Netflix series request: ‘You’re Killing Me’

In 1989 a Stockton, CA, band known as Pavement self-releases its first E.P., the angular Slay Tracks: 1933-1969. Opening cut ‘You’re Killing Me’ sets the tone for the band’s entire recorded output. Lead singer Stephen Malkmus (played here by Kyle MachLachlan of Twin Peaks and Blue Velvet fame) cheerfully screams lyrics about killing, murder, mayhem and death.

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You have memories

You have memories, sure, but then who doesn't 
know where you live these days? Camping out in
the wilderness until the controversy blew over
seemed like a good idea at the time, of course,
but that was before the anaesthetics kicked in
and you lay there, boiling, and unable to feel 
the sweat rolling down your leg. They hacked it 
off with a kind of efficiency that was easy to
mistake for care but who's complaining now? Not
you! Because you've still got your wits, and the
planes don't fly so low anymore, and you never 
were a big fan of running anyway. Yeah, memories,
how about them, now that you get to control when
they appear, for example, or when to delay them, 
send them bawling into your dreams with a swish, 
the warlords gesturing over 3-D maps of mosques,
glistening rivers barely visible between the cracks 
of competing glaciers sliding across dead moonscapes,
ordnance going off, adrenalin bangs in capsule
form, and still you bray 'Bring it on, Charlie!!', 
like you mean it, like you never had forgotten
where you hid them, typing in your new password 
without even looking, or deliberately keying in 
gibberish answers to standard security prompts. 
Name of first pet? Eklhferlhl. First girlfriend?
Gpwjfrqe;ngqgnntqgwgq Nhwereferhhpfqhppqqhpi. 
That should keep them busy for a day or two, at 
least, and in the interim you can retrace your 
final actual step, backwards into the gun nest,
the hot weapon slinging wetly into your palm, 
as laser-guided melodies peep-peep you to sleep,
deep in a dream world you created with a click. 

Eurovision 2015

One of the strange but perhaps obvious beauties of the new social media confabulation is that platforms like Facebook and Twitter can be used by people across different timezones and locations in order to get together and share their thoughts on a particular issue. Like Eurovision.

In my case, I’ve occasionally dabbled in the weird world of the Facebook comment party, in which friends comment on a particular status update in order to produce a kind of rolling-thunder live-comment stream on a specific event.

One of my personal highlights was a live comment party I hosted during the opening ceremony of the 2012 London Olympics, which received an astonishing 880 comments over the sheer agony of its two- (or was it four-) hour length.

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