Olive the other Jiberdeer

This is sad. My local rock station is playing essentially all of his stuff, with the exception of certain songs (for contests and soforth). An amazing guitarist and an awesome musician. RIP.

Perhaps, but Cate Blanchette could take a dump on screen for an hour and it would be Oscar worthy. She's amazing at anything she does. She was robbed not once but twice tonight (I really think she should've gotten supporting actress too. But yeah, anywho).

Best Performance by an Actress in a Leading Role

Winner: Marion Cotillard for Môme, La (2007)

Wow. Just...wow.

I really hope that the Joker wasn't killed off at the end of Dark Knight, because that would be the deepest amount of surreal.

RIP to a good actor.

Honestly, on the WBC shit, why doesn't a decent church who understand reality picket them? I mean, it's ridiculous. Oh noes, he played a character in a movie!! Clearly this is Shakespeare's time, and actors are evil, evil people. Go 'way.

Buy it. Watch it. Twice.

Joel Plaskett? Anyone?

"Beautiful Midnight" by the Matthew Good Band. I often forget about it, but it houses a lot of my favourite MGB songs.

No matter what happens now

I won't be afraid

Because I know today has been

The most perfect day I've ever seen.

*explodes*

Radiohead. Album. 8 Days?

I'm going to go weep with joy now.

"Killing in the Name of" - Rage Against the Machine

"Comfort Eagle" - Cake

"Idioteque" - Radiohead

"Chimbly Sweep" - The Decemberists

"Wicked Game" - Chris Issak (Seriously, I'm fairly pathetic when it comes to this song. I dunno why.)

Mime Legend Marcel Marceau Dies at 84

By ANGELA DOLAND – 2 hours ago

PARIS (AP) — Marcel Marceau, the master of mime who transformed silence into poetry with lithe gestures and pliant facial expressions that spoke to generations of young and old, has died. He was 84.

Wearing white face paint, soft shoes and a battered hat topped with a red flower, Marceau breathed new life into an art that dates to ancient Greece. He played out the human comedy through his alter-ego Bip without ever uttering a word.

Offstage, he was famously chatty. "Never get a mime talking. He won't stop," he once said.

A French Jew, Marceau escaped deportation to a Nazi death camp during World War II, unlike his father who died in Auschwitz. Marceau worked with the French Resistance to protect Jewish children, and later used the memories of his own life to feed his art.

He gave life to a wide spectrum of characters, from a peevish waiter to a lion tamer to an old woman knitting, and to the best-known Bip.

His biggest inspiration was Charlie Chaplin. In turn, Marceau inspired countless young performers — Michael Jackson borrowed his famous "moonwalk" from a Marceau sketch, "Walking Against the Wind."

Marceau's former assistant Emmanuel Vacca said on French radio that the peformer died Saturday in Paris, but gave no details.

In one of Marceau's most poignant and philosophical acts, "Youth, Maturity, Old Age, Death," Marceau wordlessly showed the passing of an entire life in just minutes.

He took his art to stages across the world, performing in Asia, Europe and the United States, his "second country," where he first performed in 1955 and returned every two years. He performed for Lyndon Johnson, Gerald Ford, Jimmy Carter and Bill Clinton.

Tireless, Marceau took his art to Cuba for the first time in September 2005.

"France loses one of its most eminent ambassadors," President Nicolas Sarkozy said in a statement. Prime Minister Francois Fillon praised Marceau as "the master" with the rare gift of "being able to communicate with each and everyone beyond the barriers of language."

The son of a butcher, the mime was born Marcel Mangel on March 22, 1923, in Strasbourg, France. His father Charles, a baritone with a love of song, introduced his son to the world of music and theater at an early age. The boy was captivated by the silent film stars of the era: Chaplin, Buster Keaton and the Marx brothers.

When the Nazis marched into eastern France, he fled with family members to the southwest and changed his last name to Marceau to hide his Jewish origins.

With his brother Alain, Marceau became active in the French Resistance, altering children's identity cards by changing birth dates to trick the Nazis into thinking they were too young to be deported. Because he spoke English, he was recruited to be a liaison officer with Gen. George S. Patton's army.

His father was sent to the Auschwitz concentration camp in 1944.

"Yes, I cried for him," Marceau said. But he said he also thought of the others killed.

"Among those kids was maybe an Einstein, a Mozart, somebody who (would have) found a cancer drug," he told reporters in 2000. "That is why we have a great responsibility. Let us love one another."

Some of Marceau's later work reflected the somber experiences. Even the character Bip, who chased butterflies in his debut, took on the grand themes of humanity.

Marcel's life as a performer began with the liberation of Paris from the Nazis. He enrolled in Charles Dullin's School of Dramatic Art, studying with the renowned mime Etienne Decroux.

On a tiny stage at the Theatre de Poche, a smoke-filled Left Bank cabaret, he sought to perfect the style of mime that would become his trademark.

The on-stage persona Bip was born in 1947, a sad-faced double whose eyes lit up with childlike wonder as he discovered the world. Bip was a direct descendant of the 19th century harlequin, but his clownish gestures, Marceau said, were inspired in part by Chaplin and Keaton.

Marceau likened his character to a modern-day Don Quixote, "alone in a fragile world filled with injustice and beauty."

Dressed in a white sailor suit, a top hat — a red rose perched on top — Bip covered the gamut of human experience, and emotion. He went to war and ran a matrimonial service.

In one famous sketch, "Public Garden," Marceau played all the characters in a park, from little boys playing ball to old women with knitting needles.

In 1949, Marceau's newly formed mime troupe was the only one of its kind in Europe. But it was only after a hugely successful tour across the United States in the mid-1950s that Marceau received the acclaim that would make him an international star.

Single-handedly, Marceau revived the art of mime, which dates to antiquity and continued until the 19th century through the Italian Commedia dell'Arte, or improvised theater.

"I have a feeling that I did for mime what (Andres) Segovia did for the guitar, what (Pablo) Casals did for the cello," he once told The Associated Press in an interview. Marceau started his own company, then in 1978 the International School of Mime-Drama.

Marceau also made film appearances. The most famous was Mel Brooks' 1976 film "Silent Movie" — he had the only speaking line, "Non!"

As he aged, Marceau kept performing, never losing the agility that made him famous.

A perforated ulcer nearly killed Marceau in the Soviet Union in December 1985. He was rushed home to Paris in critical condition, but bounced back to the stage five months later.

On top of his Legion of Honor and his countless honorary degrees, he was invited to be a United Nations goodwill ambassador for a 2002 conference on aging.

"If you stop at all when you are 70 or 80, you cannot go on," he told the AP in 2003. "You have to keep working."

Marceau was married three times and had four children. Funeral arrangements were not immediately known.

Spiritual Machines by Our Lady Peace. It was a good concept album, and the hidden track is neat.

Joel Plaskett Emergency.

That is all.

Girls Not Grey - AFI.

I love it.

Geraldo has finally done something that doesn't suck. Yay.

If they manage to make a decent Shawn Micheals, I will be truely impressed.

I just did the Hart Foundation vs. D-X challenge, and it was probably the best match I've had on this game. It started out fairly even, but Trippers started to absolutely pummel me, so I tagged out to Neidhart. He took control for a while, until Michaels came in to break up a pin and it all went HOUSE OF FIRE. Clusterfuck brawling in and around the ring for a while, and I end up fighting Michaels, with everyone but him having at least one body part in red by now. We have a really even match, I hit him with the Piledriver, but he kicks out. Trippers ends up tagging in, and starts kicking the shit out of me again. I finally get the upper hand, get the Sharpshooter, but he makes it to the ropes. I beat down on him so more, drag him into the centre of the ring...FIVE MOVES OF DOOM. Sharpshooter...Triple H is about to tap out...and Shawn Michaels dropkicks the referee! Ref's out, I slide to the outside, grab the ring bell, and start beating the crap out of HBK with it, then get Trips in the Sharpshooter again. As soon as I've got it locked in, the ref gets back up, announces the Submission for the Sharpshooter I had in previously, the one that Michaels dropkicked the ref during.

Under any other circumstances, I'd think that was a ridiculous finish, but after a good twenty minute long match with a few ref bumps and just genuinely exciting action, and for it to be the ref calling for the bell while Bret has Shawn's partner in a Sharpshooter, but he hasn't tapped out...pure classic.

Also, I hate that if you set your hometown to Las Vegas, you're announced as "From Las Vegas, Nevada, from Nevada!". I need to get round to changing that.

I turned on the show, saw a girl murder "Under Pressure" and turned off the show. True story.

11.92.

Fuck this game.

umm... the ppv looks good, but u messed up the tag titles, if LAX was DQed, than Team 3D wins the titles, bc that's the way TNA set up the rules back when they first started, so either u need 2 explain y they changed the rules, or declaire the dudleys as the champs

It's just a bad rap

I have yet to laugh. I've watched everything twice...and I'm not laughing.

Okay, yes, everyone loves Dane Cook, Mitch Hedburg, Colbert and Stewart. Yes. We established this.

I've been digging George Carlin a LOT since I bought his last book.

For my Canadian roots, I'm quite about Kathy Jones, Shawn Majumbder, Rick Mercer...the like.

I've argued that Cash's version of "Hurt" is no better than NIN's, although I can't say I've done so passionately. I just don't understand why most people's argument is that Johnny Cash has more emotion in his voice, when that's just not true. Trent Reznor sounds about ready to break down through the whole song, while Cash sings in a very matter of fact way, which actually adds to it, in my opinion, as it's more a tale of him accepting his fate, rather than the more self-loathing dynamic of the original. I'd place them about equally, though, I don't think one's any better than the other.

Cash's "Mercy Seat" is incredible, though. I'm not sure if I prefer it to the original or not, but he does do it fantastically. It's a very Johnny Cash song in itself, which is probably why it works so well, whilst some of his other cover versions, like "Rusty Cage", while good, can seem a little gimmicky.

Whoever said Goldfinger's version of "Just Like Heaven", though, yuck. Horrible, horrible, horrible cover. They absolutely murder it. I've never heard a good Goldfinger cover, or song for that matter, but Just Like Heaven is completely, without doubt, the worst of the bunch. The original is incredible, but Goldfinger's sucks a massive schlong. The only cover I've heard of that's even verging on tolerable is by Deadsy.

In fact, I don't think there are very many good covers of The Cure at all. Voltaire and Tori Amos both pull off Love Song fairly admirably, Tricky does a decent enough Lovecats, and the aforementioned Deadsy Just Like Heaven are alright, but otherwise, they're just not a band that lend themselves to being covered.

Some people were claiming that Cash's version was better because Reznor just wrote the lyrics without actually having any feeling behind it, but Cash actually lived through those emotions

I've never heard that argument, and it's fucking ridiculous. Trent Reznor wrote that song about his own heroin addiction. It has far more relevance to his life than it ever would to Johnny Cash's. People just seem to relate the song to the video, and to the fact that it was his last single, and decide that makes it so much more emotional. Out of that context, yeah, it's still an emotional song, but not the heartbreaking epic emotional journey that some people seem to act like it is.

I love the Misfits to death, and they're probably my favorite band ever (Only rivalled by AFI)... but the Cradle of Filth cover of Halloween II (Titled HW2) from the Underworld: Evolution soundtrack, is far superior to the original, I do believe.

Also, the Project 1950 CD is amazing. I love the 50's style, but can't seem to like many actual 50's singers...so the songs done by a group I like, and done well is a major plus.