While I'm bitching about soundtracks: Willy Wonka And The Chocolate Factory. Augustus' Oompa Loompa song is its own track, but Violet's and Mike's are tacked onto the same tracks as the instrumentals before them, and Veruca's is on the same track as her "I want it now!" song.
Which I guess makes sense, since the songs are all so short, but it would be nice if they also included all the Oompa Loompa song as a single track.
On an unrelated note, I find "Finale B" more memorable than "Finale A".
edited 2nd Mar '11 7:30:10 PM by CentralAvenue
Heapers’ HangoutThat Back To The Future game. It sucks.
Also, is the pony fad over yet?
/complaining
no one will notice that I changed thisNever played it.
Also:
a font, in mixed case isn't
◊ a font VERY MADE BOLD
◊
I find this non-sentence funnier than I should.
Heapers’ HangoutHeh, it's even funnier once you realize that "a font, in mixed case" isn't in mixed case.
Heapers’ HangoutAnonymous User first saw Romany in a picture of a '30s ATF specimen book. Then he found a revival of Romany and got all happy
I need to become an IJBM2 mod so I can find out who Mariposa Avenue was.
Alternatively, I can just ask Glenn or Funnyguts.
Heapers’ HangoutHere, have a free coffee from Café CA, the new coffee shop we're currently test-driving in some CA Marketplace stores.
edited 2nd Mar '11 8:05:05 PM by CentralAvenue
Heapers’ HangoutWell, we know of Tzetze, who doesn't really count as a lurker anymore, Iverum (I think), maybe Nornagest, and now Juan.
Oh, and Wicked. I think.
(We really need to launch a formal investigation into this.)
edited 2nd Mar '11 8:06:39 PM by CentralAvenue
Heapers’ HangoutYou know why AU and I will never become IJBM 2 mods? Because IJBM 2 doesn't need more mods.
That I can recall, we've had only one thread locked and one thread deleted—the latter, I should point out, was done at the request of the OP (i.e., me). And that's after two months.
The community's not gonna get much larger, so we'll only really need more mods if some of the current mods have to leave for some reason.
Heapers’ HangoutVerlag, the affable Modernist.
From out of the six typefaces originally created for the Guggenheim Museum comes Verlag, a family of 30 sans serifs that brings a welcome eloquence to the can-do sensibility of pre-war Modernism.
Originally envisioned as a riff on the Guggenheim’s iconic Art Deco lettering, Verlag developed into its own family of versatile typefaces in order to suit the needs of a modern identity program. Because the fonts would ultimately represent a range of individual artistic voices — from Cézanne to Kandinsky to Matthew Barney — Verlag was carefully planned so that its distinct personality would be checked by a sense of objectivity.
From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag’s “fairminded” quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.

I do, even if I regularly forget it exists.
Which is a shame, because.