(Reblogged from iainjcoleman)


Watching The Happiness Patrol, an old Doctor Who story from 1988, reminded me how flux-y and quarrelsome that year and that time felt - to a kid like me, 15, new to music fandom, believing - and thrilled to believe - that to love music meant to take up arms in battles about music, to be always taking sides. What was the question I was being taught - each week when I picked up the NME - to fight over? It was the usual question: who do we take to be real?

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Anne Murray - “Who’s Leaving Who?” (1986) - Awesome chunk of Flashdance-style world-of-steel-world-of-stone skyscraper-roof-garden tungsten-drums pop. Later (more famously in the UK) done by Hazell Dean as a hi-NRG number.


alice and martin provensen: aesop’s fables 1965

The businessman in his suit and tie.

(Reblogged from dubdobdee)

Die, Clawdius

So I read Death Of Wolverine 1-4 by Charles Soule and Steve McNiven. (SPOILERS: Wolverine dies!) (You have to do that joke.) (There are actual spoilers in this post tho) It had two jobs, and did one of them exactly as fans - I’m guessing - might hope, and one maybe not.

The expected one was to do a Wolverine Greatest Hits EP - lone Canadian wild man; Madripoor hustler; Samurai; military experiment. Noticeably these are all solo Wolverine hits, none of the stuff he did with his band gets in. It’s a determined recap and tying off of the barnacled mythology around Wolverine the series-carrying star, which has the effect of reminding you that a) there aren’t THAT many kinds of Wolverine story, b) the kinds there are are all quite different from one another and c) none of them have ever really fixed themselves as the dominant type of solo Wolverine story. Wolverine is a tough guy you pour genre into.

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Marsh-Wiggles Of The World Unite

Reading the Narnia books to my kids there’s a lot more on-the-fly editing for reactionary nonsense and casual sexism than for removal of Christian propaganda, because I follow the general line that as a tool of religious indoctrination the books are a failure, whereas as children’s fantasies that get hooks into your head they are remarkably good. And Aslan makes a better fallible adult (beloved, well-meaning, often a dickhead) than he does a Lion Jesus.

The Silver Chair was my first and ever favourite of the books as a child, so it lived in my mind as a series of magnificent setpiece scenes: the gate - the cliff - the owls - the giants - UNDER ME - Old Father Time - and so on. And I’d got the impression that in this book the religious analogues were fairly minimal. Idiot me! Because I realised reading tonight that the climax of the book has probably the single most stirringly and effective “Christian” scene in the entire series.

It’s the scene where the evil Queen of Underland attempts to enchant our heroes into disbelieving in Narnia, Aslan et al by drugging them and controlling their minds via Socratic dialogue (hahaha what is a SUN etc.)* And it ends with supporting character Puddleglum breaking the spell by his awesome speech making the argument that even if the Queen is right and Narnia (i.e. Christianity) can’t be proved and is completely made-up, then SO WHAT because Narnia is AWESOME and the real world TOTALLY SUCKS. It’s a terrific, angry, speech and I loved reading it aloud. “I was bored before I even began”, finishes the Narnian Morrissey. (I paraphrase,)

It’s a poetic statement of faith over reason, and I love it, but of course it also sums up my entire problem with Narnia as a ‘Christian series’ (i.e. the entire reason I still like it) - Puddleglum’s argument applies precisely as much to the relationship between the Narnia books and Real Actual Christianity (of the kind a small child is likely to encounter) as it does to the relationshp between Real Actual Christianiy and Boring Old Empiricism. The Witch’s argument is - own up, you just made up the sun because you saw this real lamp and wanted to invent a more awesome one. In your face, witch, says Puddleglum, our invented one is better. But this argument takes place in the context of a set of books which is taking Jesus and reinventing him as a super-powered lion. No wonder there’s so much earlier stuff along the lines of “you will come to know me in your world** by another (MORE BORING) name” - now you come to mention it that lamp is pretty neat, IKEA was it?

(Lewis might have replied that Christianity is still the sun because its stories are far richer, more profound and more satisfying than a bunch of  children’s books. But if he actually thought that he shouldn’t have included maenads and talking mice.)

*it’s effectively done and reminds me very much of the MANY mind control scenes in X-Men: I bet little Chris Claremont read this book.

**”…though good luck with that because you’re going to die in a train crash next year, sorry folks” - Aslan is forever a cock,

(Reblogged from kierongillen)