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Wednesday, January 13, 2010 I Love The Shit Out Of This Man, Forever And Always  Jeffrey Beaumont Life Hero David Lynch is at it again, not with a new film but an exploration of the America he loves so dearly in his "Interview Project" video series. Learn about the Interview Project from David here or go here directly to watch the videos of characters discovered across his world. Love this man. Labels: BEAUMONT, heroes, la cine, LYNCH, videos posted by Nihilist Loves Hate, Hates Everything at 1/13/2010 01:22:00 AM 1 comments Thursday, January 07, 2010 Been A Fan  This is, I believe, the first and probably last time I will ever write about Nirvana: For the past month I have been overcome by yet another one of my biannual Nirvana swoons, whereby I read an article about an upcoming Nirvana release and suddenly dive back into their catalog, wondering whether I might fall in love with Kurt & Co all over again. In 2002, it was the release of "You Know You're Right"; 2004, the With The Lights Out box set; 2006, Live! Tonight! Sold Out! re-release; and now this year, the Live at Reading release. It always happens. Like many men my age, I loved the shit out of Nirvana in the early to mid 90s, listening obsessively to their four studio records, and then MTV Unplugged, and then (far less so) the '96 live record From the Muddy Banks of the Wishkah. But also like many kids of that age, I was mostly interested in the hits, and so what got perhaps the most plays of all was a homemade tape I made compiling the singles/best from Nevermind, In Utero, and Incesticide, plus and "About a Girl" and "Love Buzz" from Bleach (ie, a variation of this). Despite the at-the-end-of-the-day greatness, Nirvana were a band that spent a lot of time pumping out non-poppy sonic sludge, and this meant that a lot of tunes were frequently passed over by me during the band's '91-'95 heyday (though I loved the shit out of the uncharacteristically tuneful Unplugged) Of course, as I grew older, the way I heard music changed and eventually a more developed and nuanced sense of taste and patience led me back to many of the tunes I'd previously overlooked, namely the snarly In Utero, the second--non-singles--halves of Nevermind and Incesticide (my feelings on Bleach though are still more or less the same). The first point I really remember reconnecting with Nirvana in an adult-fashion was my freshman year of college, almost immediately after getting there that fall. I had at that point had been getting heavily into indie rock for the few years prior and was no longer really giving much time to anything I'd cared about musically between ages 10-14. Nothing new Nirvana-related was released at the time, but this was in the heyday of Napster and I remember that a boy down the hall from me would blast a bootleg called Outcestide featuring lots of Nirvana I'd never even heard before$$$. At the time I generally had a policy of disavowing bootlegs for their shitty sound quality and the fact that a band may not have intended for people to hear the material~~~, Outcesticide, hearing Cobain screaming through my hall made me pick up his records and get into them all over again. I gave each of them many spins, but rising above it all was both the joy and sadness of finally understanding the shining moment that is In Utero, far and away the best thing Nirvana ever put to record. The tunes on In Utero are an astonishing mix of melody and rage like almost nothing else. Beginning with opener "Serve The Servants", the searing guitar wails of which are like the broken bit nails of bloodied fingers screeching down a chalk board--ie, magical aurality that resonates intense terror deep within one's gutheart. In Utero is a record that pummels and rarely relents; even mid-record quiet moment "Dumb" feels like a welcome*** and a momentary two and a half minute breather between devastation. When some people are down and out, they want to drown themselves in seas of blunt-force sound ala thrash or Merzbow or whatever, but when I'm on the mental shitter I want more than ever to hear my rage led by the voice of someone who understands me and feels my pain and truly there are few other records I can think of that I so significantly connect with in these kinds of moments than In Utero. From there In Utero stayed in my general disc rotation, but the rest of the catalog drifted away for the next couple years until late 2002 when the much ballyhooed "You Know You're Right" leaked to the internet and suddenly, for the first time since '96^^^a best of featuring nothing else new--bad feelings muted because once again I was connected with the great records I'd forgotten. In 2003, I began for the first time in almost ten years to care about rap music again and my thoughts went elsewhere, returning Nirvana to its place on the backburner again until Christmas 2004 when, finally, my prayers were answered and the longcoming Nirvana box With The Lights Out was released. I did not immediately pick it up though and was stunned after seeing review after review panning it as a disappointment. Bewildered, I finally got the set and discovered that my fears were confirmed--that there was in fact almost no "secret gold" to speak of. Despite the fact that With The Lights Out is well-worth a listen and filled with recordings few have heard before, the bottom line is that it was actually tremendously short on new songs. Of the 51 songs, the vast majority were either previously released b-sides, very rough demos or pre-Bleach tunes (presenting little value to me). Leaving just four actually new, previously unreleased peak-era (90-94) songs--"Old Age", "Verse Chorus Verse", "Return of the Rat", "Do Re Mi" (only a demo but worth it). This is not to say that I'd had much exposure to many of the additional b-sides and so they were still welcome to my hears, but it meant that more than half of the box amounted to poorly recorded demos and late 80s sludge. Boo. As perhaps an unintentionally ironic homage to the past, I fashioned myself a 16 track "Condensed Version" of the set boiled down to the good new songs and b-sides plus the 3 decent sounding songs from disc one I was remotely interested in ("Pen Cap Chew", "Even In His Youth", and "Token Eastern Song"). And even this, honestly is a bit of a bummer road. But while I'm describing this irony as coincidental, it also hits upon the fact that as great as Nirvana were in theory, they were tremendously overrated as an actual band that made records. Because, at the end of the day, they really didn't make that many records--just TWO great albums--Nevermind and In Utero, plus Unplugged, since it's basically completely different--and the rest is a tremendously mixed bag of random gems and forgetable filler. Incesticide has probably 8 or so great tracks and 7 toss-offs and, again, Bleach has two great tracks and a lot of promise. Some of the b-sides and outtakes are GREAT ("Sappy", "Verse Chorus Verse", "Old Age", "Do Re Mi", "Return of the Rat", and Dave Grohl's proto-Foo "Marigold@@@ namely), but the rest are fresher and cleaner versions of the forgettable early shit ("Curmudgeon", "Oh the Guilt", "I Hate Myself And Want to Die"). Which, at the end of the day, doesn't amount to a lot of quantity. But... god... the highs. Honestly. The best of this fucking band is just so good, such a precious and unique combination of power, rage, His Voice and tunefulness that few have ever approached. So much so that, outside of played-everywhere-forever "Teen Spirit" I will probably never truly tire of hearing this band. And if you could come up with some kind of ratio of "never getting sick of a band" to "amount of tunes recorded" they would probably be the King Ducks. POSTSCRIPT: What else is there left to say about Nirvana? Well, let me say a few final things about the live releases--in particular, the new Live at Reading--and what might still be unreleased. The Nirvana MTV Unplugged release is, of course, canonical--so great and significant that it is arguably as important as either In Utero or Nevermind. And if you like Nirvana, you've most definitely listened to it a million times all ready, so I won't say anything more about it. From The Muddy Banks of The Wishkah, while a solid live record, was mostly significant to me upon its release for the aforementioned release of "Spank Thru" (actually Kurt's first ever song). As having always been an "album guy", I always had mixed feelings about this release and it's up-and-down sound quality--but, it is without doubt a great and worthy record, and if you could handle the lesser fidelity, it serves as a superior single disc primer to the tame 2002 best of. I should listen to Muddy Banks again, because I haven't in years since my cd was destroyed and I'm curious what i'll think about it in light of... ... Live at Reading, the newest and possibly last (for a while) release by Nirvana of any value. While having the added value of feeling like a whole rather than a compilation of odd parts, Reading outperforms Wishkah for also being more energetic, frenetic and fun. Plus it features one more dangled carrot in the form of never-before-released "The Money Will Roll Right In"--definitely forgettable "minor Nirvana", but still noteworthy in 2010 nonetheless. In fact, the only bummer road about Reading is that, like Wishkah, it too favors album cuts over b-sides (understandable, but a disappointment to crazy people nonetheless), and that the show took place in 1992, meaning that only three cuts from In Utero appear--"Tourette's", "All Apologies" and "Dumb"--and the latter two are somewhat gestational. But seriously! If you have any space in your life or heart in 2010 for Nirvana, you should really pick this record up. And the rest? Krist Novoselic said last March that, sadly, there are no unreleased Nirvana songs left and "there aren't going to be any new Nirvana records%%%." Outcesticide and Chosen Rejects collections. A lot of the best material on both of these five and four disc sets has since been released on With The Lights Out, but have fun with the rest if you really gotta. POST-POSTSCRIPT That's pretty much it. Last I leave you with a shitload of footnotes, a handful of arbitrary "Top Five" lists and five mp3s worth checking out. Of the mp3s, I'm giving you: --two tracks from Live at Reading, including "new to you" "Money Will Roll Right In" --"Ain't It A Shame", a weird tongue-in-cheek Leadbelly cover from 1989 that is the closest Nirvana ever got to country --"All Apologies (demo)", from the Chosen Rejects comp, in an early, laid back form sounding almost like Ryan Adams (well, not really). Would go from curious to amazing were a) the lyrics actually written and b) the vox not buried in the sand. But it is what it is. --"Love Buzz", a great version from largely unreleased Peel Sessions OK. NOTES: $$$ -- It's entirely possible hearing these tunes and being surprised I didn't know anything about them is what first triggered my future obsessive desires to collect the fuck out of the detritus of any band that I ever truly loved. ~~~ -- Umm, yeah... seriously. It's hard for me to believe it as I type, but I remember those faux-righteous days so clearly. Things change, indeed. *** -- "Dumb" and In Utero closer "All Apologies" are children to Nevermind quiet counterparts "Polly" and "Something In The Way", but where each of the latter two lag with energy and sag with forced "intensity", In Utero's softer moments enrapture and possess, and "All Apologies" of course doesn't even stay quiet, as it opens up and rages for its outro chorus. ^^^ -- The live record Muddy Banks of the Wishkah was released in '96 and contained the more or less unreleased track "Spank Thru", the first and only "new" Nirvana track since In Utero. @@@ -- Curiously, you can hear an audience member shout out "Marigold" in the video version of MTV Unplugged after Kurt says "What should we play next?" Obviously this wasn't happening. FIELD STUDIES  "Suggested bass and treble positions" printed in the liner notes to In Utero. I have never before or since seen a band do this. The Five More Or Less Best "Nirvana Records" In Order Of Personal Favoritism: 1. In Utero 2. MTV Unplugged 3. Nevermind 4. Live at Reading 5. Incesticide The Five Favorite Nirvana Songs Of Jeffrey Beaumont, In An Actual Order: 1. Serve the Servants 2. Drain You 3. All Apologies 4. Molly's Lips 5. Old Age The Five Best Nirvana Songs You May Have Never Heard (All Of Which Are On The Box Set): 1. Old Age 2. Verse Chorus Verse 3. Sappy (formerly called "Verse Chorus Verse") 4. Do Re Mi 5. Return of the Rat (Wipers cover) Five RandomNotes On Nirvana I Would Like to Share: 1. In Utero is by far the best Nirvana record 2. The Butch Vig production on Nevermind is total shit and makes that record sound dated in a way that the rest of their recorded music--even Bleach--doesn't. 3. "Something In The Way" would have been more effective without the strings, and possibly even just as Kurt acoustic. 4. "Drain You" is the best song from Nevermind 5. I wish this asshole had kept his shit together because he probably could have made a few more great Nirvana records Five Nirvana Songs Available For You Now: 1. Nirvana - "Drain You", from Live at Reading 2. Nirvana - "The Money Will Roll Right in", from Live at Reading 3. Nirvana - "Ain't It A Shame", demo from Leadbelly Sessions, released on With The Lights Out 4. Nirvana - "All Apologies (demo)", bootlegged unreleased demo, from Chosen Rejects 5. Nirvana - "Love Buzz", from unreleased Peel Session 1989 Labels: heroes, loved sounds, memories, mp3, music posted by Nihilist Loves Hate, Hates Everything at 1/07/2010 09:48:00 PM 2 comments 2
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Sunday, December 27, 2009 Sweet And Tender Hooligan  I love that my grandmother's favorite football player is Randy Moss, who she said she loves because he was "the angry young man that nobody wanted". Haaaa. Lovin life. Labels: heroes, lolgore, music, quicksnaps, Smiths posted by Nihilist Loves Hate, Hates Everything at 12/27/2009 01:29:00 PM 0 comments Wednesday, December 02, 2009 More Thoughts On Sand  "Birds on the Beach", Staten Island, 31 January 2009. Larger here. I don't read a whole lot of music criticism or even music writing these days, but every once in a while I'll flip through some reviews or read a feature or two. But if I actually find something that makes me say, "Fuck! wow!", rest assured it was a piece written by Pitchfork writer Mark Richardson. I have read a lot of writing on music in my life and I can say without doubt that Mark Richardson is the best music writer I've ever come across. To be clear: there are certainly more gifted writers who cover music in their writing, and others still who are able to write about music with a grand romanticization befitting our near-desperate need to blow up life balloons with emotional helium to lift our clippers into the sky and sail us to special lands. But none of these people or anyone else are able to write about music like Mark Richardson, to talk about the sounds heard and meanings meant, and describe it all in a fashion that is simultaneously analytical, emotive, discursive, ambiguous, and personal. I won't espouse any further on Mark's talents because he's the humble sort of man who would prefer his writing itself to speak louder than my blubbering about his royality. But let me just say that there's a reason why he's the only music critic I've ever written to directly for a reason other than to question decisions made or opinions posited. It could be though that one of the reasons I love Mark Richardson is because his brain seems to draw many of the same connections as does my own***. Case in point: I've been going on for the past few days about the awesomeness of the lo-fi glory Real Estate and in particular their majestic track "Beach Comber"--well, sure enough, Mark has been too, as he discusses in his latest Resonant Frequency column on Pitchfork. This article, which is actually a very uncharacteristic and atypical stitching together of "Nine Fragments on Lo-fi's Attraction to the Natural World", gets directly at the heart of the some of the ideas I was trying to get at in my post on Real Estate and others in the past few months. I love that, like with my own assessments, Mark appears clearly engaged yet still sort of fails to actually hit a nail on the head in defining what exactly is happening, and why--because sometimes you just can't get more precise than "fuzzy", even though it might still be worth talking about. Check out all of Mark's Resonant Frequency column at Pitchfork here. A few of my personal faves are this (the first piece of his that really hit me), this, this, this, this, this, and this. Seriously, read all seven of these. I could have easily put up 1o or 15 other faves. I fucking love this man. Good night. NOTES: *** - Our lone point of genuine disagreement: Mark loves the fuck out of Bruce Springsteen, while I personally have always been disinterested in the Boss at best and a total hater at worst. But Mark is also older and, hey, no one's perfect.  LISTEN: Modest Mouse - "Sleepwalkin'", from Interstate 8 EP and Building Nothing Out of Something Labels: heroes, music, quickthoughts, thoughts posted by Nihilist Loves Hate, Hates Everything at 12/02/2009 04:54:00 AM 0 comments Tuesday, November 03, 2009 Clang Time  The NBA season is now upon us and halleluhah. I'm not ready to make too many points just yet, but I do gotta make this one: Baron Davis, you are absolutely killing me. I still love you, man, and your terrible shot selection isn't something new for 2009. But: you are reaching new levels of a lazy, don't-give-a-shit-about-winning offense, and as a result right now you are shooting a definitively deprarious 18-54 from the field. Honestly dude, it's time to start playing like you care. Labels: basketball, deprarious, heroes posted by Nihilist Loves Hate, Hates Everything at 11/03/2009 01:23:00 AM 0 comments Monday, October 12, 2009 Mark Jaffe Is Without Doubt A Godlike Man  Larger here. Just throwing that out there as reference for any humans who might ever cross paths with him. Also, he has just gotten rolling again with a new blog that you should check out here: http://oddjobjaffe.blogspot.com/  Labels: heroes, mark jaffe, quicksnaps, VICTORY posted by Nihilist Loves Hate, Hates Everything at 10/12/2009 01:13:00 AM 0 comments Thursday, July 30, 2009 More Airing Of Grievances  David Ortiz was outed today as one more of those who secretly tested positive for steroids in 2003. I've already said everything I want to say about these fucks. But thanks again, bros, for hoodwinking all the people who loved you more than you deserved. As Patrick Stickles would say, "YOUR LIFE IS OVER" LISTEN: Titus Andronicus - "Titus Andronicus" from The Airing of Greivances Labels: baseball, empty promises, FAIL, heroes posted by Nihilist Loves Hate, Hates Everything at 7/30/2009 02:48:00 PM 0 comments Monday, July 27, 2009 Now I Understand Why I Never Enjoyed Studying English In College  Inspiration from Will Self, on why he studied philosophy rather than English at Oxford: Labels: authors, BEAUMONT, books, heroes posted by Nihilist Loves Hate, Hates Everything at 7/27/2009 07:02:00 PM 0 comments Crash Into You  Not sure how familiar many of you are with author JG Ballard--arguably one of a handful of the most important and famous British writers of the post-WWII twentieth century--but my friend Katie passed on this fascinating article on the publishing of one of his books and it's definitely worth a read. In my experience for whatever reason there seems to be a curious gap on Ballard-awareness in the minds of Americans--usually when I mention his name I am greeted with only blank stares; and, to be fair, I had never heard of him before studying in England in 2003 and reading his work in one of my courses. Of course, when you mention his two most famous works, Empire of the Sun and Crash (the subject of the aforementioned article), those blank stares tend to turn into slow realizations, as both books were made into significant films by significant directors (Steven Spielberg and David Cronenberg, respectively) that received both widespread release and mainstream discussion. It is worth keeping in mind that even folks who've heard of or even seen these films have not read the actual books (and many people will tend to ask with trepiditation if by Crash I mean the other, gulp, 2004 schlockfest Crash). One of the offshoots of a lack of American awareness of Ballard is that over the years US publishers have struggled to understand how to properly market and sell the man, whose work is admittedly difficult to characterize and harder to generalize. In the beginning, much of what he wrote crossed into the territory of science fiction, and at other times he was incredibly surrealistic and experimental; at all times he was at least suggestively post-modernist, but he never really fit the true post-modernist archetypes like many of his contemporaneous experimental peers of the era. Ballard's work went all over the map, and it didn't help that his two most famous books included one that was semi-autobiographical and completely unlike anything else, and the other partially dismissed as obscene even in the increasingly free early 70s when it was written. This latter book, Crash, in particular posed a challenge as the desires of its subjects--one of whom "craves a union of blood, semen and engine coolant in a head-on collision with Elizabeth Taylor"--cross into boundaries that Americans rarely feel comfortable discussing with emotional detachment or analysis. The result: many many many different covers were printed to sell Crash, as author, publisher and audience differed in the attitude of what the book was about and how it should be sold to target readers. The two covers below include the conservative first cover on the left, which Ballard hated, and the fantastically expressive (and therefore UK-only) paperback cover, which Ballard loved best. I've often thought from time to time how books covers influence my decisions to buy and read books*** and strolling through this article gives you a great sense at the lengths taken to define a block of text into an immediately judgeable package. Two sample covers of Crash below--read the article to see the rest:  -------- And for those of you interested Ballard and his world, I would recommend that you poke through the crazy crowd-sourced love letter of a site that is Ballardian.com (where the above article comes from) and checking out the books Atrocity Exhibition, High Rise, and Cocaine Nights for a sampling of Ballard "deep cuts". NOTES: *** -- Confession: as a 13 year old, I purchased the Ween album Chocolate and Cheese from BMG Music Club exclusively because its hilariously suggestive cover made the newly pubescent Me feel crazed with excitement when looking at it. Incidentally I grew to enjoy the album and the band (though nothing else as much as C&C), but prior to purchasing I'd never heard a note of Ween or even read about them. Yep. Life Of Beaumont, defined brick-by-brick. Labels: books, case studies, heroes, thoughts posted by Nihilist Loves Hate, Hates Everything at 7/27/2009 06:40:00 PM 0 comments Monday, July 06, 2009 Ultragliding In Summer  Man, today really feels like summer for sure. And what better connotes the Sounds of Summer than the wonderful 2001 Dirtbombs record Ultraglide In Black? Hopefully most of you are aware of this wonderful paean to the triumphiant power of rock and roll, but if not, here's the shorthand:
Alles klaar? Basically Ultraglide is the record a man or woman who loves life may want to play when he or she gets a chance to take the car out for a cruise after work to smoke a cigarette, feel the wind through the hair, and inhale deep breaths of American possibility. So, like, dig. Skipping ahead now: Today's treat therefore comes in the form of a special Slang-ported edition of a YSI Thread Boys Club offering I made last year: a neat and tidy collection of the twelve originals found on Ultraglide in Black. It's possible that some of you may have taken the time to collect these already, and certainly you've probably all heard one or two of the more famous originals ("Living for the City" and "Underdog" probably) but a few are really pretty obscure and tough to track down (translation: i spent a lot of time on google blog search last summer tracking those fuckers down). And of course, careful Dirtbombs devotees may not that Ultraglide has not 12 but 13 tracks--because one song, "Your Love Belongs Under a Rock", is not a cover but a Dirtbombs original. I haven't included this song on my little comp, but here it is for your enjoyment now***: The Dirtbombs - "Your Love Belongs Under A Rock" Anyway, enjoy! LISTEN: The Dirtbombs - "Your Love Belongs Under A Rock", Ultraglide In Black NOTES: *** - Yay to me (and you) for finally figuring out that I can add this really light and easy Google MP3 Player to my posts for to preview posted songs without d/ling them. Holla technology! Labels: dirtbombs, heroes, late arrivals, loved sounds, mixes, mp3, music, sun posted by Nihilist Loves Hate, Hates Everything at 7/06/2009 04:11:00 PM 0 comments Wednesday, May 20, 2009 Beyond The Bad Tattoos And Bad Decisions  So lately I have been feeling kind of crazy, and whenever I feel crazy my mind tends to drift to the quasi-heroic men I've followed throughout my life who seemed to be also somewhat unhinged. Without fail, these thoughts always manage to make their way to Dennis Rodman, a true champion of the weird and wild. It may be pretty hard for us to remember today in 2009 that there was a once point when Dennis Rodman was not a bizarre and pathetic D-list celebrity making noise for nothing, but instead a great basketball player--a fierce defender, a prodigious rebounder, and a GREAT team player, who literally threw himself around the court doing whatever he could to make his teams win. Say what you want about the guy, but--leaving aside a final non-year of 12 games on the Mavs in 99-00--it is no coincidence that in only ONE of his thirteen seasons did he play on a losing team. In fact, Rodman didn't just play on winning teams but on GREAT winning teams: over these thirteen years, his teams finished 1st seven times and 2nd four times (rounded off with a 3rd and 6th place). I don't have the numbers in front of me, but if I had to guess, I'd think he would be up there among players with the all-time highest game team winning percentage. But unlike many winning players, Rodman can also claim to have been a member of five NBA champions--two with the Pistons in '89 and '90 and then three with the Bulls from '96-'98. Again, if I had to guess, I'd say that there are very few NBA players in the annals of the game with five championships who not members of the Celtics or Lakers. Obviously basketball is a team sport and it's silly to assume that one player, especially one who scored as little as Rodman did, could be the single deciding force on a team's fortunes. However, unlike baseball or football, one great player CAN make a huge difference in the NBA (as Chris Paul's '08-'09 Hornets will attest to) and I think it is hard to deny that Dennis Rodman impacted the game like few others. But going back to a point I've just made, what fascinates me about him is the fact that he was one of the rare players to impact a game so completely without being an offensive star; and specifically, by being so unbelievably great in one facet of the game as to elevate the rest automatically. This "one facet" was of course his rebounding ability, the likes of which we have been duplicated by no one since he left the league, or even in the the many years before. Once upon a time, the game moved very very quickly--in the days of Wilt's 100 point game, 50 pts/game season; Oscar's triple-double averages--and league leading rebounders averaged 20+ boards per game. However, since 1972 and Wilt and Bill Russell's reign over the rim ended, no one has averaged over 18.1 boards per game in the NBA--and only once over 15.3 since the NBA/ABA merger in 1976--no one, that is except Dennis Rodman. Behold the numbers below: Obviously the column worth focusing on here is "TRB", where you will see that for seven straight seasons from 92-98, Rodman led the NBA in rebounding, including jawdropping years of 18.7 and 18.3 per game(!!!). And he was not just leading the league in rebounds--he was crushing it, averaging 15+ rebounds when no one else was even above 13. So good was he that five of these seven seasons make up five of the six best rebounding years of any player in the NBA since the '76 merger (with Moses Malone in '79 making up the lone non-Rodman year). And to top it all off, check out the second column to the left: here you see that not only were Rodman's accomplishments impressive, but that they didn't even begin until he was 25, with his seven-year reign beginning at age 30--an age when many players begin tapering off. Basically, there was literally no other player in the NBA remotely like him, and the only players who have even sniffed at Rodman reboundwise are the far inferior and one-dimensional Danny Fortson and Reggie Evans. So the next time someone talks about how great of a rebounder Dwight Howard is--and yes, he is great--remind them of Dennis Rodman, who while often seeming like he was in a land of his own, was also, always, in a league of his own.  Dennis Rodman, 1990 Labels: basketball, heroes posted by Nihilist Loves Hate, Hates Everything at 5/20/2009 04:15:00 PM 1 comments 1
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GET BEHIND ME DEAD MAN
saw one tonight at IFC... REALLY good
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