Von Thronstahl — The Saints are Coming

(HT eegra.com via thefuzzydave)

(image from Blackadder)

Mr B., The Gentleman Rhymer — History of Hip-Hop (HT Gauntlet)

Mr B., The Gentleman Rhymer — Straight Out of Surrey

Mr B., The Gentleman Rhymer — A Piece of My Mind

Mr B., The Gentleman Rhymer — Let me smoke my pipe

Beatles vs Zombies

(Discovered via The Tainted Archive)

A Dieselpunk Advertisment for Finnish Tabloid Ilta-Sanomat:

(Discovered at BURNLAB Lab Report)

A song of Pure Genius from Jeff Grubb of The Alliterates :

The Revolution Will Not Be Telegraphed
You will not be able to stay home, old mate.
You will not be able to flee the smoke, go to ground, and lie doggo.
You will not be able to lose yourself on absinthe and opium,
Skip down to the club or the public for a quick one,
Because the revolution will not be telegraphed.

The revolution will not be telegraphed.
The revolution will not be transmitted in dots and dashes
Translated by Powell’s semaphoric boys.
The revolution will not show you stereographs
Transmitted to your handheld
Or posted broadsheet-style on the street for the plebes.
Of the Great Game and Chinese Gordon and Shaka Z.
The revolution will not be telegraphed.
….

and more HERE

(Discovered courtesy of The Heliograph)

I must confess that my first thoughts upon hearing the news of David Carradine’s Unfortunate Demise were to recall a few lines from an old X-files episode.

In Clyde Bruckman’s Final Repose (1995) Mulder is given a cryptic warning by a Psychic:

Clyde Bruckman: You know, there are worse ways to go, but I can’t think of a more undignified way than autoerotic asphyxiation.
Mulder: Why are you telling me that?
Clyde Bruckman: Look, forget I mentioned it. It’s none of my business.

This was the Result:

Your result for Which fantasy writer are you?…

Michael Moorcock (b. 1939)

21 High-Brow, 31 Violent, -23 Experimental and 29 Cynical!

Congratulations! You are High-Brow, Violent, Traditional and Cynical! These concepts are defined below.

Michael Moorcock is one of the most influential fantasy writers of all times, his impact rivalling that of Tolkien’s. Perhaps China Miéville described it best when he said: “I think we are all post-Moorcock.” Apart from being the editor of New Worlds twice in the 60s and 70s, thereby being instrumental in bringing on the so-called “new wave” of science fiction which changed all fantastic literature forever, Moorcock’s own work has been an inspiration to more recent writers. He is also known for not hiding or blunting his views on fiction which he regards as inferior, a trait which has lead him to apply harsh criticism on authors such as J R R Tolkien, C S Lewis an H P Lovecraft.

His most popular work are the Elric books. Elric was originally conceived as a sort of critical comment to or even parody of R E Howard’s Conan, but the character and his world soon grew to form a tragic and somewhat fatalistic drama. Elric’s world is, in turn, only a small part of the huge Multiverse, a set of stories from all sorts of worlds (including our own) which is forever locked in a struggle between the two powers of Law and Chaos. Whenever one of these powers is threatening to become too powerful, an incarnation of the Eternal Champion, a group of warriors possessing the same spirit, is forced to fight to maintain the delicate balance between the two. Moorcock has worked several of his heroes into this cycle of books, including Hawkmoon, Corum and, of course, Elric.

Moorcock’s stories are often stories about warriors, however reluctant they may be, and are usually explicitly violent, even if the purpose of all the hacking and slashing is to free humans and other beings from oppression and, ultimately, fear. There is little happiness, though, for those who are forced to do the fighting and all they can hope for is a short time of respite, sometimes in the town of Tanelorn, the only place in the multiverse that the eternal struggle between Law and Chaos can’t reach.

It should also be mentioned that, even though Moorcock has done quite some experimenting in his days, it can’t be ignored that a major part of his books are traditional adventure stories that become more than that by their inclusion into a grand vision. A little ironically , perhaps, for an author who has criticized the “world-building school” of fantasy, Moorcock achieves much of his popularity through building, if not a world, a world vision.

You are also a lot like China Miéville

If you want something more gentle, try Ursula K le Guin

If you’d like a challenge, try your exact opposite, Katharine Kerr

Your score

This is how to interpret your score: Your attitudes have been measured on four different scales, called 1) High-Brow vs. Low-Brow, 2) Violent vs. Peaceful, 3) Experimental vs. Traditional and 4) Cynical vs. Romantic. Imagine that when you were born, you were in a state of innocence, a tabula rasa who would have scored zero on each scale. Since then, a number of circumstances (including genetic, cultural and environmental factors) have pushed you towards either end of these scales. If you’re at 45 or -45 you would be almost entirely cynical, low-brow or whatever. The closer to zero you are, the less extreme your attitude. However, you should always be more of either (eg more romantic than cynical). Please note that even though High-Brow, Violent, Experimental and Cynical have positive numbers (1 through 45) and their opposites negative numbers (-1 through -45), this doesn’t mean that either quality is better. All attitudes have their positive and negative sides, as explained below.

High-Brow vs. Low-Brow

You received 21 points, making you more High-Brow than Low-Brow. Being high-browed in this context refers to being more fascinated with the sort of art that critics and scholars tend to favour, rather than the best-selling kind. At their best, high-brows are cultured, able to appreciate the finer nuances of literature and not content with simplifications. At their worst they are, well, snobs.

Violent vs. Peaceful

You received 31 points, making you more Violent than Peaceful. Please note that violent in this context does not mean that you, personally, are prone to violence. This scale is a measurement of a) if you are tolerant to violence in fiction and b) whether you see violence as a means that can be used to achieve a good end. If you are, and you do, then you are violent as defined here. At their best, violent people are the heroes who don’t hesitate to stop the villain threatening innocents by means of a good kick. At their worst, they are the villains themselves.

Experimental vs. Traditional

You received -23 points, making you more Traditional than Experimental. Your position on this scale indicates if you’re more likely to seek out the new and unexpected or if you are more comfortable with the familiar, especially in regards to culture. Note that traditional as defined here does not equal conservative, in the political sense. At their best, traditional people don’t change winning concepts, favouring storytelling over empty poses. At their worst, they are somewhat narrow-minded.

Cynical vs. Romantic

You received 29 points, making you more Cynical than Romantic. Your position on this scale indicates if you are more likely to be wary, suspicious and skeptical to people around you and the world at large, or if you are more likely to believe in grand schemes, happy endings and the basic goodness of humankind. It is by far the most vaguely defined scale, which is why you’ll find the sentence “you are also a lot like x” above. If you feel that your position on this scale is wrong, then you are probably more like author x. At their best, cynical people are able to see through lies and spot crucial flaws in plans and schemes. At their worst, they are overly negative, bringing everybody else down.

Author image by Catriona Sparks from http://en.wikipedia.org/wiki/File:Michael_Moorcock.jpg Click for license info.

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