If you remember, I used to be in love with this show. The first and second seasons were probably honest. I say that because maybe every third episode had something to show, and the rest were snorefests wandering around. I think the pressure put on the actors was immense – not just from scifi but also from the viewers. Lets be smart for a moment and think about how many people probably DVRed the show after figuring out that two thirds of them were people bumping around in the dark for an hour?
Scifake became the prinicipal site to discuss this stuff after scifi decided to delete posts off their forums. Now scifake is up for sale and it make you wonder exactly how much of the muckraking was just to piss off people with money. Like the pirate bay and other sources of inconvenient truths, was the intent the entire time to piss off people with money so they could put their silence up for sale?
God only knows. Scifi killed their forums. Grant seems to have the most “on tape” paranormal experiences. Jason (who is an actor) claims nothing is faked – but he may also not be breaking role because he’s also a man who has to provide for his family. Several of the GHI team and other employees are flat on their asses broke and living with theit parents. And now Scifi is trying to spin the whole thing off into a new, heavilly promoted series called “ghost hunters academy”. Just when it looked like the trainwreck couldn’t get any deeper, Jason responds outside of the safe harbors of pilgrim films and scifi forums on scifake.com. It’s gotten so nuts that there’s death threats. Finally it seems every paranormal group in the nation is pissing on the Ghost Hunters.
At least with Paranormal State there was no doubt about it being faked. Penn State had issued a statement to that effect. With Ghost Adventures, it’s funny and it’s supposed to be funny. With Extreme Paranormal and Ghost Lab, they’re so pathetic and fat that they can’t conduct a proper investigation because they can’t walk from one side of the room to the other without weezing all over the EVPs. But Ghost Hunters, the original, still persists.
Not sure if I can repost this so here’s a direct link. Via spinner, The Smashing Pumpkins released A Song for a Son. I know everyone is like “Billy Corgan didn’t kill himself yet?” but it’s actually a decent song. It’s somewhere between ZWAN and Mellon Collie and the Infinite Sadness. MCatIS opened up entirely new genres of music for me, and probably was the gateway album to TOOL. It doesn’t have the depth of the rock on Siamese Dream (“if one guitar is good, 10 are better”) but then again the new Smashing Pumpkins are lacking James Iha who was responcible for most of the guitar. Does it sound like Zeitgeist? Thankfully no. Zeitgeist is the louder-is-better production style of music which was pioneered by Green Day and frankly I’ll never forgive them for it.
The new album is called Teargarden by Kaleidyscope and has the same sort of bright artwork ZWAN had but in watercolor. The wanna-be punk image from Zeitgeist is gone (thank god – if there was ever a genre of music even more ironic than rap by it’s very existence – it’s “punk”) and instead it’s replaced by a music which is just as much about the artwork (watercolor) as it is the production method. So says Corgan:
[I] don’t think I’m going to make albums in the old-fashioned way, meaning 12-15 songs, etc. in one small package. My desire at this point would be to release one song at a time, over a period of 2-3 years, with it all adding up to a box set/album of sorts that would also include an art movie of the album… My thinking is that if I focus on one song at a time I would approach them as beautiful, distinct paintings that would each require the attention they deserve. This would also mean I would choose what I am recording quite carefully as there would be tremendous internal pressure to get it just right, and that is the kind of pressure I like, which is to make the most beautiful thing possible. I’ve gotten lost many times during the long haul of making a record and have overlooked some great songs because of that. The new standard for an SP song would that it be excellent and fantastic and most importantly essential or it’s not coming out. I will do my best to meet that intention fully.
Frankly it sounds like a win to me. If there’s ever a style which is going to make it in the New Music market of ipods and droid and imaginary property, it’s an artist who understands that every song needs to be a single.