I decided not to see Iron Man 3 because it seems a return to old way of adapting superheroes to the screen: focus on the star, not the costume (e.g., Stallone's Judge Dredd); throw away most everything ever established in the comics about the character and/or his villains (e.g., just about any TV adaptation from the 70s on, such as Spider-Man); and those behind the adaptation are more interested in making the superhero more "believable," which is another way of saying they're not particularly interested in the character but in "telling their own story" (e.g., Ang Lee's exploring what went into Bruce Banner's rage in Hulk, or Superman giving up his powers in Superman II to live a boring bourgeois life with Lois for 30 minutes of screen time). That is, we get a Tony Stark pondering what makes him Iron Man (Robert Downey, Jr., is tired of wearing the suit, basically), a funny kid sidekick for him while he's hanging out in Tennessee, and the Mandarin becomes just another white guy in a business suit. It's not that I'm some purist about the comics, which are often quite terrible, but these alterations tend to come from people who are less imaginative than the comics creators, believing they can improve upon the original by throwing out the more outrageous and fantastic qualities that served to make the comics distinct.

Before the influence of movie studios, the comics industry used to practice the Jack Kirby Rule: a ridiculous premise is always better if realized with a cosmic roundhouse from some brute in a colorful costume. There's nothing particularly interesting about Tony Stark questioning his status as a superhero. It would, at least, be weird if he were doing this in a soliloquy while wearing his armor in the middle of a space battle, though. Otherwise, it's just some normal looking dude worrying about a problem that has no relevance to anything in life. So why would anyone want to sit through that?

Daft Punk – Random Access Memories

CD $12.98

LP $36.98

Daft Punk’s outrageous new album starts with a bang, a fanfare of funk guitars, synths and growing static noise that sounds not unlike the opening of Guns N’ Roses’ “Welcome to the Jungle.” From there Random Access Memories takes off into a nearly double-album length set of songs pairing musical heroes both new (Panda Bear) and beloved (Chic’s Nile Rodgers) to deliver something that is inspired by funk and prog-rock albums of the 1970s while retaining the musically adventurous spirit that has thus far defined Daft Punk. On the album’s best songs, Rodgers’ unmistakable riffs breathe excitement into Thomas Bangalter and Guy-Manuel de Homem-Christo’s arrangements and give purpose to their robot-rock voices — “let the music in tonight … give life back to music” they intone on “Give Life Back to Music” while Rodgers and co. make dancefloor resistance futile. One of Daft Punk’s heroes, Giorgio Moroder, appears in interview before classic Moroder oscillating synthesizers take us into vintage German discotheques in “Giorgio by Moroder.” Detractors may find Random Access Memories’ pacing questionable, as the set loses a bit of steam until a mid-album set of tracks really send the album into the stratosphere — Pharell brings hip-hop edge to “Lose Yourself to Dance” and the already indelible first single, “Get Lucky,” while “Touch,” featuring Paul Williams of “We’ve Only Just Begun” and “Rainbow Connection” fame, is one of Random Access Memories’ truest joys. Even with numerous party-starters, Random Access Memories is by no means an easy album, taking prog’s excess to heart with its long running time and more soundtrack-ish instrumental passages, but even these have a certain magic, like the beautiful digital washes of “Motherboard.” The album’s lived-in, layered feel is a remarkable achievement in an era of instant-pleasure electronic jams that Daft Punk themselves helped usher in with their dynamite early singles and albums. The wide-open, warm feel of Random Access Memories represents new ground for Daft Punk. Its singles already feel like new classics, while its expanse rewards the patient listener.

"I think it's beautiful that we all contributed to this cultural movement of hip-hop, though some unwillingly, from the engineers to the marketing guys, to the DJs that's how instruments change history when they're taken out of the original context. Just like how the Hammond organ was designed for church music and Leslie speakers came along to jazz things up, or when distortion was introduced to the electric guitar, and so on. The invention of mixing breaks and scratching transformed the idea of music as we know it, and it owed a great deal to Technics SL-1200s, which was only meant to be a high-end record player for audiophiles." - That's DJ/producer/musician and occasional contributor to the Amoeblog Shing02 talking to me recently on his clearly passionate feelings towards the Technics SL-1200 turntable and its importance to DJ and hip-hop culture. His admiration for the Technics turntable is so great that, along with fellow  SL-1200 fanatic DJ $HIN, Shing02 recently unveiled the webpage Wheels of Steel: Technics SL-1200 series folder icons dedicated exclusively to that  beloved DJ instrument that a few years ago, to the shock of many DJs, ceased being manufactured.

As both a fan and practitioner of hip-hop Shing02 says that he cannot but hold deep respect and love for the Technics SL-1200. It was this feeling of awe for the turntable as to why he and DJ $HIN decided to set up the the icon series dedicated to "one of the most impressive runs in modern design achievements." The icons in the image above were each assembled from dozens of pictures found online, and reflect every model upgrade including function, buttons, lights, and finish. The website also outlines the history of the model which began back in 1970 when Japan's Matsushita Electric (later to become Panasonic Corp.) introduced direct-drive turntables (SP-10), updating and upgrading the model throughout that decade. It was in 1972 when they introduced the SL-1200 MK1. The website notes how the 1210 series was the European counterpart to the 1200s as well as how the company continued to manufacture many direct drive models before the MK2 in 1979 which would go on to become "the de facto industry standard." The following three decades of models resulted in only minor alterations in design. The very last model would be the MK6 Technics SL-1200 model in 2008. Two years later, in October 2010, the company ceased all production of the beloved turntable. Below is my conversation with Shing02 about the turntable and the new icon series whose future updates will include interviews with some retired Technics engineers.

Amoeblog: What made you guys decide to do this icon series dedicated to the 1200's?

Bay Area transplant Chris Stroffolino is a former Silver Jews member, a Ph.D.-holding Shakespearean scholar, published author of eight books of poetry, AND a one-time Amoeba Music Home Grown Artist of the Month. Now in Los Angeles, Stroffolino and his rescued, upright piano reside and perform in his 1980’s Ford Econoline van. The van serves as his part-time stage, rehearsal space, recording studio, and full-time living quarters. A prolific singer/songwriter, a chalkboard paint-covered sliding van door announces his influences: Indie, Punk, Brill Building, Motown, and Velvets.

This guy is the real deal and he's mobile. You can catch him playing wherever the van takes him -- Griffith Park, outside a Trader Joe's, in parking lots of music venues -- but we suggest following him on Twitter at @Piano_Van to get updates on his next coordinates.

Jeff Feuerzeig, the director of the documentary The Devil and Daniel Johnston, is recording a series of videos with Stroffolino. Here's the latest, his infectious interpretation of Toby Keith's "I'm Just Talkin' About Tonight."

Big news! The lineup has just been announced for the inaugural weekend of the First City Festival, which takes place at the Monterey County Fair and Event Center on Saturday, August 24th and Sunday, August 25th.

Join Goldenvoice and Amoeba Music in welcoming Modest Mouse, Passion Pit, MGMT, Neko Case, Beach House, Toro y Moi, the west coast debut of Avey Tare's Slasher Flicks (featuring Dave Portner of Animal Collective), and so many more.

Two-day General Admission and VIP tickets go on sale Friday, May 31st at 10am at FirstCityFestival.com!