So I'm upgrading a bunch of my mp3's to FLAC, and for some reason my CD drive won't read my copy of Dark Side of the Moon. So in searching for one, I come across:
Pink Floyd - Dark Side of the Moon [Toshiba Black Triangle CP35-3017]
Pink Floyd - Dark Side of the Moon 6ch 24bit 96khz SACD
Pink Floyd - Dark Side of the Moon (1981 MFSL UHQR 24Bit--96kHz Vinyl Rip)
Pink Floyd - Dark Side of the Moon [MFSL Ultradisk]
Pink Floyd - Dark Side of the Moon [Alan Parsons 4.1 Mix]
Pink Floyd - Dark Side of the Moon (24Bit 96kHz SACD)
Pink Floyd - Dark Side of the Moon [UK Harvest CD]
Pink Floyd - Dark Side of the Moon [Remastered]
Pink Floyd - Dark Side of the Moon (Black Triangle Version deemph)
Pink Floyd - Dark Side of the Moon
Now, Pink Floyd, and especially Dark Side of the Moon, is essentially considered the gold standard for sound production in rock music, and it is used constantly as demo material for audio equipment. But they went a little hogwild.
Wednesday, December 31, 2008
Metacritic Needs to Emulate Netflix
Obviously Metacritic doesn't have the revenue stream to just toss out prizes like Netflix can, but they should hold some sort of open contest to discover the best formula for ranking films/music/TV/etc. Metacritic is certainly loads better than rottentomatoes, but they are still quite imperfect.
Take Amadou & Mariam's Welcome to Mali. It's the highest-rated album of the year, with a 92 on Metacritic, which is basically the equivalent of an 11.0 on Pitchfork. And it's seriously an amazing album, and likely deserving of that score. But it's not even available in most U.S. stores, as it is currently an import; as such, not many reviews are available. And clearly, the reviewers that are more inclined to review such music (African pop-rock-ska) are predisposed to liking such music in the first place. And so eight outlets review it, and all of the reviewers love it, and probably knew they would love it before they ever hit Play.
Whereas TVOTR's Dear Science received an 88 on Metacritic (which is obviously an equally stunning score in the scheme of things). And it is probably even more stunning than Welcome to Mali's 92, considering it is based on the opinions of 40 different reviewers. Yet a cursory comparison of the scores doesn't really tell the whole picture, and as such, it becomes a futile enterprise to do things like year-end rankings.
Obviously I have no idea what algorithms would be used for this, just talking out loud. Obama probably won't get around to it in his first hundred days.
Take Amadou & Mariam's Welcome to Mali. It's the highest-rated album of the year, with a 92 on Metacritic, which is basically the equivalent of an 11.0 on Pitchfork. And it's seriously an amazing album, and likely deserving of that score. But it's not even available in most U.S. stores, as it is currently an import; as such, not many reviews are available. And clearly, the reviewers that are more inclined to review such music (African pop-rock-ska) are predisposed to liking such music in the first place. And so eight outlets review it, and all of the reviewers love it, and probably knew they would love it before they ever hit Play.
Whereas TVOTR's Dear Science received an 88 on Metacritic (which is obviously an equally stunning score in the scheme of things). And it is probably even more stunning than Welcome to Mali's 92, considering it is based on the opinions of 40 different reviewers. Yet a cursory comparison of the scores doesn't really tell the whole picture, and as such, it becomes a futile enterprise to do things like year-end rankings.
Obviously I have no idea what algorithms would be used for this, just talking out loud. Obama probably won't get around to it in his first hundred days.
I Like FireDogLake, but...
Sites that don't hyperlink their top banners are infuriating. What reason could you possibly have for not doing this?
Tuesday, December 30, 2008
BLAGO
This guy is just amazing... "I don't want to hog the limelight, this is Roland Burris's day."
EDIT: Bobby Rush, you are TOTALLY not helping by belaboring the "If you oppose Burris, you are a racist" line.
EDIT: Bobby Rush, you are TOTALLY not helping by belaboring the "If you oppose Burris, you are a racist" line.
Caroline Kennedy
Who cares? She'll be appointed and everyone will forget this whole fracas within three days. Nobody that is either arguing for or against it is looking at it through a clear lens, so reading some of the arguments that people are making (whether it be Matt Stoller or Al Giordano) and hoping to exact some objectivity is futile.
If she becomes a presidential candidate in 2016 though, then like, wtf, c'mon...
Wolf Parade in Montclair in early November:
If she becomes a presidential candidate in 2016 though, then like, wtf, c'mon...
Wolf Parade in Montclair in early November:
Eagle Eye
This movie was horrible. Shia Lebouf will definitely be A list within a year, if he's not already, and he's fun to watch, but he didn't save this. Political statement regarding the PATRIOT Act, unsubtle references to Jesus, and a commentary on the over-reliance on technology all rolled into one. Something about how the SECDEF will become President after a robotic national security machine goes bezerk and kills everyone in the Capitol during the SOTU because the POTUS disobeyed intelligence provided by said machine.
The only interesting things to come out of it were my thoughts, midway through, regarding which Obama cabinet member would be the nut-low as the person sequestered during the SOTU Address (i.e., who would be the worst Prez if somehow everyone else got pwned). Probably Carol Browner. Though Ken Salazar certainly emanates pure, downhome retardation.
EDIT: I have been re-re-re-informed that Carol Browner is "not in the fucking Cabinet" and that her position, as climate-change czar, isn't "even cabinet-level I don't think."
But Obama's changing the rules of Washington imo.
The only interesting things to come out of it were my thoughts, midway through, regarding which Obama cabinet member would be the nut-low as the person sequestered during the SOTU Address (i.e., who would be the worst Prez if somehow everyone else got pwned). Probably Carol Browner. Though Ken Salazar certainly emanates pure, downhome retardation.
EDIT: I have been re-re-re-informed that Carol Browner is "not in the fucking Cabinet" and that her position, as climate-change czar, isn't "even cabinet-level I don't think."
But Obama's changing the rules of Washington imo.
Saturday, December 27, 2008
Oscar Nomination Predictions
BEST PICTURE:
Slumdog Millionaire
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Dark Knight
BEST ACTOR:
Mickey Rourke, The Wrestler
Sean Penn, Milk
Frank Langella, Frost/Nixon
Clint Eastwood, Gran Torino
Brad Pitt, The Curious Case of Benjamin Button
BEST ACTRESS:
Meryl Streep, Doubt
Cate Blanchett, The Curious Case of Benjamin Button
Anne Hathaway, Rachel Getting Married
Angelina Jolie, Changeling
Kristin Scott Thomas, I've Loved You So Long
BEST DIRECTOR:
Ron Howard, Frost/Nixon
Danny Boyle, Slumdog Millionaire
Clint Eastwood, Gran Torino
David Fincher, The Curious Case of Benjamin Button
Gus Van Sant, Milk
Slumdog Millionaire
The Curious Case of Benjamin Button
Frost/Nixon
Milk
The Dark Knight
BEST ACTOR:
Mickey Rourke, The Wrestler
Sean Penn, Milk
Frank Langella, Frost/Nixon
Clint Eastwood, Gran Torino
Brad Pitt, The Curious Case of Benjamin Button
BEST ACTRESS:
Meryl Streep, Doubt
Cate Blanchett, The Curious Case of Benjamin Button
Anne Hathaway, Rachel Getting Married
Angelina Jolie, Changeling
Kristin Scott Thomas, I've Loved You So Long
BEST DIRECTOR:
Ron Howard, Frost/Nixon
Danny Boyle, Slumdog Millionaire
Clint Eastwood, Gran Torino
David Fincher, The Curious Case of Benjamin Button
Gus Van Sant, Milk
Tuesday, December 23, 2008
Sensationalist Blogtards
Rick Warren Is Every Bit As Much In Line With The Black American Soul As Aretha Franklin
I realize you want to grab the reader, but christ.
I realize you want to grab the reader, but christ.
Annoying Bit of Demagoguery
Something like: "You know what I find amusing about all this, it's the absolute grilling the Big 3 automakers were forced to succumb to on Capitol Hill, when the big high-n-mighty Wall Street bankers just walked up, asked for half a trillion dollars, and walked out with pockets stuffed!"
Grammy Thoughts
Record of the Year (performers/producers):
Adele, "Chasing Pavements"
Coldplay, "Viva la Vida"
Leona Lewis, "Bleeding Love"
M.I.A., "Paper Planes"
Robert Plant & Alison Krauss, "Please Read The Letter"
(No wonder people hate the fucking Grammys. "A" for diversity, but like, holy crap, there were a lot of better songs put out this year. "Please Read this Letter" is good but not ROTY-worthy, at all. Adele FUCKING BLOWS. Winehouse and Duffy fulfill the quota of soulful white chicks, they are not a desired commodity. "Viva La Vida" has to be the favorite, both because it's Coldplay and because none of the other songs match its ubiquity -- which seems to be the sole criterion on which these awards are doled out. Plus, Eno did it, and it's a producer's award, so whatever. "Paper Planes" is surprisingly catchy, and this is coming from someone who really doesn't like M.I.A., but I'd be shocked if it won. Few things in the world could be worse for M.I.A.'s hard-earned rep than winning Record of the Year. Lastly, "Bleeding Love" isn't even Leona Lewis's best song of this year, so that's a fail.)
Album of the Year:
Radiohead, In Rainbows
Coldplay, Viva La Vida or the Death of All His Friends
Ne-Yo, Year of the Gentleman
Lil Wayne, Tha Carter III
Robert Plant and Alison Krauss, Raising Sand
(Gambling here. I think it's between Raising Sand or Viva La Vida... But the Plant album was a total critics' darling, Led Zeppelin famously never received any Grammy acclaim during their heyday, and Alison Krauss is hot. Seems sufficient. In Rainbows is obviously the best album, and perhaps there's a chance they get thrown a bone like Scorsese did for The Departed, but I'd bet against. More likely that they take "Best Alt. Album" or some crap. GG. Viva La Vida... is a really good album, even though the risks it takes aren't really risky at all. A lot like All That You Can't Leave Behind. Lil Wayne put out a pretty sweet album, but it doesn't have a chance, as it's a token nomination. Ne-Yo, let me state clearly, is FUCKING ATROCIOUS. Like horrible. What the fuck... He and Chris Brown should tie themselves to one another and jump off a bridge.)
Song of the Year (writers):
Adele Adkins, "Chasing Pavements"
Coldplay, "Viva La Vida"
Sara Bareilles, "Love Song"
Estelle feat. Kanye West, "American Boy"
Jason Mraz, "I'm Yours"
(Again, Adele is bad. Just stop. But looking at this, I honestly have no idea. These are some terrible fucking songs. "Viva La Vida" is all production, it's not a well-written song. Jason Mraz is one of the worst people alive, and seems like he's about to go Born Again if he hasn't already. "American Boy" is honestly awful. One of the worst hooks I've ever heard. You should never be featuring Kanye -- as he's a totally awful rapper -- but I guess that comes with the turf when he writes the tune. Will.i.am produced, another sign of generic crap. "Love Song" is legitimately catchy, but not really SOTY material. I'd have to double down on Coldplay here, even though it's so lame. Just an all-around awful set of nominees.)
P.S. Please explain how the Radiohead song they pick for "Best Rock Performance by a Duo or Group with Vocals" is "House of Cards." Did they even listen to the album?
Adele, "Chasing Pavements"
Coldplay, "Viva la Vida"
Leona Lewis, "Bleeding Love"
M.I.A., "Paper Planes"
Robert Plant & Alison Krauss, "Please Read The Letter"
(No wonder people hate the fucking Grammys. "A" for diversity, but like, holy crap, there were a lot of better songs put out this year. "Please Read this Letter" is good but not ROTY-worthy, at all. Adele FUCKING BLOWS. Winehouse and Duffy fulfill the quota of soulful white chicks, they are not a desired commodity. "Viva La Vida" has to be the favorite, both because it's Coldplay and because none of the other songs match its ubiquity -- which seems to be the sole criterion on which these awards are doled out. Plus, Eno did it, and it's a producer's award, so whatever. "Paper Planes" is surprisingly catchy, and this is coming from someone who really doesn't like M.I.A., but I'd be shocked if it won. Few things in the world could be worse for M.I.A.'s hard-earned rep than winning Record of the Year. Lastly, "Bleeding Love" isn't even Leona Lewis's best song of this year, so that's a fail.)
Album of the Year:
Radiohead, In Rainbows
Coldplay, Viva La Vida or the Death of All His Friends
Ne-Yo, Year of the Gentleman
Lil Wayne, Tha Carter III
Robert Plant and Alison Krauss, Raising Sand
(Gambling here. I think it's between Raising Sand or Viva La Vida... But the Plant album was a total critics' darling, Led Zeppelin famously never received any Grammy acclaim during their heyday, and Alison Krauss is hot. Seems sufficient. In Rainbows is obviously the best album, and perhaps there's a chance they get thrown a bone like Scorsese did for The Departed, but I'd bet against. More likely that they take "Best Alt. Album" or some crap. GG. Viva La Vida... is a really good album, even though the risks it takes aren't really risky at all. A lot like All That You Can't Leave Behind. Lil Wayne put out a pretty sweet album, but it doesn't have a chance, as it's a token nomination. Ne-Yo, let me state clearly, is FUCKING ATROCIOUS. Like horrible. What the fuck... He and Chris Brown should tie themselves to one another and jump off a bridge.)
Song of the Year (writers):
Adele Adkins, "Chasing Pavements"
Coldplay, "Viva La Vida"
Sara Bareilles, "Love Song"
Estelle feat. Kanye West, "American Boy"
Jason Mraz, "I'm Yours"
(Again, Adele is bad. Just stop. But looking at this, I honestly have no idea. These are some terrible fucking songs. "Viva La Vida" is all production, it's not a well-written song. Jason Mraz is one of the worst people alive, and seems like he's about to go Born Again if he hasn't already. "American Boy" is honestly awful. One of the worst hooks I've ever heard. You should never be featuring Kanye -- as he's a totally awful rapper -- but I guess that comes with the turf when he writes the tune. Will.i.am produced, another sign of generic crap. "Love Song" is legitimately catchy, but not really SOTY material. I'd have to double down on Coldplay here, even though it's so lame. Just an all-around awful set of nominees.)
P.S. Please explain how the Radiohead song they pick for "Best Rock Performance by a Duo or Group with Vocals" is "House of Cards." Did they even listen to the album?
Sunday, December 21, 2008
Picking a Favorite Zeppelin Album
Futile.
O.K., you can make some inroads. Everything after Physical Graffiti is out of contention. That still leaves 6 albums.
Led Zeppelin I
Led Zeppelin II
Led Zeppelin (real original, eh?) III
Led Zeppelin IV
Houses of the Holy
Physical Graffiti
One of the all-time greatest 6 album streaks in rock history. Maybe the greatest.
You can disqualify I and III, too. The benefit of hindsight is not beneficial to their first album. In 1969, hearing "Good Times, Bad Times" for the first time may have been something of an auditory orgasm, but when you've already heard "Trampled Underfoot," it doesn't wow you as much. The debut has no stumbling blocks, and provides a robust 9 tracks, but can't match up, song-for-song, with II. It's a little unpolished, which makes it a fun listen, but also a bit flawed.
"Immigrant Song" is fantastic (and so is "Tangerine") but the only person I've ever known to think Led Zeppelin III was the group's greatest album is exactly the type of person who would think Led Zeppelin III was the group's greatest album. Which is self-explanatory if you've ever met the person or listened to Led Zeppelin.
So we're down to four. And now it gets impossible. They're all totally acceptable choices. Like I love Hail to the Thief, but if I asked someone what his favorite Radiohead album was, and he told me HTTT, I would pretend to agree while mentally deciding to completely discard anything else this person said. With these four albums, I can totally understand any one of them being someone's top pick.
As an album, I am going to throw out Led Zeppelin IV immediately. "Black Dog," "Rock and Roll," "The Battle of Evermore," "Stairway to Heaven," "Misty Mountain Hop," "Four Sticks," "Going to California," "When the Levee Breaks." An unbelievable set of songs. But I think the song arrangement and, therefore, the pacing of the album are not up to the others. Although it has one of the greatest album closers I've ever heard, it kinda blows its wad early, and I'm not the biggest fan of "Four Sticks" (despite the awesomeness of the title, which came from John Bonham having used four sticks, two in each hand, to play on the track). Its almost painful to discard this album, because I'm looking at this tracklist and scratching my head as to why the listening math doesn't add up. But if I had to pick a Led Zeppelin album at random to listen to, full-through, it would not be this, and not because "Rock and Roll" is played at 5 minutes to the hour, every hour, on every self-respecting rock station, in every locale, because I listen to that song obsessively.
"Whole Lotta Love," "What is and What Should Never Be," "The Lemon Song," "Thank You," "Heartbreaker," "Livin' Lovin' Maid," "Ramble On," "Moby Dick," "Bring It On Home."
Funny thing about this album. When I first got into Led Zeppelin, I downloaded "Stairway" and "Whole Lotta Love." And then I bought their greatest hits for some reason, which had "What Is And What Should Never Be." And I heard "Heartbreaker" and "Ramble On" on Q104.3 constantly. So when I bought this album, those were the songs I knew, ergo those were the songs I listened to. Horrible habit, I know. It takes forever to get through some albums. Anyway, long story short, I had this album for over a year before I ever got around to listening to the last track, "Bring It On Home," which is basically fantastic. This album, on the other hand, not only has a great stylistic mix, but great pacing as well. You go heavy rock, then softer with a huge chorus, some straight blues-rock, then more acoustic, LOTR-esque, next are two huge rockers, then more LOTR, followed by "Moby" fucking "Dick,"followed by BIOH. It's not a constant throttle, but you never lose interest.
Still, it is not as good as Houses of the Holy or Physical Graffiti. It's not as... refreshing.
Between these two, I'll tell you right out that Physical Graffiti wins. A lot of it is size, with 15 tracks compared with Houses' eight. But it's also that PG actually takes you to a place (be it inside Swan Song studios in the early 1970s or in the Taj Mahal). Houses of the Holy is a trip, to be sure, and PG has nothing that trumps "The Ocean," but there's a "something for everyone" quality to PG -- with styles ranging from the blistering crunch of "Custard Pie" to the progressive wallop of "In My Time of Dying" to the stoner surf jam gone awry in "Down By the Seaside" -- that cannot be overstated. HOTH is more fun, Physical Graffiti is just a tour de force. You listen to it and can't believe that someone actually created it.
--
On a totally unrelated note, "Oh Yoko" is a totally awesome song:
O.K., you can make some inroads. Everything after Physical Graffiti is out of contention. That still leaves 6 albums.
Led Zeppelin I
Led Zeppelin II
Led Zeppelin (real original, eh?) III
Led Zeppelin IV
Houses of the Holy
Physical Graffiti
One of the all-time greatest 6 album streaks in rock history. Maybe the greatest.
You can disqualify I and III, too. The benefit of hindsight is not beneficial to their first album. In 1969, hearing "Good Times, Bad Times" for the first time may have been something of an auditory orgasm, but when you've already heard "Trampled Underfoot," it doesn't wow you as much. The debut has no stumbling blocks, and provides a robust 9 tracks, but can't match up, song-for-song, with II. It's a little unpolished, which makes it a fun listen, but also a bit flawed.
"Immigrant Song" is fantastic (and so is "Tangerine") but the only person I've ever known to think Led Zeppelin III was the group's greatest album is exactly the type of person who would think Led Zeppelin III was the group's greatest album. Which is self-explanatory if you've ever met the person or listened to Led Zeppelin.
So we're down to four. And now it gets impossible. They're all totally acceptable choices. Like I love Hail to the Thief, but if I asked someone what his favorite Radiohead album was, and he told me HTTT, I would pretend to agree while mentally deciding to completely discard anything else this person said. With these four albums, I can totally understand any one of them being someone's top pick.
As an album, I am going to throw out Led Zeppelin IV immediately. "Black Dog," "Rock and Roll," "The Battle of Evermore," "Stairway to Heaven," "Misty Mountain Hop," "Four Sticks," "Going to California," "When the Levee Breaks." An unbelievable set of songs. But I think the song arrangement and, therefore, the pacing of the album are not up to the others. Although it has one of the greatest album closers I've ever heard, it kinda blows its wad early, and I'm not the biggest fan of "Four Sticks" (despite the awesomeness of the title, which came from John Bonham having used four sticks, two in each hand, to play on the track). Its almost painful to discard this album, because I'm looking at this tracklist and scratching my head as to why the listening math doesn't add up. But if I had to pick a Led Zeppelin album at random to listen to, full-through, it would not be this, and not because "Rock and Roll" is played at 5 minutes to the hour, every hour, on every self-respecting rock station, in every locale, because I listen to that song obsessively.
"Whole Lotta Love," "What is and What Should Never Be," "The Lemon Song," "Thank You," "Heartbreaker," "Livin' Lovin' Maid," "Ramble On," "Moby Dick," "Bring It On Home."
Funny thing about this album. When I first got into Led Zeppelin, I downloaded "Stairway" and "Whole Lotta Love." And then I bought their greatest hits for some reason, which had "What Is And What Should Never Be." And I heard "Heartbreaker" and "Ramble On" on Q104.3 constantly. So when I bought this album, those were the songs I knew, ergo those were the songs I listened to. Horrible habit, I know. It takes forever to get through some albums. Anyway, long story short, I had this album for over a year before I ever got around to listening to the last track, "Bring It On Home," which is basically fantastic. This album, on the other hand, not only has a great stylistic mix, but great pacing as well. You go heavy rock, then softer with a huge chorus, some straight blues-rock, then more acoustic, LOTR-esque, next are two huge rockers, then more LOTR, followed by "Moby" fucking "Dick,"followed by BIOH. It's not a constant throttle, but you never lose interest.
Still, it is not as good as Houses of the Holy or Physical Graffiti. It's not as... refreshing.
Between these two, I'll tell you right out that Physical Graffiti wins. A lot of it is size, with 15 tracks compared with Houses' eight. But it's also that PG actually takes you to a place (be it inside Swan Song studios in the early 1970s or in the Taj Mahal). Houses of the Holy is a trip, to be sure, and PG has nothing that trumps "The Ocean," but there's a "something for everyone" quality to PG -- with styles ranging from the blistering crunch of "Custard Pie" to the progressive wallop of "In My Time of Dying" to the stoner surf jam gone awry in "Down By the Seaside" -- that cannot be overstated. HOTH is more fun, Physical Graffiti is just a tour de force. You listen to it and can't believe that someone actually created it.
--
On a totally unrelated note, "Oh Yoko" is a totally awesome song:
Slumdog Millionaire, Ctd., or Things That Are Totally Uncool, December 21 Edition
DO NOT FUCKING TAKE YOUR RETARDED ADOPTED CHILDREN TO THE MOVIE THEATRE.
Just like, holy shit, don't even consider it. Maybe an Adam Sandler movie. Not a movie that's on every critic's Best Picture shortlist.
Just like, holy shit, don't even consider it. Maybe an Adam Sandler movie. Not a movie that's on every critic's Best Picture shortlist.
Slumdog Millionaire
Pretty fantastic. It makes me want to see City of God again, so I can endlessly compare the two. But it's basically like CoG with a cooler plot vehicle and a more entrenched love interest. (Indian I.T. worker gets a chance on Mumbai's version of "Who Wants to be a Millionaire?" and just destroys it, so he gets taken away and accused of cheating, Vegas-style. The movie is told through his explanations of how he knew the answers.) A really good love story, and great shots of Mumbai's endless slums. Very "unique," always-on-the-go cinematography, with lots of cool on-foot chase scenes.
The host of the gameshow is excellent. Just the right amount of Philbin-parody and mocking of America's reality TV in general. Not excessive or unrealistic in any way. The film has an Indian pop soundtrack, which of course means you're hearing M.I.A. at every opportunity.
Of course, the real draw (despite only having like 11 minutes of screentime).
The host of the gameshow is excellent. Just the right amount of Philbin-parody and mocking of America's reality TV in general. Not excessive or unrealistic in any way. The film has an Indian pop soundtrack, which of course means you're hearing M.I.A. at every opportunity.
Of course, the real draw (despite only having like 11 minutes of screentime).
Wednesday, December 3, 2008
Blogosphere Confirmation
ANDY McCARTHY: Governor Richardson, I must say, you have an impressive resume, and you have shown yourself to be a worthy candidate for the head of the Commerce department.
BILL RICHARDSON: Thank you.
ANDY McCARTHY: When did you first meet Bernardine Dohrn?
--
SUSAN RICE: ... I believe we need a shift from the truly horrible foreign policies of Condoleezza Rice.
MARK HALPERIN: By the way, are you related?
SUSAN RICE: She's my mother.
MARK HALPERIN: One last inquiry. Describe the sensation that goes through your body when Drudge puts up a siren.
--
SEAN QUINN: Mr. Holder, could you tilt your head a bit to the left?
ERIC HOLDER: Who the fuck are you?
SEAN QUINN: We're just taking some photos.
--
GLENN GREENWALD: Senator Clinton, your repeated lies make it obvious that you're nothing more than a water carrier for the shamelessly dishonest centrist wing of the Democratic party.
HILLARY CLINTON: Um, we're talking in person.
--
KATHRYN JEAN-LOPEZ: Mr. Daschle, you realize you are in line to replace Mike Leavitt?
TOM DASCHLE: Yes.
KATHRYN JEAN-LOPEZ: So are you filled with the same blessed heart and spirit of Christ as Mr. Leavitt?
--
TIMOTHY GEITHNER: So I worked for a bit at Kissinger & Associates...
CHRIS BOWERS: Deep breath, Chris.
TIMOTHY GEITHNER: ... then I worked at Treasury under Rubin and Summers...
CHRIS BOWERS: OK, relax, we are a center-left nation, we are a center-left nation.
TIMOTHY GEITHNER: ... and for the last few months I've been pretty much running TARP and printing money with Paulson and Bernanke.
CHRIS BOWERS: Dude, FUCK THIS.
--
ANDREW SULLIVAN: Mr. Orszag, you seem quite qualified.
PETER ORSZAG: Thank you.
ANDREW SULLIVAN: Everyone likes you, you studied at the London School of Economics, your record in the CBO is quite good, you have this hot little black deputy...
PETER ORSZAG: Thanks again, I'm glad everything is good.
ANDREW SULLIVAN: But I must ask you...
PETER ORSZAG: Yes?
ANDREW SULLIVAN: WHERE ARE YOUR FUCKING MEDICAL RECORDS?
--
MATTHEW YGLESIAS: Mr. Volcker, just one more thing. If you were the GM of the Knicks, would you trade Marbury?
BILL RICHARDSON: Thank you.
ANDY McCARTHY: When did you first meet Bernardine Dohrn?
--
SUSAN RICE: ... I believe we need a shift from the truly horrible foreign policies of Condoleezza Rice.
MARK HALPERIN: By the way, are you related?
SUSAN RICE: She's my mother.
MARK HALPERIN: One last inquiry. Describe the sensation that goes through your body when Drudge puts up a siren.
--
SEAN QUINN: Mr. Holder, could you tilt your head a bit to the left?
ERIC HOLDER: Who the fuck are you?
SEAN QUINN: We're just taking some photos.
--
GLENN GREENWALD: Senator Clinton, your repeated lies make it obvious that you're nothing more than a water carrier for the shamelessly dishonest centrist wing of the Democratic party.
HILLARY CLINTON: Um, we're talking in person.
--
KATHRYN JEAN-LOPEZ: Mr. Daschle, you realize you are in line to replace Mike Leavitt?
TOM DASCHLE: Yes.
KATHRYN JEAN-LOPEZ: So are you filled with the same blessed heart and spirit of Christ as Mr. Leavitt?
--
TIMOTHY GEITHNER: So I worked for a bit at Kissinger & Associates...
CHRIS BOWERS: Deep breath, Chris.
TIMOTHY GEITHNER: ... then I worked at Treasury under Rubin and Summers...
CHRIS BOWERS: OK, relax, we are a center-left nation, we are a center-left nation.
TIMOTHY GEITHNER: ... and for the last few months I've been pretty much running TARP and printing money with Paulson and Bernanke.
CHRIS BOWERS: Dude, FUCK THIS.
--
ANDREW SULLIVAN: Mr. Orszag, you seem quite qualified.
PETER ORSZAG: Thank you.
ANDREW SULLIVAN: Everyone likes you, you studied at the London School of Economics, your record in the CBO is quite good, you have this hot little black deputy...
PETER ORSZAG: Thanks again, I'm glad everything is good.
ANDREW SULLIVAN: But I must ask you...
PETER ORSZAG: Yes?
ANDREW SULLIVAN: WHERE ARE YOUR FUCKING MEDICAL RECORDS?
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MATTHEW YGLESIAS: Mr. Volcker, just one more thing. If you were the GM of the Knicks, would you trade Marbury?
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