I’ve spent the last few weeks helping put together a year-end music compilation that The Bulletin is giving away. It’s one disc of Central Oregon bands and one disc of national acts. Of course, whether you choose to actually make discs is up to you. But I put some effort into the included printable sleeves! (Oh, and if you want the jewel insert version, e-mail me. I can probably hook you up.)
Visit www.bendbulletin.com/nearfar to download The Bulletin’s free two-disc compilation Near/Far, containing 30 MP3s from Central Oregon and national acts. No subscription required. Includes songs from The Shins, Arcade Fire, Aesop Rock, Band of Horses, plus Person People, The Roe, The Mostest, Coyo and more.
p.s. I apologize if your download is slow. It’s not my fault.
I’ve been watching the blogosphere’s opinions of top albums of the year very closely, and I find the selections are often spot-on as far as creativity and originality go. But sometimes I see records on the lists that I’ve listened to and know that I probably won’t listen to again soon, if ever. There’s something to be said for “art music,” but sometimes catchiness and singability, not to mention good hooks, are what make music last.
So here, I’ve compiled a list of the albums released in 2006 that will survive the New Year on my iPod and may actually get played again.
Now, without furthur ado, and in alphabetical order:
Beirut — The Gulag Orkestar
This album sounded altogether foreign and yet comfortably familiar at the same time. It was perfectly unpretensious, and is one of my favorite discs all around of the year.
Belle & Sebastian — The Life Pursuit
Honestly, I’ve liked about everything Belle & Sebastian have produced since Tigermilk, so it’s no surprise that this — their best album in years — will remain in rotation for the next year.
Continue reading ‘13 albums from 2006 that I will actually listen to in 2007′
With the recent showings of “Kill Bill: Vol. 1″ and “Kill Bill: Vol. 2″ on basic cable — horribly cut up, but on television nonetheless — I am reminded of how “typographically rich” these films are. Being a designer, I couldn’t help but notice the almost humorously varying number of fonts used for the credits, subtitles and chapter titles. Most movies find one or two really sharp looking typefaces and stick with them for everything, from opening titles to closing credits. But not Quentin Tarantino. My best guess is that the wacky inconsistancy is yet another tribute to the grindhouse films — notoriously low budget, including title sequences — that “Kill Bill” is meant to emulate. But who knows…
So what fonts do the movies feature? That’s what the bulk of this entry is about. A little about how I came about this information.
If one watches the end credits of both films, one will notice that the titles and credits are, um, credited to Pacific Title, a company that has been doing movie titles pretty much since movies had titles. They are involved in a large number of Hollywood productions every year, and they seem to do good work. But they were very unhelpful when I contacted them in an attempt to get a list of the fonts used in “Kill Bill.” So unhelpful, in fact, that they didn’t respond to several emails or even a telophone message. So what was I to do? The only thing I could do: search the Interweb for someone who’d done all the hard work already. I found a few items, mostly people just commenting on how, gosh, there were a bunch of different fonts in that movie. The most helpful items were forum threads on Web sites devoted to fonts and font information.
(I split this entry up into multiple pages since there are 20+ images on it. You can move back and forth by using the links at the bottom of each page.)
Pages: 1 2 3 4 5
As many of you reported to me via email, my site has been on vacation for about a week. Well, it’s back.
I won’t go into all the gory details, but it turns out some hosting bills had been hiding in my junk mail folder. I want to thank my host, Tranquil Hosting, for being very cool about it. They provide me with free hosting, but I still pay them for domain registration.
There were a few ideas banging around my head that I never got to write about ’cause the damn thing was down. Hopefully I’ll get to them.
It’s good to be back from the dead!
If x=Brilliant, y=Bitchin’ and z=High Art, then:
- Blade Runner OST = 5x + 3y + 5z
- Tapes ‘N Tapes = 2x + 4y + 2z
- Secret Machines = 2x + 4y + 2z
- Death From Above 1979 = 2x + 12y + 2z
- Morrissey = 5x + 2y + 4z
- Beyond Good & Evil = 4x + 4y + 4z
- The Wind Waker = 6x + 2y + 6z
- The Walking Dead = 2x + 6y + 2z
- Y: The Last Man = 5x + 4y + 6z
- Chuck Palahniuk = 4x + 5y + 2z
- Yeah Yeah Yeahs = 4x + 10y + 3z
- Lost = 2x - y + 4z (I’m holding out hope, though.)
- Scrubs = 3x + 5y + z
and
- Chuck Norris = xyz ÷ 0 (Oh, yes he can.)
That about covers it for now. Maybe I’ll make this an ongoing thing.
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