Monday, May 11, 2015

The Itsy Bitsy Spider...

This spider was crawling on our front window today, so we were able to get a great bottom view of it. But it had moved on before I got my camera. Anyway, some cool shots of a spider here in Utah.

Does anyone know what kind it is?
(if you click on the image, you can see it's full resolution on imgur)

Tuesday, March 10, 2015

Comic Book Guy vs NXT 024


Why #GiveDivasAChance When NXT already delivers? 


WWE Divas via WWE
Hashtag Give divas a chance. That is the newest battle cry of the WWE in an attempt to keep viewers from fast forwarding through every diva match.

I haven't heard a call to arms this desperate since The Justice League changed its name to The Blue Light Specials, which they did in JLA #257, which saw the Justice League relocate headquarters from the watch tower to the break room in the Fort Lee New Jersey Kmart.

When was the last time a crowd chanted "This is awesome," "This is Wrestling," or not make a break for the restroom during a WWE Diva's match? mmm.... Probably not since the Jumping Bomb Angels defeated the Glamour Girls for the Tag Team Championship at 1988's Royal Rumble. (Look it up, nerds)

NXT's Charlotte via WWENXT
Even more rare, a WWE event which featured divas as the main event. That's as probable as the Fantastic Four's The thing going without Metamucil for a day... He literally has rocks for bowls, folks...

However, if you'd like to see strong, intelligent, wrestlers who inspire the audience to cheer, chant, and gasp, and that just happen to be women, look no further than NXT.

March 4th's show had Sasha Banks defending her newly won title against former champ Charlotte, and this match stands out as one of the best matches of the past year – independent of gender.

Strength, technique, heart, and the ability to tell a story inside of a ring without having a prime-time tie-in reality show in an attempt to bring viewers in... MMM.... It seems the Divas would do well to spend some time in the reality of the NXT rather than the unreality of the E! Network.

So while the WWE jams social media campaigns down viewers throats in an attempt to make up for the skill that models turned wrestlers will never have, the NXT divas will be slamming each other into the mat, and even deeper into the fan's hearts.

This completes our transaction, good bye.




Wednesday, February 25, 2015

Rating/Review 'Spider-Gwen' #1 -- Most Wanted, Part 1

Order Your Copy From Death Ray Comics
"Spider-Gwen" #1 -- Most Wanted, Part 1 (7 out of 10) -- Marvel Comics; Written by Jason Latour ("Wolverine and the X-Men"); Drawn by Robbi Rodriguez ("FBP: Federal Bureau of Physics"); Colors by Rico Renzi ("Sundowners"); Lettering by Clayton Cowles (all the comics); In Stores 2/25/2015.

Cool vs Stool: Cool


Sometimes fans create a movement so strong that The Man (or in this case Marvel Comics) has no choice but to follow through with the demands. When Dan Slott came up with the idea of an alternate version of Spider-Man, one where Gwen Stacey was bitten by the radioactive spider, and when Jason Latour and Robbi Rodriguez brought this Spider-Gwen to life, it wasn't intended to go further than the Spider-Verse story arc. However, as editor Nick Lowe writes in the last page of "Spider-Gwen" #1, "But most of all, you, the fans... sent this team and character into the stratosphere... this series is launching in a huge way and should be around for a long time to come."

If you were one of the many to pick a copy of "Edge of Spider-Verse" #2 (a fifth printing will be available 3/25/2015), then the transition into "Spider-Gwen" will be a flawless one. For those of you who didn't catch the debut of Spider-Gwen, you'll survive the issue.

"Spider-Gwen" #1 begins with Gwen Stacy trying to find her place in the world after recently returning from fighting a war for the fate of all reality (i.e. Spider-Verse), while acknowledging the lingering fog of problems from the devastating events that took place in EOSV #2. In classic Marvel fashion, the first page of the issue recaps what took place in Spider-Gwen's debut appearance. The synopsis is sufficient to enjoy the issue, however there are holes that are left for the reader to infer while consuming the story.

Albeit redundant to reiterate, key to understanding this first issue, is to remember that the story takes place in an alternate Marvel reality than that of the classic Peter Parker Spider-Man of popular culture. This is a reality where Ben Grimm is a street cop and not The Thing. It's a reality where Frank Castle is a captain on the police force and not a raving mad Punisher (or is he...). The list of altered characters goes on and on.

Writer Jason Latour is quickly becoming one of the best young-hero story tellers in the Marvel bull pen. His work on "Wolverine and the X-Men" has him well-prepared to tell the drama-rich arc that is unfolding between Gwen Stacy and her (ex)band mates in The Mary Janes. This is a great throwback to the Stan Lee classic "Amazing Spider-Man" series. Like the early Spidey issues, "Spider-Gwen" has equal parts action and crime fighting to young-adult drama.

The Robbi Rodriguez / Rico Renzi art team has been proven successful in the pages of DC's " FBP: Federal Bureau of Physics," and the art in "Spider-Gwen" feels as unified as if it were a single artists shouldering the whole work. The characters in the comic have an animated look not so different from that of "Amazing Spider-Man" artist Humberto Ramos.

As the creative team is playing in an alternate reality of the Marvel Universe, this has afforded them to explore different takes on classic characters. Their version of The Vulture -- Spider-Gwen's big villain for this first issue -- is as equally fun as he is frightening. Though the character design that has resonated the most with fans is without a doubt the Spider-Woman costume (she can't be known as Spider-Gwen to the public; secret identity much?).

Gwen's spider costume is the same as was used in EOSV #2. Perhaps the popularity of this new character is directly linked to the costume. Editor Nick Lowe writes in the back of the issue, "You [the fans] drew your own fan art versions of her costume... you constructed your own Spider-Gwen costumes and cosplayed them..." A quick Google search will take you to the many posts all over Tumblr proving Lowe right.


"Spider-Gwen" #1 earns a 7 out of 10. The story is fluid and strong. The art is fun and as animated as the characters. The biggest problem with this first issue are the lingering effects from "Edge of Spider-Verse" #2, which jars a reader who is blind to the Spider-Verse story. Couple this issue with Spider-Gwen's debut and you've got a solid 10.

Rating/Review - 'TMNT Mutanimals' #1

Order Your Copy From Death Ray Comics
"TMNT Mutanimals" #1 (of 4) - 9 out of 10 - IDW Publishing; Written by Paul Allor ("TMNT Utrom Empire"); Drawn by Andy Khun ("TMNT Ongoing"); Colors by Nick Filardi ("Powers"); Lettering by Bobby Curnow ("TMNT Ongoing"); In Stores 2/25/2015.

Click to read a free PDF preview of "TMNT Mutanimals" #1.

Cool vs Stool: Cool

The creative team that brought you the hit mini-series "TMNT Utrom Empire" is back, and this time they are at the helm of the comical and very deadly Mutanimals. Like 'Utrom,' writer Paul Allor tells a story that is funny, action-packed, and slightly sad all wrapped up in Andy Khun's time-tested and fitting art.

The Mutanimals are a rogue group of militant mutants seeking to free mutants from the servitude of would-be mutant manipulators. Led by Old Hob -- a one-eyed feral cat mutant -- this team has captured Lindsey Baker -- an ex-Stockgen scientist and mutagen specialist -- to help them create more mutants to aid in their (self) righteous endeavors.

But when Baker is kidnapped and taken to a NULL Industries laboratory, the Mutanimals are quick to rescue their friend/hostage. Little do they know what they will find at the lab will spark an all-out war with the multinational consumer-goods juggernaut.

First and foremost it is important to note that this first issue of the four part mini-series does a great job of welcoming new readers without beating long-time fans over the head with explication. The inside cover hosts a brief paragraph that explains the cast and their motives. Using the inside cover page allows for maximum story telling in the pages and dually lets ongoing-readers jump right to the inks and colors.

Additionally, Allor's use of natural-flowing dialogue guides readers (both new to the TMNT franchise and veterans alike) into and through the issue without a single box of omniscient narration. Many writers attempt a script based solely on character speech, but end up falling into unnatural diatribes of exposition. This is not the case in "Mutanimals." From start to finish, the pages turn and flow from one speech bubble to the next.

The Mutanimals are the perfect group for telling a fun TMNT franchise story. Old Hob is the extremely paranoid leader who won't rest until every mutant is free, and he is not afraid to get his paws dirty in the process. At his beckon call is Slash, the snapping turtle, who is the muscle behind the team. Throw into the mix a skater-dude gecko in Mondo Gecko, the battle-hardened Herman the Hermit Crab, and Old Hob's first (and somewhat failed) attempt at creating a mutant, the less than simple Pigeon Pete, and you've got the makings of a Chuck Lorre-esque comic book (Four and A Half Mutants, coming to CBS this fall © Trent Hunsaker).

Luckily, "Mutanimals" #1 is more than just gecko wise cracks and deranged hyper focused mutant terrorism. Without spoiling the experience, readers can anticipate a heart wrenching series of panels in this issue that speaks more to the human condition than those only familiar with the TMNT animated series of the late 80s could ever imagine.

Khun, who had a long run on the ongoing TMNT series, draws the Mutanimals in a way that isn't as line-heavy as TMNT co-creator Kevin Eastman, but in a way that still feels less rigid than Mateus Santolouco's take on the franchise; Santolouco is the current "TMNT Ongoing" series artist. The style is perfect for the Mutanimals; I can't think of a better artist for the story.

The art is accented beautifully by Nick Filardi's coloring. Filardi is one of those artists who understands exactly how to change color palettes at exactly the right time to convey a change in mood and emotion in the story. For those familiar with his work on the "Powers" franchise, this issue has a very similar feel.

This first issue of four garners a 9 out of 10. It is almost a perfect first issue. The only reason it doesn't earn a 10 out of 10 is that as I finished reading, it didn't drive me to jump on Twitter immediately and tell the world how great it is. That said, I will now jump on Twitter and encourage everyone to pick up this comic book at their local comic shop!

Rating/Review: 'Curb Stomp' #1

"Curb Stomp" #1 (of 4) -- 6 out of 10 -- BOOM! STUDIOS; Written by Ryan Ferrier ("D4VE"); Drawn by Devaki Neogi ("Zombie Broadway"); Colors by Neil Lalonde ("fuckbuddies"); Letters by Colin Bell ("Gonzo Cosmic"); Cover by Tula Lotay ("Supreme: Blue Rose"); In Stores 2/25/2015.

Cool vs Stool: Cool

This review contains spoilers.

Ryan Ferrier lit the online comic scene on fire with "D4VE." Coincidentally this week as his stand-out title is on the rack for the first time in print, the first issue of "Curb Stomp," his next mini-series, also hits your local comic shop.

"Curb Stomp" follows The Fever, a gang of five hardcore mid-twenties women, as they defend their turf, the borough of Old Beach, from the neighboring boroughs' gangs. Readers are introduced to the gang with a "Switchblade Sisters"-type introduction of each gang member, complete with title card of each member's name. You can almost hear the DUN! DUN! DUN! with each introduction.

The Fever likes to drink and party hard, but sends a member out each night to patrol the streets of Old Beach. They are the law of the dying borough, displayed in the second page as one member defends her bodega's cash register with a baseball bat, "The cops don't come to Old Beach. Our justice is D.I.Y."

Meanwhile, two rival gangs make a deal with the mayor to take control of all the boroughs' gun and drug trafficking and hence bring the facade of peace under the mayor's control.

While on patrol, The Fever leader Machete Betty confronts a rival gang member on her turf who draws a gun on her -- despite that being against the "code" which the gangs live by. Luckily the gun jams and with the help of a well placed blade and a couple of punches, Betty brings the gang member to his knees, then places her boot to the back of his head as he's forced to bite the curb. And so we have our mini-series' title "Curb Stomp."

The rest of the issue is the rival gang settling the score and how The Fever intend to counter the gang's move, which of course can only go wrong and lead into issue #2.  

The cover and solicitation for this comic book was what placed it on the top of my to-read stack. Tula Lotay's cover is beautiful and sells the story perfectly with The Fever staring at the reader -- one with cigarette in mouth, another with baseball bat in hand and tongue stuck out as if to say, "Blah! We dare you to read this!" -- taunting the reader to dive in. The colors used on the cover -- think Instagram Walden Filter -- give a rough yet feminine feel, which is the exact tone set in the script of the issue.

The interior art carries a similar feel in color from the cover. The muted pastel colors continually remind you that the protagonists are women, and they will kick your trash! Though the coloring may feel light, levity is not the tone that is set. When a rival gang member is shot in the face -- shown in 3rd person POV, from behind the victim -- the pinks and reds used earlier to show the soft features of The Fever's beauty are then turned to show the horror of gang violence.

While the color choices are fitting and consistent, the illustration varies in consistency from panel to panel and page to page. Some characters are only recognizable throughout the issue due to her/his clothing, as facial features change unrecognizably between panels.

Part of the inconsistent feel can be attributed most of the panels' blank backgournds. On almost any given page, two-thirds of the backgrounds are left without any illustration, just a single color or color gradient to fill-in behind the characters.

Despite the somewhat jarring art, the dialogue in the issue gives a strong feel for the personality of each character. Ferrier's ability to write natural dialogue and equally natural interior dialogue keeps the story moving. Readers get a strong sense of the quirks native to each member of The Fever, however the motives for the gang are not fully developed. It is explained that the gang is there to protect Old Beach, but what drives the protection and from whom? Perhaps this will be developed in an issue to come, but there is a definite lack of motive explained for the hardcore, bad-girl, do-gooding Fever.  If it is to be developed later on, it better be soon; this issue is one of just four.

I give this first issue a 6 out of 10. Almost everyone involved in this mini-series is relatively new to the print-comic scene. As I may seem overly critical of Devaki Neogi's illustrations, she comes from a background in fashion and will surly fine-tune her skills as her comic book career continues. What the issue lacks in precision, it makes up for in tough-girl punk rockery. It's almost as if S.E. Hinton is finally getting to see her "The Outsiders" portrayed by women.

Read this issue if you enjoy the comics "Bitch Planet," or "Rat Queens" and the novel "The Outsiders."

Friday, February 13, 2015

Making Sense of Marvel's 2015 'SECRET WARS'

Article I wrote for Big Shiny Robot

All the way back in October, 2014, Marvel teased the launch of a new "SECRET WARS" series in 2015. The only information given at that time was that Jonathan Hickman ("NEW AVENGERS") would be writing the series while Esad Ribic ("THOR: GOD OF THUNDER") would be drawing it.

Fast forward to the end of January, 2015, when Marvel held a press conference announcing the official kickoff of "SECRET WARS," to be released in May, 2015. A quick summation of the almost half-hour long press conference is that all the different universes/realities within the Marvel Universe (e.g.; Earth-616, Ultimate Universe, et. all) are literally being smashed into one reality: a new planet, made up of countries containing the many universes/realities of the Marvel multi-verse. Marvel calls the countries of these realities "dominions" and in homage to 1984 "SECRET WARS," the planet is called Battleworld.

Are you still with me?

For example, the modern classic "OLD MAN LOGAN" – a series that stood alone from the main-stream Earth-616 Universe – will have its own dominion, called The Wastelands. However confusion ensued across Twitter, Reddit, and the vastness of the Internet when major events that took place within the Earth-616 Universe were announced to also have respective dominions. Fans were confused, thinking that those stories should be part of the Earth-616 dominion, where the stories were originally told. A case for the confusion includes the dominion Limbo.

The Limbo dominion is home to the 1989 Earth-616 company-wide crossover event of Inferno. However, different from the original series which ended with the mutant Magik throwing her soul sword into a gateway between Limbo and Manhattan, ultimately destroying the portal and saving the day, the dominion Limbo is a reality in which the heroes didn't win. The story of Limbo will take place in the newly announced title "INFERNO," by Dennis Hopeless ("SPIDER-WOMAN") and Javier Garron ("CYCLOPS"), in your local comic shop in May, 2015. So the dominions which house classic Marvel events (e.g.; Infinity Gauntlet, House of M, etc.) are spins on the stories that we haven't seen. However, the "INFERNO" series will be branded as a "WARZONES!" title.

Huh?! What happened to "SECRET WARS?"

Marvel is publishing the whole SECRET WARS event under four sub brands: "SECRET WARS," "LAST DAYS," "BATTLEWORLD" and "WARZONES!"

"SECRET WARS" is the main event title (i.e.; "AXIS," "INFINITY", "HOUSE OF M," etc.). While it will touch and affect all of the other titles, it will be a running mini-series, starting in May, 2015 and ending the same December. If you're worried that this series won't provide enough to read with just eight months worth of comics, Senior VP of Publishing Tom Brevoort said the second issue will be, "A gargantuan, oversized issue. It will give a full guided tour of the new Battleworld, and set up everything you need to know."

"LAST DAYS" is the brand that will show what happened to current story arcs and comic titles in the days just before the "incursion" – the word being used when realities smash together. So far there have not been many titles announced to carry the "LAST DAYS" sub brand, but it is my guess that many of your favorite ongoing titles will have a chance to wrap up story arcs this way. As of publishing this article these are the titles announced under the "LAST DAYS" umbrella:
  • CAPTAIN AMERICA & THE MIGHTY AVENGERS (starting with #8)
  • LOKI: AGENT OF ASGUARD (starting with #14)
  • MAGNETO (starting with #18)
"BATTLEWORLD" is the sub brand showing the full story of the happenings across the surface of the combined-realities planet. In these titles expect to see conflicts that consume many of the dominions. As of publishing this article these are the titles announced under the "BATTLEWORLD" sub brand:
  • "SECRET WARS: BATTLEWORLD" – Anthology Series
  • "SECRET WARS JOURNAL" – Anthology Series
  • "ULTIMATE END" – sBrian Michael Bendis, Mark Bagley (The original creative team of "ULTIMATES")
  • "INHUMANS: ATTILAN RISING" – Charles Soule ("INHUMAN"), John Timms ("HARLEY QUINN SPECIALS")
  • "MASTER OF KUNG FU" – Haden Blackman ("ELEKTRA"), Dalibor Talajic ("EMPIRE OF THE DEAD: ACT TWO")
"WARZONES!" is the sub brand for titles that will tell the individual stories of the dominions of Battleworld. So as an example, the aforementioned dominion The Wastelands' story will mostly likely be told in the "WARZONES!" title "OLD MAN LOGAN." As of publishing this article these are the announced titles bearing the "WARZONES!" branding:
  • "SECRET WARS 2099" ("SPIDER-MAN 2099" creative team – 2099 dominion)
  • "DEADPOOL’S SECRET SECRET WARS" ("DEADPOOL KILLS" creative team – a yet to be named dominion based on the 1984 Secret Wars)
  • "INFERNO" (Dennis Hopeless, Javier Garron – based on the 1989 Inferno event – Limbo  dominion)
  • "WHERE MONSTERS DWELL"  (Garth Ennis, Russ Braun – based on "WAR IS HELL" miniseries – possibly the named Valley of Flame dominion)
  • "SPIDER-VERSE" (Mike Costa, Andre Araujo – Spider-Verse event dominion – maybe the named Spider-Island dominon)
  • "M.O.D.O.K. ASSASSIN" (Christ Yost, Amilcar Pinna – Killville dominon)
  • "A-FORCE" (G Willow Wilson, Marguerite K. Bennett – Arcadia dominion)
  • "PLANET HULK" (Sam Humphries, Mark Laming – Greenland dominion)
  • "OLD MAN LOGAN" (Brian Michael Bendis, Andrea Sorrentino -- not confirmed but mostly likely The Wastelands dominion)
This is a Galactus amount to swallow. As most of these titles will be on the racks in May, your local comic shops will be making the orders in March. Obviously, not everyone is going to be able to keep up with every title. Which is why Marvel is also releasing the "TRUE BLEIEVER" brand of titles which are $1 reprints of the first issues of the events/stores which the dominions are based on (e.g.; "PLANET HULK," "OLD MAN LOGAN," etc.).
 
In writing this article, I've had marvel.com's Battleworld map open on one monitor while writing on another. Jump over to the map to try and put these pieces together.
This new Secret Wars event is a massive undertaking by Marvel. Sadly, the real secret is knowing which titles will be the ones to pick up regularly and which ones to leave for a collected edition.

Tuesday, January 27, 2015

Breaking Up Is Hard To Do: Cutting the Strings Can Make/Break a Small Comic Shop

When I thought about opening my own comic book shop, I made a list of all the things that I hated about "traditional" comic book shops. I was going to break the mold -- I told myself. Two years later, I've moved out of a brick-and-mortar comic book shop and now do business online and to a select few, local customers.

Looking back at my experiences in the brick-and-mortar, along with the ongoing experience of developing a mail-order comic shop, I have to say that stupid policies we all hate about traditional comic shops, are the reason they get to be 'traditional,' and those trying to break the mold can't survive.

I understand that there is a lot of personality issues between customers and owners of comic book shops (e.g.; The Simpsons' Comic Book Guy), but in this post I'm only going to tackle two business-model customer annoyances: Prepaid Items and Holds/Comics by Subscription.
"Cold Holds" Nov-Jan, subscriptions of just three customers (210 comics / $735)

Prepaid Items

One of the many jobs I had prior to opening a comic book shop was overseeing the parts department of a Harley-Davidson dealership. The company's policy on ALL special-order items was payment in-full prior to ordering. There was no exception. This policy infuriated customers. I always used the scapegoat of company policy from hurting my established customer relationships. And while I understood customers' frustration (especially for items that weren't very expensive), when ordering a motor-assembly kit for a 1978 Shovelhead, the $2k prepayment made sense.

Fast Forward from Trent: H-D Parts Manager to Trent: Comic Book Guy and in remembrance of my own frustrations of having to prepay for a $2.99 comic, I opened the doors for customers to order and then pay when the item arrived. Sure I had to front the cost and shipping of the item in good faith that the customer would come back, but this is a small town -- I naively told myself -- people don't screw people who are part of their community, and if they wanted to pay for it when it was ordered they could just do that via Amazon. I also justified my order-now-pay-later policy in that as the retailer I wasn't committed to getting a product that had been paid in full, while my distributor could screw up (for those familiar with Diamond Comic Distributors, well... they're the worst).

Customers loved that we'd order product without prepayment. For the most part, specially-ordered items that just sat on the shelf wasn't a multiple offense. However, there is a reason customers have to make special orders: a good retailer will only carry what will sell, so if it's not in the store, there's a reason. Without naming names, let's just say that some very happy comic-con fans were able to pick up $150+ items at below cost while I took financial loss, just to get some of my money back and to move the item off of my retail floor.


Holds/Subscription Comics

Whatever you know it by -- holds, subscriptions, pulls, pull list, et. all -- the idea is simple: you tell the comic shop what recurring comic book titles you would like to have saved for you. In the comic book world this is a HUGE deal. Comic book publishing is an extremely precise endeavor. Due to the rise and drastic crash of comic popularity in the 90s, publishers rely directly on the orders placed by local comic book shops for their printing numbers. During the 90s when comics were printed and sold everywhere, a million-issue printing wasn't an uncommon occurrence. Now-a-days, the most popular comics squeak out with 200,000 issues printed. 

Adding to the pressure put upon the orders of local comic shops is that publishers rarely take back unsold product (unlike the common practice in the book/magazine world which got its start during the great depression). Usually if a publisher agrees to accept returned items, it is based upon an ordered incentive: buy X amount of this comic issue and you can return what doesn't sell. A system that works great if you are Midtown comics of NYC and pointless if you are a one-employee shop as X is an unreasonably high number for small shops.

All of these factors are what makes a subscription with your local comic book dealer an essential key for A- you being able to get the comic that you want before they sell out, and B- the retailer being able to cover the costs of products, by ordering what is guaranteed to have a buyer.

Subscriptions aren't novel. In our world of Netflix and Cable TV, you get a bill -- or more likely have a direct deposit set up -- and when you pay it, you get to keep using the product. And paying for your product once a month is a habit most adults are accustomed to.

The pre-comic book guy Trent would get frustrated when comics from my subscription would be sold to other customers because I didn't come in soon enough, and they "didn't know if I was going to pick them up." While I didn't make it in to the shop weekly, there was never a time that I let more than a month lapse between picking up my comics. Carrying this logic into my mold-breaking comic shop seemed like a good idea.

When you don't pay for your cable subscription, you no longer have access to all of those TV channels. You aren't able to go to Comcast and tell them about how hard times are right now, and how you'd only like to pay for your HBO channels, but will come back later and pay for the rest of your channels when you can afford it. However, that is the exact mentality that slowly ate away at our shop's capital. Compounding the problem are those who have a substantial amount of comic books on a subscription that drop off the face of the Earth, and those who promise that they will be in to pay, but simply never do.

I really hope that this post doesn't come across as a "woe is me the martyr of local comic shops." The failure of my brick-and-mortar comic shop is wholly mine. I accept that. I write this hoping to convey to comic book readers that may be upset about the irksome, pain-in-your-ass policies that their comic book shop has, those policies might just be the only things keeping your comic book shop open. So please, just remember: Someone had to buy that stuff before it could be put on the retail shelf. It might be awkward to tell your comic book guy that you can't afford your subscriptions, but he'll hate you much more if you never tell him.

Tuesday, January 20, 2015

@apartofhim's Top 20 of 2014 - #1 Creepoid "Creepoid"


The best part about making lists is that they are wholly yours. Of course as Rob explained in High Fidelity "First of all, you 're using someone else's poetry to express how you feel. This is a delicate thing." But sound is a sense that we connect with sound in a way that is unlike any other sense. Interpreting sound is, if not more, as personal as interpreting touch. Both are in the very physical world, but one invokes the mind more directly since it can't be tainted by the sense of sight (think about how touch is interpreted by a bind person).

Anyway, what I'm getting at, is this whole top 20 list of mine, is mine. It's not wrong; it can't be, because it's mine. I just wanted to share what touched me most profoundly this year in the world of new music. Let me know what you think and what your favorites were.

That said, take this into consideration when listening to "Creepoid" - via The AV Club:
Press play if you like: Low; Mazzy Star; cough syrup; chronic insomnia; pop-punk 45s played at 33

Zeros N' Heroes 076


Zeros N' Heroes 076

Zeros N’ Heroes 076 This week we’ve got cools — Daredevil B&W, Fantastic Four Isla de la Muerte, X-Men Hoodies, Amibos — stools, and more!