YMD 2010 Summer Jams #3

Gyptian - "Hold Yuh (Remix ft. Nicki Minaj)"

It's not very often you hear a song on Hot 97 without a kick drum (for good reason), but Gyptian and Nicki have been getting a decent amount of play both on the radio and here at YMD headquarters. Entrancing summer jam, though I think it could be a decent sweaty dancefloor break too.

YMD 2010 Summer Jams #2

Terror Danjah - "Acid"

Yet more heat from both Hyperdub and Terror Danjah. The ravey build up in the first minute is hype as hell and the one-note synth riff is nothing if not insistent. Definitely a summer night jam, as much as these things can be controlled.

YMD 2010 Summer Jams #1

jj - "Into the Light"

Maybe the only summer jam to ever feature audio commentary of a Zlatan Ibrahimovic goal, this is my favorite track of Swedish Balearic duo jj's new album. Their rap and R&B covers are for the most part decently fun novelties, but gorgeous stuff like this keeps makes them a legitimately interesting band (the fact that you can dance to this one sure doesn't hurt its summer jam status).

(PS, seeing if this embed ting works, will find a better way soon).

It's my life, and I'm living it now

54. Armand Van Helden - "U Don't Know Me (ft. Duane Harden)" (Ffrr/Armed Records, 1999)

Starting a song with a sliver of a sample and then unraveling that sample after the intro isn't exactly an obscure technique, but I'm not sure I've ever heard it used to more ecstatic, glorious effect than it is on "U Don't Know Me", the Boston-born Van Helden's 1999 smash (#1 in the UK, don't you know). It's a song about how it feels to be misunderstood and judged harshly by folks who don't know you, and it sure is euphoric.

HYPERPOOP

When I saw Cube back in the early 2000s, I was pretty impressed. I rented it with a friend to get drunk and laugh at, but a few minutes into it I realized I was honestly enjoying it, and even fairly scared at points. Which is why I was so pumped when I saw that its sequel Cube 2: Hypercube was on Netflix Instant. Disappointed isn't the right word, I mean I guess I was disappointed that it was so terrible, but I sure did laugh a lot, which I think makes it all OK. Although it's hilarious, it's such a train wreck that it becomes difficult to watch, even at its paltry 80 minute run-time. I'll save you some trouble and give you a detailed synopsis.

The plot is the same as the first, at least in premise. Six strangers are stuck inside a mysterious cube, with a door on every side that just leads to another cube. Sadly in Cube 2, these strangers are all terrible Canadian actors who try to mask their accents with what appear to be lisps. Among my faves, a blind Asian girl with super sonic hearing abilities, and an old lady with Alzheimers who can't find her dog. This character is more offensive than you can even imagine, but I feel perhaps it might be less offensive than actress Barbara Gordon's new Canadian TV series "Little Mosque On the Prairie." Oh boy.



With brilliant minds like these at work, it doesn't take them long to figure out that they're not in your average, every day regular massive cubic structure with hidden traps and moving walls, but a HYPERCUBE, or a cube with four dimensions." You see a hypercube isn't supposed to be real. It's just a theoretical construct" says one character. Oh but it's real my friend, and it's folding space time, trying to kill them by...collapsing them...in space time...with transparent, oozy...wall stuff?



And Windows 95 screensaver thingies...



Wait, let me fix something.



Yes, much better. The movie continues with absolutely nothing remotely resembling a plot and gives the view the feeling that at any moment it could turn into pornography. Spoiler alert: it doesn't, save for one Skinemaxesque scene in which two characters, without explanation, bone while floating in zero gravity (also not explained). But then things keep happening! Like crazy diamond pillars that are also somehow related to space time, and come out and...kind of...stab...people?



Aaaand then it turns into a black hole. Maybe not. But there's like, a space tornado, as seen here:



Or as I prefer it, here:



And now you've seen Cube 2: Hypercube. Congrats.

Electrocute a barracuda, I'm here to bring the drama

55. Craig Mack - "Flava in Ya Ear (Remix ft. Puff Daddy, the Notorious B.I.G., Rampage the Last Boy Scout, LL Cool J, and Busta Rhymes)" (Bad Boy Entertainment, 1994)

Before we get to the complete headfuck that is LL Cool J's verse on here, let's discuss the stuff that's good in the conventional sense. First, there's Easy Mo Bee's beat, an unquestionable East Coast Rap classic, two notes and hazy waves that are perfect whenever they come in. It's not Biggie's best verse ever, but it's still a Biggie verse. Busta is 1994 Busta, so he's one of the most joyfully unhinged rappers ever. Mack has "your album couldn't fuck with one line," which is wonderful (in a recursive way) because if that's true of any line Craig ever said it's that line itself. Rampage is solid if unspectacular and Puffy, well, it's actually kind of impressive how sure he was of his impeding world domination (even for a rapper), considering they were pretty much just getting started here.

But the LL verse is what really elevates this to sublime. Remember this was after 14 Shots to the Dome, a relative commercial failure for him, and just before Mr. Smith, which had "Doin' It" and "Hey Lover" and pretty much established the grown up loverman LL we have today. So the vocal style at the beginning of his verse does, I think, prefigure that sort of thing, more calmly seductive than on his late 80s songs for the girls. But the content! What the fuck?

HEEESHEEE!
Uh! blowticious
skeevy (mmmm)
delicious
Give me cous-cous, love me good
Hollis to Hollywood, but is he good?
I Guess like the jeans, uh!
Flava like pralines
sick daddy knaamean?

They way people use the term "ironic" when it comes to enjoying music means either "enjoying something bad" which, you know, why would you, or "enjoying something for a reason opposite to which it was created" which, you know, how the hell would you know and who cares? Is it safe to assume from his MO directly following this song that LL thought screeching "HEEESHEEE" was sexy?

However you explain my enjoyment of LL's verse here, it's good enough for science to rocket this song up to #55 on our countdown. We should all be using the word "blowticious" more often.

Hey London

This is the best dubsteppy thing I've heard so far this year, I think. It's called "Picture" and it's by Subeena, who keeps bringing the rhythmic variations subtly enough for them to flow together but often enough for it to be quite exciting. It's all pretty and danceable and interesting and fun, and you should go to Beatport or your preferred dance music mp3 merchant and cop it.

Heaven is Whenever is whatever (?)

It's one thing writing about why I dislike something totally different from what I've liked before, or something from a scene I used to be into but have more or less given up on. That's easy enough. It's harder, I think, to write about why I don't like something by a band I've loved for a long time and for whom a new record isn't that huge of a departure.

That's as much of an excuse for the following lack of insight as it is my usual obsession with why I think and write the way I do potentially getting in the way of my writing, but anyways, I don't like this new Hold Steady record very much and, this being the first time I've not liked something by Craig Finn, I've been thinking about it a bit.

I don't think that Franz Nicolay leaving has much to do with it. As much as I enjoyed his presence (yes, on record too), I doubt any piano fills could liven up the stuff I don't like here. That stuff starts right off the bat with "The Sweet Part of the City", which is right now my least favorite Hold Steady song ever. It sounds them finally getting pulled into a 90s facsimile of classic rock they've always been more interesting than. That I, on balance, prefer Finn ranting to him singing should be no surprise, but this is the most that his lyrical hooks have ever felt lost in a song.

It's not all bad, of course. "We Can Get Together" is even softer than "The Sweet Part of the City" and references a bunch of songs and is mostly about Heavenly, of all bands, but does well with a sweetness that is one of Finn's more underrated attributes. And I've come around on "Hurricane J", a song about a girl that, for once, isn't named after a saint. But in the end, it mostly sounds to me like a bunch of anthems without nearly enough hooks. I might go read the lyric sheet.

I'm set free to find a new illusion

Oh, Bono

It's not about Politics, religion, or the economy
It's not about borders, history, trade, oil, water, gas, mineral rights, human rights or animal rights...

I realize that this being Bono's voice makes it extra-annoying, and I realize that ESPN is trying to position the World Cup to US viewers as an Olympic-style, world-uniting event (which it is), and that might be a pretty decent tactic.

But does this ad rub anyone else the wrong way, this explicit call-to-apathy, the idea that the World Cup is so wonderful (it is very, very wonderful) that it makes everyone's problems go away? Especially as they're running ads for the ESPN documentary about the political importance of the '95 Rugby World Cup during the same commercial breaks (a TV network trying to have it both ways, ring the alarm, I know). The World Cup is one of the happiest things in the world, and I will enjoy it immensely, but trying to depoliticize an event as Global as this seems odd. The histories of the nations involved and their current place in the world don't diminish the spectacle or the efforts on the field. At the very least they enrich the narrative and at best maybe some new bit of social consciousness can sneak through to the millions of people watching.

(I'm sure when ESPN is running human-interest stories instead of analyzing football for hours a day next month I will run a furious retraction)

Sobre el fascismo

Has any Spanish-language (or English-language) (or bilingual) rapper done a version of this yet? If not, let's get on that, stat.

New Caribou album, people rejoice

I finally listened to the new Caribou album (finally in 2010 parlance = less than a week after it was released, obviously) the other day and I'll be damned if it hasn't been haunting the stereo at YMD headquarters pretty much non-stop ever since. After five or six listens, it's pretty solidly my favorite record of the year (with only the Yelawolf tape in striking distance, really). I'm not sure what I was expecting from Mr. Snaith after the sunny psych-pop of Andorra but a House record wasn't really it.

Lead single "Odessa" shows the most obvious traces of Snaith's collaboration with the Junior Boys' Jeremy Greenspan, sounding more or less like a good Junior Boys track done with Snaith's textural preoccupations. It's great, but the second track, "Sun", is where things really start to open up for me, as warm as it's title implies and building on a familiar drum pattern to build something I would love to dance to outdoors this summer. On the next track Snaith starts getting crazy with the stereo panning and I love every second of it. It's exactly what a Caribou dance album would sound like, now that you think about it, and full of surprises at the same time.

Snaith talks in this Pitchfork interview about how both the structure and compositional tools of modern House opened up all kinds of possibilities for him and, while I'm cynical enough to think about how this won't stop Swim from influencing some terrible "it's like dance music, but by a real artist" writing (why do I Google things*) the more people on the dance floor the better, right? Best Caribou/Manitoba yet? Too early to tell, but maybe.

* Okay, I know, what's the point of getting upset about a site I only stumbled upon by googling "Caribou swim Jeremy Greenspan" but they gets advertising so it must be something, right? And I'm too old to be surprised by people having condescending attitudes towards dance music, but god damn, "a reputation for rigid structures" my balls. And the bit about Kelley Polar and Junior Boys (both of whom I love) "often ditching cliched components of electronica like auto-tuning and forced flanging for more structurally daring feats" is even dumber, right? Because what could "structurally" even mean that Auto-tune and "forced flanging" would have anything to do with it? And they're being structurally daring by applying pop structures to, respectively, disco and, err, electro-pop?

I am 100% for exploring and writing about music from genres and scenes you don't know shit about. But you have to be humble enough to admit that you don't know shit about them. I'm certainly guilty of not doing this once in a while too, but I promise, I'm trying.

Long nights crying by the record machine

57. Elton John - "Crocodile Rock" (DJM Records, 1972)

Good to great songs about dances are a dime a dozen, as are songs about nostalgia for a rock and roll childhood. However, songs about doing an imagined dance to an imagined song during your rock and roll childhood are, as far as I know, quite a bit more rare and the creation of such a thing by Bernie Taupin is a wonderful move. Whether not actually inventing a dance to go with is laziness or allowing for creativity on the part of the listener or both I'm not sure, but it doesn't bother me. The famously and excellently annoying hook is either more important than the lyrical content or just a cherry on top, depending on my mood.

I've seen them kissing out in the hallway

58. The Flaming Lips - "Superhumans" (from the Transmissions From the Satellite Heart album, Warner Bros., 1993)

This is the #1 Flaming Lips hit in my heart, for me the perfect mix of their scuzz and their world-conquering giddiness. The lyrics combine a message of personal sacrifice (one of Wayne Coyne's favorite themes) with with a combination of animal and space imagery that has pretty much become his bread and butter on-stage. The way Wayne strains for the melody here is completely appropriate for someone singing to a love object which seems to be as grand as a galaxy, and the when the guitar solo soars in, briefly, it soars towards the heavens.

Ever since the day you put my heart in motion

So the Oscars kind of burned me out a bit, but we're totes back. Here's a wonderful song.

59. Amy Grant - "Baby, Baby" (A&M Records, 1991)

I'm no expert on Amy Grant. I know she's like the most successful Christian artist evehr and that she has a wonderful voice, but I've only really heard bits and pieces of her crossover stuff, my fav of which is surprise, surprise, her mega hit single "Baby, Baby". In my childhood memory, it shares space with early, curly-haired Mariah on VH1 (been doing lots of Mariah re-evaluation in preparation for a party we're throwing, more on that soon), and, listening to it now, it holds up just as well if not better than Mimi's wonderful early singles.

The lyrics are about all of nature showing love for that special someone and while, again, I don't know much about her Gospel stuff, some of the lyrics and imagery here (or is it just me that hears "devotion" and thinks religion) recall songs of worship. It's interesting to me hearing someone who sings about God using the same language to describe a more terrestrial love.

Of course, when I was six I had no idea Amy Grant usually sang CCM and I mostly loved her voice and the awesome solo.

Welcome back

I was a bit worried that Tip's straight out of prison stuff might be "Dead and Gone parts 2-20". Luckily, this is very much not that. Can't wait to see what else he's got.

OSCAR FINISH LINE

Things we made/some of our 25-30 guests brought to our Oscar party:

- An Eggucation (deviled eggs)
- An Edumame (Edamame)
- Avatarcado Relish (Guac with apples and blue food coloring)
- The Brownie Side
- Coco avant Pretzels (Chocolate covered pretzels)
- Crazy Liver (Chicken Liver Pate)
- Crazy Tarts
- Ginvictus
- Harry Pottered Rum
- The Hurt Lager
- The Hurt Latkas
- Inglorious Basil Pesto
- Inglorious Bas-tarts
- The Princess and the Frog Legs
- A Serious Amount of Cheese Balls
- Tuna Avatartar
- UPside Down Cake

An incomplete list, I'm sure. What a night.

OSCAR DEATH RACE PART ABRIDGED ENDING

So, because of various factors such as my new job, my computer touch pad going insane, and general laziness, I'm not gonna be able to finish this as thoroughly as I wanted. So here are the rest of my winners, distilled for maximally concentrated anger and accuracy.

Visual Effects: Avatar. If it doesn't win this it won't win anything. But it will win this.

Cinematography: Avatar seems to be the favorite, but I don't have any faith in the Academy being willing to give cinematography to something that's mostly animated. So I'm going with Robert Richardson for Inglourious Basterds, possibly Tarantino's prettiest looking movie ever.

Animated Feature: There's a line of reasoning that says Mr. Fox gets this because Up's reward is the Best Pic nom. That's just not gonna happen. Up wins this, though I'm shocked that the Princess and the Frog isn't getting more Disney Return to Glory hype, regardless of it's quality.

Supporting Actress: Mo'Nique. 100%.

Supporting Actor: Christoph Waltz 100%.

Best Actress: A week ago I still thought there wouldn't be enough people who liked Blind Side enough for Sandy to win. But the closer it gets the more I fall in line. It's actually not even that the competition isn't good this year, it's that I think Meryl, Carey, and Gabby will all get enough votes that none of them will be able to pull ahead of Sandra Bullock.

Best Actor: There's no reason I can see to bet against Jeff Bridges here.

Adapted Screenplay: This will probably be where they honor Jason Reitman and Sheldon Turner for the former Best Picture frontrunner, the shallow, offensive, insipid, boring, stale Up in the Air. A win for In the Loop would be one of the most pleasant and shocking surprises in recent Oscar memory.

Original Screenplay: I liked all of the movies in this category, which is pretty crazy. Anyways, this is between Basterds and the Hurt Locker, and as stupid as I feel about picking Basterds for Cinematography and Writing and then Hurt Locker for picture, I just feel better picking the more talky Inglorious Basterds for a screenplay award.

Best Foreign Film: I've only seen the wonderful Un Prophete and the terrible White Ribbon, but we also have Ajami, which deals with the middle east, The Milk of Sorrow, which everyone seems to agree has no chance, and El Secreto de Sus Ojos, which is emerging into a sort of favorite because it's supposedly the most conventional and straightforward of the five, qualities which the Foreign Film voters have gone for in recent years ahead of innovation or critical acclaim. I'll buy that and go with the Argentinian entry, although I'm scared they might give it to Haneke and his ribbon.

Best Director: Even if they don't give Hurt Locker Best Pic, I'd be shocked if Kathryn Bigelow missed out on this award. She deserves it, too, and so much has been made of her potentially being the first woman to win it and the ex-husband narrative that I can't see AMPAS passing this one up.

Best Picture: Gaaaaaaawd I dunno. I'm just gonna say The Hurt Locker and be done with it. I think the backlash came too late.

Enjoy your Oscars, friends. Big party here.

DJ Paul is a dog, one you do not trust

60. Three 6 Mafia - "Stay Fly (ft. Young Buck, 8Ball, and MJG)" (Columbia, 2005)

There are only a few minutes left in the annual day on which it is most appropriate to celebrate Tennessee's finest (3/6 of course), so we might as well do it with this monster, which made the transition from "Stay High" to "Stay Fly" effortlessly. I was absolutely overjoyed today when, on my walk to the subway, a dude rolled past me actually blasting Three Six.

OSCAR DEATH RACE CHOP CHOP EDIT

Best Achievement in Editing

- Avatar - Stephen E. Rivkin, John Refoua, James Cameron
- District 9 - Julian Clarke
- The Hurt Locker - Bob Murawski, Chris Innis
- Inglourious Basterds - Sally Menke
- Precious: Based on the Novel Push by Sapphire - Joe Klotz

Editors. What do they do? Is it science? Is it art? Is it magic? It's a question that's forever haunted people without a film education trying to speak intelligently about the Oscars. So to help us out, we've brought in our friend Jawn Duffy, who actually sometimes edits video professionally (and should probably be doing so now instead of talking to us about it).

MaciejBasedOntheNovelMobyDickbyMelville: well Jawn, let's start with who got motherfucking snubbed

Jawn Da’vi: now I have to think about what movies came out this year

Jawn Da’vi:I really wish my category wasn't the hardest one to judge

MaciejBasedOntheNovelMobyDickbyMelville: Well then I'll start it off by suggesting two movies that had absolutely no shot at an Oscar nomination (but I certainly like more than Avatar).

MaciejBasedOntheNovelMobyDickbyMelville: Crank: High Voltage, which actually does its ADD style on purpose and is something special for it and House of the Devil, which as a horror movie is more or less ineligible for awards but has a better slow build than anything in a long time.

Jawn Da’vi: Well I should preface, that for me, I feel that editing is at it's best when I totally get lost in the world of the movie. People like to call editing "the invisible art" or whatever and that can be because there's always so much more that you don't see than what you do see (and wow, there is always so much more that you don't see). So when I judge editing, it's more about getting lost and not noticing things. Pacing is really important obviously, which is why action movies like Bourne that have recently won can be just as good as a slow burner. It's not so much about the technique, but more about the experience, which is why I love movies like Zodiac or A Serious Man, which I guess is one of my snubs, that and Parnassus

MaciejBasedOntheNovelMobyDickbyMelville: (which I still haven't seen, shame on me)

Jawn Da’vi: which I'm guessing was an absolute nightmare to edit

Jawn Da’vi: well, you have seen every other movie out there so it's ok (for now)

MaciejBasedOntheNovelMobyDickbyMelville: haha

Jawn Da’vi: but back to A Serious Man

Jawn Da’vi: I knew I'd like A Serious Man from the trailer alone. That is the most perfect trailer I have ever seen. It made me happy to call myself an editor. Which is good because that's how I go around introducing myself. Hi, I'm John Duffy, but you can call me The Cutter!

MaciejBasedOntheNovelMobyDickbyMelville: now, a question:

MaciejBasedOntheNovelMobyDickbyMelville: (as we move on to who should win) How much of a bloated, over-long film can be blamed on an editor? Like, if the editor of Avatar suggested that it be half an hour shorter, you figure Cameron would just be standing there, like no!

MaciejBasedOntheNovelMobyDickbyMelville: Although, wait, now that I look at it he's actually one of the editors argh.

MaciejBasedOntheNovelMobyDickbyMelville: but take that question in the abstract, I guess.

Jawn Da’vi: yeah, that movie was a mess. When you're in a movie theater and realizing how long something is, then it's just not good. A lot of that is probably Cameron's massive, facial-hair-needing head. When it comes down to it, Jimmy Camewrong is not going to want to get rid of something that he spent 18 years writing

Jawn Da’vi: like, the little seen or heard from guy that the Coens' work with seems to magically be on the same page as them

MaciejBasedOntheNovelMobyDickbyMelville: haha

Jawn Da’vi: it's almost like he's an extension of them. Which is why the realtionship between the director an editor is so important. Directors like Tarantino who work with the same editor over and over again is something that I like. There's a trust there where he knows what Sally likes to do and vice-versa.

MaciejBasedOntheNovelMobyDickbyMelville: I mean, I should note that I don't think length is Avatar's only editing problem.

Jawn Da’vi: Oh no, definitely not.

MaciejBasedOntheNovelMobyDickbyMelville: Several of its action scenes are completely disorienting in the worst way possible.

Jawn Da’vi: oh but it's an alien world so it should be right?

Jawn Da’vi: or I think it was a moon actually

Jawn Da’vi: man, I hate that movie (by the way, any defense of Avatar from me should be read as sarcasm).

MaciejBasedOntheNovelMobyDickbyMelville: noted. So which of these five is the best, you think?

Jawn Da’vi: well, I'll briefly run through the other 4

Jawn Da’vi: ok District 9

Jawn Da’vi: the first third of how this was edited had me completely freaking out. That is EXACTLY the kind of editing that I do, the connecting of ideas documentary style with broll on top, I felt legitimate while watching that. That and the Serious Man trailer made me really happy about what I've been doing with myself over the past 3.5 years

Jawn Da’vi: Inglourious Basterds I also really liked. The first scene alone, as mentioned by countless others, is exactly what film making should be. It took me a little while after that to realize what the film was trying to do, but I liked that, I liked how it turned out, and the storytelling kept me very interested throughout

Jawn Da’vi: Push, I haven't seen, but my question there is how great can the editing actually be with a title that long and ridiculous?

Jawn Da’vi: (pause for laughter)

Jawn Da’vi: OK, and finally The Hurt Locker

Jawn Da’vi: The Hurt Locker is exactly the kind of movie I was talking about in the beginning. From the first frame I was completely immersed. I'm so happy that there's no draft because if that's even a tenth of what it's like to be a modern soldier, I wouldn't even make it off the plane. I'm sure it did with many, I was physically affected watching that movie

Jawn Da’vi: Well maybe not really, but stuff was happening inside of my body

MaciejBasedOntheNovelMobyDickbyMelville: I feel like the tension in the Hurt Locker is something that us amateurs ofter give credit to the editor for.

Jawn Da’vi: that's true. I mean a tense movie is a tense movie for more reasons than the editing. But what that movie shows is that everybody from the top down all the way through post, was on the same page.

MaciejBasedOntheNovelMobyDickbyMelville: surprise, surprise

MaciejBasedOntheNovelMobyDickbyMelville: sorry, wrong chat window. haha.

Jawn Da’vi: haha

Jawn Da’vi: maybe it's just that we're talking about The Hurt Locker, but that "surprise, surprise" totally freaked me out

MaciejBasedOntheNovelMobyDickbyMelville: so is the Hurt Locker your pick of the 5?

Jawn Da’vi: yes, absolutely

MaciejBasedOntheNovelMobyDickbyMelville: MINE TOO!

Jawn Da’vi: one of the best I've ever seen

Jawn Da’vi: yay!

Jawn Da’vi: the world is safe!

MaciejBasedOntheNovelMobyDickbyMelville: OK, now that we've wasted all this time on our opinions, the more important question.

Jawn Da’vi: I've prepared myself to be ready if Avatar wins a bunch on Sunday, but if it gets this one, then something gonna get broke real fast

MaciejBasedOntheNovelMobyDickbyMelville: how scared are you that it will?

Jawn Da’vi: ooh, well. I feel pretty good about The Hurt Locker winning. It won the Eddie, right?

Jawn Da’vi: which is an actual thing

MaciejBasedOntheNovelMobyDickbyMelville: yeah

Jawn Da’vi: I mean, they can't give Cameron multiple awards

Jawn Da’vi: again

Jawn Da’vi: or maybe they can. But if he's gonna win one, it'll be for picture or director.

Jawn Da’vi: both undeserved

MaciejBasedOntheNovelMobyDickbyMelville: I agree.

MaciejBasedOntheNovelMobyDickbyMelville: and I also agree that Hurt Locker is taking this one..

Jawn Da’vi: if THL doesn't get it, maybe they'll skip down to Basterds

Jawn Da’vi: she's been in the game for a long time

MaciejBasedOntheNovelMobyDickbyMelville: Yeah, I wouldn't be at all upset if Sally Menke won it

Jawn Da’vi: she's to Tarantino what Schoonmaker is to Scorcese

MaciejBasedOntheNovelMobyDickbyMelville: Her work on Teenage Mutant Ninja Turtles was pretty great.

Jawn Da’vi: and she was only working with half a shell

MaciejBasedOntheNovelMobyDickbyMelville: FIN

Jawn Da’vi: see, that's how you edit.

OK, so my computer is responding to the Oscars being tomorrow by being almost impossible to work with. I'll try, I promise.