Lollapalooza 1991

I would say Lollapalooza seems safely back as one of the premier music festivals, seemingly leaving ACL Fest (at least this year) pretty far in the dust.

When I was 16, my parents gave me a strange taste of freedom. It was not the usual for Karebear and The Admiral to hear out a plan, and just agree to it. But it was also an unspoken indicator that my folks recognized Jason and I were now older (he'd just graduated high school, so perhaps no big a deal to him after living on his own for a year as he wrapped high school in Austin while the rest of us had zipped off to Spring), but somehow I landed permission to attend that first tour of Lollapalooza, back in 1991.

This was, for our younger readers, before Nirvana and Pearl Jam and that awkwardly affixed title of "alternative music". The show was at the then-titled "Dallas StarPlex Amphitheater", and I think we attended the show they scheduled after the first show sold out (but which wound up scheduled for the previous night). Which means the line-up that's listed on Wikipedia isn't actually the line-up I saw in 1991.

They have:
Jane's Addiction, Siouxsie & the Banshees, Living Colour, Nine Inch Nails, Ice-T & Body Count, Butthole Surfers, Rollins Band, Violent Femmes, Emergency Broadcast Network

I saw:
Jane's Addiction, Siouxsie & the Banshees, Living Colour, Ice-T & Body Count, Fishbone, Butthole Surfers and Rollins Band.

Jason is going to need to correct me if I'm wrong about that line-up. I mostly recall that the sun was very high in the sky to have to come face-to-face with the Rollins Band, which I'd never heard of at the time. And we thought Butthole Surfers were just great, but probably needed rehab.

Mostly, I remember the first roadtrip. For some reason we'd included a friend of Jason's from Austin, so our travel was a jump from Spring to N. Austin, to Dallas. Which, despite the breakneck speed of Jason's champagne colored '84 Camaro, was a lot of miles. Especially when we had a moment of panic, realizing that our directions to crash at Cousin Sue's house were coming in on I-45 from Houston, not I-35 from Austin.

So, sometime before it got too dark, we picked out a two lane farm road on a map to make the jump from I-35 to I-45, adding on more time to our drive, but getting lost in Dallas in the dark seemed even diceyer. Keep in mind, this is all pre-cellphone. And I have this memory of us driving west-to-east down this two lane road between corn stalks and wheat and sorghum an hour or so before dark, driving just way too fast, and probably doing exactly what Karebear was hoping we wouldn't do, playing freeway tag with two cars with the sun coming in over the head of the crops in this lovely amber light.

Anyhow, Sue let us crash on her wood floors in urban Dallas.

Lollapalooza itself was never the same after that first year. After the first year, when it got all the good (and well deserved press) in SPIN, Rolling Stone and the MTV, the festival which had been one stage with regular beer concession and a few tents selling art and hemp bags and whatnot turned into a corporate sponsored alternative event. Any of the feeling of "we're gonna do this ourselves, because it sounds like a good idea" was gone. And looking back, it seems so very strange that the press was initially skeptical of this "festival" idea. And that Perry Ferrel (a man prone to believe his own BS) had given it this whimsical nonsense name that in itself somehow stewed up controversy. Within two years, the "Palooza" suffix would be universally attached to any event, but at the time...

The next year Houston had its own stop on the tour, and the thing had quadrupled in size, along with creating a traffic nightmare that lasted hours (I missed Lush and part of Pearl Jam). And while I enjoyed it, partially because my group of friends ballooned from 4 of us in total to two cars full of people, you could see the places where the MTV's and Budweisers were getting their hooks in.

Another year later, and the conversion was mostly complete. The term"'Alternative Music" had been coined, thanks to the press's inability to categorize Soundgarden and Alice in Chains, and the Sorority Girls had started showing up to see Arrested Development.

By '95 I'd lost interest in the bands they were putting in the line-up, and I'm not sure Perry Ferrell was involved anymore. But the point is: I didn't show up. Mostly, honestly, because I was so poor that summer, that I made the decision to make money instead of spend it.

And by 96', despite the fact the Ramones were going to be included, the thought of Metallica fronting a music fest that had been inititally set up for overlooked and somewhat underground acts seemed preposterous. It was moving towads the "Monsters of Rock", and I just wasn't interested. And I could see the Ramones any time. They weren't going anywhere any time soon...

Although, looking at he '97 line-up, one can only wonder about the ephemeral nature of rock stardom. One day you're Orbital and almost unknown, next you're pretty much headlining Lollapalooza. By 2001, you're forgotten.

And yet Goo Goo Dolls and Blink 182 are still around. There's no @#$%ing justice, I tell you.

But I guess my point is: It's tough to share what it was like to be at the StarPlex on that balmy day in 1991. Being the second show, it hadn't sold out, and so while there were a lot of tickets sold and folks there, it wasn't the crushing thing that Lollapalooza became. It was just a few thousand people. And like all good, fun things, it wasn't something everyone knew about. Not yet.

And certainly before marketing agencies had pegged the audience for non-Top 40 music as a demographic to be marketed to (we'd have the rest of the 90's to suffer through before they finally figured out how to reach that audience with Hot Topic and Suicide Girl chic). And I think for a lot of the kids like me from our bedroom communities, and the kids who were the ones who got beat up living in Hogstick, Texas for their refusal to sport a mullet... it was a revelation to see you and the four pals you hung out with weren't the only ones who liked this album or that band. That, though "Color Me Badd", Amy Grant and "C+C Music Factory" were burning up the charts, if there were enough folks into the same thing, this could be a good thing, even if you had to jump cities to see a show.

Mostly, I remember an odd bit of crying when the last band left the stage and those harsh flood lights were turned on the audience and the Star Plex had to beg people to leave. Who knows? Those crazy kids were probably just having a teen angsty moment, but I can read into it what I want.

I'm old and decrepit, and I probably know less about what the kids are listening to than other folks my age. I'm routinely baffled by the popularity of bands like "My Chemical Romance", forgetting that this is some 15 year-old kid's first time. And that my bands were, no doubt, just as ridiculous to some 30 year-old at the time. And I'm now more than twice as old as I was when we hit the road that summer morning to head out for our three city tour.

And I'm a lot more at ease these days with sponsorship deals, and how you fund a festival like Lollapalooza 2008. And I'd probably feel worse for these kids, not seeing this stuff untouched, but I'm pretty sure that clubs haven't changed that much, and even the kids in Hogstick, Texas are going to wind up in a city as soon as they graduate. And they'll wind up at some bar not too different from where I was trying to get into (if they hadn't closed Liberty Lunch).

It was just fun to be there that first summer.

Contest for NBC's "Heroes"

Hey, Leaguers!

I've watched some "Heroes", but I know Jamie has watched the whole series (to this point). And I know a bunch of you guys are nuts for The Heroes television program.

I was contacted by BJ at M80 marketing, and I thought this was actually pretty cool.

Apparently, there's a contest going on, sponsored by Sprint. Here's some language:

In November 2007, Sprint & the NBC television show Heroes partnered on the “Create Your Hero” contest, putting viewers in control of creating the next Hero from scratch. Over 4 weeks, viewers were able to choose the specific attributes that make up a “Hero” (with a unique question each week exclusive for Sprint users only).

As the third season of “Heroes” approaches, Sprint & the creators of the show compiled all the attributes based on America’s answers, creating two new potential “Heroes.” Now it is time to vote! Will it be Audrey, or will it be Santiago? The winning character will appear as the subject of a brand new Live Action web series written by the creators of Heroes, debuting around the November sweeps week.

As part of our partnership with Heroes, “Create Your Hero” will be live at the NBC booth at Comi-con promoting the voting for phase II of “Create Your Hero” with giveaways and exclusive comic books with an illustration by the late Michael Turner.

Here's a link to vote: LINK



And here's some info on that Michael Turner comic:

Heroes the comic book, illustrated by the late Michael Turner is an exclusive comic for the 2008 San Diego Comic Con. The comic includes 4 stories that reveal more about the Heroes Universe. The stories focus on the back stories of Mohinder Suresh, Echo De Mille (the main character of the new Heroes webisode series), and Adam Monroe (Takezo Kensei).

Superman and the Legion of Super-Heroes

I was planning to really hit you guys over the head with a review of the Trade Paperback release of Geoff Johns' recent run on Action Comics.

But I just read BeaucoupKevin's review, and its spot on. Comic readers should be reading BeaucoupKevin, anyway.

I may review this myself, anyway. But, here's a first shot.

Tron 2 Apparently a Reality (TR2N)

Back around 2000, there were a lot of rumors about a sequel to Tron. I believe it eventually boiled down to an updated Tron videogame, and that was about it.

I'm not a drooling Tron fan, but I do own a Collector's Edition on DVD. Well worth seeing, especially for the mind-blowing effort that went into the movie.

Last night Steven mentioned to me something about some very authentic looking Tron 2 footage. Having monitored ComicCon pretty closely online, I was surprised I'd missed it, but, hey... I'm a comic nerd, not the Oracle.

Anyhoo... I'm linking to several sites with illegally captured video that was shown at ComicCon in case any get pulled, which I don't think will happen.

It's my theory that despite the NDA they were trying to enforce regarding no footage being leaked, or even descriptions... they knew footage would get out (this is ComicCon, for the love of mike). And they knew that this is how you work a viral campaign. Camera-phone, shaky footage from a top-secret panel at ComicCon is how you start. And, in fact, they may have placed the footage themselves. I'll believe anything when it comes to marketing.

Whatever. I'll be their pawn in their little viral campaign. Why? Because TR2N looks totally rad.

Here. Here. Here. Here.

And embedded:


TR2N. Awesome.

The League considers movies

Me am smrt 2! Me like Hulk movie!

Have you seen this new ad for "Brideshead Revisited?"

The one that says "The movie intelligent filmgoers have waited for all year!" by Rex Reed.

Wow. Isn't that kind of an insult to anyone who enjoyed any other movie this year? I mean, its one thing for Reed to make the statement (and he did like the movie), but isn't this a weird way to appeal to a mass audience on TV?

I'm not even disputing that the movie is good, or that Reed isn't right. But how many stories of Victorian-style class issues am I supposed to sit through, watching a middle-aged, respectable actress do her passive-aggressive thing over tea while our Pip stand in sits there and squirms?

I read "Great Expectations". I get it. You can't crack the upper class in Britain, and you don't want to, because Victorian stuffiness rots you from inside. Got it. Thanks.

I mostly just don't really think that it makes me a genius for going and seeing yet another Merchant-Ivory knock-off with lovely period outfits.

You know, I kinda sorta thought this would be a good one to go do for a matinee sometime next week, but I don't now if I really want to see a movie when the marketing team decided to suggest was my only intelligent choice this year.


Step Brothers

Which is why I went to go see the new John C. Reilly/ Will Ferrell movie, Step Brothers.

Which, is NOT going to be for everybody. Or most anybody. It's dumb and juvenile, and it made me want to buy a Wookie mask. And maybe hit a little close to home sometimes... But I don't think you can go wrong seeing a movie that makes you laugh until you get those little tears coming up. Mostly because what you're seeing on screen is so very, very wrong.

Step Brothers is part of the Apatow collective's steady stream of comedies (I am looking forward to "Pineapple Express"), and having others playing along certainly helps Ferrell. I liked the man in "Semi-Pro" and "Blades of Glory", but I felt like he was doing it all himself. In an Apatow movie, everybody gets to play. It's not the Robin Williams comedies of the 80's where a coked-up Williams was wound up and set loose on the squares. Part of the comedy comes from everyone's participation.

I think Mary Steenburgen is a lovely woman and fine actress, but she's never made me laugh before this movie. Not that I can recall. And the whole cast pitches in. Especially Kathryn Hahn, who plays Ferrell's sister-in-law.

Anyhoo, I was slightly appalled that a ticket this summer at Westgate is now $9.00, so that seemed a little steep, but I think its definitely worth a matinee, or rental.

Doesn't live up to the hype

The other day I took a gamble and DVR'd a movie off cable. "They Came from Beyond Space". Here's the description: Caped spacemen need slaves on the moon; a physicist and his girlfriend deal with them.

What isn't awesome about that?

Well, pretty much everything. And the caped aliens aren't really wearing capes, its more like neon colored robes. And they don't even show up until the last five minutes. And then they're represented by this old British character actor who really could have done without all the cigarettes and tea, if the color of his teeth is any indication.

I gotta say, when you're thinking of watching 1967 Brit Sci-Fi epic "They Came From Beyond Space", you might want to just skip it and save yourself the trouble.

Watching "Watchmen"

I'm a bit stunned by the popularity of the Watchmen trailer that's tied to Dark Knight. It seems there are two distinct audiences for Watchmen, the comic geeks and the general public. But upon further review and from observation, it looks like there's the general public, comic geeks who've read Watchmen, and then comic geeks who have somehow managed NOT to read Watchmen.

My assumption, when it came to Watchmen, was that after two decades in print, isn't it likely that Watchmen will have saturated the market of potential buyers?

The other day I popped into Austin Books and it seems that the demand for the book is extremely high. This is a comic that is 22 years old, that's never been out of print for any serious duration, and which is one of the usual perennial favorites on the shelf of bookstores and comic shops alike. Add in multiple years of Watchmen making "best of" lists for both comics and regular old books, and I'm sort of amazed that the interest in the trailer is high enough to push the kinds of sales we're seeing. Watchmen was #6 (NUMBER 6!) on the Amazon books lists when I just checked sales rankings.

That said, Austin shoppers will want to hit Austin Books rather than Amazon for their Watchmen/ Dark Knight needs. There's a display at the counter, I believe, and plenty of copies.

Brad pointed out some figures to me on the audience for the comic thus far, versus the millions of eyeballs that have seen The Dark Knight, and thus the Watchmen trailer. The numbers are simply exponentially larger. But its still curious. I don't think the original novel of "I am Legend" sold through the roof despite the millions who saw the recent Will Smith adaptation.


Buy our book

Part of me is a bit disappointed with the masses of comic readers who've been raised on a generation of manga and graphitti style art, and who didn't see enough enormous eyes, mecha, boobs or guns or bloody swords enough, page per page, to get them to crack the comic before. So if it takes a movie trailer to get them to understand the significance of uttering "Hurm" under your breath... so be it. But, hey, hopefully this will be enough to convince them to give the comic a shot.

Its also apparently sold out at the printer or distributor for the time being, but DC is printing 200,000 more copies (thanks to Simon for that info), so that's a lot of copies of Watchmen that could move by Christmas.

Part of my joy in this whole illogical exuberance over a movie trailer is that it will give so many readers a chance to say "The book was better than the movie". And to sample the material before the movie ever hits (Miller's "300" had a bubble after the movie was released, but it was AFTER, not several months before). I'm not saying the movie won't be good or great, but with so few people ever really turning to the source material after watching a comic-book inspired movie, and taking the movie as cannon, its a novel opportunity. If not for comics, DC, etc... than for readers to discover Alan Moore (as copies of his "Killing Joke", the classic Batman/ Joker one-shot, have also been selling like hot cakes, 20+ years later).

If I can be allowed a bit of an aside here: This is the perfect opportunity for DC to attempt to make amends with Alan Moore. He's simply too important to DC and Warner Bros. at this point to allow a silly dispute over his work to continue. Clearly DC doesn't need to have Moore on board to exploit his material, from "V for Vendetta" to "Watchmen", but moving forward, it couldn't hurt DC and Moore to be on friendlier terms, and at least establishing a first-look relationship between themselves and Moore. I believe that right now, that's how he's working with Top Shelf, and maybe that's a good home for him (I doubt DC would have published "Lost Girls"). But old family squabbles need to be resolved at some point.

The comic movies don't seem to be simply finally exploiting some of the material that saw the superhero genre move from kid's entertainment in the 80's to entertainment for older readers, but that the movie industry may see with The Dark Knight and Watchmen as the turning point for the possibilities for superheroics that comics have seen since the 1980's.

Let's just hope that the movies don't have to suffer through the same post DKR-hangover/ chromium age/ extreme make-over that the comics had to suffer through. Watchmen and DKR succeeded for a reason, and it wasn't because blood + guts + boobs = entertainment for older readers.

get your vote on