2010 the Year when wine left the beverage world to become...

Yeast, 'food,' enzyme, bacteria, tannin, acid, sugar---free.

I assumed you guys would assume the obvious; no yeast.
 
originally posted by fatboy:
i have no fucking clue what this shit is about. help me:

* is it true that german philosophers are generally not as crazy as pollock, or acoustic guitars, but you need to be a 33 rather than a 29 to dig nietszche? is that right? if so: i'm a 56 at the moment, but i'm getting my stomach stapled next tuesday. will i soon feel the enlightenment coming like a fucking tsunami?

* the chick who wrote the blog post seems to want to get on the aussie dude. yet the aussie dude has the kind of beard and lavish hairstyle that screams "masculine-with-thoughts that-embrace-the-ambiguous..." am i right? is it true that once you get past 29, you learn that there is nothing about this shit that is ever going to end well?

* is gargling with australian "wine" out of love eggs so damaging to soul and palate that it can make the miserably closed and blocky 02 gouges porrets seem like a treat? does this shit really work? where can i get some? will it make sauv blanc taste ok?

* are vs and jim winemakers?

* is jules chauvet the place on the place vendome with the nice grenadine ties? do they sell wine too?

* are there holes in the top of the love eggs for straws? could you use them as tiki glasses afterwards?

fb. (curious, as ever.)
Click to expand...
Just when I thought I had all the answers you ask a whole new group of questions that beg for answers. This is so confusing.
 
originally posted by Oswaldo Costa:
Pollock was a terrible movieWho is "you guys"? We are Borg.

Okay, it certainly wasn't a ^great^ movie. But this was a labor of love by Ed Harris, a mainstream movie star, and I feel more than a little admiration for the divine madness that drives someone into exploring American art in a way guaranteed not to make much money. The alternative in the main movie houses are flicks like The Agony and the Ecstasy or Lust for Life or even Legal Eagles...that's the kind of film that Hollywood wants to make about art. The picture won an Academy Award for Marcia Gay Harden, a pretty fair actress, and maybe got a few people to think about the price and mystery of creativity who otherwise wouldn't have. One of my closest friends, an entirely gifted (but starving) artist, feels indebted to the movie for that. I guess this is an honest question of means and ends for which people will have legitimately different points of view.
Click to expand...
 
originally posted by fatboy:

* are there holes in the top of the love eggs for straws?

fb. (curious, as ever.)
Click to expand...

Egg.jpg
Yes.
 
originally posted by Ken Sacks:


Okay, it certainly wasn't a ^great^ movie. But this was a labor of love by Ed Harris, a mainstream movie star, and I feel more than a little admiration for the divine madness that drives someone into exploring American art in a way guaranteed not to make much money. The alternative in the main movie houses are flicks like The Agony and the Ecstasy or Lust for Life or even Legal Eagles...that's the kind of film that Hollywood wants to make about art. The picture won an Academy Award for Marcia Gay Harden, a pretty fair actress, and maybe got a few people to think about the price and mystery of creativity who otherwise wouldn't have. One of my closest friends, an entirely gifted (but starving) artist, feels indebted to the movie for that. I guess this is an honest question of means and ends for which people will have legitimately different points of view.
Click to expand...

here here
 
You know, . . .
. . . I saw the "here, here" and the "there, there" posts and thought, this thread had gone from the sublime to the ridiculous. And then I thought, how appropriate.

I would love to see Alice and fatboy throw-down on natural wine - or just about anything else.
We could sell tickets.

Best, Jim
 
Yes, it's about time we put this post back on track. Since Victor is trying to outgeriatrize us all, I'll just say that back in the 1930s, when my ungrateful children put me in an old people's home, I was an avid subscriber to Partisan Review and remember vividly when Avant-Garde and Kitsch came out. The other old cronies with whom I played whist took time out from the usual Stalin v. Trotsky vendettas and gathered to discuss this whole new mode of leftist thinking. One so disengaged from socialist (or any) content that the most clairvoyant amongst us suggested it might someday provide the CIA with ammo. But in those New Deal-driven days, when regional and folk styles were seen as a way to connect with what was unique about every country and its people, we gradually came around to the opposite position, espousing medium-specificity, advocating the radical elimination of any and all illusionism, and, in painting, emphasizing the planarity of the picture plane. As with natural v. industrial winemaking, we saw these as the only honest alternatives, alternatives that would save high culture (much like high viticulture) from the encroaching forces of mass culture, propagated by mechanical reproduction. So, I beg you, to prevent kitsch from having the last laugh, do not permit the Alice v. Fatboy smack down.
 
originally posted by Oswaldo Costa:
Yes, it's about time we put this post back on track. Since Victor is trying to outgeriatrize us all, I'll just say that back in the 1930s, when my ungrateful children put me in an old people's home, I was an avid subscriber to Partisan Review and remember vividly when Avant-Garde and Kitsch came out. The other old cronies with whom I played whist took time out from the usual Stalin v. Trotsky vendettas and gathered to discuss this whole new mode of leftist thinking. One so disengaged from socialist (or any) content that the most clairvoyant amongst us suggested it might someday provide the CIA with ammo. But in those New Deal-driven days, when regional and folk styles were seen as a way to connect with what was unique about every country and its people, we gradually came around to the opposite position, espousing medium-specificity, advocating the radical elimination of any and all illusionism, and, in painting, emphasizing the planarity of the picture plane. As with natural v. industrial winemaking, we saw these as the only honest alternatives, alternatives that would save high culture (much like high viticulture) from the encroaching forces of mass culture, propagated by mechanical reproduction. So, I beg you, to prevent kitsch from having the last laugh, do not permit the Alice v. Fatboy smack down.
Click to expand...

Shiiittt!
Best, Jim
 
originally posted by Oswaldo Costa:
Yes, it's about time we put this post back on track. Since Victor is trying to outgeriatrize us all, I'll just say that back in the 1930s, when my ungrateful children put me in an old people's home, I was an avid subscriber to Partisan Review and remember vividly when Avant-Garde and Kitsch came out. The other old cronies with whom I played whist took time out from the usual Stalin v. Trotsky vendettas and gathered to discuss this whole new mode of leftist thinking. One so disengaged from socialist (or any) content that the most clairvoyant amongst us suggested it might someday provide the CIA with ammo. But in those New Deal-driven days, when regional and folk styles were seen as a way to connect with what was unique about every country and its people, we gradually came around to the opposite position, espousing medium-specificity, advocating the radical elimination of any and all illusionism, and, in painting, emphasizing the planarity of the picture plane. As with natural v. industrial winemaking, we saw these as the only honest alternatives, alternatives that would save high culture (much like high viticulture) from the encroaching forces of mass culture, propagated by mechanical reproduction. So, I beg you, to prevent kitsch from having the last laugh, do not permit the Alice v. Fatboy smack down.
Click to expand...
The smackdown must be prevented, this has all the suspense of the Cuban Missile Crisis. How will it all evolve?
 
Also, I'm reasonably certain that despite Victor's assertion to the contrary, he could not be Lou Kessler's grandfather.
 
The opposition between avant-garde and old leftie is meretricious. There are leftist defenses of formalism. Greenberg's first essays were in those terms. And we won't even talk about Adorno. Not all formalists were refugees from the old plantation like Cleanth Brooks. Surely those old Partisan Reviews made the case for the political revolutionary quality of aesthetic revolution.
 
originally posted by Jonathan Loesberg:
The opposition between avant-garde and old leftie is meretricious. There are leftist defenses of formalism. Greenberg's first essays were in those terms. And we won't even talk about Adorno. Not all formalists were refugees from the old plantation like Cleanth Brooks. Surely those old Partisan Reviews made the case for the political revolutionary quality of aesthetic revolution.
Click to expand...

Yeah; I was going to say that.
Or fatboy was; one.
Best, Jim
 
originally posted by Jonathan Loesberg:
The opposition between avant-garde and old leftie is meretricious. There are leftist defenses of formalism. Greenberg's first essays were in those terms. And we won't even talk about Adorno. Not all formalists were refugees from the old plantation like Cleanth Brooks. Surely those old Partisan Reviews made the case for the political revolutionary quality of aesthetic revolution.
Click to expand...

Indeed, which is why I wrote that it was an opposition between two kinds of leftist thinking, the "leftist defenses of formalism" and the narratives of socialist realism.
 
You must log in or register to reply here.
Back
Top