I had a hard time the night before rapping with visionary author Alan Moore. I wanted to talk mostly about Unearthing, his new multimedia box set with Mitch Jenkins, Doseone, Fog, Stuart from Mogwai, Mike Patton, Zach from Hella and other fine talents. Politics, technology, poetry, deep thoughts. But usually most people want to hear about his legendary comics. I slipped in one question about Comic-Con and then the hate mail arrived.
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 My name is Scott Thill, and I am a pro journo, writer, code monkey and ideas guy for Wired, AlterNet, Filter, Huffington Post and more. Morphizm has been home base for my work since July 4 2001. For more on Morphizm or myself: [Make Contact].   |
 Stars Wars is no longer the haven of geeks who like to pretend they’re space-faring saviors. It’s gone viral for decades as a pop-culture cipher begging to be filled in by its fans, and their varied sensibilities. Which is why The Vader Project kicks so much ass, and why I built a gallery about it for Wired. What other franchise could command the arty attention of both hotshots like Marc Ecko and underground legends like Winston Smith, Robbie Conal, The Melvin and more? When that caliber of artistry revises Darth Vader’s head for public auction, that public embraces the dark side of the Force.
M. Night Shyamalan’s cinematic compression of Nickelodeon’s stunning animated series Avatar: The Last Airbender has serious fandom boots to fill. And it needs much more time to fill them. Like the Fire Nation’s obsessive, disgraced Prince Zuko, Shyamalan’s The Last Airbender, the first installment in a planned film trilogy, could use more patience and less tortured battles, waged in this iteration through Industrial Light and Magic’s elementally bending special effects. And perhaps, like Zuko, that patience will be found in the final third of the trilogy. Or perhaps not.
So I injected Metromix with a potent dose of the decade’s greatest noises. Here’s a sampler to sway your mind. Cocteau Twins(Photo:Bob Berg/Getty Images Although this Scottish trio careened from stark gothtronica to lush dream-pop throughout the ’80s and ’90s, it is 1990’s “Heaven or Las Vegas” that marked Cocteau Twins’ peak of accessibility. Breathed into spiraling life by Elizabeth Fraser’s uncanny ululations and buttressed by guitarist Robin Guthrie’s gear-headed atmospherics and bassist Simon Raymonde’s rumbling backbone, Cocteau Twins dazzled on alt-rock classics like “Treasure,” “Blue Bell Knoll” and “Victorialand” in the ’80s, then crossed over on the strength of “Heaven or Las Vegas” and subsequent ’90s efforts like “Four Calendar Cafe” and “Milk and Kisses.” Reunions rumors have come and gone, but the Twins still remain beautifully enigmatic and heartbreakingly distant. For now.
No Age(Photo: Ed Templeton) From their wide-ranging 2007 debut, “Weirdo Rippers,” to their ambitiously loud 2008 full-length, “Nouns” and to their forthcoming effort Everything in Between, due out from Sub Pop in September, No Age have shattered the sonic ceiling when it comes to what’s expected from a two-person group. Randall and Spunt can create dense patterns of often hypnotic punk noise using only their four skinny arms. |
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Remember when the plan was to pour a percentage of your hard-earned salary into a retirement account, usually supplied by your employer? Who then invested your money with the company’s into a series of funds, stocks and economic stratagems? Which were engineered for failure by rapacious banks, secretive hedge funds and other financial assholes gaming the econopocalypse from either side of the class-war divide? Yeah, that plan failed. The new plan? Retirement benefits have no future. I explored the cold economic reality for AlterNet.
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