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"Evan Almighty" cost overruns, Studio exec soul underruns.


This LA Times article profiles the $160 million plus that Universal Pictures is spending on the Steve Carrel vehicle "Evan Almighty." Studios seem to believe that the more money you spend, the funnier it gets.

The article is full of distressing comments from studio officials, but this one, from co-Chairman David Linde, takes the cake.

"It's based on two story sources: 'Bruce Almighty' and the Bible, both of which were incredibly successful," Linde said.

And Hollywood wonders why America hates them.

(thanks Nick)

Pharaohe Monch - Push


For hip-hop fans, this record has been a long time coming. When did Pharaohe's first solo, "Internal Affairs," come out? 1999? It's almost 2007.

Pharaohe produced this one himself, with the nice Impressions sample. No one can flow like Monch. Reccomended listening, by the way: Nate Dogg f. Pharohe Monch "I Pledge Allegiance."

The Dynasty Continues


Jay-Z - Show Me What You Got (prod. Just Blaze)

Jigga's flow gets a bit tripped up in the middle, but the beat is undeniable. Just takes the "grown & sexy" vibe to the next level on this one. Great drums, too.

"Give the drummer some / I already gave the summer some / it's the winter's turn!"

The Sound: Now with Web 2.0 Social Network Mobisodes.


Yeah yeah yeah, I signed up for Facebook. Make friends with me. Also, join Ryan's Fans of The Sound of Young America group!

Jesse Thorn's Facebook profile

And if you're not on Facebook, there's always Myspace.

Feeling down? Energy flagging?


There's an easy solution.

Andrew W.K. - You Will Remember Tonight (taken from his new LP, "Close Calls with Brick Walls")

Congratulations to The Human Giant


Hurray! I saw the news on another website, so I presume I'm allowed to talk about it publicly: The Human Giant have been picked up for a series on MTV.

If you've never heard of the group, it's four folks from the New York comedy community -- standup Aziz Ansari, UCB-NY fixtures Rob Huebel and Paul Scheer, and film-maker / TSOYA pal Jason Woliner -- who make wonderful short films and now, I suppose, a TV series.

If you've never seen their work, allow me to reccomend HIGHLY their Channel 102 series Shutterbugs, which is the greatest thing ever.

Message to the Messengers


Earlier today, one of my favorite hip-hop blogs, Oh Word, linked to this post I wrote appreciating The Coup's classic "Me & Jesus the Pimp in a '79 Grenada Last Night." The self-same post included a link to a very interesting piece on Big Daddy Kane's use of lyrical irony, and that reminded me that I once wrote a piece that argued for Boots as a Gramscian "organic intellectual," as well as a self-aware pracitioner of the griot tradition. It also related Boots to two folks who had come up in the class, Nikki Giovanni and Gil Scott-Heron.

Anyway, I thought some folks who read this blog might enjoy it. Keep in mind I wrote it when I was 19, and I still don't have any advanced degrees or anything, so... you know... be gentle. Also, like everything I wrote when I was 19 (and shoot, even today), I'm pretty sure I only made one draft :). I must admit that I was too chicken to re-read it all these years later.

Heeding the Message to the Messengers: Boots Riley & the Griot Tradition

The Coup - "Me & Jesus the Pimp"


There's beauty in the cracks of the cement
When I was five I hopped over them wherever we went to prevent
whatever it was that could break my momma's back
Little did I know that it would roll up in a Cadillac

Why didn't I know that TSOYA listener / king of the rap nerds Noz started a new hip-hop video blog? It's as good as his long-running MP3 blog Cocaine Blunts & Hip-Hop Tapes, which is pretty much the place to be to hear some Hobo Junction single from 1992 and read some trenchant commentary about the little kid who's inexplicably rapping on it.

Anyway, one of the first videos that caught my eye in the collection was for The Coup's "Me & Jesus the Pimp in a '79 Grenada Last Night." I'm pretty sure I think this is the most emotionally powerful hip-hop track ever recorded. The first time I heard it, I cried.

The song, built around a live band and a sample from live Funkadelic 45, is a tragic one. A young man goes for a ride with his father -- a pimp who was recently released from prison. As they ride, the young man considers the values he learned from his father's prison letters, and re-evaluates where he stands in the world.

If you're familiar with the song, check out the video above. If you're not, and you're not experienced enough in the hip-hop world to follow lyrics closely, maybe you should hit play, and open the lyrics of the song in a new window (usually it's right click on the link - then "open in new window") so you can follow along.

The first few times I heard the song, I thought of it as a stirring personal story. The more I thought about it, though, the more I was convinced that Boots intended it as a socialist/feminist allegory -- a commentary on how capitalism mistreats women, and how men are so often complicit in that mistreatment. You might consider that the second or third time through.

Boots' gift as an MC isn't so much his politics, or his somewhat pedestrian Too Short meets Ice Cube flow. Instead, it's the masterful way he can wrap his Big Ideas in relatable terms. His rhetoric is touching... inspiring... even funny. Most "political rappers" traffic in big talk, The Coup traffic in little touches.

PS: if you run into the Coup, let Boots know their Marxist asses still owe KZSC $500. Long story.

PPS: Here's a paper I wrote about the Coup in college. It was quite some time ago, and I was 19, please be gentle.

Paging Mr. Herman


Man, Pee-Wee Herman on the Letterman show in 1984. I really don't think there has been any entertainer who has been more important in my life than old P.W. Herman. Used to watch "Playhouse" every Saturday morning with my mom, absolutely without fail. When it was cancelled, I was heartbroken. Fuckers.

"Sasquatch" weighs in on Studio 60


I've been thinking about posting something about how dissapointed I was with Studio 60 on the Sunset Strip's second episode. Themes I was thinking of including were: "why so much camera-swooping?" and "what's with the music? is this Who Wants to be a Millionaire?" and "why no fun?"

Then's beloved pater familias, In Search of Sasquatch (known in the real world as podcast producer Matt Belknap of AST Radio and Never Not Funny), said it better than I ever could have. Like me, he was a big Sorkin fan (love that Sportsnight) and defended the first episode, but like me, he's gone sour on the whole proposition.

Here's what Matt had to say:

"I don't think Aaron Sorkin would know good sketch comedy if it shit in his mouth. We've seen what he thinks is funny (snobby historical references, obvious social, religious and political jabs), so why would he want real comedy writers coming in to muck up his genius?

I will hang in there until the bitter end with this show, but it's fast approaching indefensible. You can't write about comedy if you don't know what makes good comedy. Sorkin could probably take on anything else in the world and make it work, but this is his Achilles heel. His humor only works when the characters aren't meant to be funny for a living -- CJ Craig is funny for a press secretary, but if she were running a network comedy show it would be a disaster (well, it would be Studio 60).

Also, these characters are incredibly pompous and self-absorbed, which would be fine (and realistic) except Sorkin's presenting them as people we're meant to like, admire and respect. Again, I don't mind high-minded and principled characters on a show about the White House, because I want our leaders to be high-minded and principled -- Bartlet being a proud intellectual was a reaction to Bush, and it made sense. But in the TV business, it's ludicrous. These characters have no perspective on what they do for a living, and act like they're saving the world by producing empirically bad sketch comedy. If the comedy they were doing was good, the rest might be permissible. If they acknowledged what they were doing was bad (or at least unimportant), it might be tolerable. If any aspect of the world Sorkin & Co. are creating rang true, maybe the show would work. So far, though, they're moving further away from all that with every new episode."

"Hear hear!" says I.

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