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Fall 2006
Letter
from the Editor
Robert Altman, R.I.P.
BY GARY MAIRS
Nashville Sounds
Altman's masterwork, song-by-song
BY Ethan Alter
Life is Full of Brain Dead Fools and Emotional Cripples and Then You Die
stunt casting and narrative gimmickry in Robert Altman’s Short Cuts
BY MICHAEL BACKUS
"For Barbara"
California Split
BY TOM BLOCK
Don't let a thief steal into your heart
Thieves like us
BY Hayden Childs
Raising the Stakes
notes on performance in some films by Robert Altman
BY STEVE HICKEN
A Sense of Altman
a sublime mingling of the harsh and the gentle
BY DANA KNOWLES
A Certain Detachment
the "new Altmans"
BY Gary Mairs
Lake Wobegon Ungone
A Prairie Home Companion
BY SHAUNA MCKENNA
Robert Altman's Popeye
I’m only a common sailor, but I got a soul. I gots sensitivity.
BY Jon Morris
A Field Guide to the Altman Actor
the range of available performing talent as a rolling buffet table
BY PHIL NUGENT
Ladies and Gentlemen of the American Jury
Robert Altman’s Secret Honor
BY LEONARD PIERCE
The Bottom Shelf
weird Altman
BY SCOTT VON DOVIAK
Blue Gaze
Arnold Schoenberg’s Pierrot Lunaire
BY STEVE HICKEN
Rock and the Pop Narcotic
an interview with Joe Carducci
BY Andrew Katsikas
Bonnarude
the curmudgeonly guide to the largest grossing independent festival in the U.S.A.
BY ANDY WILSON
The Man-Machine Will Rock You
the existential paradox of technical death metal
BY PHIL FREEMAN
Out of Many, One
how the multiverse of DC Comics collapsed and the universe of Marvel exploded
BY MATTHEW ROSSI
To Spend Time With Fools
five novels for you inner drunk
BY LEONARD PIERCE
The Peccadilloes and Ponderables of Peanuts
Charles Schulz’s Final Wisdom
BY JON MORRIS
On Prayer
BY GREG HOUGH
Great Balls of Pryor
BY PHIL NUGENT
Indistinguishable From Magic
AI fiction and reality
BY JOSH WILSON
Silverbacks, Silver Screens
the zen of film monkeys
BY LEONARD PIERCE
The Face on the Barroom Floor
Deadwood: a killing that lingers
BY TOM BLOCK
Yes, No, Maybe ...
or how one feminist quit worrying and learned to love Jimmy McNulty
BY ERIKA JAHNEKE
Giants and Titans
Deadwood and The Wire do institutionalism
BY HAYDEN CHILDS
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