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CONTEST: Win Tix To See The Trip To Italy

Friday, August 29th, 2014

Dunno about you but we here at Phawker could watch Steve Coogan and Rob Brydal act like petulant man-babies as they road trip across Europe doing their Michael Caine-offs until the cows come home. If that sounds like a good way to wind up your Labor Day weekend, have we got a deal for you. All you have to do is follow us on Twitter and then drop us a line at FEED@PHAWKER.COM saying you just did so. Or if you already follow us on Twitter, drop us a line saying as much. Make sure you put the magic words GENTLEMEN TO BED! in the subject line. Be sure to include your full name and a mobile number for confirmation. Act now while supplies last. Good luck and godspeed, man!

RELATED: The Trip To Italy‘s Metacritic Score

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CINEMA: This One Goes Out To…

Friday, August 29th, 2014

THE ONE I LOVE (2014, directed by Charlie McDowell, 91 minutes, U.S.)

The One I Love is a fresh little comic fantasy, a Twilight Zone/Curb Your Enthusiasm mix that reminds us that all is not dormant in the U.S. indie film scene. Mad Men’s Elisabeth Moss and indie director Mark Duplass play a couple in a romantic rut. While on a rural retreat the couple find their relationship magically challenged by mysterious events they confront while trying to re-light their relationship. Like a lot of comic fantasies, The One I Love can’t quite resolve the possibilities conjured up by its premise but there’s enough honest friction in its ideas to make for a diverting late summer cinema experience.

As Ethan and Sophie, Moss and Duplass play a married pair who seem to have over time pecked their relationship to near-death. Ted Danson has a nice moment as the therapist who offers them a great getaway to help them reawaken their romance. Once there, it is Ethan who first discovers that a trip to the small guest house behind the cottage presents a supernatural opportunity to rediscover their spouse. The One I Love‘s trailer plays coy on exactly what the characters find in the guest house but it is a simple premise that gets straight to the heart of this couple’s disappointment with each other.

The characters’ isolation during this weekend places all the burden on its pair of performers as we remain cooped up with them as they sift through the details of what makes their partner today different from the partner with which they originally fell in love. As an actor, Elizabeth Moss makes the most of this opportunity. I haven’t seen her in beyond her vividly mousy portrayal of Peggy in Mad Men but here she gets to show her range, with Sophie alternately being sexy & spontaneous as well as jaded & emotionally exhausted. The role makes for a real actor’s showcase and Moss gets to infuse Sophie with a sense of real pulsing life.

Mark Duplass is the film’s executive producer and despite The One I Love not being a film he wrote and directed (like Baghead, another rural relationship-driven film or the adult romance Cyrus) it fits in with the fare he has put his name on. As for Duplass the actor, he can be fine in the naturalistic, Mumblecore-style films he began his career with but as a performer he doesn’t quite have the indefinable snap that makes someone an engaging leading actor. It doesn’t help that Ethan is a bit of a fuddy duddy so Duplass’ tight-assed manner tilts a little far into the pure-unlikability range for this viewer. Sophie’s frustration with Ethan starts to seem so warranted that you may question whether you want this relationship fixed in the long run.

The clever script by first timer Justin Lader and the tension in Charlie McDowell tension-laden direction extends our curiosity to almost the conclusion but these sort of supernatural conundrums rarely have a ending worthy of their premise. If The One I Love doesn’t quite nail its closing note it is still a thoughtful examination of a romance struggling to keep breathing as the middle age blues set in.

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NEW POLL: Tom Corbett Is Still Totally F*cked

Friday, August 29th, 2014

Graphic courtesy of the MORNING CALL

Republican Gov. Tom Corbett remains far behind his Democratic rival Tom Wolf despite spending millions of dollars on television commercials this summer, according to a new voter poll.The Franklin & Marshall College Poll, released this morning, is the first survey of Pennsylvania voters since the candidates started airing political commercials shortly after the 4th of July holiday weekend. The results don’t look good for Corbett, who could become the first incumbent governor to lose re-election in the modern era if he does not find a way to connect with voters before the Nov. 4 election. The F&M poll, as well as other polls, were highly accurate in predicting Wolf would win the Democratic primary election in May. The latest F&M poll shows Wolf, a wealthy York businessman and former state Revenue secretary, holding a lead of 25 percentage points over Corbett, the former prosecutor-turned-governor. The poll also found only one-in-four voters thinks Corbett deserves a second term. Only 40 percent of Republicans rated Corbett as doing an “excellent” or “good” job in his first term, which began in January 2011.Corbett’s main public relations problem remains widespread anger over education funding cuts Corbett imposed in his first budget, 2011-12. MORE

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Thursday, August 28th, 2014

Artwork by TWO MONIES

Presently on phone with this fellow discussing the making of The Blue Album and other things Weezer as you read this. In the mean time, check this out…

From Toronto via Neptune. Self-titled debut, produced by Fucked Up’s Mike Haliechuk, out October 14th on Lefse.

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ARTSY: There Goes The Eraserhood

Thursday, August 28th, 2014

David Lynch and Jack Fisk in Philadelphia 1967 by C.K. WILLIAMS

NEW YORK TIMES: Mr. Fisk persuaded his friend to join him at Pennsylvania Academy in January 1966. “At the academy, everybody I met was a serious painter,” Mr. Lynch said. “I was just starting to find something of my own. It was really inspiring.” He lived with Mr. Fisk north of the academy in a desolate, industrial area, where he would watch bodies being carried into the city morgue from a window. “I met the night watchman from the morgue at Pop’s Diner, who invited me over,” Mr. Lynch recalled. “He said, ‘Ring the doorbell at midnight, and I’ll let you in.’ ” Always interested in what he calls “organic phenomena”— stemming from his father’s work with insects and tree diseases — Mr. Lynch was influenced visually by the decay in the urban landscape and objects being taken over by nature.

In 1967, late one night in his studio at the academy, he said, he saw plants start to stir in his painting and heard the sound of a wind from his canvas. “Oh, a moving painting,” he remembers saying out loud. He and Bruce Samuelson, another student, exchanged ideas for animations, and Mr. Lynch bought himself the cheapest camera he could find. “David knew nothing about filmmaking or cameras or projectors,” said Mr. Samuelson, a professor at the academy since 1973. “He’s totally self-taught.” Mr. Lynch’s drive to make a “moving painting” resulted in “Six Men Getting Sick,” a multimedia installation for which he shared first prize in the school’s experimental painting competition that spring. He cast a large-scale screen from resin, with three impressions of his own head protruding. On this sculpted surface, he projected a one-minute, hand-painted loop animating six heads in various stages of distress. As a siren wails and their faces distort, their stomachs fill with fluid that rushes to their mouths and erupts. “It was a painting, it was an animation, it was a kinetic sculpture,” said Mr. Samuelson, who saw it unveiled. “Everybody went nuts.” Mr. Cozzolino is restaging the installation in the exhibition for the first time since 1967.

“He was trying to work on what is the most intense feeling you can have, of his body repelling,” said Rodger LaPelle, a 1961 graduate of the academy who came to the competition. He hired Mr. Lynch — broke, just married to a fellow student, Peggy Lentz, and expecting a baby — to work for him and his wife, Christine McGinnis, another academy alum, in their printing business. The older couple became crucial benefactors over the next three years, employing Mr. Lynch as an engraver and giving him space on the weekends to make paintings, which they bought for $25 apiece. The exhibition includes more than a half-dozen of these canvases, weird hybrids of humans, animals and plants that were informed by the primal emotion of Francis Bacon’s paintings, which Mr. Lynch saw in New York in 1968. In September, Rodger LaPelle Galleries in Philadelphia will exhibit several early paintings and more recent photogravures with nude figures by Mr. Lynch.

The Pennsylvania Academy show also displays his continuing experiments in film, combining animation and live action: “The Alphabet” (1968) and “The Grandmother” (1970), which starred Ms. McGinnis’s mother as a doting nana birthed from a pod planted by a love-starved boy. The film won Mr. Lynch a fellowship at the American Film Institute in Los Angeles, where he moved with his family in 1970. For much of the next decade, he was consumed with realizing “Eraserhead,” his first feature-length film, which Mr. Lynch said “was born out of Philadelphia.” It is set in an industrial world where a young father slips between hallucinatory episodes as he is left to fend for a needy creature that looks like a cross of a human baby, a reptilian alien and a gourd. MORE

WIKIPEDIA: Six Men Getting Sick (Six Times) (often known as Six Figures Getting Sick) is a 1967 experimental animated short film, directed by David Lynch. A student project that was developed over the course of a semester, it is Lynch’s first film and was shot while he was attending the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania. The film consists of an animated painting, depicting six dysmorphic figures regurgitating in sequence with the sound of a siren loop. Six Men Getting Sick (Six Times) consists of a one-minute animation of a painting by David Lynch looped four times and accompanied by a soundtrack of a siren wailing. The title, which according to the liner notes of The Short Films of David Lynch “expresses what little plot there is”,[1] relates to the painting’s animation as it depicts “six abstracted figures appearing in outline. Their internal organs become visible, and their stomachs fill with a brightly coloured substance, which travels up to their heads, causing them to vomit.”[2] The film contains no plot but has been described by film critics as “a helpful paradigm for Lynch’s narrative sense”, which “presents us with a humorous example of our own myopia on the subject.” The narrative concept of Six Men Getting Sick (Six Times) has drawn comparisons to that of Lynch’s debut feature film, 1977′s Eraserhead.[3] MORE


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SPOON: Inside Out

Thursday, August 28th, 2014

Spoon plays MADE IN AMERICA on Sunday August 31st.

RELATED: I think Anheuser-Busch should eat the cost of putting on Made in America and make it a free concert, and Jay-Z is the one person who could convince them to do so. He could start by waiving whatever fees he’s charging to curate, promote and perform at Made in America, as well as any profit-sharing he would have participated in. I don’t pretend to know exactly how much putting on a concert like Made in America will cost, but for the sake of argument let’s say it’s $10 million, a figure I am fairly confident is well above the actual operating costs. Anheuser-Busch spends that every three days on global marketing. Making Made in America a free concert would be one small step for Anheuser-Busch but one giant karmic leap for the Jay-Z and Budweiser brands, both of which, in my estimation, could use a little halo-polishing. MORE

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Thursday, August 28th, 2014


In honor of the original line-up of X performing at the Trocadero tonight,  we’re re-running this 2012 interview with post-punk-roots-rock legend John Doe wherein we extracted deep knowledge about ancient West Coast punk history. Discussed: His alias, Decatur, Baltimore, Los Angeles, The Doors, Raymond Chandler, Charles Bukowski, John Waters, Ramones, Talking Heads, how he met Exene, why Billy Zoom quit, how they got Ray Manzarek to produce them, how they lost their mojo, why they were desperate and how we got used to it, and how the one guy in PT Anderson’s Boogie Nights that’s not doing/dealing/stealing for drugs or making sleazy fuck films with girls who may or may not be underage turned out to be the villain. His name? John Doe. – JONATHAN VALANIA

PHAWKER: You were born John Nomenson Duchac, am I pronouncing that right?

JOHN DOE: You mispronounced just like everyone else does.

PHAWKER: Please school me.

JOHN DOE: No reason to. I could have said that my real name was Adolf Hitler but I didn’t think it would go over so well, or that my name was Samuel Clemens. It doesn’t matter. It’s much more fun to be John Doe than anyone else.

PHAWKER: You were born in Decatur, what was the final straw, like ‘That’s it, I’m outta here, I’m going to Los Angeles…’

JOHN DOE: That is a long-and-odd-that-you-should-ask story because I have been writing about it. My parents decided when we were going to leave Decatur when was 6 months old. I had no choice in the matter. We lived in Kingsport Tennessee which was right by the border of Tennessee and Kentucky for about 4 years then moved to Wisconsin then moved a couple places then ended up in Baltimore when I was in 3rd grade. So what is that…nine years old? Something like that. I lived in Baltimore until I was out of college. Uh, I moved to LA because I was sick of the East Coast. There are a lot of ghosts on the East Coast and there is a lot of sleet and shitty weather. Baltimore, as you know, only has one truly famous person which is John Waters. I had been to CBGB’s, I’d been to Max’s Kansas City. I’d seen the Talking Heads and The Heartbreakers and realized that that music scene was already pretty locked up by 1976. I went to LA with a friend and it was glorious. I was a huge fan of the writers that came out of LA — of Nathaniel West and Charles Bukouski and people like that. There is a freedom on the West Coast that is not available to people who grow up on the East Coast.

PHAWKER: It was sort of like, ‘Let’s go out to LA and invent punk, it hasn’t hit there yet’?

JOHN DOE: It was just getting started, you know, everywhere. It was in the air, that’s why it took hold so fast in England. The Ramones went there in what, ’74, then POW! everything happened. There were people who were also musical outcasts living in LA at the time. We got here right as it was starting.

PHAWKER: What was the first time you met Exene? What were the circumstances?

JOHN DOE: Well, I ran a poetry reading series in Baltimore. There was a fairly popular and vital poetry world in Baltimore and D.C. at that time, when poetry became a performance medium rather than just on the written page. People were writing funny stuff and there was a gay and lesbian element that was included in that. I figured the best way to meet people in LA was to be in the poetry world. Exene had just gotten a job through a government program to work at a small press called Beyond Baroque. Beyond Baroque had a writing workshop, like a poetry workshop, I think it was Tuesday nights and we met there.

PHAWKER: Was it love at first sight?

PHAWKER: Oh, you know, she cut A very eccentric figure back then, and she does now. I don’t know if it was love at first sight, definitely wasn’t for her. I mean, it took me a good eight or nine months of hanging around and being annoying for her to really…I don’t know we were friends first. Then we were romantically involved. I realized that we had some kind of soul mate connection and we will have that as long as we live.

WORTH REPEATING: The Time 16-Year-Old* John Lurie Rocked The Spectrum With Canned Heat

Thursday, August 28th, 2014


TODD MCGOVERN: Obviously you can’t always trust what you read – but your Wikipedia entry states that you played harmonica in high school, jamming with Mississippi Fred McDowell and Canned Heat in 1968. Is that true? If so, what were the circumstances of those gigs?

JOHN LURIE: Yes, that is true. I think Wikipedia is better than it used to be. About eight years ago, I wrote in my profile that my head was made out of ancient cheese and it stayed there for months. But now I think they are pretty good about making things accurate. I saw Mississippi Fred McDowell playing in a small club and everyone was egging me on to take my harmonica out. So I did between songs and he invited me up. Canned Heat? We hitchhiked from Worchester to New York to see them play Carnegie Hall. After the show, we were hanging out on the corner with nowhere to go, and they came walking out. I said, “I play the harmonica and will hitchhike to wherever you are playing next to show you I am serious.” I was 16 I think. They said they were in Philadelphia at the Spectrum the next night. So we hitchhiked there and snuck into the Spectrum in the afternoon and waited for them. They came walking in, John Lee Hooker was with them and oddly, they all seemed incredibly happy to see me. Bob Hite asked me to play something on the harmonica. saying, “Ok, first two songs are in E.” So I got up and played with them in front of 20,000 people. MORE

EDITOR’S NOTE: According to, Canned Heat played the Spectrum, on April 16th 1971. Lurie was born December 14th, 1952, which means he was 18 at the time, not 16. Just want to clarify that in the name of science.

RELATED: John Lurie Is Insane
RELATED: No He’s Not

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BEING THERE: Sleep @ Union Transfer

Wednesday, August 27th, 2014

Photo by DAN LONG

It was easy to fade into the ether last night. Between the langorous doom-riddled sludge of Windhand and the colossal cannabinoidal metallurgy of Sleep, one could get seriously lost in the shear density of each performance, not to mention all the sonic ooze lathering the venue much to the absolute delight of the sold out crowd at Union Transfer. Bodies were flung, necks were tested, weed was incinerated and any unplugged ears, I’m certain, were rendered inoperable within the first few minutes of Sleep’s set. Following a series of recorded NASA transmissions which aired as the tech crew checked equipment, bassist/vocalist Al Cisneros, guitarist Matt Pike and drummer Jason Roeder, plugged in and delivered what was almost two hours of breakneck intensity. Cisneros, who stood hunched over his Rickenbacker, summoned low-end eruptions that would send tremors through your limbs. And Pike was an absolute showman, working his fingers across the frets with the confidence and ease of a seasoned artist. His presence dominated most of Sleep’s performance, and the crowd would send applause his way after he’d finish a solo. Most of Sleep’s set was built from their 1993 stoner-metal classic Holy Mountain, and it was songs like “From Beyond,” “The Druid” and “Dragonaut” that elicited the most aggressive reactions from the crowd, who were flailing about the floor and generally keeping the Union Transfer’s bouncers busy. In one of the few instances of crowd interaction, Cisneros asked the crowd for a “moment of reverence for Tony Iommi” following a performance of the band’s new single, “The Clarity.” A section of the band’s 60-minute masterpiece, Dopesmoker, closed out the show. As band members exited the stage, Cisneros gingerly placed his Rickenbacker on the platform and meditated over it as a wavering racket pulsated. The techs began to disassemble the stage before Cisneros finally got up, waved and left. – SEAN CALDWELL

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HEROES & VILLAINS: For Your Consideration

Wednesday, August 27th, 2014


Because the Internet. Via CELLULOID SLAMMER.

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Miley Cyrus’ Homeless Dude VMA Switcheroo Was Bravest/Coolest Use Of Celebrity Power Since Marlon Brando Sent Sacheen Littlefeather To Decline His Oscar For The Godfather In Protest

Wednesday, August 27th, 2014


WIKIPEDIA: Marlon Brando became involved with the American Indian Movement (AIM) in the early 1970s. In 1973, he decided to make a statement about the Wounded Knee incident and contacted AIM about providing a person to accept the Oscar for him. Dennis Banks and Russell Means picked Sacheen Littlefeather.  She represented Brando and his boycott of the Best Actor Oscar for his portrayal as Don Vito Corleone in The Godfather (1972), as a way to protest the ongoing siege at Wounded Knee and Hollywood‘s and television‘s misrepresentation of American Indians. Brando had written a 15-page speech for Littlefeather to give at the ceremony, but when the producer met her backstage he threatened to physically remove her or have her arrested if she spoke on stage for more than 60 seconds.[5] Her on-stage comments were therefore improvised. She then went backstage and read the entire speech to the press. In his autobiography My Word Is My Bond, Roger Moore (who presented the award and had recently been announced as the new James Bond, Agent 007) claims he took the Oscar home with him and kept it in his possession until it was collected by an armed guard sent by the Academy. The incident provoked the Academy of Motion Picture Arts and Sciences to rule out future proxy acceptance of the Academy Awards.[6] MORE

BUSINESS INSIDER: On March 5, 1973, Marlon Brando declined the Academy Award for Best Actor for his gut-wrenching performance as Vito Corleone in “The Godfather” — for a very unexpected reason. In the 1960s, Brando’s career had slid into decline. His previous two movies  — the famously over-budget “One-Eyed Jacks” and “Mutiny on the Bounty” — tanked at the box office. Critics said ”Mutiny” marked the end of Hollywood’s golden age, and worse still, rumors of Brando’s unruly behavior on set turned him into one of the least desirable actors to work with.

Brando’s career needed saving. “The Godfather” was his defibrillator. In the epic portrayal of a 1940s New York Mafia family, Brando played the patriarch, the original Don. Though the film follows his son Michael (played by Al Pacino), Vito Corleone is its spine. A ruthless, violent criminal, he loves and protects the family by any means necessary. It’s the warmth of his humanity that makes him indestructible — a paradox shaped by Brando’s remarkable performance.

“The Godfather” grossed nearly $135 million nationwide, and is heralded as one of the greatest films of all time. Pinned against pinnacles of the silver screen — Michael Caine, Laurence Olivier, and Peter O’Toole — Brando was favored to win Best Actor. On the eve of the 45th Academy Awards, Brando announced that he would boycott the ceremony and send Sacheen Littlefeather in his place. A little-known actress, she was then-president of the National Native American Affirmative Image Committee.

On the evening of March 5, when Liv Ullman and Roger Moore read out the name of the Best Actor award recipient, neither presenter parted their lips in a smile. Their gaze fell on a woman in Apache dress, whose long, dark hair bobbed against her shoulders as she climbed the stairs. Moore extended the award to Littlefeather, who waved it away with an open palm. She set a letter down on the podium, introduced herself, and said:

“I’m representing Marlon Brando this evening and he has asked me to tell you … that he very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry —”

The crowd booed. Littlefeather looked down and said “excuse me.” Others in the audience began to clap, cheering her on. MORE

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MIC DROP: Jon Stewart Evicerates Fox New’s Race-Baiting Blame-The-Victim Ferguson Coverage

Wednesday, August 27th, 2014

TALKING POINTS MEMO: “The Daily Show” returned from hiatus Tuesday night and Jon Stewart finally tackled the situation in Ferguson, Mo., directing the brunt of his criticism at what he saw as Fox News’ misplaced outrage over the police shooting of an unarmed black teenager. He took Bill O’Reilly to task for cutting his vacation short to rage against the way the media covered the fatal shooting of 18-year-old Michael Brown, but not at the shooting itself. The comedian also slammed Sean Hannity for saying that he would simply lift his shirt to let an officer know he had a gun if he were ever stopped by police. “You really do have no f*cking idea, do you?” he said. “If only Michael Brown, instead of holding his hands over his head, had reached down to his waist and lifted up his shirt to show the gun he did not actually have, well, this whole tragedy could have been avoided.” MORE

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DON’T LOOK BACK IN ANGER: 20 Years Later Oasis Still Sounds Like The Beatles On Coke

Tuesday, August 26th, 2014


The follow-up to Oasis’s 1994 debut album Definitely Maybe, (What’s The Story) Morning Glory? was recorded between May and June 1995 in Rockfield Studios, Monmouthshire, with Owen Morris and Noel Gallagher producing. Released on October 2nd 1995, it sold a record-breaking (at the time) 347,000 copies in its first week. The album spent 10 weeks at No.1 in the UK, and is Oasis’s most commercially successful, with 22 million copies sold worldwide to date, including 4 million in the US.

(What’s The Story) Morning Glory? features many of Oasis’s biggest hit singles, including Don’t Look Back In Anger, Wonderwall, Some Might Say, and Roll With It, and won the Best Album at the 1996 Brit Awards, with Oasis also taking Best British Group and Best Video awards.

It was during the Morning Glory? era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996, and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

Each brand new edition of the album includes a re-mastered version of the original. The Special Edition CD and Deluxe Box Set include two CDs of all the B-sides plus rare and unreleased Oasis tracks from the Morning Glory era. The Deluxe Box Set format comes with new sleeve notes by respected rock critic Neil McCormick. Highlights of the bonus content include: Previously unheard demos of She’s Electric (SEE BELOW) and Rockin’ Chair recorded at Mark Coyle’s Manchester studio; demos of Some Might Say, Hey Now, and Boneheads Bank Holiday recorded by Mark Coyle for the first time at the band’s soundcheck, Club Quattro in Tokyo in September 1994; live recordings from legendary gigs such as Knebworth House, Maine Road Stadium, Earls Court, and Bath Pavilion; all of the Morning Glory singles acclaimed B-sides including Talk Tonight, Acquiesce, The Masterplan, and Underneath The Sky. MORE

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Check out Ticket Liquidator's Live Toast blog, it's one of the coolest company blogs out there. Not just your usual candy-coated array of dead-end zzzzzzzzz inducing rubbish, Live Toast brings you all the funniest and wackiest original content that you won't see anywhere else on the web. Plus, Ticket Liquidator's team will bring you lots of other articles on concerts, sports and music, including news on ticket prices, plus articles about cool music from firsthand perspectives. All in all Ticket Liquidator is evolving, into a new kind of ticket company. And leaving the rest behind...

Cost of the War in Iraq
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