In honor of their 10th anniversary, the Guided By Voices Database (GVBDB.com) has a full live GBV concert for download from November 3, 1994 which places it squarely in the post-Bee Thousand/pre-Alien Lanes era.
COMIC BOOK CLOSE UP
T H I N G
Fantastic Four #58
Jack Kirby (Pencils) & Joe Sinnott (Inks & Colors)
Love these Comic Book Close Ups.
Oh no! Guess I better take him off that all Sugar Baby/Jolly Rancher diet then.
So close to the Holiday Train, yet so far.
disengagement from the system that oppresses you would be a great option if there were viable alternatives to capitalism that didn’t require you already having the benefits of capitalism to engage in them
starting a co-op sustenance farm and dropping off the grid is a fine way to move against capitalism assuming you have the money to do it and the education to do it and the time away from your current job to get it going, but those are all things pretty exclusive to rich white people who don’t experience much oppression anyways. The people with the choice to drop out of a system are also the ones the system most benefits, and the people that are hurt most by the system have the least amount of options towards real protest and change. That’s how the system is designed and that’s what so many white trust-fund hippies who call themselves “deep ecologists” fail to realize when they call for everyone to live their lives in a certain way.
MEET THE ASBESTOS LADY!
What did you get?
A Croque Monsieur.
We have all this ham here and you bought a ham sandwich?
. . .
But it's French!
Mike Jones - Still Tippin’ (feat. Slim Thug & Paul Wall)
At the end of his central verse in this song, Mike Jones repeats the line “Back then, hoes didn’t want me / Now I’m hot, hoes all on me” four times. With each repetition it sounds less like sexist braggadocio and more like deep-seated insecurity. Each time he says it, it sounds more like he literally can’t believe his good fortune. Each time he says it, the sense that the thought is disturbing enough to him that he’s repeating it compulsively becomes harder to shake. Each time he says it, it sounds more like “Huh…This isn’t right. I’m not convinced their first take on me wasn’t the accurate one.” It sounds like Beth Gibbons saying “I don’t know what I did to deserve you” in Portishead’s “Nylon Smile” and meaning it not as a compliment to the person but an admission that she’s ignorant, and it’s terrifying to her.