MEG VS. BUD LIGHT
An e-mail sent to Meg from an Anheuser-Busch representative:
Dear Meghan,
Thank you for contacting Anheuser-Busch. We appreciate your kind words regarding our recent Bud Light Real Men of Genius – Giant Pumpkin Grower commercial and your interest in viewing this ad on our Web site.
Currently, this particular ad is not available on www.budlight.com. From time to time, our Bud Light marketing team will update our Web site in order to freshen up the images and commercial selection. While we have not received information that indicates that this ad will be available on our site, we hope that you will visit us again soon for possible updates.
In addition, is it your intention to download this commercial and then post it on the Pumpkin Show Web site? If so, please understand that this would be illegal, and we cannot give permission to post this ad on the site per our Legal Department and our Bud Light marketing team.
Again, Meghan, thank you for contacting Anheuser-Busch. Please let us know if you have additional comments or questions.Your Friends at Anheuser-Busch
1-800-DIAL-BUD (1-800-342-5283)
www.budlight.com
CAT POWER OUTAGE
My buddy Nathaniel is in UVA’s religious studies program, and the other night he went to see Cat Power in Charlottesville. Here’s his report:
Comrades–you know that gossip about Chan Marshall going nuts during live performances? Turns out it’s very, very true.
I saw her last night at the Satellite Ballroom. It’s a small venue, so when she came out she told the whole audience to sit down, which got everyone ready for a low-key, intimate show. She played at least three songs in a row on the piano, with literally no breaks in between. It was halfway through the third song when she got frustrated with the PA sound, banged her hands on the keys a few times, and simply stopped playing.
This went on for TWO HOURS. It was obvious that Chan wasn’t paying any mind to her set list and was playing off the top of her head. At several points she broke down into incoherent rants and even starting talking to herself at one point (“Whatcha gonna do now, biatch?”) She muttered how this night’s performance wasn’t very good because “it was only half of last night’s show,” how she felt “lots of judgement coming from the crowd,” and several other things I couldn’t make out.
When she finally played the opening chords of “I Don’t Blame You,” the crowd cheered. But she barely made it to the first chorus before she had a meltdown and stopped playing. A few minutes later, she muttered something about the KKK, claimed she felt “this weird energy,” and literally RAN off stage.
There was no explicit statement that this was the end of the show, but the audience had had enough. We got up and left without applauding.
That shit is bananas.
Thanks to Stereogum for the link.
COMICS WITHOUT PICTURES
“I learned so much using words and pictures and captions from some of the most concrete poets, because poetry is all about economy, and it’s about reducing things down, and you’re seeing how much freight you can actually give words. Plus, the great thing about comics which I miss when I’m writing prose, is knowing that I can pretty much guarantee that everybody will read every word. I can pace everything, every caption, every line of dialogue.”—Neil Gaiman on Studio 360
Kenneth Koch was a poet who loved comics. Backwards City Review just reprinted some of his comics in their second issue. I tried desperately to find Koch’s posthumous collection, Art of the Possible: Comics Mainly Without Pictures, in a Cleveland Public Library, and turned up nothing. Then, lo and behold, Google Print has the introduction and a few pages online.
In the introduction, David Lehman writes about Koch,
“letting comics into his literary imagination followed not only from his love of the humorous, the whimsical, and the witty, but from an aesthetic point of view that could be charactreized as defieantly antiacademic.”
Koch saw no reason why Popeye shouldn’t enter the same conversation as T.S. Eliot. In one of Koch’s courses on imaginative writing at Columbia, the assignment was to go out, buy a comic strip, and without reading it, paste white paper over the balloons, and write your own dialogue.
“In 1992, Kenneth decided that not only could he borrow subject matter or adapt a narrative technique from comics but it might be possible to write poetry in a new form based on them.”
Some examples:
Link:
MR. BIGSHOT
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