Thom Dunn is a Boston-based writer, musician, and utterly terrible dancer. He is the singer/guitarist for the indie rock/power-pop the Roland High Life, as well as a staff writer for the New York Times’ Wirecutter and a regular contributor at BoingBoing.net. Thom enjoys Oxford commas, metaphysics, and romantic clichés (especially when they involve whiskey), and he firmly believes that Journey's "Don't Stop Believing" is the single greatest atrocity committed against mankind. He is a graduate of Clarion Writer's Workshop at UCSD ('13) & Emerson College ('08).
A (very) short film directed by Chronicle director Josh Trank, who's just been tapped to direct one of the upcoming Star Wars stand-alone spinoffs. Sure, this fun little clip is more than seven years old now, but we can only hope that his contribution to the Star Wars universe is even half as awesome.
Thanks to The AV Club for the find.
Back when I was like 13, and just getting invested in the CT ska scene, there was this band called Flip Ya For Real that I saw, which at the time was fronted by a guy named Travis Holyfield (or, ya know, "Flip Ya Trav" at the time, because ska nicknames). At some point I started chatting with Travis over AIM (since his AOL email address was listed on their CD liner notes for booking), and for what reason, he actually tolerated and put up with me.
Flash-forward 15-or-so years, and Travis and I still stay in touch, even though FYFR and his other (even better) band SaveFace are now defunct. But with our musical pasts behind us, Travis and I and have actually reconnected over comic books. He's had a few short pieces out in various anthologies from GrayHaven Comics (who also published my first short comic book story in The Fifth Dimension, which I pitched on Travis's recommendation), and the company recently published his first full-length one-shot, DOBER-MAN, which is now available digitally at ComiXology for the low, low price of $0.99!
Dober-Man is fun, clever homage to the old 1960s Batman show, and Travis makes absolutely no secret of that. The allusions are clear to even a casual fan (The alter egos of Dober-Man and his sidekick Beagle, for example, are Burt West and Ward Adams, after Adam West and Burt Ward), but the book is also jam-packed with little silver-age gems scattered throughout the background. The puns are punderful — I mean, a Stage Irish T-Rex named Tyrant O'Saurus? C'mon! That's amazing! And even in 24 short pages, Travis and artist Edward Whatley manage to cram some clever concepts in between the homage campiness, such as a fully legal and legitimate staffing company that hires out henchmen for supervillains (many of him are thinly-veiled but gleefully silly allegories of established Bat-villains). This wacky bit of economic world-building plays out in remarkably interesting ways, and while Travis is wise not to spend too much time exploring the inner political workings of his superhero universe, he teases enough on the surface to get your brain working just enough beyond the surface enjoyment of it all. In the end, it's a wholesome, classic superhero romp that's appropriate for all ages — and it only costs $1 right now, so what are you waiting for? Pick it up, and support independent comic book creators! NOW!
Here are a few preview pages to further whet your whistle:
I found this fun little link on Twitter the other day: a quiz that proclaims to be able to guess which English dialect you speak, along with your native language. I like to think I have a pretty solid grasp on the English language, in all its bizarre permutations (except for verb tenses of "lay"; I will never get those right), but the results, as they say on the internet, shocked me.
Most of the questions are either "Which picture best portrays this sentence" or "Which of these sentences is correct?", and as I went through it the first time, I was pretty liberal and considerate with my answers. A few of the questions allowed for more than one answer, so I selected more than one — considering some of the sentence structures that were not immediately instinctual for me to use, or were not my personal preference for grammatical comfort, but where nonetheless "right," or at least, not explicitly incorrect. Also a lot of it was in passive voice, which was mostly just frustrating, because whatever dialect I do speak, it certainly isn't passive voice.
The results? Apparently I speak with a "US Black Vernacular / Ebonics" dialect, and my native language is Portugese.
Hrm. Okay. Well that was not what I was expecting, especially having grownup in the famously "accent-less"* (according to us, and no one else) state of Connecticut. I know that I sometimes slip into Hiberno-English (especially when I've been drinking), and that my love of hard-boiled fiction narratives sometimes seeps into my otherwise cheery demeanor (I could be talking about how much I love ice cream on a sunny day, but I occasionally imagine myself doing it while standing in a dark alley wearing a trenchcoat to hide my face and smoking a cigarette, with a flask of whiskey hidden in my breast pocket).
So I took the quiz again, this time being less forgiving in my answers, and as predicted, I speak in a "US Standard English" dialect, with "American" as my native language. OKAY SO FINE I'M PREDICTABLE AND I WAS JUST BEING DIFFICULT BEFORE. Either way, it's a fun little quiz to take (if you can ignore the poor writing), so check it out when you have a chance.
*And yes, I know that this should be "dialect," not "accent" — right? Or should it? Okay, so maybe I don't know, but I think it's supposed to be dialect but most of us say accent anyway. THE POINT IS, I've been told that the indicator of a Connecticut dialect is a softening of "t"s in the middle of words, so that they sound like "d"s instead. You know, like the way we say "Conedikit."
Today on "Idiotic Psychopaths Desperately Hoping For Public Relations Damage Control," following on the recent news of the NRA asking their members to maybe not show off their Open Carry rights by "casually" bringing assault rifles into restaurants even though it is technically legal in some places, my buddy Jake retweeted a cryptic link from Heeb Magazine, which in turn led me to this remarkable gem:
Yes, that is a tweet from the actual real-life official twitter of the American Nazi Party, in which they are being fascistic about grammar. They are literally Grammar Nazis.
Perhaps more disturbingly, I agree with them. Good grammar IS important. I share personal philosophical beliefs with the American Nazi Party. This realization was slightly disconcerting, of course, so I decided to peruse their Twitter feed to see what other kinds of causes they tweet in support of. Things like...animal rights...sustainable organic foods...they're vocally pro-life...and encourage a straight edge lifestyle (less surprising than it should be)...they're anti-corporation, and support local businesses....ooh, and they also love Moms! Er, wait a second...
Okay well then so ignoring that last little hashtag there, and the swastika, and the specification of "Aryan" moms above all, maybe Neo-Nazis aren't so bad? It seems they care about a lot of the same things I care about, or the things that people like me care about. That's kind of weird, right?
Oh. Well. Nevermind. We're now back to your regularly scheduled supremacist scumbags. Still, this is certainly a lesson in the banality of evil — that for all my touchy-feely artist progressive politics, I could (unfortunately) find some commonality with the American Nazi Party. And in a weird way, I kind of respect their attempts to police the grammar of their followers. Poor language skills often (though not always) betray a lack of education, and, well, they wouldn't want us got-dayum libaruls to think that modern-day Nazis are ignorant, now, would they?
Ahem. Right. Anyway.
Discovering this horrifying corner of Twitter reminded me of a happy little tune I used to sing with friends when I was just a wee young lad haunting American Legion Halls across Connecticut. It went a little something like this:
This is Zach (the dude, not the velociraptor. Or the girl). Zach was one of my roommates at Clarion last summer. If the stars align right, you will someday revere him as the author of the Turnbuckle Jack series. In the meantime, you probably know him as The Guy Who Wrote This:
He's got a new wacky web series coming out called Muzzled the Musical, which is about a magical not-Disney kingdom where singing the greatest power. Did I mention that the cast includes Kevin Sorbo (aka Hercules of "The Legendary Journeys" fame) and Juliet Landau (aka Drusilla from Buffy / Angel)
I feel like most people who know me or are interested in the things I do have interests that fit somewhere in the Venn Diagram overlap between "Hercules" and "Disney parody" and "Death by singing." If you're one of those people, Muzzled is raising money to complete its first season, and if the above video is any indication, that's something that you're going to want to be a part of. Check out their (insanely elaborate) Kickstarter video below:
Like most smart Kickstarters, this independent team is essentially using this campaign as a pre-order of sorts, with "rewards" like a soundtrack and a download of the complete first season. But I mean, c'mon: who doesn't want a musical TV show about badass singing princesses?
If you're still having trouble extrapolating how this is an issue, consider how the narrative structure of television continued to evolve in response to our binge-watching habits. I'm not here to argue about whether or not we are in a "Golden Age of Television" right now, but the truth is, there are some pretty great shows out there right now. The expectations have been raised, as narratives have matured. Networks used to prefer sitcoms because they had a better chance of new viewers tuning in every week. But now, with fewer people relying on live broadcasts, it's changed the way that we interact with TV shows — with episode pacing, exposition, serialized story details, etc. — and those narrative structures will continue to change and evolve.
That is, unless Comcast starts to restrict your bandwidth. Then you only get about 70 hours of streaming a month (to say nothing of the data limitations on the millions of other things you do online). If that happens, then not only are you less inclined to catch up on Game of Thrones, but the writing team on Game of Thrones is less inclined to create quality programming that really grabs you because it's more financially viable for them to create formulaic programming instead, thereby returning television to the "Boob Tube" status of audio-visual brainwashing instead of a compelling narrative medium*.
Perhaps more importantly, if Comcast begins to limit streaming, then my fiance won't be able to listen to Law & Order: SVU every night in order to get to sleep. "How does Law & Order: SVU help her get to sleep," you ask, "when it's a procedural show that mostly consists of horrible, horrible acts of rape and violence against women? Doesn't that give her nightmares or something?" Look, man, I don't understand it either. But if it works for her, then it works me, and then everyone wins, because everyone gets to sleep, so everyone's happy.
DO YOU HEAR THAT, FCC?! MAINTAIN NET NEUTRALITY SO THAT I CAN SLEEP IN PEACE.
*Some folks would argue that binge-watching is in fact the greatest accomplishment of television brainwashing, and that we're even worse off now than we were before. They're probably right, and I'm probably so brainwashed at this point that I'm blindly spouting propaganda in their favor. Oh well.
Here's a little video I put together for the upcoming world premiere of Lydia R. Diamond's Smart People at the Huntington, which starts previews this Friday and runs through June 29. Check it out!
We've also got one of those fancy 35 Below parties planned for it, after the Friday night performance on May 30. $25 gets you tickets + access to the party, including free drinks and live music. So it's basically a pretty sweet deal. Woohoo!
As far as I'm concerned, Net Neutrality is up there with Climate Change under "Hugely Important Issues That Are Actual Realities (and of which most sane and educated acknowledge the existence) and We Seriously Need To Act On Them Immediately Before Our Entire Society Goes Kablooey," especially now that cable lobbyists have strong-armed Congress into signing a new anti-Net Neutrality petition as of yesterday.
This is a weird catch-22, because I care a lot about Net Neutrality and want to do my part to make more people aware of it. So I tried installing one of these widgets from StopTheSlowLane.com onto my website here, which essentially replicate what would be the experience of using a website (like mine) if the proposed Internet laws were to be passed. The only problem was, it made the experience of using the site incredibly obnoxious — which is precisely why it's an important issue to be aware of, but also would probably deter the little bits of traffic I'm already barely getting on this site. See what I mean by a catch-22? Luckily, there's the GIF up there (linked to more information about Net Neutrality) which gives an impression of A World Without Net Neutrality without actually slowing the load time on my site. In the end, I don't have enough faithful readers (hi everyone!) that there'd be any real benefit to show for giving you all such a frustrating on my website.
Here's Cory Doctorow, one of my Clarion mentors, explaining it in a recent column for The Guardian:
Anyway. That's all for today. Fight the power, save the Internet.
So the other night I'm having a pint with my buddy, and we made friends with the couple next to us, who were playing trivia. That is, until my friend self-identified as an "Egalitarian," a phrase which somehow branded us both as sexists. Yeahbuwhat?!
Read More
This past weekend, my fiancé closed her production of Becoming Cuba at the Huntington. It was a fantastic for her, as well as a fantastic play — even if some of the reviewers had trouble grasping the idea that a play could have a Latina female as a protagonist (God forbid!), or be set in an historical context without being a "history lesson." I've seen various incarnations of this show...6 times now? And I still don't know anything about the Cuban War of Independence, other than that it happened, and that, in an incredibly over-simplified way, it's kind of the same conflict as what we call the Spanish-American War (meanwhile, we have done shows at the Huntington that could be described as "history lessons," but those were all about white dudes).
ANYWAY, in the end, the show was beautiful and successful, and that's what matter. I previously shared some of the earlier promotional videos that I made for the show, but over the course of its run, I made a few more as well, focusing on the relationship between Bevin and the playwright, Melinda Lopez, as well as the eerie synchronicity between the play and some of the actors' personal lives. Check 'em out:
Meanwhile, fellow playwright / bacon lover / renaissance man John J. King — the so-called "Child Wrangler" on Becoming Cuba — had some fun backstage (no, not like that) with "Chucho," the kid in the play. The two of them wrote a parody of "Royals" by Lorde sung from Chucho's point of view in the play, and I whipped together a quick video for it. I think it's pretty amazing (of course, it could be one of those "you-had-to-be-there" things, but c'mon — Lorde would be way cooler if she sang about guerrilla warfare and syphilis amiright?)
We also had our annual Gala fundraiser at the Huntington last week (in addition to some other, less uplifting news), for which I shot & edited a tribute to MacArthur "Genius" Mary Zimmerman, whom we honored at the event, and shot the footage for our new education video:
So, ya know. I've been busy. What else is new?
Or, I suppose more accurately, I was had at "four hour bus ride to New York City what should I read to pass the time ooh this looks interesting and I bet I can devour it in one sitting." And that's how I came to read The Orange Eats Creeps, the debut novel by Grave Krilanovich, which is less Twilight and more Requiem for a Dream; less sparkly vampires, more meth addiction.
Read MoreIt's National Poetry Month, so I wanted to share a little poem with all 3 of you loyal readers out there. I somehow had never encountered this poem until today, when someone posted it on the private Facebook group for my neighborhood pub, The Brendan Behan (yes, there's a private social group for pub regulars in addition to the standard FB page, and of course, a pub named for Brendan Behan would have a bunch of drunken literary fanatics). It's by a French writer named Charles Baudelaire, and while this translation might not be as remarkable for its use of language/imagery/poetic devices (I can't speak to it in French, although there is a picture of the original French below), I think it accurately sums up the artist's mind (by exploring and exploiting substance abuse and addiction, naturally, because art.)
And so, without further ado: "Get Drunk."
Always be drunk.
That's it!
The great imperative!
In order not to feel
Time's horrid fardel
bruise your shoulders,
grinding you into the earth,
Get drunk and stay that way.
On what?
On wine, poetry, virtue, whatever.
But get drunk.
And if you sometimes happen to wake up
on the porches of a palace,
in the green grass of a ditch,
in the dismal loneliness of your own room,
your drunkenness gone or disappearing,
ask the wind,
the wave,
the star,
the bird,
the clock,
ask everything that flees,
everything that groans
or rolls
or sings,
everything that speaks,
ask what time it is;
and the wind,
the wave,
the star,
the bird,
the clock
will answer you:
"Time to get drunk!
Don't be martyred slaves of Time,
Get drunk!
Stay drunk!
On wine, virtue, poetry, whatever!"
Meanwhile, if you want some more poetry, my good friend Brian McGackin has been sharing a new poem by a different poet for every day of the month over on his blog. And take it from me — his taste in poetry is at least as good if not better than his taste in friends.
Marvel's Agents of S.H.I.E.L.D. TV show has had a rocky first season, but this past week's tie-in episode to Captain America 2: The Winter Soldier was totally also. And also emblematic of everything that's wrong with the show in the first place. Because I'm incapable of turning off my critical writer mind and simply enjoying a lighthearted situation secret agent series, I have articulated my frustrations with Agents Of Stupid Hydra Infiltration, Everything Lame and Dumb (see what I did there?) in a new article for Tor.com. So check out, and share your thoughts in the comments, 'natch.
(but seriously this show would be so much better if it had more Hasslehoff)
Last night was the official opening of Becoming Cuba at the Huntington, which is not only a fantastic show, but also just so happens to be directed by incredibly talented fiancé M. Bevin O'Gara (also I totally made her a website isn't that neat?).
If you're in Boston in the next month, it is absolutely worthy seeing (all personal bias aside). But if that's not enough to convince you, here are a few videos I put together about the show that could do the job just as well.
(And for the record: being paid at your job to edit video with your fiancé's face on a 36" screen is every bit as awkward as it sounds)
Everyone knows I love St. Padraig's Day. And so to celebrate this year, I decided to record cover versions of a few of my favorite Irish folk songs (also the Pogues, which counts). Enjoy!
Can you believe it's been 5 years since the release of Pride & Prejudice & Zombies? And just over 200 from the release of the original novel? Well, to celebrate, the folks at Quirk Books (who published ...and Zombies and its followups, as well as many other fine collections of pulped trees) asked me to do some digging and explore the past, present, and future of their massive mashup mega-hit -- where it started, how it worked, and what it did for the company over the last 5 years. The short answer is that it basically launched their entire fiction line, which is now tremendously successful -- and also served as an accidental omen to our current pop-culture status of zombie overload (seriously! They beat the trend! But barely). For the long answer? Check out my 3-piece retrospective on Pride & Prejudice & Zombies on the Quirk website.
This past weekend, we began previews for our production of The Seagull at the Huntington. I can say without bias that this is the funniest Chekhov play I've ever seen (and possibly the first time I've actually looked Chekhov to be humorous). But on top of that, the production also features Kate Burton (aka Vice President Sally Langston on Scandal plus like a million other things) and her real-life son, Morgan Ritchie, as the onstage mother-and-son Arkadina and Konstantin, which is pretty cool. Here are two videos I put together about the show, which runs through April 6 at the BU Theatre:
To celebrate the occasion of St. Padraig's Day (specifically the 73 people arrest at UMass Amherst's "Blarney Blowout" this past weekend), I've taken an old traditional Irish song and updated for the dudebro crowd. You're welcome.
Last night, I had the pleasure of joining my friends in The Backyard Committee for a few songs on lap steel guitar at one of our 35 Below parties at the Huntington. I've played a shows with them before, mostly on keyboards, and this was a fun, different experiment, as I don't really get to play lap steel guitar out in front of people very often (it's also a very difficult instrument to play by yourself). The band is essentially Mike Sembos, and whatever musicians he finds to accompany him. Even if I hadn't been friends with Mike for 12 or so years now, I'd still love this band, because Mike is an utterly fantastic songwriter. So they're always a blast to play with, and I'm hoping to do it again pretty soon. Did I mention that you can download both of their albums for free on their website?
...also there was Duck Hunt:
As much as I enjoy Say Anything (the band fronted by writer Max Bemis), I was hesitant to pick up this comic because, well, the premise sounds exactly like the pseudo-autobiographical premise of their first album "...Is A Real Boy," which kindofsortamaybe chronicled Bemis's descent into super-powered bi-polar disorder -- except that, while recording said album, Max Bemis was actually diagnosed with bi-polar disorder and locked himself up for a while. But, the book was on sale for $4 on ComiXology, so I figured hey, why not.
While I tend to be the kind of person who connects with comic books more the writing than the art (although I do love a good collaboration), I'd first look to say that the artwork on this book is PHENOMENAL. It's slightly cartoonish, but not a childish way, and accurately portrays hyperviolence, superhero action, internal mindscape struggles, and hipster culture. As for the story itself, it didn't shy away from the fact that it was a slight variation on the story that Bemis has told several times already. The basic premise is that Tim is an artist and self-loathing hipster who suffers from bi-polar disorder, and after he's institutionalized and begins taking pills, he can't create his art. So he goes off his medication, and soon discovers that his untreated condition literally gives him superpowers. But maybe he's too dangerous, and maybe there's a Shadowy Government Organization trying to create an army of Bi-Polar Super Soldiers? Meanwhile, his art is getting better, and he meets a girl.
Overall, it's a pretty enjoyable story, and while applying science fictional concepts to mental illness is nothing new, I actually think that Bemis does it in a pretty fresh way -- by essentially saying that yes, mental illness IS a superpower, but the same way that traditional superheroes suffer from their extra-human abilities, maybe it's still better if you take your pills and try to function like a normal person. That being said, I'm not sure how this book would read to someone who was unfamiliar with "hipster" culture. The main character spends a lot of the book criticizing everyone around him for being hypocrites and poseurs, and ultimately realizes that he's just the same as the rest of them. If you're familiar with Say Anything's music, Tim's rants are all basically pulled straight out of the song "Admit it!" As far as cultural critique is concerned, it is an interesting analysis of hipsterdom that I mostly agree with, even if it is a bit misanthropic (which works well in a loud rock song, but feels different as internal monologue).
That being said, I wonder how someone who was outside of or unfamiliar with "hipster culture" would feel about this book. It's very insular, and some might even say that hipsters criticizing hipsters for being hipsters is THE most hipster thing possible, and while the story does acknowledge that irony (while also criticizing irony as the cheapest form of hipster self-defense), it never quite transcends it. I suspect that if you weren't already aware of and/or immersed in that post-art-school-Williamsburg-landscape, you'd think, "Okay, so these are a bunch of Urban Outfitters asshole who are too cool for Urban Outfitters and this main character is kind of an unlikeable dick who judges everyone around him for being fake judgmental assholes -- why should I care?" And if that's you, I might suggest that you're better served by listening to "Woe" and "Admit it!" by Say Anything, which pretty much sum up the book.
My rating: 3 of 5 stars
