chungking Express, Ashes of Time, and 2046. If I made a list of movies I'm most eagerly anticipating in 2007, My Blueberry Nights would be near the top.

The first thing I think of is how much I like it. Then the Conan performance. The VW ad doesn't even make the list, although the threads about it might, if I cared to think about that when listening to music.

Besides an online search, I haven't seen the ads, either. I guess I don't watch enough TV. You know, for those of us who share jnickerson's dislike for overcommercialization, it's possible to more or less relegate the influence of that culture to the margins of our lives--frankly, I find that rather easy to do, which might explain why I also find it easy to separate Wilco's artistic moves from its business moves. If a song appears in an ad, there are no lingering connotations for me. (For those that experience the negative connotations and can't help but allow that to forever alter how the

More like Paul Reubens' death scene in the Buffy movie.

This weekend, three terrific movies: Knocked Up / Judd Apatow / USA / 2007 au hasard Balthazar / Robert Bresson / France / 1966 Werckmeister Harmonies / Bela Tarr and Agnes Hranitzky / Hungary / 2001

Beat me to it.

On that site, I found the link to this more interesting:

I suspect this was just an embarrassing slip-up, not an indication of ignorance on the reviewer's part. I imagine her reading it in the paper and saying, "Wait, how did that happen? Damn, now I look like an idiot." I remember once publishing a review of the movie Pollock, and I referred to Lee Krasner as Lee Krasden. It was just a slip-up, and when I read the published version I couldn't believe I had made that mistake--I knew all about Krasner previously, and I can't explain why I was thinking of The Honeymooners when I wrote that piece! (Krasner + Kramden = Krasden.) Sometimes the bra

I'd like to add that I don't think jnickerson is a troll; in fact, I think it's clear he loves Wilco and has some articulate thoughts about this particular issue. This is a good discussion to have, and I've enjoyed it.

Your consistent position: Selling

I felt the same way about Twin Cinema as you did, so I'm glad to hear your response to the single. Haven't listened yet, but I'm eager...

Speaking of unanswered questions, I posed quite a few yesterday that you failed to engage with, including this one: But how, exactly, has Wilco betrayed their principles? If their principles include a belief in the power of art, they have released a record that reflects their artistic ambitions. If their principles include a belief that their art should be shared with as many listeners as possible, they have utilized manifold marketing tactics that will help make that happen. I don't think those two beliefs are mutually exclusive. And perhaps the band feels that advertising is, on some l

I bought Being There. I didn't see the trap being set for me by our brave new world.

Speaking of negative associations that ruin songs, let me tell you about how much I hate the music video for "Outtasite." Whenever I hear that song, I think of those stupid parachuting shots and feel like all of the world's happiness is no more.

That's strange, I could have sworn I bought Monster when it was for sale. And it appears that REM has licensed its songs, including "It's the End of the World as We Know It", more times than Wilco has. Did REM sellout? Or did they finally arrive at the pragmatic conclusion that their earlier stand was predicated upon abstract, unfounded fears? Frankly, I don't care: I like "It's the End of the World as We Know It," and Monster means the same to me as it ever did.

I like Tom Waits, I respect Tom Waits, and I think Tom Waits is wrong--because while the songs may exist, sometimes, as a jingle, they don't have to become wholly a jingle. A song with genuine artistic power transcends the occasional commercial use.

I'm not a fan of LNGCA, but I wouldn't change a thing about this version of TTIG.

No, we're not talking about how Nels Cline has ruined Wilco with his Muzak.