From MTV.com:
“A representative for EMI Records served the cease-and-desist orders to Danger Mouse and stores such as Fat Beats and hiphopsite.com. EMI Records controls the sound recordings for the Beatles on behalf of Capitol Records Inc. The publishing side of the Beatles’ catalog is owned by Sony Music/ ATV Publishing, a venture between Sony Music and Michael Jackson.
(Earlier thoughts on The Grey Album…)
From today’s Page Six:
“Heeb, the hip [sic.] quarterly dubbed ‘The New Jew Review,’ had used [publicist Susan] Blond to promote its launch in 2002. The magazine’s new cover announces ‘Back Off Braveheart’ to tout a photo feature inside called ‘Crimes of Passion.’ Editor-in-chief Josh Neuman wasn’t very forthcoming in describing the offensive photos: ‘It’s our interpretation of Jesus’ final hours. It’s what you’d expect from Heeb magazine.”
With tomorrow’s release of Fifty First Dates, the Pseudo Imaginary Trend of fictional characters named after fiction writers finally comes into its own.
Since we here at low culture consider ourselves pseudo imaginary experts on the Pseudo Imaginary Trends (up your nose with a rubber hose, Entertainment Weekly—or Entertainment Weakly as we like to call it when we’re feeling nasty!), we took it upon ourselves to point out the obligatory three recent(-ish) instances that form any Pseudo Imaginary Trend. Even one this pseudo and imaginary.
Fifty First Dates‘ Henry Roth and Henry Roth
Torque‘s Henry James and Henry James
Sex and the City‘s Richard Wright and Richard Wright
Start with a ponderous “academic”-sounding quote from Harold Bloom and close with a tepid kicker (“What’s next, Ashton Kutcher as ‘John Updike’?”) and send me my check, Rick.
It’s tenuously hilarious! Except that it’s not.
Disney Deaths.
Please refrain.
Editorial, San Diego Union-Tribune, February 11, 2004:
Meanwhile, the White House released pay records this week which also document the dates on which Bush was paid for National Guard duty. They provide further evidence that Bush did not shirk his obligations to the Guard between May 1972 and May 1973.
Of course, there are some die-hard Bush detractors who are unwilling to accept that the president did not go AWOL, that he was not a deserter. But the fair-minded can lay the controversy to rest once and for all.
Editorial, The Daily Iowan, February 11, 2004:
Amid accusations of being AWOL in the National Guard and lying to the American public about the weapons of mass destruction in Iraq, Bush remained as confusing and contradictory as always during the “Meet the Press” segment Sunday on NBC.
On Tuesday, White House officials released payroll records demonstrating that Bush in fact did get paid for his service in the Guard. However, spokesman Scott McClellan admitted that the records do not specifically show that the president reported for duty. Bush’s response to reports of his first-lieutenant evaluation showing that the future leader had not been seen during 1972 is a simple, “They’re just wrong.”
Available now at Out of Town News
From The Harvard Crimson, Feb. 11, 2004:
After flipping through the pages of Squirm, a Vassar College erotica magazine, the Committee on College Life (CCL) voted to approve a student-run magazine that will feature nude pictures of Harvard undergraduates and articles about sexual issues at its meeting yesterday.
[via Romenesko]
This month’s NYP: Tempo‘s Enrique Iglesias spread. Very spread.
Um, when something isn’t quite subliminal, what do you call it? Liminal? Really, really obvious? Gross?
Related: Fromunda.
It’s over, it’s over, it’s over, I won’t look back,
Won’t look back, my bridge has been crossed.
It’s over, it’s over, it’s over, I’ll walk away,
I’ll stay away, cause my heart’s been lost.
Losing is not a happy thing when the stakes are high,
Not when you lose your lover on a simple goodbye.
—Frank Sinatra, “It’s Over, It’s Over, It’s Over” (lyrics by Don Stanford & Matt Dennis, 1960)
Related: “Moonlight in Vermont”; “That’s All”; “The Impossible Dream”; “Walk Away”; “Lonely Town”; “No One Cares”; “Here’s to the Losers”; “Say It Isn’t So”; “In the Wee Small Hours of the Morning”; “The Hurt Doesn’t Go Away”; “Goodbye, Lover, Goodbye”; “We’ll Meet Again”.
Who’s that gravelly-voiced actor who plays the perpetually-in-a-funk Marty Funhouser on HBO‘s Curb Your Enthusiasm? Why, it’s none other than Bob Einstein, aka, “Super” Dave Osborne, the world’s greatest daredevil stuntman!
I distinctly remember his show from when I was a kid. At the time, I think I actually believed he was a real stuntman who just messed up a lot. You can buy a Super Dave video here.
Einstein’s also the brother of Albert Brooks. Yes, the poor guy was born Albert Einstein. Parents and their high expectations: Sheesh!
When not busy geeking out to Pitchfork‘s coverage of all things indietronic, we’re likely debating whether it was Hood or the Notwist who first inspired Radiohead’s post-rock reinvention in 1999. Or maybe it’s something along the lines of whether or not Basic Channel‘s music deserves a genre classification of its own, or the merits of declaring Philip Jeck as the ultimate electro-acoustic composer, or pronouncing L.A.’s Stones Throw to be the most underrated hip-hop label in operation today.
In other words, it’s unlikely that we’d ever get behind a major-label record of any stripe. But here’s some major-label-styled hype for you: it’s only the second week of February, and already the leading contender for 2004’s album of the year has been released. Available today on the racks of all sorts of record stores across the country, in outlets as diverse as Kim’s and Amoeba to FYE and Sam Goody (and likely to sell just as well in each type of these aforementioned shops), Kanye West’s College Dropout has been released on Jay-Z’s Roc-A-Fella imprint, home to such musical all-stars as Beanie Sigel, Memphis Bleek, and, ummm, Samantha Ronson.
This would be considered “staying in the family”, since the 26-year-old West is heretofore best known as the producer of some of Jay-Z’s biggest hits off of 2001’s The Blueprint. Relatively invisible up to this point, he’s also spent the past two years becoming one of pop music’s most likely hit-makers, engineering the hooks and beats for a remix of Britney Spears’ collaboration with Madonna, Ludacris‘ “Stand Up” and Alicia Keys‘ “You Don’t Know My Name”, as well as the definitive summer anthem for 2003, Talib Kweli‘s “Get By”, which I most recently heard played out at a New Year’s Eve party thrown by members of Silverlake’s indie-guitar-and-electronics scenesters.
That means crossover appeal.
