Giant Robot Store and GR2 News
My cousin Michael Aki made a short film in the same spirit as his feature film, Strangers. This was for a 3 minute film competition that needed to utilize the 4 lines of text spoken in the film. It needed to be in that order and that's all they could say. At first I thought he would make something much simpler. Maybe 1 location, 1 day of shooting, and maybe even 1 take. That's what I would do, but instead he went all out and shot a ton. They even went to the desert and shot there. The actress? That's Karin Anna Cheung – from Better Luck Tomorrow. Sit back and enjoy for 3 minutes. I get an executive producers credit. Awesome. All I did was push Iron Mike to make this since I swear Strangers has not gotten a fair shake at film festivals.
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Jammed from the GR office on the Westside, picked up Eloise along with my sister Angelyn and her daughter Lucia, and walked into Amoeba to catch Shonen Knife already rocking out in their in-store. Yes, Naoko (guitar) is the sole founding member but perhaps it's the changing chemistry that keeps the group feeling fresh rather than like a band hitting its 30th year. New songs (“Banana Chips”) mesh perfectly with older ones (“Riding the Rocket”) as well as choice covers (“Top of the World”). I recall listening to and seeing Shonen Knife when I was a student at UCLA… Back then they had a raw, amateurish, and irresistable energy. Who knew they would ever be a finely-tuned rocking machine or that I would be standing right by their stage with my daughter in 2010? Afterward, we got in line to introduce Eloise, Lucia, and their friend Margot to the band. There, we spotted original drummer, bassist, and Naoko's sister Atsuko. And then the girls who dressed up as Shonen Knife for Halloween last year met the real thing. (Margot's dad is cartoonist/GR contributor Martin Cendreda.) There's still two weeks left on this U.S. tour, so don't miss out if they come through your town promoting not one but two new CDs for the U.S. and a DVD, too. Always a great time, and now one of Eloise's favorite bands along with The Ramones and The Specials–even if you can't tell from her expression in the pictures.
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Friend of Giant Robot: The 67th issue of Giant Robot is at the printer and we're amped on it. If you're receiving this email, chances are you are, too. Tricked-out Japanese semis, one month in isolation, Mongolia mania, cover art by Matt Furie, and a free videogame (!) are only some of what's in store. But while we're always excited by our content, confident about our design, and grateful for our readers, the magazine does not circulate in a vacuum. As you probably know, Giant Robot has been dinged by the escalation of shipping costs, unending shifts in the advertising paradigm, and shrinkage of distribution channels. However, we are evolving–and not dying–and by no means are we done with documenting, investigating, or cultivating Pan-Asian, Asian-American, and new hybrid pop culture. In fact, we are more inspired than we were when our publication debuted in 1994, but we need your support more than ever as well. If you have ever been turned onto an artist, a filmmaker, a band, or anything else by Giant Robot; if you have ever been featured, reviewed, or connected to something in its pages; if you believe the magazine helps to grow the kind of culture that you appreciate–please subscribe. And if you are already a subscriber, please consider setting up like-minded friends and families, local libraries and schools, or even businesses. We think you'll agree that 24 dollars is a small price for the ideas, aesthetics, and energy that six bimonthly issues of Giant Robot give to each reader. You can subscribe at giantrobot.com and check the status or update the address of your current subscription via subs[at]giantrobot[dot]com. (Thinking about advertising? Contact margaux@giantrobot.com.) Thanks for your support, hope you like the new issue, and can't wait for you to see the next one. It's coming up soon! Yours, Martin Wong Cofounder, Editor, Shitworker Giant Robot
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Once a year, the Japanese Classic Car Show JCCS takes place and attracts thousands who come to look at perhaps a couple of hundred cars. This year it was in Long Beach and the line to get in was decently long. I thought there would be something akin to a Heavy Metal Parking Lot scene in the parking lot. Imagine, dudes hanging out talking about cars standing with their own car, but instead, the car show itself is a parking lot. Tons of folks camping out next to their cars. At times it looks like they want conversation about it, but at others, it seems like they're nearly picnic'ing and hanging out as if this is their once a year when they see certain friends, acquaintances, and the cars which they probably see around. It's sort like their Comic Con. I don't own a Japanese classic car, sans a Hot Wheels Datsun 510, but I wish I did. I don't know exactly what I'm looking for or at exactly. Maybe it's nostalgia. I remember tons of these cars, which are now more and more scarce. I'll admit I'm a fan of the Datsun 510, but after seeing so many at this event, I'm much less into it. I'll explain later.
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