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(04/12/10 10:18pm)
____simple_html_dom__voku__html_wrapper____>Here we are, the championship. The finals. The 'ship. Much like our Sweet 16 and Final Four portions of the tourney, the format of the post is going to be slightly different. Instead of our e-mail discussion, below are two "pitches" from WEEKEND contributors as to why a certain director should win. AND THEN, results!---------------------------------------------------Martin Scoresese vs. Christopher NolanWhy Scoresese should win: The final two directors in the bracket are certainly formidable. Nolan has not directed many films, but he can claim critical and commercial success for most of them. Many Scorsese backers agreed that in the final round, his entire career had to be taken into account, not just the last decade. His accomplishments in the past 10 years or so are worthy enough to push him ahead, but comparing the director of “Taxi Driver,” “Raging Bull” and “Goodfellas” against Nolan without mentioning those classic films is almost sacrilegious.Scorsese has tried his hand at nearly every kind of film in the past decade. “Gangs of New York” was an epic view of early immigrants; “The Aviator” was a stark portrait of Howard Hughes; “Shine a Light” and “No Direction Home” showed Scorsese was still a master of mixing film and music, be it in the form of a concert movie or an archival documentary. “The Departed,” the film for which Scorsese finally won his Oscar, was reminiscent of his earlier portraits of New York and showed that Scorsese still exciting films like a young man. “Shutter Island,” although not universally acclaimed, well still well received and proved that the director could still explore new genres.The themes of Scorsese’s career have been consistency and innovation. He is still capable of making films as exciting and intense as his earlier masterpieces, while always wanting to try something new. If the past is any indicator, Martin Scorsese has plenty of important films left to make. -- Brian MarksWhy Nolan should win: It’s not easy to argue against someone as legendary as Martin Scorsese in a match-up of directors, but if anyone is equipped to beat him, it’s Christopher Nolan. With a decade of alternating thought-provoking and action-packed films under his belt, Nolan has quickly ascended from being a merely promising director to a damn near transcendental one.It isn’t that Scorsese had a disappointing decade – “Gangs of New York” is a masterpiece, “The Departed” got him an Oscar, and “Shutter Island” is one of the best-reviewed films of 2010. It’s simply that his best days are well behind him, and Nolan is already brilliant in the first phase of his career. “Memento,” “The Prestige,” and “The Dark Knight” found themselves on a number of Best of Decade lists, and his forthcoming “Inception” is one of the most highly anticipated movies of the year.If the question were “Greatest Director Ever,” Scorsese would have a case – “Taxi Driver,” “Raging Bull,” and “Goodfellas” are some of the most critically acclaimed films of all time – but the question is “Best Active Director.” That distinction implicitly weights the last few years more than the big picture, and since that’s the case, it would be irresponsible to give it to anyone but Christopher Nolan. -- Brad SandersResults: With only 55 percent of the votes, Martin Scoresese tops Christopher Nolan to become the winner of WEEKEND's Best Active Director bracket. Your thoughts?
(04/12/10 9:57pm)
Cory Barker gives his quick take on Conan's signing with TBS.
(04/12/10 1:54am)
____simple_html_dom__voku__html_wrapper____>Here we are, the championship. The finals. The 'ship. Much like our
Sweet 16 and Final Four portions of the
tourney, the format of the post is going to be slightly different.
Instead of our e-mail discussion, below are two "pitches" from WEEKEND
contributors as to why a certain artist should win. AND THEN, results!------------------------------------------------------------------------Kanye West vs. RadioheadWhy Kanye West should win: Some people might stare down a matchup of Kanye West v. Radiohead and be perplexed as to why Mr. West is even still in the running. How, they might ask, could he ever beat the influential juggernaut that Radiohead has become? Well there are many reasons why Kanye is rightfully here in the first place; they are the same reasons why he should win. He’s risen to become the best in his genre, one that has recently struggled with a generation gap and an inability to maintain stars. He is also its most consistent performer and one of its truest crossover artists. His production skills helped revitalize hip-hop in the earliest parts of the decade before he carried it as a rapper/songwriter for the rest. Those are his accomplishments, but his relevance is important as well. Kanye is multi-faceted, having shown serious interest in blogging, fashion, and art. Whether these are well placed or not is up for debate, but he makes himself accessible to the public and open to more diverse influences that Radiohead, understandably, does not. Mr. West surpassed the “big brother” who got him into the game, Jay-Z, in terms of timeliness and quality. (Listen to “Reasonable Doubt” versus “Blueprint 3” and tell me Jigga’s best days weren’t nearly 10 years ago) Not only that, Jay-Z has gone on record as saying Kanye’s most recent album, “808’s and Heartbreak,” inspired him to make a more experimental album following “BP3.” Kanye even has his own protégés now, with Kid Cudi earning critical acclaim in the last year as the most successful. His lyrical, and often real-life, tendency to wear his heart on his sleeve had been unexplored ground for the genre, but now has permeated the lyrical content of much of today’s new hip-hop. Both Drake and Kid Cudi, two of its best young acts, are both known for similar qualities. And in generation, hip-hop and pop are generally recognized as the more popular, but often lower quality music. Yet Kanye is one of the few who as been able to achieve both commercial and critical success with all masses. -- Adam LukachWhy Radiohead should win: “I DON’T LISTEN TO RAP IN MY APARTMENT I LISTEN TO THOM YORKE,” read one loud and particularly memorable blog post by Kanye West in November 2008. Kanye might know a thing or two about shocking people, but declaring his love for Radiohead frontman Yorke was a head-scratcher for the ages. Only 10 years ago, the English quintet was blowing minds with their 3rd straight universally-appointed classic “Kid A” while at the same time, a then-unsigned West was producing Jay-Z’s own classic “The Blueprint.” But today, it should come as no surprise that any artist would claim Radiohead as an influence considering how many styles they bravely traversed since then. Take 2001’s “Amnesiac,” an admirably jarring blend of noise rock, electronica, and even jazz trumpet that still went #2 on Billboard. The band couldn’t avoid the top of the charts if they tried – and they did, if offering your album for free counts. (2007’s “In Rainbows,” #1 on Billboard.) After all the curve balls they’ve thrown for nothing but strikes, it’s rather shocking that they manage to maintain a “rock and roll” persona…though not as much as Kanye West calling “Love Lockdown,” his first rap-less hit, “a great accomplishment in the idea of, like, Thom Yorke in the strip club.” -- Steven ArroyoResults: With 57 percent of the vote, Radiohead takes down Kanye to become the winner of WEEKEND's Artist of the Moment bracket. As if there were any question.
(04/12/10 1:41am)
____simple_html_dom__voku__html_wrapper____>Here we are, the championship. The finals. The 'ship. Much like our Sweet 16 and Final Four portions of the
tourney, the format of the post is going to be slightly different.
Instead of our e-mail discussion, below are two "pitches" from WEEKEND
contributors as to why a certain series should win. AND THEN, results!-----------------------------------------------------------------"Mad Men" vs. "Lost"Why "Mad Men" should win: As much as I love "Lost" (and actually watch it; I'm not caught up on "Mad Men"), I think "Mad Men" is going to have a longer-lasting impact on the TV landscape. I thought" Lost" was going to have that impact, but I don't think it actually has. If anything, it seems there's been a lot of backlash against heavily serialized programming at the networks, and many of the erstwhile "Lost"-replacements ("FlashForward," et al) have not been ratings successes. In contrast, "Mad Men" has heralded the ascendancy of AMC, which has since brought us "Breaking Bad" and will no doubt continue their streak with forthcoming series The "Walking Dead." But outside of AMC, I think there's been a change in thinking about cable TV dramas -- at some networks. I see "Justified" at FX as a similar sort of series--languid in pace but full of tension, concentrating on getting a setting and mood exactly right. And that is a great direction for a TV series to go, in my opinion. -- Austin MorrisWhy "Lost" should win: I guess my Smoke Monster argument doesn't exactly work on its own here, so I'll reply to what Austin intelligently said. "Lost" might not have the lasting impact on television in terms of other series aping its style, format or narrative structure successfully, but that does not mean it hasn't been influential. There have been a slew of series that have tried it, but failed. If anything that confirms just how rare, how important and how inventive that "Lost" has been in its six seasons. I can't knock "Mad Men" for anything its done both for the basic cable drama or for AMC as a network, but "Lost" exists as a singular text and experience in the landscape of television history and its future. There will never, ever been anything like "Lost" again, whether we're talking about its narrative style, rabid fanbase or scheduling practices. Television was much different before "Lost" debuted in the fall of 2004, and though there have been a slew of failures that tried to ape it, its influence is nearly everywhere on television and in media at large. -- Cory BarkerResults: With 57 percent of the votes, "Mad Men" tops "Lost" and becomes WEEKEND's winner for Best Current Television Series! Cigarettes and whiskey for everyone.
(04/07/10 5:05pm)
____simple_html_dom__voku__html_wrapper____>We all know about the sophomore slump. Expectations, the disease of
more and other factors keep innovative bands from getting it right the
second time around.But despite early signs that Envy on the
Coast was headed down that path — the departure of a drummer, letting
three years elapse since its debut — the band’s sophomore release
“Lowcountry” is exactly what a follow-up should be: expansive, more
mature and a little challenging. After one listen the
comparisons to fellow East Coasters, Glassjaw, can be muted, as the
band has created a potent combination of early Incubus and
“Vheissu”-era Thrice, which is to say a number of the tracks here are
fantastic. Efforts like “Head First in the River” are
combative, aggressive and a little bit funky, but just like on their
debut, it’s when Envy on the Coast slows things down to a jam-like
mid-tempo pace that they unleash their potential. “Puritan Dirt Song”
and “Like I Do” breathe without being too slow or overheated. The dirty, partially Americana sound on “Lowcountry” proves there is no sophomore slump here. Envy on the Coast is for real.
(04/07/10 2:27pm)
____simple_html_dom__voku__html_wrapper____>The most disturbing program on television airs Friday nights on ABC. And you should absolutely watch it. “Jamie Oliver’s Food Revolution” is thoroughly disturbing, overwhelmingly uplifting and surprisingly educational all in one. The famous U.K. chef’s crusade to change the eating habits of Huntington, W. Va., one of America’s most unhealthy and obese cities, should open your eyes to the kind of things going on in this country when it comes to unhealthy food habits, even if you consider yourself a health nut. Despite it being a heartfelt reality series, “Food Revolution” is causing some controversy amid the fervent online foodie community. Some cry that Oliver and the program are taking advantage of one of the most extreme situations in the United States and exploiting it and its people to make us viewers feel bad about ourselves. Others think “revolution” is a hyperbolic word choice, considering the reforms Oliver wants to implement in just one district in one city in one state are already taking place around the country. That all might be true, but it does not make the events I’ve seen on screen during the series’ first three episodes false. Here’s a quick rundown of the most poignant — and terrifying — moments thus far: A group of elementary school students watched Oliver carve up and compile disgustingly made chicken nuggets from the carcass to the breaded product — and still ate them. Another group of youngsters could not identify one single vegetable from the group Oliver brought to their classroom; a group that included potatoes, tomatoes, broccoli and cauliflower, among others. Finally, the lunches at the school never include forks or knives — and french fries are considered a vegetable. Again, it’s easy to manipulate reality television to make the effects seem more drastic and tug at our heart strings. But that’s probably what people around the U.S. probably need to wake up to what’s happening in their communities. It surely isn’t as drastic everywhere, but there are elements of problems big and small all around our country. We are all aware of these problems; we see them every day in some form. But unless we are directly affected by them, news reports, studies and charts or graphs just bounce right off us. But as Jamie Oliver said in the third hour, those are just black and white papers, nothing substantial. This, however, is substantial. It might be manipulative — c’mon, it’s a reality series — and it might be making fools or freakshows out of people just trying to get through the day, most notably the lunch ladies. And it’s certainly not starting a revolution, but rather shining a spotlight on changes already in progress.But if the food revolution is really going to take place, that spotlight is absolutely necessary. The fact that the series exists on a major network at all means nothing but good news for people who care and even for those who do not. Because there is just too much at stake to not take this seriously. Let the revolution continue.
(04/07/10 2:03pm)
____simple_html_dom__voku__html_wrapper____>The WEEKEND Watchers Official Podcast has turned 75! That's right, we've made it all the way to Episode 75, which features myself and Brian Marks talking about a trio of HBO series: "How To Make It In America," "The Pacific" and "Big Love." You should listen to that episode right now, which you can find on the multimedia page.And then after you enjoy that so much, subscribe to the WEEKEND Watchers Official Podcast by going to the iTunes podcast store. You're welcome.
(04/07/10 1:59pm)
____simple_html_dom__voku__html_wrapper____>Here we are, the Final Four. Much like our Sweet 16 portion of the tourney, the format of the post is going to be slightly different. Instead of our e-mail discussion, below are four “pitches” from WEEKEND contributors as to why a certain series should make it to the championship round. And then, results!-----------------------------------------------------------------“Mad Men” vs. “The Daily Show”Why “Mad Men” should win: “Mad Men” is the best show on television right now. It’s just that simple. I add the “right now” as a means of covering my ass in case there’s some amazing show I’ve never heard of, because that’s about the only scenario in which something bests “Mad Men.”No show at the moment, with the possible exception of “Lost,” looks so darn good. Every episode seems like it could have been made as a movie; the cinematography is beautiful, the actors are uniformly great, and the writing for this show is incredibly smart. The writers have crafted characters that are lessons in dichotomy, in that each character must become someone else when they are at work or at home. Don Draper, the protagonist, has countless personas that he must put on to suit the occasion. The idea of the real Don Draper has all but disappeared.The way the show handles real-life historical events is also well-done and tasteful. The show is a document of the early ‘60s and all the changes that are beginning, yet it never slips into nostalgia. Even with the assassination of President Kennedy, the show avoided easy patriotism and exploitation.“Mad Men” doesn’t concern itself with explosions and gun fights (although a recent severed foot was quite a shock). Instead, the show focuses on the hidden intrigues of its characters, as well as the emerging dominance of consumerism. Unlike any other, this show follows the transition of America into the nation as we know it. – Brian MarksWhy “The Daily Show” Should Win: Why does “The Daily Show” deserve to beat “Mad Men” in the pop-culture bracketology Final Four for television? Because Jon Stewart is the original mad man, that’s why. Sure, Jon might not be as suave and handsome as Don, but where “Mad Men” takes a subtle, nuanced approach to confronting the social troubles of the time, Jon doesn’t muddy the waters. When he encounters something that’s not right in culture or politics, he just comes right out and says “That is fucking stupid.” Remember when he called Tucker Carlson a dick? The only time that word even comes to mind while watching “Mad Men” is when Don is sticking his in someone who’s not Betty. And no one takes down FOX News’ faux “fair and balanced” shtick like Stewart. “Mad Men” might be a top-notch fictional drama, but nothing beats the real-life drama that occurs on Stewart’s stage when low-life demagogues like Carlson or Bill O’Reilly show up. And while our understanding of the ’60s might be enhanced by regularly viewing of “Mad Men,” Stewart’s commentary on current events is the essential news source of our generation. – Megan ClaytonResults: With 57 percent of the vote, “Mad Men” tops Jon Stewart moves on to the final match-up.“30 Rock” vs. “LOST”Why “30 Rock” should win: Every generation has had a defining comedy show that has managed to provide a subtle time capsule of the world it is set in, break some new ground conceptually, and, most importantly, make people laugh their asses off. What “Happy Days,” “Cheers” and “Seinfeld” were in the past, “30 Rock” may very well be now. With former “Saturday Night Live” writers and cast members making up much of the core of their team, the ability to wittily satirize current events on the show is undeniable. Exhibit A: the recent takeover on the shoe of NBC by Kabletown (i.e. Comcast). Furthermore, setting the show as a behind-the-scenes look at what essentially IS Saturday Night Live provides a fertile comedic environment and a welcome difference from the standard apartment, bar, coffeehouse or diner. Most of all, the show is just funny as hell and has bounced back from an uneven third season. Now well into its fourth season, the characters have all had the kinks worked out and are consistently hilarious. Liz, Jack, Tracy, Kenneth, Frank, and now even Jenna (previously the show’s weak point) are good for several laughs an episode. Basically, the series is back at the top of its game with no end in sight and continues to make a strong case as not only the best, but most memorable comedy on TV right now. And frankly, how can you go against a show with lines such as “So I’m in the strip club with Charles Barkley and one of the hobbits…”? – Max McCombsWhy “LOST” should win: We already awarded it the honor of Best TV Series of the Decade, so though it might be selfish to collect more awards, there is no reason not to keep pushing it forward here. I could give you the whole pitch about how it is the most network television series of all time because of its ability to manage hundreds of plot threads with (mostly) relative ease, manipulate the framing devices of storytelling and captivate millions of people around the world.Or I could talk about its innovations in scheduling, by setting an end-date while still being one of the most popular series on television, something virtually unheard of. Or I could talk about the much-praised performances of Terry O’Quinn, Michael Emerson, Elizabeth Mitchell and Josh Holloway and the mostly underrated performances of Matthew Fox, Naveen Andrews, Ken Leung, Nestor Carbonell and Jorge Garcia. Even more, I could talk about the dense mythology, literary references, intertextuality and world-wide scope.But instead, I’ll just say this: Smoke Monster. – Cory BarkerResults: With 57 percent of the vote, “LOST” narrowly tops “30 Rock” and moves on to the finals. There we have it, folks. “LOST” vs. “Mad Men.” Who ya got?
(04/06/10 5:11am)
____simple_html_dom__voku__html_wrapper____>Here we are, the Final Four. Much like our Sweet 16 portion of the
tourney, the format of the post is going to be slightly different.
Instead of our e-mail discussion, below are four "pitches" from WEEKEND
contributors as to why a certain artist should make it to the
championship round. And then, results!Kanye West vs. MastodonWhy Kanye should win: What’s most unfortunate about the match-up between Kanye West and Mastadon is the understandable inaccessibility of Mastadon’s work and the resulting lack of popularity. To their credit however, they have asserted themselves into the music listening public’s consciousness in a way few other bands from their genre have. Their early decade release, “Leviathan” is considered by many to be the most influential metal album of the decade; it was also included on lists such as NPR’s 50 Most Important Recordings of the Decade and even the top 10 on our Best Albums of the Decade. They’ve made people notice progressive metal in a way that few, if any, others have.That being said, Kanye West is an artist unlike which we’ve never seen before within his genre. His versatility stands unmatched as undoubtedly the best rapper/producer. He understands his relevance in our generation, from more modern examples of dream-chasing to his performances and style. At the same time, the roots of his production style can be traced back to his '90s ancestors like RZA of Wu-Tang and he understands where he came from and what he wants his legacy to be. While today’s hip-hop industry continues to be bombarded with hit singles and a continued movement toward club-dance styles, Mr. West continues to appreciate the value of an album as art, even braving experimental territory with his auto-tuned “808’s and Heartbreak.” His tendencies for emotional missteps make him vulnerable to criticism and dislike, but he is willing to wear his heart on his sleeve for people, a connection many celebrities don’t desire today. His influence has already begun, but he still has much to accomplish. -- Adam LukachWhy Mastodon should win: Ten years ago, if someone told you that a metal band was in the Final Four of an Artist of the Moment bracket, you probably would have said “Who, Korn?” or “You’re lying.” Today, Atlanta’s Mastodon find themselves comfortably there after cruising through a bracket in which they were the favorite in every match-up. What happened? It would be easy to say that “Leviathan” happened, but that’s oversimplifying it. Sure, that whale of an album launched the band through the stratosphere and sat comfortably atop best-of-decade lists of hipsters and metalheads alike, but it’s only part of the story. Mastodon’s 2002 debut “Remission” introduced them to the world with some of the meatiest riffs of all time, namely those in “March of the Fire Ants” and “Workhorse.” 2004 saw the release of “Leviathan” and got the attention of everyone who wasn’t already on-board. The band released an ambitious concept album about the music industry for their major label debut, “Blood Mountain,” in 2006, and in 2009, they ascended to heights of progressive metal grandeur thought unattainable with their spiraling epic “Crack the Skye.” In short, if Mastodon have made it this far as an uncompromisingly complex heavy metal band, there’s no reason to vote against them now. They have an equally strong following in the non-metal world as they do in the metal world, and despite that, they’ve never copped out and made an album just to please the masses. They aren’t traditionally what you’d think of for an Artist of the Moment, but the evidence is overwhelming that that’s exactly what they are. -- Brad SandersResults: Kanye narrowly defeats Mastodon, with 57 percent of the vote. He's off to the finals!------------------------------------------Radiohead vs. Lady GagaWhy Radiohead should win: Radiohead’s greatest strength is also their greatest weakness. The ambition that makes them the most important popular music act of the moment also leaves them open to countless attacks. When the band changed their sound with “Kid A” and “Amnesiac,” they were alternately praised and lambasted. Ironically, “Hail to the Thief” was a bit of a return to the guitar based rock of more popular previous albums, yet the band took a hit for being more commercial. They just can’t please some people.But regardless of the whim of the times, Radiohead makes music that matters and has lasting value.Radiohead’s most recent album, “In Rainbows,” is a refinement of their previous albums. It incorporates bits of ambient and minimalist music that peppered “Kid A” and “Amnesiac,” while also indulging in guitar blowouts reminiscent of “The Bends” and “OK Computer.”In fact, this whole decade has belonged to Radiohead. “Kid A” has been named the best album of the decade by many esteemed publications, and “Amnesiac,” “Hail to the Thief” and “In Rainbows” have also showed up on those lists. And, although it’s behind our scope, it’s worth noting that “The Bends” and “OK Computer” are also considered two of the greatest albums of the ‘90s.Few bands have been as influential in recent memory. The band’s introspective lyrics and varied musical influences have been instrumental for groups ranging from Deer Hunter to Wilco. Although their ambition sometimes draws criticism, it’s what makes Radiohead the most important band alive. -- Brian MarksWhy Lady Gaga should win: Gaga’s meteoric rise to fame has left no one untouched. In the course of two years she has released two number one albums and plans on releasing a third by the end of 2010. She has had nine songs on the Billboard Hot 100 chart, as well as six number one singles.Aside from the sheer numbers, Lady Gaga has become a cultural force. Lady Gaga has inspired legions of dedicated fans, her so-called, “little monsters.” If you’re in need of an example of the hardcore fanaticism centered on Gaga, look no further than YouTube. Aside from the endless numbers of tributes and spoofs, Gaga’s own videos have accumulated more than one billion views.Lady Gaga has also taken the time to become a political activist, fighting for equal rights and speaking to thousands in Washington, D.C. this past year.Gaga deserves the respect she gets, after all, she’s the most unique artist Americans have seen for years. Whether or not you buy into the Lady’s glitz, glamor and Warhol inspired vision, you have to admit that she is changing the face of music.As Gaga’s popularity has risen so have the number of dance songs circulating on American radio. Lady Gaga’s unashamed approach to pop music has taken the guilt out of guilty pleasure listening.Though popular may not always be right, this isn’t one of those times. I’ve never met someone who doesn’t like a Lady Gaga tune.This woman is the voice of our generation. -- Brett EppleyResults: Radiohead barely defeats Gaga with 57 percent of the vote and moves on to face Mr. West in the finals. So there you have it. Kanye vs. Radiohead, probably what we all expected. Your thoughts?
(04/06/10 4:37am)
____simple_html_dom__voku__html_wrapper____>Here we are, the Final Four. Much like our Sweet 16 portion of the tourney, the format of the post is going to be slightly different. Instead of our e-mail discussion, below are four "pitches" from WEEKEND contributors as to why a certain director should make it to the championship round. And then, results!Martin Scoresese vs. Sam MendesWhy Scoresese should win: Martin Scorsese can’t seem to take a break. In the past decade he has directed countless films, most of them large and ambitious. This is the career phase where directors settle into directing the same picture over and over again, but Scorsese comes out with new and varied fare each time. Recently, he directed two music films, a documentary on Bob Dylan and a concert film of The Rolling Stones. Both films makes their aged subjects interesting and exciting once again (not that Bob Dylan ever stopped being interesting).With his fiction works, Scorsese has turned his relationship with Leonardo DiCaprio into a well oiled machine. Of their most recent collaborations, “The Departed” ranked among Scorsese’s best films and was reminiscent of his seventies films and “Goodfellas.” “Shutter Island” was a departure, with the director trying his hand at a suspense-thriller; although not an instant classic, the film is still a success, and proves that Scorsese can still develop artistically.Scorsese is the consummate cinephile, one who embraces every style from the early talkies to the French New Wave. It’s difficult to watch his films without sharing in his love of classic films. Cinema is his life, and he infuses every frame of his films with that devotion.Scorsese remains one of the most consistent, and long-lived, filmmakers ever. He is the protector and champion of cinema, and a symbol for the history of cinema and all the films yet to be made. -- Brian MarksWhy Mendes should win: Perhaps nothing has topped Sam Mendes’s directorial debut of the enchanting “American Beauty,” the best picture winner from 1999, but in his ten years since that film, he has only begun to define himself as a filmmaker. Branching out into multiple genres from his crime drama “Road to Perdition,” to his war film “Jarhead,” to the underrated period piece and acting tour-de-force “Revolutionary Road” and finally to his modern, mature, grown-up dramedy “Away We Go,” Mendes has experimented with genres far beyond many veterans and even newbie’s like him that have long been typecast. His most recent project will be his most mainstream yet as he will very likely take the 23rd James Bond movie into a new direction, marking himself as one of Hollywood’s most influential directors. Mendes has an often beautiful and curious fascination with suburbia living, as well as the commonalities of life, and it is a subject few directors can really tap into. With that knack, he has elicited remarkable performances from some unlikely places, most notably from “Saturday Night Live” alum Maya Rudolph and from his wife Kate Winslet, whom he ironically coached in more than one love scene. Mendes’s films amazingly represent both progress in cinema and classical Hollywood. He is a definitive example of what this region of the bracket represents, and he will only continue to grow as one of the new century’s pivotal directors. -- Brian WelkResults: Scoresese beats Mendes with 100 percent of the vote and moves on to the finals!-------------------------------------------Quentin Tarantino vs. Christopher NolanWhy Tarantino should win: It is difficult not to put Tarantino's best work, "Pulp Fiction," which is top 100 on nearly every reputable critic's all time list and set the bar for the modern noir/gangster film, against Nolan's "Memento," an equally astounding modern noir and one of the most creative psychological thrillers of all time. Both films are timeless, but "Pulp Fiction" gets the edge because it came first and with it Tarantino turned the concept of a linear narrative on its head and made everyday dialogue clever, funny, and entertaining. Both directors were praised for their first films, exalted for their sophomore follow ups, and have had solid careers since then. One could match and rate each director’s films to the other’s, but while Nolan created the greatest Batman film ever made, Tarantino’s originality is unmatched by any other contemporary director, and last year’s "Inglourious Basterds" proves just that. Nolan’s upcoming "Inception" will probably make this match-up even closer, but although he has drawn from a variety of genres among his movies, Tarantino has been able to seamlessly combine various genres within a single movie. And no director today is as able to make a serious scene so humorous and 20-minute scene so engaging. Quentin Tarantino gets the close nod over Christopher Nolan. -- Doug EvansWhy Nolan should win: The odds are certainly stacked against British director Christopher Nolan in the Final Four. He faces Quentin Tarantino in the semifinals and even if he prevails he would most likely face Martin Scorsese in the title match. But that doesn’t mean he doesn’t deserve to win the bracket. No one, and I do mean no one, has had a better decade than Christopher Nolan. In 2000, he fucked minds across the world with “Memento.” In 2002, he did the impossible when “Insomnia,” starring Al Pacino and Robin Williams, somehow didn’t suck. In 2005, he single-handedly saved Batman’s cinematic career with “Batman Begins.” In 2006, he made one of the most re-watchable movies of all time with “The Prestige,” and in 2008, he made his masterpiece and one of the greatest movies ever made, “The Dark Knight.” This summer, what may be his most ambitious work yet, “Inception,” will be released. That’s a jaw-dropping resume for an entire career, and he did it all in ten years. The arguments against Nolan advancing are valid: he hasn’t been at it long enough, Tarantino is one of the masters of modern cinema, his best movie is a comic book film. But when looking strictly at Nolan’s output this decade (which is supposed to bear more weight than the director’s entire career in this discussion), I don’t see how he’s not the best active director. -- Brad SandersResults: Christopher Nolan narrowly tops QT with 57 percent of the vote.And so our finals is set. Scoresese, the long-time superstar, versus Nolan, the heir apparent. Who ya got?
(04/03/10 8:32pm)
____simple_html_dom__voku__html_wrapper____>Hiya folks! We're now down to the Final Four in our Pop Culture Bracketology! Check out the discussion and results from the Elite 8 round and then sound off with your thoughts below.----------------Cory Barker: Will it be an all chalk final four? GO!Max McCombs: I think the top seeds win fairly easily in the Pitchfork and Pop brackets, but the other 2 are tossups in my book. I'm leaning toward the underdog in both of them.Brad Sanders: I'll take Mastodon, Kanye and Lady Gaga. Brian Marks: I agree with Brad on Mastodon over Muse. I'm sick and tired of Muse's glam + prog = bullshit equation. They have a couple songs that I like, but most of their music just leaves me cold. It's too much arena rock, where every song has to devolve into a sing-along. I am not a fan of metal at all, yet somehow Mastodon wins me over. I only know two of their albums, the same as with Muse, but they're way more fun and exciting for my tastes. The album concepts are a little silly, but they're not stuffed with filler. And if they can make someone like me listen to metal, then they must be doing something right.BS: Well, I'll take Mastodon because they're my fifth favorite band of all time and shockingly aren't hated by non-metal folks. I'll take Lady Gaga because I stand behind the belief that she is the most important pop star of my/our lifetime and that she is finally making pop matter again. I'll take Kanye because the couple Kanye songs I know I like better than the couple Jay-Z songs I know. I have a dreadful sense that the final will be Hip Hop Winner vs. Pitchfork Winner and I won't care about the title game any more than if Michigan State and Duke win on Saturday. Steven Arroyo: I really don't want to see Muse go in for all of Brian's reasons, plus I voted against them in the first round. But I can't in all seriousness vote for a metal band for the final four. I know way too few people who are into it. Maybe it is vastly under-appreciated, I can't say, but maybe the 20's will be its decade. Who knows, but this just isn't it's time.Jay-Z should be goin to the ship.Gaga too, mostly because "Telephone" is the most amazing thing I've ever witnessed and Beyonce was the sidekick.BS: :-( Steven, why do you hurt? Frankly, if Mastodon can't be band of the moment, no metal band can. They are the best metal band of all time to attain the level of commercial success in America that they have. I mean, the only better metal bands are Iron Maiden and Opeth (my opinion!) and Maiden are at this point a legacy act for most people and Opeth cracked the Billboard top 25 but are peaking...Mastodon are only four albums in and have already...blah, I'm wasting my time. You like it or you don't, and I like it a lot. They're gonna get buried by whichever rapper moves on so I don't really care. I'm putting my energy behind Lady Gaga from now on.SA: I see no reason why metal can't blow up. I just think that it will take time if it happens. Maybe Mastodon will be the reason it does. But just because they're metal Jesus doesn't mean metal will never be as popular as it is now, I'd say the opposite. I for one will most likely never get it, but I guess it's my loss.Adam Lukach: It's hard for me to split hairs between Kanye and Jay-Z; they're both probably in my top 3 or 4 personal favorite artists. But I think if you consider the concept of "the moment," that gives Kanye a slight advantage. Although Jay-Z is obviously still enormously popular and making some good music, his hey-day was really the early part of this decade. BP3 was pretty mainstream-sounding and had some novelty collabs and even some weak efforts from Jay-Z in lyricism and flow. Many would argue that you can make the same case for "808's," but Kanye's other 3 albums are more timely and more "our generation" than Jay's best work. "808's" isn't really a hip-hop album either, but that's another argument. Long story short, I think Kanye's music is more of the moment and really, since 2003, he's been the better rapper.MM: I think I've made up my mind in the hip-hop bracket and am going with Kanye. I agree he feels like a more relative presence in music right now, plus Graduation is probably the single most important album in getting me to listen to hip-hop.BM: Kanye is more of the moment as far as I'm concerned. If you keep trying to retire, I don't think that suggests much investment in music of the moment. Jay-Z has some great albums, but they're a few years past, and BP3 just bored me. I think Kanye was influenced a lot by Jay-Z, especially in regards to making an album that actually works as a cohesive whole, not just a collection of songs. I bet he's the world's biggest douche in person as much as in public, but he manages to sound like a human being on his albums. And maybe people have been too hard on 808s; it obviously wasn't supposed to be like his previous 3 albums, but I think it's legitimate to make a departure now and then. So because I think that Kanye is simply more interesting at the moment, I'll vote for him.Brett Eppley: Gaga absolutely wins over Beyonce. As Brad said, she's making pop music matter again. And even if you don't buy into all of her pop art aspirations, you've got to admit that her music is damn good. Or at least immensely popular. I believe that she is the Madonna of our generation. She's truly making it hip to like pop music. No more guilty pleasure listening here.I'll also throw my hat into the rap ring: I'll have to give this one to Kanye. As much as I hate Mr. West, he's definitely more relevant than Jay-Z right now. Kanye's asshole attitude doesn't mean that he doesn't put out some good tunes.Hip-Hop Region1. Jay-Z 2. Kanye West -- 87.5 percent of votePitchfork Region1. Radiohead -- 62.5 percent of vote2. The Flaming LipsPop Region1. Lady Gaga -- 100 percent of vote2. BeyonceMiscellaneous Region1. Mastodon -- 75 percent of vote10. Muse
(04/03/10 8:05pm)
____simple_html_dom__voku__html_wrapper____>Hiya folks! We're now down to the Final Four in our Pop Culture Bracketology! Check out the discussion and results from the Elite 8 round and then sound off with your thoughts below.----------------Cory Barker: Two directors enter, one leaves! GO!Brad Sanders: I'm willing to debate all of these, but for now I'm feeling the Coens over Scorsese, Del Toro over Mendes, Tarantino over Aronofsky, and Nolan over Jackson. Tell me I'm wrong.Max McCombs: Scoresese-Coens and Jackson-Nolan are big tossups in my book. I agree with Brad on the other two.Brian Welk: I gotta go Scorsese over Coens. Their past decade is about equal in terms of quality (maybe slight advantage Coens), but Scorsese is God. Raging Bull would make the list of Top 10 of all time and Taxi Driver is pretty damn close. On a possibly unrelated side note, I'm also looking at what Scorsese and the Coens have coming down the pipeline: Scorsese's making a George Harrison doc, an Elia Kazan doc and a biopic on Sinatra, inventively titled, "Sinatra." The Coens are doing a remake of "True Grit" starring Jeff Bridges and Matt Damon. Meh.BS: It's probably unrelated since we can't weigh in on speculation of future work, but I'll take the Coens over Scorsese out of personal taste, perhaps. The Big Lebowski and Fargo to me are Raging Bull and Taxi Driver to you, and No Country for Old Men is on a similar level as Gangs of New York, but the rest of the Coens' output this decade annihilates Scorsese's, in my opinion.BW: Personally, I didn't care for O Brother, and without that, the only movies the Coens really have worth discussing in the last decade are Burn After Reading and A Serious Man, which I think are less than The Departed and The Aviator. For sake of additional Scorsese titles, Shutter Island wasn't awful, and I've heard good things about Shine a Light.As for Fargo and Big Lebowski, they are almost to me what they are to you, but what are Goodfellas and Casino to you?BS: Goodfellas and Casino are not my thing. I've got a real problem with Mafia movies that I can not explain because even I don't fully understand it, but I take no pleasure in watching those. I won't hold them against him, though, since I know they're all-time classics to people who can stand them. John Barnett: Welk: "No Country for Old Men" is not "worth discussing"? I should probably take offense at that since it's one of my top 25 movies of all time. Yeesh.And I'm sort of a sore loser in this whole deal after Paul Thomas Anderson lost in the last round. Aronofsky is good, but he ain't that good.BS: I kind of agree on Del Toro but I have an incredible soft spot for the Hellboy movies seeing as they are perfectly executed comic book films.BW: My bad. I thought we had already "discussed" No Country. Of course it belongs in the discussion. I'm skeptical about choosing Del Toro too because I would have had him losing to either Greengrass or Cuaron, but since we're here again (I would've also had Mendes losing to Reitman), I revert back to my skepticism that (A) American Beauty may not be as good as I remember it, (B) a handful of critics actually HATE Mendes, including the two films I would defend him on, (C) Pan's Labyrinth IS as good as I remember and (D) Hellboy 1 and 2 are maybe better than I remember.Still though, that's a toss-up I would be willing to be swayed on given the right nudge.Brian Marks: I go with Mendes over Del Toro. I also think the Hellboy movies are good comic book films (because they don't take themselves too seriously and look amazing), and think Pan's Labyrinth was a fantastic film, but that's about it. Beyond that, his other films came out too long ago to really judge, and unfortunately I didn't see most of them as they were not English language. Of the ones I have seen, Blade II and Mimic are not on my greatest films of all time list. But Mendes has had 3 movies that I really liked in the last 5 years: Away We Go, Revolutionary Road, and Jarhead. And if were to break my rules and look back even further, he has American Beauty under his belt, plus Road to Perdition, which was okay. I don't actually have any upsets. I'll stick up for Scorsese. I liked Shutter Island, even though it was flawed. It was also him trying something different, which I think he pulled off. Music is such a big part of his films, and I think he showed that with the Stones documentary and the Bob Dylan documentary. Shine A Light was just a great concert film, even if you're not a Rolling Stones fan.And the Bob Dylan documentary actually managed to be worthwhile, not just a retread of Don't Look Back. Then there was The Departed, which I think ranks with Scorsese's best movies. During that time period, the Coens have No Country, Burn After Reading, and A Serious Man. I think No Country and A Serious Man maybe rank up there with Fargo, but Burn After Reading was only okay. It was funny at times, but I think that was just their breather after No Country. And if I were to look back at the whole decade, Scorsese definitely wins as far as I'm concerned: Gangs of NY and The Aviator top The Ladykillers and Intolerable Cruelty. No question.Doug Evans: I was very conflicted on the Scorsese vs. Coens, but after B Marks reminded me that the Coens directed Intolerable Cruelty and Ladykillers, I must go with Scorsese, who has yet to direct a disaster in his lengthy career. The Departed and No Country are two of the best films of this young century, so again, since both have such an "elite" list of amazing films, the only criteria I used to make my choice was flops, of which the Coens have two. This match up should have been a final rounder or at least a final four and having to choose one over the other gives me such guilt.I will go with Mendes over Del Toro, only as a matter of personal taste. As visually great as the Hell Boy movies were, I was not as into them as most of my colleagues are. Pan's Labyrinth is a masterpiece, but that alone can not beat Mendes, who has had a solid decade thus far with Jarhead, Revolutionary Road, and the oft-overlooked Away We Go. American Beauty is pretty badass too.Tarantino over Aronofsky. Though Aronofsky has a vision all his own and will have a great future, Tarantino is too good to top.Finally, Nolan over Jackson. Memento is a masterpiece and I could watch The Dark Knight 1000 times and not grow tired of it. I know this may be offensive, but I would take any one of Nolan's films over The Lord of the Rings trilogy. Yes, even the Prestige.CB: Quick thought on Doug's Nolan/Jackson comment: Co-signed. x1000.BS: Well, I love the Lord of the Rings Trilogy but I'm inclined to agree about Nolan as well - and I'm not sure why you had to qualify "The Prestige," it's fucking fantastic.Veterans Region1. Martin Scoresese -- 57 percent of vote3. The Coen BrothersIndie Darlings Region1. Quentin Tarantino -- 100 percent of vote3. Darren Aronofsky Populist Pros Region5. Peter Jackson2. Christopher Nolan -- 85.7 percent of voteNewbies(ish) Region4. Guillermo Del Toro3. Sam Mendes -- 71 percent of vote
(04/03/10 7:37pm)
____simple_html_dom__voku__html_wrapper____>Hiya folks! We're now down to the Final Four in our Pop Culture Bracketology! Check out the discussion and results from the Elite 8 round and then sound off with your thoughts below.----------------Cory Barker: TV, Elite 8. Let's get debatin'.Max McCombs: Frankly, I think the top seeds all advance this week and it's not really even that close. I'm guessing others will argue for Parks and Rec and FNL, though.Chad Quandt: Parks and Rec over 30 RockGonna go with Parks and Rec. If Community can't win, Parks and Rec deserves it. The writers have been able to take characters seemingly made to annoy from season one (April and Andy namely) and turned them into a wealth of great sub-plots. Leslie Knope is her own woman, no longer a Michael Scott clone. And it's even about our own state, people. There has to be a little regional loyalty.Meanwhile, 30 Rock has been struggling to find its footing this season. We should be comparing the current state of these shows, not how good or bad they used to be.Supernatural over LostAs I just said about Parks and Rec, we have to look at the current state of shows. That being said, Lost has treading water since they introduced the time-skips. We have a plot that has been stalling for two seasons. If you really think about it, we spent nearly 2 years learning how our heroes got off the island, only to head right back. It's like Prison Break's second season: "Now the OTHER brother has to bust the main character out of jail!"Daily Show over Amazing RaceStewart and Crew have done more to make us both laugh and also educate us this decade than NBC's Thursday night lineup and cable news combined.John Barnett: Yes Chad, Supernatural over Lost... Isn't that kind of like arguing for White Castle over St. Elmo's Steakhouse? CB: As someone who loves Supernatural nearly as much as I love LOST and usually think it's my second favorite show, it's still no contest. I'm not sure how in the world S5 of LOST was treading water in any way, and despite the general disappointment and frustration with S6, I'm guessing that starting about...next week, people are going to see the season and the series in a whole new light. I'm not a LOST fan that's unwilling to accept criticism, because I give my fair share to it on a weekly basis, but in my opinion, those are not fair criticisms. I do, however, agree with Parks and Rec over 30 Rock for all the reasons you mentioned, Chad.Brian Marks: I also agree with Parks and Rec over 30 Rock. Other than the boost the show got after the writer's strike, each season of 30 Rock has probably been worse than the last (although maybe it's getting a little better). It's still a funny show, but they whore themselves out too often to get a cheap laugh. Parks and Rec's second season is so much better than season one, maybe even on par with The Office's second season. The characters just feel a little more like real people on Parks and Rec.MM: As I said in the meeting, I cannot bring myself to vote for FNL to go any further. I don't watch Mad Men, so I can't speak for that, but I know what it is like to live in Texas, and FNL is not it. It presents a twisted, overly dramatized version of the Texas football culture, and thus annoys, and perhaps even mildly offends me.Brian Welk: I am stunned at anyone who feels Parks is a better show than 30 Rock. If you ask me, I probably couldn't point out a "bad" episode of 30 Rock. There are certainly some lesser ones from seasons 3 and 4 in comparison to the slew of masterpieces from 1 and 2, and I would say there are still some episodes that are just as good and still in form. But I know there isn't one of you who would claim that Parks was a good show in Season 1. A few episodes that are drastically different from the norm does not make a Final Four worthy show. 30 Rock is still culturally relevant and very much aware of the real world climate that surrounds it in both pop culture and even politics. Parks is random, absurd, deadpan, monotone humor that is probably only funny to people because it is so glaringly different, and Aziz Ansari for one simply stands out from this cavalcade of boring, Indiana people. Wait, that isn't why it made it so far is it? Because of the Indiana jokes? I saw that one where the guy had a summer home in Muncie or something. It was one of those fill in the blank jokes that would be funny no matter where you said. Austin Morris: I'm with Brian on every count. CB: A FEW episodes? Parks and Rec was mostly a mess with a few moments of sunshine, but all 19 or 20 episodes this season have been near-classic levels. Like S2 Office good. And I think that your underestimating the lackluster last season 30 Rock had and how uneven it was THIS season until the last 6-7 episodes. If we're talking what series is better RIGHT NOW, it's Parks and Rec. For sure.Drama Region1. Mad Men -- 77 percent of the vote10. Friday Night LightsComedy Region1. 30 Rock -- 66 percent of vote10. Parks and Recreation Sci-Fi/Fantasy/Action Region1. LOST -- 89 percent of vote10. SupernaturalReality/Variety/Talk Region4. The Amazing Race3. The Daily Show -- 100 percent of vote
(03/31/10 9:07pm)
____simple_html_dom__voku__html_wrapper____>The buzzwords and labeling of the time travel processes gets more confusing as we go along. But in an attempt to help it all make sense, here’s mini-vocabulary lesson on the words and phrases usually associated with traveling through time. Wormholes: Developed as part of Einstein’s theory of general relativity, possibly involved with time travel if a transversed wormhole is in place. In that case, someone would enter one end of the wormhole going faster than the speed of light, move through the throat of it and then come back through the other end to the same spot. Time dilation makes it seem as though the moved end of the wormhole has aged less than the stationary end, but that’s only to the outside perspective. Or something.Exotic matter: Hypothetical negative energy that would be necessary to create transversed wormholes and other crazy physics-related events. Twin paradox: In this instance, a twin makes a journey to space at the speed of light, turns right around and travels the same speed back to earth to find his ground-bound twin having aged more. Except the non-traveling twin thinks THEY are the ones that seem younger. And it can only be solved by relative motion. Grandfather paradox: Perhaps one of the most famous time travel buzzphrases, this one poses the question that suppose you went back in time to kill your grandfather, which would then mean your parents as you know them would cease to exist, and thus so would you. BUT if you don’t exist, then you cannot ever go back in the time travel apparatus to kill your grandfather in the first place. That makes complete sense.Many worlds theory: Formulated by Hugh Everett and later solidified and popularized by Bryce DeWitt, this theory proposes that every event is a branch point where any interpretation or outcome can – and does – occur completely real, but also completely separate from one another. Every result exists in its own world and then creates new branch points for more, separate events. Think Schrödinger’s cat. Parallel universes: Similar to the many worlds approach, this theory surmises that once someone leaves their original universe and then changes something, they’ve created a parallel universe where the new events occur, but the original time still exists out there somewhere. Eternalism: Sometimes referred to as the Block Time theory, this philosophical approach is used in Vonnegut’s “Slaughterhouse Five” where all time exists at all points. The past is no longer the past, the future is no longer the future and the present is, well, no longer the present. Instead, they are all real, thought of as directions to take rather than concrete states. Presentism: On that same note, Presentism believes that the past and future do not exist at all, and instead all that matters is the present.Predestination/”Whatever happened, happened”: This idea, most recently used in season five of “LOST,” shows a time travel that does not change anything. Thus, whatever was supposed to happen, does. Always, every. single. time. If one travels back to 1977, it might be the past to them in terms of the traditional thought of year-based time, but it then becomes their future and their life was always supposed to play out that way. Theoretically, you could be born in 1970, live to 2007 and then be transported to 1977, where you die in 1984. Course correction: Also seen in “LOST” and related to predestination; events happen here as way to clean up any messes created by time travel. Thus, if someone travels back in time to avoid death by axe murderer, if they’re predetermined to die, they’ll soon get hit by a bus. And if they avoid that, they’ll drown. You get it.I hope this helps.
(03/31/10 8:07pm)
____simple_html_dom__voku__html_wrapper____>After much speculation, FOX announced that this May will bring the end of “24” after eight conspiracy-packed seasons. And though the series has been little more than a shell of its former, thrilling self in the last three seasons, it is impossible to deny the influence that it has had on network television over the past near-decade.Hundreds of thousands of words have been penned about the series’ real-time format, but for good reason. When “24” debuted back in 2001, critics and fans were blown away because it was like nothing they had seen before. And with such a high-risk concept, it had to have been difficult to craft those early episodes — still the series’ best — with the correct amount of pacing without boring people into tuning out. Later seasons have made a mockery of the real-time format, with characters crisscrossing the city in minutes, never seeming tired and not even mentioning food, but those early episodes actually had people showering, changing clothes and more. As outrageous as the plot seemed, those elements felt very real.Outside the context of the series itself, “24” and FOX should be lauded for their decision to not start the series until January each year and run it without repeats. Back in 2004 when that plan was hatched, not many — if any — popular scripted series were running without re-runs. Before DVR and Internet streaming, re-runs were still big business and aside from FOX’s other hit, “American Idol,” not many big-time series started halfway through the season.The January premiere of “24” became a TV event, and the straight-through run of episodes was recognized to be so perfect for serialized programs that every network but the still-embracing-reruns CBS uses it in some way. “Lost” has had a January-to-May run for three years now, “Heroes” did a similar run this past fall and “Chuck” is doing it this spring. And though re-runs certainly still exist on broadcast television, they are fewer and far between — and “24” had at least a little something to do with that.When discussing “24” it is also impossible not to bring up the depictions of Middle Eastern countries, torture and the political ideology of the creators, which is unsurprisingly conservative. What is perhaps most interesting is that while the course of “24” was certainly altered by the events of Sept. 11, the series probably served as an outlet for Americans to face their fears and even live vicariously through Jack Bauer in a form of morbid fantasy. The fear propagated by Sept. 11 that “everyone” who looked “Middle Eastern” was a terrorist was confirmed and promoted by “24,” and along with the show’s pro-torture stance, it definitely did not hurt the government’s selling of the War or Terror. Though the series gets knocked for continuing to rely on those tropes and characters as time has gone on, the series has also embraced other elements from the headlines, such as private military firms. And aside from all that, “24” has been generally awesome for eight years. It has had extreme highs — seasons one and five — and tepid lows — season six — but has mostly been consistent throughout. Being tied down to its originally revolutionary premise and concept has hurt it in later seasons because there’s only so much you can do with terrorists, information moles and Kiefer Sutherland saying “damnit,” but even the dumbest hours of “24” feature something redeemable. It’s now time for the silent clock to run out, and television will never be the same.
(03/31/10 6:31pm)
____simple_html_dom__voku__html_wrapper____>Blink, and Ace Enders is working under a new moniker. He started with The Early November, dabbled in this solo project obnoxiously titled I Can Make A Mess Like Nobody’s Business and has also released an album under the Ace Enders and a Million Different People handle. But no matter what’s on the cover of the album, Enders always churns out an album’s worth of folksy introspection, and his second I Can Make a Mess release, “The World We Know,” is no different. Composed as one 43-minute track, “The World We Know” should be listened to as such. The flow between what would be different songs is superb, and there is an overall breezy feeling that contrasts with Enders’ sometimes not-as-breezy lyrics. On an individual level, the best efforts on “The World We Know” extend past the four-and-a-half minute mark while letting Enders do his acoustic, dreamy thing. “Sleep Means Sleeping,” “Old Man...........” and “Telling Me Goodbye” are some of the best tracks he’s ever penned. Whether he’s with a million other people, predicting a premature winter or making a mess, Ace Enders can craft a substantive tune.
(03/31/10 3:57am)
____simple_html_dom__voku__html_wrapper____>We’re now down to the Elite 8 of our Pop Culture Bracketology! This past weekend, members of the WEEKEND staff locked themselves in a conference room and hashed out the results of the Sweet 16 in person. Thus, instead of a running e-mail conversation, staffers penned summaries to each match-up, which follow each result for this round!----------------------------------------------Hip-Hop Region1. Jay-Z – 85.7 percent of vote13. Mos Def Unfortunately for Mos Def, this one was never really a contest. Though his most recent works like “Blueprint 3” might not have been exactly vintage Jigga, he certainly knows what people like to hear and can create an album. Def is still more popular within the deeper parts of hip-hop and indie rock circles and his style can be inaccessible for some. In the end, he really wasn’t going to stand up to hip hop’s elder statesman. -- Adam Lukach3. Lil Wayne2. Kanye West – 85.7 percent of voteIn what could be considered as an upset by some, Mr. West took down Weezy F. to advance to face his “big brother” Jay-Z in the subsequent round. Two things significantly hurt Wayne: his current incarceration and his superfluous output. There are very few who can spit with the kind of energy, flow, and creativity that Wayne can, but sometimes he does it to the point of detriment and his best material gets lost in the shuffle. Regardless, Kanye is one of the few who can match him in quality, though their styles are remarkably different. Yeezy has disappeared from the limelight recently, but thanks to his recent collabs he never left our minds. His attention to detail and unadulterated passion for his music pushed him over the top. -- ALPitchfork Region1. Radiohead – 83.3 percent of vote4. Animal Collective Radiohead owns this decade. Animal Collective’s last two LPs and most recent EPs have shown they can synthesize loops and samples to make something that’s incredibly catchy and melodic. But Radiohead is still king. “Kid A” is regarded by many as the past decade’s best album, with “Amnesiac” as a worthy companion. “Hail to the Thief” was a return to the guitar heroics of the ‘90s, while “In Rainbows” was an impressive blend of each previous album’s styles, even if you disregard its innovative pay scheme. Radiohead has been able to incorporate elements of the avant garde, electronica, and rock music in a way no one else can match. -- Brian MarksDissent: Any band with four or five monumental albums under their belt from the past decade has the right to take a prolonged breather if they so choose. Since 2007’s predictably outstanding “In Rainbows,” Radiohead has taken this route, and who could blame them? Regardless, for the first time in years, it leaves them vulnerable of losing at a game of pop culture bracketology. Since that very year, Animal Collective has released about 3 times as much material, and to me, every bit of it is as good as “In Rainbows.” Radiohead might have had my vote before “Merriweather Post Pavillion,” but I think Animal Collective deserves the final four chance more than them right now. -- Steven Arroyo3. LCD Soundsystem2. The Flaming Lips – 66.6 percent of voteJames Murphy deserves a pat on the back for all that he has accomplished, both with his band LCD Soundsystem and solo, since LCD’s eponymous debut in 2005. Between film soundtrack-ing and creating a modern classic with 2007’s lively and surprisingly moving “Sound of Silver,” the man is certainly in his prime. Unfortunately for him, Wayne Coyne has been there for an entire decade now. Punctuating the Flaming Lips’ case is last year’s “Embryonic,” their boldest effort in years and a fitting addition to their hefty, historic catalogue that also includes 1999’s “The Soft Bulletin” and 2002’s “Yoshimi Battles the Pink Robots.” -- SAPop Region1. Lady Gaga – 100 percent of vote
4. Taylor Swift The pop bracket’s #1 seed, Lady Gaga, unanimously eliminated upstart Taylor Swift, whose bubblegum take on country was no match for the inimitable performance art of Gaga. Lady Gaga will take on second-seeded Beyonce in the Elite Eight, where the two titans of pop will square off for singing supremacy. Perhaps the deciding factor for who wins that match-up will be who has the better verses in “Telephone,” the recent hit single they both sing on. -- Brad Sanders 3. Rihanna2. Beyonce – 57 percent of voteA match-up that could be misconstrued as past versus present was still very much present versus present. Beyonce is still as relevant and ubiquitous as ever; “Telephone” is evidence of that. Rihanna is having and certainly will have her time, but “Rated R” just doesn’t stack up to “Sasha Fierce.” Ri-Ri’s track record just isn’t there like Queen B’s is. If there was any doubt in people’s minds about Beyonce’s stature in a gaga-for-Gaga pop world, her truly “fierce” performance in “Telephone” showed that Sasha Fierce and Beyonce are one and the same as much as ever. Unfortunately that’s just too much for Rihanna to overcome. -- ALMiscellaneous Region1. Mastodon – 57 percent of vote4. Manchester Orchestra Top-seeded Mastodon took down underdogs Manchester Orchestra in a close vote. Mastodon, whose most recent album “Crack the Skye” saw the band selling out the biggest venues of its career, and whose “Leviathan” is the only album of the past decade that sits comfortably atop lists of headbangers and Pitchfork readers alike, is arguably the biggest true American metal band of all time. Manchester Orchestra picked up a couple of votes, but were no match for the number one seed Mastodon, who will move on to face Muse in the Elite Eight. -- BS3. Alicia Keys10. Muse – 71 percent of voteMuse remains the Cinderella darling of the bracket, pulling its third straight upset en route to a berth in the Elite 8. Perhaps Cinderella is an odd label for the British powerhouse Alternative trio, but they are still going strong and were perhaps underseeded to begin with. No one denies that Alicia Keys is good at what she does, producing soulful R&B that appeals to damn near everybody to some extent. Muse, however, has grown and changed over their five album run from a couple of guys doing their best Radiohead impression to a cohesive combination of forceful guitar solos, fleshed-out instrumentation, Matthew Bellamy’s soaring falsetto, and enough ambition to write a freaking 3 part symphony on their last record. Oh, and their live show blows minds. -- Max McCombsThoughts?
(03/30/10 8:45pm)
____simple_html_dom__voku__html_wrapper____>We’re now down to the Elite 8 of our Pop Culture Bracketology! This past weekend, members of the WEEKEND staff locked themselves in a conference room and hashed out the results of the Sweet 16 in person. Thus, instead of a running e-mail conversation, staffers penned summaries to each match-up, which follow each result for this round!---------------------------------------------------------------------------Drama Region1. Mad Men – 87.5 percent of vote13. Good Wife“The Good Wife” has had a good run through the first two rounds, but the upsets stop here. “Mad Men” isn’t the universally-recognized “Best show on TV” for nothing. The style, the writing, the performances, the cultural and historical lessons, what does it have? Seriously, I’m waiting. – Cory Barker3. House10. Friday Night Lights – 50 percent of vote, tie broken by editorThough a native Texan in our group disagreed with the entire premise of “Lights,” those of us who watch it regularly appreciate that it has become less about football culture and more about the relationships between the characters and the relationships between the characters and the town of Dillon, TX – whether or not it is an accurate representation of small-town Texas culture. The most commonly cited problem with “House” was that the show has in recent seasons shifted its focus from compelling medical cases to the relationships of and between the least likable characters on the show (i.e. anyone who’s not House or Wilson.) Oh, and Amber reappearing every five episodes in House’s head. Nice try, writers, but you should have realized how great a character she was – before – you decided to kill her off. – Austin MorrisComedy Region1. 30 Rock – 75 percent of vote12. CommunityThis Sweet 16 match-up of NBC comedies pitted the established “30 Rock” against the upstart “Community.” In the end, experience won out. “Community” boasts a fun concept and the laid-back-enough cast and creative writing necessary to make it work. But “30 Rock” is, well, “30 Rock.” Bouncing back from a third season with a few too many guest stars and romantic plotlines that went nowhere, this season has seen the show go back to what it does best: show Tina Fey and Alec Baldwin deal with a bunch of rampaging hooligans while trying to make steps forward in their own lives. Call last season a simple off-year, because “30 Rock” is back in fine form. – Max McCombs11. It’s Always Sunny of Philadelphia 10. Parks and Recreation – 87.5 percent of vote“It’s Always Sunny in Philadelphia” has been consistently funny, but the last couple seasons have stretched plots to a point where they bear absolutely no resemblance to reality. The show’s sense of humor is also occasionally offensive and probably aimed more towards the frat crowd (or is it a critique of that crowd?). “Parks and Recreation,” meanwhile, has grown by leaps and bounds in its second season. Leslie Knope is no longer just a female Michael Scott, while the show’s supporting characters have also developed enough to carry episodes. Most importantly, the writers have established that Ron Fucking Swanson is the man. – Brian MarksSci-Fi/Fantasy/Action Region1. LOST – 87.5 percent of vote4. Burn NoticeIt might be a fun, engaging basically-procedural with likable characters, but when the best part about “Burn Notice” is the recent “SNL” sketch about it, the chances of taking down the odds-on favorite to win the whole bracket are terrifyingly slim. To pick out a reference from the series, “LOST” has certainly Smoke Monster’d its way through this region on its way to the Elite 8. – CB6. Fringe10. Supernatural – 62.5 percent of voteIn one of the most discussed match-ups of the round, these two great balancers of procedure and mythology squared off. Though nearly everyone in the discussion who has watched one of these series admitted they should probably watch the other as well, my strong love for “Supernatural” swung some of the undecided voters. These two do a lot of the same things very well, but “Supernatural” has been doing it longer and still does it better. – CBReality/Talk/Variety Region1. American Idol4. The Amazing Race – 75 percent of voteWho, exactly, is still watching “Idol?” Certainly no one who values their hearing, because the past few seasons have been light on serious talent and heavy on truly terrible or essentially boring contestants. The addition of a fourth judge has also made the show seem overproduced and more about the judges’ critiques and less about, um, singing. In contrast, “Race” has never ceased to be compelling, even when it has a season with a slightly boring cast – there’s drama inherent in racing around the world, completing challenges that more often than not test reading comprehension over physical prowess. And when Race gets its casting right, it nails it. (See: Boston Rob & Amber; Charla & Mirna.) – AM3. The Daily Show – 87.5 percent of vote10. The Colbert Report In a way-too-early match-up (like Kansas vs. Ohio State was expected to be, dammit) in the Reality and Talk Shows bracket, Jon Stewart’s sardonic wit outlasted Stephen Colbert’s satire of conservative talking heads. Stewart was decided to be more relevant, more interesting in terms of variety, and more important, even if he’s less funny on a night to night basis. – Brad SandersSo, do any of these results surprise you? Sound off below.
(03/30/10 5:04am)
____simple_html_dom__voku__html_wrapper____>We're now down to the Elite 8 of our Pop Culture Bracketology! This past weekend, members of the WEEKEND staff locked themselves in a conference room and hashed out the results of the Sweet 16 in person. Thus, instead of a running e-mail conversation, staffers penned summaries to each match-up, which follow each result for this round!----------------------------------------------------------------------------------------------Veterans Region1. Martin Scoresese -- 100 percent of vote5. Clint Eastwood For a showdown between two undisputed giants of the cinema landscape, the outcome of this tilt is surprisingly one-sided. For a while, you can have a blow-by-blow battle between the two. “Goodfellas,” Pow! “Mystic River,” Wham! “Gangs of New York,” Boom! “Million Dollar Baby,” Bam! “The Departed,” Kapow! Eventually, though, Eastwood’s arsenal simply runs out. Marty’s just been in the directing game churning out masterpieces longer. Plus, if we’re going be most recent film of relevance, Scorecese’s "Shutter Island" is thus far the only film by either to come out this year, and a good one at that. -- Max McCombs3. Coen Brothers -- 100 percent of vote2. Steven Spielberg The last few years haven’t been very kind to Steven Spielberg. “Munich” is one of his greatest films, but it’s weighed down by an unnecessary Indiana Jones installment and the horrendous “War of the Worlds.” The Coens, on the other hand, have had a fantastic last few years, starting with “No Country for Old Men.” Incredibly dark yet brimming with humor, the film was a worthy Oscar winner and a great literary adaptation. “Burn After Reading” was more successful than many Coen brothers comedies, and “A Serious Man” successfully reconciles their dark sense of humor with tragedy. The Coens haven’t just made better films lately; they’ve made films that matter. -- Brian MarksIndie Darlings Region1. Quentin Tarantino -- 86 percent of vote4. Wes Anderson The run to the Sweet Sixteen that saw indie’s biggest darling Wes Anderson defeating Ang Lee and David Lynch came to an end when he faced one of the masters of modern cinema on the day of his 47th birthday. Quentin Tarantino, whose career includes no less than three movies considered all-time classics and who has yet to make a bad film, rolled Anderson. -- Brad Sanders3. Darren Aronofsky -- 57 percent of vote2. Paul Thomas AndersonThe debate over Paul Thomas Anderson and Darren Aronofsky was split pretty evenly down the middle. Aronofsky has shown great range, from an incredibly depressing film about drug addiction (“Requiem for a Dream”), to a flawed but beautiful science fiction epic (“The Fountain”), to a blue collar portrait of a damaged wrestler. PT Anderson has a penchant for fascinating, Altman-esque films with huge casts, including “Boogie Nights” and “Magnolia.” “There Will Be Blood” was a cold, devastating portrait of man ruined by riches that borrows from Kubrick and Welles. Both filmmakers are visionaries who may have even greater films to follow. -- BMPopulist Pros Region1. James Cameron5. Peter Jackson -- 71 percent of voteThis outcome in this match-up depends in large part on what time period we are considering here. If we’re just going with the past year, Cameron’s “Avatar” obliterates Jackson’s “Lovely Bones.” On the other hand, if we examine the past decade, Jackson’s “Lord of the Rings” trilogy triple-team’s “Avatar,” along with an assist from a certain gigantic ape. Then again, if we are taking into account their careers as a whole, Cameron can roll out a pair of “Terminators”, “Aliens,” and “Titanic,” while Jackson has only a handful of cult films. Ultimately, though, Jackson's “Lord of the Rings,” even at nearly a decade old now (No, I can’t believe it either), still has enough resonance to overcome “Avatar” and Cameron by virtue of three movies of giant magnitude against one. -- MM3. Ridley Scott 2. Christopher Nolan -- 100 percent of voteAlthough it’s impossible to deny the importance of Ridley Scott over the course of his thirty-plus year career, Christopher Nolan pieced together arguably the finest résumé of the 2000s, with four movies that find themselves on dozens of Best of Decade lists (“Memento,” “Batman Begins,” “The Prestige,” “The Dark Knight), another solid film (“Insomnia”), and one of the most intriguing forthcoming flicks of 2010 (“Inception”). This was too much for Scott, who had an average at best hit-to-miss ratio over the last decade, to overcome. -- BSNewbies(ish) Region8. Judd Apatow4. Guillermo Del Toro -- 57 percent of voteWith a slew of Ben Stiller/Will Ferrell comedies early in the decade, Apatow defined comedies in the latter half of the 2000’s, introduced several fresh faces and still made intelligent, funny, heartwarming movies in the process. However, as great as “40-Year-Old Virgin” and “Knocked Up” are, they are certainly less than directorial landmarks or achievements. With so many others beginning to emulate his style, Apatow is more notable now as a producer. Del Toro on the other hand made the legendary “Pan’s Labyrinth” and is a director to keep an eye on with the much anticipated “Hobbit” franchise. -- Brian Welk3. Sam Mendes -- 57 percent of vote2. Alfonso CuaronAfter a busy decade of work, Sam Mendes has arguably already become a household name. His recent “Revolutionary Road” and “Away We Go” were underrated gems, and he should provide an interesting spin on the latest James Bond film. Cuaron is less known, but has made some remarkable films including possibly the best of the Harry Potter films, “Y tu Mama Tambien” and the brilliant “Children of Men.” Unfortunately, his lack of work since 2006’s “Children of Men” may have cost him in the long run. -- BWThere you have it! Any surprises? Shocked Cameron is gone? Sound off below.
(03/24/10 10:15pm)
____simple_html_dom__voku__html_wrapper____>Below is the discussion that took place via e-mail between WEEKEND staffers over the past few days concerning round two of our artist of the moment bracket (note: grammar/style is conversational, and less “correct”). Then below that are the results!Round three discussion begins today.--------------------------------------------------------------------Cory Barker: It’s time for round 2 of the music bracket discussion. Throw out some upsets!Brad Sanders: Alright, I’ll get the ball rolling.Lady Gaga annihilates Kelly Clarkson, no question. Not that Clarkson sucks, but Gaga is the most important pop star of our generation - any generation, maybe.Taylor Swift takes down the Black Eyed Peas. The recent Grammys help, but it’s really her embodiment of the fusion of country and pop paired with the fact that she is actually listenable, unlike some of her comrades. Also, the Black Eyed Peas are nothing if not overrated.JT takes down Rihanna. He’s been huge in so many different phases of his career and for so many different reasons that he basically transcends pop music; he’s one of the biggest music icons of the last decade.And I’ve got Ke$ha for a big upset over Beyonce. Beyonce, to me, has had her time. Her song with Gaga is the worst song on the Gaga album, “Single Ladies” is laughably overrated, and her constant appearances at red carpet events show that she’s becoming a celebrity for the sake of celebrity rather than a good musician. Ke$ha represents a trend - a terrible trend, maybe, but a trend nonetheless. Love it or hate it, “Tik Tok” is stuck in your head because I just typed it.And Mastodon takes down BTBAM in a moderately close one. They’re the only band right now loved by true metalheads and Pitchfork snobs alike, and while BTBAM continues to expand their sound, they’re still too abrasive for most people outside of the metal circle. Mastodon want everyone to like them, and they’re doing a damn good job of getting it done.The rest I’ll hear arguments on.Chad Quandt: Saying Gaga is the most important pop star of any generation is a dangerous statement. Gaga’s got some catchy songs, and she’s credited as co-writing a lot of them, but that’s any solid pop star. I still feel Gaga’s shtick is beyond any sort of pop genius. It’s random, everything goes, and just comes off like a large desperate grasp to shock the next generation of kids in Britney and Christina’s wake. She wants to be the next Bowie, but she hasn’t the collected vision he had.Clarkson’s gone down in stock (and up in weight) recently, but she’s the main reason American Idol still has relevance. She’s got a solid catalogue and has a simple look. She’s Gaga’s antithesis. Gaga’s covered with so much costume and makeup you can’t even see what she really looks like. Clarkson’s guilty of seeming like she just showed up on stage in her street clothes. I go with Clarkson. She does need some new hits soon, though.Rihanna’s new image and look seems to be imitating Gaga too much, but I’m amazed with how much power she’s got. I really thought “Pon De Replay” was going to be a one hit wonder.Kid Cudi is hot right now and has some solid tracks, but he hasn’t proven himself like Jay-Z yet. The Blueprint 3 isn’t nearly as great as I hoped, but there’s some solid tracks (and don’t forget Cudi’s on it). Jay’s one of the few greats that hasn’t gone insane or made a show on Nickelodeon.Taking Ghostface not for any recent work. More out of severe dislike for Young Jeezy.I missed the discussion last week. How the hell did you guys let John Mayer beat Metric? Do I have to justify that question?Max McCombs: I’d like to see Muse take down Mayer. Anyone else backing me here?BS: I’d also like to see Muse take down Mayer. I would have liked to see Metric take down Mayer in Round One.Steven Arroyo: I’ll second that as well.Kasey Devore: Swift over BEP. ‘08 was Swift’s year, just like ‘85 was Madonna and ‘10 may be for Gaga. BEP also had an EXCELLENT year, but we were sick of them by June, whereas we didn’t get totally sick of Swift until around November.Next one is a hard one. I keep going back and forth. I think Rihanna is going to take the cake. She hasn’t been not been present on pop radio since about ‘05 and that’s a long time in pop standards. And if Justin had released a full-length album at all in the last 4 years or so ... he would probably take the cake. (I went back and forth on that for entirely too long. But Justin does so much for everyone else in pop music! Ah! But alas, I’m going to stick with Ri)Beyonce is one of the most overrated performers today (actually, personally, I haven’t thought she’s been excellent since she left her Destiny’s Child co-bandmates). That being said, Ke$ha is gonna get old -- fast. I do love her album, but I also once loved Ashlee Simpson’s album. Enough said.Brian Marks: Lady Gaga as well.Swift over Black Eyed Peas. Most bands make stupid songs by accident. They do it on purpose, and there’s no excuse for that.I think Grizzly Bear should win over Flaming Lips. Grizzly Bear have released three phenomenal albums in a row that were each better than the last, plus an okay ep or two. Vekatimest does not have a single bad song, nor even any filler. The harmonies are just amazing. Flaming Lips on the other hand have gotten a little stale (I’m strictly going with who is most important RIGHT THIS MOMENT). The Lips’ lush synth heavy albums are fascinating, but they got a bit stale by At War With The Mystics. The Christmas on Mars soundtrack was interesting but disposable. And Embryonic was just too scatterbrained. There are some great moments on that album, but too often it’s just them aimlessly jamming. I love experimental music, so it’s not the lack of nice orchestrations that bother me. It’s just that they seem lost too much of the time. Maybe they’re trying to recapture the sound of the early albums, but it’s sounds too much like warmed-over early Pink Floyd.SA: I’m actually gonna have to rebut this with every inch of my being...clearly Grizzly Bear has garnered a huge new fanbase with Veckatimest but the fact is they just aren’t even in the same class as the Flaming Lips. Adam said it best, the Lips do change lives.We could debate our favorite albums all day...personally, I thought Veckatimest was weaker than Yellow House and I think Embryonic is the Flaming Lips’ 2nd or 3rd best record ever. Mystics might have been a slight dud (for them), but that was 4 years ago, ancient history considering what they’ve done since.The key thing about the Flaming Lips is they don’t just do albums, they do whole projects. Christmas on Mars? The Fearless Freaks? Reinterpreting Pink Floyd? That ridiculous video for Watching the Planets with hundreds of their fans naked on bikes? Not to mention designing and hand-constructing the most epic live set you’ll ever witness and constantly touring. I happened to see them an hour after Grizzly Bear last summer and if GB’s music bores you, their show definitely will too...the Lips do more than great sound and a light show, their concert is Cirque de Soleil on crack. They consistently emit more solid creative output than any other band I know, and it’s all secondary to their music. I don’t see how anyone in the Pitchfork region could be more “artist of the moment” than them...maybe one band but that’s a later debate, and it’s definitely not Grizzly Bear.CB: Co-signed.BM: Oh well.CB: Hahahahaha. I didn’t know anyone REALLY liked Grizzly Bear. I feel like so people like “Two Weeks” and try to convince themselves they like GB, but in the end, they’re just...there.Good arguments though fellas. MORE!AM: I’ll take Gaga over Kelly, too.I wanted to throw my support behind Rihanna in her battle with JT. JT is undeniably super talented, and I loved FutureSex, but listening to Rated R was a really powerful experience for me. And it was a bold move on her part, because no one song on the album screams number 1 like “Umbrella” did, but she and her label released it anyway She runs a gamut of emotions, expands her vocal range, and nails nearly every song. (will.i.am nearly spoils the album with his insipid “Photographs,” but I’ll hold that against him and not RiRi.)Adam Lukach: Okay, I’ll start in the hip-hop bracket since there are some really good match-ups in this second round. I think this bracket gives us our most obvious winners.As much as I like Kid Cudi, Jay-Z is still Jay-Z. Even though BP3 wasn’t his best effort, he still had some pretty good tracks and his collaboratons are always good. Cudi is absolutely in the moment, but I don’t know that he is any more so than Hova, and he definitely doesn’t have the track record to stack up next to Jay.I’ll take Weezy F. over Ghost; I don’t think you can go any other direction. There is no hip-hop artist that is really more “in the moment” than Wayne. Everything he throws up blows up, whether it’s good or bad. And there is some really bad Wayne out there because his output is so superfluous. With that said, there is also some really good Wayne out there. “No Ceilings” can stand up next to “Drought 3,” arguably the greatest mixtape of all time. I love me some Ghost, but his stuff just isn’t as accessible to today’s generation of hip-hop listeners. That’s probably more an indictment on the public than it is on Ghost, but Wayne really appeals to all audiences and is really just too relevant and too huge to lose.Kanye really kind of showed the world who Lupe was, so it’s interesting that they’re matched up here. Lupe has grown with every album and “Lasers” is highly anticipated, but I don’t think you can pick him over Mr. West. I think when you look at hip-hop right now, there is a very well-defined hierarchy and Kanye might very well be at the top. At the worst, he’s on the same level as Jay-Z and Lil Wayne. Sure his most recent album was a little bizarre, but the kind of intimacy he allowed on “808’s” is the kind of thing you NEVER see in hip-hop. He also used his auto-tune to convey a very different kind of tone and mood than its other regular users, the dark, difficult moments of a lost love rather than popping bottles. He’s a completely different animal than anyone else in the game right now. Lupe has a flow that’s as good as anyone’s and I honestly believe “Lasers” is going to be huge but I don’t think this is a case of the son over the father, if you’ll allow the metaphor.--------------------------------------------------------------------RESULTS FOR ROUND TWO -- Winners in bold with percentage of voteHip-Hop Region1. Jay-Z -- 85 percent of vote9. Kid Cudi12. Clipse13. Mos Def -- 71 percent of vote11. Ghostface Killah3. Lil Wayne -- 57 percent of vote7. Lupe Fiasco2. Kanye West -- 71 percent of voteMiscellaneous Region1. Mastodon -- 100 percent of vote8. Between the Buried and Me12. Thrice4. Manchester Orchestra -- 71 percent of vote6. Mary J. Blige3. Alicia Keys -- 85 percent of vote10. Muse -- 85 percent of vote2. John MayerPitchfork Region1. Radiohead -- 100 percent of vote9. Passion Pit12. The xx4. Animal Collective -- 57 percent of vote6. Vampire Weekend3. LCD Soundsystem -- 71 percent of vote7. Grizzly Bear2. The Flaming Lips -- 100 percent of votePop Region1. Lady Gaga -- 85 percent of vote8. Kelly Clarkson5. Black Eyed Peas4. Taylor Swift -- 85 percent of vote6. Justin Timberlake3. Rihanna -- 71 percent of vote10. Ke$ha2. Beyonce -- 57 percent of voteYour thoughts? Did anyone get screwed?