Beltmann

There was. I was looking for it earlier. Wha' happened?

Labels may not do anything for the music, true, but I would say labels--even the most vague, generalized, or unfair ones--exist mostly to help listeners discuss the music, by providing common reference points. Case in point:

Is Richard Linklater one of the best filmmakers in America? Can't wait for Fast Food Nation.

I'm reminded of something Phillip Lopate once wrote: "The job of the American film critic is complicated by the fact that virtually all Americans regard themselves as astute judges of movies." That complication, which I think applies to music as well, is compounded by how the Internet has turned anyone with a mouse into a "published critic," vastly undermining the value of real criticism written by individuals who actually know something. One of the first critics I ever read faithfully was Jonathan Rosenbaum, and I read him because he knew more than I did and I learned a great deal from his

Clerks II is the first Kevin Smith movie I've enjoyed since Chasing Amy. There's something familiar and comfortable about Smith's good-natured filth--even if he finally goes too far with the donkey show, in my perhaps prudish opinion--partially because this time he finds the right strains of heart and sincerity to give the raunch context. Plus, the movie has an appealing slacker rhythm, a tone that feels less forced and less cartoonish than in any Smith movie since, well, Clerks. It earns more goodwill than I anticipated.

That + The Caine Mutiny = Mister Roberts

Haneke is a fascinating director--among many great films, I think I like Funny Games best of all. (An American remake is planned, with Haneke himself directing.)

Henry Fonda is an officer aboard a cargo ship in the Pacific who clashes with the ship's captain, an incompetent egomaniac. Since it's partially about the doldrums of wartime, there's plenty of room for director John Ford to indulge his usual taste for blustery macho shenanigans. But Ford quit the project halfway through and was replaced by Mervyn LeRoy, which might account for why the film finally centers on the psychology of three likable characters: Fonda's increasingly agitated officer, Jack Lemmon's hapless, lecherous Ensign Pulver, and William Powell's witty, wizened Doc. For the most

I'll second that.

You know, that's pretty much on target.

Does anybody else notice a slight similarity between the opening to "Beautful Mind" and the opening of "IATTBYH," particularly at about the 90-second mark? I like it.

Me too--Okemah reignited my interest in SV, and I'm excited to see what happens next.

The common gripe that Ryan Adams releases too much material always strikes me, in a way, as unfair--as if Ryan should be striving to make each album a contender for the "canon" just so the self-appointed cognoscenti can declare it so. I'd say there's a disparity between Ryan's artistic goals and the goals of those listeners. What finally validates his generous release pattern is that, for every track one person would gladly cut, another fan would declare that track meaningful and significant. As long as each song expresses something personal and connects with at least a few listeners--which

I know what you mean, but for me, I would argue that no good album is ever truly depressing. We can be saddened by tragedy, but exhilarated when that tragedy is transformed into good art.

Actually, that's one of the reasons I've been hesitant to try torrenting. A while back I scaled back my trading dramatically because it was consuming too much time, and I was collecting at a rate much faster than I could possibly listen. I'm afraid if I upgraded to torrenting, I'd be right back where I was.

Didn't that happen at the Summerfest show, Teeg? I think I remember something like that.

I like Ten, but it's no documentary--Kiarostami rehearsed by thoroughly explaining the characters and the story's rough outline, and then allowed the actors to improvise their dialogue while driving in the car. Plus, it's not about a taxi; that car belongs to the driver and the movie charts her various conversations with the passengers she happens to have, including her own young son. Still, that camera bolted to the dashboard sure makes it look like Taxicab Confessions, doesn't it? However, Kiarostami's follow-up, 10 on Ten, actually is a documentary. Recycling the same minimalist method

"If I have a fairy godmother, then where the hell have you been for the last sixteen awful years, bitch?!" At least, that's what it sounded like to me.

It's great to hear Jeff singing in that familiar high key again.

Even the Superman Underoos? How could you?

I am BT-challenged. Anybody care to help me out with a B&P of this show?