Brands use your birthday as an excuse to tell you they exist.
Even if someone makes something terrible—like the music the Insane Clown Posse makes—at least they’re doing something that speaks to them. And they kept going even though people told them it was terrible. And they found their audience, and now they built a community around their work. Look, you couldn’t pay me to listen to their music, but I still feel like I have more in common with the Insane Clown Posse than I do with someone who just sits on the sidelines and shits on other people’s work and who never puts themselves on the line.
They tend to look at [her] like she’s food, which she ignores.
Tyler Durden does not exist to embolden the men of his generation as much as to chastise them. These are a group of whiny, boring, nobodies, looking for someone to blame for the manner in which society has failed them, and Tyler’s prophecies become a way for them to blame society as a whole. Never do they truly look inward, and are instead content to rally against IKEA for feminizing their lifestyles, rather than doing any self-actualization. It’s violence over thought, as they embrace the “fascistic” new world order Tyler calls for, barely realizing that they are just becoming a part of another homogenized collective.
Megan Ganz on “spit drafts”
[Community] creator, Dan Harmon, had us write these things called ‘spit drafts,’ which is basically an outline for your script. It’s the shape of that script. You write out the script scene by scene with dummy dialogue that you’ll later replace with actual jokes. For instance, the character of Jeff walks into the room, and Jeff says, ‘Here’s the point where I say that we should all go get a sandwich.’ And then the character of Annie will say, ‘I don’t want to do that.’ And then another character will say, ‘I have a joke here.’ You can have them do whatever you want, but you just have to get through the scene and have all of what needs to happen in that scene baldly stated.
If you can’t get through a script that way, then chances are your story doesn’t work. If you’re stuck and you feel like you have writer’s block, this is a really helpful method because it distinguishes between, ‘Okay, do you have story problems or are you having a hard time writing the dialogue?’ Also, when you write really quickly, you end up writing really good jokes anyway; it’s almost as if you trick your brain into thinking that it doesn’t matter.”
— Community writer Megan Ganz in a footnote, a goddamn footnote, in Mike Sacks’s comedy writing book Poking a Dead Frog.
The point of publishing is to make something public. You publish a book because you want to connect with an audience. If all you wanted to do was write, you would write in a journal and keep it in your nightstand.
I’m totally going to miss these chaps… :(
If you want them to adorn your wall, you can! (prints here)
The frustratingly distant nickdouglas turned me on to this show and I’ve been stealing listens to bits of it from YouTube for two days now. Radio shows! In this millenium!
I highly recommend you all buy Cabin Pressure’s first season ($9 on iTunes) or the first three seasons ($25 on Amazon). It’s the Cheers of radio sitcoms. Or maybe the Fawlty Towers but I haven’t watched that yet.
You know how you sing yourself songs with new, personally tailored lyrics?
Like how Choire Sicha sings to his cats, "I’m looking at that cat in the mirror. I’m asking cats to change their ways." Or how my uncle used to sing “Everybody’s haaap-pyyy” over the Curb Your Enthusiasm theme song.
Well do any of you have one or two songs that usually serve as the melody for multiple lyrics? Any particularly flexible tunes you’d recommend?
Because for a few years now, I’ve been singing things to Rachel with the tune from “Springtime for Hitler” and it’s starting to feel creepy.