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I'll keep this short, so as to waste less of my life on this execrable album.
Reviewers such as Pitchfork have praised this album for it's 'creativeness'. Apparently creativeness involves:
1. Minimalistic instrumentation
2. Apparent absence of anything that could be described as a melody
3. Horrid singing in which the artist tries to show off her protean 'range'.
That's three strikes. Lest you doubt the album deserves this abuse, give it a listen. Even the new Regina Spektor album is better. Yes that's right, REGINA F'IN SPEKTOR.
There's no question this is a good novel by a great novelist. There is a question, however, as to what it's about.
To me it seems to be a(n) (extremely) subtle condemnation of the Iraq war, and the intellectual dishonesty which was involved in precipitating it. But really who can say? The prose is excellent, and the novel can be read in an afternoon. If you're a `Da Vinci Code' fanatic steer clear of this book. If you're a `The Mezzanine' fanatic...your attention span is too long for your own good.
It's almost ludicrous to claim this book is updated. I read the older version (published around 1997) because it was the only one that was available at my University library. I thought it would be perfect as research for an essay I was planning on writing, so I ordered the updated 2007 version assuming it would be essentially the same format but with updated statistics and information. Anyway long story short I had the unpleasant experience of being reminded that 'assume' makes and a** out of u and me. The 2007 version had hardly been updated. Save for a few new chapters it is almost exactly the same. The author still cites the exact same studies from the late 1980s and early 90s, some with extremely small sample sizes, as if these are still relevant, as well as providing a plethora of old statistics that ceased to be of any use 6 or 7 years ago (unless you happen to be a historian).
In short this book can hardly be called a scholarly achievement. It's fine if you want a brief overview of the history and economic functioning of the pharmaceutical industry, without getting too hung up on whether the information is up-to-date, but if you want to use it to aid in writing an essay on microeconomics it will probably be a waste of your time and money. The author obviously did not put enough effort updating his book.
Another thing people might have a problem with is that the author tends to side with the pharmaceutical industry on most issues (ie pharmaceutical price controls are detrimental, the drug approval process is too strict etc.). I don't in principle have any problem with advocating free market solutions to economic problems, but some may be irked by the one-sided presentation.
With it being so difficult to find good music of any flavour these days, almost everything worthy of listening seems to be stumbled upon by accident. I was flipping around the TV dial and found Escape From New York on Space or some other channel. The movie didn't blow my socks off, or any other article of clothing for that matter, but I kept watching almost entirely for the music. I cannot believe that one man, John Carpenter apparently, composed the music for, directed, and wrote that entire film. No question the movie is above average, but the soundtrack is incredible. Tunes with non-descript names like 'At the Library' are nice little synth based arrangements, while The Duke Arrives and President at the Train are diamonds by today's standards. The songs are structurally and melodically simple, but they evoke an ambience of post-apocalyptic anarchy. That or the sense that you're sitting in an ultra-hip 80s themed nightclub. In any case, hats off to John Carpenter, these songs kick....Read more
The characterization in this book is admirable, but it flounders in the plot and narrative departments. Much time is spent in pondering ontological and deterministic questions, as well as explaining in great detail the intricacies of glove-making. Roth dwells on the emotional inner torment of his characters to an almost maudlin degree.
It's not a terrible book by any stretch, but I have a difficult time believing there was none better in 1998, and it certainly isn't among his strongest. Anyone disappointed by this novel should try Ghost Writer, which is more compact and substantial, without so much self-indulgence in suburban philosophy. Roth is still a great writer here, it simply feels as if he begins coasting near the halfway point, and the book floats on from there to its stultifying conclusion.
I'm not sure what all the griping is about here. Do critics not understand the concept of science fiction? Science fiction: a broad genre of fiction that often involves speculations based on current or future science or technology. Get that Entertainment Weekly? It's not supposed to be realistic. I've had it about up to my a** with these paint-chip eating movie critics who grouse to the edge of galactic hell space about bad scripts and lack of originality. Three zombies are about to jump you and eat you alive, what are you supposed to say?
"O that this too too sullied flesh would melt, Thaw, and resolve itself into a dew!"
No, more likely it will be "Son of a B." or "F me, these zombies are really hungry." Apologies to all you haughty gas-inhaling elitists who deride every sci-fi film if it is not a Brothers Karamazov parable set in the future. Sometimes a biotechnology corporation, let's say a company called Umbrella Corp., takes things just a little bit too far and unfortunately we end up with a zombie apocalypse. These things happen. Then a group of people - not necessarily thespians of Shakespearean cogency, mind you - get some guns together and form a little brigade that marauders about killing zombies in a search of an antigen that will save the rest of humanity. And sometimes they will come upon a big box in the middle of the desert, that for no apparent reason happens to be filled with zombies. Oh the humanity. Let us all now go bathe, lest our sullied flesh melt after bearing witness to this squalid spectacle, meant so unmistakenly only for the coarse, unwashed masses, who cannot discern TRUE art from a grimy simulacrum of it. Such is the onerous existence of a film critic.
With it being so difficult to find good music of any flavour these days, almost everything worthy of listening to I seem to stumble upon by accident. I was flipping around the TV dial and found Escape From New York on Space or some other channel. The movie didn't blow my socks off, or any other article of clothing for that matter, but I kept watching almost entirely for the music. I cannot believe that one man, John Carpenter apparently, composed the music for, directed, and wrote that entire film. No question the movie is above average, but the soundtrack is incredible. Tunes with non-descript names like 'At the Library' are nice little synth based arrangements, while The Duke Arrives and President at the Train are diamonds by today's standards. The songs are structurally and melodically simple, but they evoke an ambience of post-apocalyptic anarchy. That or the sense that you're sitting in an ultra-hip 80s themed nightclub. In any case, hats off to John Carpenter, these songs kick....Read more
This text provides a huge overview of hundreds of disorders and mental illnesses, their etiology, research, symptoms and diagnosis. I bought it for the Abnormal Psych course at Carleton University, which I found to be a bit too broad in scope, and the book somewhat reflects this. It is more of a topical overview of individual disorders, theories and treatments than it is an in depth review of the major, more prevalent forms of mental illness.
Overall the book was edifying, if a bit oversimplistic in some areas (ie. 'Children with difficult temperaments can make parenting stressful' and 'Children are often very proud of themselves when they learn to control their bowel movements'. Sadly these types of sentences are common in psych texts). It's a good start if you are thinking of becoming a clinical psychologist and wish to decide what area to specialize in.
A note for anyone at Carleton: I bought the 2006 edition even though we needed the 2008, but didn't have much of a problem and was able to get a decent grade anyway.
These guys out of Toronto don't get as much attention as bands like The Islands or Arcade Fire, likely due to the fact that pitchfork media and other poser operated outfits aren't lavishing adulatory praise all over them.
I first heard this band on the soundtrack of Everything's Gone Green, which was a Douglas Coupland project that, to be honest, wasn't all that great. Anyways, Birdsong and a couple other tunes on here are well worth the cover price. They have a more conventional kind of pop/rock sound that I would normally find nauseating, but they make it work most of the time. The kind of music that would actually fit nicely into a radio station's playlist if they weren't all operated by deadbeat hippy / corporate whores with strict regulations on what crappy bands need to be made popular. Thank God the internet has made radio an anachronism.