There had actually been an entry from about two weeks ago. It was brief. "I've started finishing the guitar," was what it boiled down to, and that was about it.
Oh, and that I expected to be done wiring the following Saturday. This was, obviously, before the Friday afternoon call informing me the lab would be closed all weekend.
That was disappointing. Then, that Monday, I screwed up and forgot my friggin' pickups...
And, to continue the drama, this past Saturday it took me most of five hours to get any sort of done with the wiring. I'm pretty sure my big problem was somewhere in the switching, but I'll never be completely sure. I ripped out most of the wiring when I got to class tonight and started pretty much from scratch. Fortunately, that only took an hour and a half, give or take a few minutes.
So, it's down to the final product. And I'm pretty pleased.
Catalog-style specs:
25.5" Scale
22 Frets
Gotoh 16:1 tuners
Bone nut
Medium-jumbo frets
Rosewood fretboard w/ Mother-of-pearl inlays
Rock maple bolt-on neck
Alder body (stained and oiled)
Gotoh humbucking pickups (x2, wired in parallel rather than series)
Master tone and volume controls
Gotoh hard-tail bridge (strings mounted through body)
Maple pickguards
(Below, when I talk about guitars, I more specifically am referring to electric guitars. Acoustic and classical guitars are very different in design and construction.)
What most of that means is it's basically a variation on standard Fender construction. Stratocasters and Telecasters (and I'm pretty sure the older Broadcasters and No-casters) had bolted on maple necks built to the 25.5" scale that is practically synonymous with Fender guitars.1
The scale length (vibrating length of string between nut and bridge) and the neck construction are actually hugely important to the sound of a given guitar. 25.5" is the longest commonly-available scale length in guitars and imparts a clarity to the sound that isn't as pronounced in shorter scale lengths. "Shimmer" is a popular word to describe the sound. Think Stevie Ray Vaughan's instrumental "Lenny."2
As a comparison, Les Pauls are built to a 24.75" scale.3 Three-quarters of an inch isn't much, it would seem like, but it puts the harmonic overtones of the vibrating strings just a bit closer together. The sound is generally considered "warmer."
(Digression about terminology: the words "warm," "punchy," "rich," "smooth," and "clear" are used - a LOT - to describe the tonal characteristics of both pickups and wood. Product reviews are especially guilty of this. "Crisp" is also popular, as is "full." The thing is, it's bullshit marketing. My "warmth" is your "fuzziness," your "clarity" my "brittleness." They are entirely subjective and therefore meaningless. Not to say there isn't a difference between the sound of, say, a 60s-era Les Paul and a modern Paul Reed Smith, but there's no objective way to say which is "warmer" or "smoother.")
Back to Lily.4 The bolt-on neck is also a Fender trademark. Leo Fender chose this construction method because it vastly simplifies building and assembling guitars. One section of a factory can be working on bodies while another does necks. This is also why Fender typically mounts all their electronics on a plastic pickguard.
The other very common neck joint is called a "set" neck. This means it is glued in place, frequently at a slight angle to the body to accomodate a carved top surface. Again, this is typified by the immortal Gibson Les Paul. Angled and glued neck joints are generally perceived as more upscale than bolted necks. They are, however, more difficult to build and repair, which is why it wasn't even an option in this class.
A third type of neck construction is called "neck-through" construction - in this case, the neck continues all the way through the body and "wings" are added to form a body. This allows for a very thin guitar, but repairing the neck is very difficult, and it adds new layers of complexity to design and construction. Neck-through guitars are not common and generally considerably more expensive than either of the other types of neck joint.
(Neck joint digression: the effect of the neck joint on the sound of a guitar, particularly in the form of sustain, is widely known but generally misunderstood. "Neck-through" guitars are thought to sustain better than set necks, which are in turn thought to sustain better than bolt-on necks. Research shows this to be exactly backwards, but also that the differences are very minor. If something is expensive, it will be assumed to be better.)
The two-humbucker configuration, while it has appeared on Fender models, is more commonly associated with Gibson. A humbucking pickup consists of two magnetic coils that act as microphones for the strings. These coils are wired in such a way as to cancel the noise a single-coil pickup produces.5 Typically, a humbucker is wired so that one coil feeds into the next, and the combined sound is passed to the amplifier. In this case, I wired the pickups "in parallel," which is to say that each coil in each pickup is sending sound to the amp simultaneously but separately. This produces a lower-output sound that is much closer to the output of a single-coil pickup. This is another factor that contributes to Lily's "Strat-like" sound.6
On to the wood. Maple necks are extremely common. Maple is a very strong wood, relatively plentiful, and easy to work with. Fender has been using them from the start. The other very common neck wood is mahogany - guess what iconic guitar model is closely associated with a mahogany neck?
Alder is also plentiful and easy to work. It's a pretty unremarkable wood, to be fair. Mostly it's finished in solid (or at least opaque) colors. Rosewood fingerboards are also very common, but may become less so as the trees become scarcer. It has a pleasing tone and can be quite beautiful. I rather like the piece I used - it has a beautiful multicolored grain that was unfortunately somewhat obscured by the oil used to finish it.
And the finish. Factory guitars are almost all finished in some sort of lacquer. Depending on the manufacturer, this might be nitrocellulose, polyurethane, or a modern water-based lacquer. This is, basically, a layer of plastic. For the most part, manufacturers try to use sonically-neutral finishes, but even so, it's a layer of plastic wrapped around the wood.
Lily has an oil finish (marketed as gun stock oil) over a water-based stain. Both were applied by hand. The downside is that the finish isn't particularly durable. It is, however, very easy to repair.
The wood pickguards are a fairly unique touch. Most pickguards are plastic, because it's more durable, but the maple ties in nicely with the headstock and neck.
As far as quality goes, I don't have anything objective to say except that subjectively, I like her. The neck feels good to me (and looks more like a production guitar neck than some of my classmates' necks.) She balances pretty well, and the armrest is very comfortable. Sometime soon, I hope to get over to Grand Junction and get a second opinion.
Anyway, that's far more than you wanted to know. Thanks for reading!
1 - Jaguars, Jazzmasters, and Mustangs by Fender are built to a different scale. I believe they are all 24" scale, but I'm not completely sure, never having played one.
2 - "Lenny" is probably the most beautiful guitar composition ever written on a Fender guitar.
3 - Gibson, having been around for a very long time (they're one of the oldest guitar manufacturers in the United States) has used several different scale lengths that they refer to as 24.75". It varies, but usually by well under a quarter of an inch.
4 - Yes, Lily. The next model will probably be named Robin. We done?
5 - Single-coil pickups are, naturally, what you see on a lot of Fender guitars. In spite of the noise they by necessity generate, they do contribute a great deal to the "sparkly" sound of a Strat.
6 - Humbucker-equipped Strats are frequently called "Fat Strats." Maybe with parallel wiring, this one should be called "curvy" since she's somewhere between.
14 April 2011
A Very (Parenthetical) Review
(Note: I, too, find it weird to be reviewing "The Departed." Even weirder, a friend of mine claims she hasn't seen it. I do not understand, and suspect heinous fuckery.)
Late to the Party*: The Departed
* I wasn't late to this particular party. A friend was. Yes, this is the second mention of my "friend" who supposedly "hasn't seen it." Please, feel free to mock my "friend."
Martin Scorsese has made some awesome movies. DUH. I'd like to thank the Academy for "Most Unnecessary Sentence Ever."
There's Taxi Driver, for one. There's Raging Bull, for another. And then there's The Departed, a cops-and-robbers epic. Epic like Peter Jackson wanted to make with Lord of the Rings: The Neverending Movie. This is the one that finally wonScorsese a Directing Oscar, crazy because it's also a very accessible, action-heavy piece, two things Oscar doesn't often seem to care for.
The characters are uniformly well played. Leonardo DiCaprio is a young cop whose largely criminal family makes him a perfect candidate to go undercover in one of Boston's criminal organizations. Matt Damon is another MSP officer with a long-term relationship with those self-same criminals, in particular Frank Costello (Jack Nicholson,) a heavy player in the slimier parts of the Boston Metro area. Vera Farmiga is a police psychologist who's part of DiCaprio's cover and part of Damon's life. The rest of the cast is uniformly terrific, and includes Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin, and Kevin Corrigan (Professor Professorson!)
So yeah, like a lot of Scorsese movies, it's a bunch of macho white guys swearing at each other and holding each other at gunpoint. Unlike any other Scorsese movie, there's not one but two Wahlbergs. There's more of them than I thought...
Also like a fair few Scorsese pictures, the soundtrack is pretty awesome (Tarantino is nearly as good at needle drops.) For my money, the Dropkick Murphys will forever be associated with this movie - but probably better this movie than most of their fans. And there's a cover of "Comfortably Numb" I'm not sure I'd ever heard before, but that I like quite a bit.
It's not as nuanced as some movies (and occasionally it hits you in the face with a brick full of symbolism. The last shot, particularly, comes to mind.) It's not a deep meditation on the nature of humanity, but it does offer a nasty glance at a world that doesn't quite exist, full of people you don't quite want to be around. It's a fast-paced flick, made by highly skilled professionals. It's a lot like classic John Woo flicks like "The Killer."
Also, The Departed absolutely earns its R rating. Language (of the "dirty" variety,) violence (strong, if sporadic,) sex (honestly, not a lot, but there's pretty much one female character and no openly gay characters,) and drug use (and cigarettes, which is apparently an issue these days.) Probably not one to watch with the kids, but definitely one to watch if you like cops and robbers. The Departed is almost five years old now, which is kind of crazy. Really seems like just a few months ago that I watched it (twice) in theaters.
(Postscript: the phrase "heinous fuckery," a particular favorite of mine, was coined by writer Christopher Moore. Not the one I'm friends with. Moore post coming, now I think of it.)
(Post-postscript: next movie review will be one most folks didn't see. This one's a desert island DVD - Los Tres Entierros de Melquiades Estrada. If I have time this afternoon, I'll watch it again, and post a review later. Not sure I'll have time, though.)
Late to the Party*: The Departed
* I wasn't late to this particular party. A friend was. Yes, this is the second mention of my "friend" who supposedly "hasn't seen it." Please, feel free to mock my "friend."
Martin Scorsese has made some awesome movies. DUH. I'd like to thank the Academy for "Most Unnecessary Sentence Ever."
There's Taxi Driver, for one. There's Raging Bull, for another. And then there's The Departed, a cops-and-robbers epic. Epic like Peter Jackson wanted to make with Lord of the Rings: The Neverending Movie. This is the one that finally wonScorsese a Directing Oscar, crazy because it's also a very accessible, action-heavy piece, two things Oscar doesn't often seem to care for.
The characters are uniformly well played. Leonardo DiCaprio is a young cop whose largely criminal family makes him a perfect candidate to go undercover in one of Boston's criminal organizations. Matt Damon is another MSP officer with a long-term relationship with those self-same criminals, in particular Frank Costello (Jack Nicholson,) a heavy player in the slimier parts of the Boston Metro area. Vera Farmiga is a police psychologist who's part of DiCaprio's cover and part of Damon's life. The rest of the cast is uniformly terrific, and includes Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin, and Kevin Corrigan (Professor Professorson!)
So yeah, like a lot of Scorsese movies, it's a bunch of macho white guys swearing at each other and holding each other at gunpoint. Unlike any other Scorsese movie, there's not one but two Wahlbergs. There's more of them than I thought...
Also like a fair few Scorsese pictures, the soundtrack is pretty awesome (Tarantino is nearly as good at needle drops.) For my money, the Dropkick Murphys will forever be associated with this movie - but probably better this movie than most of their fans. And there's a cover of "Comfortably Numb" I'm not sure I'd ever heard before, but that I like quite a bit.
It's not as nuanced as some movies (and occasionally it hits you in the face with a brick full of symbolism. The last shot, particularly, comes to mind.) It's not a deep meditation on the nature of humanity, but it does offer a nasty glance at a world that doesn't quite exist, full of people you don't quite want to be around. It's a fast-paced flick, made by highly skilled professionals. It's a lot like classic John Woo flicks like "The Killer."
Also, The Departed absolutely earns its R rating. Language (of the "dirty" variety,) violence (strong, if sporadic,) sex (honestly, not a lot, but there's pretty much one female character and no openly gay characters,) and drug use (and cigarettes, which is apparently an issue these days.) Probably not one to watch with the kids, but definitely one to watch if you like cops and robbers. The Departed is almost five years old now, which is kind of crazy. Really seems like just a few months ago that I watched it (twice) in theaters.
(Postscript: the phrase "heinous fuckery," a particular favorite of mine, was coined by writer Christopher Moore. Not the one I'm friends with. Moore post coming, now I think of it.)
(Post-postscript: next movie review will be one most folks didn't see. This one's a desert island DVD - Los Tres Entierros de Melquiades Estrada. If I have time this afternoon, I'll watch it again, and post a review later. Not sure I'll have time, though.)
04 March 2011
Movie Night
LATE TO THE PARTY (Network)
Well, there aren't many movies on my Netflix queue that I could BE any later to. NETWORK is almost as old as I am (jebus!)
NETWORK might be perfect. It was made by incredibly talented people who actually gave a shit about the movie and who had some modicum of respect for their audience. Nowadays, like "quick, cheap, or good," it seems like you only get to pick two of those qualities.
It won Oscars. Good ones, not the ones INCEPTION got. It was nominated in all four acting categories - Faye Dunaway won Best Actress (and deserved it,) William Holden was nominated for Best Actor (and should have won it,) Beatrice Straight won Best Supporting Actress (with one incredible scene - she had more grace and presence on screen than almost anyone I've ever seen,) and Peter Finch was the first person ever to posthumously be nominated for and win an Oscar as Best Supporting Actor (and unlike in the only other case of a posthumous nomination, he wasn't just doing Nicholson.) Paddy Chayefsky won the Screenplay Oscar because, well, even the blind squirrels at the Academy find an acorn from time to time.
Quick Aside: If you've ever written anything, and want to do it again, you owe yourself more Chayefsky. His writing will make you feel small and untalented, but in a GOOD way.
I don't feel qualified to really say much else about NETWORK. I think this might actually be awe. The real kind, the stuff involving deities. There is SO MUCH going on in that movie, and some of it I caught and a lot I probably didn't, and I'll be watching it again soon.
One thing, though: NETWORK is more cyberpunk than THE MATRIX. And there's not a computer in it. And the subject matter is still frighteningly relevant.
ALMOST AS LATE: The Right Stuff
The best thing I can say about THE RIGHT STUFF is that that is maybe the most butch cast since THE DIRTY DOZEN or THE WILD BUNCH. Butch in a way that just doesn't happen anymore, since these days our "manly man" types are greased up body freaks. But the astronauts of THE RIGHT STUFF have a lot more to do with manliness than the 'roid freaks of THE EXPENDABLES. A five-year-old Sam Shepard could tear the junk right off Sly Stallone, and Ed Harris on his deathbed will still be tougher than Jason Statham.
Seriously, what the fuck happened? Less than thirty years ago, we get Shepard, Harris, Fred Ward, Lance Henriksen*, Scott Glenn, and Dennis Quaid to play the cream of the American crop. Fifteen years later, it was Bruce Willis, Ben Affleck, and Steve Buscemi, and while I love those guys (but not that movie,) I think that marks a pretty clear decline in Hollywood masculinity.
Today's version of THE RIGHT STUFF would be more of an action movie, and it would probably linger pornographically on the launch pad explosions and other catastrophes; there would be a "bromantic" relationship between two of the characters; the wives would have at least one pool scene; and my two favorite parts would probably just not exist, or be completely ruined by MTV editing and some godawful pop rock song.
Ed Harris (as John Glenn) and Mary Jo Deschanel (as his wife, Annie) have a beautiful scene early on. We don't know much about them, except that John is the perfect military pilot, stoic, square-jawed, and forthright. Annie, barely seen so far, is silent and aloof-seeming, barely an accessory on her superman's arm. Her seeming distance, it turns out, is the result of a bad stammer, and the two share a beautifully-drawn scene of quiet conversation that convincingly creates a very loving couple. Today, it would probably involve animal crackers.
Yeager's last big scene would be toast as well. In the movie, he takes an experimental jet up and pushes it and himself right to the edge of space and death. The race to the edge of the atmosphere is beautifully shot. A lot is done with lens flares and reflections, and Yeager's fall is one of the most intense things ever put to film. A lot of that intensity comes when he falls through a cloud - and the director leaves him there for a long moment. You know, consciously, that Chuck Yeager lived long after the events depicted in the film, but still there is tension to be mined. Now, every moment from takeoff to Yeager walking across the desert would be documented in meticulous, CGI-Enhanced detail, and it'd be accompanied by Maroon 5.
I'm glad to have seen the movie finally. The performances were great, the story interesting (and whoo, the cinematography!)... but at 3+ hours, it's not one I'll be revisiting anytime soon. There are weaknesses to this movie, and they seem to get a pass because of the subject matter (and cast.)
THAT'S A WRAP
I know I sound like an old guy, bitching about how movies used to be so much better. But if we're talking about NETWORK, it really WAS so much better than pretty much anything since. It is an actual masterpiece. THE RIGHT STUFF is a damn good movie, but I've seen better (from that time period, even.) It just seems like there was a level of dedication and craft from all involved (except Philip Kaufman, director of THE RIGHT STUFF, who clearly thinks of himself more as an artist. Well, screw Philip Kaufman. He still owes me for making fucking RISING SUN.)
Anyway, I mentioned in a previous post that this would be Foreign Friday. We'll see about that. I will watch something from my Instant Queue and review it, but it may not be GDT's first couple of movies. Thanks for reading.
* If you don't know the name Lance Henriksen, he's the wiry little guy who played Bishop, the tiddlywinks champion of the Alien universe. James Cameron wanted him to play the lead in a little movie called THE TERMINATOR, but the studio balked. Personally, I want to see THAT version. And on consideration, that might be the moment that shifted the Hollywood representation of "the tough guy."
Well, there aren't many movies on my Netflix queue that I could BE any later to. NETWORK is almost as old as I am (jebus!)
NETWORK might be perfect. It was made by incredibly talented people who actually gave a shit about the movie and who had some modicum of respect for their audience. Nowadays, like "quick, cheap, or good," it seems like you only get to pick two of those qualities.
It won Oscars. Good ones, not the ones INCEPTION got. It was nominated in all four acting categories - Faye Dunaway won Best Actress (and deserved it,) William Holden was nominated for Best Actor (and should have won it,) Beatrice Straight won Best Supporting Actress (with one incredible scene - she had more grace and presence on screen than almost anyone I've ever seen,) and Peter Finch was the first person ever to posthumously be nominated for and win an Oscar as Best Supporting Actor (and unlike in the only other case of a posthumous nomination, he wasn't just doing Nicholson.) Paddy Chayefsky won the Screenplay Oscar because, well, even the blind squirrels at the Academy find an acorn from time to time.
Quick Aside: If you've ever written anything, and want to do it again, you owe yourself more Chayefsky. His writing will make you feel small and untalented, but in a GOOD way.
I don't feel qualified to really say much else about NETWORK. I think this might actually be awe. The real kind, the stuff involving deities. There is SO MUCH going on in that movie, and some of it I caught and a lot I probably didn't, and I'll be watching it again soon.
One thing, though: NETWORK is more cyberpunk than THE MATRIX. And there's not a computer in it. And the subject matter is still frighteningly relevant.
ALMOST AS LATE: The Right Stuff
The best thing I can say about THE RIGHT STUFF is that that is maybe the most butch cast since THE DIRTY DOZEN or THE WILD BUNCH. Butch in a way that just doesn't happen anymore, since these days our "manly man" types are greased up body freaks. But the astronauts of THE RIGHT STUFF have a lot more to do with manliness than the 'roid freaks of THE EXPENDABLES. A five-year-old Sam Shepard could tear the junk right off Sly Stallone, and Ed Harris on his deathbed will still be tougher than Jason Statham.
Seriously, what the fuck happened? Less than thirty years ago, we get Shepard, Harris, Fred Ward, Lance Henriksen*, Scott Glenn, and Dennis Quaid to play the cream of the American crop. Fifteen years later, it was Bruce Willis, Ben Affleck, and Steve Buscemi, and while I love those guys (but not that movie,) I think that marks a pretty clear decline in Hollywood masculinity.
Today's version of THE RIGHT STUFF would be more of an action movie, and it would probably linger pornographically on the launch pad explosions and other catastrophes; there would be a "bromantic" relationship between two of the characters; the wives would have at least one pool scene; and my two favorite parts would probably just not exist, or be completely ruined by MTV editing and some godawful pop rock song.
Ed Harris (as John Glenn) and Mary Jo Deschanel (as his wife, Annie) have a beautiful scene early on. We don't know much about them, except that John is the perfect military pilot, stoic, square-jawed, and forthright. Annie, barely seen so far, is silent and aloof-seeming, barely an accessory on her superman's arm. Her seeming distance, it turns out, is the result of a bad stammer, and the two share a beautifully-drawn scene of quiet conversation that convincingly creates a very loving couple. Today, it would probably involve animal crackers.
Yeager's last big scene would be toast as well. In the movie, he takes an experimental jet up and pushes it and himself right to the edge of space and death. The race to the edge of the atmosphere is beautifully shot. A lot is done with lens flares and reflections, and Yeager's fall is one of the most intense things ever put to film. A lot of that intensity comes when he falls through a cloud - and the director leaves him there for a long moment. You know, consciously, that Chuck Yeager lived long after the events depicted in the film, but still there is tension to be mined. Now, every moment from takeoff to Yeager walking across the desert would be documented in meticulous, CGI-Enhanced detail, and it'd be accompanied by Maroon 5.
I'm glad to have seen the movie finally. The performances were great, the story interesting (and whoo, the cinematography!)... but at 3+ hours, it's not one I'll be revisiting anytime soon. There are weaknesses to this movie, and they seem to get a pass because of the subject matter (and cast.)
THAT'S A WRAP
I know I sound like an old guy, bitching about how movies used to be so much better. But if we're talking about NETWORK, it really WAS so much better than pretty much anything since. It is an actual masterpiece. THE RIGHT STUFF is a damn good movie, but I've seen better (from that time period, even.) It just seems like there was a level of dedication and craft from all involved (except Philip Kaufman, director of THE RIGHT STUFF, who clearly thinks of himself more as an artist. Well, screw Philip Kaufman. He still owes me for making fucking RISING SUN.)
Anyway, I mentioned in a previous post that this would be Foreign Friday. We'll see about that. I will watch something from my Instant Queue and review it, but it may not be GDT's first couple of movies. Thanks for reading.
* If you don't know the name Lance Henriksen, he's the wiry little guy who played Bishop, the tiddlywinks champion of the Alien universe. James Cameron wanted him to play the lead in a little movie called THE TERMINATOR, but the studio balked. Personally, I want to see THAT version. And on consideration, that might be the moment that shifted the Hollywood representation of "the tough guy."
02 March 2011
The Blog That ATE MY POSTS!
Or it's possible I never got around to them. I'm still building the guitar. We've been focused on the neck lately, and that's not very visual. First there was a channel routed into a piece of wood (for the truss rod that adjusts the neck's tension to compensate for the pressure of the strings.) Then the headstock got partially cut out and the holes drilled for the tuning machines. Oh, and the fingerboard got cut out. And the frets slotted. So obviously progress has been made, but again, nothing of visual interest. Monday, we should be cutting out the rough shape of the neck so we can start shaping it. That's when the pictures will be starting again.
What we've got here is the pickguards attached. There's still a bit of fine-tuning to do on them - any weirdness you see, assume that's what I'm working on. If you don't see anything, trust me it's there.
What we've got here is the pickguards attached. There's still a bit of fine-tuning to do on them - any weirdness you see, assume that's what I'm working on. If you don't see anything, trust me it's there.
There Will Be Blog...
There Will Be Blog...
So this weekend, Mel is going to be in Atlanta with her sister, their aunt, and the sister-in-law's boyfriend. Here's my big plans for those evenings.
Thursday night, tomorrow still as I write this, watch Network and The Right Stuff. Believe it or not, I am seeing both of them for the first time... (Think I saw The Right Stuff on tv when I was a kid. Not sure, though.) I will share my thoughts.
Friday night, I will watch foreign flicks. Cronos and Devil's Backbone, for sure, because they are GDT, and I have not seen them. This shames me at least as much as my failure so far to see The Right Stuff. Given time and probable inclination, I will watch one or more of the "Girl who"/Millenium series.
Saturday has a couple of DC Animated flicks to watch: Superman/Batman Apocalypse and the Superman/Captain Marvel Black Adam thing. Not sure about what I'll watch that night. There's plenty of stuff on the Netflix Instant queue.
Those are my big plans. Anybody with an XBox and Netflix want to join me?
So this weekend, Mel is going to be in Atlanta with her sister, their aunt, and the sister-in-law's boyfriend. Here's my big plans for those evenings.
Thursday night, tomorrow still as I write this, watch Network and The Right Stuff. Believe it or not, I am seeing both of them for the first time... (Think I saw The Right Stuff on tv when I was a kid. Not sure, though.) I will share my thoughts.
Friday night, I will watch foreign flicks. Cronos and Devil's Backbone, for sure, because they are GDT, and I have not seen them. This shames me at least as much as my failure so far to see The Right Stuff. Given time and probable inclination, I will watch one or more of the "Girl who"/Millenium series.
Saturday has a couple of DC Animated flicks to watch: Superman/Batman Apocalypse and the Superman/Captain Marvel Black Adam thing. Not sure about what I'll watch that night. There's plenty of stuff on the Netflix Instant queue.
Those are my big plans. Anybody with an XBox and Netflix want to join me?
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