Tuesday, October 25, 2005

Mwahahahahaha! And now no one can stop me taking over the world!

Ask any of my friends and they'll tell you: I may not exactly be a luddite, but I'm hardly the most hands-on guy when it comes to technology. It takes me a while to work up the confidence to try new things. Alcopops. Chocolate covered pretzels. Wife-swapping parties. But I've finally gone and done it: I've figured out enough about HTML to add a links bar to the side of my blog.

Yeehaw! After only 14 months or so of blogging, too!

Sunday, October 23, 2005

another in our wacky series COMIC BOOK PEOPLE SAY THE CRAZIEST THINGS!

Okay, so your husband co-created the phenomenon that made Marvel into the stinkin' rich evil mega-corporation it is today. Unfortunately, he worked under a crappy work-for-hire contract, and sees relatively little residual payments come in. The guy's style of art is out of fashion, and his ability to seek out further freelance work is hindered by long-term illness. So Paty Cockrum - do you take it lying down?

Hell no! You go, possibly crazy paranoid woman!

Saturday, October 22, 2005

F*cking X FACTOR and the f*cking chimps who watch it

It's even shitter this year than last, isn't it? This was the show that was supposed to widen the search from POP IDOL, to find international recording artists rather than cookie-cutter pretty-boy pop fodder. As such, it's a dismal failure, reduced to a display of preening and bitching between the three prima donna judges, completely overshadowing the meagre talents of the contestants. They've been relegated to mere ammunition as Cowell, Walsh and Osbourne pillory each other at every opportunity. Pathetic.

I suppose it's mathematically obvious that if you have the same search every year, your chance of finding major talent diminishes annually. Really, who is going to apply next year who didn't already this year? Cowell and his cronies really must rest this format, or they're in danger of killing the goose that laid the golden egg. But then again, seeing as they're a cartel that has been strip-mining the music industry in this country for years, I presume they'll just be greedy and keep on going until the entire nation would prefer to tear its own ears off than hear "Unchained Melody" being mangled ever again.

Thursday, October 20, 2005

Help feed a poor, starving Blogger this Christmas

The overtime ban is back, just when I have to pay for the damned double-glazing I put in last month over at the South Wing of stately Kardwell Manor. If you'd like to help, either contact your MP and complain about the ridiculous cuts being made in frontline services in schools and libraries, OR click on this link and buy some damned comic books.

I needs the money, I tells ya! And that's right, those books are in alphabetical order. What's it to ya? Ya never saw a guy with Obsessive Compulsive Disorder before?

Wednesday, October 19, 2005

Now THIS would make a cat laugh

Now you know me, I am not, nor have ever been, a member of the Communist party. But read the high-larious over-reactions of the rednecks frequenting the Newsarama message boards over this harmless bit of whimsy.

Oh, and idiots: there's TWO 'm's in 'communist'.

Tuesday, October 18, 2005

Kevin Smith drops a spoiler

Over at his blog.

God, now I hope he's shooting this in black and white. That colour scheme could drive a man to murder.

Oh, and because not enough people have been linking to the videoblog of the making of CLERKS 2:

Monday, October 17, 2005

assorted comics reviews

So, got a big box of stuff last week from the nice folks at Ace. Here's the highlights.

THE ULTIMATES 2 #8, by Mark Millar and Bryan Hitch.
See, this is why I'll always forgive Millar for the daft things he tends to say over at his forum (unlike, say, John Byrne at his). Because when it matters, his work actually makes all the self-aggrandizing, all the cult manufacturing, immaterial. Good issue. That said, I'm pretty sure I've got it all figured out, and know exactly how it'll play out over the next few months. If Millar and Hitch throw a few new wrinkles into the old "It was Loki manipulating us all the time" plot I'm foreseeing, good for him.

ULTIMATE FANTASTIC FOUR #23 by Mark Millar and Greg Land.
Craptastic. Well, thank god I'll never have to buy another issue of that, ever again. Actually, having been harsh on this comic in the past, I'll say something nice about it here. At least this plot was new, rather than a re-telling of an old Lee/Kirby effort. But really, Land's work is the worst kind of awful.

What a mistake-ah to make-ah! Having already re-invented the Inhumans once for Marvel Knights, maybe it was a bit much getting Jae Lee to do it again for the Ultimate Universe. So, this is basically a rehash of Lee/Kirby's original Inhuman's debut, only now they're wearing kinkier bondage suits. Arse!

THE DEFENDERS #3 by Keith Giffen, Jean Marc DeMatteis, and Kevin Maguire.
Of course, any book that manages to make excellent comedic material out of The Hulk getting his end away is all right by me.

DESOLATION JONES #3, by Warren Ellis and J.H. Williams III.
Elsewhere, I recently plugged this series by saying if TRANSMETROPOLITAN was Ellis channelling Hunter S Thompson, then this is Ellis channeling Chuck Palahniuk. The gonzo humour of the previous couple of issues of the "Hitler Porn" storyline subsides in order to meditate on the dehumanizing aspects of the porno trade. Williams, as usual, excels himself with a bravura display of hopping and skipping between styles and media.

BIRDS OF PREY #86, by Gail Simone, Bruce Timm, and a buncha others.
This is one of those DC "continuity cop" series that normally I dodge like the plague, but I bought because it features a seven page sequence by the mighty Bruce Timm. Simone recently wrote a couple of episodes of the JUSTICE LEAGUE UNLIMITED cartoon for Timm, so I guess this is some sort of payback. His art was, predictably, great. The rest was kinda "meh". It might have been great, and I wouldn't have noticed because this title is, for me, indicative of the sort of mistakes DC editorial have been making since the Crisis. A Batgirl who is still in a wheelchair since KILLING JOKE (how many other characters have been maimed and fixed, maimed and fixed, ad nauseum since the mid-eighties? But 'cus Alan Moore wrote the initial maiming, it's all "woooh, out of bounds"). A Huntress who isn't the Earth 2 daughter of Bruce Wayne and Selina Kyle? What's wrong with this picture?
Fer fucks ache.

NEW AVENGERS #10 by Brian Michael Bendis and Steve McNiven.
So, issue ten rolls in and the new Avengers amass another member. Still, just one more arc before they pick up their last - and then the fun can really begin! Spot on Yankee Dogs, I'm being sarcastic again. This issue may go a long way in making Paul Jenkins' The Sentry character useable in the day-to-day for Marvel, but *good god y'all* I just can't handle the mind numbing tedium of Bendis' pacing. I'm dropping this as a monthly after the Ronin arc, I may start picking up the trades depending on who draws what. Plus, the "fanfic" aspects of Bendis' writing for Marvel is wearing me down. That may well be because I just read an entire year's worth of his DAREDEVIL run in one sitting a couple of days ago, but how much "hey, wouldn't it be cool if Daredevil hung out with Luke Cage and just, y'know, talked about chicks and shit?" can you read before snapping?

THE MANHATTAN GUARDIAN #4, by Grant Morrison and Cameron Stewart.
With this issue, it becomes clearer just how much Kirby there is in this whole SEVEN SOLDIERS gig. Sure, Klarion the Witch Boy was a throw-away Kirby character, but his own series featured nary a reference to any past, let alone to THE DEMON. Here, we get another riff off the King's work, with the first real look at the oft-hinted-at Newsboy Army (after Simon and Kirby's Newsboy Legion, the kid gang that hung about with the original Guardian). Reading between the lines, the Newsboys are clearly another ill-fated team of seven who fail against The Sheeda when they attempt a full-frontal assault with only six members (like Vigilante's team in SEVEN SOLDIERS #0).
Plus, when you look and see how DC have decided to publish this series as collections: man, I'm glad I bought the singles.

MISTER MIRACLE #1, by Grant Morrison and Pasqual Ferry. See what I was saying about the innate Kirbyness of the SEVEN SOLDIERS mega-series? How much more explicit does it have to get? Even though I've enjoyed the attempts of others to whip something up featuring Kirby's New Gods (Levitz/Giffen's GREAT DARKNESS SAGA, Starlin/Mignola's COSMIC ODYSSEY, Simonson's ORION), I always knew that for somebody to really get it right, they'd have to understand the two unexpressed central tenets of Kirby's thought on the series. The first: the New Gods were always a metaphor for society today, rather than just a bunch of superheroes titting about in over-designed lycra. The second: why settle for one mad idea per page when you could have half a dozen? Now, given those two golden rules, who better to write a New Gods story than Grant bleedin' Morrison?
No-one, that's who.

100 BULLETS #64 by Brian Azzarello and Eduardo Risso.
Not sure what this issue means in the grand scheme of things. Sure looked good, though. As did the preview of Azz's new western LOVELESS. Looking forward to that one.

DEVIL DINOSAUR #1, by Eric Powell.
More Kirby Kast-Offs being reheated, this time for comic effect by the creator of THE GOON, Eric Powell. This whole "Marvel Monsters Group" stunt is just the sort of retro gag I can get behind, especially when it's done with such panache and by a dream team of creators (Powell, Niles, Fegredo, Giffen, Allred, Pander, Langridge et al). Plus, everyone should have known that the author of The Goon would give such great Hulk, let alone Hulk versus Devil Dinosaur. So stupid it's clever. Zen stupid.

MALLRATS remains my favourite film of Smith's, largely for Proustian reasons (beer, dope, and Jacko and me standing in a video rental place, "say, what did you call that movie yer man did after 'Clerks'?": and the rest is history). So, of course I was always going to buy this scriptbook. Nice packaging, too. These things count.

BACKISSUE! #12, edited by Michael Eury.
My quest goes on for the best fit for a comics magazine that suits me. Latest on the chopping block was this issue of yet another Twomorrows Publishing fanzine. Now, Twomorrows raised the bar for this sorta thing years ago with their JACK KIRBY COLLECTOR (man, am I on a Kirby high horse today, or what?), so yes, this is a suitably glossy publication. But I've been looking for a comics mag to latch on to for ages, something that'd give me as much pleasure as I got from FANTASY ADVERTISER, AMAZING HEROES or COMICS INTERVIEW as a kid. The COMICS JOURNAL remains just a little too up itself. LO FI is dumb as a house brick. COMIC BOOK ARTIST should really be called MIDDLE AGED COMIC BOOK READER. ALTER EGO is GERIATRIC COMIC BOOK READER. Everything else is a glorified trade mag. So there's definitely a hole in the market for a smart, mainstream but progressive comics mag. BACKISSUE! isn't really it, but it was better than a poke in the eye.
Now then Mr Eury, there's a back cover blurb for yer collected edition.

Sunday, October 16, 2005

I am a traitor to ROCK...

...because I've been thinking about buying an acoustic guitar. Not a good one, just something cheap and cheerful, like a Vintage V300. Of course, as soon as I started looking around, I see this Gibson Blues King, and start thinking, hmmm, that looks nice. I love an acoustic with a thin waist... 

Bollocks. Another Gibson is the last thing I could afford.

I blame the BBC and their damned Bob Dylan season. Feckers.

Friday, October 14, 2005

Death to Chewbacca!

It turns out Chewbacca the wookie is a stinkin' traitor AND MUST DIE!

Five of your Earth pence to the piece of villainous scum who brings me his head!

Thursday, October 13, 2005

new iPod

So, the fifth generation iPod, with video, a bigger screen, and in some cases, longer battery life.

Ah, the sweet melancholia of seeing your lovely new gadget becoming yesterday's news.

Wednesday, October 12, 2005

Bleedin' Austrians

You heard me! Now f*ck off back to Vienna with yer fancy pastries, and your contributions to extremist politics!


Tuesday, October 11, 2005

John Peel Day playlist

Ah, working late tomorrow, so no gigging: just putting together a few tracks on the iPod in honour of the great man.

No Teenage Kicks. Too obvious. Jimmy, Jimmy by The Undertones, instead. Followed by Promised Land by Johnnie Allan. Some The Fall - F'oldin' Money, Mr Pharmicist, Touch Sensitive, a couple of others. A bit of the Jesus and Mary Chain. Some White Stripes. A lot of Pixies. Cowboy by The John Spencer Blues Explosion. A couple by The Hellacopters.

That'll do.

Saturday, October 08, 2005

Northern Ireland 2 - Wales 3

Aah, well. It's not like we were ever going to win three in a row. Besides, when the local media starts expecting us to win, that's when I'm quickest to write us off. Still, it's a real indicator of how far Laurie Sanchez has taken this team, that when we go two-nil down, we actually fight back rather than roll over and take a hammering. 'Cus that's what we would have done a couple of years ago.

Friday, October 07, 2005

I Duncan Fegredo

Yet another episode in my unseemly series focusing on my man-crushes on comic book creative types.

Back in the day (as all posts of this nature should begin), in the mid-eighties, when we all thought comics were going to take over the world, I was a frequent purchaser of fanzines flogged in small ads in publications such as FANTASY ADVERTISER and ESCAPE, among others. I think it was in one of these that I first came across Fegredo's work. Or then again, maybe it wasn't a fanzine. Maybe it was a copy of HEARTBREAK HOTEL belonging to my old mate Bellboy. Anyhoo, it was somewhere in a British small press indie rag where I simultaneously came across the work of both Duncan Fegredo and D'Israeli. Both stood out head and shoulders above the rest of the talent in the mag. D'Israeli for his smooth-but-quirky ligne claire, and Fegredo for his frenetic, scratchy illustrative style. Back then, I'd guess that Bill Sienkiewicz was an imposing influence on the guy. This style developed further as I came across Fegredo's work in Fleetway's 2000AD spin-off CRISIS, filling in on both it's main strips. Painted art had taken over in the UK, and here was a guy clearly confident with the medium.

Like so many other members of this new wave of Brit creators at the time , DC swooped in to offer Fegredo work revamping an old (minor, unmissed) character (see also: Animal Man, Black Orchid, Shade The Changing Man, Sandman, et al), usually under the all-seeing eye of editor Karen Berger. Written by Grant Morrison, KID ETERNITY, however, failed to set the world alight (though I see DC are finally going ahead and collecting it as a trade paperback in a couple of months time). This turned out to be pretty much the last splash for Fegredo doing painted interiors (though his painted covers remain a regular occurrence to this day). The next time Fegredo's art graced the interiors of a comic book was during the inauguration of Berger's own imprint, her corner of the DC Universe now safely demarcated off as Vertigo. THE ENIGMA is still one of the most under-rated series of the post-WATCHMEN era: a stone cold, desert island, classic. It's the book I'll always produce when I want to establish Peter Milligan as the worthy equal of any other writer in his field. In the work, you can clearly see Fegredo's art evolve into the style we know and love: illustrative and realistic, but capable of expressionistic flourishes that are pure comic book. His work suffers none of the stilted tendencies of other comic realists. The changeover of his main media from paints to pen and ink meant that his work had changed from seeming part of a generation of iconoclasts like Sienkiewicz and Dave McKean, and instead evoked classic British influences like Baikie, Ridgeway, Ranson and Burns.

Fegredo went on to further establish a partnership with Milligan on more Vertigo projects, such as FACE and GIRL (both great, both worth tracking down). His work also popped up on other Vertigo projects, such as illustrating Milligan's fellow DEADLINE alumni, Nick Abadzis' charming, whacked-out, trans-sexual alien love story MILLENNIUM FEVER. A Fegredo credit in a Vertigo anthology meant I was sure to buy it, as would an occasional fill-in at the imprint (such as the great THE DREAMING #26, a cracking little stand-alone story, but a trend that continues to this day with his recent turn on THE BOOKS OF MAGIC: LIFE DURING WARTIME #6).

Fegredo's name would start popping up more and more as a cover artist for Dark Horse's big science fiction licenses. The guy clearly has a tremendous affection (hey, like everybody our generation) for STAR WARS, and produced some mouth watering pieces. Some of which are still for sale here. No, I can't afford them either. When Dark Horse editor Bob Schreck moved on, forming Oni Press, and publishing comics written by Kevin Smith set in his View Askewniverse, Fegredo produced some amazing work on the CHASING DOGMA books, a comic that bridges the movies CHASING AMY and DOGMA. The work was later cannibalized by Smith to pretty much provide the entire structure of the movie JAY AND SILENT BOB STRIKE BACK. So much so, Fegredo really deserved to be credited as the director of photography, or something of the sort, at least. Smith must have had a copy of that trade open every minute he was behind a camera shooting that thing. Meanwhile, Fegredo filled the comic with lots of visual references to Star Wars. I'd guess the guy's dream job would be as an imagineer or story boarder at Skywalker Ranch.

Of course, many Vertigo staffers made their merry way over to Marvel during recent years, and Fegredo's phone number was clearly in their rolodex. His work made Peter David's inane Fantastic Four prequel bearable, and his work on the daft/callous Marvels Comics: X-Men #1 with Mark Millar and Sean Phillips highlighted the similarities in career path and style between the two old friends (in fact, one of the reasons I admire Phillips' work so much is that, to a certain extent, he's the Duncan Fegredo who can pump out thirty pages a month). With the Quesada/Jemas era kicking off at marvel, and the poaching of Axel Alonso, Fegredo's name started to become a regular fixture in the Marvel solicitations. He partnered up again with Milligan for the rather charming Flowers For Rhino arc in TANGLED WEB, and for the last chapter in Pete's critical rebirth, X-FORCE (soon to become X-STATIX) #129. This busy period unfortunately appeared to crash and burn with the disaster that was the U-DECIDE forago. A bust-up in the online media between Peter David and the Quesada/Jemas camp led to a publishing stunt where all three debuted new series, with the winner supposed facing an unnamed humiliation at the San Diego comic convention. Quesada's bid was to allow a crony of his, Howard Stern sidekick Ron Zimmerman, write a series called ULTIMATE ADVENTURES. Zimmerman had already become a bete noir for the Marvel fan community, producing inferior Spider Man books, a ridiculous camped-up Rawhide Kid, and seemingly exercising undue influence over Quesada with the promise of mainstream media exposure, especially on Joe's beloved Howard Stern radio show. Allowing this seemingly unworthy writer to paddle in the unsullied water of the Ultimate Universe was the last straw for many Marvel zombies. The series stalled in the gate, many deadlines ended up missed, a proposed trade paperback was cancelled. A shame really, because it really wasn't anywhere near as bad as it could have been, hung quite well together as a whole, and featured Fegredo's note-perfect take on Bryan Hitch's The Ultimates designs.

So, anyway, enough he-lovin'. Go out and buy Fegredo's new comic book, MONSTERS ON THE PROWL. It looks gorgeous, Steve Niles writes a spot-on Ben Grimm, and if enough people buy it, maybe more editors will commission this great artist before he catches on and scarpers to a job that'll pay more, for considerably less heartache.

Wednesday, October 05, 2005

Got my hands on a copy of the PRAIRIE WIND DVD

... and it does exactly what it says on the tin: a bunch of guys sitting/standing about recording an album in the studio. It is all framed in split screen, with each musician sliding in and out of the grid to highlight his/her performance as the director sees fit.

As such, it's kinda like an episode of 24. Only starring some geriatric musicians. And with no gunfights or explosions.

Tuesday, October 04, 2005


So, the library bought me (well, not just me, but y'know what I mean) a copy of THE AUTHORITY: REVOLUTION by Ed Brubaker and Dustin Nguyen, and it got me thinking...

There seems to be a moment when an ongoing comic book stops innovating, furthering its own mythology, and starts recycling its own past. It has ended its creative phase, and enters another one as a franchise. Wotta stinkin' word, but it means a lot: the entity has changed hands from art to commerce. Instead of producing a new chapter in a novel, the creators are basically whipping up a little patty that has to resemble the last one exactly, to keep the existing fan base ticking along nicely. Because that's what franchises do. I don't go into Burger King expecting the head chef to get a little inspired and improvise from one Whopper to the next. I want to go into any Burger King in the world and get a Whopper that tastes exactly like the one in my home town.

This doesn't actual occur that often in comics, right in front of your eyes. These days, comics come, hang around a while, and go. Usually they get canceled pretty quick. Other times, they have a finite lifespan, so (like PREACHER, SANDMAN, or STARMAN) they get to be genuinely novelistic, with definitive beginnings, middles and ends. Few comics reach the stage where they can go: okay, we're safe. Maintain the status quo! Start treading water! The few times this has happened in comics, it has happened on my blind side. God only knows when it happened in the big, iconic titles like SUPERMAN and BATMAN, but one thing is for sure: it was long before I was born. In the FANTASTIC FOUR, depending on who you ask, it happened either just over halfway through the Stan Lee/Jack Kirby run, when Kirby realised just how much he had contributed to the series for not enough credit/reward. So, instead of creating anything new of any great import, his plots shifted to re-using elements he had already established. The other school of thought says that the last fifty or so issues of FF were too damn good for that to be entirely true, and the FF only really started to maintain its holding pattern when Kirby skipped town, replaced by lesser talents in thrall to his characters. Similarly, by the time Steve Ditko left SPIDER-MAN, all of the great rogues gallery were already in place, but some of the classic Spidey mythology was established in the John Romita era. That said, after around fifty issues or so of Spidey, the book does go into a holding pattern, a soap opera powered not by change, but the illusion of change.

I was, however, around to witness this happening to the X-MEN. Say whatchu want about the current fragile mental state of John Byrne, but after he left the book (#143 if memory serves), it becomes pretty much a "greatest hits" compilation of tropes, themes and characters introduced in the previous fifty issues by Chris Claremont, Dave Cockrum and Byrne. A trend that continues to this day, with even a great run By Grant Morrison being referred to as a "remix" (or as a meta-textual comment by Morrison on Claremont's work: either way, it's a case of pop will eat itself).

So, fifty issues and yer out. This would seem to be as far as a hit comic can go before it starts to repeat itself for the sake of not wanting to take risks. That must mean that THE AUTHORITY's descent into becoming a franchise comic sets a new record. Twelve issues for Warren Ellis and Bryan Hitch to set the tone. Twelve issues for Mark Millar and Frank Quitely to subvert it. And then what? Rehashes by lesser talents (no names, but they know who they are). Piss-takes by old stagers with no great feeling for the characters (Garth Ennis, Keith Giffen, Alan Grant).
And then, what next for the comic that came to define its era, and then fell so quickly from grace with its own publisher? To save it, it was given to Wildstorm's safest pair of hands, SLEEPER's Ed Brubaker. I'm a big fan of Bru's. I reckon he's everything Bendis is hyped to be but isn't really (the similarities are striking: both small-time indie crime comic writer/artists, turned mainstream writers, turned "saviours of super hero comics"). SLEEPER was the deepest, darkest noir ever in super hero comics, and offered a new take on a tired genre that seemed to offer a life saving olive branch for the increasingly moribund Wildstorm impint. So, when given what has become its signature title, what would he come up with? Um, a rehashing of the past, unfortunately. A villain from Warren Ellis's origin of these characters. A plot structure from Millar's tenure. Some flashy SF trappings from the Ellis' era. A shot of Millar's trademark sadism. An "Authority versus a team of super hero analogues" battle straight outta Millar's playbook (this time, it's versus a team of golden age analogues, a little bit FREEDOM FIGHTERS, a little bit ALL-STAR SQUADRON). Nothing that stands out as definitively Brubaker in the mix. Even the sex and cursing seems... forced.

So, say something nice, Mark...
... I liked the art. Kinda like early Mignola by way of the Gaijin Studios crew.

That is all. Move along.

Monday, October 03, 2005


...by Ryan Adams & The Cardinals. It isn't a patch on COLD ROSES. In fact, it sounds like a bunch of tracks that could've been left off their superior group debut. They're still a great sounding unit, but Adam's much vaunted prolific song writing output lets them down badly this time. In fact, it's a bad state of affairs when the best tune on the collection is a cover of the old Willie Nelson/Elvis Presley/pick a random club singer classic Always On My Mind.

This is part two of an alleged trilogy of albums Adams intends to release this year, though time is running rather short if he intends to release another in 2005. COLD ROSES was packaged and spun as being a Grateful Dead/CSNY kinda deal, this one physically looks like an early seventies Buck Owen sorta record, with more of a honky tonk, Bakersfield, songwriting tone. Starting to wonder what the third one's going to look and sound like.

Sunday, October 02, 2005

FIREFLY marathon

So, to celebrate the release of the movie SERENITY, the SciFi channel thoughtfully showed the complete series of FIREFLY over the last couple of days, which allowed me to patch the holes in my viewing of the series. And gave me a hankering to see the spin-off movie. Mission accomplished then, I suppose.

I'm an easy mark for shipboard SF TV anyway, but this was perhaps my favourite of recent years (alongside muppets-in-space epic FARSCAPE - I can't be the only one who thinks that Ben Browder and Claudia Black both turning up in that gawdawful STARGATE tv show is like waking up in some terrible dimension where John Lennon and Paul McCartney joined Gerry And The Pacemakers after The Beatles split).

For non-fans, FIREFLY is easily summed up as "THE OUTLAW JOSIE WALES in space". And anyone who disagrees with that tagline is an idiot.
Actually, they should use that on the posters for SERENITY. That'd be bitchin'.

Saturday, October 01, 2005

BBC's Dylan mini-fest ended...

...tonight with BBC 2 showing MASKED AND ANONYMOUS which, surprise surprise, turned out to be shit. But, at least it was ambitious, Fellini-esque, smart shit, with some nice musical performances hidden in the dirt.

Other than the great NO DIRECTION HOME, my favourites of the season were the documentary DYLAN IN THE MADHOUSE and the TALKING BOB DYLAN BLUES which was just the sort of "star studded tribute" I'm so fond of (hating). Good work, Auntie Beeb. Oh, and good luck bringing down those greasy shits in New Labour!