The big alley

So it's San Diego Comic-Con time again, huh? Screw the overcrowded and stress-inducing Comic-Con. Here at A Fistful of Soundtracks: The Blog is an Artists' Alley where, like the Artists' Alley down at SDCC, you can find lots of stunning-looking art, but the alley here is a little nicer. It's not crowded, it doesn't smell as strange and there aren't any guys wearing those stupid-looking mandals because they think America wants to see their ugly toes on national TV. (For Christ's sake, you're a grown-ass man. Dress like one. They're called shower shoes for a reason: they're meant only for the shower. The only people who should be wearing open-toed shoes are ladies and Spartacus extras.)

During the week of last year's Comic-Con, the AFOS blog posted several great examples of TV show-inspired artwork. Here's some more standout TV-related art.

30 Rock/League of Extraordinary Gentlemen mash-up by Alex Ross. I'm looking forward to the inevitable mash-up of Warren Ellis' Ministry of Space and Astronaut Jones.

Return of the Jedi/Community "For a Few Paintballs More" episode mash-up by Victor Perfecto.

Daria by Ming Doyle.

Fozzie Bear stops by Marc Maron's garage, by Skottie Young. I enjoyed Maron's controversial exchange with Dan Savage about Michele Bachmann and Rick Santorum on Real Time with Bill Maher last week.

Detective Nick Yemana from Barney Miller by Pete Emslie.

The Wire as a Hanna-Barbera cartoon by Paul Sizer.

"Rome, Italian Style" Track of the Day: Count Basie and His Orchestra, Ella Fitzgerald & The Tommy Flanagan Trio, "Sanford & Son Theme (The Streetbeater)"

Song: "Sanford & Son Theme (The Streetbeater)" by Count Basie and His Orchestra, Ella Fitzgerald & The Tommy Flanagan Trio
Released: 1972
Why's it part of the "Rome, Italian Style" playlist?: It's a cover of Quincy Jones' classic Sanford & Son theme that I was recently made aware of by The Smartest Man in the World podcast host Greg Proops' funny reenactment of two different Ella Fitzgerald concerts he saw: first in the '70s, when the Sanford & Son theme was part of her and the Count Basie Orchestra's set list, and then about a couple of decades later, when Proops and his wife watched the audience of predominantly "75-to-80-year-old women who are wearing hats" chew out Fitzgerald's security guard for being too slow to help the frail singer sit more comfortably in her chair onstage. "The people in front of us who haven't stood on their own in 14 years are standing now!," recalls Proops, who then busts out his best cranky old New York lady complaining-about-the-prices-at-Talbots voice. "'She's not comfortable! Get her a seat!'"

I wish Greg Proops would occasionally have guests on his podcast because I'd like to hear him verbally spar with his old Whose Line Is It Anyway? host Clive Anderson again.

This portion of The Smartest Man's "Counts" episode includes a great description of Basie as a Frank Sinatra bandleader in comparison to Neal Hefti and Nelson Riddle. "The dynamic [between Basie and Sinatra] is fucking wild, right?... That's how the band was: shrieking horns, scintillating trombones... 'Angel trumpets and devil trombones,' right?," Proops says. "And then Count Basie would go, 'Pink!,' in the middle of everything, in the middle of fury. In the middle of a hurricane, Count Basie would hit one white key. 'Pink!'"

The dynamic between the Basie band and jazz singers like Sinatra and Fitzgerald is on display in Fitzgerald's live cover of "The Streetbeater" from her Jazz at Santa Monica Civic '72 album. "Minger's on trumpet!," says Fitzgerald, who's referring to trumpeter Pete Minger during his solo. I like the way Fitzgerald, Minger, saxman Jimmy Forrest and the other band members play off of each other here, and the musical dialogue Fitzgerald carries on with the band's guest soloists is even doper during their electrifying rendition of "C Jam Blues" at the end of the same album.

This is a snippet of an illustration I did for my currently-in-the-works book I Suck at Math: A Trio of 10 Articles About Pop Culture. The illustration speculates what it would have been like if Redd Foxx starred in The Phantom Menace, a movie that happens to feature the voice of... Greg Proops. Circle of life!

Speaking of jazz, Fred Sanford's insults to Aunt Esther are like jazz.

Aunt Esther: This old heathen want me to pay him for comin' in here!

Fred: He oughta tip me just to look at you!

Boom!

Aunt Esther: When I was born, my body was blessed by Mother Nature, honey!

Fred: And as you got older, it was cursed by Father Time!

Bam!

Aunt Esther: Fred Sanford, I have the feelin' of Christmas!

Fred: And the face of Halloween!

Woof!

Aunt Esther: Woodrow and I are going to have a baby.

Fred: Well, somebody better call the zoo!

Horn stab!

Five rap jams where the rappers drop malapropistic pop culture references that make them sound like John Witherspoon when he referred to "Public Enema" during House Party

One of my favorite lines in the original House Party was John Witherspoon's Granddad from The Boondocks-esque neighbor character complaining about the titular party blasting the music of "Public Enema." On a similar note, my favorite line in Zack and Miri Make a Porno is "Han Solo ain't never had no sex with Princess Leia in the Star War" because instead of Star Wars, Craig Robinson calls it "the Star War," as if the fictional conflict were the Civil War or the Vietnam War.

The "Public Enema" and "Star War" lines remind me of an article I read in a hip-hop magazine once. The article listed moments when rappers dropped malapropistic pop culture references or flubbed up celebrities' names. When they flub up the pop culture references like in the following five tracks, rappers suddenly sound old and out-of-it like that Witherspoon character from House Party (the Beastie Boys have been in the game for a while, but hopefully, they won't sound too out-of-it on their promising-sounding new album Hot Sauce Committee Part Two).

Thanks to "I Know You Want Me (Calle Ocho)" by Pitbull, I'm in the mood for renting a film by "Albert Hitchcock."

1. "My Weezy" by Lil Wayne
Like Mojo Nixon during "Elvis Is Everywhere" and Sound of Young America host Jesse Thorn, Wayne calls Star Trek's Vulcan hero "Dr. Spock" (a la baby care expert Dr. Benjamin Spock) instead of Mr. Spock.

2. "Oh Word?" by the Beastie Boys
"This is not a fantasy, I'm not Mr. O'Roarke." Wow, I didn't know the racially ambiguous but Latin-ish Mr. Roarke was really an Irish bloke all along.

3. "Shazam" by the Beastie Boys
Mike D misidentifies Fred Sanford's dead wife Elizabeth as "Weezy."

4. "Flip Flop Rock" by Big Boi featuring Killer Mike & Jay-Z
Big Boi refers to Penelope Cruz as "Penelope Ann Cruz," while Killer Mike admires the authority of "Commander Picard."

5. "Blindfold Me" by Kelis and her then-husband Nas
Nas probably meant "Mickey Rourke in 9 1/2 Weeks," but for some reason, it came out as "Gonna surprise you like Hugh Grant in 8 1/2 Weeks." Confusing the works of softcore porn producer Zalman King with the oeuvre of Chris Columbus, the family-friendly director of Nine Months, Home Alone and I Love You, Beth Cooper, is a common mistake in hip-hop. The other day on the street, I overheard a freestyle battle where one MC insulted the other to the beat of Drake's "Over" with "Got a text from your girl saying she wanna ride my penis/Like Hayden Panettiere in Delta of Venus."