Here You Go, Gossiping Nits

Take a few pages of this...

...and shut the fuck up in the morning.

Who's Bitching the Watchmen?

In lieu of a legit review, here's Ten Criticisms of Watchmen that annoy me:

It's too long (You knew the running time before you walked in. What exactly was so precious about the time you lost?)

It's not enough like the book!

It's too faithful to the book!

The Cold War Nuclear Scare is outdated.

It's ultraviolent fanboy trash!

It's cynical!

Oh God, Hallelujah again? (I mean, overplayed, yes, but not the Leonard Cohen version so much, certainly not the passages of the song we got, and anyway, get over it)

Bob Dylan? Is that all you could think of?

Boring! (Seriously, what does it take, America? Do you not like movies that much? I invite you to a screening of Tarkovsky's Stalker)

I shouldn't have to read the book to understand the movie (Why not? The movie makes perfect sense, it's not in un-subtitled Farsi).

Some criticisms I agree with:

Malin Akerman could've been a lot better (Though Matthew Goode in and of himself was fine. The filmmakers made character choices that run counter to the book in some ways, and Goode is for some reason being blamed. I thought his insouciance was fun).

The Comedian rape scene was a bit much.

The film could be baffling to the uninitiated. (but bear with it. It comes together, and plays even more lucidly a second time.)

The old person makeup seems right out of this Genesis video.

I don't believe a movie has to be some kind of exact transcription of its source material, but having said that, I agree with the notion that this movie actually deepens our understanding and connection to the book. For a patient, loving, and fan-based breakdown of book vs. movie, look no further than this piece.

It's far from a perfect movie. It is at times close to being a grand folly. Still, it comes together. It brings us images we've never really seen, even if we have read the book. The Dr. Manhattan origin story is flawlessly accomplished, spine tingling and utterly breathtaking. Jackie Earl Haley deserves every acting award there is for his Rorschach.

What do we look for in the movies? This film offers an American god, a right-wing vigilante kicking ass in a prison, a startling, provocative re-imagining of American political and social history, and an ambitious meditation on the path America has taken. It rivals The Dark Knight and JFK, if that's possible.

Also, what is going on with critics everywhere complaining about the film's Cold War era nuclear paranoia? Umm. This wasn't that long ago. We were most of us here during this one. We have nukes. Iran will have nukes soon, and North Korea and Pakistan do to this day, so to me this is still a VERY pertinent issue. If it's not a possibility that we might be teaching kids to hide under their desks again in the near future, why was Iran such a big deal during last year's campaign? (and less dramatically, what the hell is wrong with doing a period piece?)

For those who attempt to deflate the movie by saying it is needlessly violent and presents us with characters who believe that violence is the only answer, I ask you, do you read the news on a daily basis? I don't necessarily agree with these characters, but embracing their attitudes can put us in a reflective mode. I really do like dramas that give us clashing worldviews. These characters' plights inspire pity and terror. Which is what ancient dramas used to do.

Where the Wild Things Beat Your Ass Down

Bullshit. None of us has seen the movie. The song in the trailer was one thing, but it was not merely a music video we were all responding to. I saw some stills from this one several months ago, and I got chills from that alone.

Spike Jonze directed Being John Malkovich, Adaptation and the Sabotage video. You hold your cynical, unimaginative tongues until the movie comes out, you yapping, group-thinking hollywood scrooges.

FUCKING WOW

Yeah yeah, I don't care if you've seen this five or six times in five or six different places, you're going to see it at my house too.

Sui Generis

Nathan Rabin over at the AVClub just did a Case Flop on Dirty Work, reminding me of my theory that Americans should love Norm MacDonald.

Here's some evidence to support that theory:



...and here's absolute proof:

Bouillabaisse

Digested enough music lately? I didn't think so.

The weekend gave us a comprehensive and relentless Essential Mix from Fake Blood, a producer I've been slowly gaining a dependence on. This mix is well worth the two hours.

If you're looking for something gnarlier, Crookers is here to help with a decidedly unusual approach to a set list. Get it here.

Open up yer iTunes and click on this rightcheere

That's the Marine Parade podcast, and last week Alex Metric's March mix came out, with a relatively new track from Zombie Nation, a remix by Metric of Ladyhawke's Paris is Burning, and a sneak of his new Head Straight EP. One track from the EP is the midpoint of the set, and it's called What Now? AND IT WILL OWN YOU.

Other than that, here's some freebies:

Alex Metric remix of Freeland's new track.

Evil Nine's giving away their own remix of Icicles if you just sign up.

Finally, because I can't resist, here's a coupla these here embedded pickins, though you shoulda heard Metronomy's Heartbreaker by now (or there's no decency in radio), and A-Trak's latest remix is just quite sex.





Happy Snake Whackin' Day.

Watch Dis

Patton Oswalt, ever wise, ever true.

I'll write more about Watchmen later, but suffice it to say, and contrary to most film critics in this country, it's a breathtaking movie.

Wading through all the rustling complaints, nitpicks and misinterpretations attempting to deflate Snyder's accomplishment, I'm tempted to wonder if so called fans of movies and comic books really love the respective mediums at all.

All those completely inured of the capacity for awe really should avoid the flickering arts.

If Dis Don't Make Yer Booty Move

You've probably all seen this, but I must save it and watch it again and again.


BOOMBOX from Ely Kim on Vimeo.

Tracklist, for the posterity of your posterior:

001. Heart of Glass / Blondie
002. Jimmy / M.I.A.
003. Deceptacon / Le Tigre
004. Im on Fire / 5000 Volts
005. Je Veux Te Voir / YELLE
006. The Way I Are / Timbaland
007. Too Young / Phoenix
008. Over And Over / Hot Chip
009. Stick It To The Pimp / Peaches
010. Say My Name / Destiny's Child
011. Pin / Yeah Yeah Yeahs
012. Geremia / Bonde Do Role
013. Let Me Clear My Throat / DJ Kool
014. Point Of No Return / Expose
015. Bubble Sex / The Seebach Band
016. Pump Up the Jam / Technotronic
017. Let's Make Love And Listen To Death From Above / CSS
018. Hella Nervous / Gravy Train
019. Me Plus One / Annie
020. Don't Go / Yaz
021. Bootylicious / Destiny's Child
022. Electric Feel / MGMT
023. Boys Don't Cry / The Cure
024. Lose Control / Missy Elliott
025. Ride The Lightning / Evans And Eagles
026. Don't Stop 'Til You Get Enough / Michael Jackson
027. Hearts On Fire / Cut Copy
028. Tainted Love / Soft Cell
029. Between Us & Them / Moving Units
030. It Feels Good / Tony Toni Tone
031. Polaris (Club Mix) / Cyber People
032. You Never Can Tell / Chuck Berry
033. Huddle Formation / The Go! Team
034. Pump That / FannyPack
035. My Love / Justin Timberlake
036. Hung Up / Madonna
037. Justice - D.A.N.C.E (MSTRKRFT Remix) / Justice
038. Cybernetic Love / Casco
039. Creep / TLC
040. When I Hear Music / Debbie Deb
041. B.O.B. / Outkast
042. Bubble Pop Electric / Gwen Stefani
043. Miss You Much / Janet Jackson
044. You Spin Me Round / Dead Or Alive
045. Slide In / Goldfrapp
046. Kelly / Van She
047. Mine Fore Life / The Sounds
048. Disco Heat / Calvin Harris
049. Nighttiming / Coconut Records
050. Club Action / Yo Majesty
051. Pogo / Digitalism
052. Lip Gloss / Lil Mama
053. Heartbeats / The Knife
054. Enola Gay / OMD
055. Goodbye Girls / Broadcast
056. Kids In America / Kim Wilde
057. Kiss / Prince
058. Tenderness / General Public
059. Push It / Salt N Pepa
060. Circle, Square, Triangle / Test Icicles
061. Day 'N' Nite (Crookers Remix) / Kid Cudi
062. Shadows / Midnight Juggernauts
063. Paris (Aeroplane Remix) / Friendly Fires
064. Out At The Pictures / Hot Chip
065. Me Myself and I / De La Soul
066. AudioTrack 10 / Diplo
067. Girls & Boys / Blur
068. Heater / Samim
069. I Wanna Dance With Somebody / Whitney Houston
070. Hands In The Air / Girl Talk
071. Limited Edition OJ Slammer / Cadence Weapon
072. Meeting In The Ladys Room / Mary Jane Girls
073. NY Lipps / Soulwax
074. Lex / Ratatat
075. Gravity's Rainbow (Soulwax Remix) / Steve Aoki
076. Once In A Lifetime / Talking Heads
077. Leave It Alone / Operator Please
078. Half Mast / Empire Of The Sun
079. Hardcore Girls / Count and Sinden feat. Rye Rye
080. Dance, Dance, Dance / Lykke Li
081. Never Gonna Get It / En Vogue
082. Blue Monday / New Order
083. Crazy In Love (Featuring Jay-Z) / Beyoncé
084. 10 Dollar / M.I.A.
085. Love To Love You Baby / Donna Summer
086. Steppin' Out / Lo-Fi-Fnk
087. Karle Pyar Karle / Asha Bhosle
088. Love Will Tear Us Apart / Joy Division
089. Straight Up / Paula Abdul
090. My Drive Thru / Santogold, Casablancas, NERD
091. Like A Prayer / Madonna
092. Freedom 90 / George Michael
093. Black & Gold / Sam Sparro
094. B-O-O-T-A-Y / Spank Rock and Benny Blanco
095. Great Dj / The Ting Tings
096. In A Dream / Rockell
097. Don't Stop the Music / Rihanna
098. Hong Kong Garden / Siouxsie & The Banshees
099. It's Tricky / D.M.C.
100. Bizarre Love Triangle / New Order

Roll The Dice To See The Squid

Comic Critics

(Via earthtopus and kukkurovaca)

Kindlen'

Just watched Kindle guy defend Kindle 2 to Jon Stewart. I'm by no means a Luddite. I own or am caretaker to a private arsenal of technology. I'm typing this on a Mac and I was one of many thousands Twittering (but not over-Twittering) last night's Oscarcast.

Therein lies my main resistance to turning my library "green", though. Do I really want one more device, when one of the pleasures of reading is an escape from what the industrial revolution hath wrought? Does the act of reading a book have a different physiological and psychological effect than reading text on a screen? I believe so, and I don't believe I'm imagining it. I feel much more at ease when I've spent a healthy part of a given week deep in reading, thankfully apart from anything that attaches itself to the pace of the outside world.

Beyond that, for all the time I spend online, it's primarily consumptive, not reflective. I have to stand back from the deluge of information I receive before the wheels start rolling and I turn it into work, or more accurately, begin to pose greater questions or attempt to interpret. Another electronic device might stir up an already ingrained consumptive predilection on my part. Which is fine, but I'm not sure I'm consumptive when I read a book. I think that act is supposed to ignite different impulses, which my body has reserved for the reading of a physical book, not a screen.

When I read a book or any non-electronic text, I find myself freed up. Isaac Asimov once described a book as a non-electrical video cassette that required no screen and started merely upon looking at it. It would pause when you looked away and required no more than your attention to unpause it.

I suppose that leaves me with having to defend myself from the self-righteous position of the Kindle partisan, assuring me but really castigating me that it's the way to "go green", as a reader. Sure, because no electronic device leaves a carbon footprint, certainly not one hooked up to a 3G network downloading information on a daily basis, my no, that doesn't require energy consumption at all. I'm pretty sure my owning a physical library is not on par with driving a four-by-four or spraying aerosol cans into the air, thanks. Plus, you probably own a car and a Kindle, whereas I own neither.

Still, having said all that, I'm not entirely unsympathetic to where our economic and sociopolitical repletion will eventually encapsulate us. We'll all be in our own cubicles eventually, and I guess I can just hope it gets to that after I'm gone or don't care anymore.

In any case, I wouldn't rule out the notion of owning one. It has significant scholarly possibilities to say the least, and would be great to travel with.

But I'm not about to make a trade.

Curiouser and Curiouser

I was not in fact trying to sound like Andrew Sarris while tweeting this last night.

I am in fact, not pissy at all this year that Departures beat Waltz With Bashir and The Class, as I've seen none of these movies so far.

However, when The Lives of Others beat Pan's Labyrinth, in Best Foreign Filim back in '07, I was down on it, because the Academy had snubbed the Pan, a deserved Best Pic nom.

I got over it when I saw The Lives of Others. It's a tremendous, brilliant film.

This is one of the few categories in which I'm very tempted to completely trust the voters' judgment (all categories, except for Best Picture, I believe, are limited to a specialized, narrow group of voters). I think they know people are going to see Waltz and The Class, just like they knew people were already embracing Pan's Labyrinth.

Nope, not being pedantic here, either.

Read 'em and Weep

Liveblogging the pics I got right (and wrong), startin' here in a few. Just keep on refreshin'.


8:43

Actress in a Supporting Role

My Prediction: Taraji P. Henson

Winner: Penelope Cruz

Well, I loved her, and Nate Silver was right that he'd be wrong.


8:55

Best Original Screenplay

My Prediction: Dustin Lance Black

Winner: Dustin Lance Black


9:00

Adapted Screenplay

My Prediction: Simon Beaufoy

Winner: Simon Beaufoy


9:07

Animated Film

Mine: Wall-E

Theirs: Wall-E


9:19

Art Direction

Prediction: Benjamin Button

Winner: Benjamin Button


9:21

Costumes

Prediction: The Duchess

Winner: The Duchess


9:24

Makeup

Prediction: Benjamin Button

Winner: Benjamin Button


9:34

Cinematography

Prediction: Wally Pfister

Winner: Anthony Dod Mantle


10:07

Best Supporting Actor

Mine (Yours): Heath Ledger

Theirs: Heath Ledger


10:15

Documentary

Prediction: Man On Wire

Winner: Man On Wire


10:28

Visual Effects

Prediction: Benjamin Button

Winner: Benjamin Button


10:29

Sound Editing

Prediction: Wall-E

Winner: The Dark Knight


10:32

Sound Mixing

Prediction: Wall-E

Winner: Slumdog Millionaire


10:35

Editing

Prediction: Chris Dickens (Slumdog)

Winner: Chris Dickens (Millionaire)


10:54

Original Score

Prediction: A.R. Rahman

Winner: A.R. Rahman


11:01

Best Original Song

Prediction: Jai Ho - A.R. Rahman, lyrics by Gulzar

Winner: Jai Ho - A.R. Rahman, lyrics by Gulzar


11:20

Direction

Prediction: Danny Boyle

Winner: Danny Boyle


11:32

Best Actress

Prediction: Kate Winslet

Winner: Kate Winslet


11:43

Best Actor

Prediction: Mickey Rourke

Winner: Sean Penn


11:53

Enchilada

Prediction: Slumdog Millionaire

Winner: Slumdog Millionaire

Bit of a Reach?

Bullpuckey.

If you're lost enough to be a Holocaust denier, you were there before The Reader reared its head.

(Spoilers Follow)

I don't believe the movie whips up tremendous sympathy for Winslet's character. She was Fiennes's boyhood love. He can barely touch her hand when he meets her in prison thirty years later. He pulls away. He never stops being disgusted with her contamination of his life. Yet, he knew her, and knew her before any other woman. He sends her books. She learns to read. Monsters are human, too.

The trial scenes are really scenes of an angry, subconsciously guilty mob. I fail to see how the movie explicitly or implicitly defends or excuses German citizens calling for her punishment. I don't for a second believe that David Hare and Stephen Daldry hold the viewpoint that German citizens were not responsible for what happened.

Vonnegut once said that if he had been a citizen in Nazi Germany, he'd have been a Nazi. What choice would he have had? It's a difficult subject, and I certainly don't expect Jews to be comfortable with films showing Germany dealing with the ramifications of the Holocaust, after the fact. I'm not, however, sure that ramming the Holocaust and its horrors down our throats is all that beneficial.

I agree that the Academy is probably being blind and vain and self-serving by nominating the movie, but Rosenbaum et al jumping on it in this way is itself an act of ignoring several key incidents:

The scenes where David Kross's law professor expresses concern about Kross coming forward with information he has and doing the right thing, or else "we have learned nothing".

The scene of Germans watching Winslet's trial, snarling and gasping in shock, as if they were not themselves culpable. "Hypocrite!" is an inescapable thought during these scenes.

The law student ranting against his fellow students about German Society's culpability

Winslet's character chooses to take full responsibility for her actions and those of all the other guards, ostensibly to protect the secret of her illiteracy. Is that the only reason?

I don't think it's a great film, but I also don't think it's worth Rosenbaum's level of vitriol. It's clear that Holocaust denial is a much worse problem in Europe than it is here, as recent Papal events indicate. Still, does Rosenbaum actually believe that Holocaust deniers are going to sit through five minutes of Shoah in the first place?

Ebert argues that the film is less about the Holocaust and more about speaking up when you know you should. Watch the film with that comment in mind, and see how the trial scenes play for you.

Impeach the Backwards Aging Nazi Pederasts

The viewing public is understandably nonplussed by ultra-serious Oscar fare at the moment, as the numbers suggest. It's been a wonky year, to be sure. A small number of big budget pictures were more distinctive in their own way than what ended up being cheered by the Academy. With the exception of Slumdog Millionaire and Milk, I'm sure, as I've stated previously, that the Best Picture nominees are not well-deserved. Pity the voters. One year it's overwhelmingly indie, the next, it's The Dark Knight and Synecdoche, NY. Maybe Hollywood needs to start going to the movies.

Harping on the choice of nominees would be its own way of suggesting the perverse canard that such was ever different. As usual, I approach the Oscars as a springboard from which unrecognized work can widen its exposure. Last year was some kind of reveling nihilist apotheosis. It'll be awhile before we see that again.

The Reader

Stephen Daldry has at least accomplished, along with his resident screenwriter David Hare, a movie that this time around didn't assault me with its own self-pity. The Hours was absurd. Julianne Moore was its saving grace. The Reader does not deserve, however, the various assaults against it. I fail to see how it's fodder for Holocaust deniers, except in perhaps the most determined and circuitous ways. You'd have to want that conclusion, because, by my count, Winslet's character suffers greatly, paying for her crime and the crimes of several others.

We get a story of a person who went to work for the Nazis because she could find no other work, is turned into a scapegoat by a ravenous German mob eager to purge itself of its own sins of inaction (or terrible action, one assumes), suffers, loses her freedom, and regains her humanity for a few brief years. Surely the notion of people swept into a tyrannical system is also subject for meditation? I failed to see at any point how the film shirked the horror of the Holocaust, and am in fact relieved I didn't have to see yet another Oscar-Baiting film consumed with the subject. There's room for Shoah and The Reader, but besides, this film is slight. It is exactly what Oscar likes: Stately, slightly scandalous, and tailored for a conclusion we all see coming. It's a statue in search of a statue.

Frost/Nixon

It's hard to say why anybody thought this would be a big draw. In terms of marketing, the studios were nuts from the start. Getting Ron Howard to direct a story that doesn't require the pacing of Apollo 13 is a strange choice, artistically, and deserved failure commercially. The whole story strikes me as, well, a possible other side of the coin to All The President's Men. So, why not get a filmmaker, say, Stephen Frears, who knows how a Peter Morgan scripts works inside and out? Still, it's not as if the choices here don't work in some way, and I can't fault the movie too much, it being certainly entertaining.

I only wonder if we needed the extra fireworks for an event we can all see on DVD from thirty years ago. Langella and Sheen are wonderful to watch and listen to, and I surely walked away enjoying Nixon's company. Strange thing to imagine, isn't it? Still, this movie is minor league compared to Altman's Secret Honor, with Philip Baker Hall as Tricky Dick, drunk off his ass, all by his lonesome. Nixon is a figure we can attach a number of qualities and depredations to, depending on our mood. I hasten to add that Morgan's script is great. To my mind, for all its skill, the movie never completely justifies itself.

The Curious Case of Benjamin Button

Defensive title, yes? Curiouser and curiouser. Here's another flick that may not have justified itself (or its running time). The difference is that Button spends its entire length trying very hard to bring that premise to a close. It can't, but I'm getting the premonition I've seen something that will be embraced for many years. It's a fascinating conceit to witness, even if you're in agreement with Ebert, creeped out at something fundamentally wrong.

For all the lambasting of Eric Roth for Gumping his Button script, you can't fault him for working in some of the same ideas. The two movies do stand alone, YouTube be damned, and I only thought of Gump when it was most glaring. Eric Roth does wish-fulfillment. The Academy has an outside chance of giving this one Best Picture because (and this is not so limited to the famous) everybody wants to get younger. I was not bored, not for a moment. I don't know what the hell it's supposed to mean, but it is quite an absorbing movie.

Slumdog Millionaire

Stop now. I don't want to hear it. It all occurred to me while watching it, and I just don't care. This is an exhilarating, rich and kick-ass moviegoing experience. It's a cheer your ass off crowd-pleaser. I know it's all sorted out from the start, and clearly driven by artifice (I say it COULD HAPPEN), and that Charles Dickens lives in Bollywood and you don't like that. But I won't hear it. We are all Slumdogs now. Just accept it. This movie seriously bypassed whatever cynicism I could possibly have about storytelling, coincidence, and if-it-were-in-a-movie-I-wouldn't-believe-it-isms. For once, I say that's a testament to how well it's made. If only the Academy were nominating Loveleen Tandan, Danny Boyle's Co-Director for India (which I assume means the lion's share of the movie, right?), I'd have no cynicism directed toward it at all. WHAT? I don't CARE if you think it romanticizes Bombay's terrible poverty JAI HO JAI HO JAI HO JAI HO JAI HO JAI HO JAI HO JAI HO JAI HO JAI HO

Milk
Sean Penn is magic, and I defy the Onion for saying it would've been more artful if it had been more like Van Sant's Last Days or Elephant. Those movies examine inexorable paths towards death. As we see, Harvey Milk knew he was on that path at a certain point, but Milk is a celebration of total life. It's a great American film.

FUCK IT, IT'S A POLITICAL BLOG

It's moments like the last bit on this clip where I really dig Olbermann.

Visit msnbc.com for Breaking News, World News, and News about the Economy

Some Revision

The Oscar reviews are coming soon. Until then, here's how the directing category should look, because this really really matters:

Jonathan Demme - Rachel Getting Married

Gus Van Sant - Milk

Danny Boyle & Loveleen Tandan - Slumdog Millionaire

Christopher Nolan - The Dark Knight

Charlie Kaufman - Synecdoche, NY

I like Ron Howard just fine. He's made a couple of great movies. Frost/Nixon is not an astonishing directorial accomplishment. It's a wonderful acting and writing accomplishment. I'm skeptical that Ron Howard's insertion of "intensity" here and "suspense" there was really needed at all by actors of this caliber, much less by the proceedings of the script.

David Fincher is one of the best living American directors working, as last year's ridiculously unrecognized Zodiac further proved. Why did Jason Reitman get a nod over Fincher's glorious puzzle piece? Fincher deserved it for that, not the aging paradox epic.

Stephen Daldry does not deserve the nomination. There is nothing special in his directing strategy. He does good work, but the work hasn't much of an original voice.

I don't think directing should get in the way of the story, but if we're going to give awards for best coordinated artifice, let's do that. Otherwise, hand out an award for individuals. In their work, I can see all five of the people I listed up front, and I'm not distracted by their presence one whit. I'm enlarged for a brief period by knowing another person. If the award ain't about that, it's not worth giving out.

Lest We Forget....

....we're in for a rough four to eight. Just in case you missed it on Maddow, it's worth pointing out that all our attempts at bipartisanship will be met against these sections of a constituency (though not the whole) that's bound to hate our breathin' guts. This is not a political blog, yadda yadda, but bear with it.

Visit msnbc.com for Breaking News, World News, and News about the Economy

Did It Just Get FATter In Here?

Makin' Up a Post About Coraline

Last year A.O. Scott dared to speak some common sense to parents: Sometimes your children are ready for more than just the talking panda or the ninja kid. My ventures into Tarantinoland or my exposure to Preacher may have come too early for all I know, but I would've been more than ready for Coraline back then.

If you're ready to explain the movie to your kids, by all means take them to the Jungian wonderland, and make sure it says "3D" on the marquee. Go out of your way for that experience, rightly ignoring dear intransigent Ebert, who seems to think that mean or self-centered characters are unusual in children's stories, and probably would've lavished at least one half star more on the movie were it not for 3D lenses darkening his vision and thereby obstructing the view of his notepad.

Staring into Henry Selick's model-box-come-alive is an event rife with many pleasures scary and beautiful and subtle. The 3D part of it is not a novelty insofar as it's 3D. If it's a novelty at all it's because there will scarcely be another like it, unless Selick and his team can top this. I don't want to get into specifics. Go. Your eyes haven't opened wide enough lately.

(If you have already seen it, here's its Making Of Channel)

Dancey Fist Jab

It's nice to know my favorite remix in a hot minute won a Grammy.

This is, to say the least, a damn lot better than wasting it on Oakenfold's latest tits-up FAIL of a cocaine jingle.