tigerboy

I watch "Heroes" avidly - but some of it is really hit and miss - and in the sophsesh mostly miss - tho last nights ep was more on the right track to former glories.... yeah 'Save the cheerleader, save the world' is a damb catchphrase to hook the series on and did get v annoying but it worked didnt it ...however was reading this in the independent the other day and i guess some of the points applies like totally to SF enterties as well Think you love shopping? It's the marketing scam of the century US author Benjamin Barber explains how buying things ceased to be a chore and became a fun day out Interview by Sophie Morris - © The Independent Thursday, 19 June 2008 Barber says obsessive 'hyper' consumption is leading democratic societies towards an early grave © Carlos Jasso The folly of rampant consumerism as resources grow scarcer is lost on no one, least of all the marketing community. Still, desperate to maximise profits, manufacturers and marketing men are targeting very young children, buying their loyalty almost from birth, and infantilising adults, to deter them from making considered decisions about what they buy. This way, adults and children will be attracted to the same product, and buy it for most of their lives, trapped in a Peter Pan cycle of consumption, constructed by branding supremos. Consumption is not only out of control at the shops. Barber uses television watching as an example: there is nothing wrong with reaching for the remote after a long day at work, he says. But 60 hours – the time each week an average American spends watching television – is way too much. "It's a little like pornography," says Barber. Watching TV is just part of the problem. What we are choosing to watch has changed considerably over the years and now resembles a homogenous lowbrow pulp designed to appeal to children and adults alike. Barber's book is subtitled "How markets corrupt children, infantilise adults and swallow citizens whole". Commentators have been documenting the rise of the scooter-pushing, iPod-toting kidult for a number of years now, but in Barber's opinion, the "40 is the new 20" spirit does not mean that people are retaining their youthfulness and energy for longer, but that they are not growing up at all. Why not? Because marketers desperate for instant profits are cutting corners by lumping child and adult tastes and products together, instead of building a sustainable market. This then reduces diversity and threatens to eliminate choice altogether. The success of films such as Shrek and Spider-Man, aimed at all ages, illustrate this. "If you want to see the future of Britain, don't look at what 40-years-olds are buying, look at what 15-year-olds are buying and watching and what their music tastes are," predicts Barber. For anyone who has sat next to a gang of schoolgirls playing Pussycat Dolls loudly on mobile phones, the idea that their musical tastes will never mature and that the shade of their nail varnish will never be toned down is sobering. But why can't adults enjoy the nuances of an episode of The Simpsons, say, or a Harry Potter film? Does growing up mean becoming boring? "I'm not saying that when we grow up we lose all pleasures," insists Barber. "But growing up means becoming more complex and that you require greater stimulation. If you can be pleased and satisfied with comic books, it means you've kept yourself as a kid. I'm not saying there's something wrong with people who have fun, but I have fun in a different way from how I did when I was 12." 'Consumed' by Benjamin R Barber, Norton, £9.99. To order for the special price of £9.49, including post and packing, call 0870 079 8897 or visit www.independentbooksdirect.co.uk as for Supermans well thats from the late 1930s - and maybe that was the best release from the pressures around that time (tho i hope Cab Calloway - Minnie The Moocher is a contender - brilliant record!!!) - and i suppose if it was being created today it would be much more complex as its like 75 years later and i guess creative things like that will have progressed from that simplicity and if it was created today from scratch there will be loads of more problems than only fealing a bit ill at the site of a bit of green rock :lol: 08wOPt-2PeE

havent read then either - tho hearing reports that some comic book fans are unhappy that Wanted is only very very loosely based on the graphic novel - with loads of stuff junked - you might also come to the conclusion that even Timur didnt bother reading the book either and just made it up as he went along :lol: :lol:

and that is VERY worrying, it matters not wether you like lydon, but to fail to understand HIS impact made on our music is almost criminal. To an extent I disagree - maybe excepting any 12 year old MCR fans - i guess if youre into your punk music you will know about the Sex Pistols...might be clueless to all the acts on like the mojo punk free cd...but i guess Lydon will be known (if only from TV :lol:)..but yeah will know sex pistols and have the T-shirt... and maybe Black Flag as well - i guess seeing as the NME ran a feature about Black Flag not so long ago "why are people tatooing these black stripe logos onto themselves" and also they've recently done features about the sonics, bo diddley (with his death) and this week its about tragic dead beach boy Dennis Wilson with Mystery Jet's album influences under the spotlight (inc ABC Lexicon of Love and some sophisto-pop album by Aztec Camera) probs less to do with being absolutely obsessed to OCD levels about music and more just a pop thing - where like its so popular you cant escape Chris Martin because he's all over the media - and people who are just into i guess current celeb rather than being really really into the music scene and bothering about rock family trees stuff and investigating - or don't really have time as they are spending all day driving up and down the country and the coldplay album helps them get home to their family without to much threatening noize - and in that respect that all what its useful for rather than going in much further...

was think along similar lines - thinking that it was would sound good being listed on a compilation album next to some early stuff by Edwyn Collins - like the indie-britfunk of Rip it Up rather than the more Northern Soul Rock of Girl Like You NBikNb5oEcU and bizarrely Franz Ferdiand has just come on the album i'm listening to nowe (pop justice compilation)

yeah even in Heroes it was a bit Cheesy...in a bad :puke2: way... not even in a kitsch Batman 1966 movie or even a useless Supergirl (Helen Slater rather than Laura Vandervoort - tho both actors turn up in Smallville) kinda good cheesy way

Yeah "This Is England" was a good - but didnt bother watching "Kidulthood" when it came on BBC Three because my brother had watched it an said it was a bit too try-hard in all the bwad bwoy blad-gangsta-ness of it all - tho seeing as he is into all his American hip-hop maybe it was far to English for him :lol: - tho i guess he will be pleased to see Danny Dyer in the follow up if he goes....

nah Unbreakable was better than signs as signs had the water thing...:lol: and at least Unbreakable had a good spin on comic book sf ideology

Yeah Night Watch was good - pity Day Watch was a mess - more interested in the specticle of the vision rather than a coherant naration (tho if the next installment is $h!te as well - maybe we can take the matrix comparisions even further)

:lol: Yeah its like saying thats its so far fetched that Lana Lang faked her own death and ended up in China in Smallville and then realizing its a SF show after all :lol:

well she's supposed to sound a bit like Mari Wilson as well - who is supposed to be like another 1960s Dusty-a-like...tho i think she probs turns up in the west end and at jazz places these days... http://upload.wikimedia.org/wikipedia/en/4/42/Mari_Wilson_-_Dolled_Up.jpg havent come across carmel on a 100 hits thing yet...i don't think i will come across her accidentaly switching on the hits when they are doing their 80s rundown either (as its always seems to be bros and nkotb)...also confused with prog rock band Camel http://upload.wikimedia.org/wikipedia/en/1/1b/Camel_bandpromo.jpg

well yeah obv!!! you got to get the point across that its that kinda artist rather than just being a p***-take thread about some old bloke down your local pub.... ...or Alan Dale (he gets every where :lol: ) http://z.about.com/d/tvcomedies/1/7/Z/1/-/-/alan_dale.jpg

A few weeks ago God by Attic Lights was the Scottish number 1 but only got to #129 in the National UK charts... Wow - #1 in Scotland - it was a pity they didn't chart higher in the rest of the UK with that single as it was a good bit of Teenage Fanclub-a-like jangling... on the other hand some might have thought they might be welcolming the second coming of travis or del amitri instead :lol: ...of which there should be no probs with Glasvegas...with their NME cover and all the hype behind their Sonic Phil Spector-v-JAMC soundscapes do you think they will go top 10 with the release of Geraldine (before dropping out the chart 4 weeks later in a good ye olde worlde indie record chart run - would make you nostalgic for the era of late britpop - unless reminding you of Gay Dad :lol: )

and bizarrely i've seen it for sale in Zavvi - in the frontline album racking - now they are supposed not to be doing cd singles any more is this Zavvi's version of a woolworths X-Factor single :lol: :lol:

What do you think of Columbia's new hopes for megastardom....Twisted Wheel? could they be another cash-cow for Columbia and quickly follow the Ting Tings to the top of the charts, or if - in this post-Monkeys world - that the Courteeners are the new Oasis could they be the new Northern Uproar - tho one created as a better looking version of the Ememy (less of the retarded-almost-1970s-baldie-man to Paul Weller-mini-me look there) with a kinda of if those Scouting For Girls losers were a late 1970s punk/post-punk 2nd div band vibe of She's A Weapon! She's A Weapon! She's A Weapon! She's A Weapon! They may turn out to be brilliant with their next releases/live - tho at this stage not bothering to investigate further after a couple of listens of She's A Weapon...doesnt like grab me as anything totally new and exciting...not the type of thing that makes me want to take a trip to wigan to spin on me head

Maschine Musik - a rebranding close to Kosmische Musik i guess - not heard of that before - but yeah that might be a better genre definition that just saying it's synthpop or electropop and just referencing the 1980s - something that goes before that to more experimental times, gets the cold industrial metalic sometmes brutal 'more punk than punk' 1970s electronic theme across...Phil Oakey barking over a slide show rather than the sheffield abba.... ...but as for the 'imagined village' - has been quite a lot of stuff about them in Songlines and tracks on there free CD but havent got round to reading that issue/cd yet

but then again its probs the type of dvd that will end up in hmv for £3 - and maybe it might be more heathier spending that much money on that than a pint of Stella at Weatherspoons - then again maybe not - tho you might be better seeing if Borders have got their dvd sale on at the time as normally the selection is slightly better than Van Wilder 2: Rise Of Taj that hmv will try to flog

Nick Sanderson: Singer with art rockers Earl Brutus, train driver and World Of Twist member yi_mTvH4HMI rgEw_YtfxYM http://www.scottking.co.uk/images/music_8.jpg Wednesday, 18 June 2008 by Roy Wilkinson Nick Sanderson played in post-punk rock groups including The Jesus and Mary Chain, The Gun Club, World of Twist and Earl Brutus. Earl Brutus's chaotic live shows featured a bracing mix of glam-rock and synthesisers – plus wind machines wafting Brut aftershave over the audience and a line of seven big stage-prop plastic wreaths. They spelt two words: "f*** OFF". To a degree, Earl Brutus were rock's answer to Jake and Dinos Chapman, treading a line with conceptual art that resonates even now: the Turner Prize-winning artist Jeremy Deller is currently working on a project that juxtaposes Earl Brutus and the Industrial Revolution. Earl Brutus literally gave Sanderson a voice. Previously, he'd been a drummer, first becoming a professional player in the early Eighties with the Sheffield post-punk group Clock DVA. Earlier, Iggy Pop had made a similar move from drums to vocals. The Detroit provocateur also foreshadowed Sanderson's mix of brutishness and strange sagacity. When Earl Brutus formed in the early Nineties, Sanderson became a lyricist and singer after 10 years on the drum stool. More accurately, he was a mob orator in a band which bellowed terrace-style about the Royal Navy, railway engines and "hair design by Nicky Clarke". Most of all, Earl Brutus addressed the wonder and idiocy of our celebrity-obsessed, consumption-fixated society. http://www.scottking.co.uk/images/crash_13.jpg Sanderson's father held a senior position in what was then British Rail and the nascent musician attended boarding school in Bristol. After school, there was considerable time on the dole, but Sanderson didn't seriously consider any career beyond music. When he joined Clock DVA, the tour crew included the lighting engineer Jim Fry, the younger brother of Martin Fry of the Sheffield pop conceptualists ABC. Jim Fry became Sanderson's co-conspirator. In Earl Brutus, he became his co-vocalist, too. Before and alongside Earl Brutus, Sanderson drummed for the punk-blues group The Gun Club. He also played for The Jesus and Mary Chain on their 1998 album Munki. The Gun Club had a lasting effect – earlier this year Sanderson married the band's Japanese bassist, Romi Mori. But Sanderson's place in these bands was as session musician. http://images.amazon.com/images/P/B00004XNLV.01.LZZZZZZZ.jpg With World of Twist, the Manchester-based group who, in spirit, attempted to restage Roxy Music's art-school pop under Blackpool illuminations, Sanderson was more central. However, when this group failed to make the predicted commercial breakthrough in the early Nineties, Sanderson was left to rethink things – alongside Jim Fry, who'd overseen the group's visuals. Earl Brutus was born. The band's first single, "Life's Too Long", appeared in 1993 on Icerink, a label run by the indie-pop group Saint Etienne. The comedian Noel Fielding is a fan. Jay Jopling, art dealer for Damien Hirst and Tracey Emin, was sometimes seen at shows. Earl Brutus did have some common ground with the conceptualised output of the Brit Art school. But they celebrated the poetry and desolation of contemporary life in a more demotic, populist style. Rather than the gallery, Earl Brutus's natural habitat was the rubbish-strewn rock festival – or, even more, the pub. The band took their name from an imaginary alehouse and were once described by a journalist as "pub-talk made real". This was the essence of Earl Brutus – strange, impassioned snug-bar tirades set loose by alcohol, but this time preserved forever on record. "Our dream," Sanderson once told me, "is to record the perfect song to be played at chucking-out time. That's when music makes most sense." The band eventually signed a substantial deal with the Island Records subsidiary Fruition. The two Earl Brutus albums, Your Majesty. . . We Are Here (1996) and Tonight You Are the Special One (1998) were praised by the press, but didn't trouble the charts. Yet, this "heroic failure" amounted to another facet of the band's celebration of British life. This and the band's relatively advanced years were condensed into one of several captivating slogans: "Pop Music is Wasted on the Young". Eventually, following Earl Brutus's commercial failure, Sanderson was forced to get a job. As documented on the Earl Brutus song "Train Driver in Eyeliner", he became an engine driver on the Brighton to London line. Earl Brutus made powerful future-glam art-pop. It was at once barbaric and poignant – and inseparable from its authors. Sanderson's interests were broad, including ornithology, Manchester United and British history. I remember him describing a birdwatching trip to see some hawfinches in Norfolk. He didn't find the birds, instead ending up drunk in the dark and falling down some coastal bluffs. His clothes torn, his face scratched, he knocked on the door of some remote cottage. Surprisingly perhaps, the stranger who answered let Sanderson in. The pair then spent the rest of the night in high-spirited revelry. Nicholas Robert Sanderson, musician and train driver: born Sheffield, South Yorkshire 22 April 1961; married 2008 Romi Mori (one son); died London 8 June 2008. This is quite shocking to think of even tho i don't really know the band (probs think of an Art Brut franchise) -tho when i have come across the album cover with the cars thats something that i have liked and looked at...(and probs would buy if it was v cheap to investigate further) - but when you read the word World Of Twist and realize that he was a member of that group - aand seeing that the singer of 'World Of Twist' Tony Ogden died a few months back with some say his potential unrealized....and they were supposed to be one of those failed bands who came along at the wrong time, slightly too early in pop history when baggy ladrock vibes were not too friendly for a group of Roxy glamsters... but they were supposed to have kinda acted as a 'cultural lubricant' for the impending britpop success of Pulp a few years later (even tho versions of Pulp had been going since the early 1980s) who started to break thru straight after 'World Of Twist' had imploded and had paved the way with their small chart successes.... http://upload.wikimedia.org/wikipedia/en/c/c0/PulpRazzmatazz.jpg

Stan Winston: Oscar-winning special-effects artist on 'Jurassic Park' and 'Aliens' Wednesday, 18 June 2008 by Tom Vallance Stan Winston was a master make-up and special-effects artist, responsible for some of the most memorable characters in fantasy cinema, notably the liquid metal cyborg assassin of Terminator 2, the enormous dinosaurs of Jurassic Park and the 14-foot alien queen of Aliens. He also created the high-tech armoured suits worn by Robert Downey Jnr in the recent hit Iron Man. Other inventions included the bizarre hands of Johnny Depp in Edward Scissorhands and the vampires of Interview with a Vampire (1994), and for Jurassic Park 3 (2001) he introduced a pair of imposing new characters, the Pteranodon and the Spinosaurus, which were among the largest animatronic creatures ever built for a motion picture. The New Yorker magazine described Winston as "almost single-handedly elevating the craft of creature-making from the somewhat comic man-in-a-rubber-suit monsters of the 1950s and the 1960s, to animatronics – electronically animated, part robot, part puppet creatures that have terrified millions of movie-goers". One of Winston's most remarkable skills was his ability to blend animatronics and physically created effects seamlessly with the latest computer-graphics imagery. The first special-effects artist to receive a star on Hollywood Boulevard, he won four Oscars – two of which came for Terminator 2 – and was nominated for six more. In 1972, he established his own studio and once compared the talent therein to "the finest painters, sculptors and artists of the Renaissance". Born in Arlington, Virginia, in 1946, Winston developed a love of drawing and puppetry, and studied painting and sculpture at the University of Virginia, graduating in 1968. With the ambition of becoming an actor, he worked as a stand-up comedian, although in 1969 he began a three-year make-up apprenticeship at the Walt Disney Studio, regarding it initially as "a day job". (His son, Matt, was to have more success as an actor, playing Temporal Agent Daniels in the TV series Star Trek: Enterprise.) Winston's talent for creating characters through make-up quickly became apparent, and in 1972 he won an Emmy for his work on the television horror movie Gargoyles. He won five more Emmy nominations over the next six years, sharing an award with Rick Baker for ageing Cicely Tyson from 19 years old to 110 in The Autobiography of Miss Jane Pittman (1974). For the movie WC Fields and Me (1976), Winston won praise for his remarkable transformation of Rod Steiger into the famed comedian Fields, whose bulbous nose was his trademark. His vivid imagination while working as make-up designer on The Wiz (1978), which included Michael Jackson as a colourful scarecrow, was considered one of the redeeming features in an otherwise overblown musical. Winston's creation of two robots who fall in love in Heartbeeps (1981) won him his first Oscar nomination, and he created some frightening effects for John Carpenter's The Thing in 1982. But the film that truly established him (and its director James Cameron) was The Terminator (1984) – starring Arnold Schwarzenegger – a production that was immediately recognised as a classic futuristic adventure. It fulfilled Winston's own criteria that a strong storyline was the most important element of screen fantasy. "It's not about technology," he said. "It's about writers writing wonderful stories with fantastic characters and me being able to create a visual image that's beyond what you would expect." Cameron described Winston as "a kid that never grew up, whose dreams were writ large on the screens of the world." Winston worked with Cameron again on Aliens in 1986, with his versatile extraterrestrials winning him his first Oscar for Best Visual Effects. He teamed up with Schwarzenegger again for Predator (1987) in which he created an extraterrestrial assassin who stalks the brawny star. "The entertainment industry has lost a genius," said Schwarzenegger this week, "and I have lost one of my best friends." In 1988, Winston directed a movie himself. Pumpkinhead, in which a farmer unleashes a demon on the "city folks" who invade his backwoods domain, won Winston the "Best First Time Director" award at the Paris Film Festival, but he directed only one more movie, 1990's genial A Gnome Named Gnorm. The same year, he devised the unique shear-like hands of the title character in Tim Burton's Edward Scissorhands. Terminator 2: Judgement Day (1991), included an original and hauntingly sinister liquid-metal killer with whom Schwarzenegger battled, winning Winston Oscars for both visual effects and make-up. For Burton's Batman Returns (1992), he created Danny DeVito's truly nasty Penguin and an increasingly gothic Gotham City, after which he won his fourth Oscar for his impressive dinosaurs, including a two-storey tall Tyrannosaurus Rex, in Stephen Spielberg's Jurassic Park (1993). Spielberg's AI: Artificial Intelligence (2001) brought Winston his final Oscar nomination for special-effects that included an eerily stuffed walking and talking teddy bear. Other films which benefited from Winston's talent included Mousehunt (1997), Galaxy Quest (1999), Pearl Harbour (2001) and Terminator 3: Rise of the Machines (2003) as well as the current hit Indiana Jones and the Kingdom of the Crystal Skull. In 2001, he produced five films for the HBO television series Creature Features, a tribute to the low-budget horror films of the 1950s, using the titles of such American releases as Earth vs. the Spider, How to Make a Monster and Teenage Caveman, but with entirely different plots to the originals. Winston's schedule for the future included further instalments of both Terminator and Jurassic Park, and he had done preparatory work on two of next year's most anticipated cinematic releases: James Cameron's Avatar and Martin Scorsese's Shutter Island. Jon Favreau, director of Iron Man, acknowledged the help he received from Winston, stating: "He was the king of integrating practical effects with CGI, never losing his relevance in an ever changing industry." Stanley Winston, make-up and special-effects artist: born Arlington, Virginia 7 April 1946; married (one son, one daughter); died Malibu, California 15 June 2008

that could be best as i find theres a lot of filler on albums and you will end up wading thru loads of meh - like now...my dad is criticising the filler on the album i've got on now in the background and being v sarcastic about it!!!

Even tho Chris Martin would be the bigger rock icon at this moment in time with the huge #1 success that coldplay is having - but overall when trying to consider all of rock history who would be the most important artist? Who will have been seen to have created the most impact?

Actually I agree like totally - and its Mushymanrob!!!! :lol: :lol: - shouldnt be in the Coldplay area as thats for a big Lentil flavoured love-in for the works of Chris Martin rather than this - which is equally about the sex pistols/PiL/John Lydon - and maybe more about him - and perhaps maybe Lydon is the more imprtant factor of the equasion here??? http://www.virginmedia.com/images/john-lydon-celeb.jpg

Why can't women be geniuses too? by Jane Czyzselska - The Times Newspaper Many male musicians have been described as geniuses. But why don't female stars merit the same labels of glory? Hands up those who can name five female musical geniuses? How about two? No? Popular culture's rich pantheon is heaving with lady geniuses, but reading the music and mainstream press you wouldn't know it. NME may have voted Beth Ditto the coolest woman in rock last year, yet the influential weekly has never nominated a female musician for its annual Godlike Genius award and shows little interest in female rock and pop stars. So when I read about the “genius” Rufus Wainwright, who plays London in July, my interest was piqued. One (male) critic notes of his track Agnus Dei that Wainwright manages to refashion the medieval Catholic liturgy into a “brilliantly irrational sprawl of skewed genius taking in Latin-American grooves and a doomy operatic Radioheadesque requiem via traditional Hungarian instruments. Between these polar extremes,” he says, “lies Wainwright's eye for improbable observational finesse.” Exceptional individuality, imagination and influence; the ability to hold a truckload of different melodies in one's head at once and being able to understand how they interact with one another - these are just some of the qualities associated with genius. Perhaps Rufus is a worthy candidate, but I can think of tons of women, past and present, who tick these boxes. And then some. Take Kate Bush. Ever since the electrifying Wuthering Heights in 1978, Bush has not only pushed the boundaries with her consistently exceptional and original compositions, but she has paved the way for successive lady geniuses, including Björk and Alison Goldfrapp. The Icelandic singer-songwriter has created an extraordinarily diverse cultural legacy (pop, jazz, experimental, choral and chamber music via the work of the poet ee cummings, playwright Sarah Kane and film-maker Harmony Korine) and influenced the likes of the young prodigy Bishi, the glam-folk electronica artist who at the age of 25 is already gracing the Tate and mixing it up with the London Symphony Orchestra. Goldfrapp is a singer-songwriter of beguiling complexity. She cites Bush and Dolly Parton as influences. When Parton came 94th in a poll of the top 100 living geniuses, she rejected the accolade, stating that she would rather be a cartoon than a genius. “A cartoon character is how I see myself and it's worked for me for 40 years.” Was this simply genial modesty or a sad reminder that she, like many women, finds praise hard to accept? Let's not limit our sample base to the West. The late Egyptian musician Umm Kulthum has attained near mythical status in the Arab world. More than 30 years since her death her recordings sell in their millions, with many joking that the one thing Jews and Arabs can agree on is that Kulthum is the greatest musician ever. But it's not just men who appear reluctant to celebrate female talent. Women also often avoid using the G-word in reference to other women. The truth is we're simply not encouraged to think about females, musicians or otherwise, in this way. There is hope, however. When the Foo Fighters' guitar hero Dave Grohl toured with the singer-songwriter and virtuoso guitarist Kaki King, he introduced her thus: “There are some guitar players who are good, some who are really f***ing good and then there's Kaki King.” Perhaps the music revolution will be feminised after all. So is Rock Journalism to blame? Is the mindset really less about promoting good music and rather more like a conservative ideology of macho proporations thats there just to reinforce the brilliance of maleness via the continuing phallic worship of the guitar....

Actually Lisa Stansfield is someone my parents like a lot - well the smooth soul stuff dont think they will be into dirty rotten scoundrals/Alex Gaudino versions of people hold on :lol: - they've got quite a few albums as well - such as the ZTT one below which 'lives' not too far away from this keyboard :lol: http://www.geocities.com/melkor254/Lisa/1.jpg BPTh2wxXp9Y Alex Gaudino - Lil' Love - Little Love (btw this is good better than like a perfecto pigbag footy match any day :lol: )

Yeah i watch it - tho its more like Reaper and Chuck in that i wouldnt go out my way for it - than a show like Smallville or Heroes that i obsessively record and need to watch.... but if its on yeah quite alright - tho obv doing a comedy drama can be a difficultthing to get the mix right - and yeah Spencer Grammer - i bet she just looks like her dad if he was ever a hippy in the 60s (omg you can so tell - its scary)

But instead of being seasons it could show on ITV as series and so 1 season could be promoed over here as two series - wouldnt be too much of a trouble to get round the gap - esp since they can lose an episode of pushing daisies - and i guess it could easily replace that in that sat sked and work better or in the Six Degrees slot and endlessly on itv2