for the record: this is a spoof

Lin-Manuel Miranda on His Lifelong Oscars Obsession and Why the Show Still Matters (Guest Column)

The Hollywood Reporter
February 20, 2017

During college, Lin-Manuel Miranda and a friend used to improvise interpretative dance tributes to best picture nominees at their annual Oscar party. “It was a lot of breathing and rolling around,” recalls the creator of the Broadway smash Hamilton. “We had a great Seabiscuit dance one year.”

For the New York-born son of Puerto Rican parents — his father a political consultant, his mother a psychologist — it was just another phase of a lifelong fascination with the Oscars that began when he was growing up in the Inwood section of Manhattan, playing and replaying the telecasts that his family recorded on their VCR. At 37, Miranda is about to cross the threshold from superfan to participant: “How Far I’ll Go,” which he wrote for the Disney film Moana, is nominated for original song, and on Feb. 26, Miranda (with his mother) will attend his first Academy Awards.

It’s an auspicious step in a career that will see him star with Emily Blunt and Colin Firth in Disney’s 2018 Mary Poppins Returns and collaborate with composer Alan Menken on the studio’s live-action The Little Mermaid, one of Miranda’s favorite films and, he reveals here, the gateway to his Oscars obsession.

My brain is a compendium of Oscar moments: Tom Hanks’ beautiful acceptance speech when he won best actor for Philadelphia in 1994. Roberto Benigni climbing over chairs and wanting to make love to everybody in the world when Life Is Beautiful won best foreign-language film in 1999. Kim Basinger presenting in 1990 and telling the audience that one of the best films of the year, Do the Right Thing, was not nominated. For her to take a stand, 25 years before #OscarsSoWhite, was incredible — and impressive because time has shown the prescience of that film.

I expect we’ll see more of that this year. It’s a political time, so I imagine the Oscars will look exactly like your Twitter or Facebook feed. Why should we ignore for three hours what we’re talking about 24 hours a day?

The Oscars were always a family affair when I was a kid. One sort of unintentional tradition we had every year was during the “In Memoriam” part of the show. My family called it the “She died?” section because my dad, who is pop culture-oblivious, would always go, “She died? He died? She died?!” the whole time. So, it was very sad and yet also very funny watching my dad catch up.

When I was a kid, the Oscars felt like this impossibly larger-than-life thing. The first time I felt like I had a horse in the race was in 1990. I was 10, and The Little Mermaid was up for best song and best score. They did that crazy “Under the Sea” number with the late, great Geoffrey Holder and dudes in scuba outfits tap-dancing with flippers. We had a tradition of recording the show on our VHS, and I must have watched it a million and a half times.

There was also an amazing Chuck Workman montage at the beginning of the show that depicted 100 years of filmmaking with classic scores. I was already in love with movies, but this was the most beautiful thing I’d ever seen in my life.

That was the period when Billy Crystal was hosting, and I would memorize his musical spoofs of the year’s top films. He did them with Marc Shaiman, whom I’m working with right now on Mary Poppins Returns… I was a huge fan of those moments and musical numbers — they showed a genuine love of movies while still poking fun at them. I may also be the only person in America who laughed his ass off to “Uma, Oprah. Oprah, Uma.” David Letterman’s commitment to that bit was enough to put it over the top for me. He didn’t care if no one got it. In his head, it was funny.


Hosting the Oscars is not a thing I would ever want to do… You always have to do this dance as a host: You’re playing to a billion people at home, and you’re playing to anxious contestants in a room, and that’s an insanely hard thing to divide. It’s the most thankless task in the world. I have a pretty healthy ego, but it does not extend in that direction. I’d much rather be the guy writing the opening tune than having to deliver it.


Another Oscar moment that really stuck with me was when Whoopi won her best supporting actress for Ghost. I’ll never forget, at the top of her acceptance speech she said, “Ever since I was a little kid, I wanted this,” which is so rare. Then she said, “As a little kid, I lived in the projects, and you’re the people I watched. You’re the people who made me want to be an actor.” For me, it was like she was saying, “If you want this, you can get it, too. I’m proof that you can.”

I had been seeing myself in this world since I was old enough to do anything, and it was as if she reached through the screen to talk to me. I was that kid. Even my mother used to say, “Remember what Whoopi said.”

That speech was the inspiration for the opening song I co-wrote for Neil Patrick Harris, “Bigger,” for the 2013 Tony Awards:

There’s a kid in the middle of nowhere sitting there, living for Tony performances singin’ and flippin’ along with the Pippins and Wickeds and Kinkys, Matildas and Mormonses / So we might reassure that kid and do something to spur that kid  / ‘Cause I promise you all of us up here tonight, We were that kid and now we’re bigger


Another of my favorite moments was in 2005, when they had Antonio Banderas sing “Al Otro Lado Del Rio” from The Motorcycle Diaries, which was nominated for best song. And then when Jorge Drexler, who composed it, won, he went onstage and sang it, like, “This is how it really goes.” It was so funny and ballsy and great. I’m happy whenever Latinos win anything, so I was thrilled by both performances.

I can’t tell you what it feels like in that room because this will be my first time at the Oscars, but I can tell you why the Oscars matter. It’s a night when the arts and artists are formally honored, and this recognition is seen by millions of people across the country and around the world. The show inspires people to keep pursuing their craft, or to seek out the nominated films or the overall body of work of the nominees, and through that exposure, people gain a greater appreciation of what the art of filmmaking brings to our culture.

CARS FUN FACTS (from memory, 95% reliable)

-John Lasseter has a son named Jackson
-Paul Newman actually said things like “HOT SNOT!”
-Brad Paisley wrote “Nobody’s Fool” for Cars 2 without even being asked
-Rascal Flatts is returning for Cars 3
-John Ratzenburgers father was a Mack truck driver, Pixar worked with Mack trucks so they could have them in the film specifically for him
-Owen Wilson invented “kachow” when he was a kid, because kids do weird shit like that
-Bonnie Hunt doctored/wrote the scene between Lightning and Sally after the tractor tipping scene
-The cars are rendered with a layer of paint, then a layer of gloss
-the sound design team spent an entire day or two at Skywalker Ranch recording the sounds of the rubber marbles on the racetrack
-“Lincoln Continental Breakfast” at the Cozy Cone is just a spoof on a type of car
-McQueen’s thing with his tongue is actually based on John Lasseter
-the saturation of Radiator Springs increased the more McQueen liked the town
-random stuff like the tire tracks in the sky and car shaped cacti were added just because they were going car-crazy working on the film for so long. There’s no real reason yknow
-there is a version of McQueen that is sponsored only by the town of Radiator Springs and all the businesses in it (this is the version before Cars 3)
-the Pixar crew started research for designing Lightning McQueen at the Detroit auto show in 2001
-they used the same exact lighting on the dust clouds for both Doc’s and McQueen’s counteractive turns in Cars
-John actually hired Jay Ward as a full time “keeper of Cars”. It’s his actual job just to kind of, watch over the franchise. Alllll of it
-the Tokyo race in Cars 2 doesn’t have a score because they decided to build all of the sound design off of Francesco’s and Lightning’s engines, and have that be the auditory focus instead.
-the real Mater is called “towmater” because he would legit just… eat whole tomatoes as a kid. Like they were apples.
-the eyes are on the windshield of the Cars because if they were in the headlights, Pixar was worried they’d look like snakes. Bringing the eyes up allows for much more emotion, and you get to see more of the car
-the version of Chuck Berry’s “Route 66” used in the film was forgotten about for years by the record company until Pixar had to prove to them that the version existed.
-when The King crashed, John asked Richard Petty to recall any time he was injured in a race and act with that in mind, and Petty used a time when he had broken ribs, specifically.

Creepypasta #1155: Answered A Scam Phone Call

Length: Medium

I answered a scam phone call the other day. You know, one of the ones that pretend to be something legitimate like the IRS? I keep a landline as a decoy, only give my cell number to people I really trust, so that’s the one the telemarketers and robocalls usually go after. 

I had been cleaning my apartment when the phone rang, and when the caller ID showed an obviously spoofed number I took a break from my labors. I figured fucking with the scammer would be a nice distraction from scrubbing the bathtub. The guy, in a refreshing twist, did not sound like an Indian pretending to have an American accent. This guy had a thick Midwestern drawl that never wavered, so it was probably genuine.

“Hello, this is [mumble] calling from the IRS. Our records show a discrepancy with your account and you need to settle that payment as soon as possible.” I could practically see the script this guy was reading from. “I’ll need a working credit card number and your social security number.”

“I’m sorry, I didn’t catch that first part?” I was already grinning in anticipation of the obstacle course I was going to put this guy through.

He sighed, like I was being difficult. He hadn’t even begun to see me get difficult. “Our records show—”

“No,” I interrupted, “your name. I didn’t quite catch that?”

“Ma’am, my name is not important. You need to make good on your debt. I have 911 ready on the other line and you will be arrested for failure to pay.”

My, the little fuckers were forward, weren’t they? I ramped up my act.

“Oh my, what ever could be wrong with my tax return? I’ve only been blackmailing my employees for sex, that’s not considered embezzlement, is it?”

“Ma’am, you will be treated as a hostile party during arrest if you do not cooperate.”

“Oh please don’t take my vast fortune, it’s all tied up in gift cards!” I wailed.

The guy on the phone let out another annoyed sigh. “Ma’am, you can’t treat the IRS like a joke. What year do you think this is?”

“The year of our lord 2017,” I said as dramatically as I could.

His end of the line went quiet.

“That’s not funny,” he finally said.

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some sarchengsey roadtrip things

  • in maryland, they stop at a 24-hour diner in baltimore and a bunch of rowdy looking street punks crash their table to invite them to a warehouse party that johns hopkins students are throwing just a little past the notorious art kid-filled copycat building. henry is practically falling asleep in the booth but mention of a skate ramp and bonfire and a dancefloor wake him right up and they agree to go because why the hell not – and it’s everything they were promised and more. gansey gets drunk and kisses a frat boy who looks a whole lot like declan lynch while henry and blue dance with the same girl between both of their bodies (her name is mikaela and she’s a printmaking major but what really matters is that she’s warm and giggly and more than happy to be in the middle of a henry-blue sandwich). 
  • in pennsylvania, they drive through expansive rural farmlands that are lush and green and the air smells sweet and crisp. they stay in an old colonial-style cottage that’s said to be haunted and stay awake all night pretending to film their own spoof episode of ghosthunters. the only problem is that blue actually can kind of feel something even though she can’t see anything, and henry is freaked out of his mind at the thought; gansey pretends it’s noah and proceeds on as usual. they end up with some entirely hilarious voice recordings of henry admitting that he’s actually highkey scared of old haunted houses while blue tries to sound way more chill than she actually feels and gansey rambles on about electromagnetic fields and energies.
  • in nebraska, they roll through omaha and stay at an airbnb owned by a kid named ricky with bright hazel eyes and a cute crooked smile who has a huge map of the US on his wall filled with pins of roadtrips he’s taken in the past. he tells them all about the one that he’s planning up to canada henry is beyond thrilled to geek out about vancouver a bit. they buy a bottle of patron from the liquor store across from ricky’s house for only $14 (gansey is blown away by how cheap it is to buy liquor here?!) and make margaritas and drink them in an inflatable pool in ricky’s yard. the room they sleep in has blankets draped from the ceiling and christmas lights strung around the walls and a nintendo 64 in the corner with a tupperware bin full of games. they play mario party 2 until it’s nearly one in the morning before all passing out in a pile on the queen-size mattress that takes up most of the floor.
  • in colorado, they stop at a strange little cantina nestled in the mountains that has the best salsa blue has ever tasted and real cowboys sit in the booth opposite theirs. blue spends the entire meal trying to eavesdrop on them while gansey gives henry a thorough history of how cantinas came to be. henry steals more than a few sips of the beer gansey ordered with a fake i.d. that ronan dreamt him up and may or may not get quite buzzed when gansey orders a glass of over-proof bourbon for him; blue watches amusedly as henry gets increasingly more handsy and affectionate with gansey. by the time they finish eating and get back in the car, blue’s stuck driving because henry insists that he and gansey have to snuggle in the backseat, they just have to, okay?
  • in utah, they spend a few days in the uinta national forest to camp and explore a bit. while searching for a good place to pitch their tent and build a fire, they come across a group of train hopping kids who’ve been camping near a little creek. blue is instant friends with a girl who introduces herself as cosma; they start weaving little crowns from the long strands of grass and weeds while chatting about the stars. gansey strikes up an intellectual conversation with this stoned kid named sequoia and impresses him with tales of welsh kings. henry plops down besides a girl who’s doodling flowers and britney spears lyrics into a beat-up sketchbook. she calls herself sprout; henry proceeds to call her lentil and alfalfa and every type of sprout he can think of and she laughs and laughs and laughs. they all build a fire together that night and smoke a little weed while sitting around it - they toast marshmellows over the fire and talk about love and blue braids cosma’s hair and they all howl like wolves at the night sky and sing silly songs to the moon til the sun paints the morning sky a dusty pink.

Inspired by this post, the teacher version of “I’ll Make a Man Out of You.” (Forgive, if you will, my one small oops if you can spot it. I’m apparently lame enough to spend my Friday writing and recording this but not recording it a second time.)

I’ll Make Adults Out of You

Let’s get down to business, to the class routine.
Did they send me toddlers, when I asked for teens?
You’re the saddest bunch I ever met
But you can bet before we’re through
Students, I’ll make adults out of you.

Noisy as the lunch room, use your inside voice.
I will teach you something, for I have no choice.
You’re a hopless mess, don’t know a lot.
And you haven’t got a clue.
Somewhow I’ll make adults out of you.

I’m never gonna get this done.
Now I have to really study.
Boy, I’m really really missing show and tell.
This teach got ‘em scared to death.
Hope she doesn’t see me texting.
Now I really wish that I knew how to spell!

Be adults!
You must be in your seats at the bell.
Be adults!
With all materials on your desks.
Be adults!
Reading the prompt that is on the board.
Your diligence will pay off on the state tests!

Time is racing toward us til the bell will ring.
Please be quiet and listen so you’ll learn one thing.
You’re not listening, I’ll wait and wait
Don’t pack up, no, I’m not through.
How can I make adults out of you?

Be adults!
We must be in our seats at the bell.
Be adults!
With all materials on our desks.
Be adults!
Reading the prompt that is on the board.
Our diligence will pay off on the state tests!

Be adults!
We must be in our seats at the bell.
Be adults!
With all materials on our desks.
Be adults!
Reading the prompt that is on the board.
Our diligence will pay off on the state tests!

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On this day in music history: May 19, 1990 - “Vogue” by Madonna hits #1 on the Billboard Hot 100 for 3 weeks, also topping the Club Play chart for 2 weeks on the same date. Written and produced by Madonna and Shep Pettibone, it is the eighth chart topping single for the pop music superstar born Madonna Louise Veronica Ciccone. Collaborating with club DJ, remixer, and producer Shep Pettibone, Madonna decide to come up with a non-album B-side for the “Like A Prayer” albums’ fifth single “Keep It Together”. The singer is inspired by dancers she sees at the New York City club The Sound Factory doing a stylized dance called “voguing”. Originating in New York’s black and latino underground gay clubs and drag balls as early as the 1960’s, the dance takes its name from the fashion magazine “Vogue”, with the dance being a series of “angular, rigid hand, arm, leg and body movements” designed to look like the person is posing like a model while they are moving. When Madonna lets Warner Bros. know of her original intent to the use the song as a B-side, their great enthusiasm for the track persuade her to release it an A-side instead. “Vogue” is also added to the album “I’m Breathless” which includes songs from the film “Dick Tracy” in which she plays the character Breathless Mahoney. The songs popularity is further heightened by a memorable and striking black and white video directed by David Fincher (“Fight Club”, “Se7en”), featuring several of the dancers Madonna originally sees performing the dance, becoming dancers on the “Blonde Ambition Tour” in 1990. Entering the Hot 100 at #39 on April 14, 1990, it leaps to the top of the chart five weeks later. In 2010, “Vogue” is featured in “The Power Of Madonna” episode of the television show “Glee”, when the song is used in a spoof of the music video performed by actress Jane Lynch. The same year, Madonna and co-writer/producer Shep Pettibone are sued by Salsoul Records, claiming that “Vogue” samples a portion of The Salsoul Orchestra’s disco classic “Love Break”. The court eventually settles the lawsuit in Madonna’s favor. As a result of the suit, Warner Bros stops publishing royalty payments to Pettibone, who files suit against WB Music and Warner/Chappell Music in April of 2017, claiming that he is owed more than $500,000 in back royalties. To date, the suit is still pending. “Vogue” is certified 2x Platinum in the US by the RIAA.

anonymous asked:

if no one else has yet, i wanna rec "The Silver Answer" by dirtybinary. rly interesting fic with non-serum steve and company wreaking havok thru illusion and deception

thank you for the rec!

The Silver Answer by dirtybinary

On May 7, 2013, the sixty-eighth anniversary of Steve Rogers’s death, the war record of the 23rd Headquarters Special Troops was declassified. Overnight, their work in World War II became public knowledge: a “Ghost Army” that deceived and terrorised Axis forces with phantom troops, decoy inflatables, spoofed radio signals, professionally recorded sound effects—and the myth of Captain America himself.

Steve Rogers never got the serum. He doesn’t have superhuman abilities. What he has is a paintbrush, some stage props, a stomach full of spite, and a Bucky Barnes.

It’s enough.

Septic Sides

Chase “Bro Average” Brody was just like the other Jacksepticeye Sides, besides that fact that he was fundamentally different in every possible way.

Jack, as in ‘Jack'septiceye, was a gamer. High energy, rambunctious, always ready to laugh at himself, and passing out an entirely unique sense of slap-stick humor, Jack was the perfect Lets Player. He loved games, he loved making people laugh, and he loved recording videos. Whenever Sean was feeling down, stressed, or having a bad day, Jack was the one who cheered him up and put a spring back in his step.

Jackaboy Man, the capeless superhero, was everything Sean wished he could be. A real hero, out saving people, flying around, and doing, well, other heroic things. Everything seemed black and white to the superhero, who still had a knack for finding the sweet gray spot within the blurred moral lines. He was a perfect example, almost a moral compass, for Sean, as he dealt with millions of people that looked up to and admired him on a daily basis.

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On this day in music history: October 4, 1980 - “Another One Bites The Dust” by Queen hits #1 on the Billboard Hot 100 for 3 weeks, also peaking at #2 for 3 weeks on the Billboard R&B singles chart on the same date. Written by John Deacon, it is the biggest selling single for the veteran British rock band fronted by lead singer Freddie Mercury. The song is written by bassist John Deacon after attending a recording session at The Power Station in New York while Chic are recording the basic track for “Good Times” in March of 1979. “Another One Bites The Dust” is recorded at Musicland Studios in Munich, Germany, during sessions for Queen’s eighth album “The Game”. the finished track features Deacon playing most of the instruments, with a looped drum track from Roger Taylor and guitar effects from Brian May. All vocals are performed by Freddie Mercury. Mercury’s friend, singer Michael Jackson recommends that “Another One Bites The Dust” be released as a single upon hearing the finished album. Instead, the first two singles “Crazy Little Thing Called Love” and “Play The Game” are issued first. In the meantime, “Dust” begins getting played in dance clubs and on black radio stations, eventually forcing it to be released due to popular demand. The band film a music video for the song while on tour in the US, promoting “The Game” album. The clip directed by Daniella Green is shot at the Reunion Arena in Dallas, TX before the scheduled concert at the venue on August 9, 1980. Entering the Hot 100 at #67 on August 16, 1980, it races to the top of the chart seven weeks later.  The single receives a Grammy nomination for Best Rock Performance By A Duo Or Group With Vocal in 1981. Also in 1981, comic parody artist “Weird Al” Yankovic records a spoof of the song titled “Another One Rides The Bus” that is released by TK Records. “Another One Bites The Dust” is certified Platinum in the US by the RIAA.

This took me all goddamn day, mostly because of the breaks to charge my computer (I was working away from my charger).  Tried to record it, it didn’t work until the last like 30 min, which missed all the important stuff.  :/  

Character’s name is Tetron.  He is in fact related to Henbane, but very very distantly.  I’ll draw up a family tree for the Viceroys.  Tet’s branch is called the Barons, and has its own infamous members, including a militia Warlord.  I’ll do a character spoof with Tetron later, to have a feel for his personality.

[A new Sailor Moon dub] has been a legend among voice actors for the last four or five years, studios have almost got it so many times … I got a random email in my inbox, and they said “There’s an anime show you might want to audition for” - they didn’t tell us what the title of the show was, they sent all the sites for the characters, and so I opened them up, and I’m like, “this must be a joke” … “Maybe it’s a spoof,” because it just said ‘Sailor Jupiter’, 'Sailor Moon’, 'Sailor Venus’ … because obviously they wouldn’t be so chill about sending this out. This is SAILOR MOON. So I ignored it, for like 2 days. … Maybe I thought, like, if it’s still in my inbox in 2 days, then it’s real, and I will record it. If not, I don’t want to get my hopes up.

And they said you can’t tell anyone … I wasn’t supposed to tell family I was auditioning, none of the voice actors could tell each other they were auditioning for it. … I showed up to record another project and Stephanie Sheh [new actress for Sailor Moon] was there, and I said “Oh my gosh, I’m gonna be super late to get to this… other… session… thing,” and she goes “Me too… um… where you going?” … “Yeah, uh, to… um… I mean, I really can’t talk about it…” and she’s like, “Oh my God, is it the thing, that we’re not supposed to know that we’re in and nobody can know??” and I was like [gasps] “You know about the THING! Oh my Gosh! Are you in the thing too??” She’s like, “I am! Are you- are you one of the things, in the thing?” I was like “YESSS. Thank God, I’m glad we understand each other.” … The first rule of Sailor Moon is don’t talk about the fact that you’re in Sailor Moon. They’ll kill you.

… Getting to walk around to other conventions and have people say, “Yeah, they’re re-dubbing Sailor Moon,” and I had to really work really hard on “No way! Is that… is that a show? … I thought they did that. Is that the one with the cats?”

—  Cherami Leigh on what it was like to be cast as Sailor Venus in Viz’s new dub of Sailor Moon. (AVCon 2014)
Scam Alert

Hi Tumblr land. I have a scam alert for you all.

Just witnessed a severely unfortunate situation where a gentleman was scammed into flying out here to Detroit to the recording studio I work at with promises of a production deal from Drake’s label.

He was initially contacted by the Insta account @next2blowovo which is now set to private.

This was very elaborate. They called him and spoofed the number to show the number of Warner Music group offices on his phone. He even met some people face to face including a “driver” for the “label”. He was then told to go to a studio which has had major artists as clients. To him it all checked out.

According to him they also contacted a friend of his who didn’t have the money they were requesting to “pay for studio time and the producer”. I don’t know how far reaching this is.

He is now out well over $1000 of money he directly gave to them, and out the money he paid for airfare and accommodations (which he was promised would be reimbursed to him.)

Please pass this around! I don’t have many followers. 

I’ve included some general tips for avoiding music business/entertainment business scams under the read more.

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vimeo

On this day in music history: August 20, 1986 - “Fore!”, the fourth studio album by Huey Lewis And The News is released. Produced by Huey Lewis And The News, it is recorded at Studio D, The Plant Studios in Sausalito, CA and Fantasy Studios in Berkeley, CA from February - July 1986. Following the huge multi-Platinum success of their previous album “Sports” and chart topping single “Power Of Love” from the film “Back To The Future”, Huey Lewis And The News once again feel the pressure to match that success with their next full length release. Having toured almost non stop for nearly two years has left the band little time to write new material, and it proves not to be as easy as it had been the previous time around. Many of the songs are written in the six months spent in the studio recording the album, during the first half of 1986. The band augment their trademark sound with assistance from the Tower Of Power horn section (Stephen “Doc” Kupka, Emilio Castillo, Richard Elliott, Greg Adams, Lee Thornburg) who play on three tracks. Once released, the album is an immediate hit, spinning off five top ten singles including “Stuck With You” (#1 Pop, #1 AC), “Jacob’s Ladder” (#1 Pop, #17 AC), “Doing It All For My Baby” (#6 Pop, #2 AC), and “I Know What I Like” (#9 Pop, #30 AC). The second single “Hip To Be Square” (#3 Pop, #20 AC) also features background vocals from then San Francisco 49ers Joe Montana, Ronnie Lott, Dwight Clark and Riki Ellison. Written as a tongue in cheek statement about 80’s excess and hedonism, the song is also memorable for its music video directed by Kevin Godley and Lol Creme (Herbie Hancock, Duran Duran, The Police). The directors film the clip using an arthroscopic camera normally used for invasive surgery, allowing the band to be shot in extreme close up, and letting the camera travel into very tight spaces that a normal one would be unable to go. “Square” is also referred to in the horror novel “American Psycho”, and is featured in the film adaptation starring Christian Bale and Jared Leto. The song is originally featured on the released soundtrack album, which is pulled from record stores after it is determined that Koch Records had not secured the rights for the song to appear on the album. In 2013, “Hip To Be Square” appears in a short film on the comedy website “Funny Or Die” featuring Huey Lewis and “Weird Al” Yankovic. The video is a comic parody of “Psycho” that ends with Lewis hacking Yankovic to death with an axe, while the singer berates the comedy parody artist for having spoofed the bands hit “I Want A New Drug”. “Square” is also used to great comic effect on the animated series “American Dad!”, in the episode “The Kidney Stays In The Picture”.  The song is also used on “Sesame Street” in an animated segment called “Hip To Be A Square”. “Fore!” spends one week at number one on the Billboard Top 200, and is certified 3x Platinum in the US by the RIAA.

This is an experimental protest album from one of the other dudes in Destruction Unit (I was posting a lot of Jock Club lately) made with drone jamming software.

A collection of field recordings and real-time live-coded audio compositions based on algorithms used for spoofing, hacking and otherwise sabotaging GNSS-based unmanned aircraft systems.

kodachromism  asked:

For the dead fandom thing (which was a super interesting read btw!) Xena warrior princess, The shadow, a lot of the fleicher cartoons, the GLEE fandom, Tom and Jerry, Buffy (I mean, I still watch and love it, but I'd be hard pressed to see anyone else talking about it), The land of the lost, The partridge family (Sadly). Thats all I can think of off the top of my head, anyways

I addressed the Shadow, Street & Smith pulp hero fandom disappearing today. Thanks for the suggestion! Here’s the Reader’s Digest Version: pulp heroes went away because 1) the audience were kids and working class men, and the kids went to comics and the adults went to men’s adventure paperbacks, 2) there is no publishing agency to keep them alive in the public eye and merchandized, like DC and Marvel do with their characters.

The Partridge Family was such a product of its specific cultural moment, that the miracle would have been if it did survive the 1960s. I am still scratching my head over the fact that Dazzler, the Marvel roller skating disco superheroine created in partnership with a record company, intended as a disco musical starring vehicle for Bo Derek, is, incredibly, still around and kicking in modern day Marvel comics published in the Year of Our Lord 2016.

I don’t know enough about Glee to be entitled to an opinion.

Animation buffs still love Tom and Jerry, but there’s a reason it is less visible in the public consciousness: it was superseded by a later, even more insane “chase” cartoon, the Coyote and Road Runner, created to be a semi-spoof of chase cartoons by taking them to their most extreme extent. There is such a thing as an “own” that is so spot on and brutal, a parody so accurate, it’s hard to take what it was making fun of seriously again. After Team America: World Police, I crack up whenever someone mentions Rent the Musical.

It’s a shame that people remember Land of the Lost as a schlockfest because of the bad sets and effects, because, with the limits of its audience, it occasionally could be legitimately horrifying. One especially eerie scene was set around a Sleestak library, where glowing Sleestak skulls would say ominous things like “when the last human is dead, the age of the Sleestak will begin.” Brrrr.

Buffy fandom is very much alive! It helps it’s on streaming, which helps a new audience discover it by word of mouth (not being available is like being dead). I don’t think it will be visible for the next five years, but I think a pattern will emerge: the shows with living fandoms will be ones that are accessible on streaming services, and the ones that are dead are behind dusty paywalls. People share gifs on Buffy, I see merch around for it, etc. Merch is always the most foolproof test as to whether a fandom is alive or dead because of the cold hard logic of capitalism: people wouldn’t make something there’s no audience for.

The people behind Buffy are now shaping pop culture: Joss Whedon was in charge of the Marvel Universe, but more importantly, Buffy was influential. Everyone is now doing what Buffy was doing in 2000, which is a combination of self-awareness, genre-savviness, and quippy, fast-paced dialogue. The Marvel movies wouldn’t have been possible without Buffy, and every show does this now. If you want to see how different TV was before Buffy, see one of its’ contemporaries, Babylon 5, which to modern viewers, with its’ Sorkin-esque West Wing style grandstanding speeches, feels overwritten and ponderous. Can you even imagine a member of Buffy’s gang getting off an uninterrupted monologue about Winston Churchill? That happened on B5 every other episode.

Part of the reason the Ghostbusters reboot felt “off” is because the original was a very dry comedy of a kind that nobody makes anymore except the British, whereas the reboot was a broader, wittier, quippier, Whedonian movie, or at least, made the effort to be one. Hell, even the recent Star Wars movie was Whedonized: it didn’t take itself seriously, and there was less of the ominousness and anxiety of the originals. Heck, people are mad that the DC movies aren’t this way. All told, I will say that when we look back on this era of geek culture, we’ll say Buffy was one of the most important moments.

Xena fandom is as alive as you’d expect something that hasn’t legitimately been continued in any way for a decade and a half to be. I don’t think it’s dead, but it is asleep. If a new Xena show was announced next week for streaming, tumblr would crack in half with excitement.

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Knuckle Puck spoof blink-182 in new “Gone” video

Knuckle Puck have released a new music video for “Gone,” spoofing blink-182’s video for “The Rock Show.” Knuckle Puck’s latest album, Shapeshifter, was released on October 13th via Rise Records.

Knuckle Puck will be on tour this fall supporting Shapeshifter, with support coming from Movements, With Confidence, and Homesafe.

Check out the new video for “Gone” below, as well as their upcoming tour dates

Keep reading

Making the This Ain't A Scene, It's An Arms Race video
  • Joe: Right now we're shooting a spoof of Pete's nudie pics... The nudes.
  • Pete: More people have seen that picture than have bought our record, which is a bizarre statistic.
  • Interviewer: Was there ever a point where you were like, "this is too much"?
  • Andy: I loved it! I wanted to know the process that led to those.
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On this day in music history: December 11, 1982 - “Mickey” by Toni Basil hits #1 on the Billboard Hot 100 for 1 week. Written by Mike Chapman and Nicky Chinn, it is the biggest hit for the choreographer and singer born Antonia Christina Basilotta. Written by glam rock songwriter and producers Mike Chapman and Nicky Chinn (Smokie, Sweet, Suzi Quatro), the song is originally titled “Kitty”, and is first recorded by the British bubblegum pop band Racey in 1979. Having previously recorded a one off single titled “Breakaway” for A&M records in 1966, dancer and choreographer Toni Basil sets aside her ambitions as a singer to focus on her career in dance, which is highly successful. By 1980 she turns her attention back to music, landing a deal with Virgin Records subsidiary Radialchoice Records in the UK. While looking for material with producers Greg Mathieson and Trevor Veitch, she finds the song “Kitty”. Basil records it for her debut album (changing the title to “Mickey” and the gender of the song to a man) and accompanying long form video “Word Of Mouth”. Licensed to Chrysalis Records in the US, the song is slow to take off, taking nearly ten months from the time it is released to when it reaches the top of the charts. Entering the Hot 100 at #83 on September 4, 1982, it climbs to the top of the chart fourteen weeks later. In 1983, comedian “Weird Al” Yankovic parodies the song on his debut album as “Ricky”, spoofing the classic sitcom “I Love Lucy”. “Mickey” is certified Platinum in the US by the RIAA.