An embarrassment of musical riches this summer: first we hear that The Divine Comedy is about to deliver a new album, and now comes word that The Long Winters' third full length, Putting the Days to Bed, will be released on July 25. Can't wait.
All right, my little Satanists, are you ready for the National Day of Slayer? (via)
I think I finally may have found a podcast worth committing myself to: Stylus magazine's Stycast (via--and, while you're there, heed his advice to visit the ridiculously great Green Pea-ness blog). I listened to #248 on my commute this morning, and I have to say it was worth it for the Coldcut feat. Roots Manuva track alone.
Just when Mimi Smartypants was starting to give me a resounding case of the mehs, she dashes off a paragraph about her small daughter's newfound reverence for skateboarding. She writes, "My kid will not be some lame-o Betty standing on the sidelines while the boys practice their bean plants and fakie tail grabs. So we each held her hands while she rolled along, and all the way home she would not shut up about it." Skate or die...from the cuteness! Loves it!
Friday, April 28, 2006
Sunday, April 23, 2006
The Notorious Jimmy James
OK, if there are any pussified and whiny indie kids out there who want to start a band so they can wear cool clothes and sing about their feelings and chat up pretty emo girls with pixie haircuts and facial piercings, LISTEN UP. You are forbidden to do any of this until you study at the feet of My Morning Jacket.
Other than a vague perception of them being jammy and Southern-fried, I knew nothing about this band, and largely because of the aforementioned perceptions, didn't think I needed to know anything about them, before I saw them play on the Northwestern campus last night. Kittens, I have been touched by the power of ROCK. Those motherfuckers walked on stage looking like they'd just been released from prison somewhere and played their fucking hearts out. They could have phoned it in for this student show in the gym. They could have fooled us by hiding behind the bluster and momentum of their hair and beards. But, no. They flung their bodies across the stage and whipped that hair around and screamed and sweated and went through some kind of public musical catharsis for our benefit. It was spectacular, in the truest sense of the word. I mean, yeah, there was a fair amount of guitar wankery, but, my background in jazz being what it is, I have infinitely more patience with semi-indulgent soloing in a live setting than I do on a recording. Not to mention that the kind of music they play is best experienced like a blast from a furnace at the gates of hell: hot, loud, and overpowering, which is to say, not through the tiny plastic earbuds plugged in to your iPod. It deserves a stack of amps and groovy lighting and the reverence of a crowd of kids who were inspired to shout things like, "why don't you just play all night!" I have a better understanding now than perhaps I ever did why Pamela des Barres wrote I'm with the Band, and why she lived it before she wrote it. Oh, and they played maybe four or five songs, and then, by way of greeting and introduction, lead singer Jim James steps up to the microphone and, perfectly framed against a bastketball hoop and the gray cinder block walls of the Patten Gymnasium, drawls, "I hear you don't have a fencing team here at Grover Cleveland. Well, I'm going to do my best to start one up for you." I nearly died.
Oh, yeah, and Stephen Malkmus played a solo set (which I unfortunately missed but I'm told was chockful of older Pavement and Silver Jews material) and the New Pornographers, including Neko Case, were the second band on the bill. Did I forget to mention all that in the heat of my excitement about MMJ? Pretty much best concert ever. Thanks again for the heads up, KP and DS. (I still owe you for the ticket.)
The reason I missed Malkmus's set was because I was en route from Navy Pier to Evanston after seeing A Flea in Her Ear at the Chicago Shakespeare Theater. Ah, who doesn't love a good, fast French farce? GH asked me a while ago to tag along with her and her gals to their season-subscription seats, and the show, while by no means revelatory, was still a delightful, brightly colored bit of piffle. Rick Hall was so effective in his dual role as man-of-the-house Chandebise and bellboy Poche that I found myself illogically wondering how in the world they were going to stage a face-to-face confrontation between the two characters.
This just in! Christianity is repressive, men are assholes, and the U.S. government hates pornography. All this, and not much more, courtesy of The Notorious Bettie Page, the kind of biopic that gives biopics a bad name. Lots of shuttling from plot point to plot point with only the skimpiest of G-strings connecting them to a greater theme or raison d'etre. Now, I don't necessarily go to movies based on true stories or real people looking for historical accuracy or trenchant re-creations of a larger social context, but I do, at the very least, expect to be entertained. The one-note-ness of Bettie Page was not only reductive in its simplifying of the character and the era, but deeply boring as well.
Sure, Gretchen Mol (Rounders, anyone?) looked great and was sexy as hell in the title role (though I do tend to agree with Violet Blue [beware the link; NSFW] when she says Mol doesn't exactly fill out Page's "ruffle-butt panties"), but, when basically all the part required of her was the repeated furrowing of her immaculately tweezed brow in earnest consideration every time her boundaries were being pushed by the series of increasingly fetishistic photographic demands being made of her, looking good is pretty much the most a person could ask for. She does work extra hard in one of the final scenes showing her, after recommitting her life to the Church (which, after a garish and blatantly sexualized "conversion" sequence, complete with her kneeling all dewy-eyed in front of the preacher man, is mainly dramatized by showing her buttoning a white sweater up over a black brassiere), reading from the Bible to (ahem, mostly male) passersby in an autumnal-looking park somewhere. Though her leap from slightly daffy but deliriously exuberant pin-up queen to devout evangelist has, despite some heavy-handed foreshadowing, no sense of dramatic inevitability whatsoever, Mol does her absolute best to translate her radiance from the flesh to the soul. Yet despite Mol's best efforts here, this fact of Page's personal history is just one more inconvenient episode to be gotten through until director Mary Harron can show us Bettie dancing (in homage to this ridiculous yet adorable video? [she's fully clothed and completely SFW here]) over the final credits.
Though I think Bettie's pictures and persona are totally awesome, I've never been one of those leopard-print, cat-eye-glasses hipster gals who would cite her as a major hero or sexual influence or anything, so my complaints here don't really stem from any kind of proprietary sense that no one's ever gonna do my Bettie justice. But, I did want to leave the movie theater feeling like I knew even a little bit more about her and her milieu than I did when I went in; I wanted to feel like I had something to chew on, some tangled tensions to try to resolve in my own head in idle moments of pondering on the train or at lunch this week. And this isn't to say that I didn't glean a few factoids about the nature of her work with Irving and Paula Klaw and Bunny Yeager and the Kefauver hearings on juvenile delinquency. But, Harron tips her hand so strenuously in favor of Bettie's heroic place at the center of a very thin slice of 1950s female sexuality, with only the barest, Walk the Line-esque examination of the events that led her there, that, quite apart from accounts of Page's post-cheesecake life, there was no ambiguity in this version of her story at all. It's all, yay Bettie, yay sexytime, fuck anything that distracts us for a moment from images of her frisky smile and plump bum, including the messy complexities of the woman herself. Yet, as we all know, the most effective titillation requires a little something be left to the viewer's imagination.
Other than a vague perception of them being jammy and Southern-fried, I knew nothing about this band, and largely because of the aforementioned perceptions, didn't think I needed to know anything about them, before I saw them play on the Northwestern campus last night. Kittens, I have been touched by the power of ROCK. Those motherfuckers walked on stage looking like they'd just been released from prison somewhere and played their fucking hearts out. They could have phoned it in for this student show in the gym. They could have fooled us by hiding behind the bluster and momentum of their hair and beards. But, no. They flung their bodies across the stage and whipped that hair around and screamed and sweated and went through some kind of public musical catharsis for our benefit. It was spectacular, in the truest sense of the word. I mean, yeah, there was a fair amount of guitar wankery, but, my background in jazz being what it is, I have infinitely more patience with semi-indulgent soloing in a live setting than I do on a recording. Not to mention that the kind of music they play is best experienced like a blast from a furnace at the gates of hell: hot, loud, and overpowering, which is to say, not through the tiny plastic earbuds plugged in to your iPod. It deserves a stack of amps and groovy lighting and the reverence of a crowd of kids who were inspired to shout things like, "why don't you just play all night!" I have a better understanding now than perhaps I ever did why Pamela des Barres wrote I'm with the Band, and why she lived it before she wrote it. Oh, and they played maybe four or five songs, and then, by way of greeting and introduction, lead singer Jim James steps up to the microphone and, perfectly framed against a bastketball hoop and the gray cinder block walls of the Patten Gymnasium, drawls, "I hear you don't have a fencing team here at Grover Cleveland. Well, I'm going to do my best to start one up for you." I nearly died.
Oh, yeah, and Stephen Malkmus played a solo set (which I unfortunately missed but I'm told was chockful of older Pavement and Silver Jews material) and the New Pornographers, including Neko Case, were the second band on the bill. Did I forget to mention all that in the heat of my excitement about MMJ? Pretty much best concert ever. Thanks again for the heads up, KP and DS. (I still owe you for the ticket.)
The reason I missed Malkmus's set was because I was en route from Navy Pier to Evanston after seeing A Flea in Her Ear at the Chicago Shakespeare Theater. Ah, who doesn't love a good, fast French farce? GH asked me a while ago to tag along with her and her gals to their season-subscription seats, and the show, while by no means revelatory, was still a delightful, brightly colored bit of piffle. Rick Hall was so effective in his dual role as man-of-the-house Chandebise and bellboy Poche that I found myself illogically wondering how in the world they were going to stage a face-to-face confrontation between the two characters.
This just in! Christianity is repressive, men are assholes, and the U.S. government hates pornography. All this, and not much more, courtesy of The Notorious Bettie Page, the kind of biopic that gives biopics a bad name. Lots of shuttling from plot point to plot point with only the skimpiest of G-strings connecting them to a greater theme or raison d'etre. Now, I don't necessarily go to movies based on true stories or real people looking for historical accuracy or trenchant re-creations of a larger social context, but I do, at the very least, expect to be entertained. The one-note-ness of Bettie Page was not only reductive in its simplifying of the character and the era, but deeply boring as well.
Sure, Gretchen Mol (Rounders, anyone?) looked great and was sexy as hell in the title role (though I do tend to agree with Violet Blue [beware the link; NSFW] when she says Mol doesn't exactly fill out Page's "ruffle-butt panties"), but, when basically all the part required of her was the repeated furrowing of her immaculately tweezed brow in earnest consideration every time her boundaries were being pushed by the series of increasingly fetishistic photographic demands being made of her, looking good is pretty much the most a person could ask for. She does work extra hard in one of the final scenes showing her, after recommitting her life to the Church (which, after a garish and blatantly sexualized "conversion" sequence, complete with her kneeling all dewy-eyed in front of the preacher man, is mainly dramatized by showing her buttoning a white sweater up over a black brassiere), reading from the Bible to (ahem, mostly male) passersby in an autumnal-looking park somewhere. Though her leap from slightly daffy but deliriously exuberant pin-up queen to devout evangelist has, despite some heavy-handed foreshadowing, no sense of dramatic inevitability whatsoever, Mol does her absolute best to translate her radiance from the flesh to the soul. Yet despite Mol's best efforts here, this fact of Page's personal history is just one more inconvenient episode to be gotten through until director Mary Harron can show us Bettie dancing (in homage to this ridiculous yet adorable video? [she's fully clothed and completely SFW here]) over the final credits.
Though I think Bettie's pictures and persona are totally awesome, I've never been one of those leopard-print, cat-eye-glasses hipster gals who would cite her as a major hero or sexual influence or anything, so my complaints here don't really stem from any kind of proprietary sense that no one's ever gonna do my Bettie justice. But, I did want to leave the movie theater feeling like I knew even a little bit more about her and her milieu than I did when I went in; I wanted to feel like I had something to chew on, some tangled tensions to try to resolve in my own head in idle moments of pondering on the train or at lunch this week. And this isn't to say that I didn't glean a few factoids about the nature of her work with Irving and Paula Klaw and Bunny Yeager and the Kefauver hearings on juvenile delinquency. But, Harron tips her hand so strenuously in favor of Bettie's heroic place at the center of a very thin slice of 1950s female sexuality, with only the barest, Walk the Line-esque examination of the events that led her there, that, quite apart from accounts of Page's post-cheesecake life, there was no ambiguity in this version of her story at all. It's all, yay Bettie, yay sexytime, fuck anything that distracts us for a moment from images of her frisky smile and plump bum, including the messy complexities of the woman herself. Yet, as we all know, the most effective titillation requires a little something be left to the viewer's imagination.
Friday, April 21, 2006
Radioheading to the Windy City!
Radiohead is coming to town after all, kittens! (No thanks to Millennium Park and the Cultural Affairs Department.) June 19 and 20 at the Auditorium. Tickets on sale May 6. (T'anks for the heads-up, BAK.)
Tuesday, April 18, 2006
Unformed Thoughts on Brick, Etc.
I happily caught up with Brick this weekend, and thought to myself, gee, how nice for a director to use noir's speech patterns as a point of entry into his homage rather than slipping in on another retread of gorgeous (but ultimately kinda boring) shadowy black and white cinematography. Sure, few things are as pleasurable as some really sumptuous chiaroscuro lighting, but there's also no surer or faster way to paint yourself into a style-over-substance corner. Which isn't to say that Brick is particularly substantial--it's an easy metaphor, that high school feels like life and death, like the high stakes drama of back alley shady dealings gone wrong--but at least it didn't take the easy way out with its formal conventions. I mean, as the components of the hard-boiled detective genre become more and more fetishized (which is not to say romanticized, which it obviously always has been) in contemporary film and TV, has everyone forgotten that many of the best old detective movies started out as novels? That the chewiness of the language provides the frame over which to drape the now-iconic bits of mise-en-scene? Director and screenwriter Rian Johnson deserves kudos for remembering and acting on this. The cinematography, certainly lovely in its own way, owes more of a debt to the most deconstructed, postmodern noir ever, Altman's The Long Goodbye, all pastel colors and shallow focus and squintingly uncomfortable scenes shot in full daylight.
Joseph Gordon-Levitt is, simply put, brilliant, again. Lukas Haas is fantastic as the suburban heroin-dealing baddie The Pin. Reviewers have cited the comic absurdity of the scene where his mother serves him and his minions milk and cookies in the kitchen, and sure it's funny, but it also feels every bit as potent as seeing any classic screen villain stroking a long-haired cat. The vaguely Oedipal kiss on the cheek he gives her provides the perfect, fleeting glimpse into the irrational soft spot that all great, completely amoral characters need. The funnier, and sadder, line that I haven't seen anyone except Andrew O'Hehir mention here is delivered during the scene on the beach where The Pin suddenly asks Gordon-Levitt's character if he's ever read any Tolkein. "You know, the Hobbit books? I really like his descriptions of things. Makes you feel like you're there." Boom. Again, another perfunctory, though weighty, reminder that, yes, these are teenage characters we're dealing with. The tender innocence of it reminded me of one of my favorite lines from Rushmore, where Max, drunk at dinner after the debut of his Serpico play, screams, "You hurt my feelings!" Just that subtle reorientation to the true place these characters are coming from does a world of good for the director's mission, no matter how stylized or over-the-top. And as someone who finds herself endlessly defending the stylized and over-the-top, I like having these little moments to be able to point to.
On quite the other end of the tonal spectrum, LK and I watched Rivers and Tides, the Andy Goldsworthy documentary, on DVD two nights ago. I remember when previews for it were being played before virtually everything I saw at our local Landmark theaters a few years ago and, thanks to LBLA reminding me about it after she saw a free screening in DC in December, I finally remembered to dump it in my Kittenflix queue. Wow. This film clung for dear life on to the right side of the razor-thin divide between being mind-bendingly fascinating and stultifyingly self-serious with art-fuckery. I mean, the first words of the movie were something like, "I'd say, art nourishes me" in Goldsworthy's precious little Scottish burr. I should have started gagging immediately. And yet. He's so endearingly earnest about the inspiration he takes from the natural world and the respect he has for it, and the footage of his pieces is so unbelievably beautiful, that I actually gasped several times when the camera would reveal whatever stunningly simple and profound project he was working on. I hadn't anticipated having that kind of reaction. It got to the point where LK and I were cheering for him to add just one. more. pebble. on to his pinecone-shaped piles of rocks and shouting, when one would collapse, with the kind of communal frustration that you usually only hear erupt around a television when an athlete bungles a key play during the championship game. (Wow, how was that for some totally non-sport-specific lingo there?) Anyway, this isn't the kind of DVD you can just throw on for kicks, but, for us, late on a rainy Sunday night, it was completely perfect.
WTF? But I love cilantro!
Joseph Gordon-Levitt is, simply put, brilliant, again. Lukas Haas is fantastic as the suburban heroin-dealing baddie The Pin. Reviewers have cited the comic absurdity of the scene where his mother serves him and his minions milk and cookies in the kitchen, and sure it's funny, but it also feels every bit as potent as seeing any classic screen villain stroking a long-haired cat. The vaguely Oedipal kiss on the cheek he gives her provides the perfect, fleeting glimpse into the irrational soft spot that all great, completely amoral characters need. The funnier, and sadder, line that I haven't seen anyone except Andrew O'Hehir mention here is delivered during the scene on the beach where The Pin suddenly asks Gordon-Levitt's character if he's ever read any Tolkein. "You know, the Hobbit books? I really like his descriptions of things. Makes you feel like you're there." Boom. Again, another perfunctory, though weighty, reminder that, yes, these are teenage characters we're dealing with. The tender innocence of it reminded me of one of my favorite lines from Rushmore, where Max, drunk at dinner after the debut of his Serpico play, screams, "You hurt my feelings!" Just that subtle reorientation to the true place these characters are coming from does a world of good for the director's mission, no matter how stylized or over-the-top. And as someone who finds herself endlessly defending the stylized and over-the-top, I like having these little moments to be able to point to.
On quite the other end of the tonal spectrum, LK and I watched Rivers and Tides, the Andy Goldsworthy documentary, on DVD two nights ago. I remember when previews for it were being played before virtually everything I saw at our local Landmark theaters a few years ago and, thanks to LBLA reminding me about it after she saw a free screening in DC in December, I finally remembered to dump it in my Kittenflix queue. Wow. This film clung for dear life on to the right side of the razor-thin divide between being mind-bendingly fascinating and stultifyingly self-serious with art-fuckery. I mean, the first words of the movie were something like, "I'd say, art nourishes me" in Goldsworthy's precious little Scottish burr. I should have started gagging immediately. And yet. He's so endearingly earnest about the inspiration he takes from the natural world and the respect he has for it, and the footage of his pieces is so unbelievably beautiful, that I actually gasped several times when the camera would reveal whatever stunningly simple and profound project he was working on. I hadn't anticipated having that kind of reaction. It got to the point where LK and I were cheering for him to add just one. more. pebble. on to his pinecone-shaped piles of rocks and shouting, when one would collapse, with the kind of communal frustration that you usually only hear erupt around a television when an athlete bungles a key play during the championship game. (Wow, how was that for some totally non-sport-specific lingo there?) Anyway, this isn't the kind of DVD you can just throw on for kicks, but, for us, late on a rainy Sunday night, it was completely perfect.
WTF? But I love cilantro!
Saturday, April 15, 2006
Recent Reading
"Ed says, 'So are you going to tell me a story?'
"Starlight says, 'That's what I'm here for. But usually the guy wants to know what I'm wearing.'
"Ed says, 'I want to hear a story about a cheerleader and the Devil.'
"Bones says, 'So what's she wearing?'
"Pete says, 'Make it a story that goes backwards.'
"Jeff says, 'Put something scary in it.'
"Alibi says, 'Sexy.'
"Brenner says, 'I want it to be about good and evil and true love, and it should also be funny. No talking animals. Not too much fooling around with narrative structure. The ending should be happy but still realistic, believable, you know, and there shouldn't be a moral although we should be able to think back later and have some sort of revelation. No and suddenly they woke up and discovered that it was all a dream. Got that?'
"Starlight says, 'Okay. The Devil and a cheerleader. Got it. Okay.'"
--Kelly Link, "Lull," Magic for Beginners
"And weirdly, [Mötley Crüe's autobiography] The Dirt isn't a bad book. For a start, it's definitive, if you're looking for the definitive book on vile, abusive, misogynistic behavior: if there are any worse stories than this in rock and roll, they aren't worth telling, because the human mind would not be capable of comprehending them without the aid of expert gynecological and pharmaceutical assistance....
"Oh, but what do any of these things matter? Is it really possible that Mötley Crüe have destroyed all the literature in the world, everything that came before them, and everything written since? I rather fear it is."
--Nick Hornby, "Stuff I've Been Reading," The Believer, April 2006
"Starlight says, 'That's what I'm here for. But usually the guy wants to know what I'm wearing.'
"Ed says, 'I want to hear a story about a cheerleader and the Devil.'
"Bones says, 'So what's she wearing?'
"Pete says, 'Make it a story that goes backwards.'
"Jeff says, 'Put something scary in it.'
"Alibi says, 'Sexy.'
"Brenner says, 'I want it to be about good and evil and true love, and it should also be funny. No talking animals. Not too much fooling around with narrative structure. The ending should be happy but still realistic, believable, you know, and there shouldn't be a moral although we should be able to think back later and have some sort of revelation. No and suddenly they woke up and discovered that it was all a dream. Got that?'
"Starlight says, 'Okay. The Devil and a cheerleader. Got it. Okay.'"
--Kelly Link, "Lull," Magic for Beginners
"And weirdly, [Mötley Crüe's autobiography] The Dirt isn't a bad book. For a start, it's definitive, if you're looking for the definitive book on vile, abusive, misogynistic behavior: if there are any worse stories than this in rock and roll, they aren't worth telling, because the human mind would not be capable of comprehending them without the aid of expert gynecological and pharmaceutical assistance....
"Oh, but what do any of these things matter? Is it really possible that Mötley Crüe have destroyed all the literature in the world, everything that came before them, and everything written since? I rather fear it is."
--Nick Hornby, "Stuff I've Been Reading," The Believer, April 2006
Monday, April 10, 2006
She Is Good to Me and I Am Good to Her
Moses Martin? Gwyneth and Chris named their new baby Moses Martin? Are you kidding me? Oh my, that is just too fucking delightful. What's with their baby names' Old Testament theme? First Apple, then Moses. Ooh, if the next one isn't a minor prophet, I'll eat my hat. (Sing it with me, Benji.)
Speaking of which, how's about that Gospel of Judas that's just recently been verified as being authentic? (The announcement was ever so nicely timed for Holy Week. I guess the Church can't be begrudged their version of sweeps. Stay tuned for sexy guest stars, dangerous stunts, and never-before-seen ancient Coptic manuscripts!) I think the more we know about the early days of Christianity and the formation of the canon, the better off everyone's going to be. I mean, yeah, I'm a big religious studies nerd, but when it comes to uncovering the shady dealings and fractious infighting and marginal belief systems that were considered so dangerous they had to be repressed at all costs, I can hardly stand how exciting it is! (And now it's time for a commercial break plugging Elaine Pagels's fantastic book on the Gospel of Thomas, Beyond Belief. I would loan it to you if I hadn't given my copy out to someone else already.)
Malcolm Gladwell-watch! "My mandate is to convince people that [psychological science] is exciting and to use the discipline in making us think in different ways about social problems or political issues, and that requires taking some liberties — not liberties, that's too strong a word — that requires having fun with it." A wonderful, lengthy article about him in the Association for Psychological Science's journal, Observer (via).
"You'll hear a little bit of auto tune and you're like, 'You're too fucking good for that. Why would you let them do that to you? Don't you know what that means?' It's not an effect like people try to say, it's for people like Shania Twain who can't sing. Yet there they are, all over the radio, jizzing saccharine all over you": Neko Case talks to Pitchfork about songwriting, singing, and Celine Dion's horrifying Anne Geddes baby photo book.
Girls Don't Poop.
Oh man, seeing a show like the one Gogol Bordello put on Saturday is pretty much the whole reason I go to rock concerts. To have experiences like that, plain and simple. Every time I buy a ticket to anything, I'm always chasing down that ideal, secretly hoping I'm going to come out at the end of the night feeling like I just went through a major catharsis. Hoping there will be deafening noise and sweating and jumping and screaming and fist-pumping and emotional electricity and pure fucking joy. To stand in a surging crowd that feels so wild and yet so happy and so safe. Eugene Hutz and his band of merrymakers bring all that and some goddamn wicked facial hair to boot. Not to be missed. Thanks for being there with me, Nora Rocket and JZ. Hoptza!
Speaking of which, how's about that Gospel of Judas that's just recently been verified as being authentic? (The announcement was ever so nicely timed for Holy Week. I guess the Church can't be begrudged their version of sweeps. Stay tuned for sexy guest stars, dangerous stunts, and never-before-seen ancient Coptic manuscripts!) I think the more we know about the early days of Christianity and the formation of the canon, the better off everyone's going to be. I mean, yeah, I'm a big religious studies nerd, but when it comes to uncovering the shady dealings and fractious infighting and marginal belief systems that were considered so dangerous they had to be repressed at all costs, I can hardly stand how exciting it is! (And now it's time for a commercial break plugging Elaine Pagels's fantastic book on the Gospel of Thomas, Beyond Belief. I would loan it to you if I hadn't given my copy out to someone else already.)
Malcolm Gladwell-watch! "My mandate is to convince people that [psychological science] is exciting and to use the discipline in making us think in different ways about social problems or political issues, and that requires taking some liberties — not liberties, that's too strong a word — that requires having fun with it." A wonderful, lengthy article about him in the Association for Psychological Science's journal, Observer (via).
"You'll hear a little bit of auto tune and you're like, 'You're too fucking good for that. Why would you let them do that to you? Don't you know what that means?' It's not an effect like people try to say, it's for people like Shania Twain who can't sing. Yet there they are, all over the radio, jizzing saccharine all over you": Neko Case talks to Pitchfork about songwriting, singing, and Celine Dion's horrifying Anne Geddes baby photo book.
Girls Don't Poop.
Oh man, seeing a show like the one Gogol Bordello put on Saturday is pretty much the whole reason I go to rock concerts. To have experiences like that, plain and simple. Every time I buy a ticket to anything, I'm always chasing down that ideal, secretly hoping I'm going to come out at the end of the night feeling like I just went through a major catharsis. Hoping there will be deafening noise and sweating and jumping and screaming and fist-pumping and emotional electricity and pure fucking joy. To stand in a surging crowd that feels so wild and yet so happy and so safe. Eugene Hutz and his band of merrymakers bring all that and some goddamn wicked facial hair to boot. Not to be missed. Thanks for being there with me, Nora Rocket and JZ. Hoptza!
Wednesday, April 05, 2006
Puppies Puppies Puppies Puppies Puppies!
CRP authors in the blogosphere this week: Dirk Jamison writes for Largehearted Boy and Doug Crandell gets written up for Post Road Magazine. These are two of my favorite new voices we've published recently, and both of the write-ups just make me love them even more.
Scroll down here to last week's episode, fast forward to approximately minute seven, and revel in the glory that is a This American Life piece on--wait for it--The Puppy Channel. I know, I could hardly believe it either. (Thanks for this and the Post Road link, LK.)
Has anyone anywhere ever had a relatively good/positive experience buying tickets for an event? Because I honestly don't think I have. I'm not talking about the sweet old lady who took your money at the front door of your little sister's choir concert. I'm talking about buying tickets to see a rock show or whatever. When I use Ticketmonster, I feel screwed, which makes me angry. When I make the effort to go to a box office, people are usually bitchy, which pisses me off. I hustled as fast as I could after work last night to get to the box office at the Metro before it closed at 6 to buy tickets for this weekend's Gogol Bordello show (Nora Rocket and JZ and I will be MAKING MERRY OUT OF NOTHING, LIKE IN REFUGEE CAMP! OH YEAH, WHOA NO!). My dilemma: will I make it to the box office in time if I try to hunt down one of my bank's very few cash machines in the distance between my office and the venue? But, what's this? Joy of joys: the website says they accept Visa, Mastercard, and American Express! Perfection. What an epoch of convenience I'm lucky to be living in!
Still, I'm cutting it close (thank you, rush hour brown line delays!), and I blow in to the Metro store windswept and out of breath at about 5:55. There are maybe four or five people standing behind various counters, some setting up merch for that night's show, others tapping on laptops and flipping through magazines. No eye contact whatsoever is made with the frantic, disheveled Polish tornado that has just tumbled through the door. I stagger around the room, trying to deduce if any of these clearly superior specimens of humanity have any interest in helping a sister out. I finally point-blank ask a petite blond woman, "can I buy tickets for a show on Saturday?" "Oh, you'll have to talk to her," she says, pointing to a woman standing about eight feet to her right. For fuck's sake. "Hi, can I buy three tickets for the Gogol Bordello show on Saturday?" I ask the woman standing eight feet to my left. She barely says a word to me, makes minimal eye contact, and starts processing the order. I reach into my bag for my wallet, and, just to be sure, I ask, "I can use a card to pay, right?" This query is met with eyeballs of steel. "There's a 4% surcharge on the total ticket price if you want to use a card." I temporarily die for a moment, standing right there on my own two little feet as I hear this, because OMG, WTF, not being surcharged was the whole reason I elected to make the journey to the box office in the first place and being able to use my card was the whole reason I didn't stop for cash on the way! (Bitch.) But, as politely as I can muster (read: not very politely at this point), I ask if there are any cash machines in the vicinity. "There's one on the front of the building, there's one across the street, there's one on the corner, but I'm closin' in five minutes." This is the point at which, in all exchanges like this, I am always tempted to begin weeping and rending my garmets as I deliver a soliloquy on the theme of Am I Not Pure of Heart? Am I not pure of heart? Did I not try as hard as I could to get here as quickly as I could? Was I not met with transportation challenges on the way? Did I not initially consider withdrawing cash from my checking account to make this transaction easier on you, the customer service representative? Is it not spring in Chicago and was I not struggling to walk against the wind off the lake with my very short skirt threatening to become my very short belt every step of the way? Regardless, I would like to believe that that exceptionally moving performance was subtextually obvious when I, instead, said, "um, OK, then here ya go," and handed over my debit card.
I mean, whatevs. I got the tickets, I'm going to the show, I'm looking forward to it, all is well in the kingdom of Entropy. But, is it just me, or are these hoops that must inevitably be jumped through just not very rock 'n' roll? I mean, how do the corduroy-clad hipsterati deal with these sorts of indignities when they're making plans to go see Art Brut or whoeverthefuck? Or is it just me? Do these box office workers smell the square on me when I walk in the door and then proceed to treat me like the guy from High Fidelity who was looking for a copy of "I Just Called to Say I Love You"? But, I mean, I usually walk among them fairly well disguised--hello, little camouflage skirt, bright red lipstick, black plastic frame glasses, black messenger bag festooned with band pins? What else do they want from me? People, people, people--there has got to be a better way!
Scroll down here to last week's episode, fast forward to approximately minute seven, and revel in the glory that is a This American Life piece on--wait for it--The Puppy Channel. I know, I could hardly believe it either. (Thanks for this and the Post Road link, LK.)
Has anyone anywhere ever had a relatively good/positive experience buying tickets for an event? Because I honestly don't think I have. I'm not talking about the sweet old lady who took your money at the front door of your little sister's choir concert. I'm talking about buying tickets to see a rock show or whatever. When I use Ticketmonster, I feel screwed, which makes me angry. When I make the effort to go to a box office, people are usually bitchy, which pisses me off. I hustled as fast as I could after work last night to get to the box office at the Metro before it closed at 6 to buy tickets for this weekend's Gogol Bordello show (Nora Rocket and JZ and I will be MAKING MERRY OUT OF NOTHING, LIKE IN REFUGEE CAMP! OH YEAH, WHOA NO!). My dilemma: will I make it to the box office in time if I try to hunt down one of my bank's very few cash machines in the distance between my office and the venue? But, what's this? Joy of joys: the website says they accept Visa, Mastercard, and American Express! Perfection. What an epoch of convenience I'm lucky to be living in!
Still, I'm cutting it close (thank you, rush hour brown line delays!), and I blow in to the Metro store windswept and out of breath at about 5:55. There are maybe four or five people standing behind various counters, some setting up merch for that night's show, others tapping on laptops and flipping through magazines. No eye contact whatsoever is made with the frantic, disheveled Polish tornado that has just tumbled through the door. I stagger around the room, trying to deduce if any of these clearly superior specimens of humanity have any interest in helping a sister out. I finally point-blank ask a petite blond woman, "can I buy tickets for a show on Saturday?" "Oh, you'll have to talk to her," she says, pointing to a woman standing about eight feet to her right. For fuck's sake. "Hi, can I buy three tickets for the Gogol Bordello show on Saturday?" I ask the woman standing eight feet to my left. She barely says a word to me, makes minimal eye contact, and starts processing the order. I reach into my bag for my wallet, and, just to be sure, I ask, "I can use a card to pay, right?" This query is met with eyeballs of steel. "There's a 4% surcharge on the total ticket price if you want to use a card." I temporarily die for a moment, standing right there on my own two little feet as I hear this, because OMG, WTF, not being surcharged was the whole reason I elected to make the journey to the box office in the first place and being able to use my card was the whole reason I didn't stop for cash on the way! (Bitch.) But, as politely as I can muster (read: not very politely at this point), I ask if there are any cash machines in the vicinity. "There's one on the front of the building, there's one across the street, there's one on the corner, but I'm closin' in five minutes." This is the point at which, in all exchanges like this, I am always tempted to begin weeping and rending my garmets as I deliver a soliloquy on the theme of Am I Not Pure of Heart? Am I not pure of heart? Did I not try as hard as I could to get here as quickly as I could? Was I not met with transportation challenges on the way? Did I not initially consider withdrawing cash from my checking account to make this transaction easier on you, the customer service representative? Is it not spring in Chicago and was I not struggling to walk against the wind off the lake with my very short skirt threatening to become my very short belt every step of the way? Regardless, I would like to believe that that exceptionally moving performance was subtextually obvious when I, instead, said, "um, OK, then here ya go," and handed over my debit card.
I mean, whatevs. I got the tickets, I'm going to the show, I'm looking forward to it, all is well in the kingdom of Entropy. But, is it just me, or are these hoops that must inevitably be jumped through just not very rock 'n' roll? I mean, how do the corduroy-clad hipsterati deal with these sorts of indignities when they're making plans to go see Art Brut or whoeverthefuck? Or is it just me? Do these box office workers smell the square on me when I walk in the door and then proceed to treat me like the guy from High Fidelity who was looking for a copy of "I Just Called to Say I Love You"? But, I mean, I usually walk among them fairly well disguised--hello, little camouflage skirt, bright red lipstick, black plastic frame glasses, black messenger bag festooned with band pins? What else do they want from me? People, people, people--there has got to be a better way!
Tuesday, April 04, 2006
New Divine Comedy
Not that I'm usually the model of restraint or anything, but allow me to FLIP THE FUCK OUT for a moment as I announce with fist-pumping anticipation that a NEW DIVINE COMEDY ALBUM will be released this summer. It's called Victory for the Comic Muse, the title a cheeky play on Neil's ultra-rare debut disk, Fanfare for the Comic Muse, which predates Liberation by a few years and which I have never heard. The DC website says the new one is out June 19 in the U.K., which I hope, but doubt, will mean June 20 in the U.S. Even if not, ah, well, that's what we have Amazon.co.uk for, eh kids?
Monday, April 03, 2006
Poetry in an Empty Coke Can
I absolutely can. not. wait. for Brick to open here. Everything I've read about it sounds right up my alley, and the fact that I'm totally gaga for Joseph Gordon-Levitt after loving the fuck out of Mysterious Skin last year (it's funny that that's the second time I've linked to that old post within the past week and a half) is only fluffy bunny frosting on the kitten whiskers cake. According to the official site, Chicago is included in this coming weekend's limited release roll-out. Rawk. Chickety check Salon's brief interview with director Rian Johnson here.
Mr. Green Pea-Ness writes with passionate, breathless, furious intensity about Nelly Furtado's unstoppable new single "Maneater" (which similarly blew me away when I got around to downloading it this weekend), about what it means when Voxtrot covers the Talking Heads, and about seeing the Guillemots live.
Speaking of the Guillemots, their From the Cliffs EP compilation disk doesn't quite live up, back-to-front, to the promise of "Trains to Brazil" (then again, what could?), but their "Made Up Lovesong #43" has to be one of the silliest, happiest, swooniest things I've heard in ages. It's not just a song about love, it's a song that makes you feel like you're falling in love. If you see me walking around town with a goofy grin on my usually scowl-marked face and a bounce in my otherwise leaden step, I'm probably just listening to that song on my Nano. Approach with caution; I might huuuug you!
The Hype Machine recently pointed me in the direction of Joanna Newsom's predictably stunning cover of Jimi Hendrix's "Angel." I've never been able to figure out exactly why Jimi's music in general, and this song in particular, touches me so deeply. The reaction he elicits in me is a totally distinct beast from the respect I have for the rest of his contemporaries in the rock canon. I mean, I was putting "Angel" on mix tapes in high school when I thought "classic rock" meant those cheesy recordings of guitar shredders interpreting Mozart sonatas and shit (kidding; I wasn't that bad off), and I remember getting emotional at the EMP in Seattle with Holla Mossick and LBLA a few summers ago as we strolled through a room that reverently displayed the first draft of his lyrics for "Angel" scribbled on the back of an envelope or napkin or similar scrap of paper. Anyway, all of this is to say that, despite the shoddy quality of the live recording, for me, this MP3 provides a potent and irresistible combination of Joanna's otherworldly harp, her gift for singing way more than just the notes, and Jimi's divinely inspired (haha, not a pun, you bastards) composition.
I forgot to post this last week: Liza Minnelli losing her mind on Larry King.
Mr. Green Pea-Ness writes with passionate, breathless, furious intensity about Nelly Furtado's unstoppable new single "Maneater" (which similarly blew me away when I got around to downloading it this weekend), about what it means when Voxtrot covers the Talking Heads, and about seeing the Guillemots live.
Speaking of the Guillemots, their From the Cliffs EP compilation disk doesn't quite live up, back-to-front, to the promise of "Trains to Brazil" (then again, what could?), but their "Made Up Lovesong #43" has to be one of the silliest, happiest, swooniest things I've heard in ages. It's not just a song about love, it's a song that makes you feel like you're falling in love. If you see me walking around town with a goofy grin on my usually scowl-marked face and a bounce in my otherwise leaden step, I'm probably just listening to that song on my Nano. Approach with caution; I might huuuug you!
The Hype Machine recently pointed me in the direction of Joanna Newsom's predictably stunning cover of Jimi Hendrix's "Angel." I've never been able to figure out exactly why Jimi's music in general, and this song in particular, touches me so deeply. The reaction he elicits in me is a totally distinct beast from the respect I have for the rest of his contemporaries in the rock canon. I mean, I was putting "Angel" on mix tapes in high school when I thought "classic rock" meant those cheesy recordings of guitar shredders interpreting Mozart sonatas and shit (kidding; I wasn't that bad off), and I remember getting emotional at the EMP in Seattle with Holla Mossick and LBLA a few summers ago as we strolled through a room that reverently displayed the first draft of his lyrics for "Angel" scribbled on the back of an envelope or napkin or similar scrap of paper. Anyway, all of this is to say that, despite the shoddy quality of the live recording, for me, this MP3 provides a potent and irresistible combination of Joanna's otherworldly harp, her gift for singing way more than just the notes, and Jimi's divinely inspired (haha, not a pun, you bastards) composition.
I forgot to post this last week: Liza Minnelli losing her mind on Larry King.
Her almost-spit take when that guy calls up and says he's a musical theater major in Arizona is classic. Whatever demented asshole edited this thing together deserves an Emmy. Also, I love that some bastard on YouTube has tagged the clip with "trainwrecks." (Thanks, Benji.)
Had the chance to support some local art this weekend. LK and I popped by the Chicago Center for Book and Paper Arts on Friday night for the opening of Columbia's Interdisciplinary Arts & Media Thesis Show, featuring Liz Wuerffle's lovely series of pieces combining maps, pictures, and other memories of a life spent on the move. Dan Schwarzlose's synesthesia installation was also really cool, though I'm not sure how the interactive portion of it will be handled when he's not there behind the bar taking orders for stuff like hearing Yellow and touching Buddha Nature. On Sunday, I saw Seanachai's production of A Whistle in the Dark (at the Victory Gardens until May 14), which is certainly worth a look for the slowly burning, quietly seething rage that Coby Goss does so well and for Dan Waller's tour de force performance of tightly coiled menace shot through with scrappy, wounded pride.
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