by Brett Warner
Few bands manage to perpetually frustrate their fans the way Weezer does. With each new album, singer/songwriter Rivers Cuomo – a semi-secret musical genius, we’ve been instructed to keep in mind – continues to disappoint a very vocal legion of cynical, skeptical, and especially jaded twenty-to-thirty somethings with one word on their tongues: Pinkerton. No other album in rock history (save maybe Sgt. Pepper) gets tossed around as much; you won’t find any Weezer album review after 2001 that fails to mention it. The 1996 proto-emo classic was a commercial flop upon its release, but word of mouth and the band’s 5-year hiatus lifted it to cult classic status. Its supporters tend to hail the album’s intensely personal lyrics: a smorgasbord of frustrations aimed at groupies, lesbians, Asian girls, and Cuomo’s various other insecurities. Weezer’s latest album Hurley (their first on independent label Epitaph Records) has gotten some choice positive reviews, many comparing its rougher, lo-fi sound to Pinkerton’s – but still, many rock fans seem unwilling (or unable) to give the band another chance. To them, the deeply confessional tone of Pinkerton’s songs has been replaced on post-millennial Weezer records with sarcastic, ironic, sophomoric humor – when in actuality, Weezer have never been ironic. They are quite possibly the only completely honest, agenda-less band to come out of the ’90s alternative boom. So why the shift in general cultural opinion of the group? The reason why Weezer continues to frustrate listeners is because they draw attention to the generational shift between X and Y listeners. Throughout this significant transition in social attitudes, Weezer have remained remarkably consistent – we’re the ones who’ve changed.
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by Alex Dueben
Dame Darcy is a renaissance woman. The Idaho-born artist has crafted a broad and powerful body of work. She’s an illustrator and fine artist, a musician, dollmaker and designer. Her work has been exhibited in galleries around the world. In 2006, Penguin released a new edition of Jane Eyre heavily illustrated by her. She has an etsy store where she sells not just prints and original art, but dolls and other handcrafted work. She’s collaborated with Alan Moore and contributed to the Tori Amos comics anthology Comic Book Tattoo. Her other books include Gasoline and Frightful Fairytales.
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by Nicole Powers
With her idiosyncratic style, DIY aesthetic, and kick-ass attitude, Tank Girl, who made her debut in Deadline in 1988, is without question a proto-SG. I was therefore jolly chuffed to receive a spiffy, glossy bound copy of her latest adventure, Skidmarks. Written by Tank Girl co-creator Alan Martin and drawn by the awesomely awesome* Rufus Dayglo, the gzillion thrills a minute plot is basically Wacky Races for an audience with a penchant for punk rock, smelly chicks (Tankie rolls with a pungent aroma), on-fire farts (see previous) and esoteric references.
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by Alex Dueben
Dan Goldman is best known for “Shooting War,” a comic written by Anthony Lappe which he illustrated. It first appeared online at Smith Magazine before being collected into a book in 2007. Since then Goldman, a member of the online comic collective Act-i-vate, has crafted a number of comics for print and the web.
“Red Light Properties” is a project Goldman has been developing for years and since January he’s been serializing the book on Tor.com. It’s the story of a small Miami Beach real estate firm – with a specialty – taking on haunted properties and exorcising the ghosts before selling them on. This isn’t ghostbusters, though. The plot’s a lot stranger and more complex, as are the characters.
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by Blogbot
Titan Books are putting out a compendium of rare and recently uncovered photos of burlesque icon Dita Von Teese. The volume, entitled Fetish Goddess Dita, comes out on September 21, but the publishers have been kind enough to offer SG an exclusive advance viewing of some of the images, which are posted below for your delectation and delight.
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by Ryan Stewart
William Gibson will always be the cyberpunk prophet, the man whose Hugo-winning 1984 debut novel Neuromancer, about a future underworld dystopia where radically advanced computing possibilities exist in tandem with sex, drugs and political skullduggery, introduced the notion of “cyberspace” to the public and predicted the emergence of a world wide web, along with computers of ever-increasing intelligence and dubious motive. In the post-September 11th world, however, his attention has increasingly focused not on a new imagined future (the branch of Matrix-style cyber fiction his work spawned chugs along regardless) but on the complexities of the present. In a recent NYT op-ed about Google’s tightening grip on our lives, Gibson conceded that “science fiction never imagined Google” and characterized the search engine as a “coral reef of human minds” with an impact so potentially transformative that it should cause us to consider new ideas like “training wheel” identities for today’s minors, whose every stupid, impolitic thought is being cached to their potential future detriment.
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by Brett Warner
They call it “loss prevention”- an attempt to minimize shrinkage, shoplifting, and all other sorts of profit loss. Standing behind a computer screen, fake smiles all around, the word “Information” hanging like a halo over your head… it’s easy to start thinking about things you’ve lost along the way. A soccer mom asks for the Self Help section and like a prized show dog, you walk to her through the aisles, handing her a copy of He’s Just Not That Into You with a chipper “Have a good day!” the first of hundreds you’ll give out before closing time. The truth is that you silently hate this woman, and the next customer, and the next. You hate her because you never planned on selling books for a living. And each query, each title search, each cash register transaction is a blunt reminder of what’s gone missing, of what little there is left. Management worries about lost product – a bookseller worries about losing themselves.
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