boxelder

This is really cool footage. I wish we had full TRL episodes. There's no telling what rare blink footage has just been lost to time. I know for a fact that Tom called in to TRL a few days before the band broke up to promote the music for relief show in 2005 and THAT would be a very interesting listen.

you know what song i really love from OMT? every other weekend. it's so fun. derivative yes but it's suuuch a jam.

that's really cool. honestly i don't think the guitar ever sounded too bad on the album and needed a re-do. the drums are the main problem. if they could take the isolated drum samples from TOYPAJ and have AI re-do the entire drums for the album based off the original performance and those samples that would be crazy cool.

honestly, BCR has always deserved re-litigating for mark, and i don't blame him. imagine you and your best friend have been drifting for a while, your wives don't really like each other, and you're now more rich and famous than ever thought possible. all three of them reacted differently to that pressure and wealth which caused a divide. then imagine you haven't heard from your bandmate in weeks and have to hear through friends he's started a new band. but the only problem is that new band effectively excludes you. and is run entirely by the existing blink operation (managers, labels, accountants, tour techs, etc). for tom, i've always got the impression that he felt discomfort with the nudist/goofy marketing and it had an effect on him. he began feeling creatively stifled as a result of the pressure of those expectations as well as the label's for TOYPAJ. mark's mentioned that he was the one championing EOTS pt. 2, putting him directly at odds with tom's desire for something different. to be completely fair to tom, i also believe that BCR spiraled out of control faster than he expected because the label/mgmt smelled money. it also reinforced existing stereotypes that he was the "lead" in the band. if it had remained an acoustic side project with dave kennedy, i don't think it would've been as big of a deal, though it was obvious from mark's view in his book that tom kept it secret for a long time, which is deceiving if true. but when it evolved into a full band with jerry finn and travis playing on it, and tours booked, i have never blamed mark for his reaction. imagine being humiliated on the world stage for no reason. blink 182 minus mark, and this time, it's better. honestly, i've always felt like travis's role in it needed clarification too. in his book, he claims that he thought tom and mark were on the same page about BCR before it began, because how could they not be. it's a good excuse especially considering he was still *fairly* new to the band, but it's always been a little fishy to me. you mean you had no idea it was a problem with you were in the same studio with the same engineers. get real. these guys had enough emotional intelligence to recognize that what they were doing was both wrong or deceitful and would raise big questions publicly.

Doc was good. Hearing that it was basically finished in 2017 and never released changes the way you look at it. It's really great for the most part, especially that first hour or so. Cool impressionistic shots of Travis on the Queen Mary, the drum solo set to him talking about the crash. But it definitely takes a nosedive after especially around the time Kourtney enters the picture (creatively of course, happy for Travis, but the film starts to feel less insightful and more like a puff piece). The Blink stuff is interwoven pretty seamlessly with some cool footage and interesting interviews. There's a few surprising insights, including Tom's assertion that perhaps it was Scott who suggested having Travis fill in, which is I believe the first time that's ever been established. Additionally, hearing Tom directly reference the discomfort of Meet the Barkers and describing Travis as 'insatiable' during his peak 00s fame was eye-opening. For the most part it's a solid watch but it leaves me wondering if the 2017 version was better narratively. This felt like a true doc in the beginning but felt more by the numbers by its ending.

this is crazy, i'd never heard this. i usually try to avoid things like the AI vocals (this is not that, btw), or like reimaginings, but this one sticks the landing. an entry into the fan canon, like the do it for the kids mashups of yesteryear!

crazy, love the shows from 96. captures them right on the precipice of a huge shift. less green, starting to become seasoned touring musicians, but before the pressure of dammit and everything after. it's a neat era

i'm a 2D guy, so toon boom harmony is my preferred choice, though i've been very impressed with blender on the whole and especially the grease pencil. i don't do as much animating as i did, i've shifted toward making scripts/storyboards to make my projects (i use storyboard pro for that). but harmony was always amazing. shows like "breaking bear" are made typically using complex puppet rigs in harmony that are very efficient but when overused or done poorly can look very stilted. it doesn't help that the art style looks pretty garish too

Oooof. I’m an animator and this looks like traaaaash. Rough art design, unfunny gags, needlessly adult, and stilted rig based animation. Looks identical to Brickleberry i’ll say this, none of this has to do with Tom. The Poet Anderson short that he did in 2014 was wildly inventive (again, not to him, but the extremely talented animators he hired). Super interesting technically even if it didn’t break any narrative barriers.

Merch drop is crazy lol

lmao it's nothing special. adds absolutely nothing to the song, which is probably why they muted it when they put it out in '01. it's probably just an oversight, or maybe they don't even care or remember why it was ever muted lol

fun fact about the version of don't tell me it's over they're using for the streaming debut. it's got an extra chord played twice at the end that was not in the original song on its 2001 CD release. whenever SRCvinyl used the bonus tracks a decade later for the vinyl reissue, the last two chords appeared for the first time. i think maybe the band decided to mute it whenever they first made the album, for whatever reason. but they have resurfaced on the version now used for streaming. weird, right?

I understand the use for AI for some things, but for something like this, it’s kind of goofy. Just hire a damn designer!

They were posted on Facebook with a “AI info” label, which indicates they were made using AI. it’s doubly frustrating because if they have enough of a marketing budget to rent billboards, it should not cost extra $$$ to have a graphic designer draw them and make them more stylistically similar to the original icons. Hell, they could probably even get the original MCA designer (Tim Stedman I think?) to work freelance

Yes and they’re unfortunately AI slop. The bonus tracks are fine but nothing to write home about IMO. Even in the serious songs the lyrics are so dumb and undercooked (“Shit fuck I made a mistake”). Time to break up has that inventive Travis fill, and DTMTIO is probably a better song than Shut Up. But I’ve never really had a soft spot for What Went Wrong or any of them altogether. still, will be nice to finally have on streaming, especially the non joke tracks.