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So, what do people think of Cedric Bouchard?
- Thread starter Levi Dalton
- Start date
originally posted by Ian Fitzsimmons:
originally posted by Yixin:
....
Good with food, though.
Isn't this a good enough point?
I'm not a newbie any more, by the way, so don't yell at me.
How do we know this? What is your post-count? Heh!
Arnt Egil Nordlien
Arnt Egil Nordlien
Hail to the thief.
Ian Fitzsimmons
Ian Fitzsimmons
originally posted by MarkS:
How do we know this? What is your post-count? Heh!
Nice try, wrong board. Heh!!
originally posted by Yixin:
Glasses and decantingIf I wasn't so lazy, I would decant most champagnes. I also can't remember the last time I used a champagne flute; I like the Riedel Chianti glass for most champagnes, and for a lot of roses (especially saignee, e.g. L-B, V et S) prefer a Burgundy glass.
This is a good point: most of the well-made sparklers I've had (which, sadly, isn't that many) have had more flavor a while after opening or the next day. Have to try this with the Huet.
We usually use Chianti glasses, too. The only rose we drink is Cristalino, and then we use paper cups.
originally posted by SFJoe:
Just had a great 2001 Huet fizz this week.
Wonder when the new 2002s will hit the beach?
WHWC lists 2002 and I am wondering whether it is old or new batch.
Ian Fitzsimmons
Ian Fitzsimmons
I'm pretty sure it's the old. They've been selling it for at least a year; we bought some over the summer and took delivery just recently.
But they might've taken a new shipment without changing the listing.
But they might've taken a new shipment without changing the listing.
originally posted by Ian Fitzsimmons:
I'm pretty sure it's the old. They've been selling it for at least a year; we bought some over the summer and took delivery just recently.
But they might've taken a new shipment without changing the listing.
How was the condition of the bottles?
Ian Fitzsimmons
Ian Fitzsimmons
We've opened one, and it seemed good to me, but I don't think I'm as careful a taster as you are. I get the impression their rep for care and handling is quite good, with a few limited exceptions, but you should ask around. Jay thinks highly of them, I've read, and the Parker board has some threads on them.
Apart from the Huet, they are on my personal shitlist for selling a paid-up order of mine to someone else over the summer. But that screw-up doesn't bear on how they take care of the wines they actually deliver.
Apart from the Huet, they are on my personal shitlist for selling a paid-up order of mine to someone else over the summer. But that screw-up doesn't bear on how they take care of the wines they actually deliver.
Jeff Grossman
Jeff Grossman
Not entirely.originally posted by Ian Fitzsimmons:
originally posted by MarkS:
How do we know this? What is your post-count? Heh!
Nice try, wrong board. Heh!!
You've got MarkS beat in both posts and comments.
But how many makes a newbie not a newbie?
Scott Frank
Scott Frank
originally posted by Levi Dalton:
originally posted by Scott Frank:
originally posted by Levi Dalton:
So I see the way it works around here: a post on Godard brings on a response from crickets, but mention Radiohead and folks are registering to get a comment in. Right, got it.
re: godard vs. radiohead
easy. you might not be a marketing genius.
Scott, did you register as a new user so that you could make this comment?
Clearly, Radiohead is bringing the people to WD.
No more spoof fake plastic trees!
Rather, I posted the tasting notes on Tissot as a feint, keenly anticipating that on some future date someone would post about Radiohead.
I did not forsee the Godard gambit, however.
Levi Dalton
Levi Dalton
originally posted by VLM:
originally posted by SFJoe:
Godard is too controversial.
Or Godard isn't that interesting, or it seems dated to contemporary minds or film is not an interesting format for complex narrative fiction.
You would think from this that Godard wasn't still producing work, or that he hadn't pioneered video/alternative formats.
Notre Musique has plenty to do with the contemporary.
Or maybe some folks just don't get it.
It is more likely that people haven't seen enough of the films. There are, after all, about 70+ works out there. Outside of the '60s run, it is as easy to find a Godard as a Cornelissen.
originally posted by Scott Frank:
originally posted by Levi Dalton:
originally posted by Scott Frank:
originally posted by Levi Dalton:
So I see the way it works around here: a post on Godard brings on a response from crickets, but mention Radiohead and folks are registering to get a comment in. Right, got it.
re: godard vs. radiohead
easy. you might not be a marketing genius.
Scott, did you register as a new user so that you could make this comment?
Clearly, Radiohead is bringing the people to WD.
No more spoof fake plastic trees!
Rather, I posted the tasting notes on Tissot as a feint, keenly anticipating that on some future date someone would post about Radiohead.
I did not forsee the Godard gambit, however.
Much like the Spanish Inquisition, no one foresees the Godard Gambit.
Jeff Grossman
Jeff Grossman
Lame. Fuck newbies.
Levi Dalton
Levi Dalton
originally posted by VLM:
OK Computer was breathtaking on first listen. It's easy to forget, in retrospect, how truly excellent and groundbreaking it was.
Yeah, I see your point here. It is like how Godard changed the visual vocabularly for the next 49+ years with the release of Breathless.
Scott Kraft
Scott Kraft
Creep is Yorke's Breathless.
OK Computer is Alphaville.
In Rainbows is Sauve Qui Peut La Vie.
At least according to Carson who is doing her public speaking presentation on Godard's use of advertising imagery as political commentary.
OK Computer is Alphaville.
In Rainbows is Sauve Qui Peut La Vie.
At least according to Carson who is doing her public speaking presentation on Godard's use of advertising imagery as political commentary.
With the rise of downloadable music, I can't help but think that OK Computer and Kid A will be the last significant "concept albums" to be produced [with some exceptions of course] and that producing albums as coherent, unified pieces, rather than a collection of songs, has come to an end.
In that sense, I suppose they are unlike Breathless since its editing and cinematography seems to me to have indelibly influenced, and perhaps permanently altered the way films are now made.
In that sense, I suppose they are unlike Breathless since its editing and cinematography seems to me to have indelibly influenced, and perhaps permanently altered the way films are now made.
Levi Dalton
Levi Dalton
originally posted by Scott Kraft:
OK Computer is Alphaville.
I don't see this equation as coequal in any sense.
Maybe, possibly, OK Computer is Numero Deux.
Scott Kraft
Scott Kraft
originally posted by Levi Dalton:
originally posted by Scott Kraft:
OK Computer is Alphaville.
I don't see this equation as coequal in any sense.
Maybe, possibly, OK Computer is Numero Deux.
Carson's in Algebra class so she can't answer right now. But why not?
originally posted by Levi Dalton:
originally posted by VLM:
OK Computer was breathtaking on first listen. It's easy to forget, in retrospect, how truly excellent and groundbreaking it was.
Yeah, I see your point here. It is like how Godard changed the visual vocabularly for the next 49+ years with the release of Breathless.
I'll have to take your word for it.
I'm one of those guys who couldn't really see calculus. Drawing saddle plots and the like wasn't how it worked in my mind. The equations fit for me and make sense. I guess at the end of the day, algebra is my math.
I don't get Kiarostami either.
And I tend to be more moved by sculpture than painting, by old masters and romantics than abstract expressionists.
But hey, there so much out there not to get.
Levi Dalton
Levi Dalton
originally posted by VLM:
originally posted by Levi Dalton:
originally posted by VLM:
OK Computer was breathtaking on first listen. It's easy to forget, in retrospect, how truly excellent and groundbreaking it was.
Yeah, I see your point here. It is like how Godard changed the visual vocabularly for the next 49+ years with the release of Breathless.
I'll have to take your word for it.
You don't actually. There is quite a lot of literature about it.
But from my perspective, if you take jump cuts + camera in the street + intertextual characters + written word intermixes + some of the things that members of the Gutai group were doing, then you basically = MTV and Monday Night Football, or put another way, what everyone is used to seeing today.
The critics at the time were quite upset about the jump cuts. One wonders what would have happened if they had been shown The Bourne Supremacy.
And I tend to be more moved by sculpture than painting, by old masters and romantics than abstract expressionists
Godard feels the same way.
I don't get Kiarostami either.
Here you and Godard part ways. He is a fan.