The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Every Tuesday, the Sounding Board is a space for a short-ish review of a recent-ish release and conversations about new-to-you music. We’ll get things started with a write-up about a newer, likely under-heard album, and invite you to share your music musings in the comments.
After three years of relative silence, Say Sue Me are back, and they’re better and louder than ever.
On Time is Not Yours, Say Sue Me’s new five-song EP, the Busan-based dream poppers hone in on an element of tuneful, shoegaze noise that’s long been at least a minor presence on their past efforts and make it the EP’s defining quality. It’s a helluva way for the band to clear its throat after not releasing anything more substantial than a single since 2022’s deeply enjoyable, The Last Thing Left.
While the fuller, slightly heavier sound is present on Time is Not Yours’ opening title track, its impact fully snaps into focus about halfway through its second track, “Vacation,” a song that channels the energy of its title and ambles like “Country House” by Blur with about 10% more intensity. It features Kim Hanjoo, a South Korean singer and keyboardist whose voice provides a lovely counterbalance to vocalist-guitarist Choi Sumi’s airy coo. After Sumi and Hanjoo hit the song’s chorus — “Take a deep breath/ No morе hate, no more despеration/ Haste will be less/ It’s time to go on vacation,” — for the second time, a quick-but-powerful drum fill from Lim Sungwan rolls through the song and cues up a landslide of guitar crunch courtesy of Sumi and guitarist-producer Kim Buyngkyu.
It’s not a sound that’s totally absent from Say Sue Me’s previous releases, but in the past, the band’s default setting has been closer to early Alvvays than Blue Smiley, so it is a mild surprise — and a pleasant one. Say Sue Me’s music always had bounce, but on The Last Thing Left, they also show off some hefty swagger. Thankfully, it’s a style that sticks for a couple tracks, too.
No one would mistake “In This Mess,” or “Mexico” for noise rock, but both marry fuzzy guitar tones to driving drums to winning results. “Mexico” is an instrumental with a surf-rock sound and a sense of scope. It’s ambitious enough to stay interesting across four minutes but tight enough to avoid accidentally traipsing into jam band territory. “In This Mess” makes the case that the best possible use of Sumi’s voice is placing it back in the mix and letting its wisps float above and past reverb-drenched guitars. It also features the album’s best solo, a sort of Jay Mascis-lite, effects-heavy affair that adds a ton of texture to the track while bouncing off the bumpers of its melody. It’s the longest song on Time is Not Yours, but it’s also its noisiest and most urgent. If not for the EP’s ultimate track, those ephemeral vocals might also qualify it as the prettiest.
Say Sue Me can’t resist slowing down and softening up on, “Bone Pink,” Time is Not Yours’ final track. It’s a twangy, tuneful callback to the dominant sounds of the band’s past work. While it’s slight compared to the previous louder songs, the interplay between the gentle rhythm guitar and sweetly searing lead make a simple song feel rich. It’s a gorgeous, if on the nose, way to close the EP. If Say Sue Me wanted to make a full album exclusively in its vein, the loss of the newfound noise would be a disappointment, but it would still be a welcome development. Especially if it meant the next new music from Say Sue Me is less than three years away.
About the writer
Ben Hohenstatt
Ben Hohenstatt is an Alaska-based dog owner who moonlights as a music writer and photographer.
For more information, consult your local library or with parental permission visit his website.
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The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Department of
Conversation
What Did We Watch?
The Kids In The Hall, Season Three, Episode Three
– One little thing we need in today’s society is opening credits with romanticised images of the lead actors.
– “For me, fan letters are like my friend’s girlfriends. I like to look at them, smile, and say nothing.”
– “Tara Blanchard, age ten.”
– Bruce McCullogh’s sketch about his height got funnier and funnier.
– “What the hell, I forgot to call Donna!”
– “It’s gotta be the oldest comedy sketch in the world, a guy asking his boss for a raise!”
– “Am I cut? Am I uncut?”
– Dave Foley’s shiteating grin as soon as the pie got pulled out got me.
– “It’s been twenty days since the sketch began and there’s no end in sight.”
– This episode contains the first uncensored use of the word ‘f*g’ since I started watching this. Also, it just occured to me that we can use any word we want here, because we have no filter.
– “Just last week, I was in a McDonalds – for cruising.”
– “Hey, it’s that middle aged woman again!”
– “Tammy, what’s your stand on abortion?” / “Never on the first date.”
Huh, I wonder if you got a censored version for previous seasons or some sketches were cut, because… overall, it definitely is not.
Snooker – drifted in and out of the World Championship final, it seemed like Zhao Xintong was going to run away with it but veteran Mark Williams made a spirited comeback in the final session to make it more of a contest. I’ve never been a snooker obsessive although I do love seeing it played at the highest level, the ball control is absolutely insane and it’s so much fun when one of the players spots a slightly experimental shot option and pulls it off.
Kojak, “The Godson” – So seventeen years ago, Kojak helped a Black woman deliver her firstborn, and became the kids’s godfather, the kid being saddled with the name of Theo Kojak Moore. He stayed in touch for a while, but now the kid has been arrested for shaking down a local store and is being influenced by local hood F. Murray Abraham. Can Kojak get the kid back on the straight and narrow? Surprisingly, the answer is no. There are definite White Savior aspects here, but the noir elements provide more of a conflict than you would expect from a cop show. But this one has rough spots, including the kid using the N-word (not so off limits) to call out his own mother. The credits say “introducing Todd Davis as Theo Kojak Moore” and he did last several years on General Hospital, but the big actor of note making his debut is Brian Dennehy. Rosalind Cash plays the mother.
Frasier, “Liar! Liar!” – A conversation about lying has Frasier and Niles reveal they lied about a bullying classmate pulling an alarm in prep school, only to learn they go him expelled. Frasier, wracked with guilt, discovers the guy became violent and a criminal, and is only more wracked with guilt. He sees one way out: try to fix the guy’s marriage, only his wife has a rather difficult kink. Up till the scene with the wife, the story is pretty predictable if well played. But watching Frasier trying to hide from the violent offender and his kinky wife while she is excited by Frasier being there is surprisingly hysterical. Even if it’s really hard to explain what’s going on.
The Righteous Gemstones, “Interlude”
See, I will allow flashbacks in a narrative where the whole point is a deep exploration of particular people–flashbacks make sense in a family saga! Especially when they facilitate amazing musical numbers! And “Misbehavin'” is incredible, a hammy and perfectly calibrated tightrope-walk between sincerity (and sincere joy) and satire. One of my favorite details is how Baby Billy and Aimee-Leigh’s body language shows that they learned these moves when they were kids–you can see how much more natural it would’ve looked then–and they’re restaging them now with a slight wink but also with full commitment. Having Eli there and getting his reaction shots is another wonderful touch, because you can see how Goodman–excellent as ever, and lending a lot of vulnerability to the episode–segues beautifully from “playing along for the cameras” (his laughing fake tantrum at being excluded from the dance) to “not exactly enjoying seeing his wife and dipshit brother-in-law as a duo again” to “actually won over by the exuberance and skill.” It gives the performance an emotional arc that carries over into the initially triumphant lunch scene … until Baby Billy bets too much on that moment and ruins it. (I’m assuming he figured that was as good a time as any to break the news about Freeman’s Gap, but he doesn’t see that Aimee-Leigh’s enthusiasm, while not entirely fake, is mostly about meeting him way more than halfway. It’s certainly not enough to support him breaking her heart.)
J. Gavin Wilde is uncannily good as young Jesse. Don’t get me wrong, Emma Shannon is also great as young Judy–she’s got a great darkly concentrated, semi-feral vibe to her–but Wilde’s line deliveries are all mind-bogglingly perfect in terms of how well they channel Danny McBride. He also gets my favorite comedic moment of the episode, as everyone reacts in aghast horror to his initial statement that he hopes “something happens” with regards to the baby. His aggrieved and still obnoxious clarification there is great.
The Simpsons, “Lisa the Beauty Queen,” “$pringfield,” and “Bart Gets Famous”
I was working from home and decided to put some Golden Age episodes on in the background. I regret nothing. Now, into the Spruce Moose!
“I mean, not in a way where something bad happens to Mama-” So funny!
“I said, ‘Hop in.'” I remember crying laughing at this scene as a kid.
Even cuter – J Gavin Wilde and Emma Shannon are dating!
I have Misbehavin’ high on my music rotation. It’s so catchy. And this episode is a wonderful introduction to Aimee-Leigh – Jennifer Nettles is just electric and it helps the whole story click into place understanding the scale of the change her death has wrought.
Aww, that’s adorable! And “Misbehavin'” is definitely going into my regular music rotation as well. I keep singing it under my breath.
Totally agreed on Jennifer Nettles as Aimee-Leigh: once you see her in the midst of the family (especially with Eli, but also with everyone else), it’s so easy to feel how her absence is a real and present wound for everybody.
“Misbehavin'” was my pick for #1 for our “best TV moments of 2019” article for a good reason!
I have also been having occasion to watch some classic Simpsons of late, and “Lisa the Beauty Queen” was one of our most recent ones.
“You know anything else about women?”
“No, that’s it.”
Last night the Mrs. chose “Whacking Day” (unaware that I’d watched it like two days before, but I let that slide), and then I followed it with “Rosebud” and “Bart’s Comet.” Some good Springfield Mob choices in there. “Hey, everybody, let’s go sing at the hospital!”
The Friends of Eddie Coyle – As reported by Lauren, a bleak, brutal slice of 70s. Robert Mitchum looks defeated from the first reel. Peter Boyle is your friendly neighborhood bartending sociopath. There’s maybe never been a movie where crime looked less glamorous, where the foolish get nowhere and the smart get to a slightly different nowhere. Its high mark is a trip to a Bruins hockey game (sans helmets, this is not a safety-conscious world) that had to have been shot at least partly during a real game, and Peter Yates sets up the camera so we see our characters sitting with a full cheering crowd, it’s glorious.
Apollo 13 – Considering a series about journeyman directors who absolutely crushed an assignment and this would be Exhibit A. Other entry ideas? The Taking of Pelham One Two Three? The Manchurian Candidate? Possible Dog Day Afternoon, although Lumet knocked a few out of the park (I would argue he does, by his own description, qualify as a journeyman).
Apollo 13 has one of my favorite science! scenes in any movie: the scene where Mission Control gathers up everything the astronauts would have to see what they can do with it would alone be worth the price of admission. Also falls into the weird category of “movies I inexplicably read and reread the novelization to as a kid, well before I ever saw the movie,” alongside Hook. Actually, I still haven’t seen Hook.
“Where the foolish get nowhere and the smart get to a slightly different nowhere” is an incredibly apt, and beautifully despairing, description of The Friends of Eddie Coyle.
Was there a novelization separate from Lovell’s memoir? Or did you read his book? On the DVD there’s a lovely commentary by the real Lovell and his wife.
I don’t think it was Lovell’s actual memoir, although now I want to read that. Looking it up, I feel like it must have been the “junior novelization” by Dina Anastasio. Funny how specific these kinds of memories can be about mundane details: I specifically recall plucking it off the paperback rack in the library, and I know it was when my older sister was away at summer camp.
You just named three of my all time favorite movies. But there are journeymen – people who get nominated for awards but also make potboilers – and journeymen like Joseph Sargent. I looked at his IMDb page and I would say he has just one good movie on to his credit. Even at my least charitable to Howard, I’d say he’s done more than that.
The definition of Journeyman would be the tricky part of this, and definitely has changed as movies have changed. I call Howard a (somewhat) current day journeyman because as much as I’ve enjoyed some of his movies, there’s not really a connecting artistic thread between Wolf and A Beautiful Mind other than “I like making movies and I’m good at it and the studio keeps hiring me to do this.” Which is fine! As much as I enjoy films by our beloved auteurs, I think the contributions of the journeyman have been overlooked, the ones who were problem-solving or carrying forward others’ experiments with the intention of making a good movie for people to see. And not to be rough on Howard who has had a fine career with some delights and a couple stinkers (and an all-time regrettable in Hillbilly Elegy), he’s only got one instant classic in my book.
For a second I considered whether or you not you were talking about Tony Scott and Jonathan Demme as journeymen. Obviously they were not by any conventional definition, although I will say looking back that they were definitely men on a journey, artistically speaking.
Tony Scott and John Frankenheimer are very similar sorts in terms of the place their films land with audiences. Sometimes. (Scott could have easily made Ronin.)
Absolutely for Pelham and Manchurian Candidate.
What about Hunt for Red October?
The tough part with that is you’d have a lot of people arguing Die Hard is McTiernan’s best. A few people saying it’s Predator. And once you’ve got that many classics to your name, I think you’re operating on a level above what I’m picturing.
I’d add L.A. Confidential to the “journeyman director knocks one out of the park” list. Hanson did a lot of fun, solid work, but that one’s exceptional.
Gypsy, the 2015 production with Imelda Staunton, is still on Tubi (I think) and is largely excellent, especially Staunton of course, but also Lara Pulver as Louise making a startling transformation from a shy kid (Her reluctant “Moo moo moo moos” in the cow costume are so funny) into a confident woman fully in control. There’s a tricky balance here between 50’s near slut-shaming* and real empowerment, as Louise recognizes she can get agency in the act, AND…that the same song pops up when June sings and when she strips – “Let Me Entertain You.” The extent to which this musical confronts child stardom, how children get pushed into working and acting instead of getting a legit childhood, and the nature of show business as a form of prostitution is brilliant, and it’s why I currently prefer the Patti LuPone production, which chooses a downbeat ending, to the more contrived reconciliation of the other productions. I’m not sure if Rose, so Vic Mackey-like in her focus and ruthlessness, deserves forgiveness or grace for how she treats her children, even if I understand her better by the end.
*Not that Herbie is wrong to vomit when Rose essentially pimps out her daughter, it’s more in disgust with her than with the act anyway.
righteous gemstones. There’s a bittersweet, hilarious moment early in the finale. Eli says to Jesse, “look at gideon. You’re doing a better job as a parent than J ever did,” which is a lovely sincere compliment, but is hiding a little
criticism. But it’s the core of the show—the generational strivings and failings of the Gemstones.
Bradley Cooper’s golden bible finally returns to the family. I thought it would end up being a little bit more of a maguffin this season, but instead it’s more like the hand of God. Like Elijah gemstone, Jesse and his siblings survive certain death and find themselves offering prayers of comfort to a dying man. Also like Elijah;. The golden bible doesn’t really do anything miraculous per se, but its reappearance triggers the final conflict, and perhaps Jesse’s finest moment as a pastor. (Also some excellent work by the monkey).
There is a sudden heel turn here from a long time family friend, almost as if a spirit of discord passed into him following last week’s gator park massacre. This further bolsters my take that mcbride is a redneck garcia marquez.
Even baby billy finally gets an emotional conclusion to his arc. He decides to focus on family life more than the fame and fortune he’d get from Teenjus. He makes a sacrifice by literally not getting on a cross.
Anyway, great show, I really want to see McBride’s next project.
Last of us. Oh hey. It’s jeffrey wright.
There are some basic things I don’t quite get—how are there still so many crowds of runners? How are the cultists able to mount attacks in WLF at all? But we get some nice work from ellie and dina as their relationship grows, and clever use of action for characterization. They also actually give Dina a tough choice and her choice builds the character.
“What do you mean, like he came out better than me?”
It’s clearly Eli expressing remorse for his own failings and Jesse takes it as a barb at him. In that little exchange McBride has everything he’s been building on about sin and grace and fatherhood.
I will say, having recently seen Collateral,
What Did We Listen To?
Blank Check, Always – A solid episode, even if at no point do they actually get into the plot, but it’s that sort of movie. Almost no love for Richard Dreyfus around these parts, even though they’ve talked about him three times in this miniseries. Some really interesting side trips.
Yeah they’re pretty harsh on Dreyfus! I thought he was quite good in this film, I wonder if being more well-versed in his asshole off-screen behaviour has coloured their opinions of his actual work.
1001 Albums etc.:
Dion – Born to Be With You: kinda soulful pop produced by Phil Spector. A decent listen, I enjoy the Spector sound but there are a ton of albums where I enjoy it more than this.
Joni Mitchell – The Hissing of Summer Lawns: teetering on the edge of “too jazzy for me” at this point but her voice is just such a pleasure to listen to.
Tom Waits – Nighthawks at the Diner: really fun high-concept album with incredible lyrics, although it’s very long and musically a bit samey. Feel like it deserves another listen when I’m not multitasking because the storytelling is fantastic (and very funny).
Rahul Dev Burman – Shalimar: the soundtrack to a Bollywood film that also featured Rex Harrison, Sylvia Miles and John Saxon as a mute colonel (!), this is apparently a 1978 album (and film) but the book dumps it in 1975 for reasons unknown. Much like the cast, this is an interesting mix of traditional Bollywood and some Western pop / funk sounds, it’s a hell of a lot of fun and kudos to the book compilers for including a fun leftfield choice even if they couldn’t figure out the year it came out.
Blank Check, “Johnny Dangerously” – really fun episode, so many great tangents. I think I liked the film slightly more than Ben and David, considerably less than Griffin and the guest, but interesting to hear them pick apart what did and didn’t work (in between bizarre digressions).
I had a Nath-themed week, apparently:
Fountains of Wayne – Utopia Parkway
Wilco – Summerteeth
The Flaming Lips – The Soft Bulletin
Started off with these three albums, from his recent YOTM article on power-pop. All winners–Utopia Parkway was maybe my favorite overall, but The Soft Bulletin had the highest percentage of individual songs that really stuck with me, especially “Waitin’ for a Superman” and “A Spoonful Weighs a Ton.” This also reminded me that I’ve loved individual songs by all three of these bands and am just bad at listening to whole albums, and I should really fix that.
So I immediately ignored this insight and finally got around to Nath’s (revised) best of 2023 playlist instead. My current favorites are “RUN,” “Roll With It,” “Eucalyptus,” “hotline,” “From the Start,” “Salad,” “Watching the Credits,” “Not Strong Enough,” “Highlands,” “When We Were Close,” “Blame Brett,” and all the Olivia Rodrigo (again, gotta start actually listening to more albums). “Blame Brett” was the one I had the most hilarious experience with, though, because I briefly had an odd flicker of thinking I’d expected it to be catchier … and then promptly spent half an hour singing, “Don’t blame me, blame Brett! Blame my ex, blame my ex, blame my ex,” on repeat. A knockout victory for The Beaches there, and so much for my split second’s worth of hesitation.
I can’t even describe how much this comment pleases me.
Utopia Parkway is my favorite by Fountains of Wayne, but the self-titled debut album is pretty great too, and this reminds me that I need to finally get around to listening to some of their albums beyond that.
I kinda fell out of listening to Wilco on the regular, but certainly the first five albums are worth listening to – and the journey from A.M. to A Ghost Is Born is practically Beatlesesque in ending up far from where they started. (That said, the middle three in this stretch are my favorites.)
The Soft Bulletin is my favorite Flaming Lips album, but Yoshimi Battles the Pink Robots is definitely worth listening to, and I like a few songs from their 90s albums as well, when they were more just overtly weird. (“Pilot Can at the Queer of God” is probably my favorite of those songs.) “Waitin’ for a Superman” is definitely one of my favorites and that most sticks with me… “Buggin'” is probably second, but there are some strong contenders there– “Race for the Prize,” “The Gash,” “Feeling Yourself Disintegrate” most prominent among them.
(And in terms of other personal favorite albums of mine, if you like this one, I think the early Of Montreal, before they went darker and funkier, fits the bill well. The Sunlandic Twins was going to be my particular recommendation, but Satanic Panic in the Attic is also good, a slightly more grounded selection of psychedelic pop.)
A lot of the standouts from that 2023 playlist are the power-pop or at least -adjacent songs, it seems. “Highlands,” the boygenius songs, and “Watching the Credits” most notably, other than… “Blame Brett” really is great, isn’t it? Just perfectly catchy and hooky, the structure, the harmonies, the melody, the way the drums announce the chorus… it’s one of my favorite songs of the decade. (On that note, I was thinking of putting together some kind of list for the halfway point of the decade, and then I ran into the problem where I know exactly one song from 2020. Even after reviewing a few other publications’ best-of lists.)
I don’t like all of Rodrigo’s music as much as the songs I highlighted– it’s not that it’s bad, it’s just not for me, particularly the slower tracks on GUTS; I’m past my expiration date to listen to ballads about high school experiences– but when she rocks out, she’s terrific. “brutal” from 2021 is another personal favorite; it would fit seamlessly into 1992 as some high-school grunge.
Laufey is kinda fascinating, huh? I mean, I really like “From the Start,” but her music also feels like something you might have heard at a piano bar 80 years ago. Very out of time.
Oh, this is fantastic fuel for my amped-up Spotify use, thank you! It’s great to have some more direction re: where to head next with the 1999 YOTM set (and I’ll have to check out Of Montreal too).
I relistened to the whole 2023 playlist today between work and my commute, so I feel like I could already add some more favorites to the list as I start getting more familiar with everything. But yeah, the power-pop ones make such a great immediate impression that they’ll always stay high on the list. (And from a completely different corner, it’s just hard to beat Isbell at his best. I’m a big Drive-By Truckers person, too.)
Laufey really does feel out of time, to the point where at first I thought this had to be a rediscovered release a la Johnny Cash’s “Well Alright.” I was shocked and pleased to find that nope, she’s just doing her own thing without caring about making it fit into a contemporary soundscape.
Well, I (and my various, voluminous writing) are always here if you need more! I was trying to think of something more specific to comment, but… this could go so many directions that I’ll wait.
I already got my tickets to Of Montreal’s show for The Sunlandic Twins 20th-anniversary tour which isn’t coming here until July. (It looks like they got through all of their east coast dates in March, though. So my suggestion to give it a listen before the nearest show may not apply to you.)
I enjoyed the Drive-By Truckers and most of Isbell’s work well enough, although my innate leanings are to the city and not the country– so stylistically I tend to prefer post-punk, new wave, late 1970s New York, the neon of our cyberpunk future, etc. But when a song is great and really has an impact on me, then it doesn’t really matter where it comes from. And damn, “When We Were Close” is great.
I can even name the specific bar I’m thinking of when I think of Laufey, but I don’t think we have any Houston veterans in here that would know what I’m talking about.
The Projection Booth – Episodes on The Friends of Eddie Coyle and Airplane II: The Sequel. The latter makes it sound like they’re scraping the bottom of the barrel, but this is the way of the podcast which covers closer to the fringes of cinema, very rarely dipping into the mainstream canon of any era. It’s less conversational than a lot of podcasts, more research-based, and very in-depth. Mike White, the host, has often done the homework of reading any source material, watching any sequels or alternate versions, digging into accounts of the film’s making and conducts thorough interviews. I only listen if I’m more than moderately interested in the film at hand because it’s a lot of time devoted to each. I tapped out on a three-hour Blues Brothers ep, turns out I’m not that big into that movie as I could be. I launched the Airplane II episode out of morbid curiosity on how they could sustain even an hour and a half on that movie, and it had a lot of interesting sidepaths on comedy filmmaking, the rating system and the filmmakers themselves (Al Jean of The Simpsons was a writer!)
It’s been a long time since I saw Airplane II but I remember thinking it was still pretty funny, obviously diminishing returns but better than its reputation. I would definitely struggle to talk about it for 90 minutes though. Or 9 minutes even.
My feeling as well. I saw Airplane II in theaters before I had ever seen the first and I have fond recollections. (I have seen it again since and still enjoyed it, even if it’s not a patch on the first one.)
This is my favorite film podcast but I don’t listen to every episode either. Yeah, White’s research is exhaustive. He’s also a good interviewer and is able to get good guests. Not necessarily big names, but a working stiff perspective of Hollywood from smaller name actors, directors and writers. I’m on the Ken Finkleman (director of AII) interview now. I almost did a spit take when he called Leslie Nielsen an “asshole”. I haven’t seen AII in decades but remember watching it multiple times as a kid. I forgot it had William Shatner, Raymond Burr, Chuck Connors and John Vernon, what a lineup. I don’t remember if it pays off. But what a group of straight men to bounce the absurdity off of. Definitely want to check it out again sooner rather than later.
I had occasion to throw on a personally-curated soundtrack of 80s pop-rock and 90s rock that… well, doesn’t remind me of better times per se, but that does spark joy when I need it. This one wasn’t comprehensive, I kinda threw it together over the weekend. But it hit the spot for what I was looking for.
Year of the Month update!
May’s year will be 1962, so you can write about any of these movies, albums, books, et al!
May 9th: Gillian Rose Nelson: Bon Voyage!
May 15th: John Bruni: L’Eclisse/Il Sorpasso
May 16th: Gillian Rose Nelson: Big Red
May 23rd: Gillian Rose Nelson: Almost Angels
May 30th: Gillian Rose Nelson: In Search of the Castaways
And coming in June, we’ll be moving on to 1983, including all these movies, albums, books, et al!
Jun. 9th: Sam Scott: El Sur
Jun. 23rd: Sam Scott: Codex Seraphianus
Jun. 24th: John Bruni: Legendary Hearts