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Skummy last won the day on December 5

Skummy had the most liked content!

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About Skummy

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    Gustave d’Avignon, the bone wrecker
  • Birthday 22/06/1987

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    Jersey, Channel Islands

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  1. I got held up chatting to the Hare Krishnas on the high street on Saturday, then managed to walk past a charity stall just as they started playing it.
  2. No, covers and remixes are fine. And not that I'd have any reason to say this, but the website also states "WHILE WE CAN'T STOP YOU FROM DELIBERATELY SENDING YOUR FRIENDS TO WHAMHALLA, THE INTENTION IS THAT THIS IS A SURVIVAL GAME. NOT A BATTLE ROYALE. SO ... DON'T BE A DICK, MKAY?"
  3. I only started using Spotify in 2016, so it's not very useful in terms of decade-long stuff, but here's what I've got; Top Artists for 2019: Johnny Clegg David Bowie Nick Drake Tom Waits Savuka Top songs for 2019: "Happy Hour" - The Housemartins "Just Like Honey" - The Jesus & Mary Chain "Maggot Brain" - Funkadelic "Androgynous" - The Replacements "Satsuko & Seita (Main Theme, Grave Of The Fireflies)" - daigoro789 "Im Garten der Gemeinschaft" - Popol Vuh "Ghost Of A Horse Under The Chandelier" - World's End Girlfriend "Song To The Siren" - This Mortal Coil "Merry Christmas Mr Lawrence" - Ryuichi Sakimoto "Rothko Chapel 5" - Morton Feldman That's really skewed though, as a number of those songs are on a playlist I use to fall asleep to during bouts of insomnia. In 2016, my top song was "Human Fly" by The Cramps and top artist was Kate Bush. In 2017, top song was "The Guns Of Brixton" by The Clash, and top artist was Kyle Dixon & Michael Stein - I can tell I wasn't using Spotify much yet, as I had to Google who they were. In 2018, top song was "The Campaign For Real Rock" by Edwyn Collins, top artist was Prince. Artist of the decade is Johnny Clegg, almost solely because of how much I've listened to him this year, as I don't think he would have got more than a few token plays before that. I've listened to artists from 40 countries. The examples they gave were Neil Young from Canada, Queen from the UK, Billie Eilish from the US, Sinead O'Connor from Ireland, and Crowded House from New Zealand. None of those are really the interesting ones I wanted to find out, country-wise! I was "genre-fluid", with my top genres being Dance Rock (?!), Singer-Songwriter, Alternative Rock, Psychedelic Rock and Britpop.
  4. I briefly thought I'd fallen at the first hurdle, but got my dates wrong, as it was actually only 30th November when I heard it. That said, it's an absolute banger, so not even upset if/when I lose. We don't have the radio on at work, my local pub tends to lean more towards '70s and earlier Christmas tracks on their playlist, and I've got most if not all of my Christmas shopping done already, so it basically comes down to if I happen to be in a supermarket without having my headphones in, or if it gets played while I'm stuck at an airport - which, given I have three flights booked between now and Christmas Eve, is not unlikely. Sidenote: "Last Christmas" is the answer to one of my favourite pub quiz questions, as the highest selling number two single of all time.
  5. I saw Pigs Pigs Pigs Pigs Pigs Pigs Pigs in Guernsey on Saturday, and they were superb, though honestly two out of the three local support acts were at least as good as they were. The main support act was an old Guernsey band I love, reforming for this gig as a one-off, and they had the crowd in the palm of their hand, to the point that almost half the audience seemed to leave after they finished, rather than stick around for the headliner.
  6. I love Rifftrax, but there's a charm to MST3k that isn't there with Rifftrax - I think it's basically the Joel/Mike dichotomy made more obvious. Some of the jokes in Rifftrax are a bit too overwrought, whereas MST3k is snappier. And without the sketches we'd never have got Clayton Forester, and I adore that character, or the "Every Country Has A Monster" song from the first Netflix season, which I still routinely get stuck in my head. I think I just like the broader context provided by MST3K. In terms of it being affordable, the biggest problem has always been rights issues, especially internationally.
  7. Just came here to post the same thing. Joel is retiring from riffing following this tour, too. I hope somewhere else picks it up - no idea how the rights would work, but there's a ton of stuff on Amazon Prime that they've either already riffed or would be long overdue, so would be happy to see it end up there. I wonder if it just continues as a live show, though.
  8. watched the first episode of the BBC War of The Worlds. Not sure what to make of it. It doesn't seem to know what it wants to be, and spends much of the first episode being a slow-burning period drama, but with some of the most heavy-handed social and political allegory imaginable, including the actual line, "that's not very progressive". It wasn't bad, but wasn't particularly compelling either. Hopefully it will improve once the actual Martian War starts, so I'll give it another shot.
  9. One of my favourite people on Twitter, Nate Crowley, wrote an article about Planet Zoo with my favourite headline of the year; https://www.rockpapershotgun.com/2019/11/18/planet-zoo-is-temporarily-a-game-about-mass-producing-knackered-warthogs/?fbclid=IwAR0-B0xtRGQWkytA1zDS-amsHpHwRJYJf3_SnA-rozKkDM7tYVqNGURY_f0
  10. It's now on Amazon Prime in the UK.
  11. I have a broader point around remakes here - remaking kids' entertainment properties goes back forever, but I don't think it always means "it's for the adults who grew up watching it". Usually, historically, it's because the adults who grew up watching it want to have a stab at making it. That's why you have The Jetsons, Flintstones and Scooby-Doo making a comeback in the '80s and early '90s, when the kids who watched in the '60s became animators and studio staff. What's changed in recent times is that we're more likely to see those old series remade, not for a new generation of kids, but for the same generation as adults, like the last Power Rangers movie. I honestly believe this Sonic movie is far more aimed at kids, but they'll be banking on easy nostalgia too. My worry is less about whether studios listen, and more about the license it gives the assholes. Assholes will now point to this movie as "they listened to us once, they'll do it again!" and use it to justify being louder and more obnoxious assholes than they already were.
  12. It's twofold - the issue isn't solely that studios will start listening to the cranks, but that the cranks will start feeling more emboldened. All the Gamergate, Comicsgate, Star Wars whatevers and every other person making thinly veiled arguments to complain about women, gays and minorities in their entertainment, barely needs more license to think that they're the be-all and end-all of fandom, or to get louder and more aggressive, but I guarantee they'll claim this (especially the gamer types) as a success for them, and cite it as a reason why their complaining and harassment works.
  13. Precedent. Most of the people who complain and petition for films to get changed aren't doing so because of a disagreement over character design, but for far more insidious reasons. But every single one of them is well aware of this decision, and that it's sending a signal that if you make enough fuss, the studio will listen to you.
  14. and who do we decide "the audience that they're for"? Do Disney start listening to the fanboys crying about women ruining Star Wars? Who was complaining about the character design in the Sonic movie - the children it's aimed at, or adults making fun of a trailer?
  15. I really don't like this. The precedent that if fans complain loudly enough studios will make sweeping changes to appease and pander to them isn't good.
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