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About appetite4illusions

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    Escaping New York...
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    Genre films, synth-wave tunes, backcombing the remaining hairs on my head, treadmill running, putting ketchup on chicken, playing gee-tar, doing half-decent impressions, writing when my pen has ink, feeling the burn and occasionally, shrooming out.

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  1. If you sue someone criminally, the prosecution has the burden of proving intent and, proving it beyond a reasonable doubt. As a standard of proof, that would be like a 90-95% certainty - kinda steep. But civilly, the standard of proof is “preponderance of the evidence.” That means, more likely than not likely. That would be anything over 51%. So, it is fairly easy to win in tort cases where someone has done you wrong...however... In civil cases, you can only sue people for money and if the person you’re suing doesn’t have any...well...as the old saying goes, “you can’t draw blood from a stone.”
  2. Maybe I'm dense or society has moved on from my intellect, but how do you stop somebody from attending shows? You just buy a ticket and disappear into the mass of people. Is this a real "ban" or just a demerit? How would you enforce it?
  3. The Joker

    I was an English major, so you’ll forgive me if I use my useless degree on the internet. But no man, it’s not coming from a pretentious place. Go back and read what I’ve said earlier in the thread- long before I saw the film or knew of any controversy surrounding it. My point is telling a a Joker origin is a self-defeating premise. No origin will do for me, particularly one where he’s an average Joe. I just never expected the character to be such a pathetic worm. I don’t see the Joker that way and if you do, I question how you can call him the most successful criminal diva. I saw a decent movie about a loser who gets away from his crimes because the script gives him an emergency exit whenever necessary. That’s fine for what it is, but when you’re telling a story about (capital letters) JOKER and your character is as minor and hapless as the lower case, it really should be called “Arthur.” Just wasn’t Joker for me man, sorry if that’s not what you want to hear.
  4. You’re right, there are a number of OG GN’R songs where Axl leans on the guitar riff for his melody, but I can’t think of one of the stalwart classics where that’s the case. I’ve said it before, but the crucial ingredient to a timeless GN’R song is that it is anthemic. This usually means having a big chorus and to have a big chorus...less is more. You mentioned Nighttrain and while Axl settles into the groove of the riff on the verses, he does his own thing on the chorus and it’s the kind of minimalistic thing that works so well: ”I’m on the Nighttrain!...Nighttrain!...Nighttrain!....Never to return!” It breathes, nice and easy and it has the space and power for everyone to chant it like a prayer. Now you’ve got: ”But you had to be a fool and do it your way had to be a fool and throw it all away to a school you thought you were here to stay if that were true it wouldn’t matter anyway!!!” Not the same thing, at all. It doesn’t breathe one bit. It’s delivered like a rant - which is I’m sure how Axl approached quite a bit of songwriting. It reeks of someone with too much to say and unsure how to say it. Kind of like a high school kid who writes his whole English lit paper as one run-on. Add to that, it is doing the same exact thing as the guitar riff, it comes off as desperate and a little redundant. I’m not saying Axl should adopt a Motley Crue style of pop choruses, but he needs to realize that in the craft of songwriting, people want something they can participate to when they hear it live. Hard School brings back the idea of rocking out - which is sorely, sorely missing from Chinese, but to me, it doesn’t have an element of timeless songwriting on it. If Axl is going to swing for the fences, he needs to get back in touch with a simpler approach. If the World was one of my favorite songs on CD, because of its simplicity.
  5. Hey you started it. I only have one bro and he doesn’t even call me. I just hear a jersey shore character when people try to reason to me by starting with that word.
  6. The Joker

    I’ve seen so many people say this is a “love it or hate it film,” but I disagree. I don’t love it and I don’t hate it, but its exercise in trying to give the Joker a proper backstory...just doesn’t quite do it...because even at the very end of the movie...I don’t feel like this is the Joker. Joker is a force so fierce, that he’s like a part of nature...Joaquin Phoenix’s Joker is the equivalent if the lucky loser. He commits random acts of violence and then gets away with it because there’s already so many fires to put out. This film really, should have been called “Arthur,” because it’s so much more appropriate. It’s not about the clown prince, it’s about a sad, delusional man that is almost completely hapless. Again, great acting work but not Joker to me, because I never saw Joker as such a pathetic, pathetic creature. There’s a real confidence to the Joker that Arthur will never have. It’s no clown prince - it’s clown punk.
  7. Out of all the shit that has leaked - as far as rock and roll goes - Oklahoma and Quick Song have the most promise as riffs. I can't say much more than that. Those two were the only ones I felt were very worthy that remained undeveloped - particularly Oklahoma.
  8. You know what makes for a really boring song (to me)? When a singer sings right on top of the guitar riff and never changes the melody. So the singer, is basically copying the guitar riff, verbatim. That doesn't make for a dynamic song and GN'R have always been dynamics....bro...
  9. Yeah, they always had a very contentious relationship and were very different people, but by all accounts, the experience of making Metallica's And Justice For All... album was the last straw. It's funny, And Justice For All... is very much its own story, but it's interesting that Metallica chose to use Mike Clink AND Thompson and Barbiero for that album. Obviously, Lars was very infatuated with GN'R and how great AFD sounded so he went ahead and got that whole team to make their next album...and not only is the album notorious for how poor it sounds, it broke up the relationship of the two guys who were the lightening-in-the-bottle for GN'R
  10. I don't think it's the production of UYI, I think it's the fact that Steve Thompson and Mike Barbiero blew up and didn't get to work their magic, a second time. Those two guys were the real unsung heroes of AFD and I can only imagine how much more dynamic UYI would have been if it was mixed by them.
  11. None of those songs Lord, they were left off of Chinese Democracy, why would any of them be able to cross into the mainstream? Hard School is the best of a poor bunch of rock songs Axl assembled. You could release that but I’m very sure you would have a situation where it’s quickly forgotten. It might get you guys excited but I think it’s more the idea of Axl rocking out...because the song isn’t exceptionally good. I would rate even some of the more disposable stuff on UYI as superior; Bad Apples and Garden of Eden, for example. If Axl wants a truly successful first single, he should go back to the drawing board. These songs were written a time when the Real Slim Shady needed to please, stand up.
  12. The big "Fuck Bob Ezrin" thread

    The thing about the ballads is...they were always the other side of the coin. People appreciated November Rain and Estranged because it was a contrast from the real catchy, adrenaline driven songs that GN'R catered to. But take away the fist-pumping, blood rushing rock and just leave the ballads...that turns off a fair amount of the fanbase. You've now diminished a part of what made Guns N' Roses so successful in the first place. GNR are only as strong as the rockers - because they are and always will be a, a rock oriented band. So, if all your serving for rock is Chinese, IRS and Hard School....it doesn't matter too much how good those ballads are...
  13. The big "Fuck Bob Ezrin" thread

    I knew Axl had taken his eye off the ball once I heard a majority of the material and determined none of it could compete with a song like "Slither." Contraband as an album is good, while Chinese Democracy is great...but CD just didn't have that one song to put it over the top. It's too bad, because with all that time, talent and passion, they should have been able to smoke "Slither."
  14. The big "Fuck Bob Ezrin" thread

    "Every time we thought we had the right sequence of songs, somebody else thought we could do better." - Axl (2008?) Whether it was Bob Ezrin, Jimmy Iovine or Tom Zutaut, it seems the major reservation wasn't if the current songs were up to par in production - but whether any of them had the potential to be successful singles. I think there was proper doubt that Axl ever had the right "single." A song with undoubted tremendous commercial appeal. Listen to the 2000 Intentions leaks...which one of those would you stake your house on would be a "hit"? Good songs, but none of them scream "money in the bank - release me now and watch me climb the charts!" I think the major hope that the label and the producers held out for is that if they thew the band back in the studio and never took them out, then one of those days, the band would write a song that had such massive commercial appeal that they could throw the whole weight of the project behind it. That never really happened, as far as we've heard and the best and most commerical song they got out of the process was "Better," which didn't really have any legs. Do you guys remember the Classic Rock interview Zutaut gave in 2007? In the closing moments of the article, Zutaut says "It's a great Guns N' Roses album, but is there a single on it? You can't do the big business without a hit single." All that time, everyone seemed to doubt that Axl had a song which would unquestionably, bring him back from the rock and roll crypt.
  15. The big "Fuck Bob Ezrin" thread

    A producer has one real hope when they make an album: that it will have hits on it. It's nice to make art and work on something that will potentially be remembered, but the bottom line when a producer puts his name on something is that he or she, wants it to be commercially successful. I don't blame Ezrin for telling Axl he only had a few songs, because as much as I like Chinese Democracy, I only hear several "hits" on it, too. Axl rejected the fundamental element that people love about GnR songs: Anthems. Paradise City, Sweet Child, Jungle, You Could Be Mine, Nighttrain...fuck...even Knocking on Heaven's Door! A folk song...was turned into an anthem, with a big chorus. Those are "hits" those are "single material." Axl wrote one song - one song - as an anthem on Chinese Democracy...the title track...and it was the obvious choice as the single, because it stood alone as having that anthemic element. Ezrin wanted hit songs. He knew Axl was more than capable of writing them, but he didn't hear them on Chinese Democracy and he was right...because the album when it came out years later, didn't have the goods to stay on radio. Axl's fault on that one.