I don’t often watch horror movies – unless it’s October. Perhaps it has something to do with the season or Halloween lurking around the corner. Whatever the case, during October I enjoy nothing more than devouring spooky movies of all kinds—psychological thrillers, slasher films, campy B movies, etc.
This year I rewatched four movies based on Stephen King books—Misery, It (the original one), The Mist, and Chambre1408—and started Carrie, which I had never seen before.
VANCOUVER – Cold Virginia sunshine cuts across Tom Breihan’s face as he answers my FaceTime call. He’s seated at a desk in his home office, where I picture his long frame hunched over the laptop, reviewing and reporting on the most popular songs of years past, and just about everything else, too (his recurring Stereogum column, The Number Ones, recently turned five; it’s a 10). Like yours truly, Tom exists as a musical omnivore, equally as likely to subsist of Jay-Z and boygenius as he is Rancid or The Pogues (R.
I had zero interest in going to see the new Barbie movie. Just like I missed out on the phenomenon that was the Titanic movie in 1997 (seriously, I’ve never watched it), I was happy to let Barbie and all of its hot pink marketing pass me by. My girlfriends insisted I go, and I am not mad that I saw it. I am a Communications, Culture and Media Studies scholar, so I felt like if nothing else I can think about what the movie says about society and feminism.
There’s quite a market in writers writing about their father’s passing. I had a proper go at it myself. And it helped so much that I thought I’d dealt with the myriad of issues surrounding my Father’s death. But when I re-read comedian Steve Martin’s 2007 piece
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It was forty years ago this week that Stevie Wonder, along with a group of musicians and politicians, stood on the same area of the Capitol building that was recently overrun by Trump supporters, to argue for Dr. Martin Luther King’s birthday to be declared a national holiday. In 1981 the multi-talented singer-songwriter-musician-producer was coming off one of the greatest runs of creative and commercial success in history. Albums like ‘Talking Book,’ ‘Innervisions,’ ‘Songs in the Key of Life’ and ‘Hotter Than July’ had made Wonder pop musics leading figure.
Happy Thursday! This issue of Animation Obsessive is about the early years of online animation, and the pioneering Xiao Xiao (2000–2002).
Although Xiao Xiao isn’t famous anymore, it’s stuck in the memories of many. This violent action series about stick figures was a landmark for Flash animation. It was simple, utterly of its time and copied to infinity.
The story behind this series isn’t well known. Still, it’s an important one that sheds light on the history of animators online, and on how the modern indie animator came to be.
The May 2024 issue of Pro Wrestling Illustrated hits newsstands next week. In it, I had the privilege of interviewing Sting, who will be wrestling his final match on March 3 at AEW’s Revolution pay per view. Due to the nature of print magazines, not everything I spoke to Sting about made it into the pages of PWI, but thanks to the magic of e-mail newsletters, I’m able to share a couple of additional tidbits from the interview, namely an evolution of the Sting character that was pitched to Tony Khan, as well as what the future may (or may not) hold for The Icon in AEW after Revolution.
Greetings everybody,
Today I want to talk about a technology that has had a massive impact on the sewing machine landscape: the stitch regulator.
When you sew a straight stitch, the presser foot holds the fabric down against the gripped feed teeth (AKA feed dogs). The needle goes down, penetrates the fabric, and then travels below the needle plate where it does the dance with the hook and bobbin thread. Then the needle journeys upward, up out of the fabric and the needle plate, and rises above the fabric.
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