Posts
I've been really enjoying this free internet mixtape from DC rapper Wale, who first appeared on my radar earlier this year with his excellent guest spot on my favorite track from the Roots' Rising Down. His Mixtape About Nothing is a sort of concept album which uses samples from Seinfeld as the basis for a number of the songs...he's not rapping about Seinfeld, but he uses some of the themes from Seinfeld as a starting point and then lets his flow take him where it will. That may very well sound lame when you first hear about it, but in practice Wale puts together a thoroughly enjoyable, smart, funny and unpredictable mixtape that makes me very excited to hear a real album from him, whenever he can get one together.
I apologize for my continued inability to make divshare stream anything, but download this song if you want to hear a good example of what I'm talking about. And since it's a free internet release that doesn't have to worry about sampling issues, there's even a nice Stevie Wonder sample on the song:
The Grown Up
And if you liked it, the whole thing can be downloaded for free here.
Sunday, August 24, 2008
Thursday, August 21, 2008
Wow...
Last week's cover story for The Onion:
Obama's Hillbilly Half-Brother Threatening To Derail Campaign
Today's cover of the Sun Times:
Obama's half-brother to Vanity Fair: 'No one knows I exist'
Obama's Hillbilly Half-Brother Threatening To Derail Campaign
Today's cover of the Sun Times:
Obama's half-brother to Vanity Fair: 'No one knows I exist'
Kittybrains Convention?
Neil Young with Wilco opening at Madison Square Garden, December 15. What do you say?
Wednesday, August 13, 2008
"White" Music
Via Chicago just responded to the last post by declaring (on behalf of Tex Plush and himself) just how "white" Billy Joel's music is. Relative to the groups that get praised on here-- Andrew Bird (solo), Radiohead, New Pornographers, Bonnie "Prince" Billy-- that's just absolutely flat wrong.
Now look, I just finished my 2 and half year education at Berklee, and while I'm not dropping that as any sort of superiority thing, it was very illuminating because-- at least in ensembles-- I played predominantly black-written music there. And I many took classes that focused almost exclusively on the work of black people. And I learned how to write in a lot of "black" styles. I'm not claiming to know more about black music than any of you (certainly not more than Quinapalus), but I do know a heck of a lot more about it than I used to know.
And here's what I can tell you: Relative to most white musicians, Billy Joel ain't all that "white." Listen to Little Richard or Ray Charles play the piano. Now compare the piano styles of Billy Joel and, say, Stephen Drozd of Flaming Lips. Or Thom Yorke. Or Neil Young. Or the Sigur Ros guy. Or Panda Bear/Animal Collective. Or The National. Or Mikael Jorgenssen/Pat Sansone. So who sounds more like Ray Charles and Little Richard?
You can hear it in songs like Big Shot, Movin' Out, Scenes From An Italian Restaurant, Only The Good Die Young, etc. And then listen to "New York State of Mind," which is an homage to "Georgia On My Mind." Tell me how that song makes you feel white.
Look, I feel a little weird propping up Billy Joel, because I hardly listen to him anymore. But I do have those "Greatest Hits Vol. I & II" in my iTunes and I stand by the vast majority-- except for wussy stuff like "Just The Way You Are."
But using the "he's too white" argument against Billy Joel is just inaccurate. If anything, you could say too many of his best songs are simply derivative of black artists. (Musically at least. I'll concede that singing about Long Island all day is pretty white.) But the guy is simply too rhythmically attuned to get the "whitey" tag.
Now look, I just finished my 2 and half year education at Berklee, and while I'm not dropping that as any sort of superiority thing, it was very illuminating because-- at least in ensembles-- I played predominantly black-written music there. And I many took classes that focused almost exclusively on the work of black people. And I learned how to write in a lot of "black" styles. I'm not claiming to know more about black music than any of you (certainly not more than Quinapalus), but I do know a heck of a lot more about it than I used to know.
And here's what I can tell you: Relative to most white musicians, Billy Joel ain't all that "white." Listen to Little Richard or Ray Charles play the piano. Now compare the piano styles of Billy Joel and, say, Stephen Drozd of Flaming Lips. Or Thom Yorke. Or Neil Young. Or the Sigur Ros guy. Or Panda Bear/Animal Collective. Or The National. Or Mikael Jorgenssen/Pat Sansone. So who sounds more like Ray Charles and Little Richard?
You can hear it in songs like Big Shot, Movin' Out, Scenes From An Italian Restaurant, Only The Good Die Young, etc. And then listen to "New York State of Mind," which is an homage to "Georgia On My Mind." Tell me how that song makes you feel white.
Look, I feel a little weird propping up Billy Joel, because I hardly listen to him anymore. But I do have those "Greatest Hits Vol. I & II" in my iTunes and I stand by the vast majority-- except for wussy stuff like "Just The Way You Are."
But using the "he's too white" argument against Billy Joel is just inaccurate. If anything, you could say too many of his best songs are simply derivative of black artists. (Musically at least. I'll concede that singing about Long Island all day is pretty white.) But the guy is simply too rhythmically attuned to get the "whitey" tag.
Theory
Every single song on Billy Joel's Greatest Hits Vol. I and II is amazing.
And I know every word and note even though I probably haven't listened to it more than a handful of times in the past fifteen or twenty years.
It's really strange to listen to it actually, because it seeped very deep into my consciousness at a time when I didn't really think about music in a self-conscious way. I just loved the Storm Front album with We Didn't Start the Fire and my friend Ben made me a tape copy of his earlier greatest hits. When I just listened to it now (on a random nostalgia kick after hearing a couple of the songs in a cab the other night), I couldn't help but hear everything in context-- how he moved from Prog Epics (Captain Jack), to New Wave Mimicry (Still Rock and Roll to Me) to shameless nostalgia (Uptown Girl), all while indulging in sensitively wussy singer-songwriter balladry (Just the Way You Are, Always a Woman). But back when I first got into it was just about the myuuusic, man-- I liked the way he spoke-sang "Biiiig shooot, deeeedja" and the awesome synth hook in Pressure and the "BrenderandEddie" section of Scenes from an Italian Restaurant.
To return to my theory: Seriously, every single song is great!
And I know every word and note even though I probably haven't listened to it more than a handful of times in the past fifteen or twenty years.
It's really strange to listen to it actually, because it seeped very deep into my consciousness at a time when I didn't really think about music in a self-conscious way. I just loved the Storm Front album with We Didn't Start the Fire and my friend Ben made me a tape copy of his earlier greatest hits. When I just listened to it now (on a random nostalgia kick after hearing a couple of the songs in a cab the other night), I couldn't help but hear everything in context-- how he moved from Prog Epics (Captain Jack), to New Wave Mimicry (Still Rock and Roll to Me) to shameless nostalgia (Uptown Girl), all while indulging in sensitively wussy singer-songwriter balladry (Just the Way You Are, Always a Woman). But back when I first got into it was just about the myuuusic, man-- I liked the way he spoke-sang "Biiiig shooot, deeeedja" and the awesome synth hook in Pressure and the "BrenderandEddie" section of Scenes from an Italian Restaurant.
To return to my theory: Seriously, every single song is great!
Saturday, August 09, 2008
Zumpano for a Buck
Like Eric, I've been enjoying the general devaluation of the compact disc in the mp3 age. This past week, for instance, I was able to purchase Zumpano: "Look What The Rookie Did" for one measly dollar. Now admittedly, this may have owed more to the fact that the store didn't know what they had on their hands rather than worldwide downturn in CD value.
This leads me to mention that Zumpano, if you didn't already know this, was Carl Newman's band before New Pornographers. I'm pretty sure that the CD/Game Exchange up the street from my old high school in DC did not know this. They're much more of a hip hop store anyway, which leads to frequent mis-assessments of used rock stuff that comes their way.
Anyway, check out Zumpano. They lack the undeniable choruses of New Pornographers, but they've still got that classic Carl Newman craftsmanship and overall quality. I think they also had a looser vibe-- fewer fans to please-- which makes them pretty fun. Worth far more than a dollar.
This leads me to mention that Zumpano, if you didn't already know this, was Carl Newman's band before New Pornographers. I'm pretty sure that the CD/Game Exchange up the street from my old high school in DC did not know this. They're much more of a hip hop store anyway, which leads to frequent mis-assessments of used rock stuff that comes their way.
Anyway, check out Zumpano. They lack the undeniable choruses of New Pornographers, but they've still got that classic Carl Newman craftsmanship and overall quality. I think they also had a looser vibe-- fewer fans to please-- which makes them pretty fun. Worth far more than a dollar.
Sunday, August 03, 2008
Extra Golden
Here is an afrobeat update for those of you following that train with me:
I am REALLY into this band Extra Golden. They are a collaboration btw African and American musicians and they have basically created the cock rock of Fela-style afrobeat groovalicious guitar-heavy music. They are great. I saw them today at the prospect park African guitar festival, though I have been into their albums for a month or so.
Ok-Oyot System
To my inexperienced ears, the first record, OK-Oyot System, sounds more traditional. You can definitely hear African pop sounds - the kind that Paul Simon lovingly ripped off, and you can hear straight-up Fela worship too. You also hear a blend of American soul singing and traditional African singing in the space of the same number. It's refreshing and familiar at the same time. It'll make your hips move.
Night Runners
The second album has some different musicians on it due to the untimely death of a major force from the first record. Hera Ma Nono has more of a funk and soul edge to it. The drums are bigger and there are more guitars. Drischord, who was visiting me from out of town recently, thought it sounded like Phish. He was hilariously off the mark, but I must admit there is a slight resemblance there, at least in the sense that this is joyous, rocking and unsubtle. But unlike Phish, Extra Golden does not need to fake the funk.
I am REALLY into this band Extra Golden. They are a collaboration btw African and American musicians and they have basically created the cock rock of Fela-style afrobeat groovalicious guitar-heavy music. They are great. I saw them today at the prospect park African guitar festival, though I have been into their albums for a month or so.
Ok-Oyot System
To my inexperienced ears, the first record, OK-Oyot System, sounds more traditional. You can definitely hear African pop sounds - the kind that Paul Simon lovingly ripped off, and you can hear straight-up Fela worship too. You also hear a blend of American soul singing and traditional African singing in the space of the same number. It's refreshing and familiar at the same time. It'll make your hips move.
Night Runners
The second album has some different musicians on it due to the untimely death of a major force from the first record. Hera Ma Nono has more of a funk and soul edge to it. The drums are bigger and there are more guitars. Drischord, who was visiting me from out of town recently, thought it sounded like Phish. He was hilariously off the mark, but I must admit there is a slight resemblance there, at least in the sense that this is joyous, rocking and unsubtle. But unlike Phish, Extra Golden does not need to fake the funk.
New Wilco
So some good comes out of Lollapalooza - behold the glory of a new Wilco track.
Wilco - One Wing
For my money, this is pretty great. The final freak-out at the end is awesome and makes me want a new live album with the Nels version of Wilco so bad.
Wilco - One Wing
For my money, this is pretty great. The final freak-out at the end is awesome and makes me want a new live album with the Nels version of Wilco so bad.
Friday, August 01, 2008
Christmas On Mars Trailer
It is impossible to tell from this trailer whether this will be brilliant or a disaster.
Lollapalooza
So, forgive me, but I am driven to rant a little bit here about our friendly Chicago music-fest. Not Pitchfork, but the big one. Lollapalooza. I can't go this year due to a wedding, and that's OK. There are a lot of bands I want to see (Radiohead, NIN, Rage, Malkmus, Wilco all top the list), but I am old now, and the entire Lollapalooza experience is kind of daunting. It was a lot to deal with when I went in 95 and it was one day, I was 17, and we were out in the country. Between the heat, the sea of people, and the cost of everything it's a lot more to deal with now. Still, I've not been in any way against the festival.
Until now.
Today I ventured over to pitchfork and there is a little blurb saying Malkmus is going out on tour. Good deal I say, I haven't seen him since a Pavement show in 99. I click, and the Chicago date is his Lollapalooza appearance. Same thing for Radiohead's tour. And Wilco. And Nine Inch Nails. All bands I want to see, all bands that are touring, all bands that won't play here as part of their tour outside of the festival. This is, to a large part, Lolla's fault, as they require bands to sign a contract stating they will not play in the greater Chicagoland area for 60 days prior and 30 days after Lolla. The end result is that instead of helping the summer music scene here, Lolla is screwing it.
Now, my frustration stems not just from the fact that I can't go, but also from the fact that for the vast majority of these bands, their Lolla experience is a poor substitute for an actual show. We've all been to festivals, and we know that bands tend to play shorter sets, have less of a show, and in general seem to put on more subdued shows. Do I want to see Malkmus play for 45 minutes in the middle of the day in the heat in a ginat field or do I want to see him play for 2 hours at the Riviera? To me, the choice is easy. Of course there's nothing to be done about this except be mad. And mad I am.
So there you have it. One cranky Chicagoan's view of Lollapalooza. Check back next week for a slightly less cranky rant about why I'm bored with 3 minute pop songs.
Until now.
Today I ventured over to pitchfork and there is a little blurb saying Malkmus is going out on tour. Good deal I say, I haven't seen him since a Pavement show in 99. I click, and the Chicago date is his Lollapalooza appearance. Same thing for Radiohead's tour. And Wilco. And Nine Inch Nails. All bands I want to see, all bands that are touring, all bands that won't play here as part of their tour outside of the festival. This is, to a large part, Lolla's fault, as they require bands to sign a contract stating they will not play in the greater Chicagoland area for 60 days prior and 30 days after Lolla. The end result is that instead of helping the summer music scene here, Lolla is screwing it.
Now, my frustration stems not just from the fact that I can't go, but also from the fact that for the vast majority of these bands, their Lolla experience is a poor substitute for an actual show. We've all been to festivals, and we know that bands tend to play shorter sets, have less of a show, and in general seem to put on more subdued shows. Do I want to see Malkmus play for 45 minutes in the middle of the day in the heat in a ginat field or do I want to see him play for 2 hours at the Riviera? To me, the choice is easy. Of course there's nothing to be done about this except be mad. And mad I am.
So there you have it. One cranky Chicagoan's view of Lollapalooza. Check back next week for a slightly less cranky rant about why I'm bored with 3 minute pop songs.
Wednesday, July 30, 2008
Wednesday, July 23, 2008
Moving on now...
I wrote a draft of a post about the annoying Pitchfork coverage of the new Nas album (they panned it, in a typically annoying fashion) but I've decided I'm better off not expending the energy anymore on what stupid crap they're writing over at Pitchfork. My personal take on the Nas album is that it's flawed, but so far pretty interesting to listen to. I also enjoyed his appearance on the Colbert Report the other night. I'm always afraid to hear musicians I like speak on talk shows, sometimes they can be so wince-inducingly inarticulate, but I thought Nas held his own.
In other news, I've been on a big Bob Dylan kick recently. Every so often I rediscover that guy and find new layers I never noticed before. Here's a random outtake of Bob and Johnny Cash doing a Jimmie Rodgers song. I thought it was pretty great.
In other news, I've been on a big Bob Dylan kick recently. Every so often I rediscover that guy and find new layers I never noticed before. Here's a random outtake of Bob and Johnny Cash doing a Jimmie Rodgers song. I thought it was pretty great.
Friday, July 18, 2008
Dr. Dog - Fate
The guys who made my 3rd favorite album of 2007 are about to release their new one. Check it out!
RIYL The Beatles. The Band. David Bowie. Good songwriting. Great singers. Classic rock production values.
Download The Ark
Download The Old Days
Wednesday, July 09, 2008
Christmas on Mars
I can only dream, but reports are that Christmas on Mars is actually going to be out and in our hands by the end of the year. Too good to be true? Coming out the same week as Chinese Democracy? Maybe, but for now, consider me excited...
Billboard Article
And I'll say it now, if this comes out, I will fly to New York to watch it with most of you fine folk this spring, provided we all agree to wait and watch together.
Billboard Article
And I'll say it now, if this comes out, I will fly to New York to watch it with most of you fine folk this spring, provided we all agree to wait and watch together.
Friday, June 27, 2008
I've Seen Rivers
I just wanted to do a quick post about an indie hip-hop duo I've been listening to a lot of this year. Nicolay & Kay are a rapper from Houston (Kay) and a producer from the Netherlands (Nicolay) who put out a concept album this year called Time:Line, which over the course of 13 songs loosely follows a character from his birth, to coming of age, to being killed by gunfire, to hanging out in the afterlife. Kay has great song ideas and knows how to tell a good story (which make up for him not necessarily being the most versatile MC in the world), and is very well supported by Nicolay's beats, which owe something to hip hop producers like J Dilla, but also have the echoes of Boards of Canada style electronic music around the fringes. I'm surprised by how little attention this album has gotten, I think it's a really beautiful collection of songs. Below is one of my favorites:
Tuesday, June 24, 2008
Sunday, June 22, 2008
First Half of 08
I’ve been thinking about posting this for a bit and now’s a good time I guess. Year is just about half over, so I am intrigued – what albums have been your favorites of the year so far? Nothing official here, just curious how the year end lists are looking at this point.
For me, there are 4 things I’ve been seriously digging so far:
-Real Emotional Trash – Totally great and rocking. Love the jams, and reminds me why I loved Pavement so much.
-Vampire Weekend – Didn’t like these guys at all when I first heard them, but this album really snuck up on me. I can tell that it doesn’t have huge replay value, but for now, I’m enjoying it tremendously.
-Lie Down in the Light – My first serious exposure to Mr. Oldham, and it’s a beautiful thing.
-Soldier On EP – I think Tex sold this a bit short in his initial post about it. This is GREAT stuff I think. Certainly Trees is the highlight, but it’s all really fantastic beautiful stuff. Really the pointless Plasticities remix is the only thing I don’t love.
Before the year is out I know I need to hear the new Nick Cave and that recent Dennis Wilson re-issue (Kittybrains – your thoughts on that one?)
So, that’s where I’m at so far this year. You?
For me, there are 4 things I’ve been seriously digging so far:
-Real Emotional Trash – Totally great and rocking. Love the jams, and reminds me why I loved Pavement so much.
-Vampire Weekend – Didn’t like these guys at all when I first heard them, but this album really snuck up on me. I can tell that it doesn’t have huge replay value, but for now, I’m enjoying it tremendously.
-Lie Down in the Light – My first serious exposure to Mr. Oldham, and it’s a beautiful thing.
-Soldier On EP – I think Tex sold this a bit short in his initial post about it. This is GREAT stuff I think. Certainly Trees is the highlight, but it’s all really fantastic beautiful stuff. Really the pointless Plasticities remix is the only thing I don’t love.
Before the year is out I know I need to hear the new Nick Cave and that recent Dennis Wilson re-issue (Kittybrains – your thoughts on that one?)
So, that’s where I’m at so far this year. You?
Thursday, June 19, 2008
Filled With Dread
Above is the cover art that iTunes assigned to my copies of Led Zeppelin I and How The West Was Won.
Add this to the list of things I think are funny at 12:20am.
Also, add Dread Zeppelin's relative success to that list.
Quiz Time:
What other bands besides Led Zeppelin has had more than one nationally or internationally prominent cover/parody bands?
Wednesday, June 18, 2008
Tuesday, June 10, 2008
Lil Wayne Lives Up to the Hype
After a few listens, I'm ready to say that Tha Carter III, Lil Wayne's newest album, is better than my wildest expectations, and is a huge step forward for him as an artist, miles beyond any album he's released before. He's done exactly what I'd always hoped, but didn't dare to believe he'd do: he's largely stepped out of the gangster, crack dealer posturing that has always made it impossible for me to make it through an entire Lil Wayne album in one sitting, and has created a complicated, inventive, nuanced pop masterpiece.
For longtime fans of his misogyny and mindnumbing violence, he throws a few bones here and there, and there is of course the incredibly irritating "Lollipop" song, but most of the album goes places Wayne has never gone before: a vulnerable and heartfelt ode to his hometown of New Orleans, a couple of shockingly inoffensive and entertaining love songs, inventive concept songs about such things as being a hip-hop doctor, a space alien, and lusting after a lady cop, all backed by awesome, r&b based beats from Kanye West and others.
Wayne is "Lil" for a reason: he's been recording since he was a kid, and is still a very young artist, only 25 years old now. I hope that this album bodes well for a long, fascinating career from an artist who looks as though he's no longer content to throw away his immense talents on the same tired nihilistic themes gangsta rappers have been beating into the ground for years.
For longtime fans of his misogyny and mindnumbing violence, he throws a few bones here and there, and there is of course the incredibly irritating "Lollipop" song, but most of the album goes places Wayne has never gone before: a vulnerable and heartfelt ode to his hometown of New Orleans, a couple of shockingly inoffensive and entertaining love songs, inventive concept songs about such things as being a hip-hop doctor, a space alien, and lusting after a lady cop, all backed by awesome, r&b based beats from Kanye West and others.
Wayne is "Lil" for a reason: he's been recording since he was a kid, and is still a very young artist, only 25 years old now. I hope that this album bodes well for a long, fascinating career from an artist who looks as though he's no longer content to throw away his immense talents on the same tired nihilistic themes gangsta rappers have been beating into the ground for years.
Owls
Let's turn the clock back all the way to 2001 and revisit a band that I liked at the time, forgot about, and recently rediscovered: Owls. This is a band that features the Kinsella brothers from Illinois. Tim is best known as the singer of Joan of Arc and Mike records under the moniker Owen (and before that, American Football.) They also played together in Cap'n Jazz, a short-lived band that indie critics absolutely love to namedrop.
Anyway, Tim is notoriously erratic and inconsistent in his output. He performed one of the worst shows I've ever seen in my life at the Empty Bottle in the spring of Senior Year. TexPlush knows this-- he was there. Kinsella arrived drunk and spent most of his time playing with a volume pedal and cussing out fans who started heckling him after he'd gone 10 minutes without playing an actual song. Ringing endorsement, right?
But that side of Tim doesn't get out on the Owls record because everything his kid bro Mike touches turns to gold. So this album, which features Tim on vocals and Mike on drums, is really solid and brings out my favorite aspects of the brothers' music. Also recommended is anything Mike records as Owen or American Football.
Anyway, Tim is notoriously erratic and inconsistent in his output. He performed one of the worst shows I've ever seen in my life at the Empty Bottle in the spring of Senior Year. TexPlush knows this-- he was there. Kinsella arrived drunk and spent most of his time playing with a volume pedal and cussing out fans who started heckling him after he'd gone 10 minutes without playing an actual song. Ringing endorsement, right?
But that side of Tim doesn't get out on the Owls record because everything his kid bro Mike touches turns to gold. So this album, which features Tim on vocals and Mike on drums, is really solid and brings out my favorite aspects of the brothers' music. Also recommended is anything Mike records as Owen or American Football.
Saturday, June 07, 2008
WAYLON F'IN RULES!!!
I just got an update from the Waylon Jennings website newsletter, and I thought it was worth posting.
A couple years back I ordered multiple Waylon Jennings bumper stickers, for a reason that I will not bother to recount at this time, and since then I have received a few of these newsletters. Until tonight I have never given them any attention, but something about this one caught my eye and I have now reread it several times, each time with much enjoyment.
Enjoy -
HooooAhhhhh Waylon Army!
At long last we will be launching the redesigned waylon.com website late Sunday night. The new Waylon.com will feature music to listen to, videos to watch, and the center of it all will be the waylonpedia section. This section will be enhanced and improved by each and every one of you. I'm going to enlist few experts to really get this thing going.... like Jeff, Howard and Jim to name a few. If you 3 guys would phone me on the waylon phone that would be awesome. Anyway, we'll have a brand new blog/forum and hopefully and place that will grow in space and grow into the world's foremost knowledge base of all things waylon. That means the center of the stinkin musical universe. I'm hoping it will include how he changed the music industry, stories of his incredible personal and musical integrity and some dang good music. The polos and the denim shirts and a brand new 'prison tattoo' t-shirt will be available. I'll be able to offer all kinds of special sales, lower shipping, tracking info emails etc. etc. I hope it works.
In the meantime, if things go to hell in a hand basket, I have parked the current design of waylon.com onto www.waylonandwillie.com. That site will be there for a short time with everything except e-commerce. The current forum will still be there just in case. I don't totally trust technology quite yet. Look for a sister site at waylonandwille.com based on the greatest friendship in musical history. I'm looking to launch that one in September -- but I am an optimist.
Anyway, please be patient and check out waylon.com on Monday morning bright and early to see if I look like a fool. We will be keeping the same phone number for now...240-285-2700 but our new email contact will be......david@waylon.com.
Thanks for your patience... I think it's going to be really cool as this thing progresses.
WAYLON F'IN RULES!!!
cya Monday
David
ps -- type in WGJ to save %20 for the next 18 hours or so on the old site!
Friday, June 06, 2008
Pitchfork vs. Obama
So thanks largely to Q I've become sucked in to reading Pitchfork reviews and sometimes gettuing angry about them. I contemplated posting about yesterday's Radiohead review, which was yet anolther in the LONG line of "rock is dead" stupid reviews (seriously, how long has that been going on? Drop it already), but decided against it. But now, here's something that really got my goat. From today's review of the new Erykah Badu:
"The American media and public have spent a fair bit of the past months being fascinated and appalled by various remarks from the Rev. Jeremiah Wright, of Chicago. Those months have also seen a fairly warm critical reception for Erykah Badu's terrific new album-- one whose notions and ideologies sometimes come from the same nexus as Wright's. Badu's theology is different, of course: more personal, more scattered, less Christian, laced with Five-Percenter notions. And Badu salutes Farrakhan explicitly, rather than just nodding politely across the South Side. But there's an odd echo in her wording on that one: "I salute you, Farrakhan/ Because you are me." Less than a month after this record's release, Wright's most notable acquaintance was describing the reverend as someone who "contains within him the contradictions-- the good and the bad-- of the community.... I can no more disown him than I can disown the black community." He is me? Until he hits the press club, anyway."
OK, so what the hell is going on here? It seems that what they are saying is that Badu is embracing the anger and tricky politics of men like Wright and Farrakhan, while Obama disowns them. That last line in particular (Until he hits the press club) really paints Obama as truly disowning these ideas. And yet, Obama's main speech about this issue - the speech that this review quotes directly from - refutes that point. They REPRINT the quote where Obama says that he can NOT disown Wright and disown his ideas, then they condemn Obama for doing just that? I mean, serioulsy, are they stupid? Can they not read? It seems crystal clear that Obama could have completely thrown Wright under the bus and saved himself a lot of headache, but he chose to talk about the feelings in the black community and to won those feelings. He chose to say, essentially, he is me. Just as Badu says. And yet, for some unknown reason, Pitchfork decides to skewer him.
And why? To what aim? Is it jsut that they think it's kewl to insult politicians? This whole thing leaves me baffled and angry.
And this doesn't even get into the final paragraph of their review where they rally against reviewers who say all black music must be about gund, violence, etc. Which is a good idea, but you know... Pot. Kettle. Black.
"The American media and public have spent a fair bit of the past months being fascinated and appalled by various remarks from the Rev. Jeremiah Wright, of Chicago. Those months have also seen a fairly warm critical reception for Erykah Badu's terrific new album-- one whose notions and ideologies sometimes come from the same nexus as Wright's. Badu's theology is different, of course: more personal, more scattered, less Christian, laced with Five-Percenter notions. And Badu salutes Farrakhan explicitly, rather than just nodding politely across the South Side. But there's an odd echo in her wording on that one: "I salute you, Farrakhan/ Because you are me." Less than a month after this record's release, Wright's most notable acquaintance was describing the reverend as someone who "contains within him the contradictions-- the good and the bad-- of the community.... I can no more disown him than I can disown the black community." He is me? Until he hits the press club, anyway."
OK, so what the hell is going on here? It seems that what they are saying is that Badu is embracing the anger and tricky politics of men like Wright and Farrakhan, while Obama disowns them. That last line in particular (Until he hits the press club) really paints Obama as truly disowning these ideas. And yet, Obama's main speech about this issue - the speech that this review quotes directly from - refutes that point. They REPRINT the quote where Obama says that he can NOT disown Wright and disown his ideas, then they condemn Obama for doing just that? I mean, serioulsy, are they stupid? Can they not read? It seems crystal clear that Obama could have completely thrown Wright under the bus and saved himself a lot of headache, but he chose to talk about the feelings in the black community and to won those feelings. He chose to say, essentially, he is me. Just as Badu says. And yet, for some unknown reason, Pitchfork decides to skewer him.
And why? To what aim? Is it jsut that they think it's kewl to insult politicians? This whole thing leaves me baffled and angry.
And this doesn't even get into the final paragraph of their review where they rally against reviewers who say all black music must be about gund, violence, etc. Which is a good idea, but you know... Pot. Kettle. Black.
Thursday, June 05, 2008
Sunday, June 01, 2008
Radiohead Teen Idols!
I was just reminded of this song, which is one of the more enjoyably catchy Cure/U2-esque albums from-- the, I would submit, almost underrated-- Pablo Honey:
But check out that video! Look at all of them being all skinny and floppy haired (and in some cases, not bald!). Colin Greenwood, especially, had perfected that disaffected gothy stare while he played bass. And look how much happier Ed O'Brien must have been to be striking guitar hero poses with an open button-down shirt than he must be now, playing sundry percussion instruments during Thom and Johnny's electro-experiments. The less said about Thom Yorke's Kurt Cobain bleached blonde long hair, the better. Johnny Greenwood, of course, looks and plays exactly the same. Nice to know some things aren't as susceptible to change.
But check out that video! Look at all of them being all skinny and floppy haired (and in some cases, not bald!). Colin Greenwood, especially, had perfected that disaffected gothy stare while he played bass. And look how much happier Ed O'Brien must have been to be striking guitar hero poses with an open button-down shirt than he must be now, playing sundry percussion instruments during Thom and Johnny's electro-experiments. The less said about Thom Yorke's Kurt Cobain bleached blonde long hair, the better. Johnny Greenwood, of course, looks and plays exactly the same. Nice to know some things aren't as susceptible to change.
Thursday, May 29, 2008
Night at the Hip Hopera
Apropos of nothing except the fact that it rules, here's an awesome Kleptones song. Enjoy.
Q: Are We Not Men?
Sorry for my lack of quality posting lately. Things have been swamped. But to make up for it, I pose to you fine folk an honest question:
DEVO: Ahead of their time geniuses or silly gimmick?
Surely the answer will be somewhere in between, but I have a very hard time pinning down exactly where. Once you move past “Whip It” (which is one of those 80s songs so entrenched in my head and wrapped up with nostalgia that I can’t even begin to objectively figure out if it’s good or not) and move into their cannon you’ve got some really great stuff. “Beautiful World” is fantastic (despite being a bit ruined by excessive use in commercials) as are their covers of “Satisfaction” and (to a lesser extent) “Working in a Coal Mine”. But the real gem to me is “Girl U Want”, a fantastic, driving song with a typically bizarre video clip to accompany it:
Come on, that rules.
But there’s also stuff that I just can’t get behind as being brilliant. I could post some late period stuff here but that’s hardly fair – to evaluate them we really should focus on their prime. But that prime includes “Jocko Homo”, which, I think, kind of sucks:
Of course, watching that you realize that, music aside, there’s something pretty amazing going on here. I mean, it may not always work, but clearly these guys are going for something. This is only reinforced by the fact that this is from 1978, which is way early for music like this. But all that doesn’t change that I just plain don’t like listening to that song.
So I don’t know. They’re a band I *want* to love, but sometimes the quality of music gets in the way of that love. I’m interested to hear your thoughts.
Oh, and in closing, I present the Devo Corporate Anthem, an oddly sublime little piece for your enjoyment:
DEVO: Ahead of their time geniuses or silly gimmick?
Surely the answer will be somewhere in between, but I have a very hard time pinning down exactly where. Once you move past “Whip It” (which is one of those 80s songs so entrenched in my head and wrapped up with nostalgia that I can’t even begin to objectively figure out if it’s good or not) and move into their cannon you’ve got some really great stuff. “Beautiful World” is fantastic (despite being a bit ruined by excessive use in commercials) as are their covers of “Satisfaction” and (to a lesser extent) “Working in a Coal Mine”. But the real gem to me is “Girl U Want”, a fantastic, driving song with a typically bizarre video clip to accompany it:
Come on, that rules.
But there’s also stuff that I just can’t get behind as being brilliant. I could post some late period stuff here but that’s hardly fair – to evaluate them we really should focus on their prime. But that prime includes “Jocko Homo”, which, I think, kind of sucks:
Of course, watching that you realize that, music aside, there’s something pretty amazing going on here. I mean, it may not always work, but clearly these guys are going for something. This is only reinforced by the fact that this is from 1978, which is way early for music like this. But all that doesn’t change that I just plain don’t like listening to that song.
So I don’t know. They’re a band I *want* to love, but sometimes the quality of music gets in the way of that love. I’m interested to hear your thoughts.
Oh, and in closing, I present the Devo Corporate Anthem, an oddly sublime little piece for your enjoyment:
Our Famous Classmate
I wanted to know how many people have heard the She & Him record by Allison Hall's own Zooey Deschanel. Since my only prior experience with her and music was watching her in the chorus of "A Funny Thing Happened On The Way To The Forum" directed by Jen Bender, I was somewhat skeptical of the whole deal.
I've since listened to the album and downloaded it from eMusic, and I have to say I really do like it. First of all, Zooey is a legitimately great vocalist. There are traces of Neko Case there, which would already be enough to sign me up. But beyond this, there are some really good tracks on there. Whether it's an issue of her being a master chanteuse or M. Ward being a master enabler, it doesn't really matter. This is some good listening.
I guess the obvious reference point sound-wise would be 70's California country-rock, a la The Flying Burrito Brothers, meeting Linda Ronstadt or someone like that. A lot of the vibe sounds like other M. Ward stuff, but Zooey is listed as the sole songwriter on most tracks. Also, there are a few covers tossed in, which are probably the only weak links on the album.
Anyway, this has been a pleasant surprise. Would be interested to know what others think.
I've since listened to the album and downloaded it from eMusic, and I have to say I really do like it. First of all, Zooey is a legitimately great vocalist. There are traces of Neko Case there, which would already be enough to sign me up. But beyond this, there are some really good tracks on there. Whether it's an issue of her being a master chanteuse or M. Ward being a master enabler, it doesn't really matter. This is some good listening.
I guess the obvious reference point sound-wise would be 70's California country-rock, a la The Flying Burrito Brothers, meeting Linda Ronstadt or someone like that. A lot of the vibe sounds like other M. Ward stuff, but Zooey is listed as the sole songwriter on most tracks. Also, there are a few covers tossed in, which are probably the only weak links on the album.
Anyway, this has been a pleasant surprise. Would be interested to know what others think.
Wednesday, May 28, 2008
Lie Down in the Light
I'm pleased to say that I'm really loving the new Bonnie "Prince" Billy album, Lie Down in the Light. I counted myself a pretty big fan of his awhile back (especially back when I was still that guy having religious experiences at Jay Farrar concerts), but in recent years I'd started to grow pretty bored with the predictability and dourness of all his soft, pretty, sad songs. But in some ways this new album is a striking turn away from many of his old patterns: for one thing, it's the rare Will Oldham (the man behind the Billy moniker) album that I could describe overall as "not at all a downer". It's still soft and pretty, and still benefits from many repeat listenings, but it's also shockingly happy. I might even define a couple of the themes of this album as "contentment" and possibly "joy".
And of course, it's joy with a few bizarre Will Oldham style twists thrown in. So far I've been especially fascinated by "So Everybody", which is a song that somehow makes an act of public oral sex sound like the highest expression of love and spiritual contentment. I'm not kidding, give it a listen. It won't stream (hasn't everyone been having problems with that recently?) but here's a download link.
So Everyone
And of course, it's joy with a few bizarre Will Oldham style twists thrown in. So far I've been especially fascinated by "So Everybody", which is a song that somehow makes an act of public oral sex sound like the highest expression of love and spiritual contentment. I'm not kidding, give it a listen. It won't stream (hasn't everyone been having problems with that recently?) but here's a download link.
So Everyone
Monday, May 26, 2008
"The eyes are the windows of your face."
This guy's ability to elevate mediocre writing to the level of genius is... well... genius, I guess.
Monday, May 19, 2008
Sunday, May 18, 2008
You Are Not Needed Now
Just felt like it was time I did a quick Townes Van Zandt post. There was a time when this guy was one of my biggest artistic heroes, and even if he's too depressing for me to take most of the time these days (he outdid even Elliott Smith in terms of writing terminally sad songs) he was an incredibly talented, and criminally under appreciated songwriter. As Steve Earle famously quipped: "Townes Van Zandt is the best songwriter in America, and I will stand on Bob Dylan's coffee table in my cowboy boots and say that."
Here's a song from High Low and In Between, one of a series of stellar albums he did in the 70's, before he really got around to the serious business of drinking himself to death and destroying his voice.
Here's a song from High Low and In Between, one of a series of stellar albums he did in the 70's, before he really got around to the serious business of drinking himself to death and destroying his voice.
Friday, May 16, 2008
New Dosh = Pretty Great
I've been a little hard on Andrew Bird's recent collaborator Martin Dosh, mostly due to my preference for the drumming of Kevin O'Donnell, but I have to admit I'm enjoying the new Dosh album, Wolves and Wishes. A HUGE step forward from the only other album of his I've heard, Pure Trash.
For some reason I can't get it to stream, but here's a download of the first track:
Don't Wait For The Needle To Drop
Monday, May 12, 2008
Sunday, May 11, 2008
You should never need an excuse to play Big Star
Just because it's a blessedly low-key Sunday afternoon, and these guys kick ass.
Monday, May 05, 2008
Principal's Office
It recently came to my attention that Q has not heard this track. I believe the conversation that tipped me off went as follows:
me: "'Lip Gloss' is the 'Principal's Office' for the new generation"
Q: "What's 'Principal's Office'?"
me: too shocked to speak
Download it here
me: "'Lip Gloss' is the 'Principal's Office' for the new generation"
Q: "What's 'Principal's Office'?"
me: too shocked to speak
Download it here
Thursday, May 01, 2008
Rising Down update: Rising Up
I just wanted to state for the record that, despite the questionable taste of the video I posted here a few weeks back, the new Roots album is very very good.
Wednesday, April 30, 2008
More Replacements
I am a big Replacements fan myself. My favorite record of theirs is Pleased To Meet Me and my favorite track on that is "Alex Chilton," which is doubly great since it concerns the impossibly awesome Big Star. The band had gotten somewhat more "mainstream" by the time they released this-- less screaming and bigger hooks-- but given that this came out in 1987, it sounds raw as all hell. Distinct memories of listening to this one in a rental car in Cape Town with Eric and two other friends.
I also can report that Paul Westerberg's solo career got off to a very promising start before derailing a third of the way into his second album. But his first one, 14 Songs is real solid and it served as my soundtrack to many a solitary walk through the deserted streets of west Evanston at dusk. The first song, "Knockin' On Mine," is a great, rowdy hit-the-road type of anthem. I still remember him playing it on Saturday Night Live in 1993 on his first solo tour. (This post is quickly turning into my personal nostalgia tour. Well that's kind of the Replacements for you.)
And then as far as blatant Replacements followers go, my personal favorite is Buffalo Tom. Much like the 'Mats, they've been cruelly denied the big-time success they rightfully deserve, but their fan base is very loyal. (Especially in Boston, where they're from.) Their new album, Three Easy Pieces, was way up on my Top 10 list from last year, but this track, "Mineral," is from Let Me Come Over, which almost everyone agrees is their apogee and perfect for those who appreciate the more tuneful side of the Replacements.
Finally, two pieces of 'Mats trivia for those who care. (Sure you could look the answers up online, but you could also switch around chess pieces while your opponent is in the bathroom.)
1. (easy one) The Replacements' bassist, Tommy Stinson, is now a member of what band? If you don't know this, you like Hannah Montana.
2. (harder) What New York (state) band was loudly trumpeted as the next Replacements, embraced by members of the band, and even released a single that was co-written with Paul Westerberg-- only to go on to an utterly unimpressive career devoted to selling out at all costs?
I'll post the answers in the comment section tomorrow. I think these are pretty easy-- if you cheat they're really easy-- especially the first one.
I also can report that Paul Westerberg's solo career got off to a very promising start before derailing a third of the way into his second album. But his first one, 14 Songs is real solid and it served as my soundtrack to many a solitary walk through the deserted streets of west Evanston at dusk. The first song, "Knockin' On Mine," is a great, rowdy hit-the-road type of anthem. I still remember him playing it on Saturday Night Live in 1993 on his first solo tour. (This post is quickly turning into my personal nostalgia tour. Well that's kind of the Replacements for you.)
And then as far as blatant Replacements followers go, my personal favorite is Buffalo Tom. Much like the 'Mats, they've been cruelly denied the big-time success they rightfully deserve, but their fan base is very loyal. (Especially in Boston, where they're from.) Their new album, Three Easy Pieces, was way up on my Top 10 list from last year, but this track, "Mineral," is from Let Me Come Over, which almost everyone agrees is their apogee and perfect for those who appreciate the more tuneful side of the Replacements.
Finally, two pieces of 'Mats trivia for those who care. (Sure you could look the answers up online, but you could also switch around chess pieces while your opponent is in the bathroom.)
1. (easy one) The Replacements' bassist, Tommy Stinson, is now a member of what band? If you don't know this, you like Hannah Montana.
2. (harder) What New York (state) band was loudly trumpeted as the next Replacements, embraced by members of the band, and even released a single that was co-written with Paul Westerberg-- only to go on to an utterly unimpressive career devoted to selling out at all costs?
I'll post the answers in the comment section tomorrow. I think these are pretty easy-- if you cheat they're really easy-- especially the first one.
Tuesday, April 29, 2008
Tweedy and The Replacements
I've been on a Replacements kick the past week or so. They're a band that I've been aware of for a long time, of course, but I never bought any of their music, and can't say I'm all that familiar with their catalogue. Then with the recent reissue of a few of their earliest albums, I decided to give them a shot, and I've really been enjoying Let it Be. (Are they trying to say something by naming it after a Beatles album? I'm not sure what the story is with that.)
This may not sound intuitive at first, but the band they remind me of most on this album is Still Feel Gone era Uncle Tupelo. Some of the themes are similar, and you can even just barely detect a dash of country at the edges of some of the Let it Be tracks ("Unsatisfied" in particular strikes me as, at the very least, a song it would be very easy to do an alt-country version of). But the main thing that strikes me is how clearly influenced Jeff Tweedy was by Paul Westerberg's vocals. There's an mp3 floating around on the internet of Wilco covering "Color Me Impressed" live, and before playing it Tweedy jokingly says "Everything we do is based on The Replacements." But compare these two songs and tell me that there's not a grain of truth in that:
Here's "Answering Machine" from Let it Be:
And here's Uncle Tupelo doing "Gun":
This may not sound intuitive at first, but the band they remind me of most on this album is Still Feel Gone era Uncle Tupelo. Some of the themes are similar, and you can even just barely detect a dash of country at the edges of some of the Let it Be tracks ("Unsatisfied" in particular strikes me as, at the very least, a song it would be very easy to do an alt-country version of). But the main thing that strikes me is how clearly influenced Jeff Tweedy was by Paul Westerberg's vocals. There's an mp3 floating around on the internet of Wilco covering "Color Me Impressed" live, and before playing it Tweedy jokingly says "Everything we do is based on The Replacements." But compare these two songs and tell me that there's not a grain of truth in that:
Here's "Answering Machine" from Let it Be:
And here's Uncle Tupelo doing "Gun":
Joanna Newsom Sounds Like Specific Cartoon Characters
Like many of you, I am a big Joanna Newsom fan. One of my great regrets was missing her show at BAM when I visited New York a few months back. (Had tickets but a death in the family forced me to skip the show.) But anyway, I often recommend her to friends regardless of their taste in music. When I do this, I usually have to offer the caveat: "She kind of sounds like Lisa Simpson when she sings." And this is generally true, as heard on "Sadie," the highlight from her first album The Milk-Eyed Mender.
But today I was listening to The Milk-Eyed Mender in my car (I've quickly learned that is is the medium by which music is heard in Los Angeles-- a car stereo), and I came to an important realization. (I hope you're sitting down as you read this.) On certain tracks, Joanna Newsom sounds much more like Butters from South Park. Check out "Inflammatory Writ."
I will of course be publishing these findings in a major academic journal this fall, but I wanted to give you all a sneak preview since my discovery is likely to send shock waves through the industry. At the very least, it will rival my 1994 treatise on the manifold similarities between the voices of J Mascis and Elmer Fudd.
But today I was listening to The Milk-Eyed Mender in my car (I've quickly learned that is is the medium by which music is heard in Los Angeles-- a car stereo), and I came to an important realization. (I hope you're sitting down as you read this.) On certain tracks, Joanna Newsom sounds much more like Butters from South Park. Check out "Inflammatory Writ."
I will of course be publishing these findings in a major academic journal this fall, but I wanted to give you all a sneak preview since my discovery is likely to send shock waves through the industry. At the very least, it will rival my 1994 treatise on the manifold similarities between the voices of J Mascis and Elmer Fudd.
Monday, April 28, 2008
Content vs. Taste
Sort of in response to the Pitchfork bashing that followed in the wake of the Rolling Stone bashing, and sort of to continue to trumpet The Dirty Projectors, I'd like to point out what I consider to be the distinction btw the two publications.
Pitchfork, despite it's often questionable taste, borderline offensive approach to hip hop and cocksure writing staff, continues to provide the most/best content anywhere.
Two cases in point -
1. The Pitchfork music festival has a ton of bands over 3 days in Grant Park and it's only $65 total. They have Public Enemy, Mission of Burma and Sebadoh all playing seminal albums in their entirety. If that's not putting their money where their mouth is I don't know what is.
2. Pitchfork.tv just launched, and tho it's clearly still a beta operation, they've blown any comparable website out of the water. Here's Dirty Projectors performing for them:
Pitchfork, despite it's often questionable taste, borderline offensive approach to hip hop and cocksure writing staff, continues to provide the most/best content anywhere.
Two cases in point -
1. The Pitchfork music festival has a ton of bands over 3 days in Grant Park and it's only $65 total. They have Public Enemy, Mission of Burma and Sebadoh all playing seminal albums in their entirety. If that's not putting their money where their mouth is I don't know what is.
2. Pitchfork.tv just launched, and tho it's clearly still a beta operation, they've blown any comparable website out of the water. Here's Dirty Projectors performing for them:
Saturday, April 26, 2008
REM is back (again)!
I'm glad Drischord posted the below-- I wasn't sure if any of you even cared about REM anymore, since so few do. I posted this link in my comment (which is way longer) but it's so clever that I think it's worth a separate post:
LINK
It perfectly captures the PR bullshit relationship that rock zines like Rolling Stone have with the big rock bands, in particular, the tendency with each 3.5-4 star review of an established band's new album to point out how it was a response to the faults of their previous album.
LINK
It perfectly captures the PR bullshit relationship that rock zines like Rolling Stone have with the big rock bands, in particular, the tendency with each 3.5-4 star review of an established band's new album to point out how it was a response to the faults of their previous album.
REM Returns From A Trip Around The Sun
I'm sorry to post right on top of Eric's essay, but I can't contain my love for the new R.E.M. CD any longer. In summary, it's smart, it's catchy, it's succinct and it actually rocks really hard.
A little background on my personal relationship with R.E.M. I really love their earliest albums and their mid-90's work. Murmur, their first record, might still be their best, but who could argue with Reckoning or Automatic For The People? I also love Fables of the Reconstruction, Life's Rich Pageant, New Adventures in Hi-Fi and Up. (I know it's not cool to like Up, but Tex Plush can back me up on that one.) Really I love almost everything they've ever done (including Monster)... up until Reveal, which was disappointment personified, and Around the Sun, which was borderline horrendous.
As bad as they'd been recently, Accelerate is near total redemption. I'm particularly thrilled with the punk-like energy on tracks like "Living Well Is The Best Revenge," "I'm Gonna DJ" and "Horse to Water," the latter of which can be heard below.
And where there isn't punk energy, there's awesome melodies and appropriately political lyrics, like on "Mr. Richards."
Yeah, the album isn't perfect. "Hollow Man," "Houston," and "Until the Day Is Done" are all fine but unremarkable. But there isn't any jaw-droppingly bad song wrought with self-righteousness a la "I'll Take The Rain" or "I Wanted To Be Wrong"-- lowlights from their two prior releases. The worst songs on this album are merely good.
To conclude, I've been listening to this album non-stop since I got it, so much so that I haven't even had time to listen to the new Sun Kil Moon, which I bought on the same day. Check it out.
A little background on my personal relationship with R.E.M. I really love their earliest albums and their mid-90's work. Murmur, their first record, might still be their best, but who could argue with Reckoning or Automatic For The People? I also love Fables of the Reconstruction, Life's Rich Pageant, New Adventures in Hi-Fi and Up. (I know it's not cool to like Up, but Tex Plush can back me up on that one.) Really I love almost everything they've ever done (including Monster)... up until Reveal, which was disappointment personified, and Around the Sun, which was borderline horrendous.
As bad as they'd been recently, Accelerate is near total redemption. I'm particularly thrilled with the punk-like energy on tracks like "Living Well Is The Best Revenge," "I'm Gonna DJ" and "Horse to Water," the latter of which can be heard below.
And where there isn't punk energy, there's awesome melodies and appropriately political lyrics, like on "Mr. Richards."
Yeah, the album isn't perfect. "Hollow Man," "Houston," and "Until the Day Is Done" are all fine but unremarkable. But there isn't any jaw-droppingly bad song wrought with self-righteousness a la "I'll Take The Rain" or "I Wanted To Be Wrong"-- lowlights from their two prior releases. The worst songs on this album are merely good.
To conclude, I've been listening to this album non-stop since I got it, so much so that I haven't even had time to listen to the new Sun Kil Moon, which I bought on the same day. Check it out.
You asked for it...
Ok, this is super long, but if you are as committed to navel-gazing time travel movie analysis, you will get through it. Basically, my college has this sort of internal blog-like network that I still sometimes post on, and I posted this. Then some people responded on their own pages. I don't have the responses handy but I've included my two main posts:
Anyway, so I posted that and then some people responded and I responded to them:
Ok, so the Onion article brought up a thought I had about the massive plot hole in Back to the Future. And I'm not even talking about the alternate reality stuff from Back to the Future II, which was awesome and blew my fourth grade mind, even if it probably doesn't stand up to logic.
Instead, I'm talking about the ending of the first movie. In the beginning of the film, the McFly family is a bunch of losers-- the mother is depressed and overweight, the father is a wimpy nerd who accomplished nothing and his brother and sister are lazy and worthless. Marty, perhaps to escape his dreary family life, hangs out a lot with an eccentric local inventor, who one night calls him up to go test out his new time machine before (SPOILER ALERT) getting shot by Libyan terrorists. At that point, Marty goes back in time and the movie as we know it plays out. While in the past, Marty shows no concern for the "Butterfly Effect" and, in fact, dramatically changes the future of his family life.
Then when he goes back to the future/present, he finds that his family life has changed-- his father is a successful science fiction writer, his mother is confident and attractive (not unlike how she was in 1955- va va va voom!) and his brother is gainfully employed ("What? I always wear a suit to the office!"). Now, I'm going to put aside the implausibility that with all those changes the exact same sperm/egg combos would have resulted at the same times, producing Marty and his siblings exactly as they were before, genetically speaking. And he even had the exact same girlfriend (and had made the same plans to go to the lake that weekend-- only this time he's got a kickass truck!). There will of course be problems when his family's like, "hey remember that time last year when you did such and such." And he won't, because he had a completely different upbringing.
But here's the weird thing-- when he returns to 1985, he goes back to the parking lot to find the scene from the beginning of the movie play out exactly as it did the first time (except of course that (MASSIVE SPOILER ALERT) the Doc is now wearing a bullet proof vest). Except the Marty who he watches go back in time had a COMPLETELY DIFFERENT SET OF LIFE EXPERIENCES. I'll accept that to protect the space time continuum, Doc Brown made sure that he still became friends with Marty and he still sent him back to the past at the exact same moment as before (he had seen the video footage of same). But here's what I'm wondering-- and this would have been an interesting additional sequel. What exactly did the alternate, better-1985 version of Marty do when he went back in time. He would have, of course, heard about his parents' meeting and falling in love, all thanks to their mysterious friend Calvin Klein who was never heard from again after totally rocking the dance with his Chuck Berry/Pete Townshend/Eddie Van Halen-like guitar heroics. So he would have had a different set of priorities while back there, and moreover would have been especially taken aback that the meek, deferential Biff with whom he had grown up, was a bullying asshole who pushed his dad around. I wonder what that movie would be like....
Well, here's the thing-- I don't have to wonder! In Back to the Future II, Marty goes back to the past from the future (in order to get the sports almanac back from Biff). And he sees the exact version of himself that I was just talking about and, as he sees, that Marty does the EXACT SAME THING HE DOES IN THE FIRST MOVIE!! That's weird!
As I think about it, maybe that's not a fundamental flaw, as much as it is overwhelmingly unlikely. On the other hand, maybe it raises some interesting questions about fate and free will.
[As a sidenote, while you can come up with plausible explanations how this would happen, I feel like the filmmakers weren't expecting the audience to think about these issues. We were just expected not to question the concept of Marty basically revisiting the first movie because, on a meta-level, that's just really cool (which it was)].
Anyway, so I posted that and then some people responded and I responded to them:
I think that's the paradox I was getting at. One answer, sent to me via email by [redacted] is that time travelers are constant, like the speed of light. Truth be told I'm not sure I understand that from a physics perspective, but it does sort of explain the answer to your question, which is why his own memories didn't change immediately upon his father kissing his mother at the dance.
So then, yes, the space time continuum trumps. And that leads to the exact thing I was musing about-- what were the life experiences of Marty 2? (Marty 2= the one who Marty 1 sees escape the Libyans at the end of the first movie). We know that he basically reenacts the first movie, because Marty 1 sees him in Back to the Future II. But what happens to him after that? I think he's stuck in some kind of feedback loop-- bc think about it. For whatever reason he finds himself in the exact same circumstances as Marty 1, having performed the exact same actions too (ie, calling himself Calvin Klein, getting his parents to kiss, and finally playing Johnny B. Good at the dance). We also know that he gets sent back to 1985 via the lightning storm. When he gets back to 1985, he is in the exact same position he always knew. His parents are cool, his siblings are cool, Biff is a wuss. That's how he grew up, thanks to Marty 1, and he goes right back to it and continues on his way. Now, of course, his story is much less compelling because he doesn't go through that same emotional journey that Marty 1 went on-- his family was always ok, so he didn't have that same existential dissatisfaction that Marty 1 originally had.
BUT, meanwhile, we also know that Biff went back to 1985, gave himself the sports almanac and ended up becoming rich, creating the dystopian 1985 from the middle section of the second movie. At that point, i could be wrong, but there should be three Marties existing in the same place and time (at least).
Marty 1- the one we all know and love
Marty 2- he should have gone back there too, because Biff gave himself the almanac the same night.
Marty 3- the one who GREW UP in that alternate reality. To get around this last one, the writers concocted the idea that he was away at school in Switzerland (which incidentally would really screw up him going back in time in the first place-- especially now that Doc Brown, as we know, is committed to an asylum in that reality).
UNLESS-- Marty 1's actions in the second movie (retrieving the sports almanac and burning it) insured that Marty 2 never saw that dystopian 1985 because by the time he went back there, Marty had already fixed everything. Thus Marty 2 can continue to exist happily ever after in the happy Marty 2 loop.
What's also weird to wonder is which set of memories and experiences does the Marty of 2015 have. He of course is a bitter, failed man because he drag raced with Needles (Flea of the Red Hot Chili Peppers!), and hurt his hand, thus runing his very promising music career playing instrumental versions of Huey Lewis hits. But which set of time travelling experiences does he have?
I think at some point the story definitely collapses in on itself. All I know is this: only seven more years until we have HOVERBOARDS!!!
1) While I was home last week I watched part 2 on demand, and it's still awesome, though it's hilarious how futuristic they expected the world to be by only 2015. On the other hand, I was in Grand Central the other day and they had these weird ads projected up on the pillars there and it totally reminded me of the kind of constant advertising they often put in movies set in the future (I think Minority Report had a lot of stuff about that).
2) The best resources for all of this are
- http://www.bttf.com/film_faq.htm
A FAQ written by the filmmakers-- shows that they were well aware of these issues. It's actually really fastinating - http://en.wikipedia.org/wiki/Back_to_the_Future_timeline
Wikipedia, as always, comes through. The graphic showing the various time lines is especially useful. It also links to the entry on "The Grandfather Paradox," which is interesting too.
Thursday, April 24, 2008
Wednesday, April 23, 2008
Concert Ticket Prices = Out Of Control
I just paid $100 for 2 tickets to see Wilco at McCarren Park Pool. This is getting crazy. For one thing, this show will probably be annoying because of the hipsters, but really- how is anyone supposed to afford that?
McCarren Pool holds an insane amount of people - JellyNYC (who is NOT producing this show, but do selflessly and brilliantly produce the greatest free live concerts ever known to man) claims that capacity is 5000+, which means that all told they (by 'they' I in no way mean JellyNYC, the producers of entirely separate yet incredible free live shows) stand to make at least $250,000 for this show, not including beer, etc.
wow.
I don't have enough fingers on my hands to count the amount of shows i've not purchased tix to for this summer because of the excessive cost. Wilco is probably the only band I would do this for (okay, Led Zeppelin too), but I'm forgoing seeing them multiple times this year because every single show is so expensive.
Just goes to show how the industry to trying to make up for the lost revenue of CD sales. Prepare to start paying much much more for every concert, except for the free shows put on by JellyNYC. Those shows will be free. And well produced. By 5 hard-working people that have 1 over-exuberant friend.
McCarren Pool holds an insane amount of people - JellyNYC (who is NOT producing this show, but do selflessly and brilliantly produce the greatest free live concerts ever known to man) claims that capacity is 5000+, which means that all told they (by 'they' I in no way mean JellyNYC, the producers of entirely separate yet incredible free live shows) stand to make at least $250,000 for this show, not including beer, etc.
wow.
I don't have enough fingers on my hands to count the amount of shows i've not purchased tix to for this summer because of the excessive cost. Wilco is probably the only band I would do this for (okay, Led Zeppelin too), but I'm forgoing seeing them multiple times this year because every single show is so expensive.
Just goes to show how the industry to trying to make up for the lost revenue of CD sales. Prepare to start paying much much more for every concert, except for the free shows put on by JellyNYC. Those shows will be free. And well produced. By 5 hard-working people that have 1 over-exuberant friend.
Monday, April 21, 2008
Come out and pla-ay
I'm in the midst of an accidental film festival of movies set and shot in the gritty New York City of the 1970s that are either about, or prominently feature, the subway. So far that's included:
-The Warriors
-The French Connection
-The Taking of Pelham 1-2-3
Anyone know others? Ridiculously enough, I've never seen Taxi Driver or Mean Streets, so those will probably have to come soon. But any others? (I've already seen Dog Day Afternoon, but that's the same idea. Midnight Cowboy maybe?)
-The Warriors
-The French Connection
-The Taking of Pelham 1-2-3
Anyone know others? Ridiculously enough, I've never seen Taxi Driver or Mean Streets, so those will probably have to come soon. But any others? (I've already seen Dog Day Afternoon, but that's the same idea. Midnight Cowboy maybe?)
Wednesday, April 16, 2008
Lick the Rapper Update
This morning I was awakened by a car outside my window blasting Lil' Wayne's "Lollipop" song. I have a sinking feeling it's going to be the hit of the summer.
Tuesday, April 15, 2008
Corona
Calexico gives a cool Tex/Mex flavor to this classic Minutemen song. Yesterday I was doing my taxes with a Corona in my hand and really feeling it.
"I only had a Corona/5 cent deposit!"
"I only had a Corona/5 cent deposit!"
Monday, April 14, 2008
Sunday, April 13, 2008
A Dr. Kittybrains Mixtape
ELO, "Laredo Tornado"
Download 'Laredo Tornado'
ELO, "Sweet Is The Night"
Download 'Sweet Is The Night'
Alice Clark, "I Keep It Hid"
Download 'I Keep It Hid'
John Sebastian, "What She Thinks About"
Download 'What She Thinks About'
Download 'Laredo Tornado'
ELO, "Sweet Is The Night"
Download 'Sweet Is The Night'
Alice Clark, "I Keep It Hid"
Download 'I Keep It Hid'
John Sebastian, "What She Thinks About"
Download 'What She Thinks About'
This Song is Floating My Boat Right Now
I've been lazy about getting a divshare account (and since I tend to read/post to this blog from work, it's been kind of irrelevant anyway), but I'm now testing out posting a link to a song:
Echo & the Bunnymen - The Cutter
This is the first track off of Echo & the Bunnymen's Porcupine album and was a single. I first was curious about them after hearing about how much the last Arcade Fire album rips them off (answer, as it turns out: a lot!) and then I heard "Killing Moon" in a bar and loved it and that was that. Anyway, for people disinclined towards the kind of anthemic semi-dancey British New Wave/Post-Punk that the Bunnymen traffic in, this song might not do it (i.e., Drischord probably needs not apply) but as for me, I can't get enough of it. The bridge sections especially (starting at 1:45, and coming in again at 2:53 or so) kicks my ass every time.
PS Ok, that's annoying-- apparently to embed it, it has to be in mp3 form. I rip almost all of my music in .m4A form, which has slightly better quality at lower bit rates than mp3. I have an mp3 version of this song anyway, but still, that's a silly feature.
Echo & the Bunnymen - The Cutter
This is the first track off of Echo & the Bunnymen's Porcupine album and was a single. I first was curious about them after hearing about how much the last Arcade Fire album rips them off (answer, as it turns out: a lot!) and then I heard "Killing Moon" in a bar and loved it and that was that. Anyway, for people disinclined towards the kind of anthemic semi-dancey British New Wave/Post-Punk that the Bunnymen traffic in, this song might not do it (i.e., Drischord probably needs not apply) but as for me, I can't get enough of it. The bridge sections especially (starting at 1:45, and coming in again at 2:53 or so) kicks my ass every time.
PS Ok, that's annoying-- apparently to embed it, it has to be in mp3 form. I rip almost all of my music in .m4A form, which has slightly better quality at lower bit rates than mp3. I have an mp3 version of this song anyway, but still, that's a silly feature.
Prog beats Jam, Zappa beats Prog
This series of posts has reminded me of the time when I was a sophomore in high school, and I was on a school bus on the way back from a school chorus trip, sitting next to a senior who knew a lot more about music (and did a lot more drugs) than me. At one point during the ride, he gave me his headphones and said "Check this shit out", and played me "Toads of the Short Forest" from Frank Zappa's Weasels Ripped My Flesh.
I can't say I listen to much Frank Zappa anymore (and as with Labyrinth, probably wouldn't be that impressed if I heard this song for the first time today), but at the time this song completely blew my mind. By the time Frank came on the track and started explaining the different time signatures each instrument is playing in, my conception of music would never be the same.
I can't say I listen to much Frank Zappa anymore (and as with Labyrinth, probably wouldn't be that impressed if I heard this song for the first time today), but at the time this song completely blew my mind. By the time Frank came on the track and started explaining the different time signatures each instrument is playing in, my conception of music would never be the same.
Saturday, April 12, 2008
Addendum
Since my posts are always inordinately long, I'm going to try out writing a short one, which is that I forgot to mention the converse of my theory from my last email, which is that I often don't care for stuff that you kinda have to have seen when you were a kid. So, when my roommates put on Labrynth during college, I was like, "What the fuck is this shit?" and hated it. Similarly, I can usually cause people to throw things at me with my blithe dismissal of the quality of Lord of the Rings (books and films), though I'm confident that had I read about Frodo's adventures when I was really into swords and dungeons and sometimes dragons, it would be some of my favorite shit ever.
Further Thoughts on Paul Simon
As I think about it, I actually do have some more thoughts on Paul Simon and Graceland, as I sit here finishing up some work (being a lawyer rules!) before I go out and the album plays in the background.
There's something that amuses me about our generation's recent re-appraisal/appreciation for Graceland (Vampire Weekend, obv, but also other bands now not being embarassed to namecheck the album, including, if I recall, Travis Morrison from Dismemberment Plan in an interview a couple years ago, et al). For people who are our age (that is mid-late twenties/early thirties), Graceland came out when we were at the perfect age to sort of passively and subconsciously absorb music that was being played by our parents (1986). Though everyone goes through a period where the music they want to listen to is the exact opposite of what their parents listen to, I have a feeling that many of us retain an affection for stuff we listened to as kids before we really had the opportunity to form our own taste. Although I can now listen to Graceland and appreciate the fluidity of the playing, the seamless integration of genres, and the effortless-seeming hooks, etc, when I was a kid I just loved the horn riff from "You Can Call Me Al."
I feel the same way about lots of things-- movies I loved as a kid will always make me happier than any movie I saw later and think is objectively "better" (Back to the Future-4-Life). And with other types of music-- as a kid, I was exposed through a variety of means to a handful of musicals, the cast albums to which are still some of my favorite music ever. While I generally have a soft spot for watching (and sometimes performing) musical theater, I'll never enjoy the ones I see now as much as the ones I saw/committed to memory back then. So, while I love Pirates of Penzance because I watched the Kevin Kline/Linda Ronstadt*/Angela Lansbury movie version literally hundreds of times, I've never seen HMS Pinafore and I can't imagine I'd like it that much. And for that matter, while I appreciate other Paul Simon albums (and actually grew up in a similar way with the Simon & Garfunkel albums, though at a slightly older age), I don't get nearly as much joy from them as I get from Graceland.
I wonder if there are any other pieces of culture (musical in particular) that were as ubiquitous and widely acclaimed as Graceland was at the time that can/will be re-appraised by our generation because we basically have an almost Pavlovian response to it.
*Incidentally that was another gateway into Graceland for me-- I already knew Linda Ronstadt as "Mabel" so I was really psyched to hear her duetting on "Under African Skies."
There's something that amuses me about our generation's recent re-appraisal/appreciation for Graceland (Vampire Weekend, obv, but also other bands now not being embarassed to namecheck the album, including, if I recall, Travis Morrison from Dismemberment Plan in an interview a couple years ago, et al). For people who are our age (that is mid-late twenties/early thirties), Graceland came out when we were at the perfect age to sort of passively and subconsciously absorb music that was being played by our parents (1986). Though everyone goes through a period where the music they want to listen to is the exact opposite of what their parents listen to, I have a feeling that many of us retain an affection for stuff we listened to as kids before we really had the opportunity to form our own taste. Although I can now listen to Graceland and appreciate the fluidity of the playing, the seamless integration of genres, and the effortless-seeming hooks, etc, when I was a kid I just loved the horn riff from "You Can Call Me Al."
I feel the same way about lots of things-- movies I loved as a kid will always make me happier than any movie I saw later and think is objectively "better" (Back to the Future-4-Life). And with other types of music-- as a kid, I was exposed through a variety of means to a handful of musicals, the cast albums to which are still some of my favorite music ever. While I generally have a soft spot for watching (and sometimes performing) musical theater, I'll never enjoy the ones I see now as much as the ones I saw/committed to memory back then. So, while I love Pirates of Penzance because I watched the Kevin Kline/Linda Ronstadt*/Angela Lansbury movie version literally hundreds of times, I've never seen HMS Pinafore and I can't imagine I'd like it that much. And for that matter, while I appreciate other Paul Simon albums (and actually grew up in a similar way with the Simon & Garfunkel albums, though at a slightly older age), I don't get nearly as much joy from them as I get from Graceland.
I wonder if there are any other pieces of culture (musical in particular) that were as ubiquitous and widely acclaimed as Graceland was at the time that can/will be re-appraised by our generation because we basically have an almost Pavlovian response to it.
*Incidentally that was another gateway into Graceland for me-- I already knew Linda Ronstadt as "Mabel" so I was really psyched to hear her duetting on "Under African Skies."
Friday, April 11, 2008
On King Crimson
Eric asked and I oblige. A post about King Crimson.
I'm far from an expert on them and really only know two eras of theirs - their first album and their "return" in the mid 90s. First album is obviously pre-Belew and back then, yeah, they were one of the wankiest prog bands to ever wank. But they kind of rocked a bit too. Their first album is something of a guilty pleasure. In searching YouTube for a good video of the original band playing live, I found, uh, this. It's "In the Court of the Crimson King" (which was used spectacularly in Children of Men) set to a Tom & Jerry cartoon. This may be best viewed while hanging out with your favorite talking towel.
As for Belew's involvement - I actually have not heard that first album with him. By the time I pick them back up in the 90s they are firmly in the mode of "old guys showing off their virtuosity". Which I guess is what they always were, but at least when they were younger they had some ambition and gusto. Now they're just... well, judge for yourself. Here's "Elephant Talk" from, I don't know, some album with Belew. VROOM maybe?
I'm far from an expert on them and really only know two eras of theirs - their first album and their "return" in the mid 90s. First album is obviously pre-Belew and back then, yeah, they were one of the wankiest prog bands to ever wank. But they kind of rocked a bit too. Their first album is something of a guilty pleasure. In searching YouTube for a good video of the original band playing live, I found, uh, this. It's "In the Court of the Crimson King" (which was used spectacularly in Children of Men) set to a Tom & Jerry cartoon. This may be best viewed while hanging out with your favorite talking towel.
As for Belew's involvement - I actually have not heard that first album with him. By the time I pick them back up in the 90s they are firmly in the mode of "old guys showing off their virtuosity". Which I guess is what they always were, but at least when they were younger they had some ambition and gusto. Now they're just... well, judge for yourself. Here's "Elephant Talk" from, I don't know, some album with Belew. VROOM maybe?
Paul Simon at BAM
As the internet commenters say, "First!" After a sighting of one "T. Plush" (no wait, that's too obvious-- it was "Tex. P."), last night, there has been a feverish battle to be the first one to blog the living shit out of the show we saw last night. So here I am.
Paul Simon's got a monthlong residency at BAM with three sets of concerts, each of which is basically a hybrid concert and tribute. This one was "Under African Skies," so it was entirely songs from Graceland and the intermittently awesome/weak Rhythm of the Saints. Ladysmith Black Mambazo was there in full force, as were several African (and one Brazilian) singers who sometimes sang lead on the various tunes. All in all it was fantastic-- the backing band was phenomenal. He still has the same bass player from Graceland (who plays those awesomely rubbery fretless bass licks, as well as the Seinfeld theme-esque slap breakdown in "You Can Call Me Al") , and guitarist from Saints. And there were something like five percussionists who played various and sundry instruments. The groove was airtight-- something the boys in Vampire Weekend (who were in attendance, "predictably," per Tex) could learn from (not that i'm hating).
By far the highlight for me was David Byrne, who first danced awkwardly and tall-ly while he sang backup during "Born at the Right Time." That was awesome because it reminded me of what I would do if I were in his position.
But then he took the lead on "I Know What I Know," and even more awesomely, "You Can Call Me Al." I do hope some enterprising soul managed to film this and puts it up on youtube, because it was fantastic. Imagine what it would sound like if David Byrne sang "You Can Call Me Al." Amazingly, that's exactly what it sounded like! Though that seems redundant, it doesn't quite capture how much it sounded like a perfect mash-up of "Once in a Lifetime" and "You Can Call Me Al." I kept expecting him to segue straight through "Who will be my role model? Now that my role model is gone. And you may tell yourself, this is not my beautiful house! And you will tell yourself, this is not by beautiful wife! But if you'll be my bodyguard..." It was great. Afterwards he got on his bike.
Related question: Adrian Belew played guitar on Talking Heads' Remain in Light. (Amusingly, I believe he also did some session work on Graceland). After playing with Bowie and the Heads, Adrian Below joined Robert Fripp in King Crimson. I have always written off King Crimson as proggy wanking (without having heard it, in fairness), but apparently the first album they put out as the revamped King Crimson, Discipline, is not proggy at all, and actually continues in the new wave worldfunk vein of Talking Heads, et al. Does anyone have it? How is it? I'm looking your way Dr. Kittybrains...
Paul Simon's got a monthlong residency at BAM with three sets of concerts, each of which is basically a hybrid concert and tribute. This one was "Under African Skies," so it was entirely songs from Graceland and the intermittently awesome/weak Rhythm of the Saints. Ladysmith Black Mambazo was there in full force, as were several African (and one Brazilian) singers who sometimes sang lead on the various tunes. All in all it was fantastic-- the backing band was phenomenal. He still has the same bass player from Graceland (who plays those awesomely rubbery fretless bass licks, as well as the Seinfeld theme-esque slap breakdown in "You Can Call Me Al") , and guitarist from Saints. And there were something like five percussionists who played various and sundry instruments. The groove was airtight-- something the boys in Vampire Weekend (who were in attendance, "predictably," per Tex) could learn from (not that i'm hating).
By far the highlight for me was David Byrne, who first danced awkwardly and tall-ly while he sang backup during "Born at the Right Time." That was awesome because it reminded me of what I would do if I were in his position.
But then he took the lead on "I Know What I Know," and even more awesomely, "You Can Call Me Al." I do hope some enterprising soul managed to film this and puts it up on youtube, because it was fantastic. Imagine what it would sound like if David Byrne sang "You Can Call Me Al." Amazingly, that's exactly what it sounded like! Though that seems redundant, it doesn't quite capture how much it sounded like a perfect mash-up of "Once in a Lifetime" and "You Can Call Me Al." I kept expecting him to segue straight through "Who will be my role model? Now that my role model is gone. And you may tell yourself, this is not my beautiful house! And you will tell yourself, this is not by beautiful wife! But if you'll be my bodyguard..." It was great. Afterwards he got on his bike.
Related question: Adrian Belew played guitar on Talking Heads' Remain in Light. (Amusingly, I believe he also did some session work on Graceland). After playing with Bowie and the Heads, Adrian Below joined Robert Fripp in King Crimson. I have always written off King Crimson as proggy wanking (without having heard it, in fairness), but apparently the first album they put out as the revamped King Crimson, Discipline, is not proggy at all, and actually continues in the new wave worldfunk vein of Talking Heads, et al. Does anyone have it? How is it? I'm looking your way Dr. Kittybrains...
Wednesday, April 09, 2008
Lick the Rapper
His drooling superfans over at Pitchfork are having a difficult time getting the hard-on they were hoping for over this new pop song from Lil' Wayne.
Personally, I take this song as an encouraging sign that Wayne is leaving his thug pose at the door with his new album, and is trying to cross over into the 14-year-old girl demographic (which I have to assume is at least part of the marketing plan with this video). This may just be a mediocre sex song, but I'd certainly take it any day over the songs he used to write about shooting snitches.
But what I find amusing about the video is this: in the recent tradition of such lamentable pop hitmakers as 50 Cent, Lil' Wayne has chosen to base an entire song around the idea that eating candy can be a metaphor for oral sex, and in particular that a "lollipop" is like a penis. In this context, Wayne seems to spend an awful lot of time in this video with a lollipop hanging out of his mouth. And granted, most of the time he's just holding the lollipop in his hand and waving it around at the camera, but periodically it's definitely in his mouth. It seems like a strange oversight for an industry as homophobic as mainstream rap.
Of course, he also spends a lot of time sitting on the roof of a car playing an electric guitar...in a song that to my ear has a total absence of guitar. So it seems as if nobody put a lot of thought into the subtleties of this video.
Personally, I take this song as an encouraging sign that Wayne is leaving his thug pose at the door with his new album, and is trying to cross over into the 14-year-old girl demographic (which I have to assume is at least part of the marketing plan with this video). This may just be a mediocre sex song, but I'd certainly take it any day over the songs he used to write about shooting snitches.
But what I find amusing about the video is this: in the recent tradition of such lamentable pop hitmakers as 50 Cent, Lil' Wayne has chosen to base an entire song around the idea that eating candy can be a metaphor for oral sex, and in particular that a "lollipop" is like a penis. In this context, Wayne seems to spend an awful lot of time in this video with a lollipop hanging out of his mouth. And granted, most of the time he's just holding the lollipop in his hand and waving it around at the camera, but periodically it's definitely in his mouth. It seems like a strange oversight for an industry as homophobic as mainstream rap.
Of course, he also spends a lot of time sitting on the roof of a car playing an electric guitar...in a song that to my ear has a total absence of guitar. So it seems as if nobody put a lot of thought into the subtleties of this video.
Tuesday, April 08, 2008
In Hopes of Riling Up Quinapalus
Can you believe that Hillary Clinton actually released another 3 am advertisement? It's like her version of "Cheaper By The Dozen 2."
Nick Cave
So Nick Cave has a new album out - Dig, Lazarus, Dig!!! with 3 exclamation points mind you. Cave is a guy who I don't listen to a ton, but I always am interested in. He's just such a fascinating presence to me - the kind of rock star that you don't get very many of, and even less of these days. Rock has always been a young man's game, and I almost feel like it's moving more and more in that direction. In the glossy Rolling Stone (the magazine, not the band) world there's less room for cranky, gnarly old men in rock. I mean, where is Lou Reed anyway? Or Frank Black? Or countless others who could still be making music but are off on the sidelines. And yet, here's Nick Cave. He's 50, he looks like he's from a totally different era, and he really only sings about 3 things: 1. Dirty sex. 2. The Bible. 3. Murdering people. He's an intense man, and the fact that I don't listen to him every day is no indication that he's not amazing - just that his music can get a bit intense - as Q and Tex will perhaps recall from my forcing them to listen to Murder Ballads back in the day.
Anyway, this is mostly just a rambling excuse to post some videos, but I do think it's a shame that the kind of individuality from a guy like Cave is so often bred out of rock. Or maybe I'm just becoming a cranky old man myself.
Here's a classic from Mr. Cave which you really must watch:
And the new single:
Anyway, this is mostly just a rambling excuse to post some videos, but I do think it's a shame that the kind of individuality from a guy like Cave is so often bred out of rock. Or maybe I'm just becoming a cranky old man myself.
Here's a classic from Mr. Cave which you really must watch:
And the new single:
Sunday, April 06, 2008
Friday, April 04, 2008
Awful South Park
I need to vent about one of the worst South Park episodes I've ever seen, which aired this week. My annoyance is two-fold. One is that this episode-- a not-even-veiled metaphor about the writers guild strike-- appears to fully take the side of the fat cat studio executives and mock the writers for wanting a bigger share of the pie they created. While Parker and Stone put their money where their collective mouth is (note that I linked to a free internet download of their show), they totally oversimplify the larger issue and put their tired, predictable libertarian slant on it.
My second complaint is that, while their commitment to contemporary issues makes them unique, they often whittle down an issue to a mere fraction of itself and thereby distort what actually happened. I still like the show, but I feel like Parker and Stone haven't matured alongside their fans who discovered them as teenagers. Too often they just end up playing to a new generation of teenagers.
Now I need to admit that the show may have taken a crazy left turn in the last 5-6 minutes and I wouldn't know because I turned it off. But that's my feeling based on what I saw.
My second complaint is that, while their commitment to contemporary issues makes them unique, they often whittle down an issue to a mere fraction of itself and thereby distort what actually happened. I still like the show, but I feel like Parker and Stone haven't matured alongside their fans who discovered them as teenagers. Too often they just end up playing to a new generation of teenagers.
Now I need to admit that the show may have taken a crazy left turn in the last 5-6 minutes and I wouldn't know because I turned it off. But that's my feeling based on what I saw.
Thursday, April 03, 2008
More Bjork
There's a good chance you've already seen this video, but if not, you must. And if you have, why not watch it again? Bjork has tons and tons of amazing videos, but this one may be her finest.
Wednesday, April 02, 2008
Wanderlust
Everyone should stop what they're doing and watch this high-res version of Bjork's new video: Wanderlust. It is absolutely stunning. Too big to embed here. Follow the link if you want to live.
[ed: link fixed]
[ed: link fixed]
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