remains one of the best, if not the best, X-Men stories. 
-Let’s you and him fight!
-We’re talking about Batgirl vs Robin
-More specifically, Batgirl 17, featuring words by Bryan Q Miller and Pere Perez
-I’ve been critical of people writing Damian Wayne as too mature for his age or just flat out poorly
-This issue was pretty straight, though
-Esther agrees, and places the Damian/Stephanie relationship in the context of how Batgirl and Robin have interacted in the past.
-6th Sense’s 4a.m. Instrumental for the theme music.
-See you, space cowboy!
Subscribe to the Fourcast! via:
–Podcast Alley feed!
–RSS feed via Feedburner
–iTunes Store
In what should have been a slight week has been saved thanks to David, Was Taters and new contributors Neil Curry and VersasoVantare. Veraso came to bat with all sorts of panels from 2000AD, so good for him.
I should note that if you ever do read Deadpool MAX, try to imagine Cable as talking like Leslie Nielson. In fact, do that for all versions of Cable. I mean, I liked the guy from the cartoon too, but he lacks the comedic touch. Look…
“Who are you and how did you get in here?”
“The Wild Man of Borneo… and I’m a locksmith.”
See? That doesn’t even make sense!
Avengers Academy #8
Christos Gage and Mike McKone
Batman #706
Tony S. Daniel
-You should be reading Peter Milligan, Giuseppe Camuncoli, Simon Bisley, and Stefano Landini’s Hellblazer. Here, let me help you out–read this and then pick up Hellblazer 275 to see John get married.
–B.P.R.D.: Plague of Frogs Hardcover Collection Volume 1
-More blogs from friends! 4l! reader Taters has a couple you should check out. In Continuity is her general comics blog, while UnMasquerade is a tumblr devoted to heroes unmasking.
-I started playing Final Fantasy Tactics: The War of the Lions
-It’s funny, but I never beat a Final Fantasy after 7. No, that’s not true. I think I beat Final Fantasy Tactics Advance. I came close with 9, and I played a lot of 10, but man, that story got super dumb toward the end. I played probably an hour of 12 before I got bored, I worked on 13 and wasn’t impressed so I just skipped it… I enjoyed my six or eight months playing FFXI more than most of the other Final Fantasy games, and I quit that game because it was work and I’d been bamboozled into thinking it was fun.
-All I play now is Rock Band, FFT, Persona 3, and NBA 2k11. Weird, isn’t it? I was completely different just a few years ago.
-I don’t usually buy singles, but I made an exception for Wiz Khalifa’s Black And Yellow
-Killer Mike is one of the most interesting rappers out right now. He’s clearly studied Tupac, Ice Cube, Scarface, UGK, and a bunch of other cats who mixed their thug raps with real life issues and black empowerment. He keeps it honest, is what I’m saying, and I think that’s why I regularly bump his whole catalog. He drops an ill black power track every once and a while, too. There was that “Bad Day/Worst Day” remix with Ice Cube, and it’s semi-sequel “Pressure”, which also featured Cube. It’s just coincidence that these two feature Cube, but maybe not. They’re the ones that stick in my mind the most, cause Mike holds his own up against a rap legend. I mean, “Pressure” goes SO hard, man, from the beat to the lyrics to that Malcolm X excerpt at the beginning. The video is pretty crazy. His latest joint is called “Burn”, and yes, you guessed it: he goes all the way in from the first line on. He also puts the whole Johannes Mehserle situation on blast.
-It isn’t as strident, but “Grandma’s House” is fantastic, too. “My life dope?” “straight cocaine.”
-Gonna be nearly silent running next week here on 4l!. Light posting at best, linkbloggy type stuff, and comic excerpts. It’s so I can bang your head all throughout February without stressing myself out and Ustreaming a murder/suicide. I’ma show you how to do this, son.
The Damon Albarn Appreciation Society is an ongoing series of observations, conversations, and thoughts about music. Here’s the second:
Let’s talk about The 7 Day Theory
1) “Intro/Bomb First (My Second Reply)” – I learned recently that Tupac would record his vocals three times and layer all of those on the track. This was so that if he missed a word in one take, he’d probably get it on the second, and maybe do it better on the third. I don’t know the term for this (“wall of sound”?), but it makes Makaveli sound very full and very, very messy. It’s overflowing with Tupac, basically. You can sometimes hear the differing takes floating below the final track, like ghosts.
You can even hear it on this intro. The church bells, the news report, heartbeat, and the dense background noise all stack up. It’s intense, and what really blows my mind is the transition from introduction to the actual song around 1:20. Everything builds to a crescendo before dropping out in favor of the church bells, and then the song comes in. The heartbeat becomes part of the beat, becoming a more traditional drumbeat, and then a gunshot heralds the arrival of Makaveli the Don. Tupac’s flow is fast, but he puts so much emphasis on every word that you can’t help but keep up.
2) “Hail Mary” – The church bells make a return, providing continuity between “Bomb First” and “Hail Mary.” This time, they stick around, and are accompanied by light keys.
There aren’t many rap songs with a better first two bars than “Hail Mary.” “I ain’t a killer but don’t push me/ Revenge is like the sweetest joy next to gettin pussy” is top 5 dead or alive material, and when you consider that “Hail Mary” is about being damned, it takes on new meaning. This isn’t about killing your enemies and glorying in your victory. It’s about being hopeless because you stepped on a path and you couldn’t get off it if you tried. It’s not a prayer so much as a confessional, and the lines between traditional Catholicism and the black family twist and blur over the course of Tupac’s verses.
When he says, “Institutionalized, I lived my life a product made to crumble/ But too hardened for a smile, we’re too crazy to be humble, we balling” he’s talking about how playing a role can remove you from happiness. It’s the price of fame–you get what you want, but you can’t even enjoy it. You revel in it, and you ball out of control, but you can’t smile any more.
The Outlawz go in on this, but Young Noble almost steals the song. “Peep the whole scene and whatever’s goin on around me/ Brain kinda cloudy, smoked out feelin rowdy/ Ready to wet the party up, and whoever in that motherfucker” The flow is on point, and he’s just the personification of what Tupac is talking about. He’s lost and he knows it.
3) “Toss it Up” – Tupac took a sex song that was intended for a K-Ci & Jojo album, added another verse dissing Dr. Dre and an outro manhandling Puffy, and put it on Makaveli. That same trio had rocked “How Do U Want It” earlier, and what’s funny is that he did the same thing there. He dissed Bob Dole and C Delores Tucker in verse two and talked about his demons in verse three, and bam, out.
But really, that was Tupac. He could spit something grimy over a smooth beat, and it would all work. Something for the thugs and something for the ladies, all in one song. It shouldn’t work, but it’s that “understandable smooth shit that murderers move with.” You want to know where 50 and Ja Rule got their style from? This song right here.
4) “To Live & Die in L.A.” – This is one of four love songs on Makaveli, and the first of two dedicated to inanimate objects. But really, “To Live & Die In LA” is like Jazzy Jeff and Fresh Prince’s “Summertime.” It’s just a smooth joint you put on at a cookout or when chilling and reminisce. It’s about belonging somewhere, loving your people, and repping for your home.
What I like is that Tupac isn’t even from LA. He was born in Harlem, lived in Baltimore, moved to Marin City as a kid, repped the Bay Area for years, and then he made his way south as an adult. LA is his adopted home, but it’s clear he loves it anyway. That’s a good feeling, I think.
5) “Blasphemy” – There are a lot of references to God and religion throughout this album, from the provocative cover art down to “Hail Mary” and “Blasphemy.” It’s usually pitched from a position of mistrust or confusion. He constantly blurs the line between God and a father, absentee or present, and rather than being a comfort, religion is something that’s unknowable and scary.
Tupac often dealt with fatalist themes, and this song just might be the peak of it. If you turn this one up, you can hear Tupac harmonizing in the background, just below the bass. It sounds sad,
6) “Life of an Outlaw” – “The shit you heard ain’t do me justice–got a death wish, bitch!”
The reason why Tupac clicked with so many people probably comes down to a few things. He wasn’t the most lyrical rapper, and Biggie definitely wins on that front, but Tupac was a guy who used charisma, rhythm, and emotion to pull you in. Tupac understood the importance of playing a role and acting in rap music. He could mix something deeply personal with something that was straight up false, and it would still come off true.
It wasn’t about faking, or exploiting a lifestyle you didn’t belong to. It was more like he wanted to represent every aspect of black culture so that he could reach as many people as possible. So he had the songs dedicated to death obsession, screwing women, loving women, guns, and black power. He talked about pain and fame in equal parts, and it worked. Everybody loved him, “from the hood to the burbs.” Tupac, to an extent more than probably any other rapper, represented us. He ran up and down the spectrum of black experiences in his songs, and he did it in a way that everybody kept the volume knob turned all the way up.
7) “Just Like Daddy” – Love song number two, and the only one that’s just a straight up traditional joint. This is Tupac and the Outlawz in a “Dear Mama” mode. It’s sweet and protective, but also apologetic. There’s this strain of guilt that runs through Tupac’s library, and it tends to go hand-in-hand with loyalty.
It’s about sticking by your people, especially through the rough times. It’s about knowing better, but falling short, and getting another chance to do things right. Tupac’s verse is about a woman sticking by her man while he’s in jail and him promising to stick by her.
The sweetness is all in the chorus. Do people still call into radio shows to dedicate songs to their girls? This is more “Summertime” music.
8) “Krazy” – One of the illest, and most true, lines on 36 Chambers came from Deck on “CREAM.” “Though I don’t know why I chose to smoke sess/ I guess that’s the time when I’m not depressed/ But I’m still depressed, and I ask what’s it worth?/ Ready to give up so I seek the Old Earth/ Who explained working hard may help you maintain/ to learn to overcome the heartaches and pain.”
It’s a verse that I think represents a lot of what I feel like it’s like to be black in America. Tupac’s “Krazy,” then, takes those six bars and blows them out into a full-blown song. Every single line is rings true, from trying to escape from real life with drugs or drink, trying to do right by your mom, and, no matter what, feeling like you don’t belong. Bad Azz drops the best verse of his career…
“Krazy” is one of the most melancholy songs I know. It’s just about getting by. Life goes on.
9) “White Man’z World” – Love song number three, this time to his people.
On “Bomb First,” Tupac talks about how he’s down to “murder motherfuckers lyrically, and I’m not gon’ cry.” When he’s talking about love, black people, or his family, he cries. He says, “Dear sister, got me twisted up in prison, I miss ya/ Cryin lookin at my niece’s and my newphew’s picture.” On “Krazy,” he mentions crying for weeks after getting a letter from his sister Sekyiwa.
Crying doesn’t really fit the media narrative of Tupac. You’d think he was Alpha Male Plus if you judged him by the papers. To them, he was the guy who came through and wrecked New York nearly singlehandedly, in between preying on women and running wild in the streets. But no, that really wasn’t it. This song alone puts the lie to it. Tupac was raised by Black Panthers. He knows what he’s talking about, and there’s been a strong pro-Black theme running through most of his albums.
This is another one of those songs that’s both universal and personal. That second verse is lethal.
“Proud to be black, but why we act like we don’t love ourselves?/ Don’t look around busta (you sucka) check yourselves!/ Know what it means to be black, whether a man or girl/ We still struggling, in this white man’s world.”
10) “Me and My Girlfriend” – Love song number four, this time to his pistol.
This one is just an eternal banger, from Lady of Rage to the hook to the concept.
This is where the layered vocals come back in a big way. If you turn this one up loud with some good earphones, you can hear the vocal tracks slipping and sliding up against each other, particularly on the chorus. You can hear these alternate Tupacs behind every line, sometimes synchronized, sometimes off just a little bit, and sometimes just emphasizing a single word.
It makes “Me and My Girlfriend” sound like a ghost story, like Tupac is haunting his own song. It makes a song that’s just dope into something that’s real, real creepy. There’s a reverb (or reverse?) effect around some of the lines and chorus, too, which only adds to the effect. Tupac’s earnest personification of the gun as the only girl he loves and the implications of the hold it has over him is powerful stuff.
What’s more is the fact that, alongside guilt, the idea of being trapped is something that has been deep inside Tupac’s lyrics, ever since the beginning.
11) “Hold Ya Head” – This pro-black joint is like “Krazy,” but even more obvious in its meaning. It’s also another price of fame song, as Tupac relates how going hard at all times and making money cost him friends and happiness. He knows that people would lock him up forever if they could, but he also knows that he couldn’t stop if he wanted to.
It’s as much an encouragement and advice to others as a message to himself. His advice at the end, about how no matter how hard it gets, you need to do whatever you need to do to hold your head, are all things he did himself.
12) “Against All Odds” – “Hit ‘Em Up” was nice, but “Against All Odds” is the nail in the coffin. Mobb Deep, Jay-Z, and everyone else are treated as less than potholes in Tupac’s path in “Against All Odds”. He’s left the buckshot blast of hate that was “Hit ‘Em Up” behind in favor of something new: “Plan, plot, strategize, and bomb first.” It’s an updating of his THUG LIFE (The Hate U Give Little Infants Fucks Everybody) and NIGGA (Never Ignorant, Getting Goals Accomplished) credos. You think it through first, and then you destroy whatever stands in your way.
This song puts every major figure in New York on blast in a such an amazing way that its only competition is “Ether” or “Takeover”, and those are a distant, distant second and third. This is just a straight up, no frills diss song–“this is why you’re wack.” He calls Nas out on biting Rakim’s style before dissing and dismissing Mobb Deep in two lines. He creates what is hands down the best line in a diss song ever when he says that De La Soul is “looking like Larry Holmes, flabby and sick.”
Makaveli began with church bells and ends with the sounds of war. There’s something meaningful lurking behind that, isn’t there? I don’t know.
Very DC-centric week this time around, mainly because Was Taters contributed more panels than even me. Not that she’s only into the DC stuff. For instance, she also reads Thor: The Mighty Avenger and that’s Marve–DAMN IT, that’s canceled, isn’t it. Anyway, thanks to her as well as David Brothers and the man known only as luis.
I’m certainly going to need the help of any interested readers for next week because I have an entire three comics I plan on picking up (Green Lantern Corps, Avengers Academy and Deadpool MAX). So if there’s something you’ve been reading that you want represented, by all means. Now on with the chlorophyll.
Batgirl #17
Bryan Q. Miller and Pere Perez
Batman and Robin #19
Paul Cornell and Scott McDaniel
Still thinking about February and Black History Month. Formulating a plan of attack, striking things from lists, and catching up on things I missed.
Anyway, my homegirl Cheryl made a brief return to comics blogging with a trio of posts over the last week or so. There’s ten things she wants out of DC in 2011, some stuff she wants from Marvel and DC in other media, and how DC is kind of a lost cause when it comes to getting books that aren’t lily white.
She writes a lot, and I agree with most of it. Together, you have sort of a general list of things that Marvel and DC aren’t doing that they should, and could, be doing to push comics and their characters harder. The point about diversity being a lost cause at DC stings, but it’s true. Marvel’s a little better, mainly due to having created a decent group of black characters in the ’70s and then again in the ’90s, but who do they have that can support a book on their own? Not Cage, not Storm, not Night Thrasher… Black Panther has a solo book, but how absolutely awful has that series been for the past couple years? Right now, he’s batting clean-up in someone else’s book. Six months from now? Who knows? Maybe DC will get Aqualad off the ground, but I’m not sure the market wants it.
Here’s a couple of bits from X-Men comics I dug, mainly for their writing.
First bit’s from New Mutants, Vol. 2: Necrosha
Anyway, here’s one page from a Necrosha issue. It’s from the POV of a recently revived Doug Ramsey, whose mutant power is that he listens well. Or understands every language ever. Unsurprisingly, his mutant power didn’t protect him from being shot and killed years ago. Wells introduced a neat twist on his powers in this issue, and hopefully the red on black text (why?) is legible.
I like this, because it makes what’s honestly a pretty crappy power for adventure stories into something interesting. He can decipher what they mean, rather than what they’re saying. He can also now “read” other things, from cities to computer programs, but this was the bit I liked the best. Wells nailed the characterization here, and I particularly like how Sam Guthrie and Bobby Dacosta come off. I’ve liked those guys since I was a kid and high on that Nicieza/Capullo X-Force. Clever work.
Next is X-23 4, words by Marjorie Liu and art by Will Conrad and Marco Checchetto. Colors by John Rauch. I think this page is Checchetto, but don’t quote me. I picked up the first issue because Marjorie Liu is a pretty ill writer, but I was left pretty underwhelmed. The “Wolverine is in Hell. Hell! HELL!” stuff that’s spread across the Wolverine family of books right now is a huge drag, and that first issue wasn’t really for me. 4 was the start of a new arc, and actually feels like where the series should have begun. It’s much better than before, though I’m still not feeling the art. I think that may be due more to Rauch’s colors, though. He makes stuff seem really washed out, sort of like how Pete Pantazis did on JLA a while back. We’ll see how it shakes out.
I think the “Heroes don’t kill!” thing in comics is dumb, and have harped on it ad nauseam. I like this bit, though, because it’s more… honest. X-23 is a character who has gone from killer to child prostitute and back around to being a killer again. Only this time, she’s a Wolverine-style killer, where it’s hyped up and encouraged until someone decides it isn’t cool. And that always rubbed me the wrong way, like the guy who rails about how drugs are for idiots but is down to hit a blunt at a party. Which is it? Pick one and stick with it.
This, though, is a more honest treatment than the either/or that infests cape comics. It’s just, “You did this thing. Can you live with it?” “Yes, he deserved to die.” “Well, all right.” I like that. When your mutant power is “kills people real good,” a different approach from your usual superheroic code of honor is required. Here, the killing isn’t treated as something positive, or something to be encouraged, but it is treated as necessary, or maybe even just. More like this, please.
-I took a look at ComiXology’s sales charts and Diamond’s sales charts, add in a bit of educated guesswork, and come up with something interesting about digital comics.
-New blog from a friend! Sol, the lady behind the Greg Land gif that brought the internet to its knees, has launched Walking the Comic Book Runway, a fun examination of fashion in comics. This is something I talk about with her all the time, so it’s cool to see her putting these thoughts out there. There’s a few posts right now, but I’m sure if you visit and conversate a bit, she’ll keep on pushing. Go on, do that. She knows her stuff.
-Y’all heard Ye and Jay’s “HAM?” Yeah, it’s straight. The beat is Final Fantasy hot, but Kanye sounds sleepy and Jay needs to stop talking about Beanie Sigel without actually saying dude’s name. As is, though, I liked it better when it was Pill’s “Trap Goin’ Ham,” incredibly ignorant video and all.
-More P I Double: “OK Denn” and “Real Mutherfuckin’ Gs”, “Run Up to Me” with Freddie Gibbs, and one of my favorite songs from 2010, Yelawolf’s “I Wish” remix with Pill and CyHi da Prynce. Every verse on that remix is hot.
-Yelawolf: Woke up in the morning with a fucking pen and a pistol/ I put one to the paper, I put one in my fist/ Stuck up a shop with the pen then I shot up my notebook/ I’m reading bullet holes, I wish a fucker would
-CyHi: I been fly, my momma gave birth to me on a plane/ Nigga, so I guess you could say I’m airborne/ I’m running my city getting my mayor on/ Stay on my grizzly, you know I bear arms
-Pill: Born into poverty, heart torn, obviously/ Dad gone, so we trying to figure out how to eat/ Older brother hustling, momma working overtime/ Now I’m standing in the kitchen whipping baking soda time
-All three of these cats know that when you’re wrapping up a verse, you need to go in or else nobody’s gonna remember you. You can’t just peter out and fade, you gotta hit harder than the rest of your verse or keep rhyming til the beat’s gone, no matter what you’re saying.
-More Yela: “Pop the Trunk” goes so hard, man. It just bleeds menace, from the beat to the lyrics. That bridge at the end is nice, too. “I Just Wanna Party” with Gucci Mane is pretty okay, too. I don’t even really get down with Gucci like that, but he gets it going here. Look for Big Boi roundabout 2:45, too. And who can forget a hot song off one of the hottest albums of the year, Big Boi’s “You Ain’t No DJ”?
-“Yeah, I’m pale, but I’ll impale you with an Impala”
-Also, I bought Weezy’s “6 Foot 7 Foot
-Gunner is the only dude who can use “pause” because he’s so rapidfire. It’s like “breath!” “Wayne, these niggas out they mind/ I done told these fuck niggas, so many times/ that I keep these bucks steady on my mind/ tuck these, I fuck these on your mind, pause”
-Dang, I guess the South still got something to say.
-Peer pressure works! Jamaal Thomas over at FBB is rounding up his top ten floppies of 2010. Go, read.
-Here’s an index of all of Spurgeon’s holiday interviews. There’s 20, and they’re great.
–Part 2 of Joe Q’s exit interview is up at CBR. Quesada really did a lot for Marvel, and I think for the comics industry overall. He stumbled, obviously, but if you compare Marvel now to Marvel then… gimme Marvel now any day of the week.
–Sean Murphy is great, but you knew that already.
–Periscope Studio is also full of great artists, and this week they’re drawing the Thunderbolts.
-This NY Times profile of Radical talks a lot about how they’re selling comics to Hollywood, and the only creator they bother to mention is Nick Simmons. How do I feel about that? I think this image says it all, and also shows that you should never run an auto-retweet script on Twitter.
-I buckled under and bought a Kindle
-The Kindle purchase is part of a hard push toward going mostly digital this year. Down the line will be an iPad for comics (once Dark Horse’s store launches and hopefully after Marvel pulls its digital head from its digital butt and fixes). I did some testing, though, and I can already go almost all VOD. I watched the Buckeyes game last week on ESPN3, which was mostly delightful. I use Netflix and Hulu to watch random movies and TV. And now, I can use iTunes to buy stuff I want to keep. I bought Archer
-My only issue is the price. It’ll tend to run slightly more than the Blu-rays after the Amazon discount, but less than the MSRP. At the same time… I have instant access forever with no physical media to worry about. This’ll force me to only buy things I really, really want, which is probably a good thing in the long run. I’m doing a lot of thinking about what I think is fair.
–Archer is incredible, though. “Karate? The Dane Cook of martial arts?”
–Judging by the box art and this blog post about their reasoning, Catherine is cruising directly to all of the Game of the Year awards. Gonna be crazy, and probably a story that ends with a good, wholesome message. “Don’t cheat on your girlfriend or else you’ll be damned forever and turned into a sheep dude by sheep cultists.” Here’s a subtitled trailer and a gameplay heavy trailer.
-The Persona games have done a generally good/weird/interesting job of playing with sex and sexuality. A game where the focal point is “You cheated on your girlfriend and now your life is ruined” should be pretty good. It’s sure to be unsettling in probably a Silent Hill sorta way.
-Shoji Meguro did the Persona 4 soundtrack, I’m pretty sure. Curious to see what he comes up with for Catherine.
-Also, whoa, Vincent is in Persona 3 Portable? Cool.
-How messed up is it to cheat on your girlfriend Katherine with a Catherine? What is that, some kind of screwy fetish? Bad luck?
