This is a series of reviews, comments, observations about movies, books, music, short stories, poems, television shows, etc.
5 = Excellent
4 = Great
3 = Mediocre
2 = Bad
1 = Unbearable
The latest release from the Yeah Yeah Yeahs is a mere five song E.P. that is somewhat reminiscent of their pre-Fever to Tell output.If while listening to Is Is you get the feeling that these songs sound like natural descendents to the YYYs early releases, like their self-titled debut and Machine, there’s a good reason for such suspicions: these songs were actually written around the same time as those early E.P.s.For their latest release the YYYs grabbed a bunch of older songs and re-recorded them.Unlike the rest of us, when the Yeah Yeah Yeahs look under their couch cushions instead of finding loose change they just happen to find a handful of unused songs.
Working against their more recent, more polished work, the latest YYYs release feels as if the whole affair was bound by a bunch of rusty bolts.While the songs have more of an edge than the YYYs’ indie-pop numbers, they’re hardly a retread of their early days.The stuttering pace of “Rockers to Swallow” sounds as if the drums and guitar would collapse if Karen O’s snarl didn’t whip them along all the way to the finish line.There’s a sense of space that wasn’t present in YYYs’ early fits of noise, which makes it even more important for the trio to play off one another.For his part, Brian Chase takes an opportunity for more complexity and drum fills, Nick Zinner expands his oeuvre with some psychadelia on “Isis,” and while avoiding any conventional melodies, Karen O showcases her strengths as a front woman.Is Is sounds like a sort of missing link between the YYYs’ early songs and their first album.
Considering that these songs were written long before this E.P. was recorded, I don’t think the YYYs are necessarily hinting at a new direction.From “Art Star” to “Cheated Hearts” the YYYs have already proven they shriek as well as they can sing, but it is comforting to know that they haven’t completely given up on shrieking.Here’s hoping that instead of plotting their songs along a pop/noise spectrum they realize there doesn’t have to be much of a difference between the two.
The Black Keys’ latest release was originally intended as the collaborative product of DJ Dangermouse, Ike Turner, and the title band.The man responsible for “Crazy,” a couple of white Midwestern bluesmen, and the guy who almost sent Tina Turner rolling down the river was an unlikely grouping to say the least, and I for one was curious to hear the inevitable clusterfuck of an album.Unfortunately, before this marvelously disparate musical collision could get on its way Ike Turner passed away.Who knew decades of drug, alcohol, and spousal abuse could end a life so early?Ike left this plane of existence at the age of seventy-six.
I half expected a DJ Dangermouse mash up between The Black Keys and Li’l Bow Wow (or, does he go by Bow Wow now?), but thankfully Dangermouse decided to mostly stay out of the way and let the Keys do their thing.If you were to suck all the studio trickery out of Attack & Release you would still have a collection of some damn fine songs.What Dangermouse ends up doing best is accentuating the open space on the slower songs.He adds a psychedelic atmosphere that fits perfectly with the classic rock underpinnings of The Black Keys’ songwriting, which has always been a few steps closer to Cream and Hendrix than Robert Johnson.
“Same Old Thing” is perhaps the only song where it feels as if Dangermouse is unsure of Dan Auerbach and Patrick Carney’s songwriting and unleashes some unnecessary Gil Scot Heron inspired flutes just to gum up the works.The result is unfortunately more than a little distracting.Dangermouse is most effective on “Psychotic Girl,” an acid trip on the bayou that’s enhanced by wraithlike backing vocals and eerie piano notes.Auerbach provides appropriate paranoia-by-moonlight lyrics and infuses even the slower songs with a strong sense of melody, something that had been sorely missing on their previous record.While most Black Keys albums feel as if they just stop regardless of the whether the last song is an appropriate end point, here “Things Ain’t Like They Used to Be” is a note perfect closer.The slow-dance pace and female backing vocals add just the right amount of effervescent heartbreak.
I’ll put myself on record as being disappointed with The Black Keys’ previous album, Magic Potion.After their superb (and still best) album, Rubber Factory, The Keys sounded listless and without momentum.The Ohioans needed a new direction.Attack & Release sounds like a true follow up to Rubber Factory, and even though I can’t help but miss their minimalism, I fully welcome their rediscovered sense of adventure.
The Black Keys are preparing to unleash another midwest blues monstrosity on an unsuspecting public. Their newest album, Release & Attack, will be released April 1st, after which you can expect an eardrum assault. This album has an interesting origin. Originally The Black Keys were going to record an album as the backing band for Ike Turner and produced by Danger Mouse, but when Turner went rolling down the big river in the sky, The Black Keys converted most of those songs into a fifth album instead. Danger Mouse is still producing.
Here is the video for "Strange Times." It involves lasers, tag, and lasertag.
Danger Mouse isn't exactly the first name that comes to mind when I think of potential producers for The Black Keys. However, this might be a good thing. After their first truly disappointing album (Magic Potion had mediocre written all over it) they really needed to shake some things up. Let's hope all the keyboards don't get in the way of all the white boy blues.
Times New Viking’s live show is somewhat of a paradox in that they sound more clear than they do on their albums.This, of course, is by design.I would be hard pressed to find another band more dedicated to a lo lo fi aesthetic.I was surprised to discover that the male vocalist of the group was actually the drummer, Adam, and not the guitarist.In a live setting the simple drums seemed to propel the performance, thanks in part to Adam having the most active stage personality, even playing the drums while standing up towards the end of the set.Adam introduced the first four songs as pop song number… in ascending order: “pop song #1, pop song #2, etc.”And I suppose that’s exactly what they played: precise, concise pop songs.With most, if not all, of the songs under three minutes long, the set flew by, and if I didn’t have the albums in the back of my head, then I’m not sure how much of an impact the band would have made.Of course, I’m already a convert so I was ready to pray at the altar of Times New Viking.
About three-quarters of the way through Times New Viking’s set, the drummer told the audience that this was the point where they should drop their acid.Of course, nothing could be further from the truth.Times New Viking’s sound is light years away from rock music conducive for psychedelic drugs, also know as self-indulgent jam band wankering.There is a reason why certain kinds of bands are heavily associated with drugs: they’re too fucking boring to listen to with a clear head.I will admit I was a little afraid that Super Furry Animals, whose music seems intricately geared towards headphone listening, would fall into the “music to drop acid to” category.Thank the gods Super Furry Animals knew that when they show up live it’s time to bring the rock.
Only a handful of songs were chosen from their latest album, Hey Venus!, but more tellingly they chose only one song from Love Kraft, their most laid back studio work.Instead the set list was culled evenly from their entire discography, heavily relying on crowd pleasers and their more pop oriented productions.Lead singer Gruff Rhys came out on stage in a space helmet stolen straight from the set of “Out of this World.”Continuing this cosmic theme, the second song out was the undeniably catchy “Rings Around the World.”On no less than three occasions the band played three songs titled “Uuuuurth 1,” Uuuuurth 2,” and Uuuuurth 3” where they encouraged the audience to participate by placing their hands on their head and wiggling their fingers.Were they trying to call the Grays from behind Venus using us as some kind of antennae, or were they just trying to make us look really stupid.Probably the latter, but I didn’t particularly care.Among the highlights was “Receptacle for the Respectable” where lead singer Gruff Rhys ate a carrot as a part of the percussion section.Gruff even brought back the space helmet towards the end of the show.As they played the final song the band members held up two signs: one with the word Boston on it, in the font of the wonderfully cheesy band; the second, a sign stating “resist false encores.”True to their word it was their last song.Of course, I didn’t mind, it would have been greedy to ask for anything more.
I don't claim to know who will win the 2008 presidential election, hell, at this point it's pretty tough to call who the Democratic nominee will be, but one thing is for certain: we have dodged what would assuredly be the end of the world thanks to one of the candidates who dropped out. This may be old news for the rest of you, but I have only recently been made aware of the terrible occurrence in New Mexico. It would seem that Bill Richardson has been replaced by Bizarro Bill Richardson.
Before:
After:
I can't even begin to imagine what would have happened if Bizarro Bill Richardson had won the presidency. Instead of letting all of Mexico into our country he would have allowed all of Canada to waltz across the boarders. Or maybe, instead of making it illegal for immigrants to stay here he would have forced Americans to move to Mexico. Only a Hispanic politician (with the strangely anglo name of Bill Richardson) replaced by his Bizarro counterpart from another dimension could devise such machinations. Perhaps, instead of universal health care he would implement a plan that would infect the country with the bubonic plague. Those who survived would presumably be tough enough, with enough immunities, to not need health care. Who knows what kind of evil lurks in that beard. All I know, is that he would rule with an iron fist.
In related news, here's an article about Hillary and Barack courting the endorsement of Bizarro Bill Richardson.
In the original Elizabeth we saw the title character transform from an inexperienced twenty-something into a queen by hardening her heart and learning the ways of cutthroat politics.So, why in the sequel is she portrayed as a hysterical teenager?The filmmakers didn’t see fit to transfer any of what made the original character so great into the sequel.Instead of the assured queen at the end of Elizabeth, in Elizabeth: The Golden Age we are treated to an insecure monarch reacting to a midlife crisis by acting half her age.
King Philip of Spain is amassing an armada to invade England.He sees the Protestant queen as a spot of darkness in a Catholic world, even though, despite urgings to do so by her own counsel, she refuses to persecute Catholics in her own kingdom.If this wasn’t enough, her cousin, Mary Queen of Scots, is planning to assassinate Queen Elizabeth and take the English throne.In the midst of these political machinations is a love triangle between the explorer Walter Raleigh, Elizabeth, and one of Elizabeth’s ladies in waiting.
For all of the intrigue and subplots, not much happens for the first half of the film and instead of political intrigue the audience is forced to endure another love scene where the two romantics ride horses in the countryside.Raleigh and Elizabeth’s relationship is utterly unconvincing.I cannot understand how anyone but the most naïve would be taken in on Raleigh’s “philosophical musings” about how when death closes in during a storm it only makes you want to live more, to which Elizabeth replies with wide eyes, “Yes, to live!”It sounds like the kind of life philosophy that would fit nicely in between sketches of unicorns and rainbows.
The looming threat of the Inquisition accompanies the Spanish armada, even though we are never shown the religious intolerance of the Inquisition.The menace would have loomed larger if the audience was aware of just exactly what was at stake.The first film had the tremendous opening where Protestant heretics were burnt at the stake, would it have been too much for a similar reminder that Europe still had one foot in the Dark Ages?Perhaps director Shekhar Kapur felt the dialogue was already enough torture for his audience.
In the film’s defense, it does fulfill the historical film’s need for extravagance in costume and cinematography.However, looking pretty just isn’t enough.After the extraordinary introduction to Elizabeth in the first film the last thing an audience wants to watch is a digression.If the film is about her rise to world dominance, then why does it feel as if Blanchett’s playing the role of a washed up actress, past her prime and unable to get her agent on the phone?It seems as if Elizabeth is more concerned with aging than she is with running her country.The central metaphor to the film is that of a storm, which is uttered from the lips of many characters, and to be sure when you finish watching Elizabeth: The Golden Age, you’ll feel as if you’ve weathered one yourself.
On Tuesday, February 12, the United States Senate passed the Protect American Act with telecom amnesty. You can get a more in depth analysis thanks to the invaluable Glenn Greenwald, here.
Since the last time I wrote the Senate Republicans and Senate Democrats struck a deal on all of the pending amendments. The amendments either needed the usual fifty votes to pass or in special occasions they required sixty votes to pass. So, for example, the Dodd amendment that would strip the bill of telecom amnesty only required fifty votes, since the Republicans figured they could get enough Democrats to go against the rule of law, but another amendment by Diane Feinstein that would have review of any illegal activity conducted by the FISA courts themselves behind closed doors, required sixty votes because Democrats might actually vote for it. Sure enough, the Feinstein amendment received over fifty but less than sixty votes. In other words, the Democrats agreed to a deal where they increased the number of necessary votes for certain amendments to make sure the bill passed the Senate in the shape the president wanted it.
Well, is that it, have the telephone companies gotten away with breaking the law? Not quite, thanks to a bicameral legislature it still has to pass the House.
Luckily, the House actually has a spine and allowed the Protect America Act to expire rather than pass a permanent law that included telecom amnesty. This means the U.S. can still gather intelligence under FISA and despite what the fear mongers in Washington like to say, we can still listen in on potential enemies even if we have to go through the pesky "judicial branch" and respect "separation of power."
If you are listening to the Republicans then you might think that Osama Bin Laden can waltz right across our boarders and steal the secret Bush's Baked Bean recipe (yes, that's right, Duke is a part of Al Qaeda). This is obvious fear mongering and it's a wonder it has not been called out as obvious fear mongering more often. Maybe this small amount of defiance from the House will teach other Democrats that all they have to do is make their case to the American people, and when they do the world will not explode. Maybe other Democrats will realize that you don't have to do everything Bush tells you to in order to look "tough on terror." Maybe? Or maybe it's too much to ask.
The New York Times has one of the greatest newspaper articles I've read in a long time. It concerns Ohio, Kentucky, and a rock. When all three converge you know that a' trouble's a' brewin'! I will summarize the article but you really need to get the information straight from the Times, if only because it's very well written.
In Postsmouth, Ohio, local historian Steve Shaffer had a lifelong obsession with a local landmark called Indian Head Rock. The rock is famous for a stick figure drawing of a face of unknown origins as well as the names of many Portsmouth families from yesteryear whose ancestors still reside there today (yes, this is in Southern Ohio). The stick figure head is thought to be a Native American petroglyph, hence the name Indian Head Rock. When the Ohio River's water line rose due to dam construction, the rock was lost to time. Shaffer, remembering the rock in his local history course in middle school, decided in his adult years to take a diving team into the Ohio River and after a difficult search recovered the rock from the river floor.
After raising the rock, however, Ohio's neighbors to the south became upset. That's right, Kentucky thought we were stealing their rock! Apparently there is a shortage of rocks in Kentucky just as there is a shortage of college degrees and family trees. There are, however, a plethora of mullets and racists. The Kentucky legislature passed a bill demanding that the rock be returned. One of their legislators even suggested a raiding party. Not to be outdone one of our House members declared that he would defend the rock with his shotgun if need be.
The NY Times also has a video of their Indian Head Rock story.
If all goes well this will lead to a new civil war. It's time to put these rebels in their place a second time. Oh, Kentucky was a part of the Union you say? Well, we'll redraw the Mason Dixon line. Ahhhh, I see, they were also a slave state. Now that makes sense.
Kids who listened to music in the 90's are having babies!
That's the impression I got when I saw this celebrity endorsement by Metallica's Kirk Hammett for the Rockabye Baby! collection. If you haven't heard, Rockabye Baby! is a collection of albums that takes rock music classics and rearranges them into lullabies for your kids. Remember, buy the album and don't download!
I don't know what's creepier, the music or when Kirk Hammett says "lullabies for baaaabies." Although, I will admit that I would rather listen to old Metallica reworked for children than their last few albums. Albeit, their newer stuff might be more effective in putting me to sleep.
I wonder how much control the artists have over stuff like this. Is this just the record companies selling out their artists or was it Courtney Love who gave Rockabye Baby! the right to cover Heart Shaped Box? I suppose legally it's not dissimilar to any old band covering a classic song on their latest album. Judging by Kirk Hammett's smile he's at least getting paid for his crappy music again.
And speaking of sleeping babies:
Hey, that baby wasn't just sleepy, that baby was drunk! In fact I finished off a keg with that baby last weekend. Poser passed out.
Before Times New Viking released Rip It Off on Matador, their first album in the big little leagues, many were questioning whether they would stubbornly maintain their lo-lo-fi aesthetic. Would Times New Viking sell out by not recording on four tracks and maybe even hire a bass player? Maybe it was the punk rock in all of us that thought moving to another (admittedly still independent) label would have forced the band to clean up their sound. These days independents have been making great commercial strides, even getting their bands onto Billboard’s top ten. How long would it be for them to become the new majors? I’m here to say, don’t fear the four-track: all is well with Times New Viking’s latest opus.
While Rip It Off sounds a lot like their last two records, that’s not to say that the band has been completely stagnant. Those who loved the songs of their last album, but hated the recording, will find even catchier pop snippets underneath the static, and those who also loved the high end static will find plenty of that as well. In other words, those who think Times New Viking’s lo-fi shtick is just a gimmick probably won’t be too happy about Rip It Off. One thing Rip It Off is not, is a please everybody album.
The album contains their cleanest song to date, “Drop-Out,” which sounds like it could possibly be played on the radio so long as the station was just barely in range and you had crappy reception to begin with. But that’s about as clear as it gets. “My Head” belies its friendly beats with the mantra “I need more money, because I need more drugs,” which also happens to be one of the few lyrics one can make out underneath the white noise. “The Wait” slows things down to mid-tempo and could conceivably be played at a high school dance in some alternate punk rock universe. “The End of All Things” has an acoustic outro that gives the static a rest for about twenty seconds or so.
I know there are plenty of people who will ask, if Times New Viking are writing pop songs, then what’s the point of obscuring them with a crappy recording? Perhaps the answer can be found in the same reaction some of us had to Times New Viking’s jump to Matador: punk rock guilt. If you start making songs lots of people like, eventually you’ll get people listening to your music who you would rather not show up at the show singing your lyrics. Or perhaps the answer isn’t quite as elitist. Maybe they just like the sound of static as much as the sound of a keyboard? There is a certain aura to lo-fi albums that recalls listening to a friend’s band in his parent’s garage back in high school. Just because technology has reached the stage where musicians can do just about anything, doesn’t mean they should actually do just about anything. There are those of us who think four tracks are plenty for a rock album. There’s a reason no one actually sits through an entire ELO record anymore.
Whenever a band makes a jump to a bigger label the speculation about where they’re headed begins. Rip It Off gives several clues. The band’s songwriting has been recalibrated for more hooks per song (although nothing tops “Teenagelust!” from their last album). Does this mean one day they might stop sounding like they recorded at the bottom of Lake Erie? Their most pertinent audio and geographical forebears, Guided By Voices, eventually succumbed to the sins of a big studio album. Will Times New Viking someday make their own Isolation Drills? Perhaps, but until then I’ll be perfectly happy for Times New Viking to bang out a couple more albums that pack sixteen songs into a sardine-can-sized half-hour.
Several days ago the Vermont home of Robert Frost was desecrated by a gaggle of teenagers. About thirty kids trudged up to the now historical Robert Frost home with lots of beer and lots of liquor. After several hours of partying they broke windows, smashed antique furniture, and urinated and vomited where they pleased. Eventually the kids were found out and prosecuted (apparently trying to get thirty teenagers to keep a secret is more difficult than getting a cat to take a bath).
Why?
Well, obviously they thought Ezra Pound was, like, soooooooooo much better and that Robert Frost was a total freak, ya know?
I don't pretend to be terribly knowledgeable about Frost. I've read a few poems and I've even liked a few. At times his reputation seems almost too quintessentially rural American. At one point this down home reputation had to be swept under the rug by critics who wanted to save Robert Frost. They argued that he was just as dark and neurotic as any Modern poet.
It was probably this fallacious belief in the myth of the wholesome Frost that made his home such a tempting target. Who doesn't go through a phase where you want to tear down symbols of virtue? Here's one of my favorite Frost poems "Birches." It's about kids "swinging" trees. I used to do the same thing when I was younger, but back then we called it "parachuting" trees.
"Birches"
When I see birches bend to left and right Across the lines of straighter darker trees, I like to think some boy's been swinging them. But swinging doesn't bend them down to stay. Ice-storms do that. Often you must have seen them Loaded with ice a sunny winter morning After a rain. They click upon themselves As the breeze rises, and turn many-coloured As the stir cracks and crazes their enamel. Soon the sun's warmth makes them shed crystal shells Shattering and avalanching on the snow-crust Such heaps of broken glass to sweep away You'd think the inner dome of heaven had fallen. They are dragged to the withered bracken by the load, And they seem not to break; though once they are bowed So low for long, they never right themselves: You may see their trunks arching in the woods Years afterwards, trailing their leaves on the ground, Like girls on hands and knees that throw their hair Before them over their heads to dry in the sun. But I was going to say when Truth broke in With all her matter-of-fact about the ice-storm, I should prefer to have some boy bend them As he went out and in to fetch the cows-- Some boy too far from town to learn baseball, Whose only play was what he found himself, Summer or winter, and could play alone. One by one he subdued his father's trees By riding them down over and over again Until he took the stiffness out of them, And not one but hung limp, not one was left For him to conquer. He learned all there was To learn about not launching out too soon And so not carrying the tree away Clear to the ground. He always kept his poise To the top branches, climbing carefully With the same pains you use to fill a cup Up to the brim, and even above the brim. Then he flung outward, feet first, with a swish, Kicking his way down through the air to the ground. So was I once myself a swinger of birches. And so I dream of going back to be. It's when I'm weary of considerations, And life is too much like a pathless wood Where your face burns and tickles with the cobwebs Broken across it, and one eye is weeping From a twig's having lashed across it open. I'd like to get away from earth awhile And then come back to it and begin over. May no fate wilfully misunderstand me And half grant what I wish and snatch me away Not to return. Earth's the right place for love: I don't know where it's likely to go better. I'd like to go by climbing a birch tree~ And climb black branches up a snow-white trunk Toward heaven, till the tree could bear no more, But dipped its top and set me down again. That would be good both going and coming back. One could do worse than be a swinger of birches.
I can't help but think that somehow the poem is relevant.
Here is a clip from one of my favorite video games of all time, Grim Fandango, which pays homage to one of America's most prestigious poets:
My favorite line from that game: "Run you pigeons, it's Robert Frost!"
Over the past several days the "Protect America Act" was the center of a contentious Senate debate. If you've been parsing through news sources you may have actually heard of this development (because most of the major news networks have essentially ignored the story; they're too worried about inaccurate polling to care about little things like The Constitution).
Here's an older story I wrote in 2007 and here's someone much smarter than myself explaining the outcome of the last several days. The following is a little overview.
As I mentioned before, attempts to update the purview of the FISA courts so that they can oversee new technological advances (e-mail, etc.) has been the subject of much back and forth over the past several months. Expanding the ability to monitor these new lines of communication with a court order is pretty uncontroversial in the Senate. Both Democrats and Republicans agree to updating the law to achieve this affect. The previous FISA bill that achieved monitoring of new technologies is about to expire in February which leaves the Senate with two options: 1) comprise on a bill now or 2) extend the previous FISA bill for another thirty days.
However, the Republicans have included in the bill telecom amnesty for those telephone companies who allowed Bush to spy on American citizens without a warrant. I have gone into the importance of denying phone companies telecom amnesty in my previous post on the subject.
For the past several days the Republicans have claimed that if the FISA bill is not updated then Al Qaeda will invade your home and sleep with your wife. Paradoxically, Bush has claimed that he will veto the FISA bill if it does not have telecom amnesty and will also veto a thirty day extension of the previous bill. What? So according to his own rhetoric, he would rather have Al Qaeda sleep with the wives of American citizens than wait another month for a compromise or let the courts decide (rather than the legislature) whether the telephone companies broke the law. Is that the kind of talk you would hear from someone who wants to protect America at all costs?
Thankfully, the Democrats decided to grow a vertebra and actually stood up to Bush. To prevent any amendments to the bill that would have potentially stripped the bill of telecom amnesty, the Republicans enacted a cloture vote. Cloture ends all debate and any potential amendments. In order to achieve cloture the Republicans would have had to get sixty votes. They lost by twelve votes. Even one of their own, Senator Arlen Specter, voted against cloture. In a tit-for-tat move the Republicans then prevented the Democrats from getting cloture on the thirty day extension.
Here is Chris Dodd arguing against cloture on the Senate floor:
So, where does this leave us? As far as I can tell, back at the beginning. The bill will expire in early February meaning that the new technology will be off limits to eavesdropping but regular phone communication will be fair game for FISA just like it has been since the FISA courts were created way back before September 11th 2001. Expect Republicans to take advantage of the confusing nature of this bill by claiming that we can no longer listen in on Al Qaeda. We can. We could before September 11th and we will be able to well into the future.
There's some real momentum against telecom amnesty. When the bill was introduced in 2007 Chris Dodd lead a successful campaign against it. Only about a dozen Democrats stood up with him. Now the vast majority of Democrats are at least ready to hear him out. In another month or so who knows, maybe we'll actually beat telecom amnesty. I'll close with another video of Dodd way back in 2007 when he placed a hold on the FISA bill that contained telecom amnesty. It's a great summation of how far gone the ideals of America have become over the last seven years.
Persepolisis a kind of film rarely seen in America: an animated film for adults.When I say “adult” I’m not referring to the ultra-violent zaniness found in Japanese animation or the double entendres meant to go over children’s heads in movies like Shrek, I’m referring to a complicated protagonist attempting to simultaneously understand and manage overpowering change in the world around her.I don’t think Bugs Bunny had the same depth of problems that Marjane Satrapi has (of course, I supposed he was struggling with living in Hobbes’s nature during that whole rabbit season/duck season debacle).Even referencing Bugs seems a bit silly since animation has supposedly evolved to encompass many genres beyond children’s film.Or at least outside of the United States boarders it has, and I’m sure no one would be surprised to learn that Persepolishas French subtitles.
Persepolis is based on an autobiographical comic book by Marjane Satrapi about growing up in Iran, being sent to Europe during her adolescents, and returning as she transitions into an adult.Growing up during the Iranian revolution, Marjane has a sense of wonder about the chaos around her.She becomes particularly intrigued by her uncle, a communist who was jailed and was only recently released from prison.Fueled by her uncle’s stories and her parents political involvement she rallies a group of neighborhood kids to chase the son of an Iranian torturer so that they can gouge out his eyes with nails.They are stopped by an adult before the bloody deed is done.Marjane even begins talking back to her teacher in school, contradicting the Iranian status quo.After the Ayatollah comes to power Marjane’s family fears what will happen to their outspoken daughter and decide to send her with some friends in Europe.
Once in Europe Marjane wrestles with the travails of puberty while trying to reconcile her exotic Iranian heritage with her adolescent need to fit in.At first she stays at a Catholic boarding school, but when one of the nuns affronts Iranians Marjane makes the uncouth comment that all nuns were once prostitutes.This leads to her moving out into a series of living arrangements as well as a string of boyfriends.When she discovers one of her boyfriends in bed with another woman, Marjane becomes despondent and gets kicked out of her apartment and winds up living on the streets.It would be easy to shrug off Marjane’s self-destructive behavior as her being a self-involved teen.It would be easy except that when Marjane wakes up in a hospital from malnutrition she chastises herself for becoming upset over a relationship when her own uncle was subject to incarceration for merely speaking his mind.It’s this kind of self-reflection that prevents the film from falling into the kind of narcissism that plagues so many other coming of age stories.After her brush with death Marjane decides to return to Iran where she must confront the intolerance of a government run by a religion.
Like the comic book the animation is deceptively simple.The film is mostly black and white and the characters are drawn with thick lines.Anyone who’s read the comic book will wonder whether they fit in most of the original medium.While the filmmakers do a good job at referencing many of Marjane’s stories, many of the vignettes are necessarily truncated.However, this is hardly a downfall of the film which utilizes animation to communicate Marjane’s tale as succinctly as possible.When she falls in love with a boy, for example, we see her floating above the ground with him, which, for a teenage romance, is just about all the audience needs to know.Each moment of the film is, like the animation, told clearly and simply, but as the film moves forward the moments gather greater strength.It’s like the filmmakers are putting down one pebble after anther until, before you know it, they’ve constructed an entire wall.
The intellectual middle class nature of Marjane’s family seems so familiar that I often found myself wondering what I would do if suddenly transplanted in a country where you could be jailed for walking with someone of the opposite sex who wasn’t related to you and, worst of all, alcohol was banned.Persepolis is a needed reminder that small minded rulers too often rule over a more enlightened populace (it says something that the same sentence could describe the state of today’s America).For all the talk of cultural differences, it should be remembered that certain ideals can be disseminated by dialogue, even if they’re unsuccessfully translated through the barrel of a gun.
The whole "broken van" story has become a rock and roll staple. Every band has to have a story where their van breaks down and they have to mix with the local populace. Usually the bands come from some major city so it's really a play on the fish out of water tale. In this case the band in question is Columbus's Times New Viking who wind up in Montana. It's probably my favorite "broken van" story in quite some time.
I'm particularly partial to the deaf mechanics and the David Lynch references.
Here's Times New Viking performing a song from their debut album "Dance Walhalla" live. Their live sound varies differently from their "studio" sound, but unlike most bands they sound clearer live.
Here's another video of some dude dancing to the studio version of "Little Amps" off their second album The Paisley Reich:
Their newest album, Rip it Off, is their debut on Matador Records and rears its ugly head in record stores everywhere on January 22nd.
The first question of importance about Juno is, why doesn’t the main character get an abortion? The obvious answer is that an abortion would have simply ended the plot. Sober reality does not mesh with wacky hijinks. It’s important to pause and think about the abortion issue for a minute since it was similarly passed over in Knocked Up. Is this some kind of right to life conspiracy? Hardly, I think it is the simple fact that abortion doesn’t have a place in comedy, while pregnancy is a regular comedic staple even if it’s a pregnant sixteen year-old. Whether you are pro-choice or pro-life, abortion is too complex an issue for a movie about a sardonic teenager. If you’re interested in that kind of a story it would be better to watch Lake of Fire or 4 Months, 3 Weeks and 2 Days .
Juno is the title character of the film who winds up Knocked Up by the kid from Superbad, who under any other circumstances would have grown up to be a 40 Year-Old Virgin (where’s my check Judd Apatow!?). After a disastrous visit to a planned pregnancy agency (Juno decides to go to Women Now “because they help women now”) the sixteen year-old decides to carry the child to term. However, instead of keeping the child Juno decides to take responsibility by, conversely, giving the child away to a young yuppie couple who cannot have a child of their own. The issue of teenage pregnancy and premarital pregnancy is both all too common and at the same time commonly feared. Whether you know someone who has been in that situation, have children who could be in that situation, or could be in that situation yourself, it’s a pervasive problem at all levels of society, which in turn makes it perfectly suited for comedy. Too often these off-beat comedies with quirky characters come off as mean spirited or look down on their characters and by extension look down on their audience (*cough* Napoleon Dynamite *cough*). This is not the case with Juno which treats every character as simultaneously flawed and heroic. There is no villain, and even though Juno may fight with her stepmother, her stepmother is not the easy caricature of a joke she would have been in lesser hands, instead she too has her moment of heroics when she defends Juno from a snarky ultrasound technician.
Juno is also one of the few American films to include the subtext of economic class in America. Most movie jobs happen to be something ridiculously specific, like someone who's job is to provides seat fillers for celebrity weddings for when guests don't show up, and at the last minute the director decides a meta-cameo by Julia Roberts is the one thing the film really needs. By contrast Juno's father is an AC repairman. While Juno lives in a cluttered household somewhere in the lower range of middle class, the adopting couple lives in a pristine McMansion, complete with disgustingly cute pictures of themselves that line the staircase. Juno’s stepmother addresses this issue by claiming that the couple could actually be worse parents than Juno would be. There is something of a Brad and Angelina quality to a couple who would lift a child from its less well off roots into a life of means assuming that more money automatically means a better life, but at the same time it would be difficult to argue that a sixteen year old, without an education and whose family may not have the level of finances to provide for a grandchild, would necessarily be the best caretaker for her child. It would have been nice for these issues to be addressed directly by the script instead of quite literally being put into the background through set design, but they are nevertheless present in a film market where class is almost always invisible.
Perhaps I’m being greedy, and the more that a filmmaker gives me the more I ask for. I suppose it should be enough to have a film with genuine characters, nuanced humor, and some good rather than great songs.
Almost everyone has a song of the Summer, and I'm no exception, but ever since college, and beyond, I've always had a song of the New Year. It's pretty much the song that defined my holiday break. I can still remember that during my Sophomore year of college it was The Clash's "Rudie Can't Fail." Well, during these holidays it was the inimitable "What's Up" by 4 Non Blondes.
Here are a few highlights of the music video: it's wildly out of sync and watch out for the people venting their frustration while spinning on a merry go round (which I think was the same advice I received from the last fortune cookie I ate).
After a contentious battle between Peter Jackson and New Line Cinema over revenues from the Rings trilogy, the two have finally made nice, put a couple of flowers in each others hair, and smoked the peace pipe (or whatever Pippin and Merry were smoking in those movies). Peter Jackson was upset because he felt New Line was hiding some of the profits of the Ring movies and requested an audit, which New Line refused. Jackson then went the route of suing New Line.
What's changed? Well, The Golden Compass bombed for one thing, meaning New Line was left without a flagship fantasy series. Also, they both probably realized that they could make boatloads of money on The Hobbit so all this fussin' and a fightin' was worthless.
To make things more complicated, MGM had a distribution deal, and supposedly, through some weird system, owned part of The Hobbit as well. A while back, MGM then claimed that a Hobbit film would not go through unless Jackson was on board. Much of this is speculation and rumor.
It looks like Jackson won't be directing, but rather producing where he will sign off on all creative aspects of the film. This is fine by me since The Hobbit has a much more innocent tone than the Ring trilogy. My vote is for Peter Weir and maybe he can find a role for Harrison Ford since most of Ford's best work was with Weir. Although, I hear that if the plot doesn't revolve around Ford saving his family then he's out. You can find a more detailed story here.
It looks like things are moving along much faster than anticipated. I found some test screenings here:
Leonard Nimoy as Gandalf? Stranger things have happened...
On the road to being signed by George W. is a law revamping the FISA courts, but what's really important is what's tucked away in this law, a Christmas present to Sprint, Verizon, AT&T, and the other telephone companies that complied with the White House's illegal wiretapping program: retroactive amnesty.
Despite the obvious fourth amendment violations there are also federal laws targeting private companies who spy on American citizens. In the bill presented to the Senate there was a provision granting these telecom companies amnesty from any past wrongs related to spying on Americans. It's a good old fashion get out of jail free card courtesy of our government.
There are several arguments that have been trotted out in defense of telecom amnesty:
The telecom companies were just doing their patriotic duty by helping out the government.
If by "patriotic duty" you mean the White House threatened to withdraw profitable government contracts if the telecom companies didn't comply, then you're onto something. Apparently Qwest, the only company to refuse the White House's request (or should I say, re"qwest"?...oh, I shouldn't, sorry) claim that profitable contracts were withdrawn when they did not cooperate. It's not surprising that these corporations were more concerned with the bottom line than "patriotic duty." Besides, what's so patriotic about helping the government break the fourth amendment? Isn't that the exact opposite of patriotism?
Those poor telecom companies didn't know what they were doing. They were confused when the big bad White House pressured them into breaking the law.
Multi-million dollar companies have multi-million dollar lawyers. I know there are a lot of dumb people graduating from law school but they don't work for Fortune 500 companies. Besides, Qwest's lawyers obviously knew it was wrong, and if I remember correctly ignorance of the law is not an excuse.
Because the White House coerced these companies into breaking the law, we should go after the White House instead of the telephone companies.
There was a reason why the federal laws specifically mention private companies. It doesn't matter who's spying, or whether it is the fourth amendment or federal statute as presiding law, the simple fact is they broke the law. Besides, thanks to executive privilege run amok, suing the phone companies might be the only means of discovering the breadth of government spying. There is a reason why Bush is threatening to veto any FISA bill, regardless of whether or not it gives him everything else he wants, if the bill does not contain telecom amnesty. If the telephone companies are sued then they will be forced to hand over loads of information to the courts, which in turn will likely implicate the White House in a violation of the fourth amendment. I don't think the president can pardon himself if he's the one in jail. However, if the White House itself is prosecuted, then they can merely claim executive privilege - as the argument goes, handing over documents could hurt national security so the White House, unlike the rest of the country, does not have to do so. This leaves any prosecution with zero evidence to support a fourth amendment violation.
But there is an "intelligence gap" between us and the terrorists, and if we don't pass a bill that revises FISA quickly, then Al Qaeda will come over here blow up our babies, use their blood for 'dem 'der Rahamadajan ritual, and convert them to Islam...but not in that order.
Which is why there is an identical bill that can be brought to the floor of the Senate that both revises FISA and removes telecom amnesty. It is called the RESTORE act. Why that is not on the floor of the Senate and telecom amnesty is, I have no idea. Assuming you buy into the argument that FISA must be revised or we could face another attack, then why would Bush risk another attack by vetoing a FISA bill just because it doesn't immunize the telephone companies from the law. Hmmm...something to think about.
Just when it looked like telecom amnesty was going to the floor of the Senate to be voted on, where it would inevitably pass, presidential candidate Chris Dodd swooped in from Iowa to lead a filibuster. Ignoring his own party's leaders he argued passionately against telecom amnesty. Here is an excerpt:
And you thought that Chris Dodd was just some guy who was always on the very far side of the debate stage who looked peculiarly like your grandfather. Here's a link to another segment of his speech. Despite Dodd's impassioned speech a vast majority of Senators, Republican and Democrat alike, voted to bring this version of the FISA bill, telecom amnesty and all, to the floor of the Senate. The handful who voted against it: Boxer (California), Brown (Ohio), Cantwell (Washington), Cardin (Maryland), Dodd (Connecticut), Feingold (Wisconsin), Harkin (Iowa), Kerry (Massachusetts), Menendez (New Jersey), Wyden (Oregon). (On a side note, being from Ohio I feel like my vote for Sherrod Brown was the one vote from which I received action rather than talk).
Despite these votes, thanks to Dodd's filibuster, the Senate majority leader, Harry Reid (D), reluctantly took the bill off the Senate floor. Reid ignored a hold that Dodd placed on the bill to prevent it from reaching the Senate floor, forcing Dodd to filibuster. Instead of respecting Dodd's hold, as he has with the holds of many Republicans, Reid decided to bring forth the FISA bill with telecom amnesty, rather than the RESTORE bill without telecom amnesty.
It looks like the bill will come around again in the New Year, so if you want to show your support by typing your name and e-mail onto a petition expressing disappointment with Harry Reid, you can do so here.
In closing, here is a thank you from Dodd to all of his supporters:
In a surprise defeat, today several proposals backed by Venezuelan President Hugo Chavez were voted down. The proposals would have affected Venezuela's Constitution and, among others, would have allowed the president the ability to run for and indefinite number of terms, enact states of emergency indefinitely, and increase the state's role in the economy. The Venezuelan democracy survived by the skin of its teeth with a close 49/51 point spread.
For a while now its been somewhat popular for liberal celebrities to make dignitary visits to Venezuela to show their support for Chavez, and while I think post in the axis of evil, or whatever other catchy name they've come up with now, is highly exaggerated, I find many things to dislike about the man. He is an egomanical leader who has pushed the position of president to the brink of monarchy -- it's the executive branch run amok (sound familiar?). His most egregious act was to shut down a television network off the air earlier this year. Of course, I will give him his dues. He did provide cheap oil for the needy in Massachusetts and has pushed a series of populist proposals in Venezuela for which the people apparently love him. At least he was actually elected, unlike other presidents. I guess the Venezuelan people decided as much as they like the guy, like most house guests, they don't like him in perpetuity.
Oh well, Chavez is South America's old news. Of all the leftists South American presidents I've always been a bigger fan of Evo Morales. How much do you want to bet his campaign slogan was "Even his names says morals...Morales!" Hey Morales, do ya happen to need a new campaign manager? (call me).
This of course begs the question of what will happen when Chavez has run out of terms and must leave the presidency? Once thing's for sure, Noam Chomsky is going to have to find a new agent. (call me).
The latest release from the Yeah Yeah Yeahs is a mere five song E.P. that is somewhat reminiscent of their pre-Fever to Tell output. If while listening to Is Is you get the feeling that these songs sound like natural descendents to the YYYs early releases, like their self-titled debut and Machine, there’s a good reason for such suspicions: these songs were actually written around the same time as those early E.P.s. For their latest release the YYYs grabbed a bunch of older songs and re-recorded them. Unlike the rest of us, when the Yeah Yeah Yeahs look under their couch cushions instead of finding loose change they just happen to find a handful of unused songs. 
