Random Song of the Day – 2/26/15

Today, Hadouken!:

Yes they’re named after a special move from Street Fighter II. No, I don’t understand why, given that they make electronic hip-hop pop music. They’re also British, but I don’t think that has anything to do with it. What I do know is that they’re surprisingly interesting, all things considered; while this song is basically a referenced chorus, an electronic beat, and some rapping, it comes together well, and this is only a part of what the band does musically. Look up “Midnight” for the other side, which is equally interesting, but more vocal-heavy, and compare that to this; it’ll make a lot more sense, I promise.

On why you don’t really want Miles Morales, even if you think you do.

So the fairly notable news in Marvel comic movies that came up recently is that Sony and Marvel/Disney did indeed come to terms on allowing Spider-Man to show up in the Marvel universe films, which means Spider-Man could potentially show up as early as Avengers 2 in a post-credits scene, and is assumed to be popping up in Captain America: Civil War at the very least. What this means in the long-term will depend on how well the character is handled, but what we do know is that, with this deal having happened, Andrew Garfield is most likely done with being Spider-Man, and Marvel will probably recast the role. While that’s almost certainly a stupid idea*, Marvel on the whole is basically nothing but stupid ideas a lot of the time so that’s hardly anything new. We’re almost certainly headed for another fucking origin story whether we want one or not, though interestingly, fan sentiment has begun turning toward the idea of Miles Morales being the Spider-Man in the movie universe instead of Peter Parker. This, too, is nothing new; fans have been clamoring for new blood in the Spider-Man universe for a little while now, and the film plans Sony had on the table up until Amazing Spider-Man 2 tanked out seemed to imply that at least two fan wishes, a Venom film and an unnamed female project (either Spider-Woman or Spider-Gwen) were on the table. With the potential for a reboot on the horizon, then, the possibility for Miles to step in and be a player is high, and even when people understand why Peter will probably be the go-to guy, they still want Miles.

I’ve seen this conversation pop up a few times amongst friends, so this discussion is nothing new. I just recently had the discussion of “Miles or Peter,” with a friend of mine, and before that, a few friends talked up the decision to cast Johnny Storm as a black guy as an interesting choice. One friend of mine even mentioned that, given the choice, he’d sooner have seen John Stewart (this guy, not the host of The Daily Show, though now I want THAT movie) in the Green Lantern film than Hal Jordan. As a person who has a high opinion of social progress in general, especially in popular culture, I love the hell out of those ideas, and they make sense. As someone who actually pays attention to how super hero movies have gone over the past couple decades, though, the concept is actually kind of horrifying, and while I’m hopeful that Black Panther will be a good movie, I’m pretty sure a Miles Morales Spider-Man film would be a disaster of epic proportions.

Here’s why. Continue reading

Random Song of the Day – 2/25/15

Today, Walk the Moon:

(Sorry, I’ve been busy.)

I have no explanation as to why I like this song or this video; if you understand why, then you grew up in the 80’s and appreciate its pop music, and if you didn’t, then you probably don’t. This video is the very definition of “throwback,” and it is amazing. Not bad from what appears, by all indications, to be a quasi-experimental band otherwise.

Random Song of the Day – 2/17/15

Today, Body Count:

Body Count, these days, seems like kind of a vanity project for Ice T; he certainly doesn’t need to make music anymore given how successful he’s been in music and acting, and rap/rock blew up and died in Body Count’s absence, so clearly this is less a “this would be a popular release” deal and more a “I want to do it, fuck you” thing. Personally, though, I have a soft spot for Body Count, because it’s a concept that never really gets old, and honestly, Ice T still has it as a rapper, and I still like rap/metal when it’s done right. Besides, the concept of the video above is a very special kind of hilarious, partly because you kind of feel like it’s the equivalent of an old guy screaming about getting off his lawn at Twitter as a whole, and partly because the idea of Ice T literally driving around, shooting anyone who makes fun of him on Twitter, isn’t that far-fetched.

Random Song of the Day – 2/16/15

Okay, one more Darren Hayes, because this shit is fucking weird:

You’d think it’d be a cover of the NIN song, maybe, and you’d be super wrong.

This is literally one of the most upbeat, catchy-sounding songs I’ve heard in a long time, and it’s all about how Darren Hayes is a fuckup who will ruin you if you fall in love with him.

I love this so much you guys. It is just so amazing.

Looking Back on… Karma’s a bitch, ain’t it? (WWE, 2003)

(This one would’ve been written sometime around the Royal Rumble in 2003, so it just recently celebrated its twelfth birthday. God I’m old.)

Y’know, the other day, I came to a realization. For those of you that haven’t been keeping up, the WWE has been running for around, oh, fifty or so years, (The company started out back in 1952 as Capitol Wrestling Corporation under Jess McMahon, so that would indeed be more or less correct as a time assessment. Not bad with no Wikipedia to reference.) but has only been running under the leadership of Vince McMahon Jr. (that’s the douchebag presently in charge, for those of you not aware) for the past twenty-five of those fifty years. (He took it over sometime in 1979, so again, roughly accurate.) In those twenty-five years, the man has had two REALLY big periods, which largely occurred without his help, but rather almost by accident, (Incorrect; the 80’s boom period of Rock and Wrestling was almost entirely his doing, as he ran the territories out of business with a shitload of luck, a strong business plan and Hulk Hogan, so he knew what he was doing. The Attitude Era was kind of a lot of accidents happening in a row that ended up making him billions, however, so yes, that one was certainly not his doing in the strictest sense.) and two periods of downturn, which were almost exclusively his doing, by letting the inmates run the asylum. (We’re still in the middle of the second one with no end in sight, sadly, mostly because every time they get somewhere that could spike interest Vince shits right in it.)

Continue reading

Random Song of the Day – 2/13/15

Today, Darren Hayes:

Darren Hayes is kind of a weird dude. He started out, more or less, as the frontman of Savage Garden, which you almost certainly have heard of, and two albums and a small handful of singles you probably hate listening to later, he and Daniel Jones basically split up in a way that could politely be called “acrimonious.” I mean, Hayes himself basically said back in 2007 (six years later for reference) that he’d only do it if it cured cancer, which is… unlikely, so that’s pretty much a “no fucking way” assessment if I’ve ever heard one. He then jumped back into the studio solo to record Spin, a record that could politely be called “pop bullshit,” and while it was fine enough, it was also completely uninspired compared to the work Savage Garden had done, and Hayes was basically showing he didn’t have anything in the tank without Jones behind him.

Then he releases The Tension and the Spark and more or less blows everyone’s expectations out of the water.

Now, it bears noting that Hayes has kind of gone back to making the same pop music that made him famous, albeit in a way that’s a bit more intellectually out there, but for what it’s worth, this record is probably the one that really showed he still had something post Savage Garden. Part of the reason for that is because it’s a super-depressing piece of work, one that most pop musicians wouldn’t touch because it’s not likely to be marketable or radio friendly. Part of it, however, comes back to the fact that it’s some really powerful work from a man who really had nothing to lose here; it’s dark, powerful, and basically comes from a place most pop musicians don’t go to but for one song sometimes, and certainly not for an entire album. It’s unique in that regard, and really interesting as both a record and a concept project, and for that reason it’s probably one of my favorites, both of his and in general.