1737 movies
721 shows
451 music
256 games
99 authors
78 books
userAvatar

42k

42k

AMERICAN SAMOA

userAvatar

Filter by:

music

music

Picture of a musician: The Moldy Peaches
userAvatar
Music
The Moldy Peaches

The Moldy Peaches were an American indie group founded by Adam Green and Kimya Dawson. Leading proponents of the anti-folk scene, the band has been on hiatus since 2004. The appearance of their song "Anyone Else but You" in the film Juno significantly raised their profile; Dawson and Green made a handful of reunion appearances together in December 2007.

Green and Dawson met at Exile on Main Street Records in Mount Kisco, New York, and began working together. Green put out a 7" Ep called "X-Ray Vision" under the name The Moldy Peaches, featuring recordings he made from 1994–96 with Dawson and various other friends, notably Jules Sheridan, a songwriter based in Scotland. Green and Dawson recorded a CDR album in 1998 under the name Moldy Peaches 2000 called FER THE KIDS before Dawson moved to Port Townsend, Washington. In early 1999 Green joined her there, and more home and live recordings transpired. The band returned to NYC as a 4 piece later in the year (including Jest Commons, guitar, and Justin Campbell, drums). They became active on the NYC anti-folk scene, playing at the SideWalk Cafe before the band broke up. Dawson and Green both recorded solo albums. The band reformed in August 2000 with Chris Barron of the Spin Doctors on lead guitar, Brian Piltin on bass guitar, and Strictly Beats (Brent Cole) on drums. (The "2000" was dropped from their name around this time). A new 11 song album was recorded, which led to a deal with Rough Trade in the UK. They gained recognition after their initial 7" 'Who's Got the Crack" was named 'Single of the Week' in NME. Rough Trade released the album The Moldy Peaches in 2001. Released in the U.S. on September 11, 2001, it contained the song "NYC Is Like a Graveyard". The band expanded to a six-piece, with guitarists Jack Dishel and Aaron Wilkinson, bass player Steven Mertens, and drummer Strictly Beats, augmenting the original duo of Dawson and Green. They toured internationally with The Strokes with whom they shared record label and management.

movies

movies

shows

shows

books

books

Picture of a book: hellboy
userAvatar
Books
hellboy

Hellboyis a fictional superhero created by writer-artist Mike Mignola. The character first appeared inSan Diego Comic-Con Comics#2 (August 1993), and has since appeared in various eponymous miniseries, one-shots and intercompany crossovers. The character has been adapted into three live-action feature films. Two starring Ron Perlman in 2004 and 2008 in the title role, and one in 2019 which starred David Harbour, as well as two straight-to-DVD animated films, and three video games –Asylum Seeker,The Science of Evil, and as a playable character inInjustice 2.

A well-meaning half-Demon (or Cambion) whose true name isAnung Un Rama("and upon his brow is set a crown of flame"), Hellboy was summoned from Hell to Earth as a baby by Nazi occultists (spawning his hatred for the Third Reich). He was discovered on a fictional Outer Hebrides Island by the Allied Forces; amongst them, Professor Trevor Bruttenholm, who formed the United States Bureau for Paranormal Research and Defense (B.P.R.D.). In time, Hellboy grew to be a large, red-skinned adult with a tail, horns (which he files off, leaving behind circular stumps on his forehead), cloven hooves for feet, and an oversized right hand made of stone (the "Right Hand of Doom"). He has been described as smelling of dry-roasted peanuts. Although a bit gruff, he shows none of the malevolence thought to be intrinsic to classical demons and has an ironic sense of humor. This is said to be because of his upbringing under Professor Bruttenholm, who raised him as a normal boy.

Picture of a book: Do Androids Dream of Electric Sheep?
userAvatar
Books
Do Androids Dream of Electric Sheep?
Philip K. Dick
I could say that I love Dick, but that would be weird. I do very much enjoy Philip K. Dick's writing and though this is not one of his best, the "Pizza and Sex Rule" applies to him; ie. just as even bad pizza and / or sex is still pretty good, bad PKD is as well. And this is not bad at all. The first mistake that a new reader would make is to watch Blade Runner and expect a novelization of that film; it was LOOSELY based upon the book. I'm a big fan of the Ridley Scott film starring Harrison Ford and Rutger Hauer, but the movie diverged from Phillip K. Dick's literature early on. The book is far more bleak than the film, if you can believe that, and much more intricate and complicated. Blade Runner benefits from a simplified storyline. The author was far ahead of his time both in the complexity of his story and the perspective from which he writes. There are elements of Brave New World, I, Robot, and Dune; but the author has a unique voice and the story is an original. It is not an excellent work, as there are gaps and inconsistencies and many loose ends that are never tied in, but the concept and provocation are superb.One element of the book that was completely left out of the film was a sub-plot involving a Christ-like messiah and a faith system based upon what could have been a hoax. First published in 1968, this was one of his more theological based novels, and a trend that would continue steadily becoming more frequent and invasive until the end of his writing.A MUST read for PKD fans as well as SF/F fans period.
Picture of a book: Anansi Boys
userAvatar
Books
Anansi Boys
Neil Gaiman
I laughed out loud. While reading. In a Japanese rice bowl joint. Okay, so maybe it was more of a chortle, but it was definitely out loud. And more than just the once. Patrons quietly minding their own business while slogging through their Number Three Specials With Extra Tokyo Beef would be startled into wakefulness to see me - chopsticks in one hand, book in the other - as my grizzled maw broke forth with guffaws and irrepressible smiles.Really, Anansi Boys may be the first thing I've read from Neil Gaiman that I liked. I never got into Sandman (though I'm told I should have persevered). I never finished American Gods (though I'm told I should have persevered). I never finished 1602 (despite guessing that I should have persevered).Still, not only did I like it but I loved it. Enough that I gave my copy to someone else to read and purchased a second copy for another friend. And I'm certain they'll want to do similar things with the book.Anansi Boys is at all times funny, adventurous, and charming. And several other over-used adjectives. In fact, Anansi Boys may be the prototype from which overused adjectives should have come - before they were overused. I'm not sure that Anansi Boys is great literature and I'm not sure that it isn't. What I am certain of beyond any shadow of doubtfulness is that Anansi Boys may be the most fun I have ever had reading a novel.There may be others that I enjoyed more but my experience of this book was such that it pushed (if even momentarily) all other books from my mind. Someone on the back suggests that the book will make you love and be grateful for spiders. Critics and the things they say, huh? Well, I don't love spiders, but dang was this book good.The end.p.s. Anyone thinking of reading Blue like Jazz or Against Christianity or something by Karl Barth should definitely read this first. 'Cuz I mean what if you died after finishing the next book on your queue? It would be an all time tragedy to have wasted hours reading Donald Miller when there is something like Anansi Boys out there. Plus, it's just as spiritual.
Picture of a book: Fight Club
userAvatar
Books
Fight Club
Chuck Palahniuk
You do not talk about Fight Club, but...Upon winning the Oregon Book Award for best novel and the Pacific Northwest Booksellers Association Award, Chuck Palahniuk’s visionary debut novel, Fight Club, was shot to the veins of mainstream fiction. Following the success of its 1999 film adaptation directed by David Fincher, Fight Club gained cult classic status and has become a disturbingly accurate interpretation of our modern world.The unnamed male narrator, suffering from a long streak of insomnia, finds cure by attending cancer support groups. But when Marla Singer—a sallow, heavy-smoking nihilist—enters the evening meetings and mirrors his own fraud, his insomnia returns, so he confronts Singer to split schedules with him.On the night when his condominium mysteriously blows up, he calls Tyler Durden, whom he had previously met—under strange circumstances—on a beach. They agree to meet at a bar, where, after drinking, Durden asks him a favor, “I want you to hit me as hard as you can.” The narrator swings the punch that cradled Fight Club into the world. Shortly, a multitude of men with white-collar jobs join them. Every weekend, in the parking lots and basements of bars, they hold these late-hour no-holds-barred-and-barefisted fights that “go on as long as they have to.”These one-on-one melees curiously evoke psychotherapeutic effects—resembling that of enlightenment—within the men: they are reborn from their entombed lives.Fight Club soon evolves into Project Mayhem, an anarchic army led by Durden, who seeks to fulfill his visions of global enlightenment through organized chaos, public unrest, and demolition.Fight Club is a social satire on the dehumanizing effects of consumerism: alienation brought by chronic materialism, illusory comforts, overindulgence, and career and lifestyle obsessions fueled by advertising. “The modern world is for business—not for the people,” as what the great psychoanalyst Carl Jung said.“It’s only after you’ve lost everything that you’re free to do anything.” Skillfully fusing Zen elements with Durden’s extremist ideologies, Palahniuk has written a provocative expression of metaphysical rebellion. The collective revolt against the existential vacuum is Durden’s nucleus and what draws men toward him.Fight Club’s noir ambience and the solid economy of its prose are reminiscent of Albert Camus’s The Stranger, but with the sharp nonlinear narration executing its plot; inheriting Kurt Vonnegut’s dark humor, Chuck Palahniuk is among today’s distinct and intriguing voices.
Picture of a book: The Catcher in the Rye
userAvatar
Books
The Catcher in the Rye
J.D. Salinger
The hero-narrator of The Catcher in the Rye is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices-but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep. J.D. Salinger's classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read.
Picture of a book: On the Road
userAvatar
Books
On the Road
Jack Kerouac
When Jack Kerouac’s On the Road first appeared in 1957, readers instantly felt the beat of a new literary rhythm. A fictionalised account of his own journeys across America with his friend Neal Cassady, Kerouac’s beatnik odyssey captured the soul of a generation and changed the landscape of American fiction for ever.Influenced by Jack London and Thomas Wolfe, Kerouac always wanted to be a writer, but his true voice only emerged when he wrote about his own experiences in On the Road. Leaving a broken marriage behind him, Sal Paradise (Kerouac) joins Dean Moriarty (Cassady), a tearaway and former reform school boy, on a series of journeys that takes them from New York to San Francisco, then south to Mexico. Hitching rides and boarding buses, they enter a world of hobos and drifters, fruit-pickers and migrant families, small towns and wide horizons. Adrift from conventional society, they experience America in the raw: a place where living is hard, but ‘life is holy and every moment is precious’.With its smoky, jazz-filled atmosphere and its restless, yearning spirit of adventure, On the Road left its mark on the culture of the late 20th century, influencing countless books, films and songs. Kerouac’s prose is remarkable both for its colloquial swing and for the pure lyricism inspired by the American landscape – ‘the backroads, the black-tar roads that curve among the mournful rivers like Susquehanna, Monongahela, old Potomac and Monocacy’. This Folio Society edition is illustrated with evocative photographs of Kerouac and the landscapes of 1950s America. Now acknowledged as a modern classic, On the Road remains a thrilling and poignant story of the road less travelled.
games

games